AV Specialist Vol. 115 by Tim Jones

Sonys landmark Omani deal

The rise of social media

Intercom Systems evolve to changing market needs

See us at

DVB confirmed for Southern Africa IABM trends survey reflects steady recovery

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Contents AV Specialist Volume 115

Prepare to take advantage of the new media world The last two years have proved to be very difficult for the media industry. Some businesses failed as restructuring and refinancing efforts failed to keep pace with the drastic fall in revenues. However, the industry seems to be experiencing early signs of growth after surviving one of the worst economic downturns in history.

Gearhouse supplies Loeries 2010 Gearhouse South Africa supplied full technical production to the 2010 Loerie Awards staged at the Good Hope Centre in Cape Town, South Africa for the second year running.

Trilogy's Gemini combines IP connectivity with programme quality audio to suit applications ranging from small single studios to the largest multi-studio.

Quantel 3D TV broadcasts Guangzhou Asian Games Quantel’s Enterprise sQ Stereo3D broadcast production technology, first shown at NAB this year, made its in-service debut at the Guangzhou 2010 Asian Games in November, successfully providing daily Stereo3D TV programming to China’s first 3D TV audience.

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

5 African countries represented in DIFF Seven feature; documentary and short films from across the African continent were screened at the seventh Dubai International Film Festival that took place during December.

Publisher’s Note

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

As we come to the end of 2010, this year like the previous has seen many companies restructuring, closing down and remodeling their business to adapt to market changes. The good news according to the IABMs latest industry trend survey reflects the market in steady recovery. These were the sentiments of industry executives with almost 50% indicating changes as early as Spring. As this issue hits the printing press we are preparing for IS EUROPE which has seen record numbers attending the event earlier this year, as well as CABSAT 2011 which according to the organizers is almost SOLD OUT. As our industry enters another exciting period of creativity and technological advance, many of us would be heading off on vacation, to spend time away during the festive season. From the AV Specialist team let me take this opportunity to wish you and your loved ones well over the festive season. I look forward to meeting you on the show floors

See us at CABSAT MENA 2011 Booth #S2-B32

AXON glue and beyond

Whether you’re looking for ‘glue’ or a lot more, AXON is your partner of choice. Check out our website and see the depth and breadth of our solutions in this demanding area of broadcast interoperability and compliance. Select AXON as your technology partner and you will be in good company. Many major broadcasting companies around the world have made the same choice, and they also discovered that AXON is really all about ‘glue and beyond’. www.axon.tv

Committed.

Product

news Multi-format video switcher FOR-A has unveiled their new HVS-4000HS multi-format video switcher. Available in 2 M/E or 2.5 M/E models, the latest HANABI Series switcher features support for HD/SD mixed inputs, as well as optional support for 3 Gbps and stereoscopic 3D production. “Flexibility and functionality were two of the most important considerations when we designed the new HVS4000HS,” said Hiro Tanoue, president, FOR-A Corporation of America. “Our new switcher delivers the features that can handle the mixed format productions of today, along with options like 3G and 3D to make sure our customers can handle the production needs of tomorrow.” With its optional stereo 3D function, the HVS4000HS can handle the left and right video from a stereo camera as a pair, which allows the operator to switch or invert video, add delays, execute horizontal shifts and transitions, and more. While the switcher supports 1080i, 720p, NTSC, and PAL signals, its optional 3G-SDI input provides support for 1080p signals.

Focus Enhancements adds FS-T1001 Media Recorder Focus Enhancements have announced the FS-T1001 Camera Mount Media Recorder. FS-T1001 seamlessly integrates with HDCAM and XDCAM HD camera systems by utilizing the host camera professional battery system and accepting the HD-SDI output from the host camera to record to Sony SxS solid-state media. The FS-T1001 allows HDCAM and XDCAM HD camcorder owners to take advantage of industry standard XDCAM EX workflow, whether it is for online or offline purposes. The stored content has the same recording format and directory structure that other XDCAM EX devices use, making the files compatible with XDCAM EX workflow including editing software. “Focus has a long and successful history in offering media recording solutions to the market”, said Kaveh Farnam, managing director of Advanced Media Trading in Dubai. “Sony is very pleased to be licensing the XDCAM EX file format to Focus Enhancements Inc, expecting the FS-T1001 to be an ideal choice of media recorder for HDCAM and XDCAM HD users.

United Broadcast announce Rotolight

UBMS have announced the launch of Rotolight’s multiaward winning RL48-A HD LED Ring light. Featuring soft, natural and shadow-less light, as well as an expanded operating range of studioaccurate colour temperatures, Rotolight has proven to be a huge hit with

cinematographers using the next generation of HD-DSLR cameras, with over 7000 units sold in less than six months. The capability to mount the Rotolight Ring Light below a matte box, over a shotgun mic or an accessory shoe, on a spare tripod or via an articulated arm gives the DSLR user a superb lighting solution for any shoot. While many camcorder lighting systems provide harsh light with highly defined shadows, Rotolight’s quality LED’s deliver a pleasant, naturally diffused light that is particularly suited to portraiture, resulting in perfect skin tones without the bluish cast found when using inexpensive consumer LED's.

Chrosziel introduce super-wide matte box Chrosziel have announced that Panasonic’s AG-3DA1 Stereo 3D camera will work with the same Chrosziel Light Weight Support (LWS 401-415) as used with the Panasonic HVX-200 / 200A. The MatteBox MB 450R2 Super Wide and the MB 456 Academy (Chrosziel’s recommended combination) can be used, as well as any other Chrosziel MatteBox with at least 5“ filter holders. Using 5” filters the angle of rotation is fully unrestricted; at no position a vignetting will be observed. Light Prevention Rings with masks following the outer shape of the double lens are made available for 130 mm (Super Wide and Academy) 142.5 mm connection. 3

Product

news Harris unveils Videotek Test and Measurement enhancements

Avid breaks new ground in music and sound production

Harris has demonstrated the latest enhancements to its Videotek test and measurement product line. The developments address the real-world challenges of today's broadcaster — from loudness measurement and 3D support to compressed stream monitoring and portable troubleshooting. Their new LLM-1770 loudness logger and monitor is a compact audio monitoring tool that makes it easy to confirm compliance with the latest loudness requirements. Loudness and True Peak measurements are made to the ITU-R BS.1770 international loudness standard with five times oversampling. Settings are included that match the EBU R-128 and ATSC A/85 recommendations. The LLM-1770 comes with four AES inputs, with an option for SDI embedded from SD, HD or 3 Gb/s sources.

Avid has announced ProTools version 9, a groundbreaking evolution of the industry’s most popular music creation and audio production solution. Leveraging a next-generation architecture, version 9 of Pro Tools offers customers the unprecedented choice to work with Avid audio interfaces, third-party audio interfaces, or no hardware at all when using the built-in audio capabilities of a Mac or PC. This first-ever software-only option for Pro Tools delivers customers the most open, flexible and feature rich version in history, while also providing top professional features customers have requested. Also, new support for the Avid EUCON open Ethernet protocol now enables customers to expand control surface options to include Avid’s Artist Series and Pro Series audio consoles and controllers (formerly known as Euphonix consoles and controllers). Pro Tools customers—from the aspiring enthusiast to the professional—can now create sophisticated, great sounding mixes, whether they’re at home, on the road, or working in a large facility using an open, flexible workflow for enhanced collaboration and creativity.

AKG couples High-Performance with advanced usability Adapter enables use of SDHC memory cards Sonnet Technologies has introduced its SDHC Adapter for SxS Camera Slot, designed expressly for use in Sony XDCAM camcorders, which use SxS memory cards for recording. This Sonnet adapter enables the use of Class 10 and faster SDHC memory cards in place of SxS memory cards, supporting the performance required for HD recording modes while allowing users to save hundreds of dollars on the purchase of memory cards in equivalent capacities. Sonnet's SDHC Adapter for SxS Camera Slot offers Sony XDCAM camcorder users an affordable and useful alternative to using SxS memory cards for recording. Available at the price of a single SxS card, the Sonnet adapter and several high-quality SDHC memory cards empower users to shoot longer without having to offload footage, reformat, and reuse the same SxS card. Sonnet's SDHC Adapter for SxS Camera Slot is the same size as an SxS memory card and, unlike standard memory card adapters, allows the SDHC card to fit flush inside its shell. This critical feature makes the Sonnet adapter interchangeable with SxS cards, and it ensures that the camcorder's memory card slot door closes completely.

In an introduction that makes its category-leading performance and unmatched versatility accessible to a wide array of users, AKG is introducing the Perception 4

Wireless System. The new wireless microphone system comes complete with bandwidths up to 30 MHz and excessively low-current transmitters, which are unique in its class, cementing Perception Wireless as one of the most comprehensive systems in its price range. The Perception Wireless is designed to accommodate musicians and entry-level audio technicians, although it has the capabilities to handle even the most difficult audio setups with up to 8 channels per band. The pocket transmitter PT 45 – which is the smallest in its class – runs on a single AA battery, and is compatible with all AKG MicroMics.

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

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

With exciting new 3 Gb/s SDI connections, DeckLink HD Extreme allows twice the SDI data rate of normal HD-SDI, while also connecting to all your HD-SDI and SD-SDI equipment. Use 3 Gb/s SDI for 2K and edit your latest feature film using real time 2048 x 1556 2K resolution capture and playback!

Connect to any Deck, Camera or Monitor

Microsoft Windows™ or Apple Mac OS X™

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

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

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

DeckLink HD Extreme

US$995

Learn more today at www.blackmagic-design.com

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Product

news Blackmagic Design ships DaVinci Resolve 7.0 During November Dubai-based Mediacast Systems introduced Blackmagic’s new DaVinci Resolve 7.0 to the Middle East market. DaVinci Resolve is the world’s most popular high end DI grading system with powerful features used by both Hollywood and high end post production worldwide. Now with the new DaVinci Resolve on Mac OS X, these high end features are available on the platform that’s popular with creative professionals. DaVinci Resolve 7.0 now includes a new user interface which provides quick, simple and intuitive creative control without clutter and bloat that make other colour grading systems difficult and slow to use. Only DaVinci Resolve has been developed with colourists and benefits from the decades of DaVinci colour grading experience. For production using the new generation of DSLR cameras such as the Canon 5D, DaVinci Resolve 7.0 now supports read and write of H.264 files on Mac and playback on Linux. Now colourists can grade directly from DSLR media files in real time for professional production from these high quality and affordable cameras.

LYNX Technik expands rack options LYNX Technik has released two new compact 1RU rack frames to house up to three or four Series 5000 card modules. They are ideal for applications that only require a small number of modules and for specialized standalone or mobile applications. The RFR 5003 1 RU rack frame holds up to three Series 5000 modules. It includes a power supply with space for an optional redundant power supply. The RFR 5003 is shipped with the LYNX Technik Desktop Controller application and rack controller with LAN interface. The RFR 5004 1 RU rack frame holds up to four Series 5000 modules. It includes a power supply and an external DC power input is provided for redundant power backup. The RFR 5004 is also shipped with the LYNX Technik Desktop Controller application and rack controller with LAN interface. Both 1 RU frames have a removable front cover for direct front access to the modules and power supply for easy module removal and exchange. LYNX Technik products are distributed in Southern Africa by Questek Broadcast.

High-end performance at an indie price

Tandem 150 modular power system

Representing a breakthrough for filmmakers in terms of features, performance and price, Sony Professional is adding to its line-up of Super 35mm digital motion picture camera technologies. The family, which includes the legendary F35 and the recently announced SRW-9000PL, is now joined by the all new PMW-F3 camcorder. Each camera in the line-up is

UBMS have introduced Anton/Bauer’s cutting-edge Tandem 150 Modular Power System to the Middle East market. The Tandem 150 system provides ultimate flexibility for shoots in isolated areas offering two unique methods of charging. Crews working out of their cars during a night shoot, in an isolated location, or in an area where power is not accessible can simply use the CA-TMCL with their dependable vehicle AC power outlet. The CA-TMCL is the smallest portable car charger on the market and does not require an inverter. The battery simply snaps on the QR-TM bracket and plugs into the vehicle’s power outlet. In addition, for productions where sunlight is available, crews can charge any Logic Series battery with the award-winning Anton/Bauer Solar Panel. 7

based on a Super 35mm sensor and PL mount technology, and illustrates Sony’s unique ability to offer filmmakers access to the highest-quality imaging tools and most complete digital production workflows. The new PMW-F3 is the latest example of Sony’s efforts to combine performance and price into a powerful and affordable production tool. Designed for television, commercials, music promos and budget features, the new camcorder is offered at a price point that will bring Super 35mm shooting within reach of a wider audience. That, and the availability of a low-cost PL lens kit model which includes 35/50/85mm T2.0 fixed focal length lenses, makes it ideal for use as a 2nd unit 35mm camera or as a B camera to the SRW-9000PL.

Product

news New enhancements to Wohler processing monitor

Introducing Rycote’s new Stereo Suspensions

Wohler Technologies have announced several new enhancements to its award-winning AMP2-16V Series modular audio/video processing monitor. Incorporating dual 4.3-inch OLED displays, the AMP2-16V is the industry's first 16-channel audio/video monitor to feature concurrent loudness monitoring and control together with complete mixing and routing capabilities, along with the ability to reembed audio into an SDI signal. The latest enhancements make the AMP2-16V even more configurable and easier to use, with new features for defining and managing channel clusters and presets, managing multiple input and output formats, and accessing the system's loudness control and other audio fine-tuning features. "We've often compared the AMP2-16V's versatility to that of a Swiss Army Knife, and that comparison has never been more apt. In advanced configurations, the system is so much more than a monitor — it can embed audio from any of its inputs into an SDI signal for broadcast, quickly adjust the level of something gone wrong in one channel, or control the loudness of an entire program," said Kim TemplemanHolmes, Wohler EVP of global sales and marketing.

Over the past three years, Rycote, the UK microphone windshield manufacturer, has introduced its patented Lyre — a virtually unbreakable U-shaped clip made of vibration-reducing thermoplastic — into almost all of its microphone suspension products. Superseding older, less efficient elasticated 'hoopand-rubber-band' suspension systems, the Lyre has greatly improved the ability of Rycote's microphone suspensions to isolate mics from unwanted vibrations, and sits at the heart of successful products like the S-series and redesigned Modular windshields, the Universal Camera Kit, and the InVision series of broadcast and studio recording microphone shockmounts. This month, the Lyre makes its debut on Rycote's stereo microphone suspensions, streamlining the range and making it more robust, easier to set up, lighter, more efficient at excluding unwanted vibrations and, perhaps most significantly, making it more affordable to end users.

Tiffen introduce Steadicam Scout

Fujinon focus on 3D

During IBC 2010 3D was a key focus on the Fujinon stand when they launched a number of new lenses that offer synchronous zoom and focus control.

Fujinon’s involvement in the groundbreaking 3D movie ‘Avatar’ has been well documented. It’s a film that launched a new era in movie making. The new lenses have been developed for 2/3-inch 3D applications. They display extreme small centering tolerances in the optical axis over the entire zoom and focus range, while the zoom function works without any mechanical backlash. The new generation 3D HD lenses are controlled by the industry’s first universal fully synchronized 3D zoom & focus accessory-kit with serial data port.

Tiffen have introduced the new Steadicam Scout based on the Steadicam’s established award-winning technology but with a new design that offers many innovative features and benefits. “Style, functionality, flexibility and affordability” are all wrapped in the new

Steadicam Scout. A combination of innovative features derived from our popular Pilot, Flyer, Zephyr and Archer Steadicam systems now allows the Scout to “excel in the range of operating possibilities,” said Frank Rush, VP, General Manager of Steadicam. With a new innovative approach to camera stabilizer design, the Steadicam Scout has the all the quality and features needed to get the job done at an affordable price. The Scout offers a 5lb-18lb (2.3 8kg) camera payload capacity and includes a soft case, with integral custom foam for sled storage, that provides for the insertion of a travel cart into a rear sleeve for easy transport.

hile the outlook remains uncertain, the dynamics of consumer and technological change have never been more complex to understand or harder to monetise. So how should media companies take advantage of the new opportunities arising from the recovery? Vicki Myburgh, PwC’s South African Entertainment & Media Leader says, “Media companies should be formulating a clear vision for the organisation which forms the foundation of their operating models. Opportunities are constantly evolving and social consumer dynamics drive this change. A new operating model, which understands consumer behaviour, is required to gain maximum exposure to these new opportunities.” PwC’s report, ‘Phoenix from the Flames: The future media organisation’, examines why it is difficult for media

“Media companies should be formulating a clear vision for the organisation which forms the foundation of their operating models," says Vicki Meyburgh, PwC's Entertainment and Media Leader in South Africa.

companies to tap into new revenue streams and achieve further gains from restructuring initiatives. According to the report, while the crisis continued, insufficient attention was paid to operating models that would support the growth agenda. “We believe that a new operating model – the unique way in which a business is organised to manage and execute its operational decisions and deliver to its strategy – should be an important part of the response,” says Myburgh, “but this requires an informed assessment of the opportunities on offer within the media landscape. These opportunities are evolving all of the time – and social and consumer dynamics are at the heart of this change.”

Complex consumer behaviour Complex, and often conflicting, forces are reshaping media consumption habits. The ageing population, the rise in

single person households and increasing urbanisation compels media companies to challenge the assumptions they hold about consumer behaviour. The recent austerity measures imposed by many Governments across the world will have an impact too; however, how much this will affect the ability, and willingness, of many consumers to spend on media products and services is uncertain at this stage. Having said all of this, consumers still expect to watch, listen and use a wide range of content on multiple, connected devices. They also want fun, enjoyable experiences with their friends and family the rise of social networks, as well as the popularity of live music events and cinema admissions over the past year is testament to this. Looking to the future, we think that their choices will be influenced and polarized by a growing set of tradeoffs between the availability, quality, and price of content. ‘Free’ may mean lower quality content (or bundled with other offers), while ‘paid’ may mean more personalised, higher quality content, if they pay for it all – attitudes, and responses, to piracy will be a critical dimension. For all of this change, we shouldn’t forget that old habits die hard, or at least die slowly – so there will still be limited opportunities for products deemed by some to be old media, including newspapers, books and DVDs.

to tap into consumer demand. The potential (and risk) of advances in technology is now firmly recognised in the boardroom, often seen as the answer to the question of how to monetise content and inventory profitably. New developments, such as Cloud Computing, are reducing the operating and capital cost of editing, storage, search and distribution. As a result, activities conducted within media companies are beginning to be reinvented, restructured and/or outsourced; the flexibility expected by consumers when they use content on multiple devices now needs to be mirrored in the operating models adopted by media companies. What will this mean for the dynamics of media markets? Expect a period of flux, a period of experimentation. Companies are searching for new ways of making money from their content in a world in which content (particularly online) has been provided for free, and where the metrics required to monetize the content are underdeveloped. Myburgh continues, “The reality is that over the last two years, management has understandably been preoccupied with short-term measures to alleviate the existing financial pressure. As a result, media companies are now faced with the challenge of delivering a new operating model that is fit for the future and equipped to generate rising revenues from a dynamic consumer environment.”

The heart of change

The design of new operating models will be driven by five strategic themes:

Technology offers new opportunities

IABM's latest Industry Trends Survey reflects market in steady recovery A worldwide broadcasting industry that is in steady recovery, although somewhat lagging in North America, is the overall picture painted by the latest Industry Trends Survey released by the IABM (International Association of Broadcasting Manufacturers). The survey results reflect a North American broadcast and media technology market that is at least six months behind the rest of the world in rebounding from the global recession, but trends and expectations do indicate a more rapid improvement going forward. Released twice a year, the Industry Trends Survey reports the opinions of senior executives in IABM member companies. In the newest version, members were polled about their Q3 performance and their outlook for the year ahead. Undertaken six weeks after IBC2010 in Amsterdam, the survey results reflect the general optimism that

permeated this year's show. Although tempered by continued uncertainty in some regions, confidence in the industry continues to grow — as evidenced by increasing investment in research and development as well as headcount. However, companies continue to be challenged by manufacturing capacity and supply chain problems that frustrate order fulfillment, and customer deferral of orders remains the largest constraint to order growth. Respondents also cited a shortage of skilled technical resources as another barrier to growth and order fulfillment. Executives do, however, feel generally optimistic about the months ahead, with 46 percent stating that market conditions will significantly improve by spring. The 'IABM Confidence Ratio' which was standing at minus 3 during the recession is at a very respectable plus 11 in the latest survey. 11

Anytime, anyplace, anywhere

Delivering content across multiple devices and environments seamlessly will facilitate greater integration of entertainment and transactions. The boundary between creator and consumer becomes increasingly blurred but professional content will dominate formats which require significant investment, such as high-end video and music.

Engagement and trust underpin successful business models

Trust becomes an important source of competitive advantage as media companies recognise the power of collecting and using consumer’s details with security and integrity. In addition, Consumers measurement becomes increasingly centred on outcomes, rather than outputs – reach becomes challenged as the cornerstone of audience measurement.

Diversification and agility – the cornerstones of strategy

We’ve opened our doors to the future. Come in! Come see what the future looks like. Join us as we open our doors for you to experience tomorrow. The Sony Technology Open House. You’re invited to the future. This event will showcase the latest products from Sony, seminars* plus a special 3D workshop. Date : 19th and 20th December 2010 Time : 10:00 hrs to 17:00 hrs Venue : Sony ofﬁces, International Media Production Zone, Dubai

For more information email us at middle.east@eu.sony.com

* Schedule of Seminars 11:00 hrs - 12:00 hrs : Thinking in 3D 13:00 hrs - 14:00 hrs : OLED - The future in display technology 15:00 hrs - 16:00 hrs : Media Backbone - Network Production Solutions

JOIN US AT OUR EXCLUSIVE

3D WORSHOP

A mixed, more balanced ecology of subscription, advertising, product placement and micro payments will emerge. Media owners will need to find new ways to monetise their advertising inventory, with new found confidence and innovation.

Culture will be an important dynamic in the transition to the new world

Technological developments at the heart of change to commercial and operating models

Culture – a critical factor in the creation of such embedded barriers – has been an important dynamic throughout corporate history. In the words of Goffee and Jones, ‘without culture, a company lacks value, direction, and purpose’ (The Character of the Corporation, 1998). Over the last couple of years in particular, many media organisations, particularly those characterised as ‘traditional’ or ‘incumbent’ in their sector, have become more ‘mercenary’ in their culture by necessity. In practice, this has meant a

If content is king, data becomes queen. Powerful infrastructures will develop that are capable of capturing and leveraging the full picture of consumer activity. Customer relationship management will become a critical core competency of every media company.

heavy focus on corporate objectives, a low focus on sociability, and a ruthless focus on the competitive threats to their business. This ‘corporate’ management style may have been successful at avoiding financial distress. But how well suited is it to the task of building the loyalty, co-operation and agility needed to drive the innovation and growth agenda over the coming years? New entrants – and indeed many incumbents with proud traditions – have succeeded with a more communal environment in which professional and personal lives are intertwined, investment is focused on common goals (e.g. equity shares), and a strong sense of identity is created. At their best, this culture brings the best of the organisation and its partners, enabling it to develop new products and reinvent its business model in an open, collaborative manner. But how sustainable is this model when inspirational leaders leave, or the early gains are exhausted and the next wave of growth requires a fresh approach? richest dataset possible and a true anywhere experience, with advertising models benefitting the ability to have more active engagement with customers. Myburgh concludes, “The media industry is at a crossroads, experiencing unprecedented change and escalating complexity. Media companies that are able to diversify, increase scale and reshape their operating model to support tier strategy will be the ones who succeed.”

Mobile content takes off, supported by advertising models By its nature – given data on geography and other features in the home or office – mobile enables the

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DVB confirmed for Southern Africa The South African Development Community (SADC) has announced that the region, which has a population of over 250 million, will adopt DVB-T2, DVB’s second generation digital terrestrial television standard. The decision to adopt DVB-T2 was taken after rigorous testing and in-depth analysis of ISDB-T, DVB-T and DVB-T2.

n Ad Hoc Committee of the SADC was tasked to undertake the necessary assessments and advise the Member States on the viability of the different technical standards with the view for the region to move towards adopting a common standard. The 15 Member States represented by the SADC are Angola, Botswana, Democratic Republic of Congo, Lesotho, Madagascar, Malawi, Mauritius, Mozambique, Namibia, Seychelles, South Africa, Swaziland, Tanzania, Zambia and Zimbabwe. The Committee’s decision that SADC Member States should adopt DVB-T2 with MPEG4 compression as the recommended digital terrestrial standard for the region was announced by the Hon. Joel Kaapanda, Minister of Communications & Information Technology of the Republic of Namibia and Chairperson of SADC Committee of Ministers responsible for Information and Communication Technology, at a press conference in Lusaka, Zambia on 24 November. It was noted, however, that Member States which have already started implementing the DVB-T standard should proceed with its implementation but ultimately migrate to DVB-T2. The Minister also announced that the Member States would switch to digital television by 31 December, 2013 well ahead of the 2015 global switchover date in order to ensure that all related challenges would be overcome in time.

academia and the media to share in the trial experiences and results.

Most advanced TV standard Phil Laven, DVB’s Chairman, welcomed the decision saying that “This recommendation in favour of DVB-T2 will allow the SADC region to benefit from the world’s most advanced digital terrestrial TV standard. By adopting a common standard, the SADC region will achieve economies of scale, thus facilitating a successful move into digital

efficient standard available today for the delivery of digital-terrestrial television. Its primary advantage is that it is 50% more efficient in the way it uses radio frequency , which is a scarce and limited resource. This means that a single T2 multiplex can carry up to 18 channels. Given the extra capacity available, T2 also gives the scope for high definition services to be provided on DTT,”

DVB-T2 trials well underway Marcel Golding, Group CEO of e.tv explains, “The development of T2 shows that DVB is the right choice for South

terrestrial TV.” DVB-T2 is the world’s most advanced digital terrestrial transmission system offering higher efficiency, robustness and flexibility. It introduces the latest modulation and coding techniques to enable the highly efficient use of valuable terrestrial spectrum for the delivery of audio, video and data services to fixed, portable and mobile devices. These new techniques give DVB-T2 a 50% increase in efficiency over any other DTT system in the world.

Not plain sailing

Global standard

The path toward the DVB standard has not been plain sailing, with a concerted effort being made by lobbyists from Brazil and Japan, both of which wanted Southern Africa to adopt a version of Japan’s integrated service digital broadcasting terrestrial (ISDB-T) standard. Despite this effort, commercial broadcasters in South Africa had started DVB trials in 2006 and were vehemently opposed to any change. Even before the SADC announcement, eTV and MNet had announced that a select group of Soweto residents would be the first in the country to experience DVB-T2. “T2” is generally accepted to be the most

The UK saw the launch of the first DVB-T2 services earlier this year. Since then Italy has launched DVB-T2 pay TV services followed by Sweden. Early 2011 will see Finland start their DVB-T2 HD services. Advanced trials are currently taking place in Austria, Denmark, the Czech Republic and Germany. With the positive results of the UK launch, more and more other countries are considering launching services using DVB-T2 in the near future. Outside Europe, other countries that are considering DVB-T2 are Australia, India, Kenya, Malaysia, Singapore, Sri Lanka and Thailand.

Africa. T2 is a more efficient version of DVB-T and is available should we choose to use it.” M-Net CEO, Patricia Scholtemeyer, reports that the T2 trials are progressing well. “We are aiming for these trials to be as inclusive as possible“, she says. “Once the selected trial participants have had some time to fully experience this technology, we will be inviting the industry bodies, 14

Netia Radio-Assist 8 supports flexible workflow at Shems FM in Tunisia Netia has announced that SHEMS FM, a new privately owned radio station based in Tunis, Tunisia, is being equipped with the Radio-Assist 8 suite of digital audio automation software to support both traditional and Internet broadcast operations using only uncompressed WAV files.

he Netia software will enable Shems FM to establish efficient media logging, management, and production for its Internet streaming, podcasts, and on-demand services. "Our broadcast model requires a robust and flexible solution for managing and preparing a tremendous volume of high-quality content for various Internetbased services," said Fathi Bhoury, general manager at Shems FM. "Netia is an established leader in providing sophisticated media management in a multiplatform environment, and its RadioAssist 8 software offers valuable functionality across our full production and delivery workflow." Shems FM was officially launched in September. The new radio station is the fourth of its kind in Tunisia. SHEMS FM (sun in Arabic) is generalinterest radio broadcasting in local dialect,

and its mission is to inform, entertain, and grow. The station is intended to reflect the Tunisian society in all fields, including economy, sports, arts, and entertainment. Its programs will be available initially in Greater Tunis and along the north-east coast (Bizerte) and south (Sfax), before covering the regions further west and center. President Ben Ali kicked off the station's formal launch in a message

broadcast by the government press agency TAP, stating that he has the hope that the station will be a new pillar of information and culture. Radio-Assist is being installed on 16 workstations to provide Shems FM with a complete toolset for streaming content using both automatic playout and the live playout features within the Air-DDO broadcast module, as well as for radio on demand and podcasting. Radio-Assist users will also perform highly automated logging on full-quality WAV content and logging of lower-quality content for legal purposes as well as to track broadcast content. "The Radio-Assist 8 installation at Shems FM will streamline delivery of content through a number of online channels, in turn providing customers with convenient access to quality online radio services," said Pascal Cima, export manager at Netia.

Be innovative. Breakthrough technology.

Mitsubishi Diamond Vision OLED is the world’s first and only scalable large-format OLED (Organic Light Emitting Diode) screen. Displays are constructed from individual 128 x 128 pixel OLED tiles measuring 384mm square and weighing just 8kg. Because they can be fitted together seamlessly, just about any size or shape display is possible - even curves. The resulting display is much lighter and thinner than an equivalent LED screen and so can be installed in places which were previously thought impossible. Light output is far higher than LCD displays (up to 3 times), making OLED suitable for high ambient light areas such as shopping malls and passenger terminals. Diamond Vision OLED is a truly innovative product - a completely new class of screen that opens up a world of possibilities, not just for AV and digital signage professionals but also for architects and interior designers.

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Why the PC is not dead Pundits have been predicting the death of the PC for some time now. The introduction of each new exciting computing device or software app considered outside the narrow scope of the traditional PC triggers the same, tired PC obituary again and again to the point of a Groundhog Day experience.

ut from my industry vantage point, Punxsutawney Phil is nowhere in sight. To the contrary, each new, disruptive innovation is actually a sign of health, and of sustained public desire for the life-enhancing benefits of personal computing and being connected online. In many ways, we've only just begun to experience what a truly "personal" computing experience can look and feel like.

Introduction of new devices Netbooks, smartphones, tablets, cloud computing, virtualization, mobility, new operating systems--the introduction of each has sparked and stoked this "death of the PC" debate. Yet these are all personal computing devices. Taking the long view, the entry of these new devices and form factors along with their new capabilities expands the market as each new development extends the reach and power of personal computing. Industry veterans are not immune to such speculation. John Dvorak's Sept. 3 piece in MarketWatch, "The hot PC market is gone for good," proclaimed "any [personal computer] built within the last five years...can be kept he proclaimed in service until it literally dies ... This industry is dead in the water." In terms of longevity, Dvorak is right: Computers built within the last five years do last longer. But his mistaken prognosis of the market's demise overlooks two key facts.

Expanding market First, millions of people around the world are just now purchasing their first PC, millions aspire to buy one, and millions who already have a PC or multiple personal computing devices would love to do more than their current ones allow. Second, we are in the midst of one of the most dramatic shifts ever in the way people use computers. PCs, for years mostly text-based machines manipulated with mice and keyboards, are rapidly becoming rich, visual multimedia hubs controlled by users' hands and bodies for which no amount of processing power seems to be enough. This shift will soon be

Dirk Meyer, CEO of AMD shares his opinion on convergence technologies and the future of the personal computer

introducing PC users to immersive, interactive, vivid new computing experiences beyond their wildest imaginations, while making older or underpowered PCs look antique. Let's also look at the facts on the ground. Despite the worst economy since the Great Depression, the PC market grew in 2009. This year PC makers remain on track to sell more than 360 million PCs, according to industry analyst firm Gartner, about 1 million PCs every day. Analyst firm IDC predicts the PC market will expand to approximately 630 million units per year by 2015, an annual growth rate of more than 12%. That's real, tangible growth; growth that will continue because the industry is working at the frontiers of innovation to give customers the experiences and capabilities they demand.

Accelerated processing unit For example, AMD's creation of the first Accelerated Processing Unit (APU), which combines computing and graphics processing on a single chip, represents a promising inflection point. Until now, PCs have been powered by two kinds of chips, central processing units (CPUs) for everyday computing tasks, and graphics processing units for visual and video tasks. With the advent of the APU, PC makers will expand the market for their products by delivering the vivid, photorealistic, touch-based, 3D experiences customers increasingly 16

demand, in sleek form factors with allday battery life. The advent of APUpowered devices addresses a key question Dvorak asked in MarketWatch, "What do we wait for to reignite [PC] buying?" I believe the answer may well be found in the vivid computing that APUs will enable, delivering the visually compelling, immersive, interactive experiences PC users want--in offices, homes, or going mobile. There is growing global appetite for multimedia content created, edited and enhanced on PCs. That content is consumed downstream by any number of devices. Video, the lingua franca of the global village, will comprise 90% of all Internet traffic by 2013, according to Cisco. Right now, 20 hours of video are uploaded to YouTube every minute. More than 1,000 pictures are uploaded to Facebook every second. PC users worldwide have an estimated nine billion high-definition video files stored in their systems, waiting to be e-mailed through an expanding global network of high-speed connections. 3-D films and gaming will soon be mainstream--a disruptive opportunity for the PC industry.

Content becomes richer As content becomes richer, exciting new user interfaces such as multi-touch, gesture recognition and machinecontrolling "depthcams" are coming, and can tap into the powerful processing APUs deliver in a way that will completely redefine the PC experience. Imagine the possibilities for immersive games and body-interface multimedia when vivid computing delivers a "personal cloud" in a wireless network to give homes computing horsepower comparable to that found in today's Fortune 500 data centers. It will not be long before APUs allow road warriors to routinely carry ultrathin notebooks with supercomputer power. As developers turn their attention to office applications, the newly-available combination of 3-D, motion capture and high-definition video and audio will enable brilliantly visual and interactive productivity as well as collaboration apps that are simply not possible or practical today.

Oman TV brings High Definition broadcast to viewers Sony Professional Solutions has announced that it has secured a landmark US $69 million deal with the Sultanate of Oman’s Ministry of Information to build state-of-the-art High Definition studios at Oman TV Complex in Muscat, as well as refurbish the television broadcast facility located in Salalah. Upon completion of the project in November 2011, viewers of Oman TV will be the first in the region to experience the superior quality of High Definition content production and distribution.

his highly contested project will see Sony PSMEA providing a futureproof 3G infrastructure that will position Oman TV as the technology leader within the region’s broadcast industry. The contract includes the delivery of fully equipped High Definition studios, tapeless networked production, Media Asset Management - News, transmission, Radio and other extensive facilities to provide a truly tapeless broadcast production environment. Sony PSMEA is also providing the latest technology for the refurbishment of the broadcaster’s TV facilities in Salalah, which will be integrated with the TV complex in Muscat. Commenting on the collaboration, Mohammad AL Marhouby, Chairman of the project committee and

Director General of Engineering at the MOI, said, “We are expecting Sony Professional’s extensive experience in delivering broadcast and IT-based Media Asset Management projects, as well as its expertise in the Middle East region to contribute to the success of this project. We recognise that our engineers need the necessary skills to manage the

migration from traditional broadcasting to HD technology and are expecting Sony Professional’s training offering to help us achieve our goals” Hideaki Nakamura, Managing Director of Sony Professional Solutions MEA said; “We are privileged to be selected as partner to Oman TV as it focuses on improving broadcast quality for viewers across the region and embraces international standards in High Definition broadcast and 3G compatibility. Our business has been active in the Middle East for more than two decades and we are delighted to bring our experience and advanced technology solutions to projects such as this that raise standards in the region’s broadcast industry.”

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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?

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M-Net Nigeria relies on RTS/Telex intercom systems M-Net Supersport Nigeria opened its new studio complex in Lagos in mid August. Divided between two large studios, a total of eight HD cameras are now in use. At almost the same time, the studio in which the popular Nigerian soap opera 'Tinsel' is produced was undergoing a lightning three-week renovation of its own, reopening only days later. There, too, HD cameras—four, this time—ensure top quality images.

he intercom solution within and linking the various studios is based on two RTS/Telex Cronus matrices complemented by a variety of KP-612 and KP-632 keypanels. The studio system also includes four channels contributed by floor beltpacks from the 800 series as well as six TIF systems—all, also, from RTS/Telex. Interconnected over fibre links, the Cronus matrices have been installed with the intention of expanding them further to meet future requirements; all in all, an infrastructure that should stand MNet in good stead and preserve its competitiveness for years to come.

Intuitive operation The technical design and realization of the project was the responsibility of the British company C2S Systems / WTS

Broadcast. "One of the demands of the project was to create a system that would allow M-Net technicians in South Africa to train and support their colleagues in Lagos in the most intuitive and efficient manner possible," explains Natalie Bainbridge, General Manager of C2S Systems. "RTS/Telex systems are known for their user-friendly interfaces, which are

of crucial importance in enabling engineers to familiarize themselves swiftly with the GUI-oriented set-ups of modern systems. Furthermore, M-Net has been working for years with RTS/Telex systems and has had nothing but positive experiences with them." Since its launch in 2004, the Cronus digital matrix has defined a new standard in digital matrices. Each Cronus frame offers 32 ports, in only two rack units. The Cronus utilises a DSP architecture which allows up to four frames to be combined to create a matrix capable of supporting 128 users. Each frame can be geographically separated by distances of several hundred metres when connected over fibre. This feature allows the system hubs to be located nearer to users thus helping to simplify wiring infrastructure.

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he event was again produced by H-Factor, with a production and set design by H-Factor and The Loerie Awards Committee, to celebrate the coolest and most innovative creative talent in advertising, communication design and experiential media from Africa and the Middle East. The two nights of prestigious Award presentations is the biggest seated awards show in the country, and a high pressure event in terms of design and technical production, requiring plenty of invention and originality to match the occasion. The 2010 event energised the skills and resources of Gearhouse's Sound, Lighting, AV, Media, Rigging, Structures and Power departments. Sister company Sets, Drapes,Screens built the set and supplied all the scenic elements, and the project was managed on site for Gearhouse by Ryan Shepherd, and in the office by Cape Town Branch Manager and Account Handler Charl Smit.

AV & Media Video is central to any Awards show and particularly to this one, with the Gearhouse Media department run by

Chris Grandin and Marcel Wijnberger looking after this aspect. Grandin designed the video systems and coordinated the multi-layered playback and its output to screen. The set divided the stage space into 3 circular 'performance' areas - centre, left and right - and the 2 large oval/cylindrical upstage projection screens left and right of the stage were key to the design. These were fed with Awards content, credits, graphics and logos for most of the evening, plus some IMAG camera images. In the middle of the set was a "floating" 14 metre wide by 7.3 borderless screen which received front projection, and there was also a 27 panel wide by 3 panel high Lighthouse R16 LED 20

(1756 pixels wide by 144 high) screen running edge to edge of the stage. Inbuilt into the centre of the set was a back wall, constructed from Layher scaffolding. Rigged to this were 36 x LCD screens, configured as two large 6 wide by 3 high blocks, used very effectively for running twinkly effects in the background. Two Christie HD 18 projectors fed the main centre screen. Christie Roadster R16s were supplied for the oval screens, complete with a pair of shuttered Christie M Series 10Ks for backup. All the content output was routed and mixed through a Christie Spyder X20, configured by Grandin, programmed by him and Wijnberger and run by Kevin Larson during the shows.

Managing awards content The playback material was all stored on 4 Wings Platinum slaves controlled by a Wings Platinum master. They ran the technical rehearsals with two Wings masters in action so Wijnberger and Grandin could programme simultaneously. The Awards content for the 2 show nights - for print media on the Saturday and digital/TV/Cinema/web based and mixed

media on the Sunday - was supplied by 2 different production houses - MEME and Wicked Pixels respectively. This consisted of background overlays for the main categories and a credit template of how it should look, with the final content composited on site for the screens by Gearhouse Media and Andrew Shelly's teams. However, the collaborative process to facilitate all this coming together on the night actually starts a good 8 months earlier, with meetings and discussions between all parties as to how the screens and the content will look and function on the event.

Planning the show content The show programming and editing process was also started in advance, 3 weeks ahead of the actual event days, with Grandin and Wijnberger spending 2 weeks at H-Factor's offices in Johannesburg. In total, about 270 Awards were involved not all of which were presented live, but all had graphics and associated VT material which needed to be incorporated in the video. Cameras - directed by Warren de Vos were supplied by SABC, together with one of their OB vans, and a special programme on the Awards nights was broadcast a few days later. Four camera feeds from the OB truck were fed into the Spyder for outputting to the production screens.

Audio Gearhouse Audio's Jako de Wit and Tom Gordon designed the sound system, working closely with Revil Baselga on monitors. It was his first year mixing the event in Cape Town, although he has done it a few times previously when it was staged in Margate. He chose to run an LAcoustics Kudo system in left-right configuration for the main hangs, with 9 Kudo speakers left and right angled at 45 degrees, and 12 x dV-DOSC speakers for the centre hang. Fourteen SB118 subs were ground stacked neatly behind the AV walls, all powered by LA8 amps. He chose a Yamaha M7 console with an Opticore fibre link for running the show, with Baselga utilising a Soundcraft MH4 console onstage. Audio for all the VT playins and Awards stings was supplied via a link from the Media department's Wings system. There was a Band and DJ first night, DJ and dancers 2nd night with singers and tracks. Saturday evening kicked off with Springbok Nude Girls being revealed behind one of the screens, and on Sunday it was The Front Row entertainment dancers. For monitors they ran a combination of L-Acoustics HiQ 115 wedges and Sennheiser IEMs. It was a

The huge success of the 2010 Awards maintained the Loeries' profile as one of the liveliest and most talked-about events in the southern hemisphere, which brings a large, vibrant vibe to the whole city for the weekend, with numerous additional events and parties taking place throughout. Gearhouse's Philip Beardwood also presented an Award! This was Best Live Event, and was won by The VWV Group, producers of the acclaimed 2010 FIFA World Cup Closing Ceremony, a show for which Gearhouse SA also provided all technical production equipment, plus lighting and sound design.

relatively straightforward gig for audio, the main challenge being the concave shape of the space and the height in the middle, which makes it very reflective, throwing up a few idiosyncrasies. However, they achieved excellent results. De Wit has worked in the venue many times before, and has a few sonic tricks up his sleeve to make it all come together. His mixing style also slightly differed across the 2 nights to match the contrasting atmospheres â&#x20AC;&#x201C; loud, bold and in-the-face for the first night with the band, and more subtle and refined for the second.

Lighting Lighting was designed for the second year by Phillip Chames from Gearhouse's Cape Town branch. The back wall that housed the 36 LCD screens was also rigged with lighting fixtures - 24 of the new Robe ROBIN 300 Spots, 12 x Robe ColorSpot 700E ATs, 24 Atomic strobes and 36 2-cell Moles. These were used for creating spectacular rear lighting effects and their positioning and layout also increased the perceived depth of the stage space. On the top edge of this wall were 3 x 1.2K 'truss' follow spots.Three circular trusses were flown above the 3 stage areas below, and each of these had 4 Martin Professional MAC 2K Profile and 4 MAC 2K Wash moving lights on them. The stage areas were also lit with 9 x 5K fresnels rigged on 3 room trusses. The 2 21

oval screens were each framed with 12 x iPix Satellite LED brick lights clamped to the inside of the set element (vertical veins) - a bottom detail of each oval screen. There were 18 MAC 250 Wash moving lights on the floor behind the 3 stages for low angle beam effects and eye-candy for the wide camera shots, plus 8 Robe ColorWash 2500s. Eight giant custom chandeliers were built by SDS and flown above the audience around the venue, each of which contained an integral MAC 2K profile light and 5 short nosed PAR 64s. Two FOH follow spots were positioned on the balcony at the back of the auditorium, and the show lighting was run by Chames using a grandMA full size console.

Success The huge success of the 2010 Awards maintained the Loeries' profile as one of the liveliest and most talked-about events in the southern hemisphere, which brings a large, vibrant vibe to the whole city for the weekend, with numerous additional events and parties taking place throughout. Gearhouse's Philip Beardwood also presented an Award! This was Best Live Event, and was won by The VWV Group, producers of the acclaimed 2010 FIFA World Cup Closing Ceremony, a show for which Gearhouse SA also provided all technical production equipment, plus lighting and sound design.

Eclipse’s MicroTiles aid Armani’s stunning Pavilion launch They may only have been in the marketplace for a short time, but already Christie MicroTiles have helped to adorn one of the wonders of the modern world.

uring November they appeared at the launch of the Armani/Pavilion — an open air event facility of The Armani Hotel, located at the foot of The Burj Khalifa in Dubai, the world’s tallest building. This open-air terrace also overlooks the spectacular Dubai fountains, the world's largest water display. Eclipse Staging Services LLC were commissioned by The Armani Hotel to provide audio-visual support for the Pavilion extravaganza which was attended by 650 guests; the event was produced by Eclipse's Richard Scott and Armani's Geraldine Wong. Eclipse deployed a range of new additions to their inventory — not only the MicroTiles but also All White Quest Audio speakers. The visual elements were supervised by Eclipse's lighting designer Frank Schotman and included a selection of inteliigent spots and moving LED fixtures on truss towers,

as well as video screens, displaying the opening of the hotel, which was attended by Giorgio Armani himself. But it was the MicroTiles that stole the show. In keeping with the Armani minimalist design, two of these next-generation columns were displayed in a 1 x 5 tile high configuration, to display Armani graphics. The hardware was supervised by Paul Foschi, and content provided by Ross Marshall. Said Mark Brown, Chairman of Eclipse Staging Services LLC, “We had a lot of people asking us about this unique technology, as it is very new to the region;

in fact we are one of the first companies to offer MicroTiles for rental applications.” The company, which has been trading in the region for ten years, had earlier placed their order for an initial batch of 100 MicroTiles with Christie’s Dubai office, also supplying a quantity to event agency HQ Creative for use on the Prime Minister’s Office stand at the GITEX expo. Mark Brown had based his purchase on the uniqueness of the product, believing that with just a 1mm seam, the product superseded plasma as a display item, and offered a better contrast ratio — with the LED projection engine providing longer life and true HD. These were all features that made the Pavilion launch go with a bang. Representing the Armani Hotel, Geraldine Wong said “The event was a great success, and the lighting, sound, and video were fantastic.”

Anolis at the Montecasino complex Anolis ArcSource 3 RGB LED fixtures and an Anolis ArcControl 1024 have been supplied by Anolis' South African Distributors DWR to Montecasino in Fourways, Johannesburg. The LED fixtures are set up in the "pit" area where the gaming tables are situated.

eclan Randall from Congo Blue worked closely with Montecasino’s David Butcher to come up with an appropriate lighting design. Montecasino is a popular Tuscan/Italian styled entertainment and casino destination in Johannesburg. Pillars with wooden beams and greenery form part of the décor in the pit area, creating a vineyard feel, and Randall opted to illuminate the pillars with an LED solution. The brief was to create a lighting scheme to enhance the area around Pit 1 and attract people’s attention as they walked past, without simultaneously distracting the players.Using the existing pillars as the focal point was an obvious choice as they are such a strong feature. "We wanted a lighting system that would be eye-catching, flexible, low maintenance and - naturally - energy efficient" confirms Randall, so LED technology

ticked all the boxes in terms of the brief and requirements. They wanted each fitting to be individually addressed for greater control over the final effect.The standard 'run' setting is primarily a subtle cross-fade from colour to colour with approximately 38 different colours

programmed, however the system is capable of something much more “flashy” if required. The design and installation also allows for the lighting to be themed – e.g. red for Valentine’s Day, green for St Patrick’s Day, etc., but in between any special events, the subtle cross-fading colour sequence runs continuously. “Anolis fittings gave us the output that we needed in an attractive, compact fitting" says Randall. Some of the programming was done off-site, using offline lighting editing software, then uploaded to the control system at Montecasino, needing only a few minor tweaks before the handover to the client. DWR Distribution made up custom mounting brackets for the 48 fixtures. With a very limited window of opportunity for the installation to be completed on site, as much pre-preparation as possible was done, with the total install taking about ten hours.

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Working Miracles for Music Tight deadlines, FIFA World Cup distractions and ash clouds may deter some companies from delivering on time, but for T&A Lighting, a division of Prosound, these are simply interesting challenges.

acing the launch of a new DVD, Woord en Lewe Church in Boksburg saw the need to complete phases two and three of a system upgrade that had begun over four and a half years ago. They turned to T&A Lighting, who had been involved in the original project, with the somewhat tall order of concluding the installation in just three weeks.

Excellent audio quality Fortunately, the top-rate Meyer sound system installed in the original phase was still up to the task of providing excellent audio quality, so lighting was the main priority. T&A Lightingâ&#x20AC;&#x2122;s Ian Blair, along with consultant Angus Clark, started work immediately on integrating a lighting upgrade. â&#x20AC;&#x153;Teams of workers were stationed in the church for 18 to 20 hours a day, working around services that were held during the project,â&#x20AC;? says Blair. The new system includes an ETC ION Console with a configuration of 1024 output channels for effective control. One ETC 2x20 Fader Wing and LCD displays alternate mood and lighting effects. 2x Unique Haze Machines create various levels of haze for dramatic effect. Eightyfour channels of Zero 88 Chilli dimming can adjust lighting intensity from mild to extreme. This works in conjunction with ETC Source 4 Par Fixtures, fully rotational 575 AT Spots and Robe 575 AT Zoom

Wash fixtures to provide focused or washed lighting anywhere on stage. ETC Source 4 Profiles 36Âş, with dichroic reflector, provide bright but relatively cool light on stage.

Satisfied customer Dewalt Visagie, Production Manager at the church, is delighted with the results. â&#x20AC;&#x153;The system is very effective and I am highly impressed,â&#x20AC;? he enthuses. â&#x20AC;&#x153;T&A Lighting smoothed the learning process by calling in Glenn Duncan to assist with

training and the backup is excellent.â&#x20AC;? He adds that ease-of-use is an extra benefit. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re able to train volunteers to use the equipment without worrying that thereâ&#x20AC;&#x2122;ll be a problem if they change the settings,â&#x20AC;? he says. â&#x20AC;&#x153;This installation allows broadcast production quality should the church need it,â&#x20AC;? concludes Blair. â&#x20AC;&#x153;However, it can also cater for the simpler needs of gospel bands when praise and worship is taking place.â&#x20AC;? Care was also taken to keep the installation flexible enough to accommodate future upgrades.

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Fatboy gets the finishing Avo Touch Lighting designer Steven Abbiss has been on tour with dance guru and DJ Fatboy Slim since March this year, fulfilling a busy schedule playing international festivals and their own headliner gigs worldwide, including a visit to South Africa during the FIFA World Cup where he presented concerts in Johannesburg, Cape Town, Durban and Port Elizabeth.

he itinerary on the SA leg of his tour included 5 concerts in only 7 days, so all the equipment for the lighting design was specâ&#x20AC;&#x2122;d to the same requirements. Abbiss also carried his own Tiger Touch console to the shows to guarantee getting his control desk of choice. Weighing only 27kg tucked neatly into a Peli case, it is a small and light enough option for baggage on any tour with this set up.

Wild Water festival At the Wild Water Festival in Boksburg (South Africa) he ran all 12 data control lines via Ethernet out of the desk, whilst using the touch screen to make a basic schematic of their standard rig and patch in the fixtures from the event rig to match, so it worked with their drawing. He finds this a really helpful function, adding that it's "really quick" to change fixture types. "The touch screen manipulation is absolutely brilliant," he states. Apart from that, it has the feel and hands-on usability that has made Avolites his favourite lighting control brand for many years. Other features he likes include the ability to change sequence speeds and parameters very quickly 'on-the-fly'. The Instant Colour Mix on the touch screen is another time saving facility. It offers a full colour map at the press of a button, from which any colour can be swiftly selected and added into presets.

Stephen Abbiss (left) and Norman Cook (Fatboy Slim) on the right, with the Avolites Tiger Touch

fixtures or an equivalent source for powerful backlighting from the floor. The design was flexible and dynamic, in keeping with Fatboy's energy-pumping set and very own distinctive mixology; an eclectic mix of baseline classics and contemporary dance vibes.

Structured improvisation Whilst there are certain cues for specific anthemic moments in the set, it's also a show that lends itself to improvisation on the lighting front - and

Excellent response time "The response time is excellent and the new Titan software environment is extremely intuitive when you are moving between palettes and fixtures," he explains. The screen is fully userconfigurable, and can be customised to suit anyone's individual style of programming and operation. There are 4 DMX outputs and 12 DMX universes are available when using ArtNet. Fatboy's standard rig spec featured 30 Martin Professional Atomic strobes, 34 x 1200 series Spot and 44 x 1200 series wash moving lights, 5 large flower effects, 2 Lightening Strikes strobes and 44 LED battens (PixelLine style), 34 x 4-cell moles, 4 Studio Due CityColor wash 27

that's another reason that Avolites is an ideal platform for Abbiss. He has ordered a Titan Mobile console that runs with a laptop version of the software, and an even more lightweight and powerful solution for lighting control that's absolutely perfect for tours utilising local productions. Titan Mobile comes complete with live playbacks, solo flash buttons and user programmable buttons and attribute controllers, all of which enable fast and accurate show programming.

Wild Talk Africa moves to Cape Town The next Wild Talk Africa Film Festival and Conference will run during late March at Spier, Cape Town. Spier is the ideal conference venue, set in the heart of the winelands, and surrounded by the Helderberg Mountains.

oving the Festival to Stellenbosch, just outside of Cape Town, is an exciting move. Not only does it take place in March, the best of summer weather, it is also a popular destination for tourists and delegates alike. Wild Talk Africa, now in its fourth year, has established itself as a world-class event, and in this new location, Wild Talk Africa delegates have the opportunity of meeting and networking with delegates who represent the major international wildlife broadcasters,” says Sophie Vartan, Festival Director.

4-day festival programme The 4-day Festival programme is packed with topical seminars, workshops, screenings of the ROSCAR Award finalists, an exhibition area and fabulous evening networking events at venues throughout Spier. The highlight of the Festival is the announcement of the ROSCAR Award winners, which will be hosted by Dave Salmoni, well known presenter of Animal Planet’s Rogue Nature series and Into the Pride. The valuable seminars include discussion topics on: 3D, African Broadcasting, Responsible Filmmaking, New Broadcasting and Distribution Platforms, Nature and Wildlife at the Cinema, Commissioner’s Panel, plus many others. Delegates can also look forward to attending the workshops, free of charge, which include, amongst others: Newcomer’s, Wildlife Presenting, Cutting HD in the Edit Suite, Red One Camera, Shooting for 3D, Adding Value – Music, Colour and Sound, and HD Deliverables.

265 entries for ROSCAR Awards This year the ROSCAR Awards attracted over 265 entries stretching across the globe from Australia to India, Taiwan to France, Kenya to Czechoslavakia, and many more countries who are producing exciting wildlife programmes. During the Festival a selection of finalist films will

Located in the heart of the Cape winelands, the Spier Estate is a haven for tourists yet it also has a deep cultural and historical background dating back to 1692. It has the oldest wine cellar in South Africa.

Dave Salmoni will present the ROSCAR awards programme at Wildtalk Africa. Salmoni has been critized by research biologists for his theatrics in an effort to make more entertaining television at the expense of wild lions. His antics have drawn much concern from the scientific community including the leading big cat conservationists affiliated with notable organizations like the Panthera Corp and the Wildlife Conservation Society. There is much sentiment that he is impeding conservation efforts in sub-Saharan Africa and conveys the wrong message about the human-cat interface to viewers in regard to safety, animal behavior and conservation. Despite this controversy he is an entertaining presenter who will enhance the evening

be screened and filmmakers will be available after the screening for a Q&A session. The ROSCAR Award winners will be announced at a high profile black-tie gala event which takes place on 30 March 2011 at the enchanting Moyo restaurant at Spier. Delegates can expect a showcase of African culture at its best, with a sumptuous buffet and African-themed entertainment. Superb evening networking events have been organised for delegates and include, in addition to the prestigious ROSCAR gala event, a typical South African barbecue evening under Bedouin tents decorated with fairy lights, and an evening in Spier Hotel’s African-chic lounge, where delegates can get to meet one another in a relaxed atmosphere. The interactive exhibition area at the Festival, which can accommodate 16 exhibitors, attracts broadcasters, audiovisual service providers, production companies and tourism agencies, giving companies the opportunity to showcase their latest products and services to a unique targeted audience.

Harmonic completes acquisition of Omneon During IBC Harmonic announced that it had completed the acquisition of Omneon, a leading provider of video production and playout solutions for many of the world’s premier media companies, for aggregate consideration of approximately $194 million in cash and approximately 17.1 million shares of its common stock. This represents an enterprise value of approximately $273 million.

y bringing together a powerful range of market-leading technologies that span content contribution through delivery, and leveraging strong relationships with content producers and service providers around the globe, Harmonic is now uniquely positioned as a global leader in video infrastructure for the digital media industry,” said Patrick Harshman, President and CEO of Harmonic. “In combination with Omneon, we expect to deepen our relationships with global media companies, enabling them to create, package and deliver the next generation of video-centric media services.” Harmonic Inc. is redefining video delivery with the industry’s most

powerful solutions for delivering live and on-demand video to TVs, PCs and mobile devices. Their technical innovation and market leadership enable the company to offer a unique and comprehensive solution portfolio— including encoding, transcoding, content preparation, stream processing, asset

management, edge processing, and delivery. Omneon is a leading provider of scalable media server and active storage systems that optimize workflow productivity and on-air reliability for the production, distribution, and management of digital media. They’ve been a pioneer in the use of advanced IT technologies and open systems for broadcast applications, producing a modular and expandable video server architecture in the Omneon Spectrum media server and highly scalable production storage with the MediaGrid active storage system. The company has an extensive global presence with customers in more than 85 countries on six continents.

The rise of Social Media Social networking in the form of Facebook, Twitter, and LinkedIn as well as blogs and social bookmarking sites like Digg are connecting people in ways never previously imagined.

hough still a work in progress, its popularity is surging as a new forum for self-expression. From politics to shopping to poodlegrooming, it has created a strong online human connection between like-minded people. Social networking is the rage among media and B2C marketing professionals seeking to put brands and causes in touch with target audiences.

In the Middle East and Africa, adoption is growing steadily. With 60 million Internet users in the Arab world, there are 17 million Facebook users across MENA. South Africa and Tunisia each have over 50% penetration on Facebook among their Internet users respectively. In the U.S., social network users are expected to grow to 164 million by 2014, about the same amount that use email today, according to Europe’s New Media TrendWatch.

responses to their incoming tweets and emails. “Super-direct, nearlyinstantaneous viral marketing that costs next to nothing” is how Wired magazine described it. One character posing in front of a shower, some production props, and an online production crew was all that was needed to “record, rip, and respond to messages with a personalized video”.

Benefits and detractors As a cost-effective, cross-platform way of reaching a global audience, social media is gaining popularity in many parts of the world. But there are other benefits.

Social media defined If social networking is about connecting people over the Web, social media uses the same Internet-based principle to distribute interactive business, entertainment, and education content. Social media exploits the Web as a vehicle for local and global communications. A recent example is this summer’s Proctor and Gamble Old Spice TV ad campaign. The original video features former football player, Isaiah Mustaf, introducing a new male body wash, then inviting the audience to comment. It became somewhat of a sensation (16,565,792 YouTube views so far) as audience members, some of them celebrities, received customized video

Video adds impact and nuance to anyone’s social or commercial outreach. It can be customized to target small or large groups and spark follow-up, as in the case of Old Spice. Also, its viral effect can enhance sales, build brand recognition, and create communities of interest that could not be achieved any other way. There’s no substitute for video blogging to build connections with viewers says Michael Stelzner of SocialMediaExaminer.com, a guide to this new frontier. Aggregation sites like Digg, StumbleUpon, and YouTube make it easy

to share video while encouraging comments, votes, and ratings. Digg even lets you proliferate your video to other social networks at the click of an icon. iPhones, Webcams, and inexpensive Flip Cameras have all made it easy to capture video to enrich a web page, Blog, or social wall. As it becomes easier in the coming months to put video, audio, and images online, the trend is expected to proliferate and become the new normal. For all the accolades, Social Media remains controversial. It is not a one-stop magical solution. Detractors argue it is only part of a communications strategy. The groundwork—identifying your audience, creating value for them, keeping them happy—must precede any successful social media venture.

Social WebTV case studies UStream, a one-to-many live streaming site, demonstrates the power of sharing video. The founders’ philosophy is that live channels are not just for watching, they are for connecting. They see themselves not so much as a Web destination as “a platform for live moments”. With social media, the story revolves around the participants. Involvement creates enthusiasts that, in turn, spread the word about a company, product or service. “Simply adding in address book scrapers or posting updates to walls may generate short-term results, but it won’t deliver long term value.” says former UStream CEO Chris Yeh. UStream’s edge, according to Yeh, is in connecting with audiences in a deeper, more emotional way Social media might seem intuitive, but it is new territory and best practices are still being worked out. No longer an appointment-based broadcasting format, traditional television rules do not apply. So, keeping Internet audiences engaged requires consistency and frequency of exposure to create a presence says AbdelSalam Akkad, owner and senior producer of Jordan-based “social web tv” site aramram.com. An advantage to this medium is that viewers no longer merely watch a debate, or hope to find their opinion portrayed by a guest. Instead they have the power to enter the debate and present themselves. “Asking questions of relevance to Jordanians also attracts attention and

also host any app currently contemplated for local execution on a TV because of course the app doesn't run on the TV. It runs in the cloud.”

Social media gains momentum

Keeping Internet audiences engaged requires consistency and frequency of exposure to create a presence says AbdelSalam Akkad, owner and senior producer of Jordan-based “social web tv” site aramram.com.

spurs debate,” says Akkad. The producers try to engage the audience and create a buzz by posting teaser clips prior to broadcast. It’s important to appeal to audiences’ personal interests, challenge their perceptions, and make them laugh, he says, but the key is good content. You’re only as good as your last production,” says Akkad. “There is a sense that we can not disappoint our audience with bad production values.” With only 18% Internet penetration, many Jordanians access the internet from cafes, community centers, and from work, if the sites have not been fire-walled by their organization. With a scarcity of reliable servers, low bandwidth, and a high cost to supporting high quality 7X24 content, Akkad says it sometimes feels like they are writing the “WebTV for Dummies” book as they go.

Social media technology New technologies are on the horizon that enable a better Internet media experience. HTML5 puts the browser in charge of video, audio or animation interactivity—no plug-ins required. An HTML5 canvas element now allows developers to display web page diagrams, graphics and dynamic animations in Javascript. By also supporting image caption, form validation, and the ability for users to edit the web page, HTML5 is a social media design advance.

Cloud computing Other advances affecting the future of social media may seem embryonic, but loom ahead. For instance, Cloud Computing, another flavor of the month, is already influencing the success of social media. At this month’s 7th Annual International Cloud Computing Conference in Silicon Valley, it was defined by four key

attributes. A true Cloud Computing application must be: • Managed by someone else (even if it’s a private cloud) • Available when you want it (ondemand) • Metered • Scalable With that in mind, a noteworthy audio-visual social media deployment from the cloud this year is the OnLive gamingon-demand platform. One of OnLive’s unique claims to fame is its mastery of latency (the time it takes for the game to respond to the user over the Web). By signing 10 Gbps contracts with a number of major providers like Internap, AT&T, and Comcast instead of with a single 100 Gbps provider, they are able to deliver what feels like real-time performance. All that’s needed on the PC is a one megabyte plug-in that handles decompression and Internet connection interactivity. Now available in the U.S. it will debut shortly in the UK and Europe as it goes global. The user plays via keyboard, mouse or controller which talks to the server through the Internet. The game responds by calculating and delivering the next frame using proprietary algorithms that compress the video in a split second (one millisecond to be exact), then stream it down through the Internet to the user’s PC, Mac, or TV screen. As long as the servers are within 1000 miles of the user, this entire round trip path occurs in less that 80 milliseconds—the maximum threshold of perception, according to Onlive CEO, Steve Perlman, for games to appear as if they’re running locally and happening instantly. Shortly before this article went to press, Perlman emailed the writer that in addition to supporting multi-player games, OnLive’s built-in “friending” lets you go to a fellow gamer’s profile page and if they are playing, you can watch them playing live, message them, and regale them with cheers or mean-spirited insults. Users can also share their own session video clips on the site’s “bragging wall”. “OnLive can 31

For all its hype, Social Media is gaining momentum and will profoundly affect audio-visual developments in the next three years. Of course, many see it as a time-waster. One European survey of 1,500 office workers recently asserted that sites like Facebook and Twitter are costing UK businesses over a billion pounds a year in lost productivity. But like any other new product or tool its adoption will take time. The main thing is to treat social media like other media. “Have a media plan, have action items and actionable steps that the audience can take,” says Yeh. With the right project structure, social media is very effective as a low cost way of reaching hundreds, thousands, or even millions of people. “But if you view it as a pixie dust that will magically grant you powers and make your business successful then you’re going to fail, because ultimately social media is just media.”

About the Author Howard Greenfield, Industry Strategist & Columnist, President, Go Associates. 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.

Intercoms evolve to meet changing market needs The purpose of this article is to examine the changing face of the broadcast industry and how intercom systems are evolving to meet the needs of present day broadcasters.

logical place to start is a short history of how we got to where we are, beginning in the 70’s and 80’s when the broadcasting markets in the US evolved very differently to their European counterparts. These fundamental differences spawned intercom systems that were at different ends of the technology spectrum. The US Broadcast model was predominantly funded by advertising and was therefore extremely cost conscious, with most TV stations adopting a studio intercom based on 2 wire ‘party line’ systems, with operators wearing headsets to communicate over limited ‘shared’ channels. Whilst fine for simple operations, it caused a headache for the audio engineer in more complex productions who had to interconnect the various operator stations, interface units and break-out boxes.

State funded broadcasters The picture in Europe was different with the majority of radio and television emerging from large state funded broadcasters like the BBC, who adopted third party vendors to upgrade their inhouse developed talkback or intercom systems. Operators preferred matrix based systems with open microphones and loudspeakers to headsets, and that required careful system planning, to avoid acoustic feedback. This was how many of today’s intercom brands came to exist, with each system being developed to cater for their market’s specific needs. The early 90s saw the birth of the first digital matrix intercom systems allowing TV stations to start small and scale up. Multi-core cabling was replaced by either Cat 5 or co-ax, while PC configuration software gave unprecedented functionality, with dynamic adjustment of audio levels, and alphanumeric displays on user panels. Features that were once only available to the top Broadcasters became commonplace in any independent facility.

Over the last decade the market has seen greater demands for ease of maintenance and lower installation costs, as well as the ability to inter-connect systems locally or over external networks. Typically, all but the largest TV companies combined the intercom for multiple studios in a single matrix housed in a central racks area, with cabling for cameras and studio floor facilities running throughout the building.

By the year 2000, the broadcast industry was demanding that intercoms had to be able to be networked together; whether to production facilities on the other side of the road, or other side of the globe. This was the start of

"Trilogy is a name synonymous with innovative design, ease of operation and reliability. The company's products and systems are used in more than seventy countries around the world," says Barry Spencer, general manager of Trilogy Broadcast.

the drive towards truly networked systems.

New demands for a new era: With the new decade came greater demands for ease of maintenance and lower installation costs, as well as the ability to inter-connect systems locally or over external networks. Typically, all but the largest TV companies combined the intercom for multiple studios in a single matrix housed in a central racks area, with cabling for cameras and studio floor facilities running throughout the building. The centralised philosophy had the disadvantages of having a single point of failure and expensive installation. This gave birth to a new approach, which minimised the amount of cabling required by utilising smaller matrices, each serving a specific operational area, connected together with audio trunk lines and proprietary data links. Whilst these techniques and the increasing use of fibre optic cabling solved many issues within a station, they were not adaptable to multi-site applications.

Low cost connectivity It was also apparent that IP was rapidly becoming the industry buzzword, as it provided a low-cost method for establishing wide area connectivity and a replacement for traditional leased 4 wire audio or ISDN lines. Many dismissed IP on the basis that it wasn’t sufficiently resilient, bandwidth was expensive, and the inherent latency would be unacceptable. There was also an element of politics, as IP networks were the IT department’s domain and they were reluctant to allow IP intercom access over their internal PC networks, with the result that IP usage was restricted to basic linking of remote sites.

The brave new world of IP: Nowadays, network performance has improved dramatically and the move to digital content has forced companies to upgrade so 100BaseT infrastructure became the norm and Gigabit speeds are now common place. The cost and widespread availability of bandwidth via the internet or satellite has revolutionised content distribution and is set to have a similar impact on audio communications requiring less than 100KB/s per channel. Other issues such as latency have also diminished in impact with the new generation of IP solutions, although not completely disappeared. QoS is still an important factor and any system must be capable of ensuring that audio communications are prioritised over other types of network traffic for available bandwidth. Broadcasters are also now waking up to understand the advantages of reducing the cost of installation by being able to utilise their existing cat 5 cable infrastructure for intercom. Control panels can also be connected over IP, although these can be slightly more expensive due to the additional IP processing power needed, but the option now exists to mix-and-match IP and traditionally connected panels within a single system.

The impact of live events: No discussion would be complete without touching on live production and the challenges of this popular broadcast mode. Unlike pre-recorded material, Live is a one shot event, with no second chance. Think about the embarrassment caused when coverage of a live sporting event switches to a commercial break just as the winning goal is about to be scored. There are a lot of people involved in the production of these programmes, and everyone has to be co-ordinated. A missed cue or misheard

Trilogy's Gemini combines IP connectivity with programme quality audio to suit applications ranging from small single studios to the largest multi-studio, multi-site operations The system incorporates an expandable structure to cope as requirements change, choice of operator panels to suit both application and user, simple installation over short and long distances and absolute reliability, to deliver a unique intercom solution that combines full programme quality audio with integrated IP capability.

instruction can cause confusion and lead to an unstoppable chain reaction. So, despite the attention given to the latest workflows and 3D technology, it is the communications system that makes this possible.

Giving everyone a voice: Broadcast communications are not restricted to users requiring a full intercom panel, many could use a phone if they could speak to a director in a studio control room on his intercom panel. This is where the internal phone system using Session Initiantion Protocol (SIP) would allow the end customer to choose whether to buy intercom panels for everyone or to give them phones that can be integrated. Since most smart phones now have a SIP client it is possible to patch external callers or broadcasters via IP and keep costs down by incurring the cost of a local call, even if the caller is in a different country. The European Broadcast Union (EBU) is advocating the move to SIP as the standard method of getting intercom audio over IP with an agreement in place by the end of 2011. Once in place, attention will move to the routing of all control data over IP. For intercom 33

manufacturers, who have embraced this move the challenge arises of ensuring backwards compatibility with next generation systems. However, for those that achieve these goals the attraction of being able to mix-and-match different vendor’s solutions will shift power to create a more dynamic and user focussed marketplace.

Responding to change Over the past three decades the changes in this market have been dramatic, with many seemingly driven by the changes in society and consumer technology and we must identify and respond to those trends that drive user’s demands. In conclusion, it is the broadcasters that drive the development of intercom systems and in turn it is the consumers that drive the broadcasters. So we should expect ever more demand for Live coverage of election broadcasts, major international sporting and entertainment events and so on. This will present numerous challenges and intercom systems will need to evolve to keep pace. The winners will be those that can anticipate and fulfil this demand in the most elegant and cost effective way, whilst maintaining customer loyalty.

Quantel powers 3D TV broadcasts at Guangzhou Asian Games Quantel’s Enterprise sQ Stereo3D broadcast production technology, first shown at NAB this year, made its inservice debut at the Guangzhou 2010 Asian Games in November, successfully providing daily Stereo3D TV programming to China’s first 3D TV audience.

his highly successful experiment and technology demonstration, hailed as ‘an important national pilot’ under the auspices of SARFT (State Administration of Radio, film and Television) and the Ministry of Science and Technology, is the result of a strategic partnership between Quantel and Jetsen, which supplied the technical infrastructure, media asset management and monitoring. SARFT Deputy Director of Science and Technology, Sun Suchuan, reflected the success of the experiment by declaring that as a result of the Asian Games experience, “3D broadcast has taken a solid step forward. By 2015 we will undoubtedly have a number of 3DTV channels on air.” The first 3DTV channel is scheduled to be trialled in China in 2011.

3D television trials in China The Enterprise sQ system deployed at the Guangzhou Asian Games ingested the dual-stream HD video in realtime, giving complete flexibility to manipulate S3D after it is shot. Shot selection and editing then began immediately (within 250 milliseconds of media beginning to ingest), followed by craft editing as required. The resulting S3D programming and highlights packages were then played

out direct to air. The system covered every aspect of Stereo3D production from stereo editing, vergence adjustment, repair and color correction to realtime playout of finished Stereo3D programming, which was watched by an audience in Guangzhou of more than 300,000 people.

One year research project The Quantel-Jetsen solution was chosen after an exhaustive one year research and analysis process undertaken by the Chinese national government, the Guangzhou government and the National AVS TV Lab. Installation, 34

testing and training were completed in just six weeks, leaving plenty of time for rehearsals and final preparations. Quantel Sales & Marketing Director, Martin Mulligan, said, “We are delighted that this challenging test for our new Stereo3D broadcast workflow technology has been such a success and so well received. With countries such as China enthusiastically embracing the potential of Stereo3D, its adoption as a mainstream broadcasting option moves ever closer. The fact that any Enterprise sQ system can be easily upgraded to handle S3D alongside HD can only help speed the adoption of S3D in television.”

5 African countries represented at Dubai Film Festival Seven feature; documentary and short films from across the African continent were screened at the seventh Dubai International Film Festival that took place during December.

hree of the films were from South Africa, including police procedural drama A Small Town Called Descent, which screened in the Festival’s outof-competition Cinema of Asia Africa showcase; societal drama State of Violence; and Life, Above All, a moving and powerful story of a young girl who fights the gossip and fear that poison her community after the death of her newborn baby sister. The film, directed by South African filmmaker Oliver Schmitz, is the rainbow nation’s official entry to the 2011 Academy Awards and drew a standing ovation at the Cannes Film Festival. State of Violence, the debut fiction film from South African director Khalo Matabane, opened the 31st Durban International Film Festival this summer. The taut, hard-hitting suspense drama, Matabane’s follow-up to the awardwinning documentary Conversations on a Sunday Afternoon, follows a South African corporate leader whose past as a violent revolutionary comes back to threaten him. A Small Town Called Descent, meanwhile, follows three elite agents in their investigation of xenophobic attacks in a small town. The film, a darkly humorous and honest look at South Africa’s political dynamics, boasts an all-star cast including Vusi Kunene, Paul Buckby, Fana Mokoena and Hlubi Mboya.

Life Above All is South Africa's official entry into the 2011 Academy Awards and drew a standing ovation at the Cannes Film Festival.

Ghana, Cameroon, Kenya and Chad were also represented in DIFF’s Muhr AsiaAfrica competition. The Nine Muses from Ghana and Koundi and the National Thursday from Cameroon were part of the Muhr AsiaAfrica documentary competition; Kenya’s Pumzi competed in its short films section; and A Screaming Man from Chad was included in its features competition. The Nine Muses, a beautifully shot, rich and moving film from British director John Akomfrah, focuses on the experiences of immigrants from Africa, Asia and the Caribbean into the United Kingdom while speaking to the larger story of migrants and migrations, memory, alienation and working life in a Britain. Koundi and the National Thursday, a heartfelt look at life inside a small, communal society negotiating the demands of globalization, tracks a group 35

of villagers who decide to form a union to help them use timber wealth to alleviate poverty and ensure future autonomy. A Screaming Man, the incompetition feature film from Chadian director Mahamet-Saleh Haroun, is a quietly powerful and heartbreaking tale of a father and son’s soured relationship in war-torn Chad. The father, a former swimming champion and now pool attendant at a luxury hotel resort, is demoted in favour of his son when new management takes over. The film won the jury prize at the 2010 Cannes Film Festival. Lastly, Pumzi, Kenya’s first science fiction film, is set in a future Kenya after water wars have torn the world apart and East African survivors live locked away in contained communities. Heralded as a standout at this year’s Sundance Film Festival, the film follows a young woman scientist who discovers a germinating seed and struggles to bring it to Earth’s ruined surface.. Nashen Moodley, DIFF’s Director AsiaAfrica, said the films in this year’s slate were reflective of the stories, people, languages and talent from across the continent. “The crop of African cinema this year has been particularly rich, and this year’s showcase has proven to be very popular with Dubai audiences,” he said. “These African films stand alongside the best of international cinema and ensured a very diverse and close competition.”

Interactive visitor experiences in Alterface venues worldwide Family audiences all over the world are being wowed by a variety of interactive, HD and 3D attractions, thanks to the latest DLP video projection technology from Norway’s projectiondesign and the ingenuity of specialist show creator Alterface.

he company’s latest project saw it deliver a variation of its Haunted House concept to the Castle of Chaos in Branson, Missouri, USA – billed as the first interactive 5D haunted experience in the world. Here, a series of 3D HD movies are rear-projected onto three screens, using a pair of projectiondesign F32 DLP projectors for the largest ‘landscape’ screen, and projectiondesign F22 projectors for each of the two ‘portrait’ screens on either side. The 3D movie is augmented by animatronics and other effects to produce the ‘5D’ experience.

Exhlirating atmosphere Building on the success of the Haunted Hatmosouse theme to Castle of Chaos, in June 2010, a new theme "Nightmare" opened at the Tusenfryd Amusement Park in Norway and is Alterface’s first interactive haunted house in Europe. Here projectiondesign F32 projectors are used to display brand new video sequences alongside a new sound track plus new and spectacular pop-up effects to emphasize the terrifying and exhilarating atmosphere of this new kind of attraction. Nightmare was opened by famous Norwegian acting personalities, Jeppe Larsen and Jenny Skavlan. Xavier Marichal, CTO at Alterface, comments: “As with all of our projects, the Castle of Chaos does not just present an audience with passive movie content. Using our patented technologies, visitors get the chance to ‘fire’ at ghosts, ghouls, zombies and other adversaries, which then react onscreen according to where and how hard they have been hit. “We’ve been working with projectiondesign for a number of years and have found that their highperformance projector products strike the right balance between high brightness and strong contrast. This is important to us, because our interactive ‘stories’ are played out in a variety of environments, from the darkest ‘castles’ to the bluest ‘sea’.

Cost efficient investment “Visitors to today’s attractions expect the same HD image quality that they get at the best movie theatres, and projectiondesign projectors give them that, while being cost-efficient enough to give our customers a rapid return on their investment.” Other Alterface shows, such as ‘Pirate’s Plunder’ and ‘Desperados’, have also benefited from projectiondesign technology and image

quality. These 2D interactive theatres have been installed in a range of locations around the world, including two ‘Pirate’s Plunder’ CinemActions in Dubai and Jeddah (Saudi Arabia).

Quality of service “Whatever the size of venue and the available budget, projectiondesign has a high-performance projector that perfectly fits our needs,” concludes Marichal. “projectiondesign is also always quick to respond to our requests and the quality of service we receive from their local sales manager, Gerben van den Berg is second to none.” Gerben van den Berg, Regional Manager, Belgium, Netherlands, Luxembourg, Iberica and Italy at projectiondesign, concludes: “We have an excellent working relationship with Alterface and feel that our two companies have a lot in common: continuing investment in technological innovation, a commitment to the highest standards of service, and a desire to give our customers the quickest and best return on their investment. Together we are pushing back the boundaries of what is possible with HD, 3D and even 5D imaging, in a way that offers excitement for visitors and value for our customers.”

New LED engine makes Barco's video walls brightest Barco is proud to announce a new line of LED-lit, DLPbased 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.Thanks to liquid cooling, it is possible to boost the OVL's brightness level up to 20% without shortening the system's lifetime. This effectively makes the OVL the brightest LED-lit video wall on the market.

Kramer introduces VP-747 In-CTRL dual scaler Kramer Electronics is pleased to announce the introduction of the VP-747 In-CTRL Dual Scaler Seamless Switcher. The VP 747 is a true multi-standard video to graphics scaler and seamless switcher with eight sets of universal inputs. The universal inputs are comprised of 5 BNC connectors each, two of which can also be used as HDMI/DVI inputs on DVI connectors. A key feature of the VP747 is the incorporation of HQV (Hollywood Quality Video) processing technology for the ultimate in image quality. HQV represents the state-of-the-art in video processing technology. It offers the highest quality de-interlacing (with 3:2 and 2:2 pull down), advanced noise reduction that reduces block chroma and mosquito noise, and scaling performance for both standard and high-definition signals.

All-in-one presentation solutions for the education environment

Chief introduces enhanced ceiling lift Chief is excited to announce a new suspended ceiling lift that makes installation up to ten times faster than a conventional lift. The SL220 features a quick three-step installation method that vastly simplifies adding automation into an installation. It no longer requires two or more people to install; you only need one person and one ladder. No floor lift is required. The lift measures 600 x 600 mm (2’x2’) to snap easily into ceiling grids and is

With the aim of simplifying specification and ordering, Crestron has announced EduPacks; a range of all-in-one presentation solutions for classrooms. Simple to install and easy to use, EduPacks include all the components needed to deliver standardised, reliable classroom technology. Each EduPack features a basic system controller with AV switching, an audio amplifier, speakers, wall plates, mounting hardware and cables. Just add the video projector, projection screen and AV sources, and the software wizard guides you through setup in minutes, no system design required. "We've made EduPacks very easy to purchase, implement and use, and network support is built in to ensure efficient use of technical staff and resources," explains Steven Vacher, Head of Education at Crestron UK. "For the ultimate in simplicity, RoomView Connected projectors connect instantly and are interchangeable, requiring minimal setup or configuration."

made of lightweight aircraftgrade aluminium for easy handling. You can use this lift with any of Chief’s popular projector mounts (RPA Elite or Mini Series) for the best compatibility in the industry, featuring micro adjustments for fast and permanent image alignment and keyed locks for security. The new lift will start shipping immediately after the ISE exhibition taking place in Amsterdam from 1-3 February 2011. 38

Christie unveils future-proof 3D projector line

First Telepresence solution interoperable with Lync

As the popularity for 3D continues to grow, Christie is offering a wide spectrum of compelling 3D and 3D-ready products to more markets including corporate and conference rooms, education, large events, rental/staging and more.” Christie’s product range features 3D upgradeable projectors, giving the choice to customers to upgrade when they are ready to future proof their investment. For customers looking to upgrade their existing Christie M Series projectors to 3D capability, Christie offers an upgrade path for its mid- to high-end 3-chip DLP projectors with the Mirage M Series advanced 3D functionality. Christie’s successful Mirage Series 3D DLP projector line has therefore expanded with the addition of six models to bring high performance 3D solutions to new markets. The new Christie Mirage M Series 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.

Delivering on its strategic relationship with Microsoft to provide end-to-end unified communication (UC) solutions, Polycom has announced enhancements to its comprehensive portfolio of voice and video solutions for Microsoft Lync Server 2010. The Polycom HDX series telepresence systems and Polycom UC Intelligent Core Infrastructure are the industry’s first telepresence solution designed to be fully interoperable with Microsoft Lync. Polycom telepresence solutions lead the industry with support for standard-based H.264 High Profile technology, which reduces bandwidth requirements for HD video communication by up to 50 percent while also working with Lync. The HDX series telepresence systems and RMX conference platform join a full portfolio of Polycom UC endpoints optimised for Lync and including the Polycom CX500 and CX600 UC devices and the Polycom CX3000 IP conference phone, the only conference phone optimised for Lync."In order to derive greater value from UC deployments, customers are demanding proven interoperability, a rich feature set, and simplified management and administration capabilities," said Rich Costello, senior research analyst, IDC. "The close alliance between Polycom and Microsoft helps deliver that to the desktop collaborative experience."

World’s first large screen OLED installation revealed

The world’s first large screen OLED display has been publicly unveiled in Germany. The 3.8m x 2.3m Diamond Vision OLED screen from Mitsubishi Electric was installed in the reception area of a new research facility opened by Merck, one of the world’s leading pharmaceutical companies. The new screen is being used to welcome visitors to the centre, as a presentation aid, and as a stunning backdrop

to events hosted at the Darmstadt facility. Mitsubishi Electric and Merck, a world leader in electroluminescent materials, are working closely together to develop the next generation of OLED compounds for use in display products. Diamond Vision OLED provides the perfect illustration of the practical applications of that research. Demand for digital signage displays in venues such as shopping malls, passenger terminals and public facilities, has created a global market for a versatile, high-brightness screen technology that can adapt easily to the physical limitations of the environment and work effectively in high ambient light conditions. Diamond Vision OLED is Mitsubishi Electric’s response to this potentially huge market.

Extron introduces 10" touchpanel

Extron is pleased to introduce two larger, high resolution TouchLink Touchpanels. The TLP 1000MV and TLP 1000TV are fully configurable 10" touchpanels featuring a sleek, contemporary look and thin bezels to complement any decor. The larger, 1024 x 600 resolution touchscreen surface provides ample room for sophisticated controls and 39

graphics. The new touchpanels incorporate an MTP Twisted Pair receiver, which accepts either S-video or composite video input over standard CAT 5 type cable, enhancing connectivity and streamlining cable management. Power over Ethernet PoE, allows the touchpanels to receive power via the Ethernet connector, eliminating the need for a local power supply. The TLP 1000MV mounts on a wall, lectern, or other flat surface, while the TLP 1000TV sits on a tabletop or on a VESA standard mount with an optional adapter. Both are ideal for control environments where a larger control surface within an elegant touchpanel design is needed.

DIS is introducing new conferencing microphones

Analog Way unveils Smart Edge

Danish Interpretation Systems is introducing a new boundary microphone to the family of their digital conference system microphones. The BM 6620 boundary microphone comes with a low-profile Omni-directional condenser and is designed for clear, highly intelligible sound reinforcement, professional recording and teleconferencing. It may also be used when microphones are to be visually discreet. The microphone offers unsurpassed resistance from radio frequency interference (RFI) benefitting from advanced RFI shielding technology. It is protected by a rugged all-metal case with a two-layer steel mesh grille and the microphone has a 360° pickup angle. The BM6620 is easy to install into the DIS DCS6000 flush mounted conference units and isolators provide mechanical dampening of mounting-surface vibration. The new Boundary microphone is RoHS compliant and standard available color is black. Shipment of the unit will start in December 2010.

Analog Way is pleased to unveil Smart Edge, a High Resolution Seamless Switcher with Dual Output Edge Blending. Smart Edge was unveiled as a world premiere during InfoComm Asia in Hong Kong during November and is described as an Edge Blending system with Universal Analog and Digital input/output and Full High Resolution Digital Processing. Smart Edge offers 10 universal analog inputs including 2 fitted with DVI and 2 fitted with HD-SDI. With state of the art 100% digital processing, Smart Edge outputs Digital and Analog Signals in SDI, DVI and VGA (RGBHV). A selection of many formats from HDTV to Computer 2K will enable you to match the resolution of your display device. Smart Edge allows users to create wide blended screens either horizontally or vertically. One unit will handle two video projectors. "Smart Edge was specifically designed for Soft Edge Blending applications where simplicity and affordability are essential", says Franck Facon, Marketing & Communications Director at Analog Way. "Smart Edge is the ideal solution for large venues or events requiring a high-quality and user-friendly system to create beautiful wide pictures for less."

Hitachi Debuts Its CP-AW250N Ultimate Short Throw Projector New Smart-e AV solutions to be launched at ISE

Hitachi is building on its worldwide-leading market share in the ultra-short throw projector category with the new CP-AW250N Ultimate Short Throw projector. The CP-AW250N surpasses industry standards for ultra-short throw projectors and also features networking functionality, which makes monitoring and maintenance easier than ever before. The CPAW250N features a throw distance of 22 inches at an 80-inch screen when displaying content in its native WXGA resolution. The CP-AW250N offers a high brightness of 2,500 ANSI lumens at a light weight of 8.5 pounds and also achieves a high contrast ratio of 2000:1. Hitachi’s new free-shaped lens and mirror improve throw ratio while also making the projector smaller and lighter. In addition, they improve resolution quality, vividly displaying high-definition images. The shorter throw distance and lighter weight allow for easier installations in limited space and more flexible wall mounting. The CPAW250N also offers Perfect Fit technology, which simplifies installations by allowing for correction of all four corners and four sides of the image, eliminating problems such as barrel or pincushion distortion. In addition, the CP-AW250N is available with an optional 6-axis wall mount.

ISE 2011 sees Smart-e launch SmartCore2, its new range of space-saving, modular command and control AV solutions for operation centres typically used by the police, energy, telecoms, security and transport sectors. The company is also launching its new digital point-to-point solution for 3D viewing at the show. Billed as the industry’s smallest CAT to CAT matrix, SmartCore2 is a multi-format video and stereo audio distribution solution consisting of modular blocks of 16 inputs and 16 outputs, which can be upgraded on-site to reach up to 256 sources and displays. The system is so compact that a 64 inputs x 64 outputs version fits neatly into a single 6U 19 inch chassis, ideal where space is limited. Designed for continuous working activity 24/7, SmartCore2 controls a wide range of applications where the transmission of AV signals across long distances is required. It accommodates a variety of video formats, providing a single solution for mixing computer images, security cameras and TVs. 40

Epson launches latest ultra-portable projectors for mobile presenters

Da-Lite introduces thin wall mounts for flat panels Da-Lite Screen Company is pleased to introduce a new series of thin flat panel wall mounts. These mounts are designed for easy installation and are virtually invisible once installed. The TWM series is a tilting mount design and allows for adjustment from 0 to 15 degrees, while only protruding 11/16" from the wall at 0 degrees. The TWS series is a static mount design which only protrudes 7/16" from the wall. The TWM and TWS series are available in two sizes. The 2000 models fit most 19” to 27” diagonal flat panel monitors, while the 2800 models fit most 27” to 65” diagonal flat panel monitors. Both feature a universal mount design that accommodates most thin displays. The TWM and TWS series are factory pre-assembled to reduce on-site installation time. Fasteners for mounting to wood studs are included along with an assortment of metric hardware to attach the flat panel monitor. Installation is made even easier with the addition of a kickstand, which holds flat panel monitors 7-1/2” away from wall for cabling and rear panel access. An optional wall box, the WB-200, is available for pre-installation behind a TWM or TWS series mount allowing installation of cabling and power prior to mount installation.

Epson, the worldwide leader in the projector market has launched the EB-1750, EB-1760W, EB-1770W and EB-1775W – a range of projectors offering a combination of bright, highquality images with a lightweight, slimline design. This range of projectors, the lightest and thinnest ever from Epson, has been designed specifically for mobile professionals. Weighing an ultra-light 1.7kg and designed to be extra-slim with a height of just 44mm, the projectors are smaller than most laptops and easily slip into a laptop bag. This, combined with the fast, straightforward set-up, quickstart-up and instant-off functions, makes for a hassle-free way to share presentations and images when away from the office. Using Epson’s 3LCD technology, the projectors boast top-of-the-range brightness at up to 3,000 lumens and a Colour Light Output (CLO) equally as high as the white light output. This means presentations benefit from vivid yet natural colours that will impress even when projected in full daylight, allowing audiences to easily take notes.

TV One shows cost-effective Video Wall solutions

The use of video walls for creating bright, high-resolution is becoming increasingly popular with installations across various sectors including control rooms, sport stadiums, shopping centres and arenas. Video processing plays a major role in video wall setup and TV One demonstrates how their products provide various costeffective solutions at ISE 2011. Using four standard video wall monitors in a 2x2 arrangement, four TV One 1T-C2-750 dual DVI scalers and a 1T-DA-554

New technology RTI remote control

DVI Distribution Amplifier, TV One are able to provide a costeffective solution that includes many extra features at no extra cost. The integral CORIO2 scaling engines of the four 1TC2-750 units each zoom a quarter of a background image fed from a single DVI source via a distribution amplifier in order to produce a larger, complete image across the four monitors with no loss of image quality. Because each of the 1TC2-750 units possess 2 DVI inputs and advanced functionality, additional video sources, computer graphics and logos could also be introduced and keyed over the background image with pixel level precision to be viewed in the corresponding section of the video wall.

At ISE 2011, RTI will showcase a number of solutions that provide the ultimate control experience for consumers. Highlights at the show will include the company's powerful new T3V+ and T2-C+ universal controllers. This next generation of RTI wireless 41

remote controls features a revolutionary dual RF board technology that gives custom installers unprecedented flexibility for rock-solid control in any situation. The new T3V+ and T2-C+ controllers support both 433-MHz RF for one-way control and 2.4-GHz ZigBee for bidirectional communication with RTI processors and supported third-party electronics like music servers, lighting, and even Web-based RSS feeds for convenient weather updates. While both remote controls continue to provide direct infrared control, the T3V+ offers enhanced 802.11b/g wireless Ethernet support for browsing the Web or viewing IP-addressable devices such as security cameras.

InfoComm CTS testing to switch from Prometric to Pearson Vue In January 2011, InfoComm will switch from Prometric Testing to Pearson VUE for their CTS exams - they've included testing centres in Dubai, Abu Dhabi, Riyadh, Jeddah, Cairo, Lagos, Johannesburg and many other cities in our region which are licensed to provide this exam. This should make it even more convenient to earn the CTS credential in the future. During the last 12 months both MECIA and SACIA have run a number of CTS Prep classes to help AV professionals who are getting ready to write their exam. While delegates report these have been a great help to them, it is not a requirement that AV professionals attend the class before writing the

exam. “The CTS examination takes industry experience and prior learning into account,” explains SACIA director Kevan Jones. “Anybody who feels they have the knowledge to pass the written exam is able to register and have a go. They’re not obliged to attend our classes or read our manuals. If they pass, they earn exactly the same as those who’ve sat through the class.” This testing policy is fully supported by SITA, the State IT Agency in South Africa. “InfoComm’s CTS programme provides us with an even playing field upon which we can evaluate the skill of various suppliers,” explains Izak de Villiers, technology consultant with the agency.

IBC launches 2011 awards programme IBC has issued the first call for entries for its 2011 Innovation Awards, the unique programme which recognises that success comes when vendors and users collaborate on perfectly tuned solutions. “There are many awards for technology, but the IBC Awards dig much deeper,” said Michael Crimp, CEO of IBC. “To win an IBC Innovation Award you have to demonstrate that manufacturers, integrators and users worked together to develop something innovative that solved a real challenge, whether that was creative, technical or commercial.

The whole ethos of IBC is about getting together to share knowledge, and with our awards programme we honour those who really put that into practice.” There are three categories in the IBC Innovation Awards scheme: for the most innovative projects of the year in content creation, content management and content delivery. A fourth prize is in the gift of the judging panel, which may be one of the category winners or it may be another significant achievement during the year which caught their attention.

MECIA to host Cabsat broadcast conference Based on feedback from delegates, Cabsat’s 2011 conference programme has been completely revamped and is now being jointly presented by a partnership representing the ABU, the IABM and MECIA. Chaired by MECIA's Executve Director Kevan Jones the conference will be a world-class event that adds real value to the CABSAT experience. The conference will comprise four half-day sessions, each focussing on a particular aspect of the broadcast industry. These sessions include specialised content on all aspects of content creation, management and delivery, as well as a bonus track that'll look specifically at the "Best of IBC 2010" - a selection of some of the most popular papers presented during the IBC Broadcast conference that took place in Amsterdam during September 2010. 42

See us at Integrated Systems Europe 1-3 February 2011

Digigram goes Wild in South Africa In a move that is consistent with the company's on-going efforts to be close to its customers and end-users, Digigram has just signed a distribution agreement with renowned South African pro audio/AV specialists, Wild & Marr. Established back in 1944, with offices in Johannesburg, Cape Town and Durban, Wild & Marr is the leading

Mediatech Advanced Technology Trade Expo Returns

distributor of audio equipment in Southern Africa. For Joe Copans, Managing Director of Wild & Marr, "the brands represented by our company are universally accepted as leaders in their respective categories. Digigram's state-of-the-art sound cards and IP audio equipment are therefore a perfect complement to our current brand portfolio."

Mediatech Africa boasted over 6,700 visitors at its previous show, making it Africa's largest advanced technology trade exhibition. The biannual hub for all serious industry players takes place at the CocaCola dome in Northgate, Johannesburg, from 20 July to 22 July 2011. “These sectors have already seen fundamental shifts in recent years and the future is likely to hold additional challenges”, says Simon Robinson, Mediatech Africa Exhibition Director. “That is why it is critical for serious industry players to remain abreast of change. Mediatech Africa enables them to do so, providing a centralised point to view and experience the latest products and technologies.” Following the success of previous years, the biennial trade exhibition will again showcase the broadcast, film and production; professional AV, sound, lighting, staging and rigging; DJ and professional music equipment; system integration; animation, new media and web; satellite and signal; computer

IABM appoints Roger Crumpton to lead global training initiative

The IABM (International Association of Broadcasting Manufacturers) has announced the appointment of Roger Crumpton as director of education, employment, and training. The appointment coincides with the launch of the IABM's

new training academy designed to address the worldwide shortage of qualified broadcast engineers and technicians. "Our recent industry surveys have shown that the shortage of skilled technical staff has become a real constraint to growth and the completion of work in progress at broadcast and media technology suppliers. The decline in training provision for broadcast engineers is affecting suppliers as well as broadcasters who are struggling to hire the technical resources they need to keep pace in a rapidly evolving industry," said Peter White, director general of the IABM. 43

music and production tools; and musical instrument sectors. In 2011 the trade exhibition will include a diverse programme including live demonstrations, workshops and – for the first time – a business matchmaking programme. Visitors will be able to pre-register and be matched to relevant exhibitors. Meetings will then be facilitated between interested parties, allowing exhibitors to engage with visitors on a more personal level. “Previous exhibitions have illustrated that exhibitors experience increased product sales as a direct result of Mediatech Africa. This year we have decided to support this process to an even greater extent by implementing the business matchmaking programme,” says Robinson. Mediatech Africa allows exhibitors to reach a broad range of buyers and interested parties, with the last trade exhibition attracting visitors of a high quality – over 50% of whom had authority to purchase. In total, Mediatech Africa 2009 attracted 6 779 visitors, an increase of 2 609 from 2007.

Video on demand increasingly popular for Gen Z According to recent studies by Value Partners, a leading management consultancy firm in the Middle East, streaming Video on Demand (VOD) in the region is set to be the next most common mode of video consumption for Generation Z (Gen Z: 16 – 24 demographic) after broadcast TV, more so than using Personal Video Recorders (PVRs), watching DVDs or downloading video.

n order to reach the internet savvy Gen Z in the Middle East, all layers of the value chain in the industry to pay attention to new usage patterns need of the new generation, and how to reach them,” said Zoran Vasiljev, Managing Director, Value Partners Dubai, “Like most other parts of the world, Gen Z in the Middle East is moving away from other forms of video and moving towards streaming VOD. The on-demand model should soon gain more popularity in the Middle East.”

Paying for TV content A recent survey done by Value Partners in the UK indicated that Gen Z are fairly open to paying small amounts to watch TV content, particularly if this enables them to avoid advertising and guarantee a good picture quality. 11 per cent had paid for movies or TV content online in the past. Genres respondents were willing to pay for were films (91 per cent), sport (36 per cent), drama / soaps (30 per cent) and comedy (30 per cent). 64 per cent cited ‘you can watch in better quality’ and 59 per cent cited ‘you can skip ads’ as reasons for paying. Value Partners suggests that Gen Z in the Middle East will be open to paying for selected VOD content, particularly if this enables them to avoid advertising and guarantees a good picture quality. Although Gen Z has not yet established a pay TV habit, they are leaning towards a more self-directed, self-selecting, ‘a la carte’ approach using micropayments. Value Partners suggest that the micropayments model can succeed in becoming significant revenue stream if VOD providers can develop sufficiently attractive services, in terms of content, price point and functionality, to attract a paying audience.

Instantaneous feedback from an engaged audience opens up the opportunity to influence programme popularity through engaging with ‘opinion leaders’ and through maintaining compelling fan pages,” said Emmanuel Durou, Sr. Engagement Manager, Value Partners Dubai.

for this to occur. “In the Middle East, with 55 per cent of the population under the age of 25 and 70 per cent of internet users on social networks, social networking sites are an important tool for content creators and broadcasters. It is a nearinstantaneous audience insight channel that opens up the opportunity to influence programme popularity through engaging with ‘opinion leaders’ and through maintaining compelling fan pages,” said Emmanuel Durou, Sr. Engagement Manager, Value Partners Dubai. Gen Z is

Interactive communication

Social media tools The study also shows that traditional TV stations are beginning to use social media tools to drive ratings. Audiences have always been influenced by their peer group about what to watch. For Gen Z, social networking sites are a natural place

increasingly deserting linear TV, and multitasking their way through advertising breaks, making what advertising they do see less effective. This is likely to include new forms of advertising such as branded entertainment, product placement, interactive campaigns and VOD advertising. VOD CPT (Cost per Thousand) currently commands a significant premium to linear CPTs, largely due to the scarcity value. As the level of inventory increases, providers of VOD will need to develop improved targeting to maintain a premium CPT.

“Like most other parts of the world, Gen Z in the Middle East is moving away from other forms of video and moving towards streaming VOD. The on-demand model should soon gain more popularity in the Middle East,” says Zoran Vasiljev, Managing Director, Value Partners Dubai

Value Partner recommends that traditional TV stations should further compete for the attention of Gen Z with an increasing range of interactive communication and entertainment forms, “Social networking is just the latest of these. Some broadcasters in the Middle East have jumped on the VOD bandwagon, for instance, Rotana joining forces with Yahoo! for content streaming on the online player's VOD portal. Content creators in the region and broadcasters will have to innovate to maintain viewing levels, and technology advances such as 3D and virtual reality could help to hold the attention of Gen Z,” concluded Durou.

RAI Amsterdam Conference 8-13 September : Exhibition 9-13 September

Enter the IBC2011 Innovation Awards Share your applications of innovation This is your opportunity to be part of one of the most prestigious ceremonies in the electronic media and technology industry. If your organisation has applied an original solution to a real-world challenge, then IBC want to hear about it. The IBC Innovation Awards are unique in the sense that they recognise how manufacturers, vendors and end users work together to achieve a real benefit, be it technical, creative or commercial. The Awards celebrate the application of technology and the innovation that was achieved through working together. The awards are presented in three categories – most innovative projects in: • content creation • content management • content delivery In addition to the Innovation Awards, the IBC Awards ceremony also honours those in the industry who have made an outstanding contribution to broadcasting, including the International Honour for Excellence, Judges’ Prize, Best Conference Paper and the Exhibition Stand Design Awards.

To find out more information about the IBC Innovation Awards and how to submit your entry by Friday 11 February 2011, visit:

www.ibc.org/awardsentry Previous winners include: Arab States Broadcasting Union, BBC R&D, ESPN, Red Bull Air Race, RTBF, Walt Disney Pictures

IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E info@ibc.org