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Benefits of hiring professional staff Do you know your ethical status? NAB review – how was it for you? Understanding Understanding the the business business model model for for Time for a fresh future future growth growth look at consulting See us at
Building a national film strategy
Innovative products
around the camera
Litepanels Hilio
Anton/Bauer ULHM-LED on Ultralight2 base
OConnor Universal Baseplate and Rods
Anton/Bauer DIONIC HC Battery and MATRIX Cheese Plate
Allianz Arena, Munich - photo by Alexander Dummer
Petrol Bags Deca Campack
www.vitecvideocom.com Vitec Videocom A Vitec Group division
Sachtler Ace L System
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Contents AV Specialist Volume 127
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The Benefits of Hiring a Certified Technology Specialist Having a certified technician available means you can be sure your AV problems will be solved. Chris Neto explains why.
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Do you know your company’s ethical status? NAB 2013 has come and gone - so what was it all about? Phil Rutter looks back at this year's show and explores the technology trends and conference sessions that make up the NAB visitor experience.
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4K was probably the most talked-about topic at this year's NAM show in Las Vegas. Phil Rutter looks back at the trends and technology that made up the visitor experience at this year's show.
Publisher & Managing Editor Kevan Jones kevan@avspecialist.tv Feature Editor Dick Hobbs dick@avspecialist.tv
Another NAB is over - how was it for you? NAB 2013 has come and gone - so what was it all about? Phil Rutter looks back at this year's show and explores the technology trends and conference sessions that make up the NAB visitor experience.
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Building a national film strategy in South Africa The South African Screen Federation (SASFED) represents a broad cross section of the independent film and television industry in South Africa.
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Time for a fresh look at consultancy? Peter Ustinov famously quipped that if the world should blow itself up, the last audible voice would be that of an expert saying it can't be done.
Designer Rajiv Gopalan rajiv@avspecialist.tv Advertising sales Africa, Middle East, UK Lorna MacLeod lorna@avspecialist.tv Europe Emmanuel Archambeaud earchambeaud@defcommunication.com Represented in the Middle East by: AV Specialist MENA FZ LLC PO Box 502314, Dubai United Arab Emirates Mobile: +97150 4683265 Represented in South Africa by: Doddington Direct cc PO Box 3939, Honeydew, 2040, South Africa Tel: +27 (0)11 083-6418 Mobile: +2782 555 5556 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
AV Specialist supports SACIA members in the quest for truth, honesty and the pursuit of excellence in all aspects of the audio visual profession.
Publisher’s Note Many inspirational quotes are attributed to Nelson Mandela but one of my favourites’ relates to perseverance and hard work. “What counts in life is not the mere fact we have lived. It is what difference we have made to the lives of others that will determine the significance of the life we lead,” he said. With International Mandela Day being celebrated on 18 July SACIA is joining what’s billed as the ‘global movement for good’ by hosting our half-day conference headlined as “67 minutes of community service”. The overarching objective of Mandela Day is to inspire individuals to take action to help change the world for the better, and in doing so build a global movement for good. Ultimately it seeks to empower communities everywhere and organisers are urging everyone to adhere to the ethical framework of “service to one’s fellow human”. The vision behind this key event is simple: that each individual has the ability and responsibility to impact change. One message drives this vision: Mr Mandela gave 67 years of his life fighting for social justice and human rights. The Mandela Day campaign asks that individuals, groups and corporates use just 67 minutes of their time on 18 July, and every day thereafter, to give back. No matter how small the action, the aim is to change the world for the better, just as Mr Mandela has. Some of the world’s greatest leaders and influencers have taken a moment to recognise that it takes just one individual to inspire change through action. I want to encourage you to do the same.
Join SACIA and the Government AV Forum on 17 July 2013 as we celebrate Mandela Day with a half-day conference titled “67 minutes of community service”.
The conference will take place at the Cabanga Conference Centre during the bi-annual Mediatech exhibition and will focus on how the broadcast and AV sector is helping create a better South Africa for all citizens. The Mandela Day campaign message is simple: Mr Mandela gave 67 years of
Date: 17 July 2013 Time: 8am – 12 noon Venue: Cabanga Conference Centre, North Riding, Randburg
his life fighting for the rights of humanity. All we are asking
Vision
Hosted by:
Operators Guide
is that everyone gives 67 minutes of their time, whether it’s supporting your chosen charity or serving your local
Spreaders, Dollies & Skids
community.
Mandela Day is a call to action for individuals – for people
Organised by:
everywhere – to take responsibility for changing the world into a better place, one small step at a time, just as Mr Mandela did.
SACIA event proudly sponsored by:
Vinten
Camera Control Solutions
For more information on SACIA and our activities please visit www.sacia.org.za
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Product
news FOR-A unveil new video switcher FOR-A, a leading manufacturer of video and audio systems for the broadcast and professional video industries, have introduced the HVS-XT100 and HVS-XT110 HD/SD portable video switcher. The latest in the company’s popular line of HVS Series switchers, the HVS-XT100 comes with a separate main unit and control panel, while the HVS-XT110 features a compact, integrated design. Building on the popular HVS-300HS switcher, the HVS-XT100 and HVS-XT110 units expand on the HVS-300’s functions, including mixed HD/SD input, frame synchronization, multi-viewer, re-sizing engine, 2.5D wipe effects, DVE and keyer with chroma key. Two freely assignable keyers and DSKs channels are standard. The HVSXT switchers have a built-in Web server allowing users to adjust settings from a PC or a tablet. A clip memory within the stills store supports complex moves, such as CG wipes. The switcher’s event memory can store up to 100 events and allows users to customize their control panel.
Software upgrade for Digital Rapids streaming Digital Rapids is now shipping version 3.8 of their Digital Rapids Stream software for their SreamZ, StreamZHD and Flux ingest, encoding and streaming solutions. Advances in the new version include H.264, MPEG-2 and DVCPro encoding enhancements including 4K Ultra HD H.264 encoding support; expanded support for automated multiscreen advertising insertion workflows; and new predefined project files for transforming content for Netflix delivery. H.264 (AVC) encoding enhancements in Stream 3.8 include increased quality, significant performance gains – as much as 25% faster depending on host system and content characteristics – and support for 4K Ultra HD encoding. Featuring quadruple the number of pixels per frame (3840x2160) as 1080p HD, 4K Ultra HD enables superior viewing experiences with corresponding displays. Version 3.8 also features increased quality and performance for MPEG-2 encoding, plus improved DVCPro output quality.
Harris Broadcast strengthens Versio functionality
First generation of OMNEOcompatible RTS intercom matrix products
RTS ADAM intercom matrix products and OMNEO professional media networking technology have come together in a big way at NAB 2013. The new RTS ADAM OMNEO interface cards transform the RTS ADAM intercom system into a flexible, IP-based, AVB-compatible intercom network. OMNEO media networking architecture
Harris Broadcast’s unique spin on channel-in-a-box design was a focal point at the company’s NAB Show booth, with new automated playout features and improved ease of use that give broadcasters more freedom and flexibility to manage and grow single- and multi-channel operations. The company introduced its Versio integrated playout solution at the IBC show in September, delivering the industry’s most complete all-in-one solution to help customers rapidly launch, expand and sustain their on-air TV channels and services while strengthening revenue growth and protection. During NAB they demonstrated new HD/SD simulcast, playlist control, and graphics management features to bolster channel-in-a-box impact and efficiency for broadcasters. “The channel-in-a-box market is taking off, with broadcaster confidence building as concept reliability is proven and products evolve,” said Harris Morris, CEO, Harris Broadcast. “Versio extends channel-in-a-box possibilities with its distinctive integrated channel playout architecture, giving broadcasters more deployment options and stronger opportunities to generate revenue, reduce costs and improve workflow efficiencies.” The abundance of new Versio features comes as Harris Broadcast begins global shipments, with sales on four continents to date.
goes beyond traditional AVB solutions by incorporating both industry standard Open Control Architecture (OCA) control and AVB media transport as well as IP-based transport, ensuring future interconnectivity with a growing number of devices. RTS ADAM OMNEO products open the door to deploy ADAM intercom systems over any standard IPbased network. Most importantly, with OMNEO users are not “locked in” to other vendors’ proprietary backbone infrastructure. This makes RTS the leading IP open network solution for professional production intercoms.
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news Sony unveils digital Triax camera system at NAB 2013 During NAB Sony announced the launch its 50p/60p digital Triax camera system, a live production solution that enables sports broadcasters and rental houses to significantly increase their operational efficiency and produce incredible content through existing triax infrastructures. The camera system offers broadcast quality transmission at both 1080 50p/60p and 1080 100i/120i frame rates, regardless of whether the venue has preinstalled optical fibre or triax cabling. As well as delivering advances in image capture, such as slow motion, Sony’s digital Triax camera system allows production companies to quickly and efficiently switch from fibre to triax and back again, as they move from one venue to the next. “Sony has a strong heritage in developing innovative live production systems that enhance the viewers’ experience, especially in sports entertainment,” said Awad Mousa, Head of Product Marketing – Content Creation at Sony Professional Solutions MEA.
QTube connects Broadcast and Post environments At NAB 2013 Quantel unveiled a new development that enables content created on Quantel's Pablo Rio high-end colour and finishing system to be delivered to Enterprise sQ fastturnaround broadcast production systems using Quantel's QTube technology. Today QTube is about far more than remote operations; QTube has grown into a technology that connects different geographies and different systems together. The development allows typical high-end content such as promos, features and commercials to be created on Pablo Rio at anything up to 4K and delivered to Enterprise sQ quickly and easily. QTube eliminates the need for any intermediate storage, lowering cost and simplifying management.
Grass Valley announces software upgrade for STRATUS NAB product fest with Blackmagic Design During this year’s NAB show Blackmagic Design announced nine new products, a number of major upgrades to their existing product lines and improved integration with AutoDesk and Adobe products, as well as price reductions for their Universal VideoHub router line. Some of the biggest news from them at the show was the introduction of two new models in their Blackmagic camera family: the Blackmagic Pocket Cinema Camera and the Blackmagic Production Camera 4K. They also demonstrated a complete Ultra HD workflow, from live production up to post production, describing it as a “complete professional Ultra HD work that is affordable enough for anyone to start 4K broadcasting.” The ATEM Production Studio 4K is one new product that’s part of their Ultra HD line. ATEM Production Studio 4K is the world’s first Ultra HD/4K production switcher. It lets customers connect up to 8 SD, HD or Ultra HD 4K video cameras, disk recorders and computers for live production and includes all the features expected from a professional switcher, including Chroma key, transitions, media pool, downstream keyers, audio mixer, multi-view and the world's first 6G-SDI and HDMI 4K video connections.
At NAB 2013, Grass Valley launched a new software update for its GV STRATUS nonlinear production application framework. This update includes a powerful set of new tools which offers increased functionality with a highly configurable user experience. GV STRATUS sets a new standard in facilitating 4
integrated end-to-end nonlinear production. GV STRATUS takes file-based productions to the next level by leveraging the unique combination of Grass Valley user knowledge, engineering excellence, and product portfolio. An exciting feature now allows delivery of content for web platforms. GV STRATUS now assists in processing content for multiple types of destinations. A workflow engine permits triggers to be set manually at any point during productions or configured to automatically create transcoded video, rich metadata, and close captioning files for various web publishing needs.
Now its easy to add broadcast accurate waveform monitoring to your studio! Add accurate and professional rack mount waveform monitoring to your studio! SmartScope Duo includes dual independent screens so is two video and waveform monitors in one! You get seven different types of scope for measuring all aspects of a broadcast video signal including waveform, vectorscope, RGB parade, YUV parade, histogram, audio phase display, 16 channel audio level meters plus picture view! With SmartScope Duo you always get the technical accuracy broadcast engineers demand! Eliminate Technical Errors
Broadcast Accurate You get a wide range of the most popular waveform displays available. The waveform display shows you the luminance brightness in your video, the vectorscope shows you a color plot of the various colors in your video, the RGB parade shows color balance and illegal video levels, the histogram shows the distribution of pixel brightness in your video and clipping and the audio scope lets you check audio phase and levels! Perfect SDI Video Monitoring
Only professional waveform monitoring allows you to keep track of your video and audio quality at all times and is the only way to ensure your production meets all international standards. SmartScope Duo can be installed in racks for general technical monitoring and quality control, as well as installed into desks for use during editing, mastering and color correction.
SmartScope is also the perfect rack mount video monitor! You can use it for general rack monitoring for broadcast, post production, live production camera monitoring, on set camera monitoring, flyaway kits, broadcast trucks and much more! SmartScope Duo includes a built in Ethernet connection so allows all controls and scope settings to be changed centrally via the SmartView Utility even from a laptop!
Choose your Scope! SmartScope Duo features two independent 8� LCD screens in a compact 3 rack unit size that you can instantly select between waveform, vectorscope, RGB parade, component parade, histogram, audio phase display, audio level meters or regular picture view! You can set each SmartScope Duo screen to any combination of video monitor or waveform view and change between them at any time!
SmartScope Duo
995
US$
Learn more today at www.blackmagicdesign.com/me/smartscopeduo
The $75 billion audiovisual industry provides critical support to large corporations, small businesses, retail outlets, education and healthcare institutions, entertainment venues, the government and more. AV helps us communicate better, protects critical infrastructure, assists with life-saving diagnoses, educates students around the world and keeps society informed and entertained. To learn more about the audio visual industry in Southern Africa visit www.sacia.org.za
www.sacia.org.za
OCTOBER 13-19, 2013 1
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news JVC sets new standard for affordable HD production JVC Professional has announced the GY-HM70 ProHD shoulder-supported camcorder, which delivers full HD images and innovative features at a cost effective price point. With a 12 megapixel CMOS imager, it records 1920x1080 footage in the AVCHD Progressive format at 28 Mbps to dual solid-state memory cards. At the core of the GY-HM70 is its 12 megapixel CMOS imager. When combined with JVC's advanced FALCONBRID high-speed processor, it captures, processes, and records 1080/60p, 1080/60i, and 480/60i (SD) footage at various bit rates to SDHC/SDXC memory cards. It also allows high-speed video recording for slow motion footage at 300 fps (720x480 resolution), and captures 12 megapixel still images. JVC's unique, hot swappable dual battery system allows hours of continuous, uninterrupted shooting. “With the introduction of the GY-HM70, JVC immediately focuses on the entry-level professional video market with a very cost effective shouldermount camera,” said Chris Darnley, regional manager for JVC Professional Products across Africa and the Middle East. “At this price, and packed with innovative features, the GY-HM70 will appeal to various market segments where budget is limited but a full-sized camcorder is the preferred choice, such as schools and universities, as well as event and wedding videographers.”
Avid Media Composer 7 extends real-time production Avid has unveiled Media Composer 7, featuring accelerated and simplified file-based workflows including optimized HD delivery from high-res source material and automated media operations. In addition, as a key component of the Avid Everywhere vision, the new release offers Interplay Sphere for Mac support, extending real-time production everywhere. Used to edit more top-tier content than any other nonlinear editing (NLE) solution, Media Composer software is now available starting at $999 USD—bringing unprecedented value to post production editors. “Avid has never wavered in its commitment to the professional editing community. Today’s video professionals are faced with a media landscape of new formats, fewer resources, and tighter budgets,” said Chris Gahagan, senior vice president of Products and Services at Avid. “Media Composer 7 tackles these challenges with unparalleled file-based workflows, background processing, and automation. Plus, with its new lower price point, Media Composer is now more accessible than ever to editors who previously had to compromise on quality with other tools.”
AJA Announces Video I/O Support for Avid Pro Tools
Clear-Com debuts latest matrix frame
AJA Video Systems has announced support for Pro Tools HDX and Pro Tools Native platforms with the entire AJA line of KONA and Io products. AJA supports all of the Standard Definition and High Definition frame rates and resolutions that ProTools currently utilizes through the Avid Video Engine. Professional video products from AJA that support ProTools include KONA LHe+, KONA LHi, KONA 3 and KONA 3G, Io Express and Thunderbolt-based Io XT and T-TAP. “Avid has been tremendously successful with its Open IO initiative, and AJA was one of the first supporters on board,” said Nick Rashby, President, AJA Video Systems. “We’re pleased that our customers can now utilize the same range of popular video I/O options from AJA supported by Media Composer, via the new Avid Video Engine in Pro Tools 11,” said Dana Ruzicka, Vice President of Segment and Product Marketing Avid.
Clear-Com has launched their new Eclipse HX-Delta Matrix Frame at this year’s NAB show. The Eclipse HX-Delta offers the connectivity and high capacity of a larger matrix system in a 3RU frame, giving broadcasters more flexible installation options. The cost-effective and compact Eclipse HX-Delta system is optimal for installation across many different production environments, from mobile broadcast trucks to smaller or multi-level studios. The Eclipse HX-Delta intercom system provides two CPU cards for redundant system control, along with the option of up to four varied I/O frame cards and up to three interface modules in a 3RU frame. Instead of installing large system frames in just one location, the Eclipse HX-Delta gives broadcasters the option of building a distributed matrix system. This offers a more flexible workflow and permits shorter cable runs between system frames and intercom panels, cutting down on cabling costs.
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The South African Communications Industries Association is a not-for-profit Trade Association committed to promoting the adoption of professional standards in the audiovisual industry throughout Africa.
An informed business choice Question: When selecting a vendor for your next AV installation, which of these items is the LEAST important item you should consider? a. Price quoted for the project b. Installation quality of the installations dept c. Company reputation in the marketplace d. Financial stability of the supplier
Answer: (a) In today’s tough economic climate it’s obviously important to consider price as an important factor in choosing a supplier for your next AV installation. But choosing a supplier based on price alone is a surefire path to failure and an ineffective AV solution. Chose a vendor based on their ability to provide an AV solution that meets your requirements and make sure you’re buying from a reputable organization with certified staff and the resources to back-up your installation on a longterm basis.
SACIA is the leading trade association for the professional AV industry in Southern Africa. We promote the adoption of professional standards in the local market and our members commit to truth, honesty and the pursuit of excellence in all aspects of the audiovisual profession. When you’re looking for a reputable supplier with a proven track record in the professional AV market, our members are a good place to start. For more information on SACIA and a full list of members, please visit www.sacia.org.za
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Product
news NewTek unveils 3Play 4800 NewTek has unveiled 3Play 4800, a multi-camera replay server that redefines price-performance standards in live sports production. The new system, which offers more real-time capabilities than any other multi-camera replay server, gives sports producers unprecedented access to redundant capture, sophisticated visual effects, live replay switching, high quality slow motion, and social media publishing—all within a single, turnkey system. 3Play 4800 is available immediately at the breakthrough price point of US$ 42,995. “Replay is no longer optional in sports production. Unfortunately, the high cost and limited functionality of today’s popular replay servers makes it a challenge for any sports organization to effectively manage infrastructure costs as technology advances,” said Dr. Andrew Cross, Chief Technology Officer at NewTek. “We’ve set a new standard with 3Play 4800 by putting more realtime capabilities directly in the hands of replay operators, while at the same time, significantly lowering capital costs for any sports organization. With 3Play 4800, producers can now deliver the electrifying highlights that drive greater fan loyalty—and have a direct impact on the revenue and profitability of their business.”
Atomos Announces Samurai Blade During NAB Atomos, announced the launch of their new Samurai Blade field recorder. "Atomos has now shipped a staggering 10,000 field recorders worldwide, and the Samurai has been a great success. For most professional environments it continues to be the go-to recorder or deck for many of our customers," said Jeromy Young, CEO and Founder of Atomos. "We are now excited to present the next generation of Samurai – the Samurai Blade. "Blade introduces the SuperAtom IPS screen – super sharp, super bright, super blacks – right down to the last atom. At 325 dpi and a million pixels, this screen is spectacular. With full waveform functionality, the Blade is a monitor that records and a recorder that truly monitors. It's the perfect partner for the new wave of cinematic cameras." added Young. Powered by AtomOS 5*, this stunning 1280 x 720 5" touchscreen gives the Blade gamma, brightness and contrast control, as well as vectorscope and RGB/luma parade features.
Anton/Bauer portable power solutions
Riedel introduces iPad App
Riedel Communications, has announced the release of the Artist Level Meter app for iPad. By monitoring and controlling up to eight freely assignable audio inputs of an Artist digital matrix intercom system, the iPad app allows the intercom administrator to manage the four-wire input levels of an Artist system from anywhere. "Our Artist Level Meter app extends both the utility and convenience of our popular intercom solution,"
said Thomas Riedel, CEO at Riedel Communications. "By offering Riedel customers a wireless solution for controlling the gains on the Artist's four-wire inputs, we give them an even higher level of flexibility and convenience, especially in larger digital intercom installations." The Artist Level Meter app complements Riedel's Artist Director configuration software, a fullfledged management system that runs on PC systems and provides comprehensive access, setup, and control of any aspect of an Artist system. When administrators are away from the computer, the iPad app gives them wireless access and configuration capabilities.
At this year’s NAB show Anton/Bauer showed off several of its new Gold Mount power solutions for some of the industry’s newest cameras and supplemental equipment, including the Sony F5 and F55 CineAlta cameras, Blackmagic Design EF and MFT cinema cameras, and 9
Litepanels Hilio LED fixtures, Sola ENG Flight Kit, Sola 4 and Sola 6 LEDs. “At Anton/Bauer we continuously strive to provide solutions for the industry’s newest cameras,” says Chris O’Neill, vice president of product management and marketing, Anton/Bauer. “Thanks to our relationships with leading manufacturers, we are so pleased to introduce them in a timely manner to the industry at NAB. As production technologies and camera offerings evolve, we aim to provide our customers with that same power they have come to rely on when they upgrade to the industry’s newest technologies.”
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The benefits of hiring certified professional staff Having a certified technician available means you can be sure your AV problems will be solved. Chris Neto explains why.
I
’ve spent 10 years of my career working in the audio-visual field. During that time I have seen AV departments come and go. Always in a state of flux best describes my experience. Between the ever changing service contracts, contract technicians and the group itself being moved around within the company it is safe to say that AV departments are perpetually in motion. During my career I have worked for AV groups that have been operating under public relations, building services, meeting services and IT. Some of my colleagues are starting to see AV groups now being moved into food, conference, and travel services.
On-site AV support For many corporations, universities and other organizations, the need for AV technology prompted the need for support. Onsite AV support groups have slowly evolved
Chris Neto is an audio-visual consultant with AV Helpdesk Inc. and a freelance Tech writer based in New York (USA). He runs www.avshout.com - an independent technology website & blog covering the audiovisual industry technology, trends, news, views and career information.
from Telecom, Facilities or Administrative services. Going back to the high school days of film and slide projectors being rolled around school hallways, AV has always been 10
someone’s “other job.” The assistant who sat outside a conference room became the room scheduler and room technician. The telecom person who understood ISDN became the videoconferencing expert because he knew how to “tame” SPID numbers. The facilities guy who mounted the projector and ran the pre-moulded VGA cable down the wall became the “projection expert.” Support groups developed from those side jobs. Many of those side jobs directly lead to the creation of dedicated AV staff today. Whether we are internal employees or outside contractors the need for what we do is apparent. Now the goal is to make today’s technologies easier to use for the end users. Qualified integrators, consultants and engineers spend hours simplifying AV systems and the user interfaces. The goal is to make the customer facing part of the systems to be a user friendly as possible.
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Internet buzz Recently there has been a lot of internet buzz in AV Tech forums over the value of certification. Most of the discussions have been in large part been between AV integrators and manufactures. Their perspective was limited to “why” or “why not” Certified Technology Specialist (CTS) certification matters in their specific line of work. I feel I can add another perspective to the on-going argument. As a CTS holder and as someone who spent a considerable part of my career with onsite AV Support teams I personally see a value in the certification.
Performance goals If you are an end user, you may be asked to come up with yearly performance goals. These goals can
specific to the IT industry. Having CTS adds a subject matter expert to the team. The CTS will separate you from the others. In competitive environments doesn’t having a unique or diversified skill set give you an advantage?
Dealing with Integrators Sales people typically meet with high-level decision makers. Many of
pass, is to maintain the certification. The CTS requires you to keep up to date with manufacturers training or take InfoComm classes. In my opinion you can never learn too much. Taking certifications classes may delivered under license in South Africa by SACIA give you a refresher on microphones or their pick up patterns which may help the next time you hear a complaint about not being heard in lecture hall or conference room. Achieving and keeping your CTS up to date and tying them into your yearly performance plan maybe a good way to show your company that you’re current in today’s trends and AV technology.
Differentiation
range from site projects to personal goals. Pursuing the CTS as an objective is a measurable goal. During your studying for the exam itself your personal goal is first to past the test. Your on-going yearly goals, once you
EVS SPORTS WE LIVE AND BREATHE SPORT
A CTS certification, within your organization, may not be recognized as a mandatory requirement for AV. I’m a firm believer that separating your skillset fromother employees provides you with a big advantage. The trend now is to place AV groups into IT groups. AV support groups are now finding themselves in the land of CCNA, MSCE, MSCA and CISSP. All of those aforementioned certifications are
IBC STAND 8.B90
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those meetings are taking place with IT or facilities groups that may not have AV in mind or a CTS on staff. Organizations who value technology will bring in AV consultants or their AV Managers into these meetings to ensure that they are properly represented. Having onsite technicians with those same certifications says a lot about you and your organization. Both as an integrator and as an end-user you both have taken the time to certify yourself in AV technology. Having CTS does not guarantee performance but it does show that each person has taken the time to learn and grow professionally in the industry.
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Do you know your company’s ethical status?
T
he effective management of ethics in the workplace includes a few basic prerequisites. Knowing and understanding what constitutes ethical behaviour and what is considered unethical are primary issues. The ‘doing’ part of ethics is equally important: ethical standards need to be lived so that ethics permeates the company’s behaviour, decisions, strategy and culture. In addition, sound ethical management requires the assessment of the organization’s ethical status. A variation on the business dictum that ‘you can’t manage what you don’t measure’ can be applied to ethics, namely that you can manage ethics better and more easily if you measure it.
Web-based survey An accurate ethics assessment can be done with the Ethics Monitor, a webbased ethics survey, which surfaces employees’ perceptions and experiences of ethics in the workplace. The results highlight the company’s ethical strengths and weaknesses, and identify and prioritise actions to improve ethics. The Workplace Ethics Checklist can also be used as a quick and easy appraisal of the level of a company’s ethics awareness, understanding and management. If an organization answers “no” to any of the eight questions, it indicates that further action should be taken to more effectively manage its ethics. 1. Do your people (directors, executives and employees) share a common understanding of what constitutes ethics in your business? Yes q No q A clear, shared understanding is an essential foundation for ethical behaviour. It also serves to build greater levels of ethical awareness. In the absence of a common understanding, differences can arise from divergent personal values. 2. Do your people understand why workplace ethics is important? Yes q No q Insight into the benefits of sound
ethics and the potential costs of unethical conduct strengthens employees’ understanding of why workplace ethics matters so much. Benefits include being able to attract and retain key staff and board members, strong customer loyalty, increased investor and market confidence and easier access to capital. Costs can range from financial losses to fines, damaged reputations and, in extreme cases, jail sentences and the closure of the business. 3. Do you know your company’s ethical status as perceived and experienced by your employees and key stakeholders? Yes q No q You should measure your company’s ethics so that you know and understand your organization’s current ethical reality – not as you wish it to be or as the board of directors assume it to be, but as it really is. The assessment should thus be based on the experiences and perceptions of all employees and key stakeholders. 4. Have you set up a social and ethics committee? Yes q No q The Companies Act requires all but small companies to set up a social and 12
ethics committee. Instead of this being viewed as another compliance cost and treated in a ‘tick-box’ manner, it can fulfil an important role and add value for those organizations that strive to be good corporate citizens and are prepared to embrace the associated responsibilities. 5. Do you manage your ethics proactively and regularly? Yes q No q The benefits of ethical conduct and the costs associated with misconduct warrant that ethics is not managed reactively or on an ad hoc basis. Effective ethics management rests on proactive, regular attention. 6. Do you have a strategy to manage ethics effectively? Yes q No q An ethics strategy should identify clear goals and a set of coordinated actions to create an ethical workplace and an ethical culture. Ideally, this strategy needs to include six focus areas: setting the ethical standards; setting up an ethics committee; building ethical awareness; measuring and monitoring ethical status; taking action to improve ethical behaviour and reduce unethical conduct; and maintaining an ethical culture.
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7. Do you provide opportunities for your people to learn how about ethics and how to handle ethical dilemmas effectively? Yes q No q Effective training to address ethical challenges in the workplace (among other issues) reinforces an ethical culture. To ensure that ethics training programmes are impactful, the following design features should be taken into account: Take the ‘knowing–doing’ gap into account; Don’t teach what the participants already know; Teach ethics based on the company’s ethical reality; Combine appropriate theory and practice. 8. Do you report on your company’s ethics? Yes q No q Ethics reporting is a recommendation of King III and a requirement of the Companies Act social and ethics committee. An ethics report should include the activities of the social and ethics committee and the annual measurement of the company’s ethics, both of which should be presented in relation to the organization’s ethics strategy and goals.
Cynthia Schoeman is managing director of Ethics Monitoring & Management Services, which provides support for the proactive management of workplace ethics. This includes the Ethics Monitor, a web-based ethics survey, which enables organizations to measure, monitor and report on their ethical status. www.ethicsmonitor.co.za
CISCO recognised as one of the world’s most ethical companies CISCO has also established a scholarship fund that supports students studying at the African Leadership Academy in Honeydew (South Africa). For five consecutive years Cisco has been recognised by Ethisphere as one of the World's Most Ethical Companies. It’s a proud statement that manifests itself in a broad commitment to ethical business practice and corporate social responsibility. “We believe integrity is more than compliance with applicable laws and regulations around the world. Even if something is technically legal, it might not be the right thing to do. Cisco's core values include integrity, respect, open communication and accountability, which in turn shape our self-governing policies and robust, award-winning ethics programme,” explains Anthony R. Vonsée, managing director of CISCO Africa. “Drawing on the experience and expertise of our employees we promote responsible business practices at every level of the company. We strive to conduct business ethically, honestly, and in accordance with our Code of Business Conduct and we expect all partners to meet our high ethical standards. The message for each employee is clear: any success that is not achieved ethically is no success at all.” A local initiative that reflects their commitment to ethical business practice has been to support the establishment of the SA Supplier Diversity Council to help promote greater diversity and job creation in under-privileged communities. “Supplier diversity is the active business process of sourcing products and services from previously under-used suppliers,” explains executive director Gary Joseph. “This process helps to sustainably and progressively transform a corporation`s supply chain to reflect the demographics of 13
the society in which it operates. In South Africa, it involves the process of integrating a growing pool of competitive black suppliers into corporate supply chains, using targeted procurement and enterprise development to achieve this. CISCO was an active participant in helping establish our Association and remains a committed partner in all our activities.” CISCO has also established a scholarship fund that supports students studying at the African Leadership Academy in Honeydew (South Africa). The Academy is a highly competitive two-year, pre-university boarding school that identifies promising young African men and women to build a strong, connected generation of leaders who will transform Africa. Cisco has funded 16 scholars over the past four years. The programme focuses on practical leadership experience, training in entrepreneurship, and African Studies for a deep understanding of the overarching issues facing Africa on both the global and local level. The rigorous curriculum prepares students for success on the Cambridge International Examinations and ALA guides them to scholarships at some of the best universities in the world. Students commit to work in Africa for ten years, acting on their ideas and experiences.ALA also helps students build a human network to support them for the rest of their lives and multiply the impact of their experience. “We seek to build a world-class leadership institution that will develop 6,000 transformative African leaders over the next 50 years,” said Theodore Sutherland, external affairs fellow, African Leadership Academy.
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Another NAB is over how was it for you? NAB 2013 has come and gone - so what was it all about? Phil Rutter looks back at this year's show and explores the technology trends and conference sessions that make up the NAB visitor experience.
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his is not a technology review – you can read about some of the new products launched at NAB in the Product news section at the beginning of the magazine. However, you cannot consider an exhibition and conference like NAB without touching on some technology - so here goes.
Misunderstanding and confusion Something called 4K was probably the most talked about topic in ages - to my mind even more than 3D was a couple of years ago. It's also a topic where there seems to be more misunderstandings than you can shake a stick at. Senior engineering folk from the manufacturing sector who should know better were quoting things that were just plain wrong. Quad link, dual link, 3G, 6G, 12G, frame rates, even fundamentals like number of lines - I know we're still a short distance from having proper standards for all this, but if I were a
customer, I'd be thoroughly confused. It's also worth bearing in mind that so-called 4K is the first TV format that doesn't use its line standard as a descriptor. 405, 525, 625, 720, 1080 - all the number of
lines in the signal. On that basis, 4K should really be known as 2K (or more strictly 2160), but that's not going to happen. 4K is a Digital Cinema format, albeit one that is based on a TV-related line count, and
A look at the future of broadcasting NAB show panels showcase innovations in entertainment creation, delivery, and consumption This year’s NAB conference held in Las Vegas during April featured sessions with Julius Genachowski, chairman of the Federal Communications Commission (FCC); Paul Feig, director of “The Heat,” “Bridesmaids;” and Braxton Pope, producer of “The Canyons.” FCC Chairman Julius Genachowski participated in a question-and-answer session with NAB Joint Board Chair Paul Karpowicz, president of Meredith Corporation - Local Media Group. In their discussion, Genachowski encouraged broadcasters to work side-by-side with wireless operators to find new methods of content delivery. As part of the day’s Creative Master Series Conference, Paul Feig
spoke to attendees during his session, titled "Entertaining by All Means Necessary." Feig discussed what audiences really want in their comedy films and programming, how to write scripts that will offer direction without compromising improvisation, and his love of shooting in film versus digital. He also previewed an exclusive clip from his upcoming film 14
“The Heat,” starring Sandra Bullock and Melissa McCarthy, which hits theatres in South Africa during July. Braxton Pope, producer of “The Canyons,” spoke to moderator Lucas Shaw of TheWrap.com about the unique journey the project underwent from inception to fruition. Opening in July 2013, the film, recently acquired by IFC, is the first of its kind in movie making: crowdfunded via Kickstarter and cast online via website Letitcast and other online sources. Directed by Paul Schrader (writer, "Taxi Driver" and "Raging Bull;” director, “American Gigolo" and "Affliction") – the film launches a fresh discussion around this new wave of filmmaking, described by Schrader as "cinema for the post-theatrical era.”
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quite a few folk have taken advantage of the relatively low frame rate used for most cinema (24/25fps) in order to reduce the bandwidth required - however, I'm pretty convinced domestic TV viewers are not going to be happy watching live sport at 24fps, even if it does have a horizontal resolution of 4K, so all those 6G connections are going to have to double up. All very complicated for all concerned. Apart from 4K there were, of course, loads of other new (or at least re-hashed) ideas. Most seemed to involve the sky - if not "cloud" things of one sort or another. The air was thick with model helicopters (does a flying device with 8 rotors still count as a helicopter?). And then there were hundreds of booths with great ideas in every sector of the industry - far too many for me to go into here
So was it a "good NAB"? Probably, for most. The big booths were generally busy, and the aisles in most areas were packed for at least 3 out of the 3.5 days the exhibition was open. Talking to the sales people, most reported that
Phil Rutter started work in the Television Industry in the late ‘60s, working in Technical Operations for BBC Television. It was probably one of the best groundings to be had at the time – lots of technology training in the fundamentals of video and audio, coupled to the support of the creative process of programme making.
they'd seen everyone they wanted to see, but many also reported shortages of real buyers - people with substantial budgets. There were also plenty of examples of companies having to re-think their business models. This is all really just the continuation of a process begun many years ago, of commoditisation
- making those complex processes that used to require 12 rack units of dedicated hardware work on a bogstandard PC. The problem with that is that you could sell the 12RU dedicated hardware for $100k (or more). The current version (which is probably significantly better) is selling for $1k (or less). Now, if you can sell 100 times as many units at $1k each, that's great - because it's almost certain that the manufacturing cost will be tiny, so your gross profit could be huge, but it doesn't necessarily follow that the nett profit will also be great. Selling those 12RU boxes was fairly low cost, and your customers had teams of engineers to install and maintain things, so your post sales costs were pretty low. Most of those engineers have gone, and in any case, if you're aiming for 100x sales volumes, you'll be selling to a much wider audience - many of whom will need a lot of support. So your bottom line could be badly hit. Companies working in the IT end of the industry have understood this for some time, but it's going to be a steep learning curve for those hardware manufacturers who are now selling virtual products.
NAB show travels from "Oz" to "Oblivion" Conference Features Academy Award-Winning Cinematographer Claudio Miranda of “Oblivion” The conference at this year’s NAB exhibition featured a candid conversation between Gordon Smith, president of the National Association of Broadcasters (NAB) and Lowell McAdam, chairman and CEO of Verzion, as well as back-to-back panel discussions showcasing Sam Raimi’s 3D feature "Oz the Great and Powerful," and a Q&A with Academy Award-winning cinematographer Claudio Miranda about his upcoming film, "Oblivion." During "Lowell McAdam: A Candid Conversation," McAdam discussed his vision for the future of wireless broadband, broadcasting, and competition in a multi-platform world with NAB president and CEO Gordon Smith. McAdam stressed the need for negotiation and cooperation between broadcasters and operators, insisting that removing channels from the air would hurt both parties involved. He also pledged that
Verizon would continue to work in tandem with broadcasters on issues such as spectrum auctions and retransmission agreements. Cinematographer Claudio Miranda, ASC, alongside accomplished digital imaging technician Alex Carr, discussed their experiences shooting "Oblivion," Universal Pictures’ upcoming postapocalyptic thriller starring Tom Cruise. The discussion was moderated by Jon Fauer, ASC, publisher and editor of Film and 15
Digital Times. Attendees were treated to exclusive clips shot and projected in 4K. "Oblivion," which has just gone on circuit in South Africa, and which leads a summer slate of big-budget feature films shot with Sony's F65 camera. "Oz the Great and Powerful" colorist Stephen Nakamura guided a discussion about the technical and aesthetic challenges involved in color grading 3D and 2D versions of the well-received Sam Raimi-directed film. The makers of "Oz the Great and Powerful" were intent on creating an incredibly lush and vivid color palette that would evoke the feeling of L. Frank Baum's beloved "Land of Oz" books, and Nakamura explored how the team achieved the intense, otherworldly color scheme that pervades the film. Ted Schilowitz, founding member and the first employee of RED Digital Cinema, moderated the session.
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Do we live in an ethical society? Over the last few years we’ve seen many instances of corrupt and unethical behaviour from our business, community and political leaders. Their actions underscore the real challenge faced in conducting business across Southern Africa. Who do you trust? And how do you go about selecting a vendor that will provide a technology solution that meets your needs? When you’re choosing a supplier to provide broadcast, AV or communications technology for your business why not choose a SACIA member. SACIA members subscribe to the highest standards of ethics in their business conduct. They’ll not engage in dealings that are corrupt, dishonest or questionable. They’ll let you know when they have a conflict of interests, and they’ll not hold out advice as being objective where it is not. For a full list of SACIA members and a copy of their pledge to conduct business on an ethical basis visit www.sacia.org.za The Southern African Communications Industries Association (SACIA) is a not for profit trade association committed to promoting the adoption of professional standards and ethical business practices in the communications industry throughout Southern Africa.
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Is NAB too big? I obviously saw lots of old friends in Las Vegas, but one chance meeting did raise a question. The individual concerned can remain anonymous, but he commented "why do you bother coming here - you hate exhibitions". Well, I hate the aching feet at the end of what sometimes seem like interminable days, but I actually like exhibitions and conferences. What I hate is seeing companies splurging as much as 90% of their marketing budget on exhibitions. There's no good justification for this, and I think show visitors are beginning to understand that some shows have just become too big. Big is, of course, what all exhibition organisers want. But big doesn't mean better either for the visitor or the exhibitor. For the visitor, big means not being able to cover the ground - one major Burbank customer I met at NAB was only there for 1 day, to see a couple of specific suppliers and commented "I can't possibly see everything here, so I have to concentrate on those things that matter - the rest I can read about later" Big can also mean intimidating. One major exhibitor
organised their booth so that everything faced inwards, and casual visitors could feel quite discouraged. It might well work for keeping out tyre-kickers, but casual visitors can have big projects in hand. The worst part of big is the problem of how the halls are laid out. There isn't a simple solution, but if you have several big exhibitors, there can be a tendency for them to create a barrier to traffic flow - the result is that those small booths at the back of the hall see only a very small proportion of the total visitor numbers. That was certainly the case with both the NAB North & South Halls this year, with some smaller exhibitors at the rear of the South Halls saying it had not been worth attending - visitors were so few. That said, with one or two exceptions, there did seem to be a general reduction in exhibitor splurge this year. Maybe marketing departments are realising that there are plenty of other ways of connecting to customers than having huge demonstrations of technology and if a lot of that technology is going to be virtual in the future, maybe we'll see even less splurge?
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About the NAB show • The first NAB convention was held on 11 October 1923 and had 23 delegates. • More than 90 thousand people from 155 countries attended the 2013 show in Las Vegas. • The show is operated by the National Association of Broadcasters in the USA – a trade association and lobby group representing the interests of commercial broadcasters across the USA. • The NAB was founded originally as the National Association of Radio Broadcasters (NARB) in 1922. • The NAB delivers value to members through advocacy, education and innovation.
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Building a national film strategy in South Africa The South African Screen Federation (SASFED) is a federation of independent film, television and audiovisual content industry organisations that are working together to create a national strategy that is inclusive and centred on the content creators. Members include the Documentary Filmmakers Association (DFA), the Independent Producers Organisation (IPO), the South African Guild of Editors (SAGE), the Writers Guild of South Africa, the South African Guild of Actors, the Personal Managers Association, the South African Communications Industries Association (SACIA), and the official South African Casting Association (OSACA)
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he South African Screen Federation (SASFED) represents a broad cross section of the independent film and television industry in South Africa. During early March , Ramadan Suleman, the SASFED Co-Chair addressed the National Film Strategy Workshop in a bid to contribute to the development of a national strategy that would contribute to the development of the film sector in South Africa
and heritage play a pivotal role in the economic empowerment and skills development of a people.” SASFED endorse this view entirely. “We have always known the ability of what we do as filmmakers to resonate widely. Our cultural heritage consists of the brave artists, actors, writers, dancers and filmmakers who have the courage to put their visions into the public domain,” says Ramadan Suleman, co-chair of SASFED.
Dynamic and emerging sector Dynamic and emerging sector In their 2008 Creative Economy report the United Nations agency UNCTAD described the creative industries as “the most dynamic emerging sectors in world trade”. This sentiment was echoed by Minister Paul Mashatile from the Department of Arts and Culture in 2011 when he stated that . . . “arts and culture
“Arts, culture and heritage play a pivotal role in the economic empowerment and skills development of our people,” says Minister Paul Mashatile from the Dept. of Arts and Culture.
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Suleman asserts that the Department of Arts & Culture (DAC) exists to support these cultural workers and creators, and to preserve our heritage. “DAC and its subsidiaries are tasked with providing an ‘enabling environment’ for the creators, encouraging innovation and creativity that would allow our sector to perform better,” he says. Despite this, he
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“As tough South Africans we embrace change, but we cannot move forward unless we’re all working to the same agenda,” says Ramadan Suleman, cochair of SASFED.
believes that “government tends to be prescriptive, regulatory and controlling, resulting in the alienation of practitioners in this sector.” At the opening of the historic National Consultative Summit on the Cultural and Creative Industry in April 2011 Matshitile promised “a new era for arts and culture” and said: “we have to fundamentally change the way we do things”, and yet change always brings with it the shadow of uncertainty, a cold clinging to old practices, and a deep fear of the unknown and the new. “As tough South Africans, we embrace change … but we cannot do that if we are not all on the same page,” says Suleman. Already SASFED has aligned itself with South Africa’s National Development Plan, although the federation has expressed concern that within Trevor Manuel’s 25-member National Planning Commission there is only one philosopher and a couple of sociologists. There is no
SASFED has aligned itself with the objectives of the South Africa’s National Development Commission – but has expressed concern that Trevor Manuel’s 25-man commission includes little representation from the arts and humanities sector.
In an address to the 2013 national Film Strategy Workshop Ramadan Suleman stressed the need for South African filmmakers to reach out to colleagues in other African countries. “All of our co-production treaties are with European countries,” he says. “We need to be trading in Africa – building a film community that will encourage audiences to embrace locally-produced films.”
one from the other humanities, and, incredibly, there is no one from the arts.
Export culture through film One of the reasons the United States culture is so prevalent worldwide is precisely because they export their films all over the world and have used films to create a dominant culture in foreign countries, such as South Africa. One of SASFED’s objectives is to change this culture and replace American pop with authentic African stories, told by Africans themselves. This is a tired old mantra often recounted but as with all rhetoric, it
comes from a place of truth, and SASFED is determined to make it a reality, through actions on the ground. For SASFED, no discussion about a National Film Strategy can begin until all parties agree that the creative people who make films are placed at the centre of the consultative, planning and decisionmaking process, and are intimately involved in the action plans that will achieve results in line with the NDP. The ANC endorsed this placing of what they called ‘the Artist’, in a position that was protected and developed, and urged that “special emphasis be placed on
“We need to create a unified community that nurtures creative talent,” says Ramadan Suleman, co-chair of SASFED. “Our industry is in deep trouble and unless we address the challenges we’ll continue to see the livelihoods of people who’ve built their career on the promise of a creative economy being destroyed.”
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Who do you call when things go wrong? SACIA members subscribe to the highest standards of ethics in their business conduct and sign a pledge in which they commit to excellence in what they do. They take pride in their work and provide products and professional solutions in line with their clients’ needs. They’re dependable business partners who promise not to engage in dealings that are corrupt, dishonest or questionable. If you feel that a SACIA member has failed to live up to this pledge contact us at ethics@sacia.org.za or call our complaints hotline on +2711 083 6418 For a full list of SACIA members and a copy of their pledge to conduct business on an ethical basis visit www.sacia.org.za
The Southern African Communications Industries Association (SACIA) is a not for profit trade association committed to promoting the adoption of professional standards and ethical business practices in the communications industry throughout Southern Africa.
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promoting the arts in indigenous and historically marginalised communities to ensure the building of patriotism and national consciousness”.
Tough financial constraints Despite this emphasis, progress has been slow. “We cannot discuss a National Film Strategy until we know where we want to go, and until we discuss ways of finding the financial instruments to achieve it,” says Suleman. “Every single organisation active in our industry understands the current financial constraints we all face, none more than SASFED which receives zero funding from any state body and which achieves considerable momentum through the passion and hard work of our creative members. If we do not reorganise ourselves, our funding, infrastructures and work practices as an industry, and labour together to create synergies that have the best interests of the country at heart, then the creative industry of South Africa will not mirror our continental position as a leader of commerce and industry.” In order to address this issue, SASFED is suggesting that we stop a localised and isolated approach and connect our different stakeholders to a unified and most importantly achievable vision on our industry’s horizon. “If we know where we want to go, we can devise plans and discuss options,” says Suleman. “Is the future of our industry seasonal work, which creates jobs for limited periods of time in a year or do we want to empower our artists, producers, filmmakers, writers and creatives to learn how to create jobs and pay the success forward. Pay it Forward. A concept which originates and is rooted in the practice of Ubuntu. Each one, teach one.”
Stimulate creative output Suleman asserts the need to reach out to our African brothers and sisters, creating co-productions and exchanges with them that will stimulate Africa’s creative output. “Sadly all our CoProduction Treaties are with European countries. We must be trading in Africa, filming in Africa, teaching and collaborating in Africa. Then we will see African stories on our own screens,” he says. He questions why South African films not being shown in schools to educate and develop a young audience that will grow up with the income to go and watch films in cinemas? “Audience development is probably, with distribution, the two major keys to developing our industry, and yet we continue to not spend enough time as stakeholders to nurture
“It is in our works of art that we reveal to ourselves the inner vision that guides us as a nation,” asserts Ramadan Suleman. “Even in difficult economic times – especially in difficult economic times – the arts are essential.”
them. We can make the films but they must start from here, from home and with our people watching and engaging with our indigenous stories.” DAC’s Strategic Plan states that ‘individuals are the engine room of the arts and cultural sector’, and there needs to be ‘a system of whole-of-career cycle support’ and calls for support for existing leaders and developing new leaders. DAC extols the virtues of “cultural diplomacy” and expanding SA’s network through strategic relations . . . with special emphasis on building South-South relations and the African agenda in the arts, culture and heritage arena. “ But where do we see this pattern emerging?” asks Suleman. “We don’t!” His solution is to create a unified creative community. “From the NFVF, to the DTI, the Film offices and commissions in our different provinces, the SABC and other broadcasters and last but definitely not least the independent creative industry, SASFED and our member organisations. Each hand needs the other –we all need to work together to become a beacon on our nation’s global reputation.” At the heart of this strategy is the need to protect, nurture and support creative talent as we explore the diversity of our cultural history.
Industry in turmoil We are an industry in deep, deep trouble. SASFED watches as producers go to the wall, companies are closed down, writers are penniless, and actors leave 21
South Africa for greener pastures. We have seen rental companies merging, and endless funding and commissioning delays. The industry financing structures have been mostly destroyed or cut back so severely that people are leaving the industry in droves. We witness this on a daily basis, people losing their houses, their businesses built up over many years, and bank foreclosures. It is unsustainable. People who have built their careers and livelihoods on the promise of a creative economy are being dispossessed and destroyed. Despite this, Suleman is confident in the future of the industry. “it is in our works of art that we reveal to ourselves and to others the inner vision which guides us as a nation,” he says. “And where there is no vision, the people perish. We as stakeholders must acknowledge that Art is fundamental, unique to each of us…Even in difficult economic times – especially in difficult economic times - the arts are essential.” The promise of a National Film Strategy is that the industry’s hope could be revived, that our dream of a vibrant South African film industry could come true. With a centralised, bigger fund, coordinated action by each of the players, we could inspire a revival of our industry that could be similar to that of Brazil. One only has to look at Brazil to see how a couple of changes to Trade and Industry regulation has created a veritable explosion of production that is now reaching global screens and attracting interest worldwide.
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Top 10 blogspots for AV pofessionals In recent years, bloggers have developed a new platform that allows anyone to become an ‘industry expert’ almost overnight. Some share meaningful insights while others merely cut and paste press releases into an online format and add little value. Here are a few blogspots I’ve visited in the last month.
www.avshout.com Avshout.com is an independent technology Website & Blog covering the audiovisual industry technology, trends, news, views and career information. It was founded by audiovisual professional Christopher Neto. Chris is an experienced audiovisual technology specialist, with over 15 years’ experience in the AV and videoconferencing sector. He is an active member of InfoComm and holds numerous certifications in both the Audiovisual and IT industry so his comments tend to be informed and accurate.
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http://blog.aveventsolutions.com AV Event Solutions maintain a blogsite with some great content for the staging and live events industry. It’s been run by Dede Mulligan since 1993. Dede is an experienced meeting planner who has planned, coordinated and executed over 1,500 meetings for groups from 10 to 10 thousand individuals. She has been an active blogger in the meetings industry since 2009, and writes meeting and event related pieces.
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www.ravepubs.com
rAVe [Publications] was founded in 1998 by Gary Kayye and describes itself as a news organization that provides coverage of the commercial (ProAV) and residential (HomeAV) audiovisual trade industries via e-newsletters, blogs, video, social media, and a variety of other mediums. The describe their target audience as “AV Insiders” – AV dealers, integrators, consultants, designers, etc. that deal in the sale, specification, design and installation of audiovisual products. rAVe is an opinionated news organization, providing news and commentary that reflect the opinions of its authors and they’ve got some really well-informed people contributing to their site as part of the ‘blog squad’. “We believe that all news is heavily affected by the views of its author, so we state up front that ours is going to be. We are also heavily biased towards the AV integrator/dealer’s perspective since, well, that’s our audience. However, we do NOT get paid by manufacturers, or anyone, for running off our editorial mouth. We run what we run based on what we think, and that’s it,” says Kayye. It’s one of my favourite blog sites so check it out.
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http://www.iasa-web.org/blog The International Association of Sound and Audiovisual Archives (IASA) was established in 1969 in Amsterdam to function as a medium for international co-operation between archives that preserve recorded sound and audiovisual documents. IASA has members from 70 countries representing a broad palette of audiovisual archives and personal interests which are distinguished by their focus on particular subjects and areas, and their blog reflects this diversity with a range of articles explore musical recordings, historic, literary, folkloric and ethnological sound documents, theatre productions and oral history interviews, bio-acoustics, environmental and medical sounds, linguistic and dialect recordings, as well as recordings for forensic purposes. If you have any interest in archiving and media asset management this is a great blogsite to visit.
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http://urbanfoxtv.blogspot.com/ http://www.viser.co.za/blog/ I’d never even heard of Viser Audiovisual until I stumbled across their blog. They’re based in Pretoria and were only established in 2012 as an equipment supplier to the event and entertainment industries. Although they are one of the new boys on the block they’ve got an interesting blogsite that’s worth reading if you’re involved in the corporate AV sector.
I’ve known David and Christina Fox for about 10 years and both are well known and highly respected as journalists in the broadcast and proAV space. They’re both regular contributors to industry magazines but utilise their website and blogspot as their primary platform to reach out to the market. This is one of the most active sites in the broadcast industry – filled with information on new products and technology trends. Personally, I’d like to see less PR material and more opinionpieces … but even with that mild criticism it’s still a grand blogsite and well worth visiting.
http://www.avinteractive.com/ blogs
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http://blog.infocommblog.org/all voices/
I was disappointed when Peter Lloyd stepped down as editor of the UK’s AV Magazine but you can continue to gather his opinion in their online blog. Alongside Peter, some of the UK’s thought-leaders share great insights into the trends and technologies shaping the future of the audiovisual industry.
http://blog.devoncroft.com Devoncroft Partners provides market research and strategic consulting services to a wide range of digital media clients. The company publishes a variety of syndicated market research reports and has been retained for numerous custom engagements by leading players in the broadcast industry. It’s run by Joe Zaller and while much of the research Joe collects is only made available as paid-for content, he also maintains a great blogsite that delivers snippets of information to the marketplace. Well worth a visit.
http://www.cedia.net/blog/
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It’s no accident that InfoComm International is the leading trade association for the audio visual sector around the world. With more than 5 thousand corporate members they utilise some really smart technologies to keep in touch but for me, one of their great assets is their blog. It’s got some great ideas and articles and provides plenty of opportunity for people to engage and interact with the authors.
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Although the majority of our readers are involved in the broadcast and professional AV industry I’m still a fan of the CEDIA blogsite because it includes information that’s relevent to me in my home. Interesting comment and articles on a broad range of topics related to the home install sector.
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to have a consultancy phase first to document the actual customer requirements, set against the technology currently available in the market. The consultant would be involved in preparing a list of potential suppliers – matching their service offering against the documented needs of the customer. With detailed documentation in place, the consultancy contract ends, and the customer can go out to the market again to place the implementation contract. There may also be a continuing consultancy contract to supervise the delivery.
Lower staffing budgets
Time for a fresh look at consultancy? Peter Ustinov famously quipped that if the world should blow itself up, the last audible voice would be that of an expert saying it can't be done.
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roadcast engineers have long resisted the idea of outside expertise, preferring to design and build systems based on their own knowledge and expertise of what the organisation needs and can support. It is now time to change that practice? Let me be absolutely clear. The people that best understand what technology is required by a broadcaster or facility is the chief engineer and the operations people inside the organisation. They know what parts of the system are under pressure, and where they need expanded functionality. I am absolutely against external consultants coming in and imposing a packaged solution without understanding the background. But on the other hand, there are increasing reasons why the use of an external consultant or consultancy team can be strongly beneficial today. In the context of a major project, the cost should not be high and if it helps get the project on air, on time and on budget, it’s well worth it.
Value of external consultant Systems integrators often offer “consultancy” as part of their package, and again I would definitely not criticise this as part of the process. The problem is that, by the stage of appointing a systems
integrator, any broadcaster has probably made most of the key decisions, and all this stage of consultancy does is fine tune the details. In the IT industry it has long been standard practice on major projects,
I think it is time that the broadcast industry considered this model. There are, I believe, two compelling reasons for this The first is that budgets for operational and technical staff have been driven down, with the result that it is hard for senior engineers to devote the time to researching and managing major projects: they cannot be taken away from other work full time. Less than 10 years ago it was commonplace for major broadcasters and facilities to send large teams to the big exhibitions of IBC and NAB, to cover every hall and every exhibitor, and to collect information on what is new and exciting. Often the real game-changing technology comes first from the smaller companies and start-ups, so covering the whole show floor was important. Today the pressure on budgets means that it is not possible to send large teams to IBC or NAB. Those who do go have clearly defined objectives and their time is planned out carefully, which is clearly sensible. But it does risk missing the new idea that might solve a problem. At the same time that engineers have less time to discover and consider new technologies, the second challenge comes into play: the fact that broadcasting is becoming much more complicated.
A complicated business
As well as a regular contributor to AV Specialist, Dick Hobbs is a consultant and a lead trainer for the IABM, regularly delivering workflow and asset management courses in South Africa.
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Not too long ago a studio would have four or five cameras which were switched live. The show was recorded to a tape which was then hand-carried to a playout suite for transmission on one of a handful of channels. Now that same studio might have 10 or more cameras, many recorded independently for live replays and subsequent post production from servers. Then the finished programme needs to be packaged for broadcast in SD and HD, streamed online, to mobiles and tablets, and prepared for catch-up videoon-demand.
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Start new conversations
One of the new challenges for broadcasters is supporting second-screen apps, such as those built for sport using the EVS C-Cast platform
It is literally impossible to run a broadcast facility today without automation: if you do not use metadata to drive at least some of the processes you will become overwhelmed very quickly indeed. How is that metadata collected, managed and used? What devices and sub-systems can process that metadata to provide the automated assistance? One more killer point that we are all trying to ignore. All those tapes we have in our archives will be useless in the very near future, as manufacturers cease to make VTRs and it becomes increasingly expensive to source hand-crafted spare parts. The pressure is on to move all our content to digital, file-based form, which means a completely new architecture for our broadcast facilities. At NAB this year Axon demonstrated live, full-resolution video, carried and switched over ethernet, within the same timing specifications as HD-SDI. Within a year the technology will be available, from multiple vendors using the open AVB standard, to eliminate co-ax and traditional routers from our facilities. That adds to the challenge of developing technology strategies for the future.
I see independent consultancy playing a number of roles in the broadcast industry. First, there is the opportunity to start the first conversations about strategy. Inevitably, these are going to involve commercial and financial people in the organisation as well as engineering and operations. They certainly should be involved: a new technology platform should be focused on helping the whole enterprise work better, more efficiently, and thereby reach more viewers on platforms they demand. So there is the need to bring everyone up to the same level of understanding. New broadcast architectures, using metadata to control the flow of file-based content, have immense potential but involve changes to the traditional workflows. The good news
The Infostrada Centralparq content management systems was one of the most interesting new developments at NAB 2013
is that the dull and repetitive tasks can be automated, leaving valuable staff free to concentrate on the critical and the creative. But everyone needs to understand how these changes will benefit the organisation, and how they can be brought about smoothly. Second, there is an opportunity for a consultant to develop outline requirements specifications and suggest likely collaborators. Together, the broadcast organisation and the consultancy can draw up an initial document, a request for information (RFI), which will draw first-level interest and ideas around which plans will be developed.
News automation by Harris at Gray TV in the USA
tendering process. It is important to remember that the consultant should be providing support here - not steam-rolling the organisation: if the final system is going to be widely accepted throughout the organisation it has to be owned by the people who are going to use it. That sense of ownership will not be there if they feel the solution has been imposed on them. Once the project is under way then different sorts of consultants will come into play. The asset management vendor, for example, will put people on site to develop the detailed metadata scheme. The broadcaster’s project team may feel confident in managing this stage of the process, or they may choose to retain an independent consultant to be their representative in the discussions, in part to take the pressure off their own busy diaries. If each step is carried out carefully then the final implementation and handover should be a period of intense work but general delight, resulting in new technology which will underpin the organisation into the future. By having the right conversations early on, the platform will make the broadcaster or facility more flexible, more agile, more efficient and more creative.
Procurement support
Grass Valley Stratus is a service-oriented architecture platform
The consultant may help with interpretation of the responses to the RFI, and could be retained to support the next level of procurement, the request for proposals and through into a formal 25
IP production system for sports magazine programmes, developed by Sony for TV2 in Norway
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Here’s to smoother transmissions, globally. transmissions, When it comes to broadcast video transmission you need a broadcast network that you can depend on 24/7 like Neotel’s Video Connect (NVC) – South Africa’s all new global video transmission network. NVC brings you end-to-end solutions with high availability, puts you in direct touch with key hubs like Warner Brothers Studio and ESPN, and when compared with delivery via satellite it is cost effective too. Trust us to give your broadcast video undivided attention, 8 days a week.
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Urban Brew select Axon compliance recording and monitoring system Jasco Broadcast Solutions, local distributor and implementation partner of Axon Digital Design, has secured a deal to supply, implement and integrate Axon TRACS2 compliance recording solution as well as the SynView multi-viewer platform at Urban Brew Studios.
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ver 27 years, Urban Brew Studios has established one of the most sophisticated digital production facilities in South Africa. It provides live digital production studios, ENG crews, OB facilities and all the post-production, graphics and audio facilities required to bring TV channels to air. The Axon solution will enable Urban Brew to better monitor their outgoing transmissions, ensuring high quality broadcasts, as well as ensure compliance with ICASA regulations and provide a verifiable audit trail in case of any dispute. The solutions will be used for community television stations, including Bay TV in Port Elizabeth and KZN1 in Richard’s Bay, as well as Soweto TV and One Gospel.
90 days of archived content Jasco Broadcast Solutions will be supplying and integrating six Axon SD-SDI TRACS2 compliance recorders, each capable of storing 90 days of broadcast material. To monitor the output channels, Jasco will install the Axon 38-channel capacity SynView multi-viewer with two monitoring inputs. “Compliance with ICASA regulations is mandatory for any local broadcaster. Urban Brew has now standardised their compliance recording on the Axon platform. TRACS2 in conjunction with SynView will enable Urban Brew to
dramatic savings. The system is safe and secure, providing automatic recording with no direct access to recorded content and a sophisticated user-management system. TRACS2 is also easy to use - search and retrieval is fast and simple, even for multiple users. The system is compact - rackmountable (just 1RU high) with a small footprint and no tape storage implications.
Live stream forwarding easily meet these requirements, recording all outgoing and incoming transmissions for evidentiary purposes and enabling live, multi-screen viewing for enhanced monitoring purposes on community as well as other television channels including M-Net and Top TV,” says Mark van Vuuren, MD at Jasco ICT Solutions.
Third-generation compliance recording TRACS2 is Axon’s third-generation compliance recording system, which makes compliance easier, more efficient and costeffective than ever. It is based on the Linux OS and runs on dedicated hardware equipped with RAID 5-configured disks. There is no tape stock, recorder or storage costs - it offers low operator and maintenance costs creating potentially
For Urban Brew, a key feature of TRACS2 is live stream forwarding, which enables the user to create a unicast or multicast (depending on system settings) of a live video stream over a local area network. All computers on the network can hook up to this video and audio stream without needing the TRACS client application and without using up additional bandwidth per individual live view. “We evaluated many systems before selecting Axon’s TRACS2, and based our decision on many factors,” says Sakkie Ferreira, Head of Operations at Urban Brew Studios. “With TRACS2 being used to record many hundreds of TV channels worldwide we believe that it is the natural choice, plus the great local support provided by Jasco, and our long standing relationship with the team at Jasco, made the decision even easier,” he concludes.
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In this time of change, don’t forget the business model There’s no doubt that this is a dynamic time for the broadcast industry. New technologies, workflows, and content delivery models are being introduced on what seems like a daily basis, and broadcasters and technology suppliers alike are trying to position themselves for the future.
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lthough most of the attention (aka hype) is being showered on new technologies such as UHDV (4K), social TV, secondscreen applications, cloud services, and multi-platform content delivery. Indeed, as evidenced by the highly successful “Connected World” pavilions at both IBC 2012 and NAB 2013, it seems that an entire “industry within an industry” has sprung up to promote the new ecosystem created by the introduction of these new technologies.
Changing business models However, despite the excitement surrounding new technology, we believe that it’s important to remember that the TV business is just that – a business – and that technology there to be an enabler of the business models of end-users. These business models have been relatively constant for decades. However, in 2013 the “business of the broadcast business” is fundamentally changing - in ways that will have significant implications both endusers and technology vendors. Thus it’s likely that the most important themes of 2013 and beyond will be more about those things that support the business models of broadcasters and content owners, and less about the technology itself. In an environment where their business strategies are in flux, broadcast technology buyers today are focused on finding ways to achieve commercial success as they watch the longestablished economic model of the broadcast industry change in real-time.
Multi-platform delivery
platforms, and content management systems that can be used to create new or incremental revenue streams through multi-platform content monetization. But it’s important to not lose sight of the fact that drivers of these decisions are business not technology-based, and that end-users will make choices based on what they feel will best help them to meet their commercial objectives.
Lower cost services In many cases, the broadcasters and media companies who are deploying these systems are looking beyond solutions provided by “traditional” broadcast technology vendors, as they embrace business practices that enable them to shift their costs away from
Nowhere is this more prevalent than in the world of multi-platform content delivery, where broadcasters and media companies are working hard to develop strategies that will help them achieve their vision of “multi-platform nirvana” where they can deliver and profitably monetize content on a variety of distribution platforms. On the surface, this translates into increasing deployments of more efficient file-based systems, cloud-based transcoding services, targeted ad 28
traditional hardware-oriented CapEx solutions to software-based systems and/or services that offer OpEx-based pricing. These end-users see the promise of IT-technologies that offer lower costs, “elastic provisioning” of services, and higher levels of interoperability. For “traditional broadcast vendors” this could be a problem unless the reinvent their businesses for the new world – a task which in many cases is easier said than done. For broadcasters and media companies too, the move to these new ways of working is not without its perils. In order to get to their vision of multi-platform nirvana, end-users must reconcile the fact that a shift to delivering content to consumers over multiple platforms has completely changed the economic model of the broadcast industry from a primarily high fixed-cost business, to a high-fixed cost business with an infinitely increasing variable cost component. In the “old days” the incremental cost for a typical broadcaster or pay TV operator to deliver content to one person versus a million people was essentially zero. Broadcasting was a high fixed cost business, with a small variable cost component. However, in todays’ multiplatform world, someone somewhere
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(usually the broadcaster or content owner) has to pay for the bandwidth to send every bit of every program, to every consumer, every time they request content on a unicast basis. These costs add up, and in most cases they are not fully offset by online advertising revenue, which tend to be lower than what broadcasters are used to achieving in their core business.
Money-making proposition Thus the “elephant-in-the-room” about one of the most hyped broadcast industry trends of the past decade is that in many cases multi-screen is not a money-making proposition today. And yet, every broadcaster, content owner, service provider and media company knows must embrace multi-platform, and figure out how to make it a commercial success, because that’s where the world is going. This is a huge issue for the broadcast industry. The long-established economics just don’t work anymore, and as a result of this, everything could change over the coming years.
New commercial environment So what do end-users want and how can vendors help them achieve their business goals? One thing to consider is ways to increase efficiency. In almost all broadcast technology buyer end-user research we’ve conducted over the past few years, “increased efficiency” was cited more often than any other factor as a driver for technology purchase. Why? Because end-users realize that the old economic models no longer work in the new commercial environment. They need to do more for less in order to be profitable in a multi-platform world As a result, one product category that is
receiving increased attention is workflow/asset management, which offers the promise of increased efficiency, greater interoperability, and the sophisticated workflows required to make multi-platform content delivery strategies commercially successful. But deploying these systems is complex. Not only does some of the required functionality not yet exist today, the risk of failure is far higher than previous “transition” projects. For example, a broadcaster migrating from SD to HD will usually have the option of swapping the hardware box of vendor A with a competitive hardware box from vendor B. However, when a broadcaster decides to put 50-100 years’ worth of assets into a MAM system, it impacts the entire future of broadcaster, not to mention the careers of the evaluation team. Broadcasters realize that they need to change their business models for the new reality, but they also realize that doing so may require them to undergo simultaneous technology, commercial, and cultural transformations. These are careermaking or career-limiting choice for decision makers, so don’t expect them to happen overnight.
Radical change But they will happen, so it’s important for vendors to understand the macro forces affecting buyers of their products and services. If the customers radically change the way they work in order to meet their commercial objectives, vendors who have not anticipated this shift risk being left behind. And of course, multi-platform content delivery is just one of the “macro forces” affecting the business models of
broadcasters and media companies. There are a host of other complex issues that end-users are dealing with – from audience fragmentation, to regulatory requirements, to content rights issues, to packet-switched video. There are no easy answers to these issues, and each end-user organization may end up answering them differently, further complicating the landscape, particularly for technology vendors. However, the companies that focus their resources on meeting the business needs of their customers are likely to be the ones that not only reinvent themselves, but also thrive as the future of the television industry unfolds.
About the author
Joe Zaller is Owner and President of Devoncroft Partners, a provider of market research and strategic consulting services to a wide range of digital media clients. The company publishes a variety of syndicated market research reports and has been retained for numerous custom engagements by leading players in the broadcast, cable/satellite/IPTV, digital media, Pro-AV, private equity, and finance industries.
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NEC introduce new P-series projector NEC Display Solutions has announced the introduction of two new bright and compact semiprofessional projectors with advanced connectivity to replace the successful P350W and P420X models. The projectors integrate seamlessly into medium and large meeting rooms, as well as higher education classrooms, where users require high brightness performance but want to eliminate unnecessary installation costs. The P501X conventional and P451W wide format projectors deliver maximum flexibility through features like large optical zoom of 1.7x, vertical lens shift and in-built horizontal and vertical keystone correction, all within a compact design for discreet integration. These features allow for simple positioning to make set-up easy and reduce installation costs, without compromising on quality. Both models deliver high brightness performance of 5,000 (P501X) and 4,500 (P451W) ANSI lumens, enabling very bright projection onto recommended screen sizes of up to 140-inches in normal office ambient light conditions. In addition, other tools such as the free NEC Image Express Utility lite software, as well as network streaming (Windows Media Connect) allow users to pull and push content over the network.
Extron introduce long distance DVI twisted pair extender Extron Electronics is pleased to introduce the DTP DVI 330, a transmitter and receiver set for long distance transmission of DVI-D video, audio, and bidirectional RS232 and IR control signals up to 330 feet (100 meters) over a single CATx cable. The extender provides an effective means for extending single link DVI-D or HDMI signals. In addition, the DTP DVI 330 accepts analogue stereo audio signals and digitizes them for simultaneous transmission over the same twisted pair cable. The transmitter is equipped with a buffered DVI loop-through output to support a local computer monitor. The compact enclosure and remote power capability make the DTP DVI 330 ideal for extending DVI-D, audio, and bidirectional control in space-challenged environments.
Multi-touch screens from Arthur Holm
Following its policy of continuous research and development, ARTHUR HOLM has just announced the availability of multi-touch screens for Dynamic 3, Dynamic X2 and Book monitors. Built entirely in mechanized and anodized aluminium and finished with a black edged front glass, Dynamic 3 is the only motorized or semi-automatic monitor on the market that
opens, rotates 180 degrees and folds down to a flushed table desk position. Its sophisticated electronics provide multiple inputs including HDCP compliance, flips automatically the image according to the screen position and provides a security system to stop the mechanism in case of obstruction detection. Dynamic 3 screen’s lifting system automatically activates the elevation of an aluminium tray where keyboard can be optionally placed. An industrial PC board can also be integrated, converting the system into a complete work station.
LG unveils new digital signage products LG used this months’ Airport Show in Dubai to unveil a strong portfolio of new digital signage products and solutions for airports and airlines in the Middle East and Africa. James Park, CEO, LG Middle East and Africa, said: “The sustainable business and economic environment in general and investments in the airports developments in the region offers tremendous growth opportunities. LG is committed to this region by bringing the latest technologies and solutions that suits the present and future needs. Our line-up of products fits perfectly with the ambitions of this region to become one of the world’s most preferred travel hubs.”
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Analog Way completes its LiveCore series
Kramer introduce 14-input VP-28, multi-format switcher
After the successful introduction of the NeXtage 16 and the SmartMatriX Ultra earlier this year, Analog Way will unveil the Ascender 32 and Ascender 48 during InfoComm during June 2013. Based on the LiveCore platform, Ascender 32 and 48 offer unmatched processing capabilities with 32 and 48 Scalers respectively. As the most important R&D project ever undertaken by Analog Way, this ultra-powerful platform combines ruggedized design, versatile connectivity and state-of-the-art processing to fit with the most demanding applications. Both systems offer 12 seamless inputs and 42 input plugs: 6 x HDMI, 9 x DVI-I, 3 x DisplayPort, 12 x 3G/HD/SD-SDI and 12 x Universal Analog. The devices can handle any source from composite video, up to 2560x1600, and outputs a variety of formats, including HDTV and Computer format up to 2560x1600 and 4K. As all LiveCore-based systems, Ascender 32 and Ascender 48 include an independent Dual-Link output for monitoring purposes, with a Live Source Mosaic layout. The products deliver varied display configurations to adapt to almost any application.
Kramer Electronics is pleased to introduce the VP-28, a 14-input presentation switcher that handles composite video, HDMI, DVI, DisplayPort, computer graphics video and stereo audio and microphone signals. The VP-28 operates as a 3x1 composite video, 3x1 HDMI, 3x1 computer graphics video, 3x1 DVI?I, & 2x1 DisplayPort switcher, each with unbalanced stereo audio. The VP?28 can operate as a 5x1 video switcher and a 14x1 audio switcher. The unit’s Audio Level Memory remembers and returns to the last audio level setting for each audio input signal during switching. It has button selectable options for condenser or dynamic microphones and microphone & audio mixing options, including muting of the master audio output when a microphone signal is sensed. The VP-28 is also HDCP compliant and HDTV compatible. The VP-28 is housed in a 19” 1U rack mountable enclosure, with rack “ears” included.
New 3LCD projectors combine versatile features and value Hitachi has introduced its CP-X3030WN, CP-X2530WN 3LCD projectors, which offer superior image quality, connectivity and ease of use including iPad compatibility, making them ideal for a wide range of business, educational and commercial applications. The CP-X3030WN delivers 3,200 lumens and the CP-X2530WN provides 2,700 lumens, while both incorporate Hitachi’s exclusive Intelligent Eco ImageCare energy-saving technology that actively controls lamp power between 36 and 100 percent, delivering less power to the lamp during darker scenes and more during brighter scenes to conserve energy use and extend lamp life. The CP-X3030WN and CP-X2530WN deliver up to a 4000:1 contrast ratio for bright, vivid colours and sharp images. Both projectors provide a full array of A/V connectivity options including HDMI, component, composite and S-video inputs, with RGB inputs and outputs, audio connections, and an RS232C port for integrated A/V system control. Both projectors also feature a microphone input.
Industry’s first 4K resolution 3chip DLP Projector The quality, clarity and brightness of amusement park attractions, video and image-intensive shows, and exhibitions and virtual design applications has taken a significant leap forward with the introduction of the new Christie D4K2560 and Christie D4K3560 projectors. The new D4K models are the first projectors to combine 4K resolution, high frame rates at 60 frames per second (fps) and 3-chip DLP technology. Both the Christie D4K2560 (25,000 centre lumens) and Christie D4K3560 (35,000 centre lumens) provide razor-sharp image detail – and video with smoother motion and transitions – for unsurpassed image quality and a more vibrant and appealing visual experience. The new projectors replace the Christie D4K25 and D4K35, respectively, and are perfect for any application requiring 4K, 60 fps, 3-chip DLP projectors with high brightness. 31
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Barco launches 4K digital postproduction projector Barco is proud to introduce the world’s first 4K projector dedicated to postproduction, archiving, restoration and 4K colour grading. Featuring a greatly expanded colour gamut, higher contrast and superior colour uniformity in comparison with standard digital cinema projectors, the DP4K-P is specifically designed to meet the exacting demands of the postproduction industry. A unique and appealing feature for the postproduction community is the dedicated Communicator software, which provides greater control over the colour space, enables colour correction per eye for 3D content, and offers powerful input analysis. “To achieve best-in-class performance for postproduction, we have equipped our DP4K-P with purpose-designed components such as a 4K input board and a high-contrast lens,” comments Goran Stojmenovik, Product Manager at Barco. “And thanks to the redesigned Communicator software – fully tuned to the postproduction workflow – postproduction professionals will be able to boost their creative processes.”
Subscription-based Video Conferencing solutions Kathea’s innovative ‘MeetME’ virtual meeting room solution enables users of all sizes to access the power of video conferencing and communication tools using a variety of supported devices. As a subscription-based solution offered exclusively through Kathea’s resellers, it also opens up cloud services to the channel, providing the opportunity for resellers to add services to their basket of offerings. “Our MeetME solution, which will be available immediately to our channel partners to sell onto their customers, addresses a gap in the market for individual users and organisations that cannot afford to or choose not to invest in their own expensive bridging equipment to allow for multi-party video conferencing. It enables users to communicate seamlessly, easily and cost effectively, in a device-agnostic way across various technologies, whenever and wherever needed," says Sabine Moser, Services Director, at Kathea.
Cutting-edge Touch Screen technology Crestron has announced the release of the TST-600 Wireless Touch Screen, the next generation of its wildly popular TPS-6X touch screen for controlling Crestron whole home and building automation systems. TST-600 combines all the robust control functionality of the its multi award-winning predecessor with the latest Crestron touch screen technology to deliver a portable control and communication device like no other. Featuring a high-contrast 5.7" capacitive touch screen, extended-range dual-mode RF/WiFi wireless capability, Smart Graphics, Rava SIP Intercom, long-life lithium ion battery, highperformance H.264 streaming video, and optional backlit pushbuttons, TST-600 gives users the freedom to control entertainment, lighting, climate, shades, AV presentations and more throughout any space up to 200' away. TST-600 is fully compatible with older TPS docking stations, wireless gateways and other accessories.
Samsung smart signage platform Samsung’s 2013 digital signage products are costefficient solutions for businesses, built on the newly developed Samsung Smart Signage Platform powered by a System on Chip (SoC) semiconductor. For the first time, software partners will have the opportunity to develop apps optimised for an assortment of service environments with the Samsung Software Development Kit (SDK). “Our smart signage products will see Samsung continue to dominate the global market for LFDs in 2013. Samsung has focused on making the devices even easier to use and allowing people to play content without requiring a separate device,” says Mike van Lier Business Leader for IT Solutions at Samsung South Africa. 32
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Sharp unveils a brighter resolution future Sharp Visual Solutions has unveiled additions to its 2013 product line-up that demonstrate clear advances in key areas of LCD design. The new screens include the slim, highbrightness PN-R903, 90-inch LCD display, the largest of its type, and a new 32-inch class, PN-K321H, IGZO monitor that delivers stunningly realistic images with Quad-Full HD resolution. ‘As a market leader in LCD displays we are pioneering the drive for thinner, brighter, higher resolution displays, all while reducing power consumption,’ says Darren Gaffey, Product Planning and Marketing Manager, Visual Solutions, Sharp. ‘We have some great products coming out this year and all of them advance the quest to produce more efficient screens with enhanced performance. We are especially excited about our new IGZO technology. The quality of the images really has to be seen to be believed.”
The Perfect Complement to Interactive Whiteboards Interactive whiteboards are now commonly used in school classrooms and corporate boardrooms, and normally the whiteboards are connected via USB to a permanently installed main computer. However, when an instructor of visiting speaker wishes to use his or her own laptop computer, connecting to the interactive board can be troublesome. Neets USB Switch solves the problem. It offers convenient switching between the two computers, connecting either computer to the interactive board as required. No software installation is required, as the system responds to either a contact closure in manual mode or the presence of a new USB connection in priority mode. Neets USB Switch is easily mounted in a trunking system, with the unit's dimensions making it an easy fit inside and mounting flanges on both ends for securing. Installation is fast and easy, using standard USB connectors and plug-in Euroblock connectors. Neets products are now distributed in South Africa by Audiosure.
Improved interactivity from Optoma projectors Providing educators and business users with the most feature-rich, budget-friendly, short-throw projector, Optoma has begun shipping the TW610STi+, designed to produce large, high-resolution images when space is tight. 3D-ready in WXGA resolution and offering state-of-the-art remote command and control via Crestron RoomView technology, the TW610STi+ features PointBlank 3.0 interactive technology and delivers 3200 ANSI lumens of brightness. “The TW610STi+ meets important needs in both classrooms and meeting rooms,” said Jon Grodem, Optoma’s senior director of product and marketing. “By continuing to offer the most advanced interactive solutions available and improving the brightness level from previous models, Optoma is staying at the forefront in providing the ability to create large, vivid images from short distances while also helping to meet fixed budgets. The TW610STi+ creates an interactive presentation environment without the expense of an interactive whiteboard. The WXGA resolution projector creates an 84” diagonal image from as close as three feet away from the screen. The new PointBlank 3.0 package includes a new pen with a smaller, more ergonomic design which creates a more comfortable fit, especially for a child’s hand.
Ideal for smaller digital media switching applications AMX kicked off ISE 2013 with cigars and handshakes, proudly announcing the arrival of the newest addition to the awardwinning Enova® DGX family – a healthy, bouncing baby 8 – the new Enova DGX 8 Digital Media Switcher Enclosure. Just like its older Enova siblings, the DGX 16 and DGX 32, the DGX 8 includes all of the features and capabilities that made "DGX" a household name in digital media switching. This includes an integrated NetLinx Controller, redundant power supplies and the ability to be populated with Enova DGX video input and output boards and optional audio insert/extract boards for a maximum matrix of 8x8. And because the same input and output boards are compatible with all three Enova DGX models (8, 16 and 32), designing, ordering and using all three models is easy, efficient and simple. 33
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SACIA Business Code gets thumbs up SACIA members have wholeheartedly endorsed our newly introduced Business Code and committed themselves to ethical business practice within the communications industry. “It’s a key element for us in selecting suppliers of AV equipment,” says David Butcher, AV Specialist at Tsogo Sun. “There are many vendors who claim to be able to provide and install AV solutions but business
SACIA joins SA Screen Federation
relationships go much further than the initial installation. The SACIA Business Code identifies SACIA members as having a long-term commitment to customer service.” Kevan Jones, executive director of SACIA agrees: “Our Code of conduct is designed to elevate the SACIA logo to a point where it symbolises ethical business practice and a commitment to excellence in all aspects of our profession.
Earlier this year SACIA was welcomed as a member of the SA Screen Federation (SASFED) – a federation of non-profit organisations representing \the broadcast and production industries in South Africa. “When we launched our ethics programme we wanted to engage with a broad audience and SASFED provided us with an
opportunity to reach out to industry stakeholders we weren’t in touch with on a regular basis,” explains SACIA executive director Kevan Jones. “We are currently working with other SASFED members to establish a framework for cooperation on issues like standards, training, skills development and the enforcement of our ethics programme.”
Installation course wins industry support The new SACIA introductory course for AV installation technicians has been endorsed by both the Electrical Contractors Association and the Institute of Safety Management. “In developing our course content we worked closely with other industry bodies to ensure the material was based on industry bestpractice,” explains course developer Mark Hull. “We’re keen that the new course will become a standard induction programme for all technicians working in the AV industry and the endorsement from these two bodies reinforces our
commitment to deliver training that is specifically relevant to our market in Southern Africa.” Mark’s views are shared by Vaatjie Heyneke, president of the Institute of Safety Management. “An entry-level training programme that teaches people to have a ‘safety-first’ mindset is absolutely critical if we want to reduce work-place accidents,” he says. “This SACIA course is an ideal starting point for all technicians.” It’s anticipated that SACIA will co-operate more fully with the IoSM in order to raise safety standards in our industry.
First delivery of Intro course for install techs During April we launched our new introductory course for AV install technicians. The first delivery attracted a dozen technicians and feedback has been overwhelmingly positive. All participants indicated that they’d recommend the course to colleagues and employers. Over the next few months we’re fine-tuning the course based on feedback from participants and will plan to deliver a new ‘enhanced’ version during July. "We've been looking for a training programme we could 34
implement within AVC," says Michael Miller, regional manager for AVC in KwaZuluNatal. "We wanted to establish a base level of knowledge from which we could implement common work standards and in particular, a common understanding of how to work safely and efficiently within clientoccupied premises. This course met all our requirements and more. I heartily recommend it to all installation teams working throughout South Africa."
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Heading north to Nairobi
SACIA exhibits at SATCOM Africa During June SACIA exhibited at the annual SATCOM Africa show that took place at the Sandton Convention Centre. SATCOM Africa is the largest satellite communication conference and exhibition focussing specifically on the needs of the African continent. It brings together end-users and suppliers of satellite technology to find cost effective and reliable solutions. Our stand will focus on raising the SACIA profile within the satellite community and is designed to reinforce our shared commitment to ethical
business practice and technical standards. Executive director Kevan Jones will also present a paper on the challenges facing the market with the introduction of DTT transmission, with a specific focus on standards, training and skills development. We’ve also partnered with SASFED to present a panel discussion that will focus on content creation, funding and the regulatory environment that’s impacts the creation, management and delivery of locally produced programming.
One of the strategic objectives defined by the SACIA Board has been to expand the influence of our Association into the SADC region and forge alliances with our colleagues in neighbouring countries. During June we exhibited at AITEC’s Broadcast, Film & Music Africa exhibition that took place at the Kenyatta International Conference Centre in Nairobi, Kenya. “Just under half the countries in Africa have liberalised their broadcast markets and there has been a considerable growth in the number of new television and radio stations,” explains Sean Moroney, chairman of Aitec Africa. “The final opening up by the rest of the countries on the continent promises the kind of growth that the mobile
With just a few days to go before the bi-annual Mediatech show in Johannesburg we’re hard at work planning our activities around the show. During the days immediately prior to the show opening we’re running our popular GEN111 AV Essentials course delivered under license from InfoComm International. “We’re hoping to attract delegates from African AV integrators visiting South Africa to attend the Mediatech show and by co-ordinating our marketing activities with the show organisers we’re really reaching out to new markets across Africa,” explains Kevan Jones, executive director of SACIA. Simon Robinson, managing
market has experienced over the next five years. Whereas broadcast media used to be simply a small number of TV and radio channels, there is now a proliferation of ways in which broadcast programming can be received by its audiences including satellite, IP-TV, PC and mobile. Taken together, the number of channels and the many different ways of receiving programming has begun to fragment the traditional market. African broadcasters need to find new ways to sustain their audiences and attract new advertising.” SACIA is already a major training provider in the South African market and our objective is to share standards, training and skills development programmes with our colleagues across East Africa.
director of Mediatech and publisher of Screen Africa magazine is equally enthusiastic. “Over the last few years I’ve seen SACIA grow from a small start-up Association into a recognised body that is really making a difference to standards in our industry. We’re pleased to be a supporter of the Association and look forward to working closely with them in the future.” Also taking place during the Mediatech show is SACIA’s Government ProAV Forum. This is a halfday conference that looks specifically at the use of broadcast and AV technology in government and stateowned enterprises. 35
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InfoComm CTS certification in Southern Africa
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or the last few years SACIA has delivered InfoComm training in Southern Africa under license from InfoComm International. At this stage there are 30 AV professionals in South Africa who have earned the CTS credential, including three specialist AV designers who have gone on to earn the advanced CTS-D credential. There are many more people who have earned the InfoComm recognised AV Technologist certificate, an online certificate programme that gives AV practitioners an opportunity to prove their knowledge in the science and technology behind today’s modern audio, video and display systems. In order to earn the InfoComm CTS certificate, AV practitioners are required to commit to a code of conduct and pass an exam written at an independent Pearson Vue testing centre. There is no requirement to attend any training programme although SACIA host courses designed to help individuals prepare for the written InfoComm examinations.
SACIA training programmes The value of SACIA training is underscored by feedback from Dimension Data’s John Mills CTS-D who prepared for both the CTS and CTS-D examinations by attending SACIA training programmes. “InfoComm’s CTS credential is the global standard for excellence in the AV industry. I’d been planning to write the CTS exam for the last few years but for whatever reason I just kept putting it off,” he says. “Participating in the SACIA-run CTS Prep course in 2010 helped me prepare myself – knowing what to expect from the exam removed the inertia and gave me the boost I needed. Within two weeks of completing the course I’d written the exam and earned the CTS certificate with a 90% pass rate. In 2011 I attended the InfoComm DES courses for advanced audio-visual design and was again impressed by the depth of information shared. I went on to earn the CTS-D credential in 2012 and haven’t looked back since. The CTS programme is more than a certificate to hang on the wall – it’s recognition from the global AV market that I can deliver the goods. I view myself as a professional in audio-visual design and the investment I’ve made in earning the CTS
credential reflects my personal commitment to continuous professional development in an industry that is changing at a rapid pace.”
Worthwhile investment Another well-known integrator who has attended the SACIA courses is Natal Video’s Ian Thornhill. “After more than 25 years in the industry I thought I knew it all and was quite sceptical about the value of attending the programme,” he says. “How wrong could I have been. At the end of three days my head was spinning. Most enjoyable. Very informative. Well presented. I now know a lot more and highly recommend that anyone in the industry, no matter how many years of experience, sign up for this course. It formalizes what you ‘may’ already know and gives a good base for the next level. Did I waste my money? No way, the course is worth every cent and more.”
Common standards Whilst the majority of CTS holders in the country are employed within the supplier community, a number of corporate and institutional users have also made a commitment to training and skills development. There are three CTScertified AV professionals employed within the University of KwaZulu Natal, while staff from UNISA, University of Johannesburg, North West University, Tshwane University of Technology and the University of the 36
Witwatersrand have all attended training and earned the InfoComm recognised AV Technologist certificate. Marius de Beer, head of AV Technology at North West University explains that NWU was established in 2004 through the merger of two universities with very different histories, personalities and cultures: the Potchefstroom University for Christian Higher Education and the University of the North-West. The staff and students of the Sebokeng Campus of Vista University were also incorporated, adding further to the richness of the University’s heritage. “Each University had an established audio-visual unit and over the last decade our objective has been to merge these into one working department that embraces common standards and work practices based on international bestpractice. By joining SACIA and participating in their training programmes we’ve established a common training platform for each campus (Potchefstroom, Mafikeng and Vanderbijlpark) and InfoComm’s CTS certification programme provides everybody in the department with a formal mechanism for career development,” he says. Marius attended the InfoComm DES training programme in 2011 and is currently preparing to write the CTS examination.
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