AV Specialist Vol. 111 by Tim Jones

AV industry needs sharper axe The challenge of convergence Digital signage shines bright Cutting the red ribbon See us at

Broadcast market under pressure

Broadcast distribution challenges Getting it right the first time

Contents AV Specialist Volume 111

Have we got a deal for you! Where do you go to buy or sell a video camera? Make that a playout automation system or a video conferencing suite and the answer may not be quite so easy.

During late 2009 Sarah Kilalea and Martin Leahy embarked upon a grand adventure, travelling from Dubai to Cape Town in their trusty Nissan 4x4 and visiting AIDS orphanages on their way. Publisher & Managing Editor Kevan Jones kevan@avspecialist.tv Feature Editor Dick Hobbs dick@avspecialist.tv Circulation Anne Ebrahim ann@avspecialist.tv Designer Rajiv Gopalan rajiv@avspecialist.tv Advertising sales Africa, Middle East, UK Richie Ebrahim richie@avspecialist.tv Europe Emmanuel Archambeaud earchambeaud@defcommunication.com Represented in North America by: Broadcast Media International Michael Mitchell Tel: +1 631 673 3199 michael@avspecialist.tv Represented in the Middle East by: AV Specialist MENA FZ LLC PO Box 502314, Dubai United Arab Emirates Tel: +971 (0)4 391-4718 Fax: +971 (0)4 345-2898 Published in South Africa by: Doddington Direct cc PO Box 3939, Honeydew, 2040, South Africa Tel: +27 (0)11 083-6418 (NEW) Fax: +27 (0)865253852 Represented in Europe by: Def & Communication 48 Bd Jean-Jaurès, 92110 Clichy, France Tel: +33 (0)1 4730 7180 Fax: +33 (0)1 4730 0189 Ave qualified circulation (Jan - June 2009) 5437

Future bright for region’s audio visual industry The Middle East has been identified as being among the fastest growing markets for the multi-billion audio visual industry which, in spite of the troubling economic environment last year, has seen no overall contraction in spending.

Guarding the goose and the golden egg I seem to have been writing about asset management for close to 20 years, and yet there is still no clear agreement about what it is, how it should be done, and where the benefits lie.

Low cost production cuts the red ribbon A road movie, an adventure, and a new way of raising the plight of African orphans: the Arabia to Africa project is all of this and much more.

Publisher’s Note TS Elliot’s poem, The Wasteland, is considered by many to be the greatest verse of the twentieth century. April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. For many in the broadcast and ProAV industry the expectation is that April will provide a sure sign that our roots are being sprinkled with more than spring rain. In the IABM’s latest industry analysis it’s reported that only 52% of manufacturers (worldwide) are currently operating at a profit. This situation is surely reflected in local markets where resellers, production companies and post-production companies all continue to report tough trading conditions. So far this year, increased attendance at the ISE exhibition in Amsterdam during February seemed to signal a possible upturn for the ProAV market but flat attendance at the Cabsat show in early March suggests that the difficulties being faced by the broadcast industry in the Middle East are far from over. April sees both NAB and PALME as two events that will allow commentators to check their industry barometer and determine whether we’re making progress or merely treading water. NAB is unarguably the world’s largest trade show for the broadcast industry but attendance at last year’s event was well down. Although they brand themselves as a global event, it’s a show that’s dominated by the North American market. Many exhibitors will be putting on a brave face but the reality is that under the glitz of Las Vegas, many will be rolling the dice for the last time. Over the next year, a large number of established suppliers will be merged, acquired or simply closed down. The same applies in the ProAV industry where increased competition and tighter margins are making it ever more difficult for manufacturers, distributors, dealers and integrators to sustain their business. PALME organizers are putting on a brave face with some bold predictions about business opportunities in the Middle East. I’m far less bullish and predict that established vendors will continue to battle. With limited opportunities, mergers, acquisitions and business closures will continue to be the norm throughout 2010.

Product

news MHX-3000 Digital Modulator During NAB TeamCast will launch their new MHX-3000, a high-end Digital Modulator with the latest state-of-the art Digital Adaptive Pre-correction. In the context where broadcasters are more and more concerned about reducing their Digital Terrestrial Television (DTTV) network OPEX costs and at the same time limiting impact on the environment, it becomes important that new DTTV transmitters are designed to be as energy-efficient as possible. The global strategy adopted by TEAMCAST is to provide always the key solutions and technologies that will enable transmitter manufacturers to optimize their own solutions. The MHX3000 implements the very latest state-of-the-art Digital Adaptive Pre-correction (DAP) algorithm. It has been especially designed to run Digital Transmitters closer to their saturation region, by adapting in real-time the power amplifiers’ inherent nonlinearities as well as minimising the often ignored “Memory Effects” of the amplifier circuitry.

FOR-A expands Hanabi switcher series FOR-A will introduce the HVS-350HS HD/SD 1.5 M/E Digital Video Switcher at the 2010 NAB Show in Las Vegas. A “big brother” to the popular and cost-effective HVS-300HS, the HVS-350HS switcher is ideal for mobile production units and small control rooms that have limited space but produce challenging programs, such as sports and other live events. FOR-A will also showcase the HVS-300RPS, an upgraded version of the HVS-300HS with a redundant power supply, at the show. “Since its introduction, the HVS-300HS has seen incredible success in several markets such as houses of worship, education, and corporate video production,” said Hiro Tanoue, president of FOR-A Corporation of America. “Our customers have been impressed with its compact footprint and big, cost-effective performance. Our latest addition to the product line, the HVS-350HS, adds 1.5 M/E functionality, more inputs, and more standard features – without dramatically increasing the size of the switcher or control panel. It is the perfect addition to the HVS-300 Series of Hanabi switchers.”

New iPixPanel turns Apple iPad into Control Panel

The new Apple iPad is about to become a fully functional live video production system control panel. Broadcast Pix has announced iPixPanel, an application that will allow an iPad to control any of its Slate video production systems. The iPixPanel combines the iPad's user friendly touch screen and wireless control with a Slate panel's

Digital Rapids expands encoder range

unprecedented feedback, which shows device and file name on the panel's buttons, helping users to create engaging live video. Apple is expected to ship the iPad later this month, and the iPixPanel application is expected to be available for download at Apple's App Store for $195 in April. Until then, users can try a portion of a control panel for free by downloading the Broadcast Pix iPixPad from the App Store, then run it on an iPhone or iPod Touch. Broadcast Pix will demonstrate both of its Apple apps at the 2010 NAB Show in Las Vegas.

Digital Rapids has unveiled a powerful new version of the Stream software for the company’s StreamZ, StreamZHD and DRC-Stream encoding and live streaming systems. Available immediately, new features in Stream version 3.2 include advanced encoding for adaptive streaming to Apple iPhone mobile devices; expanded format support including JPEG2000 video and Dolby Pulse audio; enhanced encoding of content for Sony PlayStation 3 and other Sony devices; Microsoft PlayReady technology for protection of Microsoft Internet Information Services (IIS) Smooth Streaming content; enhanced IIS Smooth Streaming; and YouTube Content ID reference file generation. A new optional module for Stream 3.2 adds enhanced capabilities for encoding content for live and on-demand viewing on iPhone mobile devices and iPod touch personal media players. The iPhone module’s integrated segmenting capabilities provide full support for HTTP-based adaptive bit rate delivery to the iPhone while eliminating the need for an external stream segmenter, simplifying encoding workflows and reducing overall system costs. 2

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

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

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

Connect to any Deck, Camera or Monitor

Microsoft Windows™ or Apple Mac OS X™

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

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

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

DeckLink HD Extreme

US$995

Learn more today at www.blackmagic-design.com

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

NAB, Las Vegas • April 10 –15, 2010 • Booth C7425

Product

news NMK debuts PSM900 at Cabsat NMK recently showcased the new Shure PSM900 in-ear monitoring system at the annual Cabsat exhibition in Dubai. The PSM900 Wireless Personal Monitor System offers an unprecedented combination of superb audio quality, robust RF performance, and category-leading features for the most demanding professional applications. All new, patent-pending CueMode allows the sound engineer to monitor different stage mixes with the touch of a button. Precision front-end RF filtering significantly reduces dropouts from RF interference, and the enhanced digital stereo encoder provides excellent stereo separation and audio clarity. “The PSM900 was launched this year at the NAMM show in January and Cabsat made this the first show outside the US that the new system was showcased in,” commented Richie Hiranandani, marketing manager an NMK Electronics. “We are looking forward to stocks of the new system as we have already received positive reactions from the market.”

OConnor Introduces Cine Follow Focus CFF-1 OConnor has introduced the first product in their new line of professional camera accessories: the Cine Follow Focus CFF-1. This rock-solid tool features the hallmark design and precision engineering that has made the OConnor brand renowned throughout the industry for 60 years. Constructed of lightweight, durable black anodized 7075-grade aluminum, the CFF-1 sports a multifunctional, modular design that eliminates the hassle of juggling separate bridge plates. A single, easy to use snap-on bridge clamps effortlessly onto either 15mm or 19mm studio rod systems. (An optional LWS bridge is also available.) The OConnor integrated approach lets the operator straddle the line between both standards with ease and efficiency. With the lowest clearance available in a doublesided studio unit, OConnor’s follow focus is ideal for large diameter lenses such as the Angenieux 24-290, Red 18-85, Fujinon 18-85, and Fujinon 75-400—and protects the user’s equipment investment by ensuring compatibility with optical systems now and into the future.

Clear-Com launches enhanced Concert

Orad to unveil unique channel in a box solution

During NAB Orad will enhance its offering to the TV broadcasting market, with its new Blend channel in a box solution. Blend is a high quality cost effective solution that is set to address today’s workflow challenges by providing HD/SD video playout coupled with 3D real time graphics in a single box. With Blend, a channel

dedicated to video clips playback and a channel dedicated to graphics playout coexist. Both channels are controlled from the same user interface by a single operator, dramatically reducing operational costs. As a file based video server, Blend enables broadcasters to rely on all commonly used file formats, codecs and wrappers. Clips can be played back in SD, HD and even uncompressed HD is supported, and can be copied to the local storage while on air without disturbing the current playout.

Clear-Com has announced the launch of an enhanced version of the company’s Clear-Com Concert intercom software, which now offers new external audio 5

interfacing capabilities. With this new connectivity option, Concert can easily interface with external audio systems, including partyline systems, paging systems, program feeds and other matrix systems using a four-wire interface over a standard IP network, providing a seamless communications network. Clear-Com will exhibit the enhanced Concert for the first time at NAB 2010. “Unlike many IP intercom products that just transmit audio over an IP link, Concert has truly defined Intercom-over-IP with its ability to seamlessly integrate with traditional intercom systems and external audio interfaces over standard IP networks,” says Patrick Menard, Product Manager of Concert at Clear-Com. ClearCom products are distributed throughout Southern Africa by Spescom Media and IT.

K2™ DYNO INSTANT REPLAY SYSTEM

POWER IS NOTHING WITHOUT CONTROL.

The Grass Valley™ K2 Dyno replay controller, coupled with the new K2 Summit production client, gives producers the power to capture live events in crystal-clear HD and instantly replay them at variable speeds for critical analysis. This makes the K2 Dyno the perfect solution for fast-paced events that require the finest level of control possible.

It’s Gotta Be A Grass! Visit us at NAB 2010 Booth SL106

For more information, please visit www.grassvalley.com/K2

Product

news Fast Forward Video's DigiDeck extends GlobeCaster switcher

Streambox announce SBT3-5300 video transport solution

Fast Forward Video (FFV) has announced the integration of its DigiDeck digital video recorder (DVR) with the GlobeCaster all-in-one production switcher/graphics solution. Together, the DigiDeck DVR and GlobeCaster provide a powerful and cost-effective solution that allows A/V and production professionals to cue multiple video sources for live shows and events. "Now, our GlobeCaster users can connect up to four DigiDecks with content that has been previously recorded and professionally edited, and then cue and play the clips simultaneously — just as if the content were internal to the GlobeCaster. The DigiDeck is extremely intuitive and easy to use, as it's operated with the traditional tape deck controls familiar to everyone," said Mike Benke, senior engineer for GlobalStreams.

Streambox have announced the launch of the Streambox SBT3-5300, the newest member of the company's family of stateof-the-art video transport-over IP encoders/decoders. The compact 1-RU solution is ideal for live news broadcasts, distribution of video to cable headends, SNG/ENG vehicles, and other video delivery applications that require high reliability and performance with minimal power consumption. Designed for low-bandwidth video acquisition and transport, the SBT3-5300 enables users to capture, transmit, and play out live and file-based video over IP networks. The SBT35300 packages all of the advanced networking capabilities of Streambox's industry-leading ACT-L3 codec in a smaller, lighterweight chassis — delivering unrivaled SD video quality and compression at data rates ranging from 64 Kbps to 15 Mbps.

Volicon announces expansion of Observer family

Redrock Micro’s M2 Cinema Lens Adapter

As part of its strategy for offering solutions tailored to the full range of broadcast, corporate, government, and editorial workflows and budgets, Volicon has announced a significant expansion of its award-winning Observer family of digital video logging and monitoring systems. At the 2010 NAB Show, Volicon will unveil a new product family that includes three versions of the Observer: Observer Professional, targeted for budget-conscious television stations and companies that require streamlined features and workflows for scheduled recording, searching media mentions, and clipping for quick export; Observer Enterprise for larger broadcasting networks that require 24x7 multichannel media monitoring and compliance logging; and Observer Enterprise Plus for the largest and most complex editorial production facilities that require multiple bit rates and resolutions for high-resolution finishing. At the same time, Volicon will introduce a streamlined user interface for the Mac and Windows platforms and expanded Web browser support, plus enhancements to the Observer's search capabilities and the Scheduled Recording Module.

A revolutionized version of Redrock Micro’s M2 Cinema Lens Adapter is hitting the Middle East market. The awardwinning Redrock M2 Encore represents a new era of performance and affordability for 35mm lens adapters that enable digital video cameras to achieve remarkable "film style" footage. Over two years in the making, the M2 Encore is an upgrade to the award-winning M2 that allows 35mm lenses to be attached to your existing DV or HD camera to deliver the depth of field, angle of view, and focus techniques typically found only in 35mm motion picture film. “One of the missing tools in the majority of today’s video cameras is the ability to have “selective focus”, or the option to only have the subject in focus while the background or other objects remain out of focus, in my opinion that is where a 35mm lens adapters such as the Redrock M2 Encore truly highlights its value” said Parwaiz Anjum, the director of projects at UBMS.

We used our ears to enhance your vision. In developing our latest camcorders, we heard what you had to say. Which is why only Sony can now offer you a choice of compact or shoulder style camcorders both with full HD 1920 x 1080 sensors. As well as stunning full HD pictures XDCAM EX also delivers rapid non-linear workflow for quick turnaround, through more efficient editing and archiving. With further added new features like DVCAM recording and lower cost memory options, you really can shoot more for less. Cast an expert eye over the PMW-EX1R: sĂŚĂŚ"ASEDĂŚONĂŚTHEĂŚAWARDĂŚWINNINGĂŚ PMW-EX1 sĂŚĂŚ$6#!-ĂŚRECORDING ĂŚ#ACHEĂŚRECORDĂŚ and Image Inversion sĂŚ.EWĂŚERGONOMICSĂŚANDĂŚDESIGN Sound out the new PMW-350 sĂŚĂŚ!MAZINGĂŚLIGHTWEIGHTĂŚSHOULDERĂŚ camcorder sĂŚĂŚ,ESSĂŚPOWERĂŚCONSUMPTION ĂŚMOREĂŚ recording time sĂŚĂŚ'REATERĂŚSHOOTINGĂŚmEXIBILITY ĂŚSMALLERĂŚ carbon footprint 4OĂŚEXPERIENCEĂŚTHESEĂŚAMAZINGĂŚPRODUCTSĂŚ for yourself, visit our website now For further information contact Sony Professional Solutions MEA FZ LLC 5NITĂŚ# ĂŚ0 ĂŚ/ ĂŚ"OXĂŚ International Media Production Zone Dubai, United Arab Emirates Tel: +971 4 391 8400 Fax: +971 4 391 8154 Email: middle.east@eu.sony.com www.pro.sony.eu

PMW-350

PMW-EX1R

Product

news Avid expands Interplay into complete Media Asset Management Solution Avid have announced a major expansion of its market leading Interplay product family, based on the acquisition of Blue Order, which transforms the current production asset management (PAM) solution into a full media asset management (MAM) solution. As large media organizations seek ways to adapt in a rapidly changing business environment, Interplay now enables them to unlock new streams of revenue and reduce operating costs through some of the most comprehensive and open business process management, media cataloging and collaboration capabilities on the market. The Interplay product family is the foundation of the Avid Integrated Media Enterprise framework. Avid’s Interplay family now includes a new module, Interplay Media Asset Manager, based on the Blue Order Media Archive product. This new module enhances content-related workflows by allowing media enterprises to collect, index, catalogue, manipulate, retrieve and distribute rich media. Now, customers will gain greater visibility into their assets, work across teams and geographies and be able to build business processes adapted to their specific needs.

Blackmagic Design announces new UltraScope 1.2 software update Blackmagic has announced a new software update for Blackmagic UltraScope, the world’s first 3Gb/s SDI and optical fiber waveform monitor. This latest update adds a new customizable "2-up" view, greater support for different monitor sizes and a super high resolution zoom of Parade, Waveform, Vectorscope and Picture displays. With support for 1920x1200, 1920x1080 and 1280x800 resolution monitors, Blackmagic UltraScope can now be used with a wide range of monitors, both large and small. Now you can use screen sizes smaller than 24", which is perfect for outside broadcast vans or in-studio rack mounting.

Axon introduce Synapse 3D

Axon will introduce their Synapse 3Hb/s stereoscopic production tool for 3D applications at this year’s NAB exhibition. The G3D100 is a 3Gb/s, HD and SD stereoscopic production and/or transmission tool. The unit is designed for situations where stereoscopic production with flip or mirror, monitoring in anaglyph, 3D transmission of stereoscopic into side by side, or side by side to anaglyph is required. It can be fed with a stereoscopic image (and a backup source). These sources are processed internally to provide multiple outputs.

In a stereoscopic production where (in case of a mirrored camera rig) one of the inputs is flipped or mirrored, the unit makes sure that the outputs are retimed to reference to the first SDI input. The on-board colour correctors in both the left and right path can be used to correct for differences in colour between the two inputs. The corrected outputs can feed a production mixer for a full blown stereoscopic production. At the same time one of the processed outputs gives a side by side image compatible with all 3D screens that use shutterglasses or polarized glasses (depending on manufacturer). The other processed output gives an anaglyph picture for different versions of anaglyph glasses compatible with all normal screens.

Vinten celebrates 100 years of innovation

Vinten is celebrating its 100 year anniversary in 2010, an unprecedented achievement in the film and television industry. As part of the celebrations it will be rolling out new technology alongside its proven favourite products at NAB2010. Vinten is renowned for its Perfect Balance, the unrivalled ability to support a camera so that 9

it appears weightless to the user. This, combined with fluid drag, ensures that the only moves the camera makes are those that the operator wants, with the camera remaining perfectly still – in any position – at the end of the move. Today Vinten provides Perfect Balance for virtually any camera, with the award winning Vision AS range (launched at NAB last year) matching payloads from 2k to 14.5kg, the Vector range of pan and tilt heads, and the Quattro range of pedestals which together provide top end support for large camera/lens/prompter combinations.

www.christiecontrol.com/entero

How many bulbs does it take to change your mind?

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

THE ENTERO LED SERIES REAR PROJECTION MODULES

when it matters.

Product

news Miranda launches low cost Imagestore Miranda Technologies is launching two low cost, high performance master control switching and channel branding systems at NAB, called Imagestore-Modular+ and Imagestore-Modular. Imagestore-Modular+ offers the full breadth of channel branding capabilities, including clip/animation playout for advanced graphics effects. This HD/SD processor can provide up to 80 minutes of clip playout for partial or full frame branding and promo graphics. It uses a space and energy efficient, dual card design, with up to four channels housed in a single 3RU Densite frame. The Imagestore-Modular+ package includes Mirandaâ&#x20AC;&#x2122;s Vertigo After Effects plug-in and Vertigo Xplorer graphics automation tools, which offer easy to use, and highly productive graphics generation, asset management and publishing. By using Adobe After Effects for graphics creation, the system offers a familiar workflow, and the ability to create world class graphics. It also provides highly streamlined batch rendering and easy quality control.

Smaller, Lower Priced With the Soundcraft Vi Series now firmly established as a firm favourite digital desk on both the touring, broadcast and installed sound scenes, Soundcraft have taken this amazing platform to another, more affordable level with the release of the new Vi1 console. Many users have asked for a smaller, lower-priced desk that still has the acclaimed Vistonics user interface, and of course the now-legendary optimal sound quality established with the Vi Series. The Soundcraft Vi1 is a complete standalone console package with 32 channels of analogue input to 27 analogue outputs, plus 6 digital inputs, 4 Stereo FX Returns and 6 digital outputs in one chassis. As standard, Input to mix capacity is 46chs, but by adding a stagebox (compatible with the existing Vi racks), simultaneous channel count increases to 64. Channels are routable to 24 multifunction busses, plus LR and Mono Mix busses.

IDX ships dual hot-swop battery plate

IDX Technology is now shipping the A-E241E, a new dual V-Mount plate which can support two attached IDX Vmount batteries to double the battery capacity and runtime available for cameras and onboard accessories. The new plate has a universal V-Mount for secure connection to a wide variety of professional broadcast cameras and equipment and is compatible

with all IDX ENDURA System Lithium Ion batteries. AE241E users have the advantage of being able to "hot-swap" batteries as they become low on capacity, replacing them with fully charged models without turning the camera off. The lower battery channel supports IDX's Digi-View feature which shows remaining battery capacity data in percentage steps via the viewfinder. The A-E241E is primarily designed to provide longer lasting battery power for high powered ENG and cinematic cameras. It is especially suited for use with the 136Wh ENDURA ELITE battery which can output 272Wh of runtime.

New PQA600 Picture Quality Analyzer Based on the concepts of the human vision system, the Tektronix Picture Quality Analyzer provides a suite of repeatable, objective quality measurements that closely correspond with subjective human visual assessment. Tektronix now offers the new PQA600 Picture Quality Analyzer with faster measurement execution, quieter design environment, improved temporal alignment execution, and intuitive graphical user interface for easy analysis and Region of Interest capability for even more detailed analysis. Tektronix will also be offering a trade-in program for existing PQA500 customers. 11

Peter White is Director General of the International Association of Broadcast Manufacturers, the global Association which represents manufacturers and suppliers within the broadcast and media industry.

and Saudi Arabia will fall behind, with their economies actually shrinking.

Regional perspective

Market still under pressure The IABM’s regular breakfast meeting during Cabsat has, by all accounts, become a traditional chance for vendors, both locally and internationally, to get together to talk about the state of the business. I say “by all accounts” because this was my first Cabsat, having joined the IABM, the organisation which represents manufacturers and suppliers in the broadcast and media industry, at the end of last year.

think I probably caused a few people to choke on their breakfast when I revealed some news from the February IABM industry index. This suggests that just 52% of the businesses in our industry are trading profitably. The number has been plummeting since April last year when the recession really began to take hold.

profile events including soccer in Nigeria last year and South Africa this. Cabsat is a Middle East and North Africa event, though, and so the discussion around the breakfast tables focussed on that as a region. Here again, the variations are huge. The IMF’s projections for gross domestic product to 2012 suggest that Qatar, Algeria and Sudan will see dynamic growth, for example, while UAE

Taking the regional view, the IMF’s projections for GDP growth 2008 to 2012 puts Africa way ahead of the pack on almost 15% compound annual growth rate, followed by the Middle East at 8%, before you get to the first of the supposed market leaders: India with a CAGR of 7%. Compare that with Western Europe and North America, both of which will see their economies shrink during the same period, and Japan which will suffer an 8% fall in CAGR. The other factor that will continue to have a significant impact on our industry is the movement between currencies. That is particularly relevant in an area like the Middle East where many national currencies are pegged to the US dollar. A year ago my predecessor could report that most major currencies had returned more or less exactly to their 2006 US dollar value. Over the last year, though, there have been big movements, with sterling, the euro and particularly the yen declining in value. What this means for buyers with

Slow recovery in 2010 % of com panies inin profit, last 24last m onths % of companies profit, 24 months

85.0% 80.0% 75.0% Percent

70.0% 65.0% 60.0% 55.0% Fe b

ec D

ct O

Au g

Ju ne

Ap r

Fe b

ec D

ct O

Au g

Ju ne

Ap r

50.0% Fe b

Have we reached the low point? I certainly hope so. 2009 was not pleasant for anyone, and 2010 does not look like showing much in the way of recovery. The forecast in the 2009 revision of the IABM market valuation report suggested that it would be 2012 before revenues returned to 2008 levels, and that still seems like a fair summary. These are global numbers, though, and it is important to bear in mind that they mask huge regional variations. Africa, for example, is seeing strong and healthy growth at the moment, driven by high

According to the latest IABM industry index, only 52% of manufacturers in the broadcast industry are currently operating at a profit. The number has been dropping since April last year when the recession really began to take hold.

dollars – or currencies tied to dollars – to spend is that prices should fall. Or possibly local dealers and distributors can firm up their margins to give them additional future security, or some combination of the two. A year ago a quick survey of exhibitors at Cabsat found that more than half those asked expected the market to remain flat, with an equal number suggesting that trade would go up as those who thought it would go down. Looking back, the same respondents had dramatically changed their views, with well over 50% finding the market under-performing compared with the previous year and only a little over a quarter seeing it rise.

Informed expectations Armed with that wisdom, this year the expectations are more balanced, with 40% expecting a rise in business – which would be reasonable after a terrible 2009 – but over 30% expecting a further fall. A good part of the debate at the breakfast meeting focused on where this business was going to come from. One interesting point to arise from the discussion was that there is a huge amount of business to be had in markets which Western companies have traditionally found difficult, and those which are tough to approach because of the conflicts which affect the region. According to contributions from the floor there are 27 television stations in Kabul, Afghanistan, for example, and 60 stations in Iraq. One well known local distributor claimed that “for every camera sold to Saudi Arabia, we sold 10 to Iran”.

Where's the opportunity? Given the well-publicised investment in Saudi Arabia at the moment that suggests a huge amount of business. While there was a lot of debate on the matter, there was strong feeling that Iran is the biggest market in the Middle East at the moment. It also led to a discussion on content, which seems to be where the big interest lies in the region. Iran has always had a strong local production community, not least because of the need to create content in the language as well as the culture of the community. But production capabilities are growing throughout the region and, as one person put it, “people who have got content are looking to do something with it”. Another contributor made the point that “broadcasters and content owners are becoming more conservative in the way they invest. They want to make the most from the value in their content.” An excellent example of this came the

Around 40 manufacturers of broadcast technology met for the annual IABM Executive Breakfast during Cabsat. The event was jointly hosted by Kevan Jones, executive director of the Middle East Communications Industries Association (MECIA) and Peter White, the newly appointed director general of the International Association of Broadcast Manufacturers (IABM)

previous day, when ADMC in Abu Dhabi announced a major investment, to be managed by Harris, following its taking over the broadcast rights to the English Premier League football. This will enable HD channels, but also delivery to other platforms too, including the internet and mobile television.

Local content Local content is seen as becoming more and more valuable, too, and this is leading to a big surge in demand for outside broadcast trucks, particularly at the moment in North African countries like Tunisia and Morocco. “Builders cannot keep up with demand” was one comment. The general feeling, then, is that business in the region is coming back, albeit slowly, and that Dubai remains the best place to do business, not least because of the ease of travel without onerous visa regulations. As the market builds, though, there will be a

need for development of skills in the region, and this is seen as an issue.

Role of consultants The challenge was summed up by one contributor who said that “consultants – and not just in this region – have got themselves a bad reputation for delivering little value at high cost”. Another felt that “people do not like to pay for consultancy”, the implication being that they want it free from the prospective supplier or systems integrator. But with new technical challenges from mobile television to the prospect of 3D, and new business challenges in terms of matching content – local and international – to audiences as well as building solid revenue streams, there is a need for clear strategic thinking. It will be interesting to see how that plays out over the coming months, and where it is when we review it at Cabsat 2011.

IMF Regional Growth Forecast 2010

Talking point – digital signage One of the conference sessions at the ISE exhibition earlier in the year was led by a fascinating man named Dr Leo Kivijarv, the senior analyst of top US research company PQ Media. His presentation, about the prospects for digital signage and other digital out of home displays, was fascinating and stimulating.

ike all good analysts he was great with statistics, and I believe that his numbers are pretty authoritative. He says that the business we are in – communications and media – is the fourth largest global industry, valued at $2.2 trillion this year. Of this, the advertising industry represents about 20%, or $454 billion, but of that number the spend on advertising out of the home is a mere 6.4%, bringing us down to around $29 billion. And more than three quarters of that is made up of billboards and other old technologies. The market for digital out of home advertising – digital signage – is currently $6.7 billion, or 0.3% of the total advertising spend.

Out of home media Yet the same research suggests that today 46% of all media is consumed out of the home, from the iPod to the cinema. And over the last 15 years the amount of time we actually spend out of hour homes has doubled. The prospects for digital signage, particularly as an advertising

medium, should be good. And a recent report from another research body, iSuppli, predicts that shipments of digital retail signs will rise to 2.5 million units a year by 2013, equivalent to a growth of

26.8% year on year since 2008. Getting back to the conference session at ISE, other speakers were full of the possibilities of new technologies and how this would drive the next phase of growth. Digital signage should be interactive, we were told. By being aware of the context in which a sign is viewed – which includes knowing who is looking at it – the content should adapt to deliver the most appropriate message.

Boosting retail sales

MXN Middle East has announced the supply to Les Affichages Pikasso sal of its state of the art Digital Signage Software. MxN worked with Pikasso to install its first Digital Signage Network in City Mall located in Beirut, Lebanon. This solution allows for a fully managed Digital Signage Network that will include advertisements as well as various local, community and mall messages. MxN was appointed to provide a total software solution and ongoing support for the network.

US retail giant Wal-Mart operates what it claims is the world’s biggest digital signage network, with more than a quarter of a million screens. It will not talk in detail about how its intelligence works but it certainly has some facility for working out who is looking at the screen and why, and using this to tailor the message. In a recent special project it claims to have used the network to lift sales of Coca-Cola by 70%, which is a real achievement. On the other hand, many people would feel distinctly uncomfortable about signs knowing who

they are and why they are there. Vendors at ISE talked about tracking people by facial recognition or their mobile phones. At the very least, video processing is now capable of determining the age and gender of people standing in front of a display. By measuring eye movements it can even determine the level of attention being paid to the display.

Artificial intelligence So should we be rushing out to brush up our skills in artificial intelligence and contextualisation (the ISE buzzword)? Or is the reality that today’s practical digital signage applications are much more prosaic, much more like electronic posters? Fadi Ramadan of Alpha Data in Dubai is quite clear. “We offer technology which can track the content exposure – however no clients have requested this,” he told me. He made a very sound point, though, when he talked about how most projects are a mix of advertising and information. “For many of our projects the concern has been for conveying information rather than an advertising message. Many of our customers have found that there is a better overall brand benefit when the digital signage shows useful information.”

Fast commercial deployment That point is backed up by Les Affichages Pikasso, which runs a digital signage network in the City Mall in Beirut, Lebanon. “It allows us to provide up to date, relevant communications and advertising that makes an impact,” said Antonio Vincenti, CEO of Les Affichages Pikasso. “Prior to the launch of the digital signage network there was really no solution for the speedy and high quality deployment of ads in the mall,” he added. “Now an ad can be launched to the entire City Mall network in a matter of minutes.” In Nairobi Span Image has a digital signage network of 750 screens, from 32” LCD panels to four metre video walls. The screens are in shopping malls, banks, hotels, fast food outlets and supermarkets. Content is delivered by Navori, a webbased remote media platform which can target individual screens if necessary, updating in real time. The installation in Beirut City Mall was designed and built by Dubai-based MxN, who have also recently completed a project for the Department of Transport in Abu Dhabi, in partnership with Metallic Equipment Technologies. This places two kiosks in the public area, the first to give all the information on processes and fees and applicant needs, and a second to collect feedback on how

well the department served them.

Broad range of applications This illustrates the breadth of applications that come under the broad heading of digital signage. Stephen Masterson is responsible for information technology at the American University in Cairo. “Our university is using some digital signage with the purpose of assessing its usefulness as well as costs,” he said. “Who will maintain the content and what will it cost us, and will we really have that much to say?” And Fadi Ramadan of Alpha Data said “Our most recent project was the first centralised digital signage solution for mosques across the country. This gives you an idea of how diverse the customer base is for these solutions. We have proposed solutions for hotels, malls, retail outlets and even healthcare facilities.” Harris is one of the leading suppliers of equipment to meet the digital signage market, and this part of its business is run by Denise MacDonnell. She made some very interesting points about the nature of commercial applications.

broadcast automation, so the system produces an as-run log which details what content was displayed where and when, to split second accuracy. Comparing this with till receipts could identify spending trends.

Privacy issues On the key issue of how much intelligence we should bring to digital signage, Denise MacDonnell of Harris was in broad agreement with my concerns. “We have to consider privacy. Should we really be segmenting the audience by age, sex or race?” she said. “The Harris software works on triggers, which could come from profiling software, or it could come from a touch screen. “In most cases, profiling by time and day seems the best way to me,” she concluded. For now, while technologists may talk about a brave new world of contextualisation, in practical installations and today’s market she felt that “the real world wants smart posters.”

Repurpose content “Broadcasters have the capabilities to sell the advertising as well as provide content,” she told me. “But you cannot use traditional 30 second spots. The content has to be re-purposed. “For many businesses it is not about advertising but about building an environment,” explained MacDonnell. “We have recently done some work with McDonalds, and they absolutely did not want to see any advertising. It was all about managing the experience of visitors to their restaurants. “We see opportunities where advertising is already big – places like sports stadiums,” she added. “You will see it used for promoting brands rather than running ads. And there is huge potential in being able to sell a ‘moment of exclusivity’ – taking control of every screen in the arena, even down to the concession kiosks. That could be a big money earner.”

Direct relationship She was, though, concerned about the reliability of claims for direct returns from digital signage. “If you want to prove the effectiveness then you need to integrate the digital signage control into the point of sale system. And not many retailers are keen to do that because of security issues.” Again, this is an area where Harris and its broadcast heritage has an alternative solution. Just as messages can be scheduled using a tool very much like 15

Dr. Kivijarv is Vice President Research of PQ Media, the leading provider of global media econometrics and pioneer of 21st century alternative media research. Leo is the co-author of PQ Media’s Alternative Media Research Series, the only source to provide media stakeholders with actionable strategic intelligence on emerging markets such as digital out-of-home media, word-of-mouth marketing, product placement, user-generated media and social networking, among others. He is also co-author of the Global Digital Out-of-Home Media Forecast, the first source to define, size and forecast the direction of DOOH media worldwide through its proprietary media econometrics system. In addition, Leo is a frequent speaker at major media industry events and a respected source of industry insights for global news media outlets.

Operations Manager Allen Evans managed the LED aspects onsite as well as camera direction. Dunn’s LED design was tricky as the centre panel was flown and the side screens stacked on Layher before the three separate screens were locked together. Kendall Dixon and his team from Gearhouse Rigging were on hand to advise with this delicate procedure. Gearhouse AV supplied 3 IMAG cameras, positioned at FOH, in the pit and at either side of the stage. Feeds from each of these plus additional playback content – ambient clips, logos and 46664 idents - stored on an MA video server run from Dunn’s lighting console – were sized and output to screen via a Barco Encore system.

Design aesthetix

It’s No Joke for Gearhouse SA Gearhouse South Africa supplied technical production including lighting, video and sound for “It’s No Joke” the landmark 46664/Real Concerts comedy festival event at Sun City Super Bowl.

his unique, side-splitting oneoff event utilised the universal language of laughter to raise funds for the Nelson Mandela charities by uniting 10 of SA’s cutting edge comedians - Trevor Noah, Marc Lottering, John Vlismas, Tumi Morake, Nik Rabinowitz, Ndumiso Lindi, Chris Forrest, David Kau, Riaad Moosa and Barry Hilton – all performing in the same evening. Gearhouse’s Tim Dunn was asked by promoter and show producer, Roddy Quinn, to create a visual concept for this high profile showcase that was enjoyed live by over 4500 people.

Technical and creative challenge Dunn rose to several technical and creative challenges. One was producing a sophisticated, yet uncomplicated stage look that allowed the performers to communicate directly with the audience and feel like they were in a much more intimate space than the cavernous Super Bowl. To aid the technical flow of a very busy show, Dunn integrated control of the outro audio cues for each artist, applying video effects and running them from his grandMA lighting console. Each performer also had to be

clearly seen from every seat in the auditorium, particularly as their facial expressions and gesticulations are vital in the delivery of punchlines. Some of the individual performances also drew heavily on improv, a specific style requiring intense concentration by both performer and audience for full impact.

Elegant visual backdrop Dunn had the idea of a really open stage, clear of set, clutter and distractions, with a cross shaped LED screen, which consisted of a large portrait shaped section in the middle, dividing two smaller landscape sections at the bottom. This offered a strong, elegant visual backdrop with a large version of each comedian for their performance. “I really wanted something contemporary and alternative to the standard two side screen IMAG set up,” explains Dunn, adding “That would have been too distracting. The whole idea was to keep everyone completely engaged with what was happening onstage.” The screen was made up from Lighthouse Technologies R16i/o ll modules. The top was 69 metres high and the sides 14 metres wide and it was supplied by LED Vision. LEDVision’s 16

In keeping with the clean design aesthetics of the design, above the stage were 2 circular lighting trusses – of 16 and 6 metre diameters respectively with a fabric ceiling stretched between. This was another stylish scenic element to complement the shape of the screen, which changed constantly using different colours and gobo texturing from the lighting fixtures below, Each comedian had their own music/audio intros and outros, and for convenience of control, Dunn and the team from Gearhouse Media (Chris Grandin and Marcel Wijnberger) decided that this should be run from the grandMA lighting desk via one of the MA VPUs.

Dynamic visual presentation It was the first time that they had run sound from the lighting desk, but the concept worked perfectly and also allowed Dunn to choose specific video clips and edit and match them to the audio – all adding to the visual dynamics of the presentation. “It gave us a really tight and coherent control that allowed us to integrate sound and visuals … and apart from anything else, it was really good fun to be controlling sound from the lighting desk for once!” concludes Dunn. He kept the lighting clean and simple, using a rig of all Robe moving lights. A total of 24 x ColorSpot 2500E ATs were positioned on the circular trusses and 23 of Robe’s new REDWash LED wash fixtures were divided between the air trusses and the floor. Another 8 Robe ROBIN Spot 300s on the floor were used for gobo texturing and colouring the circular ceiling and for some spectacular upstage beam-work. Gearhouse Audio supplied an LAcoustics sound system which was mixed by Johan Griesel.

Acclaimed film and cultural personalities in GFF jury A jury of eminent film professionals and cultural leaders will judge this year’s Official Competitions for professionals and students and the Script Competition for Emirati Short Films at the Gulf Film Festival, held under the patronage of His Highness Sheikh Majid Bin Mohammed Bin Rashid Al Maktoum, Chairman of the Dubai Culture & Arts Authority (Dubai Culture).

he film competition jury is headed by accomplished Moroccan filmmaker Jillali Ferhati. He is joined by Saudi Arabian filmmaker and critic Mohammed Aldhahri; Emirati actor Ibrahim Salim; Yemeni filmmaker Khadija Al-Salami and Artistic Director of the International Film Festival Bratislava in Slovakia Matthieu Darras. The jury for the Script Competition comprises Qatari scriptwriter Widad Al Kuwairi, Saudi columnist Badriya Abdullah Al Bashar and UAE writer Amina Abu-Shehab. The film jury will assess features, documentaries and shorts that are currently being short-listed for the incompetition section. GFF will present three prizes in each of the categories in the Official Competition for professionals, and for short and documentary categories in the Students Competition. There will be a Special Jury Prize in both categories. The script jury comprising three distinguished writers from the region will adjudicate the selected entries, awarding a total of AED 120,000 toward promising film projects from UAE Nationals. In all, awards worth AED 485,000 will be presented to professions and student filmmakers.

Cross section of Arab cinema GFF Festival Director Masoud Amralla Al Ali said: “The jury for the incompetition section of Gulf Film Festival is a representative cross-section of Arab cinema and culture today, encompassing some of the most prominent cinematic figures this region has ever seen.“ He added: “The in-competition sections at Gulf Film Festival are a true talent showcase of the finest cinema centred on life in the Gulf and by regional filmmakers. The recognition at the festival helps them to take these movies to a wider audience and strengthen the region’s film industry.” Legendary actor/director/writer Jillali Ferhati has over 32 years of cinematic experience. Ferhati’s collected works include

Saudi director Mohammad Aldhahri’s film Shurouq/Ghroub (Sunrise/Sunset) won the Muhr Arab Shorts Award at DIFF last year and clinched the second prize in the Official Competition for Short Films at GFF last year. Aldhahri is a graduate in pharmacology.

Literary growth of region

Widad Al-Kuwairi has contributed to the literary growth of the GCC region through her short stories for children, as well as her radio and television scripts.

renowned films such as Brèche dans le Mu (A Breach in the Wall), and Mémoire en detention (Memory in Detention). The UAE premiere of his movie Dakira Mootakala was screened at the Dubai International Film Festival (DIFF) in the ‘Arabian Nights’ segment. He also has served as a jury member at DIFF and several other leading international film festivals. Yemen’s first woman filmmaker, Khadija Al-Salami, was instrumental in altering the biases in the Yemeni film industry. Al-Salami has produced over 20 documentaries, including ‘Women of Islam,’ ‘Land of Sheba,’ and ‘Amina,’ which won the second prize at the Muhr Arab Awards in DIFF 2006. Emirati director/actor Ibrahim Salem is among the pioneers in establishing the Modern Theatre and the Theatre Union in Sharjah. He is known for his theatrical creations including Al Muwatan Antre, Kariben Men, and Anaha Zogaga Faragha, among others. 17

Artistic Director of the International Film Festival Bratislava in Slovakia Matthieu Darrashas served as a FIPRESCI jury member in Mumbai (India), Cracow (Poland), Con-Can Festival, Japan, and the Istanbul Independent Film Festival (Turkey), among others. Widad Al-Kuwairi has contributed to the literary growth of the region through her short stories for children, radio and television scripts, and her regular column in the Qatari newspaper Al Arab. Having begun her career as a television presenter for children’s programming, Widad has dedicated herself to the written word. Badriya Abdullah Al Bishr writes a weekly column in the Saudi magazine, Yamama and contributes to newspapers in the country regularly. She is the author of the acclaimed novel, Al Arjuhah (The Swing) and UAE national Amina AbuShehab writes for weekly magazines and newspapers including Kul Al Usra and Al Khaleej, in addition to short stories and articles on cultural issues. The third edition of the Gulf Film Festival will be held from April 8 to April 14.

Legendary filmmaker Jillali Ferhati has over 30 years cinematic experience, including renowned films such as Breche dans le Mu and Memoire en Detention

0HHW 'DWDYLGHR DW 1$%

%RRWK 6/

+6 Â&#x2021; )LYH FKDQQHO ELW [ L RU [ S +' 6', DQG '9, ' YLGHR DXGLR VZLWFKHU Â&#x2021; LQFK PXOWL LPDJH PRQLWRU IRU HDFK VRXUFH SOXV SUH YLHZ SURJUDP Â&#x2021; %XLOW LQ FKDQQHOV GXDO FKDQQHO ,QWHUFRP WDOO\ Â&#x2021; %XLOW LQ 7%& IUDPH V\QFKURQL]HU IRU VHDPOHVVO\ VZLWFK EHWZHHQ DOO VRXUFHV ZLWKRXW H[WHUQDO JHQORFN

6' +' 0RELOH 9LGHR 6WXGLRV

6' +' )O\ $ZD\ 9LGHR 6WXGLRV

6' +' 9LGHR $XGLR 6ZLWFKHUV

6' +' +DUG 'ULYH 5HFRUGHUV

'DWDYLGHR (0($ 2IÂ¿FH 'DWDYLGHR 7HFKQRORJLHV (XURSH %9

6' +' 0RQLWRUV

&KURPD .H\

)ORULGDGUHHI $0 8WUHFKW 7KH 1HWKHUODQGV 7HOHSKRQH ZZZ GDWDYLGHR LQIR

Harris solution chosen by Kuwait’s Al Rai TV Harris continues to expand its broadcast communications presence in the region by providing its Broadcast Master sales and scheduling solution to Alrai TV, Kuwait’s first private satellite TV channel.

he Broadcast Master system will support revenue growth at Alrai TV, with a particular emphasis on the billing of chargeable, secondary events such as a sponsored graphics crawl across the bottom of the screen. “Broadcast Master will add value to our media group by putting us in full control of how we manage sales campaigns,” said Khalil Kolailat, technical and IT director of Alrai TV. “The inclusion of the Sales Master sales and traffic module was central to our decision to select Broadcast Master, as it will allow us to manage secondary advertising opportunities, such as the sponsorship of key programs with great precision. The scalability of the solution also easily accommodates any future expansion plans.” Broadcast Master is a complete, modular and scalable business system for the management of

the planning and commercial processes of a broadcaster. Broadcast Master delivers exceptional business value — from initial planning to playout to invoicing. The software incorporates modules for strategy, content acquisition and management, sales, scheduling, presentation and interfaces to many of the world's leading automation systems. Broadcast Master provides the ideal solution for small start-up channels, expanding broadcasters and multichannel, multi-language global providers.

Latest success “This announcement is the latest in a series of Broadcast Master success stories in the Middle East, where our clients are recognizing the strength of this solution for both small and large projects,” said Richard Scott, senior vice

president, global sales and services, Harris Broadcast Communications. “With a modular design that is truly scalable, Broadcast Master is a single, integrated system that simplifies workflows, eliminates errors and delivers complete channel management for today’s growing media operations.” Harris, an international communications and information technology company, is providing full implementation services, training and project management for this deployment. Harris Broadcast Communications offers products, systems and services that provide interoperable workflow solutions for broadcast, cable, satellite and out-ofhome networks. The Harris ONE solution brings together highly integrated and cost-effective products that enable advanced media workflows for emerging content delivery business models.

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

1_0262-KRAMER_WORLD@FEET.indd 1

10/2/09 1:08:51 PM

Al Laith Events Services supplies Sting stage in Dubai Al Laith Events Services - the new division of Dubai based Al Laith Scaffolding - supplied a stunning looking stage and bespoke roof system for Sting's show at the newly re-launched Meydan Racecourse in Dubai.

his was the new division's first major event and involved several major challenges, the first of which was that the roof had to be built over the top of a 100 metre wide by 11 metre high permanently installed Mitsubishi LED screen. The roof was made primarily out of Serious Stages' Space truss to Atlantic Enterprises' method statement. The elegant cantilevered roof elevation measured 25 metres wide and overhung the stage just in front of the screen by 19 metres, with 16 metres protruding at the back supported by a scaffolding "birdcage", cable stays to a 7 king poles at the top and 84 tonnes of concrete ballast down below stored in 7 stillages at the bottom of the bird cage. It's a similar design to that of a tower crane.

Highly efficient solution "We needed a fabulous looking and highly space-efficient solution that ensured clear sight-lines to the screen for the 10 thousand people immediately in front of the stage plus all those in the VIP grandstand seats 100 metres away. A cantilever design was the only way to go," explains Jo Marshall who is heading up Al Laith Events Services. Behind the screen are several buildings housing power and other plant facilities for the screen and this left just 14.8 metres of space in which to squeeze the 14.1 metre bird-cage support structure which was constructed from Al Laith's cup-lock system. All the buildings and plant also needed to have access routes for maintenance and in case of emergencies. A vital part of the client's brief was that no part of the structure could touch any part of the LED screen. In some places this left just 3 inches clearance!

enough weight loading for Sting's PA (supplied by Delta Sound) and lights. The front stays between the truss and the king poles were to guard against uplifts of wind, and the entire structure was rated to safely resist winds of up to 90 km/h, which are a constant issue in exposed spaces in Dubai. The roof was picked up in 2 sections (17 tonnes and 12 tonnes respectively) by 2 x 100ft cranes in two tandem lifts. A test build was completed at Al Laith's yard beforehand, and all the beams and the custom sections required to attach the roof to the bird cage were fabricated at Al Laith. The rigging and steels were supplied by Dutest, Dubai.

Specialist construction team The structure was finished in skins that were smart black on the inside and funky silver on the outside, made out of special fire retardant webbed fabric. The roof and stage build was project managed for Al Laith Events Services by freelance Simon Carr for part of a specialist team dispatched from Serious Stages & Atlantic which also included Dragan Kuzmanov who developed the original truss design on which this roof version is based in 1997. They worked with a team of 60 Al Laith scaffolders on site crew chiefed by Akhtar Hussain and Rawal Ram, and the preparation involved about another 50

Challenging design The roof was constructed from 7 x 34 metre lines of trussing, each with its own 12 tonnes of ballast. At the front of each truss were 3.5 tonne turfers running back to the base of the scaffolding system, allowing each truss to pick up 5 tonnes in weight. This gave more than 20

Simon Carr (left) and Jo Marshall were responsible for the design and construction of a massive roof system that was used at Sting's show at the newly relaunched Meydan Racecourse in Dubai.

people on maintenance, engineering and manufacturing duties in the Al Laith yard.

Custom elements Custom elements included the top beams and 7 special ballast palettes on which the stillages sat, each taking 12 tonnes for every roof truss. Simon Carr comments, "It was a very enjoyable project involving a lot of great teamwork. The biggest challenge for the roof was withstanding a 3 hour lightening storm with torrential rain and vicious winds 2 days before the show". Other than a bit of skin tightening in the morning, the roof was in perfect condition. The roof is highly space efficient and packs neatly into containers for storage.

Faithful images at new Johannesburg cathedral dnp Supernova Screens in the UCKG Cathedral in Johannesburg provide all 7000 members of the congregation with a clear view of the service.

full 12,000 people were able to follow the buildingâ&#x20AC;&#x2122;s inauguration ceremony in September 2009, thanks to spectacular high-quality live images on screens. While the building was still at the planning stage, the UCKG church asked Questek Customer Care (QCC) to supply the audio-visual installation for their new cathedral. QCCâ&#x20AC;&#x2122;s task was to create a set-up which would enable all congregation members to get a good view of the preacherâ&#x20AC;&#x2122;s face, no matter where they were sitting. And since most services are held during the daytime, a further challenge was to project quality images in ambient light.

A good view from any angle QCC chose dnpâ&#x20AC;&#x2122;s Supernova Screens primarily because of their ability to provide quality images in high ambient light conditions. Two Supernova

300x169cm Infinity Screens were set up in the basement of the church, which is mainly used for baptisms. Four Supernova 400x225cm Screens were installed on the main, ground floor to show images broadcast from HD video cameras. Two of these were mounted next to the altar. Giving the people seated at the rear of the cathedral a good view, however, was more of a challenge as there were

Boost Your Studio Production

no walls on which to mount the screens. QCC solved this problem by mounting them on a frame, suspended from the ceiling by steel cables. The new installation was put to the test last year at the cathedralsâ&#x20AC;&#x2122; inauguration, where UCKGâ&#x20AC;&#x2122;s head bishop conducted a special ceremony. There was dancing and singing by local choirs, and thanks to the Supernova Screens, nobody in the congregation felt left out!

VTR Replacement Media Sharing Network Fast Editing Post-Production Integration Instant Playback

Designed to Speed Up Your Workflow

Visit us at NAB 2010

Booth C 9508

www.evs.tv 21 1((' 72 %2267B$963(&,$/,67B LQGG

Have we got a deal for you! Where do you go to buy or sell a video camera? Make that a playout automation system or a video conferencing suite and the answer may not be quite so easy. In your personal life you may elect to buy your shiny new digital camera from the Canon on-line shop; from eBay; from your local photographic shop or from a friend at work. Getting hold of broadcast technology or ProAV kit raises a more complex set of issues for both buyers and sellers and there are just as many options. In this feature Roger Crumpton takes a look at how distribution channels work and the issues faced in getting the right product to the right market at the right price.

irst of all, whatever you do, don’t rely on the jargon. There’s a whole raft of distributors, resellers, agents, dealers, system integrators and stockists and those words provide little insight into the realities of how they do business. Big companies with a large requirement and a large budget may deal direct with the manufacturer but not in every case. Even large organisations can benefit from local service and support which the manufacturer is not always in a position to offer. Most buyers are better off with a local supplier – someone who is nearby, can offer local service and support and who is willing to put themselves out to build a long term relationship. Let’s take a look at the principal options:

Distributor/Dealer This is someone who buys directly from the manufacturer and usually sells direct to the user. In a few limited cases

TSL established a Dubai office in 2007 and haven’t looked back. “We bring sophisticated engineering expertise and high levels of technical competency,” say David Philips and David MacGregor. “We’ve put all the foundations in place to give ourselves a running start and despite the turndown in the economy, we wouldn’t have done it any other way.”

with high volume or low cost products there may be a distributor for a region who then sells in turn to local dealers. This latter option is not very common in this industry. The distributor/dealer may hold some local stock, but often doesn’t, although they will usually have some demonstration equipment in a showroom or being able to access such equipment. Normally the distributor/dealer has staff trained in the product and its use and applications and will also usually have staff trained in post-sales technical support. They will buy from the manufacturer at a substantial discount and use that discount to finance their overheads, their inventory and their profit. Typically there will be more than one of those companies offering the product for sale in an area but not always. A sole distributor in a territory is often referred to as “exclusive” but suppliers are wary of these arrangements and they seldom award

such exclusivity. It can make the reseller too complacent!

Manufacturer’s Agent This is a popular approach in the United States but is getting less common elsewhere. An agent is someone who represents a supplier but doesn’t usually get involved personally in the trading itself. They will often seek out the deal, introduce the supplier to the customer and help win the order. The transaction itself takes place between the customer and the supplier with the agent being paid a commission by the supplier for the work that they have done. Tony Niemeyer has been successfully working this approach in South Africa for many years. He represents companies like Vinten, Axon and Telecast Fibre Systems, dealing directly with broadcasters. “This direct supply accounts for 60-70% of the business although there are some situations where I need to supply through local distributors and SI’s” explained Niemeyer. Mark Osborn of Vinten endorsed this approach. “We need someone to work on our behalf for the long term and that’s what Tony does. There are so few distributors that give us that kind of personal commitment.”

they sell and sometimes even ones that they don’t. This means that in some cases (and often as a last resort!) they will procure product from competitive distributor/dealers. So, at first glance, it may appear that there are a whole host of people trying to make money out of buying and selling the products or systems that users require. That’s the reality of the situation, although it’s also the reality that these arrangements are essential if the customer is to be served in a way that they feel comfortable with and a way that’s economic for the manufacturer.

improve understanding, guide the distributor and maintain close links with customers. In their model the distributor knows that there is no risk of Tandberg opting to sell direct so it’s a win-win scenario. Munzer Aloush, Tandberg’s Regional Manager for the Gulf and Iraq explained: “We constantly work towards ensuring that our Partners’ expertise are in step with the level required by our markets. Fortunately the visual communications market has experienced growth over the

Vertical Markets Depending on the type of product, some distributors will be less concerned about a specific geographic area but specialise in a vertical market. This is typified by Tandberg who sell visual communications systems through distributors in the Middle East and Africa. Some of their distributors focus on sales of systems in sectors like Healthcare or in Education. This way they build up a deep knowledge of applications like “telepresence” and are often better placed than their competitors to build a strong relationship with the customer.

Bryan Thompson, Tandberg’s regional manager for Africa, explains that their success is based on growing their business in specific vertical markets where they are able to maintain a strong focus on customer needs.

System Integrator or “SI” last 18 months and this has enabled our distributors to make more revenue with Tandberg products.” Bryan Thompson, their Regional Manager, Sub Sahara and South Africa, reflected a similar view “We found we can grow the business by focusing on a limited number of vertical markets with a limited number of selected partners and by working with them to maintain a strong focus on the customers needs.”

Integrators are emerging as a newer type of intermediary in the procurement process. Typically they work with the customer to help decide what they need and who to buy it from. They are normally, but not always, “product neutral”. Their interest is to get the best solution to meet the customer’s need. In an industry with increasing technical complexity they then become responsible for system configuration, installation, testing and successful initial operation of the customers capability. SI’s are seen as specialists in their field and are used to help reduce the risk for the customer.

Hybrid companies System Integrators typically finance their work through a combination of consultancy fees and supplier discounts. Traditionally it has been largely discount driven but increasing technical complexity has seen some customers financing pre-sales needs analysis and specification work. In most cases the SI will buy direct from the manufacturer although it is not unknown for SI’s to buy from distributors as well. More recently we are seeing the emergence of Distributor/SI’s. These are hybrid companies who will take on the integration and installation of products

Niche suppliers Munzer Aloush from Tandberg explains that the company has set up a focused distribution network. They grade their distribution channel into tiers and then provide appropriate training, resources and expertise to ensure the channel deliver outstanding service to their customers.

Tandberg grade their sales partners in three tiers, starting with Authorised Distributors leading up to Premiere and Platinum partners. The difference is in the level of resource, training and expertise they can bring to bear and, no doubt, the level of discount they can earn. This capability is enhanced by sales and technical specialists from Tandberg engaging with customers directly to 23

Even within specialist markets like broadcast technology and ProAV, there are niche suppliers. Kaveh Farnum, Managing Director of Advanced Media in Dubai sees their business as a “value added integrator” and they focus on selling high level professional products to medium sized customers. Kaveh commented: “Our suppliers have put pressure on us as distributor to take on projects so we have become an integrator and we focus on effective solutions and not necessarily on complete systems.” Kaveh claims this has enabled them to grow sales year-onyear from 2008 through 2010, despite the downturn, focusing on products oriented at boutique broadcasters like those from Playbox Technology.

Kaveh Farnam at Advanced Media Trading in Dubai describes how his suppliers have pushed the company into a hybrid organization that is both a distributor and system integrator. “As product margins have dropped we’ve focused on adding value and providing effective solutions,” he says. “Despite the downturn, this strategy has allowed us to grow sales year-on-year. It’s a strategy that works for us, works for our suppliers and most important of all, it works for our customers.”

Direct operations Even with all these options some international suppliers decide to deal directly with end users. Over recent years there has been a steady trickle of companies from overseas setting up their own operations in the Middle East. Argosy Cable is one example where the need to buy and hold local stocks for major customers has led to a direct

Mike Purnell from Argosy believes that the secret behind their success in the Middle East exists because they’ve taken a longterm view on their business activities in the region. “You need to know where you want to be in five years time and be willing to invest on that basis,” he says.

presence. According to their Business Development Director, Mike Purnell: “You have to take a long term view. You need to know where you want to be in five years time and be willing to invest on that basis. 30% of our global business comes from the Middle East and we beat our plan in 2009 and are ahead in 2010 despite the economic situation”. Their manager in the region is Abdul Ghani and he made clear that their success is

dependent on good support from HQ. “I get really good support which gives me the confidence to develop and grow the operation. Levels of business have been growing in Abu Dhabi and in Oman and Saudi Arabia and we’re beginning to see things recovering in Dubai too.” Another international investor in the Gulf region is the independent SI, Television Systems Ltd (TSL) who made an entrée in 2007 and haven’t looked back. According to Chief Executive Officer, David Phillips: “We bring

Clearly overseas suppliers face a huge range of choices about how they organise themselves in the region. The most common arrangement is nonexclusive distribution. This will involve them in discounts of somewhere between 15 and 30%. For that they will expect local firms to train their staff, hold demonstration inventory and promote the suppliers products in their area. It is not uncommon for suppliers to also contribute to shared marketing costs for things like advertising and exhibitions and they often provide free training and second line support. Some of these distributors will also tackle product integration and some system integration and this is becoming increasingly common. However the major broadcasters tend to rely on a few specialist regional and international SI’s for the more complex projects as a way of controlling their implementation risk.

Direct sales channel Argosy’s regional manager Abdul Ghani believes that their success is dependent on great support from the UK-headquartered company. “Support from our head office gives me the confidence to develop our business and expand our operations,” he said.

sophisticated engineering expertise and high levels of technical competency. Our independent approach means we tackle the large complex projects in a way that gives our clients real confidence.” TSL claim that lack of funds is actually making buyers more thorough. “You have to have a damned good reason for choosing us and you have to be able to justify that in front of your superiors and that’s the challenge we aspire to” explained Phillips. David MacGregor, TSL’s MD continued “We’ve been sowing seeds since 2007; we put all the necessary foundations in for a running start and we wouldn’t have done it any differently despite the downturn.”

Going direct is also an option where suppliers need to be close to their customers or to manage local inventory although it is more common to do this through a local presence to manage distributors as opposed to full direct selling. This approach is typified by Crestron. They have a wide range of products and a wide range of markets. This makes distribution challenging and they have more than 150 partners, consultants and contractors in their distribution network. These enable them to have specialist reach into vertical markets like residential, education and healthcare. According to Vincent Philipoo, Crestron’s Regional Director: “We have a good number of dealers in each country and they usually tackle different vertical

Relationships However, it’s not all about investment, resources and stock. Patrick Woolcocks, Business Development Manager at IPV has been doing business in the Middle East and Africa for many years. “Above all, it’s about confidence and trust and you have to build that over an extended period. The regional business culture means that most customers like to deal with a local distributor. That’s also often necessary to deal with extended local payment terms which international suppliers will typically not put up with.” 24

Vincent Philippo, Crestron’s regional director in the Middle East, explains that the company has more than 150 partners, contractors and consultants within their Middle East distribution network. “This allows us to reach into vertical markets and provide solutions to customers with specific needs,” he says. Crestron provide significant technical and training support to their dealer channel.

markets or application areas. Our job is to help them be successful and we provide a significant amount of technical and training support.” This close coupling to its resellers is also key to success for Tektronix. They supply a complex mix of international and local SI’s and also distributors right across the region. They operate a strict “flat playing field” with no preferential commercial terms to different partners. According to Nicki Fisher Tektronix’s Sales Director for Video, EMEA: “Applications knowledge and our engineering expertise are the crown jewels that get decisions made in our favour”. This means not just working with SI’s and distributors but working closely with end users as well.” Over the last year they have concentrated on providing additional support to their partners. This has meant seminars, additional technical support and applications engineering. “We help everyone on an equal basis and that’s how we do business” concluded Fisher.

Distributor View The complexity of doing business in these professional markets is perhaps best highlighted by Reza Nikfar, CEO and President of UBMS in Dubai who supply

Tektronix supply product through a complex mix of international and local SI’s. They operate a strict ‘flat playing field’ policy and provide the same commercial terms to all their resellers. “Industry knowledge and our engineering expertise are the crown jewels that get decisions made in our favour,” says Nicki Fisher, Tektronix’s sales director in the EMEA region.

media technology solutions right across the Middle East, Central Asia and Africa. They have been a distributor for twelve years and operating as an SI for more than five years. They represent many of the top brands in the industry and have

to do some knife-edge balancing between their interests as distributors and their work as SI’s. “We sell whatever the customer wants and we only care about getting the best solution for the customer.” That sometimes involves them buying competitive products from other distributors and they do that when they need to. “It’s not easy handling the conversation with the supplier we represent when we have to go elsewhere”, commented Nikfar, “but we don’t make the product choice for the customer who knows what they want.” Their business model is about understanding the requirement, supplying the products and services and then providing a full after sales service. This dual Distributor / SI approach is not without its challenges though as, according to Nikfar, SI business led the way in 2008 but that reverted to product business leading in 2009 as more and more SI’s were chasing fewer projects in a more subdued market. “2010 shows improvement on the SI front with big projects to be announced in Abu Dhabi, Oman, Bharian and Dubai. On the products front we’re seeing new formats and new cameras every quarter and there’s plenty of renovation projects and also HD migration opportunities” AT VIS NA IT BO B! N OMN OT OR EO H N5 TH H N 10 AL 6 L

When it comes to your digital content workflow, one company gives you the

Power of Choice. Accelerate and customize your digital workflow with the platform that enables best-of-breed solutions. The power of choice is yours with Omneon. Only Omneon delivers a complete content platform optimized for your digital content workflows. Our comprehensive portfolio of media servers, active storage and applications accelerate your workflow – eliminating bottlenecks and improving efficiencies. And Omneon’s heritage of innovation and commitment to service is unmatched across the industry. If you’re looking for a scalable, flexible and reliable digital content platform, the choice is clear: Trust Omneon.

Active Storage for Digital Content

he future looks bright for the audio visual industry with the market in the Middle East and Africa expected to be worth more than $3 billion by 2012,” said Alex Heuff, Exhibition Director of PALME Middle East. “According to research conducted by InfoComm International, the regions experiencing the fastest growth have been identified as Latin America and Middle East and Africa,” Heuff added.

Reflection of strength PALME, which takes place at the Dubai World Trade Centre from 18-20 April 2010, includes INSTALL for professional audio visual and systems integration technologies; MUSAC for musical instruments and accessories; and a competition to find the region’s hottest DJs. In a reflection of the strength of the market, the PALME Middle East organisers are reporting advance registration by visitors to this year’s show up 20% from last year with exhibitor

numbers up by 10%. “With the growth in digital signage and related technologies, the INSTALL section has expanded in particular for 2010 with new audio visual applications for shopping malls, hotels, nightclubs, theatres, events, airports, religious buildings and commercial developments,” said Heuff. According to Heuff, the InfoComm study valued the worldwide audio visual industry at more than US$68 billion and forecasts growth of 10% by 2012. “Globally, North America is the largest professional audio visual market at 45% ahead of Asia (25%), Europe (23%), Latin America (4%), and

PALME takes place at the DWTC from 18-20 April 2010. According to event director Alex Heuff, advance registration is up 20% on last year – with exhibitor numbers up 10%. The event includes workshops, seminars and an active awards programme, with training courses presented by both InfoComm International and CEDIA.

Middle East and Africa (3%),” Heuff said. “Though smaller, the Middle East and Africa market is particularly strong and predicted to grow from over US$2 billion in 2009 to well over US$3 billion by 2012.” Accordingly, Heuff agreed that growth is being propelled by displays and audio visual conferencing equipment, streaming media, webcasting, wireless connections and software. Hotspots include digital signage, video conferencing and command and control facilities. The study also shows professional audiovisual services growing faster than products in all regions. Fastest growing products are displays, conferencing equipment, streaming media and webcasting and wireless connections and software. Fastest growing services are programming, maintenance and training. Education is the fastest growing customer sector. Others are government, corporate and hospitality.

Environmental issues “Environmentally friendly and energy efficient audio visual systems are also a 26

notable growth opportunity in this region,” said Heuff. “While ‘green’ audio visual is a keen issue in North American and Europe, InfoComm say it is not yet on the radar in regions such as the Middle East and Africa.” More than 30 speakers from leading audio, light, music and entertainment companies have been lined up for conferences and seminars during the event focusing on systems integration and lighting. In addition, there will be a comprehensive education programme by leading industry professionals including certified courses on the latest technologies and techniques from CEDIA and the InfoComm Academy.

Mitsubishi install stunning screen at Dubai’s Meydan racecourse Sojitz Corporation and Mitsubishi Electric Corporation have installed a Diamond Vision screen as one of the world’s largest and widest video systems at Meydan Racecourse, which opened in March in Dubai, United Arab Emirates.

eydan Racecourse, a multipurpose facility with fivestar hotel and museum as well as racecourse, has spectator stands totaling 1.6 km to accommodate 60 thousand spectators, making this the world’s largest racecourse. The Diamond Vision screen also boasts world-class proportions, measuring 107.52 meters by 10.88 meters for a total area of 1,169.8 square meters (registration as a Guinness World Record is pending). The screen contains approximately 12 million high-brightness light-emitting diodes (LEDs) for spectacular high-definition images. The Dubai World Cup was held at Meydan Racecourse this March, attracting audience not just from the Middle East but from around the world. Mitsubishi LP_1x1_1.2AVSpecialist:LitePanel 2/18/10

Electric’s Diamond Vision has been installed in more than 950 locations worldwide, including Tokyo Dome and the new stadium of Dallas Cowboys. In response to the rising demand for large3:53 PM Page 1

screen video equipment in commercial facilities, racecourses and sports stadiums, Sojitz and Mitsubishi Electric intend to continue pursuing orders in the UAE and throughout the Middle East.

Litepanels HD Broadcast Lighting Get powerful, soft, luminous, directional lighting with the same warmth and color characteristics that have made Litepanels’ eco-friendly technology an integral part of Hollywood features, broadcasting and still productions worldwide. LITEPANELS ADVANTAGES ®

> Heat-free LED technology > Integrated dimmer 100% to 0 > Variable color & variable beam angles available > Fixtures can be remote controlled > Ideal for broadcast, video conferencing, distance learning, telemedicine and more

The Pentagon Press Room is lit with 24 Litepanels 1x1 fixtures, which combined use less than 1100 Watts! Soft, HD Friendly Lighting Saves up to 95% energy consumption Additional energy savings via reduced A/C needs 50,000+ hours of LED bulb life Litepanels’ Earth-friendly LED technology

The White House Press Briefing Room in Washington, DC installed 401x1s & reduced lighting power usage by 95%.

Ph: 818 752 7009 info@litepanels.com

CABSAT Booth # ZN-1G

The Official Light of High Definition

www.

Visit our website for how-to videos & lighting templates.

Litepanels.com TM

2009 Emmy ® Winner

MiniPlus™

1x1™

Micro™

Ringlite®

SeaSun®

BSS Audio provides sound processing Burj Khalifa The family of advanced Soundweb processors from BSS Audio has been used extensively by one of Dubai’s most progressive system integrators, Bond Communications, to provide end-to-end networking at the Burj Khalifa (formerly Burj Dubai). This project, six years in the making, is the largest ever undertaken by the company.

SL Professional provided the BSS Audio devices to Bond Communications. These advanced audio tools function on most of the Tower’s 164 floors, and GSL’s Marketing & PR Manager, Glen Kershaw, states, “We were selling these products to Bond pretty much up until the day of the opening: and I anticipate that the aftersales support will be ongoing following the opening.” Located in the Downtown district and constructed on a 500-acre plot widely described as “the most prestigious square kilometer on earth”, the building itself boasts some amazing statistics. The Burj forms a vibrant community for thousands of residents, employees, hotel guests and tourists, with up to 12 thousand people living, working and playing inside a building that stands at more than 800 metres (2,625 ft). The piéce de rèsistance is the tower’s 124th floor observation deck, ‘At the Top, Burj Khalifa’, which offers 360-degree views of the city and is open to the public. When construction work was at its most intense, more than 12 thousand people from over 100 countries were working every day at the Burj Khalifa site, which took 22 million man-hours to build. Bond Communications AV package manager, Omar Chataw, confirms that his company was asked to provide an integrated, fully-redundant A/V system and the scope of work included networking, cabling, security, home automation, AV conferencing, two-way radio system and master control system. Chataw knew that the design specification called for a CobraNet backbone, which would allow any input to be routed to any output over standard Ethernet. His introduction to BSS Audio’s catalogue came when he was asked to trial the scalable DSP system on a nearby satellite project — the Lake Hotel. “GSL Professional provided really good support in terms of both knowledge and service,” he said. “The BSS Audio specification was excellent; in particular the newer Soundweb London products with the

digital audio bus, which also offered four times the processing capability.” Chataw’s team constructed the network around large quantities of the newer Soundweb London family members, launched in January 2008. These include the BLU-800, BLU-320, BLU-160 and BLU-120 — products which feature a 256channel, low-latency, fault tolerant bus. It works on Cat 5e or Cat 6 cable and allows a direct connection between devices over distances of up to 100 meters. This provided Omar Chataw with another compelling reason for adopting the BSS Audio platform.

Seven control rooms The building contains seven separate control rooms (and a master), each with a number of Soundweb London products (18 of the newer devices are used in total). As there was a requirement for the audio to run over a standard Ethernet network between the control rooms, CobraNet had been the 29

obvious choice, and thus a BLU-800 is located in each of the control rooms as the main configurable hub. This transmits the CobraNet bundle direct to CobraNetequipped amplifiers, ensuring that the signal is kept in the digital domain throughout. The Soundweb London digital audio bus is used throughout, allowing each zone to have its own fault tolerance. The central control room uses 2 x BLU-800, 2 x BLU-160 and 5 x BLU-120 devices to handle a matrix of over 100 inputs and 100 outputs, taking feeds from the main music server and local line inputs. Each of the other control areas house either two or three amp/processor racks — giving a total of between 22 and 25 for the entire construction. Only the newer Soundweb London products could create a matrix of this size due to the combination of abundant processing capability and the high channel counts involved with the individual devices. An AMX control system is employed in various zones throughout the system which interfaces seamlessly with the Soundweb London devices via RS-232 to allow quick and full control of the audio system. As a result each area is able to listen to the same centralized source or to a source different than the others without any interference. The music system covers all the public areas including corridors, lift lobbies, terraces, reception areas — as well as a number of fine dining rooms and bars inside the worldfirst Armani Hotel Dubai, which are equipped with local source select and volume controls. At the same time meeting rooms are provided with complete audio visual solutions for presentations and conferencing, with high-definition capabilities. “The DSP processing power of the newer BSS Audio products and the digital audio bus provided us with a perfect opportunity, says Chataw, “but although we have a strong technical team, we wouldn’t have gone down this route unless we knew we would get full programming, technical and integration support from both BSS Audio and GSL Professional.”

Read Specialist magazines put a great deal of effort into crafting articles that deliver real value for those individuals who take time to read them. It’s not all rehashed PR content. On AV Specialist we work with some of the industry’s best known and respected writers, consultants and industry analysts to provide you with original and innovative content that’s simply not available anywhere else. And you’re getting premium-value content at no cost. Want an example? Over the last year we’ve run a series of articles based on the IABM Global Market Update. Conducted by industry analysts at Screen Digest, this 300+ page market research report contains detailed information on the current state of the broadcast and media technology industry, up-to-date forecast data to 2012, regional analytics, commentary on emerging technologies and much more. When you purchase the report in full it’ll cost you £2,500. + VAT but the condensed version we publish is available to readers free of charge.

AV industry needs a sharper axe Abraham Lincoln served as the sixteenth President of the United States from March 1861 until his assassination in April 1865. He successfully led his country through the American Civil War, preserving the Union and ending slavery. He’s famously quoted as saying: “If I had eight hours to chop down a tree, I'd spend six hours sharpening my axe.”

t’s a saying that’s just as relevant today as it was when it was uttered 150 years ago. The secret to success lies in preparation – making sure you have the skills, tools and knowledge to undertake the task you’ve taken on. In a fast moving market like the broadcast and ProAV market place, that means making sure you’re up to date with information on the latest trends and technologies shaping the future of our industry. You think that’s easy? It’s not. With all the pressures of modern life you

tend to rush through your workday focusing on short-term objectives. You plough through the day bouncing from one crisis to the next. And as the global financial crisis continues to strengthen its grip on the economy, the pressure can only intensify. Unless you make a concerted effort to keep up-to-date you’ll find yourself left behind very quickly. Here’s are 8 practical things you can do to keep on top of the trends and technologies shaping the future of our industry. 30

Listen Podcasts and webinars are regularly hosted by trade Associations and conference organizers. Did you know that you can listen to the best of the IBC conference sessions by downloading the MP3s direct from the IBC website. And the NAB and InfoComm websites have a host of audio and video content that’s available for download free of charge.

Network

Commit Many industries run industry certification programmes that allow you to prove your knowledge and ability by earning a professional qualification. InfoComm’s professional CTS credential proves an individual understands the science behind audio, video and display systems. It’s an industry standard for the worldwide ProAV industry and once you’ve earned the initial certificate you’re required to commit to an on-going programme of professional development. There are more than 10 thousand CTS holders worldwide and the programme is accessible to anybody who believes they have the knowledge to pass the written exam. You don’t need to join an Association or enroll in a class – if you believe you have the knowledge you can simply register to write the exam at any Prometric testing centre. Pass the written exam and your talents are instantly recognized.

Surf There are a host of really good websites that provide reliable information and white papers on the issues affecting our industry. For the broadcast market, one of my favourite sites is www.broadcastpapers.com. It hosts hundreds of white papers contributed by a wide range of manufacturers. It also hosts many of the papers presented at both the IBC and NAB Technical conference. In the ProAV market, the InfoComm website also hosts a large number of technical papers, special reports and member articles that are available for free download.

Sometimes we’re just bull-headed. We struggle to solve a problem that our industry colleagues round the corner have already resolved. Most people that work in the broadcast or ProAV industries are more than willing to share their experience so if you’re battling with a problem perhaps the quickest way to find a solution is to ask a colleague who fills a similar role. I’m often amused when individuals who compete fiercely on their home patch pack together at international events like IBC, NAB, InfoComm or ISE. In a mature market, promoting the adoption of professional standards requires an open line of communication between vendors and customers. Where appropriate, we need to work together for our common good.

Engage

Visit There are a large number of industry-specific tradeshows and events hosted throughout Africa and the Middle East. Come on down to visit. Speak to the manufacturers who are participating and ask about the new products on display that’ll help you run your business more efficiently. Trade show exhibitors spend a lot of money participating in these events and they’re there to provide you with information so grab the opportunity and ask the questions you’ve been trying to answer.

In most countries you’ll have organizations and Associations that have been set up to meet the needs of niche markets. In the Middle East you’ve got MECIA (the Middle East Communications Industries Association) while in South African you’ve got a wide range of Associations including SAGE (South African Guild of Editors), SASC (South African Society of Cinematographers), SACIA (Southern African Communications Industries Association) and the TPA (Technical Producers Association). Whichever Association is appropriate for your business, get involved. Attend their meetings and contribute to the development of professional standards in your sector. Most of these organizations operate on a not-for-profit basis and are desperate for volunteers to help with their activities so join in. The more you put in, the more you’ll get out.

6 31

Learn They say you can't teach an old dog new tricks but in the audiovisual market, an old dog that doesn't keep up with technical developments will soon go hungry. As audiovisual technology continues to develop a breakneck speed it's critical to participate in as many manufacture-driven training programmes as you can find. Extron, Crestron, AMX, Tandberg, Polycom, Sony and a host of other manufacturers all provide brandspecific training programmes. In addition, many of our local Universities run short-courses aimed at established industry professionals. The sad reality is that, however good you think you are, there's just no way you know it all. Anyone who reckons they don't need to participate in an ongoing programme of professional development is surely misguided. They only have to look in the mirror to see who they're fooling.

Welcome to the largest Arab community in the sky — only from Arabsat In a world getting more and more interconnected, Arabsat is helping to bring people closer and make the world a smaller place. As the largest satellite operator in the Arab world covering the Middle East and Africa—as well as Europe and beyond—only Arabsat offers the full spectrum of broadcast, telecommunications and broadband services. With the youngest satellites in the region, plus more satellites launching every year until 2012, this capacity will continue to grow and provide unprecedented reach, superior reliability and unmatched flexibility for broadcast and telecom operators. Indeed, Arabsat gives you the most powerful way to reach and connect with the largest Arab community in the sky—and much more. Join our premium neighborhood now. www.arabsat.com

www.ar abs at. com

Arabsat. Youngest fleet. Highest reliability. Maximum flexibility. Founded in 1976 by the 21 member-states of the Arab League, Arabsat has been serving the growing needs of the Arab world for over 30 years. The Arabsat world now covers millions of homes in over 100 countries across the Middle East, Africa and Europe, including over 164 million people across 21 Arab countries. Serving the Middle East & Africa

Telecommunications Sector

Arabsat’s main coverage area spans the Middle East and North Africa including Sudan. However, in the last 5 years , the telecommunications sector in the north and south of Africa has experienced huge demand. Arabsat has thus started expanding its reach to bring all of Africa within its coverage area. To achieve this, Arabsat has added its 5-A, 5-C and Badr-5 satellites to cover Africa, complementing its original Middle East coverage. These satellites are located at the Arabsat orbital positions of 20º, 26º and 30.5º East . This vastly expanded reach will lead to the following enhanced offerings in Africa:

The current Arabsat 2-B satellite at 30.5º East and Badr-6 satellite at 26º East provide C-band coverage for two-thirds of the African continent. To expand its African coverage and reach all of the continent, Arabsat 5-A will be located at 30.5º East, replacing Arabsat 2-B by the end of 2009. Arabsat 5-A will provide higher spot power over the eastern and western parts of Africa.

Broadcasting sector Arabsat has started C-band transmissions of its Digital TV bouquets from its 30.5º East orbital position, creating a TV Hot-Spot for DTH TV services for all of Africa. Two bouquets are currently carrying over 20 TV channels. These bouquets will be transferred to the new Arabsat 5-A satellite planned for launch by end of 2009 to the same orbital position. Once launched, Arabsat will have 100% coverage of the African continent with excellent downlink power allowing dishes of just 1 to 1.2 meters to receive these TV channels. Additionally, Arabsat will launch its Badr-5 satellite in the first quarter of 2010. Badr-5 will cover the whole Middle East and North Africa, supporting its existing Ku-band TV Hot Spot at 26º East. It will act as an in-orbit hot backup satellite for the existing Arabsat fleet (Badr-4 and Badr-6) and provide expansion capabilities. On board the new Badr-5 satellite, a steerable Ku-band beam can be directed toward any area in the west of Africa—from Morocco in the north to South Africa in the south—to provide DTH services in Ku-band over specific target areas.

In addition, Arabsat has deployed another beam covering two-thirds of Africa, the Middle East and Central Asia. This beam operates in a planned C-band spectrum of 6.7 to 7.0 Ghz uplink. This new addition—which also covers Europe’s main Internet backbones—will provide vastly enhanced capacity for various telecom services, GSM backhauling, Internet and other VSAT or dedicated networks across the expanding Arabsat world. Towards the end of 2011, Arabsat will also launch its 5-C satellite and position it at 20º East, an ideal orbital position to cover the African continent. Arabsat is launching one satellite every year until 2012, vastly expanding its coverage across all of Africa. With its enhanced capacity, the Arabsat fleet will be a vital contributor to African development, opening new business opportunities in the telecommunications and broadcasting sectors, generating new jobs and stimulating the business environment with new tools for developing and growing the African economy.

For further information, please contact: Arab Satellite Communications Organization, P.O. Box 1038, Diplomatic Quarter, Riyadh 11431, Kingdom of Saudi Arabia Fax: +966 1 483 0940 Email: info@arabsat.com

E-Vision introduces new IPTV STB’s during Cabsat E-Vision has announced the introduction of new IPTV High Definition (HD) set-top boxes (STBs) over its network with enriched interactive menu & enhanced functionalities to provide a superior customer experience. The new settop boxes will offer customers new enriched services and user friendly menu navigation options.

he new STBs will offer enhanced functionalities such as intuitive Personal Video Recording (PVR) which will be fully integrated with EVision’s Electronic Programme Guide (EPG) to provide customers with flexibility to record their favorite TV programs well in advance. Time Shifting of TV, whereby customers will be able to “Pause Live TV” anytime will ensure they don’t miss out on any part of their favorite programs. Customers will also be able to use USB Flash drives and enjoy their personal content media photos through these new STBs. E-Vision will also use the capabilities of the new STBs to introduce new functionalities in the future. According to Humaid Rashid Sahoo, CEO, E-Vision,” The introduction of these new IPTV STBs reflects E-Vision’s intention to offer customers a superior

digital TV experience in line with our innovation strategy. These new launches

also demonstrate our approach towards offering customers enhanced functionalities by anticipating the future needs of our diverse customer base." The new STBs will carry the basic functionalities starting from Live TV / Radio to support Arabic including multiple audio tracks. Customers can select different subtitling options, create their own favorite channel lists and easily set parental controls. E-Vision is the leading regional source to offer over 300 TV channels, in 21 different languages, ranging from sports to movies, from documentaries to music and kid's channels. E-Vision's product line-up includes 15 premium packages from all the major TV providers like OSN, ART, Pehla, Firstnet, TFC, Pinoy Plus and many more, in addition to the E-Vision Basic package.

Egyptian football channel scored with SGL Flashbox archive Software Generation Ltd (SGL), a leading provider of content archive and storage management software for media and entertainment, has announced that Egyptian football club channel Al Ahly TV has installed a FlashBox archive in its new facility in the Egyptian Media Production City near Cairo.

l Ahly is the most successful club in the history of the Egyptian Premier League. The system was installed by SGL’s partner Systems Design and is part of a complete end-to-end digital broadcast installation. Using SGL FlashBox, Al-Ahly TV will archive edited content that can be retrieved at a later date by Harris’s Nexio AMP production and transmission servers. Prior to installing FlashBox the workflow process was laborious: material was edited on a production server, recorded to videotape and then re-ingested or transferred to the transmission server - depending on available capacity on the servers. When the transmission servers began to reach their capacity, the operator would delete the clip and re-ingest when required. FlashBox significantly improves this workflow. Now when the channel requires

a clip it simply retrieves it from the archive. “FlashBox is a good start-up selfcontained archive package that will save the channel time and resources because it removes the requirement for VTRs for ingest. SGL was chosen for its good reputation and its seamless integration to the Harris Nexio servers,” explains Ahmed Gamal, Managing Director, Systems

Design. Bernie Walsh, SGL’s Worldwide Sales and Joint Managing Director adds, “We are delighted to announce this installation and to highlight SGL’s commitment to the region. FlashBox provides smaller facilities with a fully integrated HSM archive system, significantly reducing costs and improving workflow procedures.”

Dick Hobbs is a well known commentator and writer on broadcast technology.

Guarding the goose and the golden egg

probably use a data tape system as the archive. The LTO cartridge is a widely recognised open standard, and the latest version can store 800 gigabytes. At a typical in-house high definition codec that is better than 16 hours of content on a single tape. The tape library will just be a backup to the online content, which will be on a disk-based server. While there is already talk of solid-state servers coming into the market – and it may well be a talking point at NAB this year – as yet the economics do not stand up.

Storage costs dropping The great advantage of disk storage is that the cost has plummeted. A one

I seem to have been writing about asset management for close to 20 years, and yet there is still no clear agreement about what it is, how it should be done, and where the benefits lie.

alking around IBC I saw signs on stands offering ‘media asset management - $2000’,” Emilio López Zapata of Tedial, a worldleading company in asset management, told me. “I asked them what you got for $2000: they said it was a database of clips. That is not asset management.”Roly Keating, director of archive content at the BBC was recently quoted as saying that asset management “is all about releasing the pent-up value – be that commercial, public or creative – in the archives of the television industry.” Conversely, Declan Wood, head of Media Manor, a new consultancy which aims to bring IT solutions to broadcasters, believes “the primary goal must be to speed up the production process and aid

collaboration.” So what do we mean by asset management? There are probably now three elements: storing the content, find and re-using it, and moving it around. It is only when all three systems come together that you have any chance of gaining real benefit from an integrated asset management system.

Advantage of tape For most people, the storage question is answered by disks, but that need not necessarily be the case. Tapes still have their advantages: they are plug and play, and there is room in the box for quite a lot of metadata. A point often forgotten is that a motorcycle courier with a pannier full of tapes has a higher bandwidth than any network. In practice, a modern asset management system will 36

According to Roly Keating, director of archive content at the BBC, asset management is all about releasing the pent-up value in the archives of the television industry.

terabyte drive can be obtained anywhere for less than $100, so it would appear easy to build large storage systems using off-the-shelf components, for not very much money. Sadly, it is not that simple. “A lot of generic IT systems are being applied to broadcast, but are not created for a realtime environment, which can cause problems,” Ricki Berg of SBS Broadcasting Networks told a recent London conference. And UK production

house Lime Pictures, which did remarkable pioneering work on the use of IT infrastructures to manage television production and post production, recently had to move to a specialist video server when it migrated its production to HD, because it simply could not get the content backed up from its disks quickly enough for them to be cleared for the next day’s shooting.

Declan Wood from Media Manor believes that the primary goal for broadcasters is to speed up the production process and enable collaboration. “When you’re looking for archived content to incorporate into a breaking news story you simply can’t afford silly delays,” he says.

Specialist video servers Practical asset management systems use specialist video servers from companies like Grass Valley and Harris. Probably the largest integrated broadcast asset management system in the world at the moment, at NRK in Norway, is based on Omneon MediaGrid and Spectrum servers, with a total online capacity approaching a petabyte (1000 terabytes, a million gigabytes). Storing the content is just one part of the issue. Using it is the important part of the process – and another big problem area. In analogue days video was video, but in the digital era you have to consider what file type you are using. There are both open and proprietary video codecs, at different bitrates, and a number of “wrappers” – ways of describing the file. At the last count, Tedial supported more than 180 different combinations of codec, bitrate and wrapper.

Conceal the confusion Picking a single one of those 180 or so is rarely practical, as different equipment is suited to different solutions. Even apparently established wrapper systems conceal confusion: there are three different types of Quicktime, each designed for different applications, and the scope for variations in MXF is so vast that companies have sprung up, like OpenCube, who specialise in establishing the precise MXF workflow that is best for you. Selecting a single solution may restrict

Considering cultural archives

While broadcasters regard archives as a means of getting the best possible value out of every piece of content, there is another area of asset management which requires a very different approach. National audio-visual archives are an important part of a country’s cultural heritage, and deserve the best in technology. TransMedia Dynamics (TMD) is an asset management specialist company, which has considerable experience in this field, not least through its major project at the National Film and Sound Archives in Australia. Tony Taylor is TMD’s managing director. “Cultural archives call for a very different approach,” he said. “In a broadcast application it is all about getting content to air. For a cultural archive the emphasis is on preservation and access, and putting the material into its proper historical context. “Preserving the content for future generations is important, but it cannot be preservation for preservation’s sake,” he explained. “It is not good enough to catalogue the

archive then lock it away. There has to be a return on investment, and for cultural archives that means access, by the public as well as by researchers.” One of the challenges is that cultural archives tend to be genuinely multimedia resources, including artefacts and documents as well as sound and vision: “The Australian archive has posters, scripts and also the dress from the movie Muriel’s Wedding,” Taylor joked. In 37

the past the idea of bringing together different types of databases in this way was not considered practical, but the latest thinking, including new open standards like Content Management Interoperability Services (CMIS) has made it easier to abstract the control and access layer from the databases themselves, so a researcher using a web services enabled system can search in a uniform way across a lot of different resources. Frequently it is the sheer volume of material that is the biggest issue for archivists. Quite often a large amount of material will arrive, as someone donates a store or clears out an attic. There has to be a process for tracking all of this content as it arrives, even though it may not be possible to get it into digital form for some time. As well as deciding if and how to enter the new material there will be other decision processes. Is there a need to move quickly because the material is on a rapidly deteriorating or even dangerous medium (like nitrate film)? Does the material need extensive preservation or restoration work before it is entered into the archive, or can it be cleaned up later? “There are decisions on multiple layers and significantly more manual operations than a broadcast system,” said Taylor. “It is hard to automate.” He also pointed out that existing archives can be a major challenge to digitise, not least because it depends on the cataloguing capabilities of generations of librarians. “We recently undertook a project which involved us migrating the metadata of 1.3 million video tapes into a single system. Working through that catalogue, we found 8400 different descriptions of audio track layouts, just because historically there was no consistency.” The importance of preserving and making available the cultural heritage of a nation or a people clearly cannot be understated: it is vital that we do all we can to pass it on to future generations. Technically it involves a great deal of work to ensure that it is in the best possible condition, but then, as Tony Taylor says, it all comes down to the same questions of access by all who want it: “What is in the archive, can I use it, and can I see a proxy now.”

you in unexpected ways. Andy Liebman, founder of the server and workflow specialist EditShare recently told me about BBC news coverage of this yearâ&#x20AC;&#x2122;s world economic forum in Davos, Switzerland. â&#x20AC;&#x153;They needed two editors to cut news stories, and the producer knew which editors would be able to meet the requirements of the stories,â&#x20AC;? he revealed. â&#x20AC;&#x153;As it turned out one was an Avid editor, one used Final Cut Pro.â&#x20AC;? So in the real world you may find you need an asset

management system which can seamlessly exchange projects between two edit systems which are very different internally. â&#x20AC;&#x153;No, it is not an ideal world, but you certainly do not ease your headaches by picking the wrong people,â&#x20AC;? Liebman pointed out. EditShare has developed its own means of sharing content and metadata between disparate systems. For most large-scale implementations there will need to be a means of transwrapping and transcoding, using powerful digital processors from companies like Telestream, whose FlipFactory is fast becoming the norm for such applications. Big installations will have FlipFactory render farms with their own automation and flow control.

Finding the content Emilo Lopez Zapata from Tedial asserts that itâ&#x20AC;&#x2122;s a waste of expensive infrastructure to use full broadcast resolution for viewing clips. â&#x20AC;&#x153;A browse server that mirrors the archive means that footage can be viewed on the office network by anyone who needs access,â&#x20AC;? he says. â&#x20AC;&#x153;In broadcast many people think that media asset management is the solution but if they donâ&#x20AC;&#x2122;t manage the business processes that sit behind the footage all theyâ&#x20AC;&#x2122;ve really got is a large database of worthless content.â&#x20AC;?

Finding the content you need comes down to two elements: the database which Emilio LĂłpez Zapata felt was the easy part of the solution, and a means of seeing what you have researched. It is a waste of expensive infrastructure to use full broadcast resolution for viewing clips, and virtually all systems have a browse server which mirrors the archive. This uses a compact file format â&#x20AC;&#x201C; originally MPEG-1, now more commonly Windows Media â&#x20AC;&#x201C; so that it can be distributed around the office

Snellâ&#x20AC;&#x2122;s Neil Maycock believes that the economic benefits promised by media asset management are never really achieved because broadcasters lack a holistic view on what theyâ&#x20AC;&#x2122;re trying to achieve. â&#x20AC;&#x153;We need to strive for systems that enable workflows across different operational areas of a business,â&#x20AC;? he said.

network. Because it has uniquely powerful technology for ensuring that the browse encoding and replay is always precisely frame accurate, virtually all systems use SpectreView from IPV, although in many installations it is buried so deep that users may not realise it. The important element of using the content in an asset management system is putting it to work, and it is here that broadcast applications have furthest to go. While file-based environments have enabled broadcasters to do more work faster and more

See us at PALME: 2E24

F82 series

New office opening in Dubai! The new F82 series looks like our F80, but is new in every possible way. More brightness, more features, better colours, better optics. And add to that a new, lower price. We think it is the best value 3-chip DLPÂŽ projector available. See it for yourself.

professional series

high performance redefined

projectiondesign as +97150 6579827 me_sales@projectiondesign.com

www. pr o j e c t i o n d e s i g n .co m

SURMHFWLRQGHVLJQ VRXQG DQG YLVLRQ 0( 3$/0( [ (1 LQGG

efficiently, all too often the new technology has simply been a replacement for the old workflows rather than marking a new way of thinking about content. Emilio López Zapata of Tedial again: “In broadcast many people think that media asset management is the solution. People say ‘I have MAM’, but if you do not have enterprise management and business process management what do you have – you have a database.”

Making Light Work Photon Beard is a major provider of studio and portable lighting for the professional broadcast market worldwide, as a result of the proven build quality and reliability of our equipment. With our recent growth, we are now in a position where we are continually developing new innovative products, all designed and manufactured at our UK factory. Our most recent introduction is a range of compact Tungsten studio Fresnels, from 300W to 2kW, featuring our customary dependable design and construction, and incorporating an innovative application of lamp technology and optical design.

Commercial outcomes His argument is that the asset management system should be based not on the traditional broadcast workflows but should reflect the business aims of the organisation. It should reflect not television-specific tasks but commercial outcomes. As an example, a broadcaster might have one department which is responsible for acquiring content from external producers, another for scheduling it, yet another for promoting it and a fourth for selling the advertising around it. There will be multiple technical and operational tasks around this too: ingest, quality control, compliance editing, creation of trailers and graphics, archiving, moving to the playout server and so on. If asset management is really to deliver all the benefits it promises then it has to be constructed on the business process level – acquire and promote a new series – with the system itself determining the specific tasks, automating them wherever possible, and providing clear instructions where operators need to get involved.

Full details of our extensive range of fluorescent and tungsten lighting, and our studio design and installation service are available from our website.

Holistic vision Neil Maycock of Snell summarises this viewpoint. “In talking to customers, we find a pretty consistent situation where ‘asset management systems’ have been implemented which only solve point problems rather than a more holistic vision. In many cases they have got closer to their vision by gluing systems together with in-house or bespoke software developments. “In practice the potential economic benefits asset management could provide are almost never fully achieved There are certainly opportunities for companies to provide more holistic asset management solutions – by holistic, I mean systems that truly enable workflows across different operational areas of a business. “The potential remains for the right solutions to provide operational efficiencies and to generate real business benefit. With the current economic pressures faced by most organisations, the need is greater than ever.”

www.photonbeard.com Se e u

t N A B Sta

nd C3 2

Unit K3, Cherry Court Way, Stanbridge Road, Leighton Buzzard,Bedfordshire, LU7 4UH, United Kingdom.

Tel: +44 (0)1525 850911 Fax: +44 (0)1525 850922 info@photonbeard.com

Christie announce MicroTiles sales to staging community Following the extremely positive response received by Christie for the MicroTiles EMEA product launch at Amsterdam’s ISE2010 exhibition in February, the AV market has quickly consolidated its acclaim into the first sales of MicroTiles to the event staging community.

ust a week after ISE2010, Russian company Big Screen Service put in an order for 108 MicroTiles. Eugene Marinichev, BSS’s technical director, explains, “Our industry relies on products and display solutions that can be easily set-up, deliver impact, and broken down quickly to be shipped on to the next job. Our business model, costs and profits are directly affected by this. So when a solution like MicroTiles comes along, we see a great opportunity. Here is a solution that has all these characteristics and is ultimately reconfigurable permitting it to be used again and again in fresh and exciting ways. This first order was a nobrainer.” The company plans to put the product into action immediately for a television show in Moscow. “In this project in Ostankino we wanted to demonstrate the clear benefits of Christie MicroTiles. The Directors of photography will be able to see high-definition video, even in smaller studios where projectors cannot be used due to lack of space. “Even on a small display (for example, in a configuration of 3x3 "tiles") the image displays excellent colour characteristics and is virtually seamless – and for this reason MicroTiles won out over plasma screens and other display alternatives.

“We see great prospects for Christie MicroTiles in different fields of application, particularly for the creation of design solutions and non-standard digital surfaces of high quality.” Meanwhile, in Portugal, Christie partner, Europalco, has ordered 100 MicroTiles and also taken a demonstration kit of a further 25. Europalco’s general manager, Pedro Magalhães, was invited by Christie to ISE for the EMEA launch of MicroTiles and had made a positive decision almost instantly, to buy 12 square metres of the product. The company creates live scenographies in theatres, large trade shows and other big events and immediately recognised the potential for MicroTiles within those application areas. Magalhães, confirms, “I chose MicroTiles over all the other products

available because it's a new product with the possibility to create different shapes and the resolution is higher than other comparable products. As soon as I saw it I thought, ‘this is the product I’ve been looking for!’ and we’ll use it over and over, for product presentations, advertising and stage scenery – it’s perfect for the great variety of work we do.” Christie MicroTiles is the first display technology purpose-built to be readily reconfigurable and will be on display to the local market at PALME 2010.

Please add www.avspecialist.tv to your SAFE SENDERS list

Is our mail in the junk? As the internet becomes ever-more invasive, computer-savvy consumers are using SPAM filters to separate legitimate email from the hoard of promotional messages that invade our email INBOX every day. They’re very smart and very useful. But sometimes these filters are a little too smart for their own good – shifting essential email into your Junk mail folder and cutting you off from critical information. To ensure that you receive reliable email communication from AV Specialist, please add www.avspecialist.tv to your SAFE SENDERS list. We promise: We’ll only send you information that’s relevant and adds value to your business. AV Specialist conforms to the US Federal Trade Commission’s CAN-SPAM Act of 2003 (Controlling the Assault of Non-Solicited Pornography and Marketing Act) which establishes requirements for sending commercial e-mail and gives consumers the right to ask e-mailers to stop spamming them.

Shooting on the road in the Middle East – choosing a format When Al Dafrah decided to set up a Cultural channel, they wanted to distinguish it from its many competitors in the Middle East market by generating a lot of home-grown content, both in a studio and out on location.

s might be expected from a new venture, the channel was built for high definition end to end. They took the bold step of building three studios: two in Dubai Studio City and one in Abu Dhabi, fitted out with Ikegami cameras and Grass Valley Kayak HD production switchers. One studio has an Orad virtual environment, and the same company provides all the station’s graphics. Playout automation is by Pebble Beach via Grass Valley K2 servers. So far, it sounds like a straightforward project with good equipment choices. The difficulties came with finding the field recording kit, as consultant Graham Day, who took over technical control part-way through the project, explains. “Six months into the project and it was clear that the original choice for camcorders, Disk Recorders and acquisition media was not yet ready – we were finding too many bugs during preliminary acceptance testing. And to add to the pressure, the on-air date was pulled forward by three months.

Choice of formats “I had three edit suites – one Edius and two Final Cut Pro – standing by, and producers getting frustrated because they needed to be out shooting pilots, promotions and teasers.” With the Rev Pro disk system off the table, Graham was faced with the choice of XDCam and XDCam EX from Sony, GF from Ikegami and P2 from Panasonic. He also had a set of tight operational requirements driven by the very special characteristics of shooting in a Gulf state. In one day a camera could move from the intense heat and dry dust of the desert to the humidity of the coast. He saw that a camera had to be able to withstand big changes of temperature and humidity. It could also not generate much heat of its own – you do not want to take a piece of equipment that runs hot anyway, then hand-hold it in 400 plus temperatures. The choice of recording media was driven by the need to be able to exchange it in use, without desert sand getting into mechanisms and causing problems for either the camera or the recording. “We came to the conclusion

not supported by Final Cut Pro. The list came down to XDCam EX on Sony’s SxS cards and Panasonic P2s. While he was working on the final solution, he had to give his producers something to work with, so bought two Panasonic HDX174 prosumer camcorders, but recording to the P2 format. “Despite their lack of professional broadcast cameras settings, they were turning out some beautiful pictures given good lighting,” he said. “The only real criticism I had was that the lenses looked a little soft, but dollar for dollar they were a good investment.”

Final choice

The Panasonic 3000 series camcorders gave us the ability to record in 1080p, 720p or 1080i so we’re totally flexible,” explains Graham Day, technical consultant to Al Dafrah TV in Abu Dhabi. “We’re now format independent and can deliver whatever a client asks for – whatever the job and wherever the location.”

that a solid state storage device is a far better way to record images in the harsh environments we faced. “With a disk, access to the recording platter meant that there had to be some kind of slide mechanism for the read/write head, and this meant that moisture or dust could get in, or the mechanism could become jammed or damaged,” Day explained. “That is not to say that solid state storage does not have problems, but they are not so much mechanical or dust and moisture related – they tend to be damage through dropping or losing the disk because it is so small.”

Focus on solid-state For Graham, then, the decision to cross the XDCam optical disk system off his list was clear. He also dropped the Ikegami GF format as, at the time, it was 42

More important, the P2 cards and their MXF-wrapped contents worked pretty seamlessly with both Edius and Final Cut Pro editors. This drove the final choice, in favour of Panasonic. “We found the Panasonic 3000 series cameras and the AJ-HPM110E Disk based recorders to better suit our requirements, as it has an MXF wrapper and the chance to use the AVC Intra codec on both which, subjectively, gave us better results,” Day felt. “The camera has 4:2:2 colour sampling and even the ability to record off speed with Varicam – I was sure our producers would get excited by that. “The Panasonic 3000 series camcorders give us the ability to record in 1080p, 720p or 1080i, so we are totally flexible,” he concluded. “For our in-house purposes we run 1080i which is what the line to the uplink needs. “But having carefully considered all the options, we have reached a solution which makes us HD format resolution independent, and can deliver whatever a client will need, whatever the job and wherever the location.”

Eyeheight completes large 'playout' order for Al Jazeera Eyeheight has completed a major order for Al Jazeera Sport in Doha, centred on 11 systems from the 'playout' range of modular presentation control equipment. The new installation forms part of a server-based ingest, postproduction and transmission facility completed in just four months by Dubai-based Qvest Media in partnership with its German sister company Wellen+Noethen.

he HD-SDI playout systems installed at Al Jazeera Sport include Eyeheight's MW-3EM A/B mixer which provides the ability to perform mix, wipe and cut transitions as well as U and V fades. The MW-3EM also has a preview output. A DK-3M linear downstream keyer handles background, key and fill inputs and supports normal keying, additive (pre-multiplied) keying, self-key and selfcoloured keying. Also incorporated is an AP-10 manual intervention panel which enables engineering staff to choose the level of intervention they require for specific channels. Each of the 11 playout switchers is fitted with an AM-2E audio mixer which allows two digital audio sources to be mixed with embedded

audio. The AM-2E is designed primarily for voiceover insertion into an SDI stream. All 11 playouts have an FP-10 module which provides overall system control. Al Jazeera's engineering management team chose the system, which includes DVS and Avid servers handling both HD and SD, after seeing a similar implementation

by Wellen+Noethen being used for live broadcast coverage of EUFA EURO 2008. Qvest Media has contracted to provide permanent post-installation support. Technical details were negotiated during and after CABSAT 2009 with Eyeheight's exclusive German reseller, Logic Media Solutions, based in Bickenbach. Since its launch in November 2003, Al Jazeera Sport has become the most popular sports broadcaster in the Middle East. It covers a wide range of major events including the UEFA European Football Championship, Summer Olympics and Winter Olympics. It also owns exclusive Middle East broadcasting rights to major football leagues such as the Spanish La Liga and Italian Serie A.

Big intercom in a sm mall package

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

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

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

www.rtsintercoms. com/zeus3

Bosch Communications Systems

Innovating the future of global communications

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

ZeusIII_AVSpecialist_190x135_inset.indd 1

18.02.2010 9:46:55 Uhr

helpful, and all their requirements, including HD capability, was met. Sarah takes up the story: “Our cameras are the JVC Pro HD GY-HM100E, a Canon 5d and a consumer JVC Everio with an underwater housing. The JVC Pro is our A camera and it is working fantastically.” This is a 3 chip HD camera which records onto standard SDHC memory cards. It can work at any high definition standard including 1080p, although Martin Leahy chose to shoot 720p for this project. The recordings are in Quicktime format so can be used directly in the Mac that the couple are carrying for field editing. “The camera seems to handle heat, dust and general elements really well,” Sarah commented. “The only issue we had was before we left Dubai, taking the camera out of a very cold air conditioned care into 450 outside in the heat of summer. The lens fogged up for about five minutes, but once we had let it adjust it was great.”

Critical to back-up everything

Low cost production cuts the red ribbon A road movie, an adventure, and a new way of raising the plight of African orphans: the Arabia to Africa project is all of this and much more. The idea is the brainchild of Sarah Kilalea and Martin Leahy, originally from Zimbabwe but now Dubai residents. Martin is a freelance cameraman and budding director, and Sarah is an actor and radio presenter.

heir plan was to make an overland trek from Dubai to Cape Town, loading the car into a shipping container from Oman to Djibouti in Ethiopia, and filming as they went. Their supporters were kept up to date with blogs, some including video clips – when they found enough internet bandwidth to upload them. At the end of the trip they intended to turn their travelogue into eight 24 minute programmes, plus a separate documentary called Cutting the Red Ribbon which compared orphanages and the treatment of children in the countries on their route.“We want to highlight the situation in the Aids orphanages of Zimbabwe and how a lot of people want to create such

institutions but have to deal with red tape,” Sarah Kilalea explained. They hope to show the documentary at the Harare International Festival of the Arts. The pair set out on their journey on 21 September last year, in a Nissan Xterra with all their equipment crammed into the back – they were completely selfsufficient with no backup vehicles. Most nights they slept in a tent on the roof of the car. Cape Town was reached in February after 5 months on the road. Given that they had to be careful on space, the choice of equipment had to consider size as well as performance.

Persuasive couple The persuasive couple found local distributors in the Middle East very 44

Recording onto solid state memory means that the 16 gigabyte cards have to be copied onto a separate store then wiped and re-used. “We have two massive 1 terabyte hard drives and back up EVERYTHING as you never know what can happen,” Sarah pointed out. “Our car was broken into in Cape Town. Luckily they missed the hard drives but if they had stolen them we would have at least three quarters of our footage back up as we had send a third drive to friends in Dubai.” The Canon 5D is

Martin Leahy selected the JVC Pro HD GYHM100E as his primary camera for the trip from Dubai to Cape Town. The camera records native Quicktime files which made it very easy to edit footage on Apple’s free iMovie application.

essentially the stills camera but it does have a high definition video mode, and like an increasing number of cinematographers, Martin Leahy is using it for video. The benefit is that it uses the whole of the DSLR sensor for the video frame so it keeps the same depth of field from high quality stills lenses.

Night shooting “We tend to use the Canon to film our evening and night footage as we can push the ISO right up,” Sarah explained. “The JVC is great for everyday use – and the automatic focus and full auto mode are great for me to shoot B camera if Martin is filming with the Canon!” The low light capability of the Canon proved a bonus right at the start of the trip, with the chance to see the turtle sanctuary at Ras al Jinz in Oman. The right time to see turtles laying eggs, and newly hatched babies heading for the sea, is in the early hours of the morning: Martin and Sarah set out at 3.00 am with a guide who had a torch but otherwise no light was allowed. “Martin captured the scene as the babies rushed to the sea avoiding the attacking crabs and nearby stray cats,” Sarah remembered. “Seeing this amazing sight, watching shooting stars and listening to the waves until the sun rises, it is a life-changing experience that everyone should do.” She made one final important point about the JVC GYHM100E: although it produces professional, high quality HD footage, it comes in a compact form. “The cameras are small enough that we can pass as nerdy tourists rather than a camera crew, which is excellent when you are dealing with soldiers or border officials with authority complexes.

During their journey from Dubai to Cape Town, Sarah Kilalea and Martin Leahy shot video footage in a wide range of remarkable locations. “We shot most of our footage using JVC’s GYHM100E camcorder,” explains Martin. “This records footage in Quicktime format so we were able to edit directly in our Mac.” The couple found the camera extremely robust. “I’m afraid we dropped it a few times and during the journey it picked up its fair share of dents and bumps. Despite this, it kept on working without a hitch. Apparently it’s the camera of choice for many journalists working in conflict zones so that says something.”

that there are irritating insects in most African countries, which have a highpitched buzzing squeaking sound which seems to be the perfect pitch to drown out everything else we record – really frustrating. We are using a lot of post voiceovers and making sure that our live sound is captured as far away from cicada terrain as possible.” Editing is on a MacBook Pro provided by Apple, using the free iMovie application that comes with the laptop. “I am not a professional editor and iMovie is so much easier for

Dents and bumps “The cameras have been really hardy, too,” Sarah added. “We have dropped the JVC HD a couple of times and it has collected a series of dents and bumps, but it is still working brilliantly. Apparently it is the camera of choice for many war journalists, so that says something.” For sound recording Sennheiser provided both a mini shotgun microphone and a radio mic kit. Either can easily be connected to any of the cameras. Given that much of the time they are talking to locals and capturing wildlife, the fact that the rifle microphone is small and unobtrusive is a big benefit. Sound recording in Africa is a constant challenge, as Sarah admits: “The only problem with our brilliant microphones is

While the Canon 5D is essentially a stills camera it does have a high definition video mode. “We tended to use the Canon to film our night footage as we could push the ISO-settings right up,” he says.

beginners than Final Cut Pro,” Sarah admitted. “I am really loving the editing but wow is it time consuming. I have learnt a whole new respect for editors!” Living out of a tent but still being ready to shoot video at any moment makes power a big issue. “We have a car converter so we can charge the batteries while we are driving, and we have four separate batteries for the cameras which we try to keep charged at all times.”

Capture viewers attention The television series will be keenly awaited, and the couple already have distribution deals with channels in the UAE and other Gulf countries. Despite the serious purpose behind the project, to raise awareness (and funds) for orphanage projects, it will be the sights and sounds of Africa that will capture the viewer’s attention. Apart from the turtles in Oman there are many highlights. “In Kenya we saw leopard perched in overhanging trees, lions mating, a solitary rhino, elephant, giraffe and more,” Sarah recalled. “Off the coast of Mozambique we found a 7m long whale shark which we captured with the underwater JVC camera. “This series has come from our love of exploring,” she concluded. “We are very lucky to be able to dedicate six months of our lives to the project.” The story of the drive from Arabia to Africa, including a number of video packages, can be found at arabiatoafrica.blogspot.com

ICTR to digitize video recordings of its trial proceedings The UN International Criminal Tribunal for Rwanda has embarked on a project to migrate its video recordings to high-resolution digital video files for the purpose of ensuring the long-term preservation of these unique records. This new development aims at enabling the Tribunal to permanently preserve the recordings which are expected to be 30,000 hours long at the end of the ICTR's mandate.

ecently, therefore, the Tribunal entered into a contract with the internationally renowned Front Porch Digital (FPD) to conduct the digitization of the video recordings. FPD is a global leader in the migration and preservation of video tape to digital files, and is dedicated to developing technical solutions for the preservation, access and management of digital content.

Record trial proceedings The Tribunal has since 1999 produced video recordings of its trial proceedings. However video tape is subject to deterioration over time thus the need to transfer the video recordings to a new medium. The digitization of the video recordings of the ICTR is part of a larger project undertaken by the ICTR to ensure the long-term preservation and to enhance the accessibility of the audiovisual recordings of the trial proceedings. Also conducted within the framework of this project is the in-house digitization of master audio recordings of the trial proceedings. The process will also enhance the accessibility of these video recordings to the users of the ICTR's

archives, while also ensuring their longterm viability.

Broad access to content All digital audio and video files created as a result of this project will be reviewed and edited by the Court Management Section's Audio-Visual Redaction staff. As a result, redacted versions of all recordings of the trial proceedings will be generated, which can then be made available to researchers, legal professionals, broadcasters and news agencies, the people of Rwanda, and the international community at large.

Skulls of victims from the Rwandan genocide found at the Nyamata Memorial.

During March 2010 the Appeals Chamber of the United Nations International Criminal Tribunal for Rwanda rendered two judgements; affirming Simon Bikindiâ&#x20AC;&#x2122;s conviction and sentence of 15 years in prison and reversing a number of convictions of SimĂ¨on Nchamihigo and reducing his sentence to 40 years instead of imprisonment for the remainder of his life. On 2 December 2008 Trial Chamber III found Bikindi a former singer, composer and leader of a ballet troupe called the â&#x20AC;&#x153;Irindiroâ&#x20AC;? guilty of single count of direct and public incitement to commit genocide based on public exhortations to kill Tutsis, which he made on the Kivumu-Kayove road in Gisenyi prefecture in late June 1994.

6HH \RX DW &$%6$7 %RRWK =/

0(',251(7 Â˛ 5( '(),1,1* ),%5( 237,& 1(7:25.6 7KH 6ROXWLRQ IRU :RUOG &ODVV (YHQWV

5LHGHO &RPPXQLFDWLRQV *PE+ &R .* Â&#x2021; 8HOOHQGDKOHU 6WU Â&#x2021; :XSSHUWDO Â&#x2021; *HUPDQ\ Â&#x2021; ZZZ ULHGHO QHW

Prosound delivers stadium audio fit for FIFA World Cup As all the stadiums built or refurbished to the highest international specifications for the 2010 FIFA Soccer World Cup near completion, nine out of ten of them awarded their stadium sound system contracts to Prosound, Africa’s leading pro-audio and lighting company.

ark Malherebe, Technical Director at Prosound, says the company was actively involved in the audio system specifications for the 2006 bid, experience which the task team was able to leverage to great effect when bidding for the ten 2010 contracts, each of which was individually specified and presented for each stadium. “Over the past thirty years we’ve worked closely with architects and contractors on most of the existing stadiums in South Africa and have the experience and knowhow to get involved in the design from the start,” he says. Grant Scott, Head Systems Engineer at Prosound, says that while some of the stadiums provided some of the basic specifications such as sound pressure level and frequency response requirements, most of the consultants first came to Prosound for advice.

35 years experience “We were also able to draw on over 35 years experience in audio systems design and demonstrate a proven track record in designing, supplying and installing the audio systems for venues such as the Wanderers in the 1970s, Ellis Park in 1980/1, the Free State stadium and the Royal Bafokeng in 1998, as well as the original upgrade to Loftus Versfeld in 2004,” says Scott, adding that as recently as 2003, Prosound did all the upgrading of sound systems for 90% of the stadiums in South Africa. In addition to the brand new Soccer City, home of South African football and host to the opening ceremony and final game of the 2010 FIFA World Cup, TDC Prosound also landed the contracts for Cape Town’s Green Point stadium, Johannesburg’s Coca Cola Park Ellis Park stadiums; Nelspruit’s Mbombela stadium; Bloemfontein’s Free State stadium; Nelson Mandela Bay stadium in Port Elizabeth; Loftus Versveld in Pretoria; the Royal Bafokeng near Rustenburg and the Peter Mokaba stadium in Polokwane.

Turnkey solutions “Setting up a task tem following the 2006 Soccer World Cup bid and knowing

that South Africa was bidding for 2010 placed us in an enviable position with engineers as we were able to produce turnkey solutions that met the design requirements of all the different architects and consultant teams on budget and in time,” Malherbe says. According to Scott, good quality sound is a critical component of modern stadium design as the audio requirements for today’s sports venues are the same as any other space, and range from speech and music through to safety announcements. ”Generic stadium sound system

reproduction; music playback for entertainment; advertisement or jingle playback; post-match speeches; as well as controlled enhancement of temporary sound systems for non-sport related events,” he says. Among the audio equipment recommended and supplied in differing configurations were the world’s best in leading international and local brands, including Peavy MediaMatrix audio processors; Electro-Voice and Dynacord loudspeakers; Electro-Voice microphones; Midas mixing consoles and Crest power amplifiers.

Hands on experience

specifications includes evacuation and crowd control that requires clear, distinctive speech; grounds paging; match commentary with good speech 48

Although there is sophisticated software available in the market that can be used in the design of audio systems and the positioning of speaker layout in sporting venues, Scott says that nothing matches the hands-on experience gained from decades of experience in systems design, engineering and installation. “Stadiums are not the sort of infrastructure being built every day in South Africa, but since the 1970’s, Prosound has been implementing the best audio systems and solutions, making use of advanced computerised sound control and processing, networked audio, digital matrixing and digital signal transmission.”

Blink to produce Arabic storytrain Twofour54, the Abu Dhabi-based content creation community, today announced a strategic partnership with Blink Studios, one of the leading Gulf based animation studios.

link Studios was established to service the regionâ&#x20AC;&#x2122;s growing need for high quality visual impact. Blink has developed a dynamic approach to TV, Motion Picture and corporate productions, with strategically engineered studios providing a fully integrated production solution including shooting for documentaries, cinema and TV Commercials, 3D walk-through animated graphics and fully-animated, television programmes.

Production facility The agreement will see Blink Studios establish a production facility at twofour54 in Abu Dhabi initially to produce the Arabic version of Driver Danâ&#x20AC;&#x2122;s Story Train. Working with 3Line Media, the UK based producers of the English version of Story Train; this move by twofour54 will open up enormous opportunities to young Arabic talent. Commenting on the partnership, Tony Orsten, CEO of twofour54 said: â&#x20AC;&#x153;Driver Dan is the perfect platform for adapting content to the Arab market. The show will not be a dubbed version of the English content, instead we will use Arabic writers to provide the story telling element, Arab animators to create content and Arab children to make up the live action component.â&#x20AC;? Arab animators will work alongside some of the worldâ&#x20AC;&#x2122;s leading childrenâ&#x20AC;&#x2122;s animators to create a brand new, original version of the show specifically tailored for

Blink Studios have established a production facility within Abu Dhabiâ&#x20AC;&#x2122;s twofour54 complex that is capable of shooting for documentaries, cinema and TV commercials, 3D walk-through animated graphics and fully animated television programmes. The new facility will produce an Arabic version of Driver Danâ&#x20AC;&#x2122;s Story Train. Twofour54 CEO Tony Orsten explains that this will not be a dubbed version of the English content. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ll use local writers and local animators to produce an Arabic version thatâ&#x20AC;&#x2122;s tailored to an Arabic-speaking pre-school audience.â&#x20AC;?

the Arab market and the pre-school audience.

Exciting opportunity These exciting opportunities will help guarantee the long term future of the regionâ&#x20AC;&#x2122;s animation industry. By establishing a sustainable industry base in Abu Dhabi, twofour54 will provide job opportunities in the sector and ensure skills development and knowledge

transfer through internships and work experience placements. â&#x20AC;&#x153;Our partnership with Blink is an exciting phase for twofour54 on our mission to develop a sustainable Arabic media and content industry here in the region,â&#x20AC;? added Wayne Borg, Chief Operating Officer, twofour54. â&#x20AC;&#x153;One of our key roles is to facilitate content creation in a supportive and collaborative environment. The relationship with Blink allows twofour54 to further develop new animated content in the region, working with talented Arabs to bring their ideas to both regional and international audiencesâ&#x20AC;?. In order to ensure a long term sustainable presence in Abu Dhabi, Blink will commit to producing the majority of its long form animation production at its twofour54 base. Further to this, twofour54 is creating a development fund in order to collaborate with Blink to identify animated content which can be developed for the region. Talking at the signing of the agreement, Lea Badro, Partner, Blink Studios said, â&#x20AC;&#x153;The vibrant, fast growing economy of the UAE and the Arab region has given rise to increased demand for Arabic content, particularly in childrenâ&#x20AC;&#x2122;s animation. We have recognised the need for quality programming and have developed a dynamic approach to TV, motion pictures and corporate production. Our partnership with twofour54 will further cement our leading market position and is a step in the right direction to establishing a true animation industry.â&#x20AC;?

6HH \RX DW &$%6$7 %RRWK =/

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

7KH 6ROXWLRQ IRU :RUOG &ODVV (YHQWV

5LHGHO &RPPXQLFDWLRQV *PE+ &R .* Â&#x2021; 8HOOHQGDKOHU 6WU Â&#x2021; :XSSHUWDO Â&#x2021; *HUPDQ\ Â&#x2021; ZZZ ULHGHO QHW

Internet radio set to ignite networked audio market worldwide The rise of connected devices and Internet radio are laying the foundations for multi-room networked audio, according to a new strategic report from Futuresource Consulting. The digital music market in the USA now accounts for 35% of the country’s music revenues, with a subscription market worth nearly US$3bn (85% derived from satellite radio). The UK is also a significant market, where consumers spend almost twice as much on music per capita than the US and European average. Combine this with a rapid uptake of consumer laptops, notebooks and wifi-enabled broadband, and the market is shaping up for a networked audio revolution.

Full track downloads

here are many potential applications for networked audio, including connecting a laptop to a music system’s speakers without the need for wiring; a home theatre in a living room playing out music from a remote PC or media server; an AV receiver delivering music streams to wireless devices in other rooms; or a wifi enabled in-wall amplifier piping Internet radio to a speaker system housed within the ceiling. “Networking solutions are on the brink of revitalising markets for home audio products,” says David Watkins, Senior Market Analyst at Futuresource Consulting. “Consumers already own devices which can access Internet music – PCs, personal media players and smartphones – though the unique selling point for embedded Internet radio is convenience and immediacy. There’s no need to boot up a PC, you simply hit a button and you’re listening to your

functionality and an extended number of station presets. Futuresource forecasts show that the market for Internet radios will grow from a small niche in 2008 (less than 500,000 units worldwide) to close to five million units by 2013. “Server-to-audio networking combined with wireless multiroom audio systems is just the beginning,” says Watkins. “Several vendors are already developing networked solutions which allow remote control of your iPod and other handheld devices across a home network, effectively turning handheld devices into servers. Throw in the iPhone’s capability to act as both a music source and a wireless remote controller and the outlook starts to look very enticing. “However, there are challenges to overcome. The majority of consumers are currently unwilling to pay for streamed Internet radio services, so the search is on for sustainable business models, particularly with the technology being embedded within an increasing number of devices. Ease of use, seamless user interfaces and robust wireless operation are an essential next step to move the market from niche to high volume. From a slow start, by 2013 networked features on medium range audio devices will be standard fare, and consumers will increasingly become dependant on the Internet for their music. With the continued rise of home networks it is evident that Internet radio is here to stay – and it’s just a short leap to networked audio. For the content owners, monetisation has to be the next critical step.”

favourite music or talk show in an instant.” Standalone Internet radio manufacture is currently being driven by innovators like Grace, Roberts, Revo and Magic Box, with the market primarily focused within the US and UK. Hardware is bundled with navigation portals, such as Reciva, so the product is ready to play straight from the box, though online registration allows access to more intuitive station search 50

94.7 Highveld Stereo and eXactmobile have entered into a partnership that will allow the station's listeners to purchase music through its website and download it onto their computer or mobile phones. “The primary building block of our relationship with listeners is music. So we're taking this one step further, and giving them access to the music they love. They don't only want to hear it on air. They want to download it onto their mobile phones, and own it,” explained Ryan Till, Primedia Broadcasting's COO. “Highveld listeners have access to more than 500 000 tracks in partnership with eXactmobile. The songs can be bought on 94.7's website, either via credit card or premium-rated SMS in the 94.7 Music Shop.”

Clear favourites Since the launch of the music shop, it's clear who the favourites are among

international and local artists. Lady GaGa's “Poker Face” is the highest-selling song, followed by local South African band, Prime Circle's “She always gets what she wants”. “It's great to hear that we have the top selling SA song,” said Franie Kotze, manager of Prime Circle. “Digital sales make a huge difference to a band, as digital is the new format for music sales. This album “All or Nothing” went gold after the first single, and is now 75% of the way to platinum. “She Always Gets What She Wants” has been huge for us - songs such as this make it possible for bands to build their careers. 94.7 has been instrumental in building this single with us, and has supported us so strongly on air. Now we have added support from the 94.7 Music Shop project.” “The 94.7 Music Shop will operate from the most comprehensive database of South African and international music in the country - offered in an easy, userfriendly and fully searchable catalogue design. This system expertise was critical to the project design, allowing 94.7 the opportunity to bring its listeners this carefully customised music-download service,” explained Davin Mole, CEO, eXactmobile.

Comprehensive database “It's not just about current music; we also have access to a large base of older 'catalogue' songs. Interestingly enough, older songs sell as much as current ones,” said Till. “Counting Crow's ‘Mr Jones', followed by Bon Jovi's ‘Bed of Roses' and Allanah Myles ‘Black Velvet' have proven to be hugely popular. In terms of current international trends, even in these early days, collective single sales are equalling the top-selling current sales, so we can confirm that the long-tail theory is a reality in South Africa.” Till explains that Highveld has partnered with eXactmobile - another Primedia company - on this initiative because the latter brings with it the necessary technology and infrastructure, as well as a wealth of experience, in selling music online. He says their partner also has the very important rights negotiations with the record labels, and the partnership follows the development of new, cutting-edge content-management systems by eXactmobile.

Till, doesn't detract in any way from its core product - radio. Instead, the digital platform allows the company to build relationships with its listeners, and further enhance its understanding of them.“Five years ago, when podcasts first emerged, questions were raised around the longevity of radio as a medium. The Radio Advertising Bureau in the UK researched the relationship between a consumer's personal listening device (iPod, MP3 player etc.) and their favourite radio station and concluded that they are complementary. While people love to listen to their own music on their MP3 players, they rely on radio to highlight the new music for them. So this is a match made in heaven. It's up to radio operators to ensure they remain alive and well in these digital spaces,” concluded Till.

Digital strategy The initiative is part of Primedia Broadcasting's digital strategy to take advantage of new, interactive media platforms, and build communities based on solid relationships with listeners. The group's venture into the digital realm, said 51

Regional perspective KenTunes is an online music store specializing in the promotion and sale of Kenyan music. The idea for KenTunes grew out of the need for an exclusive and comprehensive Kenyan online music store. Instead of Kenyans in the Diaspora having to rely on the shipment of music CDs, KenTunes delivers digital content directly to their computer. The company’s vision is to promote Kenyan artists and give them a platform on the center stage of the digital world. KenTune’s business model ensures that Kenyan artists realize their potential and make a meaningful living from their work. They strive to be the one-stop music store for Kenyans music fans wherever they may be in the world. Finally, Du, the mobile operator in the United Arab Emirates, has launched a multi-platform full-track music download service. Thanks to a partnership with aggregator Rotana, the service features over 2,000 songs from Arabic artists such as Husain Al Jassmi, Amr Diab, Elissa, Najwa Karam, Shireen and more. Du customers can purchase tracks via the web portal, mobile client or PC application. The service also offers video and audio streaming, gossip and info, polls and more. Farid Faraidooni, executive vice president of Du, said: "'Entertainment is the pulse of today's youth and we are leveraging our exclusive strategic relationship with Rotana to present Du customers with the most desirable full track Arabic music content straight to their mobile phones." It seems the whole world is now centre stage.

Tune into the Benefits of Membership at InfoComm International InfoComm International is the leading non-profit industry association serving the professional audiovisual industry. Member Benefits Include r Discounts on professional industry education and publications

r Regional Roundtables, tradeshows and in-person networking opportunities

r Access to a robust social media program

r Members-only business tools and templates

InfoComm is dedicated to advancing AV â&#x20AC;&#x201D; be a leader in the development of the future of the industry. Strengthen your business and save money at the same time â&#x20AC;&#x201D; join InfoComm today!

Middle East & Africa Ph +61 (0) 2 8206 0979 africa-me@infocomm.org www.infocomm.org/emea

Complex challenges of a converging, multimedia world While demand for information and communication (ICT) services like mobile telephony and broadband Internet remains strong, the global economic crisis is jeopardizing ongoing investment in network rollouts and technology upgrades, a new ITU report finds.

ccording to a new report issued by the ITU, enlightened ICT regulation can effectively play the role of a ‘stimulus plan’, driving network investment, growth and development. The report draws on the discussions held during ITU’s annual Global Symposium for Regulators (GSR), which was held last November in Beirut, Lebanon and welcomed over 600 regulators from around the world. The economic crisis has served as a wake-up call on the importance of effective regulation and raised questions about the role of government and the laissez-faire approach that had prevailed — especially in the financial sector. Government and industry are now being forced to reassess their roles and the need for state intervention to ensure, among other things, the development of a new ‘broadband economy’. ITU argues that regulators and policymakers can proactively address the risk of underinvestment in tomorrow’s networks through a two-pronged approach that looks at how governments lend money to the private sector through Public-Private Partnerships, ICT stimulus plans and other funding programmes; and how effective regulatory strategies and policies — both financial and non-financial — can play their part in maintaining the momentum. But to be effective, these strategies must be underpinned by strong regulatory institutions and transparent policies and procedures — the bedrocks of effective regulation.

Blurring the lines "With technological convergence now blurring the lines between telephony, broadcasting, and online services, ICT regulators play a key role in fostering ongoing innovation and competition, enabling operators to adopt the latest, most powerful technologies, and ensuring consumers enjoy the very best range of services at the lowest possible prices," said ITU Secretary-General Dr Hamadoun Touré. The ITU report maintains that, regardless of changes in investment

appetite, negative capital market conditions, and financial crises, the size of the investor universe and the diversity of investor objectives will ensure that ICT sector investment remains robust and varied. "Although the global ICT industry has seen reduced sales in equipment and manufacturing, lower demand and curtailed investment, the sector confronted the crisis more successfully than did many other sectors," said Sami Al Basheer Al Morshid, Director of ITU’s

Telecommunication Development Bureau. "Certain markets — namely mobile cellular and Internet — have been buoyant. And because of the business opportunities they represent, developing countries remain attractive — especially those that have embarked on regulatory reform initiatives. But the answer to many of the complex regulatory questions now facing the industry are still far from clear — which is why the GSR has become such a key global event."

Grouth in mobile markets Mobile growth continued unabated in 2009, with global mobile subscriptions 53

expected to reach 5 billion in 2010. At the same time, mobile broadband subscriptions topped 600 million, having overtaken fixed broadband subscriptions in 2008, highlighting the huge potential for the mobile broadband Internet industry. The number of Internet users also grew steadily, with some 1.8 billion users worldwide by the end of 2009. The creation of independent ICT regulators has been one of the main building blocks of regulatory reform. The number of separate telecom/ICT regulatory authorities in markets around the world increased from just 12 in 1990 to 153 at the end of 2009. Regulators have gradually opened fixed line services to competition, so that at end 2009 65% of countries now have competitive markets for basic fixed-line services, and 90% for mobile cellular services. In addition, 124 national fixed-line incumbents have been privatized along the way.

New challenges The report also confirms that converged technologies are boosting competition. Voice over IP (VoIP) services allow broadband, cable modem and wireless service providers to compete directly with one another, as well as promoting competition by enabling new service providers to compete without owning their own network infrastructure. But changes in technologies and market conditions also raise new consumer protection issues. From a consumer’s perspective, more competition may lead to a bombardment of marketing material, masquerading as information. This is especially the case where access to high-speed broadband connections makes consumers easily accessible, day and night, as advertising targets. In the ‘always-on’ environment, consumers may also be unaware of how to protect themselves and their families from harmful or offensive content. Meeting the needs of the connected consumer therefore needs to look at potential gaps in current regulatory practices that should be addressed to protect consumers more fully.

Trends and technologies in the broadcast market

Each year Devoncroft Partners takes the pulse of the broadcast industry through the annual Big Broadcast Survey (BBS), a global study of industry trends, vendor brands and technology purchasing behavior. With more than 5,600 people in 120+ countries participating, the 2010 version of the BBS is the largest and most comprehensive market study ever done in the broadcast industry.

articipation from Africa and the Middle East in the 2010 BBS was strong. Nearly 400 industry professionals participated, including broadcasters, cable/satellite/IPTV operators, playout centers, systems integrators, recording studios, radio stations and technology vendors. This article looks at three of the key findings for Africa and the Middle East from the 2010 BBS: • the most important technology trends • the major projects being planned for the year • technology products currently being evaluated for purchase Please note that in all cases, the charts and tables in this article show the responses from technology buyers (i.e. non-vendors)

weighted based on the importance of each trend to the business of the respondents. Responses that were ranked “most important” were multiplied by 5, responses ranked “second most important” were multiplied by 3 and those deemed “also very important” were multiplied by 1. The table below shows the trend rankings for all non-vendor responses from Africa and the Middle East. Topping this list are file-based workflows, multi-platform content delivery

Technology Trends To determine the most important technology trends in the region, respondents were presented with a list of 14 trends and asked to choose which is the “most important,” “second most important” and “also very important” to their business. Asking the question in this way provides insight into the commercial drivers behind the respondent’s answer. The responses to this question were then 54

and transition to HDTV operations. These trends show that the region is striving to achieve both efficiency and new revenue streams as it migrates towards HDTV operations.Looking at this same data another way reinforces the fact that respondents from the region are looking for ways to increase operating efficiencies, reduce operating costs and find new sources of revenue. Table 2 shows these same responses ranked by “most important” and without the 5-3-1 weighting

applied. When viewed this way, and focusing on only what top trends selected as “most important” it’s interesting to note how the trends shift versus the weighted index. Although the top four trends are the same in the two charts, the order differs slightly, with transition to HDTV operations and multi-platform content delivery swapping positions. When looking at Table 2, it’s also interesting to note that with the exception of “transition to HDTV operations” the top 7 trends are all arguably about either increased efficiency (e.g. file-based operations), new revenue streams (e.g. “video on demand” and “multi-platform content delivery”), or cutting costs (e.g. centralized operations). Conversely, the more technology-oriented trends (those that require new investment) such as 3D TV and the transition to 3Gbps operations come much further down the list.

Major Projects Following on from the technology trends, the 2010 BBS explored what projects are being planned for the next year by broadcast professionals in Africa and the Middle East. Respondents were presented with a list of projects and asked to indicate up to five choices that they are planning to implement in the next year. The results are shown in the table below. Building new and of course, to get the content from these new HD facilities to end-users, they are planning to upgrade their transmission and distribution capabilities. These top three results are consistent with the trend findings discussed earlier, which show the importance of the transition to HDTV operations.Similarly a large number of respondents indicated that they are planning projects in line with the top regional trend of “file-based / tapeless workflows.” Indeed the 2010 BBS results show that a significant number of people are planning archive-related and workflow / asset-management projects. The rest of the planned projects offer a broad picture of project activity across the region, with everything from launching new channels, to upgrading audio and newsrooms, to a move toward automated operations. Interestingly, the project shown on the bottom of this list – “consolidate operations in regional hubs (centralcasting)” appears significantly higher in both the regional trend index and the percentage of most important charts shown above in figures 1 & 2. There are two explanations for this apparent inconsistency. The Planned Projects chart shows the responses of all regional participants in the BBS, regardless of

organization type, size or location. In addition this chart above is a graphic representation of the number of all planned projects across region. It does not measure size, value or relative commercial importance of planned projects.

Products under evaluation Finally, let’s look at the products that are currently being evaluated for purchase by regional broadcast professionals. Respondents were presented with a list of up to 27 product categories and asked to indicate which product type they are currently evaluating for purchase. The results are shown in the table below. The response to this question shows that production technology such as editing products, studio cameras and ENG cameras will be in demand as regional broadcast professionals upgrade their facilities to HDTV operations. The new studios, OB vans and channels that are being planned (see Planned Projects chart above), will drive evaluation of a wide variety of equipment including routing switchers, production switchers, 55

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

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

High-Definition reference monitor 3 ways to stand out from the crowd For studio professionals who are performing color-critical work on a daily basis, Barco now presents its new RHDM-2301 High-Definition reference monitor. As the first true Grade-1 LCD with this level of image quality, Barcoâ&#x20AC;&#x2122;s RHDM-2301 display offers three ways to stand out from the crowd: 1

Colors that last Advanced calibration and stabilization technology keeps your colors lasting.

Excellent motion handling The RHDM-2301 prevents motion blur and produces CRT-like quality that is second to none.

Accurate colors A native 10-bit panel, calibrated LED backlights and 48-bit processing are your guarantee for the highest color accuracy on the market.

Distributed by Questek Advanced Technologies "! . * $) + - $ $"%( !"$ " $+ !%&"! "'& $ "$ #' %& " , www.questekadvanced.co.za

automation, audio consoles, playout servers and graphics. The transition to filebased / tapeless workflows will be facilitated by purchases transcoding products, which facilitate multi-format interoperability in the file-based domain; workflow / asset management systems; library & storage management systems; and near-line / offline / archival storage. Keep in mind when reading this information that like the planned project chart, this table measures the responses of all regional participants in the BBS, regardless of organization type, size or location; and shows the number of respondents that are evaluating products without regard to size of project or value of purchase. Granular analysis of these results is available as part of the 2010 BBS Global Market Report, which is available from Devoncroft Partners.

becomes

AUDICOM速

Audicom at the PALME 18-20 April 2010 Dubai Word Trade Centre #2D10 Please visit us at the PALME 2010 from 10-20 April 2010. Audicom Middle East will be presenting the following brands: Audipack Audipack produces supportive technologies for sound and image.

WILLIAMS SOUND Professional Listening Equipment.

Green Wizardry

VUTEC Video Projection Screens

Green LED lighting, Intelligent Building & Guest Room Management

IVS Interactive Voting System

albiral Manufacturer and distributor of flat screen display solutions.

Audicom MEA FZCO P.O. Box 341067 Light Industrial Unit 16 Dubai Silicon Oasis, Dubai, UAE. Phone +971 4 326338/24 Fax + 971 4 3263321 info@audicom-me.com www.audicom-me.com

Getting it right the first time For more than 70 years InfoComm International has been creating standards for the global audiovisual industry. These standards are the foundation for business interoperability and define a common business language that allows all players within the global AV market to communicate across the value chain. Far from creating a rigid technical structure, standards enable flexibility by providing concrete rules for integration that have been developed by the world’s leading AV designers and integrators. They enable more efficient business processes and maximize supply chain flexibility.

n today’s tight economic climate, working to professional standards has never been more important. “That’s true all along the supply chain,” says George Puthenkulam CTS, general manager of Dutco Tennant in the United Arab Emirates. “Adhering to standards

“In todays tough economic climate working to professional standards has never been more important,” says George Puthenkulam CTS, general manager of Dutco Tennant in the UAE.

provides interoperability, interconnectivity, intercommunication and finally integration between devices and systems. Lack of standards will end up in duplication of components and parallel systems that do not integrate so the customer ends up paying more,” says George. Dutco Tennant has risen to the challenge of meeting international standards by implementing an active training programme based on the professional InfoComm CTS credential. “Over the last few years we’ve worked closely with our industry colleagues in MECIA and today, 100% of our frontline staff has earned their CTS qualification,” he says. “Standards influence performance more than talent, so its not enough to have talented personnel, what is important is to train them well in delivering high quality professional solutions.”

International standards Another company who has embraced international standards as part of their operating procedures is AVI-SPL, a US-based integration company with offices in Dubai, United Arab Emirates. “At

AVI-SPL, we are experts in applying the industry's most advanced audio video technologies,” explains Phil Marlowe, project manager on AVI-SPL’s high-profile Dubai Mall project. AVI-SPL stands strong as the largest global integrator in the audio video industry, and they maintain their global reputation with a strong adherence to international standards. “At AVI-SPL we only employ industry professionals who are able to demonstrate their knowledge and understanding of AV technology,” says Phil. “Every employee is expected to have earned the InfoComm CTS credential and while we occasionally employ people from outside the AV industry, they’re expected to earn the CTS qualification within six months of joining the company.”

Regional perspective It’s not just in the United Arab Emirates that certification and international standards have become a major issue. In the oil-rich nation of Qatar, the demand for quality AV technology has driven Techno Q to invest actively in an active training programme for their specialised AV design team. “Techno Q was the first AV company in the GCC to be recognised with an Infocomm Gold CAVSP status because we wanted to offer our clients quality solutions

In the oil rich nation of Qatar, Techno Q have chosen to invest in training programmes based on helping their staff earn the ISOstandard InfoComm CTS credential. “As far as I’m aware, Techno Q were the first company in the GCC region to be recognised as an InfoComm certified AV solutions provider,” says Abdulla Alansari, executive director of the company.

from design to implementation,” says Abdulla Alansari, executive director of the company. “We are also the only AV company in the region to employ a dedicated Quality Controller to scrutinize and pass every installation before it is handed over to the client.” The Kingdom of Saudi Arabia is by far the largest market for AV technology in the Middle East and developments at King Abdulla University of Science and Technology (KAUST) have dominated the local AV industry for the last year. The campus is a state of the art facility that includes comprehensive AV equipment and distance learning systems in well over 100 classrooms and conference rooms within its campus. It’s situated on the Red Sea at Thuwal – about 80 kilometers north of Jeddah and is dedicated to inspiring a new age of scientific achievement in the Kingdom.

Consistent application TSAV (Technical Services Audio Visual) with headquarters in Georgia, USA have been appointed as an audiovisual consultant on KAUST’s faculty and managing director Peter Dugas (CTS, AIA) is adamant that the consistent application of standards is a key component behind the success of the project. “The KAUST campus or city is a huge project that expands along the Red Sea for dozens of kilometers,” he says. “The project’s audiovisual technology’s complexity mirrors that of the overall construction project, spanning dozens of facilities and providing for presentation, conferencing, distance learning, skills labs and classroom capture, enterprise streaming, interactive displays, and even large format production systems. At the onset of the integration project there were nearly 35 thousand active construction workers living on site, dedicated concrete and desalination plants, and a vehicle traffic management system that provided challenges of its own. With a dozen or more integration firms involved in order to meet project schedules, standardization not only of equipment but of installation techniques is essential. Through this

standardization and a rigorous focus on constant improvement to quality of workmanship we anticipate significant reduction in long term support and maintenance costs. And, perhaps more importantly, we are realizing high levels of student, faculty and staff utilization of these very useful technologies”.

programmes and our objective is to have all staff certified to CTS standards before the end of the year,” says Jasper Cecil, Director of the University’s AV division. “We are also encouraging our suppliers to learn more about the technology they supply. Far too many suppliers provide audiovisual technology without having anything more than a basic understanding of how their products are used.”

Certificate of competance Across much of the African continent, standards have been difficult to apply. Training programmes have been difficult to access and in South Africa, the State’s BEE policies have encouraged business to support black-owned start-up organizations who often lack the experience necessary to integrate complex AV and IT technologies. The State IT Agency has attempted to address these issues by requiring suppliers of AV technology who are selling to Government and state-owned enterprises to be able to prove their competence in the AV market. “In terms of SITA tender 431 the State IT Agency now requires every vendor to prove their knowledge and skills within the audiovisual industry with an internationally recognized certificate of competence,” asserts Izak van der Merwe, procurement consultant to the Agency. “This creates opportunities for organizations that can prove their skillset and requires all other suppliers to participate in a local skills development programme that it specifically tailored to our requirements.”

Promoting excellence Responding to this challenge, organizations like Dimension Data have actively participated in the development of SACIA, a not-for-profit trade association dedicated to promoting the adoption of professional standards based on InfoComm’s CTS credential. "We became involved with SACIA to do our part in developing the much needed audiovisual skills in the South African and African market in general,” says Michael Abendanon, general manager for Interactive Media at Dimension Data Middle East & Africa. "Video has become the communication medium of choice, with organisations looking to curb travel costs and still be able to communicate effectively across geographies. Central to our engagement with communities is fostering education, and we believe that through actively participating in this learning initiative will we be able to build a better industry in South Africa and help uplift learners to a position where they can provide the ICT industry with the skills required to keep up with the ever expanding market growth."

Raising the bar Not to be outdone, Woodstock Electronics in Lagos, Nigeria is a shining example of how the application of international standards can raise an organization above the lack-lustre

“Across Africa, video communication has become a viable option for companies wanting to cut down on travel costs but still communicate effectively across geographies,” says Michael Abendanon, general manager at Dimension Data. “Central to our engagement with our customers is promoting the adoption of professional standards through education. We’re 100% behind SACIA’s initiative to develop skills within the ICT industry.”

Training and recruitment It’s not just commercial vendors that have embraced industry certification. The Audio Visual division at the University of KwaZulu-Natal have also embarked on a training and recruitment programme based on InfoComm’s CTS credential. “All technical staff in the AV division are currently participating in InfoComm training

The Audio Visual department at the University of Kwazulu-Natal has also embarked on a skills development programme based on InfoComm’s CTS credential. “Our objective is to have all staff within the audiovisual division certified to InfoComm standards by the end of the year,” says Jasper Cecil, director of the University’s AV division.

Woodstock Electronics in Nigeria is a shining example of how the application of international standards can raise an organisation above the lack-lustre standards of a market accustomed to mediocre service. “Our commitment to training has reinforced our reputation for technical knowledge and service excellence,” says managing director Ayodele Onafeko CTS.

standards of a market accustomed to mediocre service. “Woodstock Electronics have been members of InfoComm since 2005 and have a dedicated staff training policy that includes regularly participating in a number of MECIA-hosted training programmes in Dubai, as well as numerous others in Europe and North America. “We’re now recognized as an accredited InfoComm International AV solutions provider capable of consistently delivering AV solutions to an international standard,” says Managing Director Ayodele Onafeko. “This has re-enforced our reputation for reliable technical knowledge and service excellence. Having our staff earn and maintain their CTS credential has been a costly and timeconsuming investment, but the end result has more than paid for itself. It is an important factor in preserving our market leading position in the budding AV industry in Nigeria. Clients increasingly appreciate that international quality can be achieved in Nigeria and Woodstock Electronics serves as the benchmark for that standard.”

Projecta introduce tensioned descender (RF) Electrol Projecta has announced the expansion of the company’s Descender Electrol ceiling recessed motorized screen range to include a tab-tensioned version which was officially launched at ISE 2010 in Amsterdam. The Tensioned Descender (RF) Electrol ensures the flattest possible viewing surface for a retractable screen thanks to its tab-tensioning system. The projection screen surface is tensioned in all four directions by a teardrop shaped aluminum extruded slat bar and nylon tensioning cables on each side to match with the parabolic curves of the screen. The end result is a projection viewing area that is evenly tensioned and suitable for all critical viewing projection. The Tensioned Descender is available as either a standard 220v configuration or with a radio frequency controlled motor with Projecta’s proprietary front projection screen surfaces.

Mitsubishi Electric brings latest technologies to PALME Mitsubishi Electric brings three major new additions to its range of professional large screen displays to PALME 2010; the eagerly-awaited LED option for its Seventy Series display wall cubes, a new LCD-based control room display system and its sensational multi-touch interface that turns a Seventy Series display wall into a seamless multi-user touch-screen. Mitsubishi's new Seventy Series LED cube delivers the highest brightness and contrast, and the lowest power consumption of any LED cube on the market. Fully compatible with existing Seventy Series cube chassis, the VS-PE70U system on show at PALME offers users an easy upgrade path from conventional to solid-state lighting. LED light sources offer significant advantages in many applications, enabling displays to be more efficient, easier to maintain and more environmentally friendly.

Litepanels bring Hollywood lighting to AV industry Litepanels new Pro AV division applies the company’s Emmy award-winning LED technology to fulfill the unique lighting needs of professional Audio-Visual applications such as Video Conference, Telemedicine, Distance Learning, Lecture/Capture, and TelePresence—which can now be brought to life with the same luminous, soft directional lighting that has made Litepanels one of the most valued production tools throughout the film and video industry. Litepanels’ powerful, yet energy-efficient 1x1 LED fixtures fill AV meeting rooms with accurate, dependable light, with no sacrifice in space or headroom—and without the hassle and clutter of bulky lighting fixtures. Litepanels do it all—simply and easily. Litepanels fixtures eliminate unflattering shadows and dull off-color skin tones, so subjects look more photogenic instantly. According to Litepanels co-founder Ken Fisher, “Our soft and flattering lighting enhances a subject’s healthy appearance, thereby increasing the user adoption and satisfaction rate of today’s audio/video technology.”

Automate Digital Signage Content It’s never been easier to schedule playlists and select from pre-recorded content for digital signage installations. The new HD Digital Signage Player from Gefen offers a variety of flexible functions that serve both large and small digital signage installations while controlling the content over IP. Users can upload pre-recorded video in multiple formats, background music and scrolling text to customize their content. Playlists can be scheduled to the second using the calendar function, accessed on any computer using Windows XP, Vista or Windows 7 software. The HD Digital Signage Player works with all popular video formats including MPEG1/2, DivX, Xvid, H.264 and WMV9, as well as MP3 audio files. Photos should be in .jpg format. Its small metallic enclosure with built-in mounting brackets allows it to be conveniently mounted behind or near the display(s). 60

Barco series-II digital cinema projectors

Next generation infotainment

Barco has unveiled its brand-new line of Series-II digital cinema projectors, based on the latest DLP Cinema technology from Texas Instruments. With this innovative DP2K product line, Barco builds on the proven benefits of its successful DP-series, while at the same time anticipating the 4K future and the spectacular rise of 3D cinema. “Since the dawn of digital cinema more than a decade ago, Barco has been leading the market with numerous industry-first innovations, including a sealed optical engine, a user-friendly modular design, full-panel triple flash 3D technology, and many more breakthrough technologies. Our new DP2K-series surpasses our competition by offering exhibitors the brightest and most cost-effective projection solutions available today,” stated George van Gils from Questek Advanced Technologies, Barco distributor in Southern Africa. Barco’s six new Series-II projectors are by far the most complete projector family available today. For small and midsize movie theaters, there is a dedicated line of compact DP2K ‘C-series’ projectors. For larger venues, Barco have unveiled the ultra-bright DP2K ‘B-series’, lighting up screens up to 32 meters wide at unrivalled light levels.

NEC Display, one of the leading manufacturers of quality imaging solutions, has launched a new form factor public display designed to facilitate digital signage even for the most demanding spatial requirements - the NEC X431BT. NEC Display‘s 43-inch LCD was specially designed to facilitate digital signage on pillars, on shelves or in a host of other areas with spatial limitations, which have been virtually impossible to use before. With the NEC X431BT, users can implement creative applications that open up new, effective ways of appealing to customers in landscape as well as portrait format to match the installation environment. Numerous connection and usability features such as LAN control also help to safeguard operator investments. “As digital signage continues to grow with the introduction of digital, video and wireless technologies, spatial limitations and connectivity still remains a challenge,” said Ian Gobey, General Manager of NEC Display Solutions Middle East.

Ateis launches teleconferencing system

Christie first to ship Series 2 DLP cinema projectors

Ateis International will address a problem that has long plagued teleconferencing with its latest product that will be showcased at PALME 2010. The ECS-Teleconference unit is an echo cancellation system (ESC) that is designed to produce clear audio for teleconferences, with no delays or doubletalk. At the heart of the system is a digital signal processor using DYNAMIC Automatic Echo Cancellation, based on a wideband acoustic echo cancelling algorithm developed by Ateis' R&D department. This groundbreaking technology enables the ECS to produce natural, full duplex speech with a bandwidth of 20Hz to 27kHz, which brings huge benefits during conversations involving large numbers of people. "Teleconferencing is vital in these days of fast-paced international business but there is an even greater need for clear communications with no delays," comments Ateis' International Sales Manager, Albert van der Hout. "The new ECS gives excellent audio quality and allows users to program it to suit their needs. We see ECS as an important new tool for businesses around the world."

Christie has confirmed full production, shipping and installation of the latest generation of 4K-ready DLP Cinema projectors, the Christie Solaria series, beginning with the Christie CP2220. The unit features Texas Instruments’ next generation Series 2 DLP cinema technology. Shipments began early January and units are now installed and showing feature films worldwide, including Australia, Canada, Korea and the United States. With orders arriving daily, Christie continues its lead in digital cinema deployment resulting in 70% of all digital cinema installations worldwide since the introduction of DLP Cinema projectors – which Christie was also the first to market. Designed to meet all Digital Cinema Initiatives (DCI) specifications, the Christie Solaria is fully upgradeable to 4K digital cinema and features Christie Brilliant3D technology, providing the ultimate, most realistic 3D experience with the lowest cost of operation. 61

Kramer introduces VA-1VGAN EDID emulator Kramer Electronics has introduced VA-1VGAN computer graphics EDID emulator. As part of the Kramer TOOLS line of compact solution products, the VA-1VGAN replaces the VA1VGA. The new VA-1VGAN is housed in the smaller Kramer Pico TOOL enclosure making it more convenient and easier to use in any installation. The VA-1VGAN captures and emulates the EDID data of a display. EDID (Extended Display Identification Data) is a data-structure consisting of 128 pieces of information that a display provides to the graphics card of a connected computer source. The EDID describes the display’s capabilities so that the source can output the best possible signal for that display. The source and the display exchange this information over the Display Data Channel 2 (DDC2) using pins 12 and 15 of a standard 15-pin HD computer graphics video signal connector. Kramer’s VA-1VGAN ensures that if a display is turned off, temporarily disconnected or is out of communication with the source, the source continues to output the best possible signal resolution. The VA-1VGAN makes the source think that the display is still directly connected even when the EDID information is unavailable. Even if the DDC2 channel does not connect the source and the display, the source will still effectively “see” the display. Kramer products are distributed throughout Southern Africa by Electrosonic SA.

Analog Way's Quattro Value now shipping Analog Way has announced the immediate availability of Quattro Value and Octo Value, two new Seamless Switchers with mono-scalers. Quattro Value and Octo Value are High Resolution Digital and Analog, Computer and Video Scaler Seamless Switchers. Equipped with mono scalers, these two new products are completing Analog Way’s range of HiResolution Seamless Switchers featuring Dual and Tri Scalers. Both units perform ultra fast and smooth transitions between any Video or Computer sources. They also allow true seamless switching between one computer input (direct) and any other Video or Computer Input. Quattro Value is fitted with 4 Universal A/V inputs including one DVI and 3 outputs: 1 Analog, 1 DVI for the Main and 1 Analog for the Preview. Octo Value features 8 Universal inputs including one DVI and 4 outputs: 2 Analog, 1 DVI for the Main and 1 Analog for the Preview. The products both offer a true scaled preview out offering the facility to visualize any source before displaying it on the Main output.

Revolutionary Tandberg EX90 extends Telepresence experience

Tandberg launched the EX90, a revolutionary personal telepresence solution that extends their award-winning Telepresence in-person experience to individuals at their desks or home offices. Munzer Aloush, Tandberg Regional Manager for the Gulf, Iraq, & Pakistan, said the global launch of the EX90 has caused great excitement in the Middle East. “The EX90 integrates the superior audio and visual quality and signature touch screen interface of Tandberg Telepresence into a sleek

desktop solution that will change the way executives and experts communicate and collaborate,” Aloush said. “Business driven by emails and phone calls is a thing of the past. Today’s executives do not have time to wait for answers, or to be misunderstood. They must be able to connect face-to-face with anyone at anytime, at a moment’s notice, to accelerate decisions and drive business in real time,” said Fredrik Halvorsen, Tandberg CEO. “The EX90 enables executives to engage with customers, experts and employees as if they were sitting across the desk. This highly versatile system is built for the executive experience – with a sleekly designed large HD display for natural interaction that is also incredibly simple to use.”

Chief introduces extra large security enclosure Chief Manufacturing is excited to announce the latest addition to its line of projector enclosures. The PG3 extra large projector security enclosure is perfect for gymnasiums and auditoriums. It fully encloses larger projectors and the projector mount in a locked steel cage to prevent theft and damage. The PG Series of cages are available in three sizes and are available in both black and white. All enclosures can be installed over pre-existing installations without disturbing current projector settings, and also allows for roll, pitch and yaw adjustments. The PG3 can hold projectors up to 25” wide (63.5 cm) x 25” deep (63.5 cm) x 10.75” high (27.3 cm). A hinged door offers easy projector access and the adjustable front opening accommodates different lens positions. Additional security is available with the addition of padlocks, sold separately. 62

ADB Lighting shows expanded Mikapack range ADB Lighting Technologies will show its newly expanded Mikapack 15 and 30 dimmer range, designed to enhance programming functionality and flexibility for the entry-level market, at PALME 2010. Mikapack 15 is a 6-channel compact portable dimmer built in a 19” rack only 2 Units high, with an optional truss clamping kit for distributed dimming solutions. The dimmer unit is 4kg lighter than its predecessor at just 10,3kg, and offers a wide range of common European connectors; while for fixed rack installations a terminal connector strip is also available. It’s now joined by the newly-launched 12 channel 3kW dimmer pack, the Mikapack 30 dimmer module mounted in a 24 channel flight case. It’s the perfect companion for the compact and lightweight Eurospot range of spotlights, which are easy to operate, store and transport and make an excellent combination with options for 300 and 650 Watt available. The beam quality and light output of the Eurospot range is normally associated with much more expensive fixtures. ADB can now supply a full range of equipment for customers looking for simple yet reliable equipment built to the highest ADB quality standards.

Audipack rebrands in ME During PALME Audipack ME will be relaunching themselves as Audicom and are scheduled to release a number of new products. Amongst these is Williams Sound’s new Personal PA Value Pack System that will broadcast a speaker’s voice, music program, or audio service wirelessly up to 1000 feet to a listening audience. Participants wear the R35 singlechannel receiver (included) equipped with headset to pick up the broadcast to listen at the volume of their comfort level. The cornerstone of the PPA VP systems is the T27 transmitter; it features an LED display panel and push button channel selection for easy operation. The PPA VP has seventeen available channels, and operates on 72-76 MHz. Each system includes (4) R35 receivers and meets ADA requirements for hearing assistance.

projectiondesign showcases all new and revolutionary products at PALME Middle East

Norway’s projectiondesign will display a formidable array of visual solutions at this year’s PALME exhibition in Dubai, UAE. With a specially constructed stand that is 6 metres high, the company will showcase edge-blended wide-screen images, each one using three of its DLP projectors. One edgeblended screen will be powered by three of projectiondesign’s F32 sx+ projectors, while the other will

Crestron launch new DIN-8SW8-I

deploy the company’s ultrahigh resolution F32 wuxga model. Both feature projectiondesign’s unique RealColor colour management suite, making them perfectly suited for edge-blending applications where absolute colour matching is essential. The blending will be performed by projectiondesign’s new high performance MIPS image processor, designed to deliver the highest performance blend and geometry correction. Away from the multi-channel displays, two projectiondesign products will be making their UAE debut at the show – namely the F35 WQXGA DLP projector and the FR12 RLS (Remote Light Source) projection solution.

Crestron has unveiled a new 8 channel lighting control module which has been designed to support switching of non-dimmable lighting and fans. This product joins the DIN Rail range of Modules which provide a professional lighting solution in a compact space-saving design. “This product expands our lighting solution range and will certainly help installers on-site as it offers easy installation, testing and maintenance,” says Mark Tallent, lighting control specialist at Crestron. Replacing the CHHR108-DR, the DIN-8SW8-I is available with a special Out-OfThe-Box function and can be sold as a pre-wired solution. The DIN-8SW8-I features eight digital inputs which allows standard momentary switches to trigger events with or without a control system. Each channel supports up to 16 amps resistive, 10 amps incandescent, 5 amps of fluorescent or 1/2 HP motors, with local front control of each switching leg and local override input for emergency backup. The DIN-8SW8-I is designed to snap onto a standard DIN rail for installation in a wall mount enclosure. Wiring connections are made using screw terminals positioned along the top and bottom, clearly accessible from the front for easy installation and servicing. All setup controls and indicators are positioned on the centre front panel. When installed in an enclosure utilising 45 mm cut-outs, the front panel stays accessible while the connections are concealed. 63

Pixel Power increase Middle East presence with new support office Pixel Power, the leading supplier of broadcast graphics systems, has announced the appointment of Eman Kharboutly as Product Specialist for the region.

hey’ve also opened a new office at Dubai Studio City which is ideally situated to allow Pixel Power to better assist its existing customer base while at the same time expanding its reach. Eman, who will work closely with Area Sales Manager Francois Cavalade, is well placed to head up the support operation with her years of experience across the industry and specifically with Pixel Power products. Most recently a broadcast engineer with satellite channel Orient TV, she previously headed up the graphic department at Syrian TV and before that was a playout systems engineer at Sham TV, based in Damascus. She has direct experience of working with the company’s Clarity graphics technology and can deliver training in Arabic or English language. James Gilbert, joint MD of Pixel Power, says, “Eman will ensure that Pixel

Eman Kharboutly has recently joined Pixel Power as a product specialist for the region. Most recently a broadcast engineer with Orient TV, Eman is able to deliver training and technical support throughout the Middle East.

Power customers are provided with an outstanding level of customer care and post sales support that is at the heart of our commitment to users. Her wider broadcast experience, coupled with an intimate knowledge of our products and the region makes her the ideal choice to spearhead our support commitment across the Middle East.” Pixel Power is a leader in the development and production of SD and HD broadcast graphics systems, news production workflow tools and live interactive content with more than 2,000 system installations worldwide. With a local presence around the world, the company’s award-winning solutions provide broadcasters, post-production houses and outside broadcast trucks of all sizes with distinctive, professional, reliable and cost-effective on-air graphics.

www.avjobsearch.net

Leap Ahead

with Spescom MediaIT. In todayâ&#x20AC;&#x2122;s ever changing broadcasting environment, companies consistently compete for a competitive edge. To leap ahead, your company requires the integrator of choice for total broadcasting solutions. Â Spescom MediaIT has the expertise and know how to deliver best of breed integrated broadcasting solutions, effectively, efficiently, you gain competitive advantage, and stay ahead.

Spescom MediaIT, your partner of choice for integrated broadcasting solutions.

INTEGRATOR OF CHOICE

E-mail: broadcastsales@spescom.com Web: www.spescom.com

10-8-0-0-275-0

Tel: (011) 266 1500 Fax: (011) 266 1543