3D home movies one step closer A decade of innovation at FIFA World Cup Spescom install Nambia studios See us at
Christie flies high with Airbus 380 Sound advice from ITU Burj Khalifa opening ceremony Recruitment tips and tricks
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Come see us at CABSAT MENA stand — ZB-21 Europe +44 118 964 8200 Sales.Europe@Harris.com
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Contents AV Specialist Volume 110
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Increasing the digital media bottom line The power of digital media lies in its ability to get the right message to the right people at precisely the right moment, transforming a marketing call-to-action into a measurable change in consumer behaviour.
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A decade of innovation with HBS and EVS For the past 10 years, Host Broadcast Services and EVS have worked closely together to transform the host broadcast of major sporting events.
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Modern Videofilm finish James Cameron's Avatar All the finishing work for James Cameron's Stereo3D film 'Avatar' was completed at Modern Videofilm on the US West Coast.
The launch of the world’s tallest tower made headlines all over the world for it’s lavish fireworks display. Read all about it on page 26. Publisher & Managing Editor Kevan Jones kevan@avspecialist.tv Feature Editor Dick Hobbs dick@avspecialist.tv
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Bond upgrade audio for Emirates Palace ballroom The magnificent seven star Emirates Palace Hotel in Abu Dhabi, with its grand marble entrance and gold leaf atrium overlooking the Persian Gulf, is one of the world’s most beautiful buildings.
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Recruitment is no song and dance routine! We’re all in danger of having a serious excess of reality TV! The plethora of music, talent and dance shows makes us realise how limited most people’s singing or dancing capability really is! Unfortunately the same is often the case with recruitment.
Circulation Anne Ebrahim ann@avspecialist.tv Designer Rajiv Nair rajiv@avspecialist.tv Advertising sales Africa, Middle East, UK Richie Ebrahim richie@avspecialist.tv
Publisher’s Note
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)11 434-4227 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
With Cabsat fast approaching it’ll be interesting to see how this year’s attendance figures compare with those achieved in the past. Although the global economic crisis was fairly obvious to most observers during the last quarter of 2008, many Middle East broadcasters and suppliers adopted a ‘head in the sand’ approach and proclaimed loudly that the slowdown would not affect them in the Middle East. During a discussion at the IABM Executive breakfast held during Cabsat I was nearly burned at the stake by local distributors for even suggesting that the Dubai economy would be adversely affected. How true my predictions turned out to be: during 2009 broadcasters, post facilities and production companies closed their doors at an unprecedented rate. It wasn’t just the broadcast sector that was affected. Professional AV integrators were also hit by the slowdown in the local construction industry; scheduled installations at new hotels and entertainment centres simply dried up as construction stopped in its tracks. The staging and live events sector also went into freefall as events were cancelled or down-sized. What does the future hold for 2010? Fortunately there are some positive signs on the horizon and the global economy seems to be picking itself up. But predictions are that the Middle East will recover slowly and it’s doubtful the market will ever return to the free-spending market we experienced just 18 months ago. I look forward to seeing you at the show – please feel free to pop onto our booth and meet the team.
Product
news Next-generation Intelligent Digital Disk Recorder During Cabsat Grass Valley will introduce the new T2 Intelligent Digital Disk Recorder (iDDR) to the Middle East market. This is the next generation of its popular iDDR family of playout and record devices for file-based SD/HD production and A/V presentation environments. The new T2 iDDR brings improved efficiencies for live and staged production and expanded I/O support for all of the most common production formats. This allows the new T2 to operate seamlessly within any type of tapeless or baseband environment: as a standalone device or as part of a large multi-camera production. "The original Turbo iDDR was designed as a file-based VTR replacement device and it literally took the industry by storm," said Jeff Rosica, Senior Vice President of Grass Valley. "The new T2 takes the experiences learned from the first generation and adds new features and functionality customers requested most. We now have a multi-purpose device that can do more and enables users to utilize it in ways they never could before to make their operations more productive. This has been the goal of our product engineers since the beginning."
Libec launches latest RS series RS-250 Over the last few years many small HD cameras have been released and are now widely used for various applications, including the broadcast and movie industries. The RS-250 series provides a counterbalance range of 1, 8 to 5kg (height of the centre of gravity at 100mm / 3.9") and a load capacity of 6kg. The "variable counterbalance system" enables the tripod head to accommodate many different types of cameras, including handheld/ shoulder HDV, XDCAM EX, P2HD and AVCHD cameras. The RS-250 is a full-fledged tripod head equipped with equivalent panning & tilting capabilities and low-temperature characteristics similar to higher-end models in the same series, but at a more attractive price, making it extremely cost-effective.
Omneon solutions at Cabsat
Snell launches Kahuna CF+
At CABSAT 2010 Omneon will demonstrate HD workflows including easy, flexible multi-format playout based on the new MIP-5501, part of the MediaPort 5500 series. The MIP-5501 will be featured performing back-to-back playout of SD and HD clips on the same timeline, with real-time up- and down-conversion enabling a mix of MPEG and DV formats. A demonstration of the Omneon MediaDeck GX complete channel-playout solution will give show attendees the chance to see firsthand the system's sophisticated yet simple capabilities including comprehensive wipes, squeezebacks, graphics, branding, and text. Omneon also will provide a "real world" demonstration of an end-to-end HD production workflow supported by Omneon storage. This practical model will illustrate how the Omneon Spectrum and Dolby DP600 can be used along with Apple Final Cut Pro to enable ingest, editing, and Dolby-E encoding of media while meeting the multilanguage dubbing requirements of a 5.1 surround sound environment.
At Cabsat Snell will showcase a rich array of solutions for creation, management, and distribution of content, all designed to ease broadcasters' transition to digital, HDTV, and 3Gb/s operations. Making its first appearance in the Middle East, the Kahuna CF+, housed in a single compact 6-RU frame, is the most powerful and cost-effective 2.5-M/E production switcher on the market. This newest member of the Kahuna family serves as a stand-alone solution for sophisticated switching and offers more choice in space-constrained environments. The Kahuna CF+ shares the same specifications of larger Kahuna systems, as well as a compact full-function control surface and the intuitive interface that makes Kahuna switchers a familiar favourite among technical directors and other users across the industry. The Kahuna CF+ supports external device control without the need for additional boxes, ensuring smooth integration into studios while reducing the cost, complexity, and power consumption of the installation. 2
SDI to Analog
Analog to SDI
SDI to Audio
Audio to SDI
SDI to HDMI
HDMI to SDI
Optical Fiber
Sync Generator
US$495
US$495
US$495
US$495
US$495
US$495
US$495
US$295
The most advanced 3 Gb/s converters for SD and HD that include AES/EBU and analog audio! 3 Gb/s SDI Technology
Build your studio with the world’s most advanced converters. Only Mini Converters include auto SD/HD switching, redundant input, AES/ EBU and analog audio on 1/4 inch jack connections, plus advanced 3 Gb/s SDI! There are 8 great models to choose from depending on the conversion you need!
Mini Converters include the latest 3 Gb/s SDI technology, so you’re always future proofed! 3 Gb/s SDI is also fully compatible with all your existing standard definition and high definition SDI equipment. Broadcast Quality
Auto Switching SD and HD Mini Converters instantly switch between all SD and HD formats, including NTSC, PAL, 1080i/59.94, 1080i/50, 1080PsF/23.98, 1080PsF/24, 720p/59.94, 720p/50. Updates can be loaded via USB.
Mini Converters are built to the highest quality standards with low SDI jitter, so you get the longest SDI cable lengths combined with ultra low noise broadcast quality analog video and audio. Mini Converters are the world’s first converters to include 3 Gb/s SDI on all models!
Redundant SDI Input
Eight Exciting Models
Most Mini Converters feature a redundant input and loop through SDI output. Connect a redundant SDI cable to the second input, and if the main SDI input is lost, Mini Converters will automatically switch over in an instant. That’s great for mission critical tasks such as live events.
Mini Converters include more new technologies than other converters, while every model is an affordable US$495. The Sync Generator model is only US$295! Mini Converters
Pro Analog and AES/EBU Audio
US$495
Standard 1/4 inch jacks are built in to most Mini Converters for professional balanced audio that switches between AES/EBU or analog. Unlike other converters you don’t need expensive custom audio cables.
Sync Generator
US$295 Learn more today at www.blackmagic-design.com
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Emmy awarded for outstanding achievement in engineering development: the Precision Focus System from Fujinon.
www.fujinon.de
Medical
TV
CCTV
Machine Vision
Fujinon was awarded the Emmy Engineering Award by the National Academy of Television Arts & Sciences for the development of the Precision Focus technology. The third-generation system guarantees crystal-clear HDTV images – even extremely fastmoving objects can be tracked with ease. With the push of a button, the PF system will automatically lock on to the object and pull the object into perfect focus, which permits the camera operator to fully concentrate on the action unfolding before their eyes. Fujinon. To see more is to know more.
FUJINON (EUROPE) GMBH, MIDDLE EAST OFFICE, JEBEL ALI FREE ZONE, P.O. BOX 18408, Dubai, U.A.E., TEL.: +971 4 887 3074, FAX: +971 4 887 3053, fujinon@emirates.net.ae FUJINON (EUROPE) GMBH, HALSKESTRASSE 4, 47877 WILLICH, GERMANY, TEL.: +49 (0) 21 54 9 24-0, FAX: +49 (0) 21 54 9 24-290, www.fujinon.de FUJINON CORPORATION, 1-324 UETAKE, KITAKU, SAITAMA CITY, 331-9624 SAITAMA, JAPAN, TEL.: +81 (0) 48 668 21 52, FAX: +81 (0) 48 651 85 17, www.fujinon.co.jp
Binoculars
Product
news MC-HD1 Universal Media Converter During Cabsat Advanced Media Trading will introduce Focus Enhancement’s new MC-HD1 Universal MediaConverter to the Middle East market. The MC-HD1 is ideally suited as a front-end to non-linear editing (NLE) and media asset management (MAM) systems or as a video conversion tool for live-production or post-production use. The MC-HD1 also makes it possible to monitor an SD downconversion of any output source. The MC-HD1 features HD/SDSDI, HDMI, component, composite (SD) and Y/C (SD), unbalanced/ balanced audio and dual channel AES/EBU digital audio inputs and outputs. In addition, de-interlacing/interlacing, frame-rate conversion, audio embed/ de-embed, SD/HD up/ down scaling and adaptive audio delay compensation for increased flexibility. The MC-HD1 is packaged in a compact 1RU chassis with a backlit LCD display for settings and status and an easy to use scroll wheel for menu navigation. Settings can be controlled and viewed using the MC-HD1's built in web server via a simple network connection from any web browser. External devices such as VTRs can be controlled via RS422 and outputs genlocked.
Autodesk Smoke comes to the Mac Autodesk has announced that it is ready to start shipping Autodesk Smoke 2010f or Mac OS X, a software-only editorial finishing tool and the first Autodesk finishing product designed to run on the Mac. Smoke software’s proven editorial finishing tools harness the 64-bit power of Snow Leopard to provide an interactive, all-in-one finishing experience. “The business of post-production is evolving. Postproduction and broadcast facilities alike are seeking more affordable, integrated creative tools that can help them stand out from the crowd,” said Stig Gruman, Autodesk vice president of digital entertainment. “Smoke 2010 on the Mac has been designed to help editors increase creative output, project quality and turnaround times. It brings productionproven finishing capabilities to the extremely talented community of artists already using the Mac in broadcast and post-production.” Autodesk Smoke helped define editorial finishing by combining the timeline workflow of a non-linear editor with advanced visual effects tools. Customers have used Smoke to help shape many high-profile television programs such as House, NCIS and CSI New York.
Glidecam X-22 stabilization system
One device for signal transport, routing and signal processing During Cabsat, Advanced Media Trading will be launching Glidecam’s new X-22 stabilization system to the Middle East market. The Glidecam X-22 is a highly advanced, professional camera stabilization system designed for film and video cameras weighing from 10 to 25 pounds. It incorporates advanced engineering and precision machining, making it the most sophisticated and
Riedel Communications, pioneer of fiber-based intercom and audio routing solutions, presents the industry’s next generation of fiber-optic signal transport solutions at this year’s Cabsat in Dubai. The Riedel MediorNet is the first step into an innovative new age of fiber-based real-time signal transport solutions for uncompressed multi-channel HD/SD video, audio, intercom and data. MediorNet combines signal transport, routing and signal processing and conversion into one integrated realtime network. MediorNet is not designed just for simple point-topoint links but offers a real network solution. This includes signal routing, allowing the user to send any incoming signal to any output or even to multiple outputs by just a mouse-click or, even more conveniently, by a router control system. 5
versatile system in its price range. The X-22 system will allow you to walk, run, go up and down stairs, shoot from moving vehicles and travel over uneven terrain without any camera instability or shake. The complete X-22 system is comprised of a Support Arm, a Support Vest and a Support Sled. The system works by isolating your body's motion from your camera, while your camera is balanced in a relatively motionless and isolated state. The Support Arm can be boomed up and down, as well as pivoted in and out, and side-to-side. It is the combined low friction booming and pivoting action of the Support Arm that isolates your body’s motions from the camera enabling you to create super smooth moving camera footage.
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Product
news Wohler at Cabsat show:
Sonifex 3G HD video Redboxes showing at Cabsat
During the 2010 Cabsat show, Wohler will showcase convenient and cost-effective solutions for audio monitoring in a variety of digital and HD broadcast environments. The range of products on display combine multi-format support with robust functionality in compact designs, not only streamlining monitoring operations but also enabling facilities to leverage new and legacy equipment to deliver quality services. One of the latest products on display will be their new AMP1-16 Series 16-Channel Multirate SDI Audio/Video Monitor. The AMP1-16 series monitors are the world's first to simultaneously monitor the video and all 16 channels of a 3G HD/SD-SDI signal in 1RU. Using three 4.3-inch OLED display screens, 16 channels of level meters, cluster-based ITU-1770-1 loudness metering, metadata, and video are all viewable at the same time. These units marry the power of flexible monitoring and output with a friendly help system and configurable front panel buttons, which can solo, mute, and recall system-wide presets. Available with optional Dolby D, E, and DD+ as it is released.
Sonifex are showing a new range of Redbox Video Embedders and De-embedders at Cabsat. Eamonn Heffernan, Sales Manager, said: "Our popular Redbox range has expanded significantly of late and we are pleased to show the latest addition of 3G video embedders and de-embedders. Unlike most embedders and de-embedders that use DC inputs in small format cases, we have used 1U racks with AC inputs." There are 4 units in the suite: the RB-VHEMA8 which is an 8-channel analogue embedder; the RB-VHDMA8 which is an 8-channel analogue de-embedder; the RB-VHCMA4 which is a 4-channel analogue de-embedder and a 4-channel analogue embedder and the RB-VHCMD16 which is a 16channel de-embedder and 16 channel embedder.
Nevion to demonstrate state-ofthe-art video over IP offering
Datavideo HS-2000 Mobile Video Studio
Nevion (formerly Network/VPG) will be showing live demos of its innovative video over IP solutions at this year’s Cabsat exhibition. It will be showcasing its range of industry-leading video transport solutions aimed at the broadcast and media industries – including real-time secure transport of HD and SD video over IP, the industry’s longest-reaching 3G-SDI transport, and green technology to reduce OPEX in fibre-based signal processing, routing and transport. Nevion will show live demos of its video over IP offering which includes visually lossless compression using JPEG 2000, protection switching and variable-rate transmissions. The new solutions efficiently aggregate video signals across IP networks for contribution and primary distribution - providing broadcasters with high quality video over IP and network infrastructure costs with built-in and proven reliability to help make their network more productive.
Datavideo will use Cabsat to show Middle East customers a new addition to the company’s line of digital switchers and mobile video studios products. The Datavideo HS-2000 is a compact, full HD 1920 x 1080 broadcast quality HD-SDI mobile video studio that is ideal as a fly away kit. The Datavideo HS-2000 is designed around the Datavideo SE-2000 five channel 10-bit HD-SDI, HD Component and DVI video and audio switcher. Other features include 14 pre-stored logos, digital clock display, five user set up, title overlay and DVID connection for presentation software. The integrated audio mixer with balanced XLR connectors allows up to four channels microphone or line audio inputs. The HS-2000 also includes a multi-image video output via Datavideo’s TLM-1700 a 17-inches HD/SD monitor, a six way ITC-100 Intercom System complete with five ITC-100SL belt pack units.
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Product
news Sachtler brings camera support to Dubai At this year‘s Cabsat show, Sachtler will be presenting their multifunctional camera support tool SOOM, among other products. “1+1+1=4 - that‘s the motto behind the SOOM HiPod systems,” said Stefano Finessi, regional director for Vitec Camera Dynamic . An intelligent combination of TriPod, TriSpread and the SOOM Tube turn three products into one. Hence the mid-level spreader can easily be converted into a baby-tripod. TriPod, TriSpread and Tube are designed for 75mm heads. SOOM is the ideal tool for stabilizing the camera even in tricky conditions such as little space or frequent relocating. The compact FSB 6 fluid head works flawlessly with the SOOM system. It has a payload range of 1 to 6 kg and three horizontal and vertical grades of drag each. The FSB 6 is ideal for all types of MiniDV- and HDV-usage.
Ensemble Designs' Scan Converter for Broadcasters Ensemble Designs has announced the release of the award winning BrightEye Mitto scan converter for broadcasters. "Broadcasters are looking for a better way to get web material to air," said Mondae Hott, Director of Sales. "We've been overwhelmed with phone calls from station engineers asking for demos and placing orders for Mitto." A superior quality scan converter, BrightEye Mitto makes it easy to choose the desired video output format, 1.5 and 3 Gb/s HD SDI or SD SDI. Mitto possesses proprietary scaling technology and exclusive multi-tap filtering. The region selected for output determines if Mitto acts as an upconverter or down-converter. The filters automatically adjust in accordance with the conversion being performed. The included software allows users to simply use a mouse to select which part of the computer video they want to output to HD or SD video.
Panasonic expands AVCCAM product line
Panasonic has announced the expansion of its Professional AVCCAM line of professional solid state high definition products with the introductions of the AGHMR10 handheld, batteryoperated field recorder/player and the AG-HCK10 compact, multi-purpose camera head. Offering the unbeatable combination of high quality, low cost and extreme mobility, the new AVCCAM recorder and camera utilize advanced
compression (MPEG-4/AVC High-Profile) and are ideal for applications in video production, sports coaching, healthcare, law enforcement, remote operation/ surveillance, and much more. Equipped with an HD-SDI input and output, the HMR10 recorder is also suitable for back-up recording from any HD-SDI-enabled camera or for use in studio or event production. Designed for use with the HMR10 recorder, the small HCK10 camera head features three 1/4” native HD resolution MOS imagers. Iris, focus, zoom control and power are supplied from the HMR10 recorder. Cables connecting the camera to recorder will be available in lengths up to 10 meters .
Anton Bauer debuts Tandem 150 Anton/Bauer will introduce its new Tandem 150 Modular Power System to the Middle East market during Cabsat 2010. Ideal for remote and on-location shoots, the Tandem 150 unit is the smallest and lightest charger and on-camera power supply package available on the market. A fully automatic system, the Tandem 150 operates as a DC power supply once a camera or other device is connected and turned on. This unique system functions by separating the power/charger device from the power supply, allowing a user to simultaneously charge a battery and power a camera. When a 75 watt draw is exceeded, the system automatically stops charging and performs solely as a 150 watt power supply. Likewise, if the camera is turned off or the load is reduced below 75 watts, the Tandem 150 system instantly resumes normal operation. The Tandem 150 Modular Power System also allows for high power applications, a feature previously unavailable with the Tandem 70 system.
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Increasing the digital media bottom line The power of digital media lies in its ability to get the right message to the right people at precisely the right moment, transforming a marketing call-to-action into a measurable change in consumer behaviour. Its effectiveness has been proven in numerous cases where sales have been increased by as much as 10%, a return that undoubtedly justifies the investment in the technology and the creative process.
B
ut, digital media has not been this effective for everyone, perhaps most notably, the failure of Tesco’s, who undoubtedly had access to state-of-the-art technology. So what then is the crucial success factor in digital media? “Digital media places a highly sophisticated tool in the hands of marketing experts, but it is the content that creates the ultimate results. While the power of the technology is unquestionable, digital media is little more than a blank canvas for marketing and advertising teams to deliver the right content at the right time to the right audience,” says Ronald Henry of Spectrum, leading supplier of digital media solutions. “Similar to any other hardware of software, if digital media is not used properly, it will not yield the desired results. Quality and service considerations aside, all digital media hardware and software operate on the
media, because of its dynamic and interactive nature. In the early days many retailers installed digital media at the tills. This is fine, if the objective is to increase brand awareness, promote a service or product available at the till point, or increase participation in an SMS competition. But if the objective is to increase sales of goods on the shelves, the message is not delivered at the right time or to the right people. Shoppers will never abandon their place in the queue to make an impulse purchase - by the time they are in the queue the opportunity to boost sales of shelf goods have passed.
Waste of opportunity “Worse yet, some businesses have installed the technology to provide entirely irrelevant communications such as re-runs of old comedies or trivia. It is a complete waste of an incredible opportunity to communicate with a captive audience and to provide content that is relevant to the context, contributes to the consumer’s interaction with the brand and contains a call-to-action which the consumer can execute immediately – for example, super-sizing a meal in a fast-food outlet, or applying for a credit card or personal loan while in the bank.”
Quality of content Henry comments that these examples clearly illustrate the fact that it is not the technology that creates results, but the quality and creativity of the content. The role of the technology and same principle. So the differentiating factor is not the technology or software, but how it is applied. If you use a reputable and experienced supplier, it is a given that the technology and the software will work, but to get the results, what is required is 100% commitment from the marketing team to produce well-planned content as a critical part of the sales strategy.” To harness the power of digital media requires more ingenuity, creativity and effort than traditional 10
software is to deliver this content at the right place and time. “A successful digital media campaign is one that is created around a clear and measurable objective – for example, improving brand awareness or increasing sales. The key to success is digital media content that is correctly aligned to the achievement of the objective.” Due to its extreme flexibility, there is very little restriction on the content that can be used. Digital media can carry content from Bluetooth and satellite, and external data can be embedded to create a truly interactive medium. Messages can be tailored to match the time of day, the day of the week or any other time-related factor, as well as to a specific location, such as a suburb or provincial rugby team support base.
Careful planning With careful planning, digital media can also provide instant, measurable feedback, for example, comparing sales during a specific digital media campaign with historical data, or making certain changes to the content and measuring the effect thereof by comparing sales data before and after the change. The opportunities to fine tune and re-invent campaigns are unlimited. “For this
reason, we always encourage our clients to implement a pilot project,” says Henry. “In addition to ensuring peace of mind that the right investment decision is being made, it creates an opportunity to try various approaches in terms of positioning and content, and when a winning formula is devised, it can be replicated in other sites.” “Digital media is a compelling addition to any modern
marketing mix due to its dynamic, interactive and highly targeted nature, which can be controlled precisely to upsell customers at the right moment to maximise sales. But, similar to any marketing initiative, it requires thorough planning around a clear objective to ensure the content is relevant to the context and will support the achievement of the objective,” concludes Henry.
www.electrosonic.co.za . 011-770 9800 or 031-533 0900 or e-mail sales@electrosonic.co.za
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A decade of excellence with HBS and EVS For the past 10 years, Host Broadcast Services and EVS have worked closely together to transform the host broadcast of major sporting events. The long term collaboration between HBS and EVS has led to significant changes in the way flagship events are brought to viewers the world over.
F
or instance, the novel Media Server developed by EVS and introduced by HBS at the 2006 FIFA World Cup, was the first of its kind and set a new industry standard in terms of reliability, connectivity, and speed. Described as “the hit of the games” by many broadcasters, it has been renamed the FIFA Max Centre for the 2010 World Cup and will enable FIFA Licensees (MRLs) to access 2010 FIFA World Cup footage from a dedicated set-up, including the ability to browse, log, exchange content material, and access additional colour material gathered by FIFA TV ENG Crews. The EVS Clips Compilation Channel is another example, where broadcasters were given access to content generated at the venues and not included in the main match feed. The Live Slow Motion machines generate over 1500 clips per match and only a fraction of these are used on the main feed. Under normal conditions, ‘unseen’ angles are fed during the half-time interval and just after the match, but in many cases this material arrives too late to be included in the live
studio programming. The Clips Compilation Channel provides access to these ‘unseen’ clips instantly, by streaming the best slow-motion angles to the Media Server.
Host broadcasting over the years Host broadcasting has changed
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considerably in the last decade. The host broadcast of global sporting events has become so sophisticated in the last few years that the know-how of specialized companies has become somewhat obligatory. This vital function - once a cost and a heavy burden for national broadcasters of the host country – is now
a logical and profitable business. The more complex and sophisticated the host broadcast operation becomes, the more important it is to build on experience.
Fully digital broadcast Among the most impressive steps taken by HBS and EVS is the first fully digital host broadcast of a FIFA World Cup (2002 Korea/Japan) with its original “multifeed” services. Another important step was taken in 2006, during the FIFA World Cup in Germany. The internal sporting event became the first to be fully covered in HD, and enabled the introduction of the Media Server and the Clip Compilation Channel, promoting the delivery and sharing of media in a truly tapeless environment. In 2008 HBS France Production produced the first dedicated Mobile International Signal for the French Ligue 1. Live stereoscopic 3D coverage of the IIHF World Championship was also produced for the first time that same year. The 3D experience was reproduced in April 2009, during the football match between the Olympique Lyonnais and Paris SaintGermain FC. These productions were
carried out by HBS and with EVS technology. The technological progress that HBS and EVS have been able to bring forward in the past decade is actually the most significant in the last 50 years. This progress is reflected in many different ways. For example, the number of cameras used per match has doubled within 10 years, new camera technology (super and hyper-motion systems) has been introduced, and the transition from tape-based to tapeless recording and archiving has become a standard. Major sporting events have also seen the introduction of the media server allowing constant access to all matches, to multiple feeds, and to all camera angles produced by the host broadcaster for the multilateral coverage. We’ve also seen a transition from Standard Definition to 16/9 and/or High Definition, as well as the introduction of dedicated mobile delivery.
supply of instant tapeless technology and support services during the production of this world class event. EVS technologies will be employed at different levels of the host broadcast production, including the live production of the 64 matches in the OB facilities, where EVS systems will be used for the live slow, super slow and ultra slow motion replays, as well as the compilation of the best clips and highlights creation. EVS is also providing a full HD multiple feed ingest and media exchange solution on a Media Server, based on an advanced XT[2] network infrastructure, offering instant access to any content recorded during the competition with enhanced search and low resolution browsing systems. This allows broadcasters to easily interchange media content. The media recorded and logged into the media server includes 9 different feeds from the pitch, plus ENG files from 40 reporting crews.
From ingest to playout Appointed as the Host Broadcaster for the 2010 FIFA World Cup in South Africa, HBS has decided to renew its successful collaboration with EVS for the
Chart 1: Host Broadcast Evolution (1998 – 2010) as related to a FIFA World Cup Match (source: HBS)
Remote access to content In order to maximize the remote access to the content, HBS has decided to introduce the web-based server system already operated by HBS for the Ligue1 Football production in France. The system (known as the EVS XT[2]Web) will enable broadcasters to access, browse, and review the ENG edited sequences produced by the HBS ENG team at the different venues on a web-based solution for download in SD or HD. XEDIO, EVS’ editing solution, will be operated by HBS editing teams for the production of 24/7 news programs, and provide remote access to file based ENG via advanced web production systems. Moreover EVS, via HBS, will be providing different broadcasters (known in the FIFA jargon as “Media Rights Licensees”) with browsing tools to access, review, clip, and import material for their own production crews. Last but not least, EVS systems will manage the ingest of dedicated mobile feeds with live streaming onto Apple XSAN and FCP editor for instant delivery onto mobile network services. 2010 FIFA World Cup South Africa
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Venues production While traditional league matches are shot with an average of 12 to 18 cameras, a 2010 FIFA World Cup match will be tracked with no less than 29 to 32 cameras depending on the match. In addition to standard cameras, HBS will be operating a series of Super and Ultra Motion cameras. In order to insure the production of live replays, slow-motion action replays, highlights, and closers during a live football match, all cameras will be recorded on EVS video production servers installed in the Outside Broadcast facilities (OB Vans) located in the broadcast compound, at the venue, during the event.
illustrate interesting actions happening during the game (e.g. goal, tackle, public emotion).
Best clip compilation
About 130 XT[2] servers will be deployed in the fleet of OB trucks working at the different venues in South Africa. These advanced digital video recorders manage the acquisition of all cameras surrounding the playing field. They are based on a loop recording process, so that not a single shot is ever missed. Their live oriented architecture (high level of redundancy and fault-tolerance, insuring that no failure can interrupt the workflow) guarantee a maximum level of control for instant replays, highlights editing, compilations of best clips, and graphic overlays managed by the OB production team during the matches. Each server can simultaneously ingest and control multiple feeds (up to six feeds per server).
reviewed, clipped, and played out from any other server. This allows operators to exchange clips and highlights with other operators, gathering all the best sequences and actions that will then be transferred to the International Broadcast Centre in Johannesburg. During the production of the matches in the OB trucks, the large number of In & Out XT channels will be controlled by multiple systems, such as the MulticamLSM remote controller for all live slow, super, and ultra motion replays, as well as multicamera actions clipping, highlight creations, and closers. In addition, EVS LSM controllers will be operated by HBS production teams to point offside positions of the players through the insert of a virtual offside line graphic overlay recently integrated onto the system. In total, more than 150 LSM controllers will be operated by highly skilled LSM operators selected by HBS production for the live ‘slomo’ and related live replay operations. Another tool used across the OB fleet is EVS’s IPDirector which is used for multi-camera ingest and XT[2] network control, browsing, and logging operations. In addition, a timeline editing module of IPDirector, IPEdit will be operated by HBS for the creation of highlights and clip compilations. With IPEdit, HBS editors will benefit from instant access and control over the XT[2] recording channels, with no need for media transfer, encoding and decoding processes. The IPDirector is also used to manage the transfer of clips and sequences onto third-party postproduction systems used by HBS.
Dual media sharing network
Live editing operations
During the production of a match all the XT servers installed in the OBs are linked together allowing operators and production teams to share content and control media recorded on this XT[2] network. The XT[2]s are ganged together through a dual media sharing network (on the one hand, the XNET[2] network based on high bandwidth SDTI, and on the other, the standard Gigabit Ethernet network). Any feed recorded on one server can be
A total of 150 MulticamLSM systems will be used at the different venues for all live replay operations, including slow motion, super motion (3 phases cameras) and ultra motion camera replays (EVS is used for all replay actions of Ultra Motion camera sequences managing up to 1000 frames per second). In addition, HBS LSM operators will be using the system for the creation of on-the-fly highlights and closers played during slack periods or to
Camera Plan (32) inc. semi-finals and final
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HBS production will be in charge of compiling all the best sequences and replays at the venues during the matches. These sequences compiled as one single feed (known in the FIFA jargon as “Clip Compilation”), will be transferred to the IBC and ingested to the media server to be available to all HBS and MRL production teams. The creation and gathering of clips by the HBS teams in the OB vans at each venue will be managed with EVS MulticamLSM and IPDirector clipping and playlist management tools. The clip compilation will gather the best actions recorded on the XT[2] servers during the match, such as multi-camera angles of goals, public reactions, super motion and ultra motion sequences. In order to facilitate the compilation of the best actions, replays, and clips, HBS teams working in the OBs with IPDirector software will have access in real-time to all logs created by HBS teams using IPLogger interface at the IBC in Johannesburg. EVS IPEdit (the new timeline editor of the IPDirector) will be managed by the OB team for the production of highlights and pre-game sequences with transition effects based on full timeline editing solutions. Due to its direct integration and control of the XT[2] servers, editors will be able to access multi-camera feeds instantly and to add sequences and clips on their timeline with simple drag and drop operations. IPEdit will be operated for short form editing, such as highlight and closer creations. Because IPEdit also allows access to
multiple channels across the entire media network (up to two simultaneous timelines can be created per XT[2] server), HBS gains speed and efficiency.
Live virtual offside line creation For the first time ever, HBS will introduce the creation of virtual offside line graphics to the international feed. The offside line graphic overlay creation will be managed using the EVS EPSIO system. This new solution will allow LSM operators (using standard EVS LSM Remote Controllers) to instantly generate a virtual graphic overlay with automatic recognition of the playing field’s limits. The operator has only to manually trigger the offside
line with the jog wheel of the LSM remote to adjust it properly. Due to a one-timeper-event calibration wizard, where each camera sends images of the playing field with pre-defined angles into the system, EPSIO is able to instantly and automatically recognize the playing field during actions and virtually draw the offside line along the borders of the playing field. This one-second operation is selectable with just one button. The
special preview of the graphic overlay will guarantee the availability of the offside line effects when the director decides to replay the action.
Remote browsing and transfer In order to increase the availability of multi-camera angles to the production teams located in the IBC, additional IPDirector browsing stations (IPBrowser) have been added to allow browsing and reviewing of unseen camera angles right after each match. The IPBrowser located in the IBC will be connected to the IPDirector database located in the OB
truck at the venues via an Ethernet line. Operators in the IBC will be able the review each clip, as well as their related (unseen) camera angles. The operator will be able to transfer the Hi-Res clip back to the IBC for the preparation of news cuts and edits.
The media server: FIFA MAX In order to expand broadcasters’ creative capabilities during major sporting events, HBS introduced the EVS Media Server in 2006, offering the HBS production team and broadcasters 24/7 access to all of the recorded media, including the director’s cut, multiple camera angles, ISO camera, and compilations of best clips. Moreover, ENG footage was made instantly available for production and post-production operations. The Media Server is a fully integrated cluster of EVS production servers. Built on EVS Instant Tapeless Technology, the media server combines optimized hardware (XT[2] servers) and software solutions to manage the exchange and distribution of media with the maximum guarantee of speed and security, including indexing (based on intelligent logging systems) of incoming feeds and content, media backup and archiving. For the 2010 FIFA World Cup in South Africa, the EVS media server, known as the FIFA MAX (Media Asset Exchange) will manage the ingest and the exchange of no less than 3,000 hours of content in HD. During the competition, HBS production teams and Media Rights Licensees (MRLs) will be able to access Match feeds, Clips compilation, ENG materials & rushes, Analysis & stats sequences and much more. During each match, 11 HD XT[2] servers will be recording the 9 different feeds produced by HBS. The production of 2 simultaneous matches at the beginning of the competition means that the system has had to be optimized to support the ingest of 2 x 9 feeds simultaneously.
Logging operations The content recorded on the EVS media server will be logged by HBS teams using EVS IPDirector systems. In total 8 logging stations will be used to add descriptive tags (logs) to the audio/video feeds recorded on the FIFA MAX media server. Two loggers will be dedicated to the CSF logging and to the clip compilation per match (in the case of 2 simultaneous matches 4 in total). Three stations will be dedicated to the logging of ENG material and the MRL content contribution imported onto the system. 15
One additional station will be used for supervision.
ENG operations and web browsing HBS will have 40 ENG crews, one for each of the teams participating in the event and another 8 spread throughout the host country gathering FWC related features, such as match and fan related content, South African culture, sights, and on-site events. All crews working with Panasonic P2 camcorders will send their rough cut edits and rushes to the International Broadcast Centre on a daily basis, immediately logged and made available on the media server for HBS production teams and MRLs to browse and download locally. The rough cut operations will be managed with EVS’ XEDIO Media Dispatcher system, so as to select, group, clip, log, and export P2 files - in the appropriate format - onto the Media Server in Johannesburg. In total, about 20 to 25 hours of content will be produced and shared every day. In order to increase the availability of ENG cuts to MRLs, HBS developed a new web-based solution offering web browsing and downloading capabilities for broadcasters. The so-called “TV MRLs” and “Radio MRLs” are brand new customers who will be using new services developed with EVS’ XT[2]Web platform. This platform combines broadcast technology with a web-server system and is currently being used by clubs, referees, and disciplinary commissions of the
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Ligue1 in France. The XT[2]Web system will offer remote video and/or audio web browsing and downloading of ENG edits to broadcasters that have opted for either the TV MRLs or Radio MRLs services. Once ingested onto the media server, ENG edits and their associated metadata (logs) are automatically sent onto a secured web-server in proxy format (MPEG4 H264). MRLs that are abroad can browse hours of ENG edited content using keywords and descriptive metadata to facilitate their search. Once they have found and selected the media (audio/video or audio only) and dropped it into their baskets, MRLs then have the possibility to order the Hi-Res file either in SD or HD. The transfer operation will be automatically managed using the SmartJog system linked to the EVS database and media server. Hi-Res audio files can simply be imported locally via the XT[2]Web solution.
mobile feed production. A special mobile production will be substituting the main camera feed with a dedicated camera also filming from the main platform - in order to provide closer shots and action that offer better visibility on mobile devices. Examples of dedicated Mobile feed compared to the international feed (source HBS)
specific team presentation) to work on the edit during the live production.
Media Rights Licensees browsing In order to fully benefit from the exchange capabilities of the FIFA Max media server, MRLs have the ability to choose from different browsing sources and to import set-up options, including EVS IPDirector for low resolution browsing on the Media Server, clipping, and import of Hi-Res HD clips (DVCPRO HD) locally. Depending on the option, a dedicated HD XT[2] server will be installed in the facilities of the MRLs (in the IBC) with an extra IPDirector for Hi-Res browsing and clipping.
Mobile live feed and streaming HBS will be managing the production of a mobile feed delivered to FIFA mobile subscribers via Telco networks. In order to offer high quality footage, HBS will be providing a fully dedicated mobile feed. A dedicated production team will be working on the
The dedicated mobile feed produced at the venue will be ingested into the media server with live streaming on the Apple XSAN server, allowing an FCP editor working on the Mobile Content production (voice-over, editing, and
Speed and Reliability without Compromise Today the production of Live Sports is about identifying and delivering valuable content in record time and using various media. To succeed producers count on technology that is fast and dependable. With EVS’ newly developed XT[2]+ production server and its unique software suites, IPDirector and MulticamLSM, you can take full control of the action with: multiple camera recordings; Ultra Motion HD replays; integrated live graphic overlays; metadata management;non-linear and advanced real-time editing; powerful networking capabilities in addition to video transfer; synchronized playout. EVS Instant Tapeless Technology also allows you to expand your workflow for tomorrow’s production needs with Live Slow Motion replays in 3D and remote access to content via the Web.
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Modern Videofilm finish James Cameron's Avatar All the finishing work for James Cameron's Stereo3D film 'Avatar' was completed at Modern Videofilm on the US West Coast. Every frame of the film, as well as all the trailers and promotions have passed through Modern's pipeline, which includes three Quantel Pablo Stereo3D systems. The work completed on Pablo includes conforming and Stereo3D checking, adjustment and quality control. Crucially, the Pablos have also handled all the Stereo3D English subtitling required for the Na'vi language used by some characters in the film.
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vatar is a massively ambitious project that combines live action Stereo3D with cutting edge 3D animation. Around 75% of the shots in the movie are VFX shots, which are being completed at facilities all round the world and then brought together at Modern VideoFilm.
Simultaneous 3D release 'Avatar' is a simultaneous worldwide release in both 2D and 3D and at three different aspect ratios. To deal with the massive workload, Modern has set up a powerful and efficient post production pipeline using a wide range of equipment. All the shots are re-named to a common naming strategy as soon as they arrive at Modern and are distributed onto the company's SAN. From there they are pulled into the Quantel Pablo systems
Blackmagic takes on Avatar Blackmagic Design have announced that Modern Videofilm Inc. used four Blackmagic Design DaVinci Resolve systems for color grading and full 3D stereoscopic effects for James Cameron’s latest motion picture, Avatar. To handle the immense scope and complexity of color correcting the alien worlds of Avatar, Modern Videofilm developed a network of DaVinci Resolve systems all connected via optical fiber. Three systems were installed at Modern Videofilm’s main office in Glendale, CA, with the fourth system installed 56 miles away at the Fox Studio lot. By building a color correction suite directly on the Fox lot, Modern Videofilm was able to handle the enormous number of realtime color corrections and 3D transfers between facilities. These requirements 18
included up to 120 color changes on some EDLs, using hundreds of nodes and creating multiple versions for the theatrical release. Mark Smirnoff, President, Studio Services at Modern Videofilm stated: “The Avatar look and feel is very specific, and James Cameron and his crew knew exactly how they wanted every frame to look. The sheer size and scope of what we were working on required the absolute best in color correction and 3D, and DaVinci Resolve fits that need perfectly.” “Avatar and Modern Videofilm really put the power and flexibility of the DaVinci Resolve to the test, and showed why the system is the highest standard for color correction and 3D,” said Grant Petty, CEO Blackmagic Design.
where they are first checked using Pablo's realtime Stereo3D toolset for stereo and technical quality, then conformed against multiple lists from editorial, requiring speed and accuracy. The pipeline continues with grading and finally, shots requiring subtitling for the Na'vi language are passed back to the Pablos.
Running around the clock "We've been running our three Pablos pretty much 24/7 for the last six months," says Modern VideoFilm Supervising Editor, Roger Berger, who has worked on a number of Stereo3D projects including James Cameron's 'Ghosts of the Abyss'. "Such has been the interest in this movie that there has been a huge demand for finished movie footage for promotional events over the last few months, each typically 10 to 20 minutes in length - all before the shots are finalised and of course needing to be produced while we continued to finish the movie itself. We've also needed to produce different versions and run 'bake offs' between them with James Cameron. One of the Pablos has an incredible 12,000 clips online, and all three machines have been running pretty much full throughout. With a project of this complexity, it's a real benefit to be able to bounce anywhere in the entire movie at any time," Berger adds.
Terrific support "Quantel has given us terrific support. They're there for us and spring into action when we need them." Subtitling the Stereo3D versions is a complex process as the subtitles must sit at the right place in 3D space to avoid conflict with the 3D content. The Pablo's realtime Stereo3D toolset enables the subtitles to be viewed instantly and repositioned in 3D space in realtime. Berger is enjoying the luxury of being able to see the Stereo3D effects as he creates them. "I can't imagine doing this project without the Pablo's realtime Stereo3D and the total flexibility it gives me," Berger concludes. The final word goes to Mark Smirnoff, President, Studio Services at Modern VideoFilm. "At Modern VideoFilm we pride ourselves on delivering total quality for our clients. This is about more than great equipment - it's about great people too; we are blessed with both at Modern. The Pablos are a key part of the pipeline and we could not have done this movie without Pablo. "
Vince Pace relies on Fujinon to capture live 3D action
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ames Cameron and Vince Pace chose Fujinon lenses for production of the ground breaking 3D epic feature Avatar. Lenses used on the production included the Fujinon HA16x6.3BE (6.3-101mm) and a special design HA5x7B-W50 (7-35mm) model specially developed for Pace/Cameron 3D production. “The road to success in 3D is paved as a team effort,” Pace said. “Working with James Cameron, the goal for the FUSION camera system
Vince Pace, DP, Co-inventor of the Fusion 3D camera system, and founder of PACE is shown on the set of the current blockbuster film, “Avatar.” Sony HDC-F950 and HDC-1500 cameras were paired with Fujinon lenses during the shoot.
was significant. Early on in the development phase, Fujinon stepped up with their sales staff, engineering resources, and factory support to design lens suitable for our exacting standards in 3D. That relationship has developed over the last ten years and the results are on the screen with the release of Avatar. All of the cameras were paired with Fujinon lenses and the results were incredible. “We’re very committed to the 3D revolution at Pace Technologies – and our system is called Fusion 3D,” Pace continued. “We worked with Fujinon to
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meet the exacting requirements of stereographic capture. Sony HDC-F950 cameras were used primarily during the Avatar shoot, and Sony HDC-1500 cameras were used for some scenes when it became available. All the Sony cameras were paired with Fujinon lenses.” Based in Burbank, Calif., PACE is well known for their leading role in highend 3D production. Pace Fusion 3D systems have been used for several successful box office 3D feature films, including Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour, Journey to the Center of the Earth, and Avatar. PACE is also well known for their beginnings. From a start point of nearly twenty years ago, Pace has designed and produced sophisticated underwater motion picture camera enclosure systems and complex underwater lighting systems, built for big feature productions that include Cameron’s The Abyss and Titanic. Vince and James have a long history of developing innovative production equipment, and their latest efforts leading up to and including Avatar have greatly changed 3D production efficiency and creativity. Fujinon lenses have been a key component in the innovative development process. According to Pace, Cameron’s shooting style on Avatar was intimate. “He doesn’t hesitate to go handheld,” Pace explained. “He likes scenes being in a state of movement, and he doesn’t hesitate to get behind the camera’s eyepiece, operating where he’s right up there with the actors. Being able to match that style in 3D using the Fujinon lenses was an important factor in the Avatar effort.”
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Visit us at Cabsat from 2nd to 4th March. Zaabeel Hall - Stand ZA11
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Christie world tour shows off Airbus A350 Following the Dubai Airshow in November 2009, eight Christie 3-chip DLP HD10 projectors will give visitors at prestigious airshows around the world an insight into the Airbus history books and the lowdown on its future A350 wide-body jet. A four-minute immersive experience designed and produced by Master Image Films will be staged at the Singapore Airshow in February 2010, followed by Berlin, Hamburg and Farnborough. The film will breathe life into an aircraft that has only ever been modelled in 3D using computer-generated graphics.
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he project began in March 2009 when Master Image Films (Toulouse), an Airbus partner for 20 years, was asked to design a system to allow Airbus to spread the word about its future A350 wide-body jet and use the world's largest airshows as a platform to announce the start of production. To design and complete the project in record-breaking time - less than three months - the brief facing the Airbus teams was to put the innovation and eyecatching appeal into the simple idea of a 1:1 scale model of the interior of the aircraft. In response to this real challenge, Master Image Films instantly came up with the idea of transforming the aircraft's interior into an immersive movie theatre. Given the project's narrow timeframe, Bernard Birebent, CEO of Master Image Films, gambled on Christie's responsiveness to provide eight Roaster HD10 projectors. "Not only did Christie supply the eight Roadster HD10 projectors at the drop of a hat, but they also delivered flawless technical support and competitive equipment in terms of performance and price," explains Master Image Films' CEO. "We knew that Christie would provide reliable equipment capable of running non-stop at each show."
3D model Since very few physical components of the aircraft were available, the model of the A350's interior was created using 3D data from Airbus. The aim is to give visitors an unrivalled immersive experience complete with archive images and CGI representations of the interior of the fuselage. In the centre of the projection space, the visual field is surrounded by four projection surfaces on the front, sides and ceiling. An image can therefore be projected onto the front screen and developed towards the spectator using the side and upper projection surfaces, making the image appear to move and giving the sensation of speed in a world combining real and 3D images screened and calculated by
Master Image Films. Basically, a journey inside the fuselage of the future Airbus, alternately in the air and on the ground. Master Image Films, a company specialising in the creation of event-based and institutional content, was in charge of creating the entire corporate film in high definition using a Red camera and the graphical environment. In addition to the overall implementation of the life-size model, Airbus called on Master Image Films' expertise to assess the feasibility of the project and carry out the technical study for the sound and visual environment, right down to creating the fixtures and fittings inside the model.
Eight Christie projectors The eight Christie Roadster HD10 projectors were used with very short focal lenses to suit the projection environment. Thanks to the illumination power and compact design of the Christie HD10 projectors, mirrors were used to conceal the projectors flat on the floor beneath glass plates. All the images were stored on clusters of rackable PCs and modified Macintosh Minis. The model's "hostesses" are responsible for launching the immersive show from a touch-sensitive panel controlling the Flex-programmed 21
automation (Adobe Integrated Runtime). This application is connected to a network gateway custom-designed by AvantGarde Imaging and communicates with a Dataton Watchout system comprising over 20 clusters.
Zim TV: Emerging from the woods The last two years have seen an unprecedented economic crunch for Zimbabwe. This crisis was exacerbated by a general lack of political will to resolve issues largely perceived to be the causes of ‘the Zimbabwean crisis.’
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igh inflation, unemployment, general poverty and disease, were only a few of the indicators of the meltdown in Zimbabwe. The manufacturing industry was heavily affected and shortages became the order of the day. The television and film production industries endured the knockdown effects of the harsh macroeconomic environment. Advertising took so heavy a knock that the only advertisements airing on national TV were in-house promotionals of drama, soap operas, movies and musical programmes. For one to transfer footage from VHS to DVD, for instance, one needed to fork out millions, then billions and trillions of Zimbabwe dollars within a matter of days. If the organisation doing the job was supplying the disc, it would not be able to replace that disc the following day, even if it was paid in cash on the day of completing the job. The organisation could waste five DVDs to buy one. It was not worthwhile engaging in the business. If it was difficult to buy one DVD or CD, one can imagine how impossible it was to buy a camera, a digital mixer or any other basic machinery required in production. I remember a sound engineer, who quoted a handsome figure for his services in a musical production, but at the end of it, could only by a non-rechargeable cell for a microphone that needed two cells!
Euro. But the Reserve Bank of Zimbabwe (RBZ) crafted a policy that; anyone who wanted to price in foreign currency could only do so with authorisation from the central bank. And that authorisation came with a cost too. Companies were required to deposit a prohibitive US$20 000 with the RBZ before being granted the license.
A-Academy was produced under the most adverse conditions. Its costs included filming, editing, traveling and prizes for the contestants. With an agreed sponsorship deal from the onset, the initial production costs had increased beyond the budget. Another production house, Mighty Movies provided quality on ZBC, with programmes such as Talking Business with Supa while also providing Outside Broadcasting (OB) for live Cricket and soccer matches. The Culture Fund Trust of Zimbabwe also assisted organizations with funding to keep the arts industry alive, although one can justifiably question the effectiveness of this assistance, given that not much success in the arts industry can be attributable to the fund. The selection criteria used by the fund could also have been questionable, given the government hand in the Fund. With the government pronouncing controversial indigenisation policies, it was difficult for companies that did not fit the indigenization bill to benefit. The discriminatory nature of the ‘indigenisation’ policies also meant foreign investors shunned the local industry.
Forex failure
Regional doom and gloom
Digital upgrade
I remember that, the production house for which I work, quoted trillions of Zimbabwe dollars for a job, when the exchange rate was Z$5 million for US$1. When the money cleared in the bank, less than two weeks later, the rate had more than doubled. By the end of the second week, it was Z$48 million to US$1. Then the trouble did not end there. There were stringent bank regulations that only allowed companies to withdraw not more than Z$20 million a day. That was all our money, gone! In the end, we just sponsored the series because, morally and legally, we could not withdraw our services once we had signed an agreement. The only other solution was to price our services in other strong currencies, such as the South African Rand and the US Dollar, or the
Academy, a talent search show in the mould of South Africa’s M-Net Idols. Coincidentally, one of the past AAcademy top contestants, Eric Moyo was the Idols Number One man in 2008.
Adverse conditions
Tim Langefelt and Oswelled Ureke working on African Food Adventure by Video Promotions in Harare, Zimbabwe. According to manager Gaby Memper, the last few years have been tough for Zimbabwe-based production companies who have battled to keep up to date with technical developments in the face of foreign exchange fluctuations and rising costs. Despite the doom and gloom, he’s predicting that the future is brighter for the country’s television industry.
With all that doom and gloom, how was it possible to continue operating? It proved possible in the end and with quite some positive developments too. Video Promotions, a production house based in Harare, devised a way where clients could pay in fuel coupons or shares on the Zimbabwe Stock Exchange. At least the company could hold on to some real value, while making ends meet. While the ends met, the organisation went a step further, producing a cookery series, the African Food Adventure which aired on DSTV and the UK’s SKY channel. They produced this 13-part series by working during their free hours, seeking sponsorship per episode, rather than for the whole series. Another Zimbabwebased organisation, Gary Thompson and Associates, kept the ball rolling with A22
Recently local media reported that ZBC had acquired digital broadcasting equipment worth more than US$9 million, which would go along way towards improving its quality and launching a second TV channel by 2015. The formation of an inclusive government and the initial benefits it seems to have brought to the economy- is a good platform from which to hope for a better future. The new government- its implementation challenges aside- has promised to liberalise the media. This raises the hope that the liberalization drive will stimulate demand for diverse content, breathing life into the suffocated TV production industry. After seeing the worst, there is only reason to hope the future is brighter for Zimbabwe’s TV industry.
SABC Mafikeng's RBF studios go digital with Spescom Media The Radio Broadcast Facilities (RBF) of the SABC located around South Africa boast some of the most sophisticated recording studios in the southern hemisphere. In Mafikeng, some two hours from Johannesburg, the SABC's RBF studios are in particular demand.
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n 2008 the SABC undertook to refurbish these studios, moving to an all-digital technology platform. Spescom Media IT was there to assist. Says Sean du Toit, MD of Spescom Media IT: "SABC's RBF studios, which include music, drama and production studios, as well as outside broadcast vehicles, are top notch. They are equipped to serve the needs of commercial organisations who wish to produce or create documentaries, record music and variety shows, or even do live recordings. To guarantee quality outputs and compete successfully with other commercial facilities, it is important that these studios are equipped with the latest technologies. This was a primary driver for the refurbishment of the SABC's Mafikeng studios."
Increased radio production These studios were making use of analogue equipment which had reached end-of-life. Major faults and significant downtime were the result. At the same time, the radio production business in the region had increased. Business was further boosted by the studios new strategic approach to advertising and the unearthing of new talent in the production business. There was thus increasing pressure on these RBF studios to acquire new digital equipment. Three studios - a production, music and drama studio - as well as an OB vehicle were refurbished. A number of Apple Mac Pro's and Macbook Pro workstations were installed with core systems comprising Pro Tools HD 2 Accel systems,192 I/O interfaces, Digidesign Pre's and a mobile Digi003 LE system. In addition, Icon D-command Desk Controllers for all the Pro Tool Rigs were supplied by Spescom Media IT.
ProTools HD2 Accel Explains Du Toit: "Designed for handling large I/O and track count requirements, the Pro Tools HD 2 Accel system combines two dedicated digital signal processing (DSP) cards with the processing power of the Apple Macs to deliver rock-solid performance, low
latency, guaranteed track counts and more dedicated DSP for greater plug-in processing. The Pro Tools HD I/O interfaces incorporate the latest advances in audio, synchronization and MIDI technology, working together with the Core system to deliver high sonic quality and functionality. Says Du Toit: "The 192 Digital I/Os selected for this installation are high-definition audio interfaces specifically designed to facilitate digital input from a variety of sources into the Pro Tools|HD environment.
Significant benefits The Digidesign D-Command controller utilises Pro Tools|HD Accel as its DSP mix engine and Pro Tools HD interfaces and peripherals for system I/O. Notes Du Toit: "With D-Command, operators have powerful hands-on command over every aspect of a Pro Tools project, including recording, editing, mixing and processing - with integrated video and delivery." The benefits are significant. The studio is now able to provide modern and appropriate technical facilities to program departments to facilitate program making. It is also able to make available the most suitable and cost 23
effective solutions to its internal and external clients. In addition, studio staff have been exposed to new technologies and are enhancing their technical skills, ensuring the SABC retains a technical competitive advantage in the broadcasting and production market. Concludes Du Toit: "Moving to a digital platform is no small feat. The new equipment must, in certain instances, be integrated to legacy solutions and new processes and workflows need to be implemented. However, this is a vital step for any audiovisual production facility that hopes to remain competitive. We believe this solution provides SABC Mafikeng with a sturdy foundation on which it can confidently build future growth strategies."
Gearhouse gets into the AquaFestival Spirit Gearhouse South Africa supplied technical production for the first Cape Town Aqua Festival, a lively 3 week arts event, presented by M-Net and produced by Hunta Live, that featured a series of world class performances by local and international artists. This took place on a purpose-built floating stage moored in the North Wharf area of the busy port's Victoria & Albert harbour.
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he 2000 capacity seating stand was on dry land. Industry and outstanding natural beauty nestled side by side, with a working dry dock right behind the specially created venue, which was also adjacent to the Two Oceans Aquarium. The marina behind the stage was constantly in motion with yachts and pleasure craft slipping in and out to sea, while the whole vista was overlooked in the distance by the magnificent landmark of Table Mountain.
Three week event The 3 weeks of the event spanned the peak festive holiday season, and included the resident AquaCircus, a special daily performance devised by Zip-Zap, a local Circus School dedicated to developing the skills and potential of young people from disadvantaged backgrounds. Other highlights included the H2Opera, AquaJazz, AquaBallet and concerts by a wide range of artists from
SA's favourite rockers, The Parlotones, to the popular Afro-fusion of Freshly Ground and SA's greatest music export, Johnny Clegg. Gearhouse's Cape Town branch supplied staging and roofing, lighting, sound and rigging to the project which was managed by Richard Blamire. Gearhouse has worked with Hunta Live on many previous occasions, and they specifically wanted one company to provide all the production elements. The stage - made from industrial plastic and consisting of 1200 interlocking cubes forming a flat surface - was supplied and installed by CubiSystem from France. On top of this, Gearhouse built a 24 metre wide and 16 metre deep Layher stage, covered by a 14 x 12 metre Slick Dome roof with clear skins. A semi translucent part-painted scrim at the back of the stage allowed the boats and harbour behind to be seen during the daylight shows, and when lit in the evening, it came alive with a giant octopus motif. The stage dimensions 24
included PA wings and some side stage dressing room tents. The pontoon was loaded with a total of 45 tonnes of production equipment including the stage and roof.
Wide sonic range The system was designed by Johan Griesel and consisted of 12 LAcoustics dV-DOSC elements a side. There were 10 x L-Acoustics HiQ115 wedges and both monitor and FOH consoles were Yamaha M7s, with monitors mixed by Bjorn Fielding. Mics and stands were also supplied as part of the generic audio package, with some artists bringing their own. It was a 35 metre throw for the speakers to reach the back of the seating stands, and obviously, the sound system had to cater for a wide range of sonic scenarios from the 56 piece Cape Town Philharmonic Orchestra to soloists, live bands and backing tracks. The biggest challenge - and the most
unpredictable - was always the wind - for which Cape Town is renowned!
Flexible lighting The house lighting rig was designed by Philip Chames, and also had to be flexible enough to deal with the wide variety of performers. The lighting fixtures were rigged onto the Dome roof, and included 12 Martin Professional MAC 2K Profiles for moving lights. Source Four profiles were used for key lighting, and also in the roof were 8 x 2K fresnels and bars of 6 PARs providing stage washes. Five 4-lite blinders along the crown of the stage were used for highly effective audience illumination, and there were additional 4-lites in the roof of the stage. Front lighting was supplied by 500 Watt fresnels in the footlights position plus 2 Super Trouper follow spots on the FOH tower. Four Studio Due CityColor floods positioned behind the stage were focussed into the marina, highlighting all the yachts and enhancing this already highly atmospheric location at night. All lighting was controlled through a Hog iPC console. "It's always good to work on a new event, especially one that is in such a unique setting," says Richard Blamire, who reports that everything went
The house lighting rig was designed by Philip Chames. It has to be flexible enough to deal with a wide variety of performers and included 12 Martin MAC2K Profiles for moving lights.
extremely smoothly throughout. He had a crew of 15 on site each day, and for the build period there were about 50 Gearhouse personnel on site including staging and roofing.
Seal of approval One of the more offbeat site specific challenges for the crew and
technical teams was not impacting on the home of the resident colony of Cape fur seals who hang out on the jetties that flanked the stage. The seals took an active interest in the performances, often swimming into the area of water between the stage and the dockside to take a closer look - and on occasion - joining in with the operatic shows!
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truly one-of-a-kind!,” Pierre clarified.
Signalled the launch
Prisme sets world records with Burj Khalifa opening ceremony The launch of the world’s tallest tower the Burj Khalifa reached headlines the world over for its lavishness, artistic value and grandness, however putting together such an event is no easy task, according to Pierre Marcout, CEO and Artistic Director of record-breaking event architect company Prisme International.
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ith the aim of giving world audiences and the media an unforgettable vision of Dubai, without being too extravagant Pierre created an event focused on the Burj Khalifa which is pure, elegant and impressive. “Since the announcement of this record breaking tower, I’ve kept dreaming of the day that I would design the inauguration. Today the dream is real!!” Pierre beamed and went on to reveal what went into making this
once-in-a-lifetime opening ceremony an unforgettable success. The 11 minute scenario consisted of a pre-show and three acts; the Hymenocalis flower, heart beat and the firework display finale. “We didn’t want to make the opening ceremony about any celebrities, as the celebrity is the Burj Khalifai tower. We want to magnify the 828 meters of the tower for all that is it and not just to show off but to create emotions and express feelings around the tower and the show as it is 26
The pre-show began with His Highness Sheikh Mohammed Bin Rashid Al Maktoum signaling the launch to illuminate the tower with the biggest and most impressive 72,000 watt light projector ever used in the world. This was followed by the first act which drew prominence to the very rare Hymenocalis desert flower which was the architect’s inspiration for the design of the tower. After projecting the birth of the flower on a large 1000sqm screen, lively water fountains accelerated the rhythm of the show before the act ended with a simultaneous water and firework display. The construction phase of the tower is highlighted with the effect of a beating heart replicated by a strong lighting presentation from behind the tower while another set of lighting effects similar to a Tetris game illustrates the building of the tower. The act ends with 320 space canon projectors creating a shadow effect emphasizing on the outline of the tower. However arranging the 320 canon projectors with light beams reach 10km into the sky proved to be tough challenge for Pierre and his team. The last recorded time this effect was used was the commemoration of September 11 with no more than 30 canons to symbolize the disappeared World Trade Centre Towers. The biggest challenge the team faced was to line the tower with kilometers of wire that were linked to computers to control the lighting and fireworks, within a period of a mere month; checking any light was a challenge in itself due to the height of the tower!
A magnificent show The finale act saw a magnificent show of 10,000 firework effects on and from the tower, estimated to be the highest ever in the world reaching 850m in height and lasting three minutes. The display was carefully designed by famous Christophe Berthonneau of the Groupe F Company who also produced the 1998 World Cup at Stade de France and the New Year’s Eve 2000 by the Eiffel Tower and the Olympic Games in Athens. Meanwhile the music for the event was designed exclusively by renowned French movie soundtrack producer Mike Lanaro and recorded especially by the philharmonic orchestra ‘Opera de Paris’. The opening ceremony which was attended by members of the Royal family, VVIPs and other invitees is no doubt Prisme International’s strongest most creative project yet!
InfoComm offers new AV certificate programme InfoComm’s new AV Technologist Certificate acknowledges essential audiovisual knowledge.
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nfoComm International is releasing a new certificate programme aimed at recognizing those who have demonstrated basic competency in the audiovisual field. The InfoCommrecognized AV Technologist certificate allows employers to verify basic AV skills, while providing industry newcomers and non-technical personnel a way to showcase what they have learned. To earn a certificate, AV professionals must score 80 percent or above on a new, online test which is taken at the desktop, not at a testing centre. Content for the test is based entirely on the newly-updated course, Essentials of AV Technology. This 2-day course is presented across Africa and the Middle East by the MECIA/ SACIA partnership, and can also be taken as an online class. "We are debuting the AV Technologist certificate programme to bridge the gap between those just starting in the industry
and InfoComm's more rigorous Certified Technology Specialist programme," said Randal A. Lemke, Ph.D., InfoComm Executive Director and CEO. "AV employers need a way to quickly train and assess new hires, and this new program provides a way to establish basic AV competency. It is our hope that as AV professionals who secure this certificate gain more experience they will develop into candidates for the more demanding CTS programme that is accredited by ANSI to the ISO/IEC 17024 standard." This certification programme has been welcomed by AV professionals throughout Africa and the Middle East who see it as a stepping-stone to full CTS certification. “This new certificate is ideal for individuals who’ve been in the industry for a while to test themselves against an international standard and identify areas of weakness,” said Kevan Jones CTS, executive director of the SACIA/ MECIA
partnership. “Writing the exam is quick, simple and affordable. Now there’s nobody in the AV industry that’s got an excuse not to participate.” InfoComm’s enhanced online training and certification programmes have also defined their service offering in Africa and the Middle East. “InfoComm International provides online training and certification across Africa and the Middle East while MECIA/ SACIA will continue to host InfoComm’s classroom training programmes. We share the same commitment to training and continued professional development, and encourage our members to participate in an ongoing programme of learning based on international ISO/ ANSI standards.” InfoComm’s advanced CTS Prep course was presented in Johannesburg during February and will be presented in the United Arab Emirates from 13-14 April.
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Where video is moving
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Harris completes installation at Orbit Showtime Harris has completed a large-scale installation of its Broadcast Master scheduling and media management suite at Orbit Showtime, the largest pay TV DTH platform in the Middle East. The installation, which includes modules that integrate and automate workflows for sales, scheduling, content acquisition and media campaign management, marks the largest deployment of Broadcast Master software in the region.
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roadcast Master is a single, integrated system that enables Orbit Showtime to centrally manage program rights and scheduling, airtime sales and final playlist generation for its SD and HD channels. Broadcast Master is connected to all of Orbit Showtime’s core processes — including existing automation, digital asset management and finance applications — permitting seamless management and data exchange of contract rights, schedules, media information and airtime sales billing between systems. In addition, Broadcast Master provides a framework that allows users to ingest and process material as it arrives and to easily create promotional material, product placements and
secondary event messaging. “When we decided to replace our existing system in a bid to streamline our internal scheduling and media management processes, we chose Harris because we felt that they were the ideal vendor to provide not only the technology, but also the local resources to help us achieve such a tremendous switch with minimal disruption to our day-to-day work,” said Mike Whittaker, vice president of broadcast operations and technology, Orbit Showtime. “We are anticipating continued expansion and are confident that Broadcast Master can support us well into the future.” “The complexity of the project, which included data migration in a live environment, meant that the resources
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and support from the regional office in Dubai were key factors in its success,” said Said Bacho, regional director for Harris Broadcast Communications, Middle East. “This sale is a very significant win for Harris in the region, as it is the largest ‘per channel’ installation of Broadcast Master in the Middle East. We are pleased to have provided Orbit Showtime with a solution that has simplified its workflows and operational efficiency.” The newly merged Orbit Showtime platform brings together 75 premium channels, the widest choice of premium entertainment in the Middle East and North Africa on a single platform. The new platform is owned by Panther Media Group, a company registered in DIFC and equally owned by Orbit Group and KIPCO.
Bond upgrade audio for Emirates Palace ballroom The magnificent seven star Emirates Palace Hotel in Abu Dhabi, with its grand marble entrance and gold leaf atrium overlooking the Persian Gulf, is one of the world’s most beautiful buildings.
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perated by the Kempinski Hotel Group, among its many corporate conference and meeting room facilities is a giant ballroom. Measuring a massive 80m x 25m it can accommodate up to 2,800 people. AV system integrators, Bond Communications, were recently tasked with replacing and retro-fitting a new sound system that would not only serve the ballroom space as a complete unit, or in its three separate, divisible modes, but do so discreetly, aesthetically and with simple control and operation. The system also had to be sufficiently flexible to deliver high spec intelligibility across the frequency spectrum for presentations but also be capable of concert style reinforcement from a conventional Left/Right stage system, when the venue was cranked up for live entertainment. Bond decided that a combination of Martin Audio’s awardwinning OmniLine scalable micro-line array, in conjunction with a W8LC Compact Line Array would cover all bases. Bond sound engineer Jonathan Goodwin contacted Richard Maunder, from Martin Audio’s Dubai-based distributors VTI, and Peter Child, Martin Audio’s Applications Engineer, was brought in to provide design support and EASE programme measurements.
The magnificent Emirates Palace hotel in Abu Dhabi is one of the world’s most beautiful buildings. Bond Communications were recently tasked with replacing the sound system in the hotel ballroom.
delay points, comprising time-aligned W8LCDs, evenly distribute the sound further down the room. Used only as required (rather than part of a permanent install), this delay system maintains the tonality and dynamics of the system. Although mounted discreetly behind an acoustically transparent cloth the W8LC would generally function more than
Main stage system “It was decided to use line array loudspeakers for the main front-of-house system as these have more ‘throw’ than a conventional loudspeaker and the dispersion pattern is very predictable thus offering more control over the large coverage area,” observed Child. Normally, to cover a distance such as the length of the Ballroom, a long line array, accurately articulated and flown, would suffice and delays would not be needed. However, with the relatively low ceiling height of the Ballroom a different approach was required. A shorter, five-box array of W8LC’s each side, has been supported at the bottom of the hang by a single W8LCD Downfill box to maintain clarity, impact and fidelity; the addition of four
adequately as a full-range system. However, also incorporated into the design are eight WS218X dual 18” subwoofers (four per side) providing low end extension that can be used as required. The Emirates Ballroom also has a further option, as Bond Communications onsite engineer Mitchell Schuh explains. “When more power is required the W8LC system can be demounted and replaced by a larger, temporary system, pulled forward and comprising six W8LC’s and two W8LCD’s per side.” For stage monitoring, ten Martin Audio LE1200S floor wedges have also been supplied.
Conference sound comes good In conference mode 12 clusters of 16 OmniLine enclosures now provide the playback. The design consists of two OmniLine columns at each end of the three conference sections so that the point of focus can change based on the physical location of the presentation. This approach ensures that intelligible speech and high quality music playback are delivered as unobtrusively as possible.
System set-up OmniLine was set up using the system’s dedicated optimisation software. 30
Peter Child first worked out the calculations in the OmniLine software before exporting an XGLC file for later use in the EASE programme. “It was then just a case of inserting each of the 16 hang OmniLine GLL’s into their correct locations in the EASE model and importing the XGLC file which automatically applied the correct inter-cabinet angles and EQ, as determined by the OmniLine software.” he explained.
Amplification and control The system is powered entirely by Martin Audio amplification. The WS218X subwoofers are driven by a pair of MA18K’s, the main FOH system and W8LC/LCD delays are run from a total of 18 x MA5.2K’s and the OmniLine system is assigned to nine MA6.8Q’s. System control is via four mix racks housing CobraNet-enabled SymNet Express DSP (configured 12-in/4-out). “This enables me to route any source input to any of the zones,” states Schuh. The DSP is set it up so that each room can be used in its single configuration — and as further rooms were added, the installer created a separate output on the console to provide full functionality over all four zones. “The system needed to be really flexible
The sound system in the Emirates palace hotel is powered entirely by martin Audio amplification. It’s designed so that each room within the complex can be used in a single configuration – and as further rooms are added to an event the system can be expanded to provide full functionality. This provides a flexible solution that allows the venue to be appropriate for a broad range of events.
because it would be used for different events,” he said. Any input can be routed to any zone and the zone assigned to the main system. It will also automatically send the delay taps to the time-aligned OmniLines when the system is used in presentation mode. The OmniLines also help bring out the HF of the installed W8LC system, and
boost the intelligibility, given the length and shape of the room. Summing up the system performance, Mitch Schuh says, “The aim of the system was to have it set up for ease-of-use, consistency and flexibility — and that’s what we have achieved. For the size of the room and type of events staged I’m extremely happy with the result — and so is the client.”
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Ethiopia's Radio Fana installs NETIA Radio-Assist Radio Fana, Ethiopia's first national commercial broadcaster and multilingual radio station, has selected NETIA's Radio-Assist digital audio software suite. Radio-Assist will enable Radio Fana to automate and streamline its entire content workflow from production to broadcast.
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adio-Assist will integrate very well into our existing environment, and it will provide access to a robust set of tools for managing every aspect of our operation efficiently and costeffectively," said Mulugeta Mahari, technical director for Radio Fana. "All of these features, plus NETIA's excellent reputation and impressive list of industry references, made Radio-Assist the ideal choice for us," added Ato Woldu Yemessel, general manager for Radio Fana. Operating from two main and two backup studios in the capital city of Addis Ababa, Radio Fana broadcasts a daily schedule of news, talk, and variety programs in different languages like Amharic, Afan Oromo, Somali, and Afaregna (Radio-Assist's compliance with
the Unicode standard provides critical support for Radio Fana's multilingual broadcasts). NETIA will install RadioAssist on 30 workstations across all four studios and will cover every aspect of the station's content workflow. This includes an integrated news management system
that enables automatic ingest of news wires coming from the Ethiopia News Agency, and an archiving feature that integrates with the production system to provide smooth and seamless digitization of tape-based content. NETIA's DB SHARE provides automatic redundancy for all metadata produced by RadioAssist and provides an extra measure of security for Radio Fana's database. "We are very pleased that we were able to work with Radio Fana to tailor a solution specifically to its needs," said Mustapha Rezzoug, NETIA's Director of Products. "The multilingual support, integration of content from the local news agency, and digitization of archives were all very important requirements, and all were easily met by our comprehensive solution."
Visit us at
Stand ZC-11
www.unitedbroadcast.com
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Moroccan broadcast network 2M turns to Riedel The Moroccan public broadcast network 2M installed a comprehensive Riedel Artist digital matrix intercom installation to replace its former system.
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he new system from the German manufacturer of intercom, fiber and radio technology integrates 16 regional 2M broadcast studios via IP into the communications infrastructure. At the heart of the installation are two Riedel Artist 128 mainframes connected via a redundant dual fiber ring offering up to 1,024x1,024 non-blocking ports. The frames are equipped with redundant power supplies, AIO connections and VoIP client cards.
Casablanca studio A total of 67 Artist 2000 series and 23 Artist 3000 series control panels are used at the studio in Casablanca and the 16 regional studios. 2M uses 17 Riedel Connect IP interfaces to integrate the remote control panels of the regional studios. The Connect IP units allow for
The interface converts one AES3 stream into compressed IP data and vice versa, thus integrating the whole installation.
Adds flexibility to workflow
TV 2M attending the factory acceptance test at the Riedel headquarter in Wuppertal, Germany. Sanae Benlhabib (Chief Technical Service Studies), Falahi Ahmed (Chief 2M maintenance and support), and Benddou Abderrahmane (Technical Chief of 2M Studios and OB Vans )
matrix-to-matrix connections and matrixto-control panel connections as well as for the distribution of audio lines over IP.
"We are absolutely satisfied with the Riedel intercom solution. Connect IP adds a lot of flexibility to our daily workflow. The ability to directly integrate all our regional studios will be a large step forward in how we manage our broadcast operation. Artist is the perfect solution for our demands; plus the installation was very easy as well. The support we got from Riedel's engineers was excellent," said Sanae Benlhabib, chief technician at M2. Riedel RiFaces are used to integrate mobile radios into the intercom system. Medium weight single and double ear PRO headsets completed the order.
Visit us at
Stand ZC-11
www.unitedbroadcast.com
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of bandwidth. So while there are IPTV offerings in the region – including du, Etisalat, Maroc Telecom, Qtel and Jordan Telecom in the Middle East and Multichoice in South Africa – they are as yet not big players. A recent report by international management consultants Booz & Co* looked at the potential for IPTV in the Middle East and North Africa. It hit upon the inescapable fact that “most homes in the MENA region get their television service from free to air satellites or through illegal distribution, which feature relatively primitive service but cost a household only a minimal amount, if any, outside of initial distribution costs. According to a recent survey a majority of viewers are satisfied with FTA offerings.” To my mind, the answer to the IPTV question lies in that quotation, if you turn it upside down. Audiences are content with getting free to air, linear channels from satellite – or indeed from terrestrial transmissions – and actually they are much the best way of delivering linear channels. But they are regarded as primitive services, and audiences are getting more sophisticated. They want interactivity, to be able to pause television, and to watch to their own schedule not that of the broadcaster. With no tightly linked return path there is no way that satellite or terrestrial television can do this.
Talking point – IPTV IPTV – sending television services over broadband connections using the IP protocol – is a technology that has been talked about for some years now, but it has yet to make a real impact. Dick Hobbs examines the issues affecting the rollout of IPTV services in the Middle East.
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t is important to be clear the difference between IPTV and internet television or over the top services. Internet television – which can range from YouTube to the websites of major broadcasters – is alive and well, and gaining rapidly in popularity. YouTube makes the staggering claim that, every minute of every day, 13 hours of content is uploaded to the site.
Managed television service IPTV is the provision of a managed, orderly television service, in direct competition with terrestrial, cable and satellite broadcasters. These services are primarily led by the transmission of linear channels.The natural champions of IPTV are telecoms companies. They have seen their revenues from fixed line telephony collapse, and where the monopoly on
broadband data services has been broken they face competition in two directions: on the one hand forcing the price down and on the other calling for significant capital investments to get line speeds up. So offering a new service – IPTV – and locking subscribers in to triple play (voice, data and video) contracts looked like a very attractive proposition. At least, it looked as if it might justify the investment in extending broadband speeds and reach.
Waste of bandwidth But the counter-argument is that broadband circuits are a terrible way to distribute broadcast television. IP is a point to point protocol, and if you want to send the same channel to a large population, streaming it to each household individually is a massive waste 36
Catch-up TV But IPTV is perfect for it. Catch-up TV, video on demand, targeted and interactive content all depends on a point to point connection, which is what IPTV does best. To quote again from the Booz & Co report, “A particularly compelling implementation option is to launch hybrid IPTV/satellite solutions. These could provide the dual benefits of IPTV services with the wide range and low cost of free to air programming.” With the Middle East market in mind, they make another very important point. “Some satellite content may be morally objectionable, and local societies may have an interest in countering this service and replacing its pervasive content with suitable alternatives. In light of this, a potential strategy for competing with FTA satellite services is to position IPTV in conservative markets as a controlled and decent alternative.” That is a specific application which may be extremely attractive in some markets, but there is a broader conclusion to be drawn from this, which is that IPTV, through its interactivity, could be the gatekeeper to content from broadcast linear channels, its own on-demand services, and maybe other sources too. The first requirement is for a hybrid set-
Video on demand
top box, which accepts inputs from the satellite dish or receiving antenna, and from the broadband network. This hybrid STB then has to have a user interface which brings the two feeds together into a common user interface. It is at this point that access control could be provided, ensuring that inappropriate content is not made available to the viewer.
Common access opportunities With this common access the opportunities to drive what the viewer sees are multiplied. The EPG, the list of channels and programmes becomes difficult to use when the number of choices gets beyond about 20, let alone the hundreds of channels often available on satellite today. And it is not at all appropriate for on-demand content. The solution is to develop a new sort of user interface, which has much more of the home page feel, and which invites the viewer to explore along themes. Because it is interactive, each home page can be tailored to the specific interests of each household or even each viewer. The settop box can learn viewing preferences and offer the content most likely to be chosen, wherever it is or however it is delivered. If the household always tunes to live football matches when they are available, if a
game is coming up it will appear on the home page, whether it is on a free to air or pay per view service. If every Saturday afternoon a teenage romance is chosen, then when a Hannah Montana movie is available through video on demand it will appear on the home page. Content need not be restricted to the linear channels and the telco’s own VoD offering. It could also be a portal to other content sources like the iTunes Store.
Telco-style services It also means that advanced telcostyle services can be added to linear television channels. Viewers could have social networking conversations while watching the football, on the same screen. Music channels could solicit SMS comments from viewers, sent through the same user interface. Voting for reality shows could be live and interactive.
Making access to video on demand services is one way of driving revenues. Other ways include online commerce. If you see a great band on MTV, one click would tell you when they are playing live in your city, and another click could book tickets. Ultimately, targeted advertising could be introduced: the network knows where you live and the set-top box knows what you like to watch, so appropriate commercials could be downloaded to your STB in advance and dropped into breaks, replacing ads which are not so suitable for the individual in front of that particular screen. The Booz & Co reported concluded “Careful positioning by telecom operators can give IPTV a big boost. From a demand perspective, consumers are likely to be receptive to its benefits: improved interactivity, a richer content portfolio, personalisation, and the convenience of one-stop shopping (including subscription, billing, maintenance and upgrades) for all home communication and entertainment needs. “But in a region where viewers are used to getting hundreds of channels for free, only a particularly compelling package of services will persuade consumers to start paying for IPTV.”
Almoe field mini line array for Dubai Beach World Cup Martin Audio took part in the recent FIFA Beach Soccer World Cup Dubai 2009, with local service providers Almoe featuring a full line array sound rig.
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his was the 15th edition of the Cup since its establishment in 1995, and the event in the United Arab Emirates was the second tournament to take place outside Brazil. System designer was Almoe’s Head of Audio, Bruno Vitanza, who relied heavily on Martin Audio’s DISPLAYM software to make all the acoustical predictions for the purposebuilt beach soccer stadium, which was designed to accommodate nearly 6,000 spectators. “DISPLAY was a great help,” he confirmed. “I just had to ‘virtually rig’ the system on my PC and then when I did it for real I knew the line array would perfectly cover the areas I wanted … in just one take!” For the main pitch Almoe fielded 16 x W8LM Mini Line Array enclosures and eight WLXGS subwoofers, divided in two
towers with two rigs on each. “Each tower had six W8LM to cover the central and side grandstand and two W8LM’s to cover the top seats for the side stands,” said Vitanza. “One of the client’s requirements was to leave unaffected the playing field as far as possible, and this we did.” Further coverage was provided for the VVIP area, where the Crown Prince and members of the royal family sat — each speaker individually powered and digitally controlled to add time delay and filters in 37
order to complement the Martin Audio line array. Martin Audio’s DX1.5 dedicated loudspeaker management system provided control, along with a pair of Lab Gruppen FP10000Q amplifiers in each tower, — so that just one signal line was required to each tower. The programme feeds consisted of live DJ, video, animations and commentator announcements. Almoe’s senior audio engineer used Smaart to calibrate the system — achieving great results. “During rehearsals I was asked to increase the volume to a maximum level without distortion and it was incredibly loud for the size of those boxes, and sounded so good,” reports Bruno Vitanza. “The FIFA FBC director stated that he seriously doubted that they would run the system at this level, so we had some headroom to play with during the event.”
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Namibia broadcast meets election mandate with Digidelivery With Namibia's national elections, which took place at the end of November 2009, national broadcaster Namibia Broadcast Corporation (NBC) needed to deliver fair and timely coverage of events leading up to the election and of the election itself. However, logistical obstacles made timeous broadcasting of regional news difficult. A DigiDelivery file exchange system from Spescom Media IT resolved the dilemma, boosting productivity, lowering costs and enhancing NBC's service quality to boot.
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xplains Vaino Ipinge, acting supervisor, IT Maintenance at NBC: "With a vast geographical area to cover and no comprehensive digital report filing solution, getting reports from the eight different regional stations to NBC headquarters for broadcasting has been a serious challenge. Journalists could file copy (text) directly using NBC's integrated iNews service, but not the audio and visual components of the reports. "We thus had to rely on courier companies, to fly the tapes to Windhoek or ask journalists to hand deliver the tapes - a journey of more than 1000km in some cases. This resulted in delays of 24 to 48 hours - not what you want from a national news service."
All digital platform Spescom Media IT, tasked with the transformation of NBC's operations from an analogue to all-digital platform, proposed the implementation of DigiDesign's DigiDelivery, a file exchange system that fits seamlessly with the Avid production suite being implemented at NBC. Says Sean du Toit, MD of Spescom
Media IT: "The solution needed to enable fast digital delivery of reports from remote regions and it needed to be simple enough for everyone to be able to use. DigiDelivery, used in conjunction with a laptop and a broadband connection, provided a solution that met those criteria."
NBC regional offices Avid NewsCutter video editing software and the DigiDelivery client were installed on eight laptops that were allocated to each of the NBC regional offices. This enabled reporters to dump visuals and audio directly from the camera onto the laptop, make basic edits, write the accompanying copy and send the entire report 'package' via DigiDelivery to NBC with the press of a button. Notes Ipinge: "All that was needed was the implementation of DSL lines in the various regions. This provides the broadband connectivity needed for sending large files. We also have 3G access which we use as a failover solution in case DSL connectivity degrades. While the quality of connectivity is variable in the regions, we have thus far 39
not had any challenges that we could not resolve." Du Toit comments: "The solution has optimised workflows and enhanced productivity. The reports sent via DigiDelivery arrive on the server at NBC and an email is immediately generated to inform the recipient. The recipient can then prioritise downloads and load articles onto the Avid Unity server (the central storage system) that is accessible to craft editors who refine the reports for broadcast, from where they are sent to the playout server for broadcast."
Streamlined NBC workflow Concurs Ipinge: "Moving to a digital platform has streamlined our workflows and DigiDelivery is an important part of the solution. It enables journalists to get on with what they do best, as well as enable NBC to up its game - delivering news as it happens to its most important shareholders, the tax paying citizens of the country who fund our operations. "We are very pleased with the service and ongoing support provided by Spescom Media IT. Their expertise and excellent customer service differentiates them and makes them a trusted partner."
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, Barco’s RHDM-2301 display offers three ways to stand out from the crowd: 1
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Mainstream adoption of 3D in the home moves one step closer In line with the BDA’s (Blu-Ray Disc Association) announcement in December on the finalisation and release of their ‘Blu-ray 3D’ specification, a recent strategic 3D report from Futuresource Consulting shows an upsurge in the adoption of High Definition and Blu-ray hardware in 2010, strengthened by a clearly defined 3D roadmap.
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ollowing the success of 3D in the cinema there is a major industry push to establish 3D in the home,” says Jim Bottoms, director at Futuresource, “and today’s announcement by the BDA ensures a unified route forward. The quality and experience of High Definition via Blu-ray disc is unparalleled, and for those consumers not yet convinced by the HD experience, 3D will be another key selling point and a highly persuasive reason to upgrade. Our research shows that 3D-enabled BD players will be available in Q2-2010 to support the major push on 3D TVs that will start at CES and build throughout the year. Further interest will be driven by owners of PS3 consoles, which will be able to play ‘Blu-ray 3D’ content.
Hollywood is currently releasing around 30 major 3D movie titles per annum, and indications are that this is going to double over the next 12 to 18 months. In the USA, titles such as Bolt and Ice Age have generated more than 50% of their theatrical revenues from the 3D version, and consumers on both sides of the Atlantic are demonstrating that they are prepared to pay a premium for 3D content. With many high profile 3D BD title releases planned from the middle of next year, the industry’s eagerness to maximise the 3D in-home experience will go hand in hand with people’s eagerness to consume the content.
“At the beginning of 2009 many were concerned that consumers may retain their standard definition equipment in the light of a tightening economic environment. However, in line with Futuresource expectations, consumers have continued to upgrade to High Definition, encouraged by falling prices, growing awareness and the fact that home entertainment represents good value for money in tough economic times. Factor in the impact of a definitive 3D platform, coupled with the consistent advertising and education this will bring and we’ll see the robustness of the packaged media business continue to surprise the industry, with its lifespan prolonged for some time to come.” 41
“Looking to the TV display market, manufacturers are already promoting 3Dready sets and there is expected to be a major US push on these devices early in 2010,” says Mike Fisher, Convergence & New Technologies Consultant at Futuresource. “These TVs are a prerequisite to consumer adoption in much the same way as HD-Ready sets were used to seed the high definition market five years ago. “3D chipsets can be embedded into next gen hardware at relatively low cost. Combine this with an integrated consumer awareness programme and a coherent ‘3D-Ready’ branding strategy, and there will be few obstacles to consumer adoption. Further, the determination of a number of leading hardware brands to carve an early position in the 3D TV and BD market will inevitably result in some attractive 3D bundling deals, which we have factored into our detailed 3D hardware and content forecasts.” With the World Cup in June and July set to be shot in 3D, this will help to significantly raise the profile of the technology. Given the positive impact that this sporting festival always has on TV demand we can expect the retail trade to put its full weight behind 3D very quickly.
Call for papers
Promoting AV excellence in Southern Africa As part of InfoComm International’s AV Week, SACIA (the Southern African Communications Industries Association) are hosting an exhibition and conference programme that will focus specifically on the use of audiovisual technologies in business, government, education and Houses of Worship. We are now inviting submissions from organizations, companies or individuals who are interested in presenting a paper. Presentations should focus on the successful application of AV technology and while manufacturers and dealers are welcome to submit papers, presentations should not be structured to sell or promote a particular brand or product. Presentations can vary in length from 30-90 minutes based on relevance and content. Priority will be given to papers which address the use of AV technology throughout Africa and the Middle East.
When: 20-21 October 2010 Where: Gallagher Conference Centre, Gauteng, South Africa The SACIA ProAV Forum will comprise four half-day conference sessions each supported by local media and industry bodies specific to their market. Each session will focus on the use of AV technology in: • Government • Business • Education • House of Worship If you’re interested in presenting a paper during the SACIA ProAV Forum please send a detailed synopsis to forum@proav-africa.org or call +27110836418
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The South African Communications Industries Association is a not-for-profit Trade Association committed to promoting the adoption of professional standards in the audiovisual industry throughout Africa.
Iraqi Media Network choose Pixel Power for new HD studios The Iraqi Media Network (IMN) is deploying Pixel Power Clarity 5000 broadcast graphics technology for its newly built, HD TV studio facilities in Baghdad. The new graphics technology joins six other Clarity graphics systems from Pixel Power that have been installed by IMN during the last two years.
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raqi Media Network is an Iraqi government-funded news and entertainment network that includes Al Iraqia Television, Iraqia Sport, Al Atyaf, Iraqiya Moubashir, Al-Quran, Al-Shabak Magazine and Al Sabah News Paper. The newly installed dual-channel, high definition Clarity 5000 will support the network’s wide variety of HD production needs simultaneously, including news, sports, studio production and playout. The system can interface directly with MOS-based newsroom systems, automation systems, and other critical infrastructure to ensure a seamless workflow for any application IMN requires. With Clarity graphics deployed throughout its operations, IMN has established a flexible pool of networked graphics resources that can be
configured and applied as needed. Emad Hameed, Head of IMN’s Engineering & Technical Department in the Baghdad headquarters says, “IMN’s new HD studio was designed to serve many different purposes. Pixel Power Clarity is therefore a good fit for this environment because it is highly adaptable, enabling our staff and our systems to easily transition between functions.”
Configured for HD and SD While the latest Clarity 5000 installation at IMS is primarily intended for HD, each channel can be separately configured for standard definition should the need arise, even supporting HD and SD simultaneously within a single system. Features such as onboard still
store, clip support, dedicated preview with key on each channel, and userdefinable inputs provide IMS with greater creative flexibility without requiring additional equipment. Reliability was also a critical factor for IMN. Clarity 5000 incorporates numerous features as standard equipment to ensure performance and durability including redundant power supplies and RAIDprotected storage. James Gilbert, Joint Managing Director of Pixel Power, says, “IMN’s new HD studio is a good example of how broadcasters can achieve world-class results without excessive complexity. When coupled with our high standards of customer care, broadcasters feel empowered to take on ambitious projects such as IMN’s HD expansion.”
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TRAINING SCHEDULE Over the last two years InfoComm International have ramped up their skills development programme throughout Africa and the Middle East, and in partnership with the Southern African Communications Industries Association (SACIA) and the Middle East Communications Industries Association (MECIA), have committed to promoting the adoption of professional standards, training and industry certification for the professional AV industry.
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The following courses will be presented during the first few months of 2010
GEN112 CTS Study Group This provides a forum for people to explore the new exam
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.
format and work collaboratively, studying the exam content areas with the help of facilitators. CTS Study Group includes: • • • • •
Instructor and student led delivery of selected topics Opportunities to study areas where you know you
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.
need help Collaborative work groups with peers Tips on how to assess your learning style to enhance
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the effectiveness of your study skills An overview of the testing process, using the CTS Candidate Handbook
Location: Dubai, United Arab Emirates 13-15 April 2010 Cost: Members US$1,000. Non-members US$1,500. For more information on any of these courses please
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Tolo TV, Afghanistan, upgrades its BTS Enterprise system Tolo TV, the award-winning Afghan commercial television network, has upgraded its Broadcast Traffic Systems (BTS) traffic management installation. New software and additional modules have been added to the system installed during 2006 at Tolo's headquarters in Kabul.
"W
e selected BTS traffic management software at IBC2006 after comparing the various available interstitial-management applications," comments Tolo TV CEO Jahid Mohseni. "We were impressed by the look and feel of the browser-based user interface though which Enterprise is controlled. Other key factors in our choice were the option of remote implementation, online training and postinstallation support. These allowed our staff to experience working with the system before making it a primary part of our day-to-day workflow. It integrated seamlessly with our existing equipment, forming a system that is highly reliable and easy to use." "This latest order sees the Enterprise system originally installed at Tolo TV expanded with Advanced Scheduling and Sales modules," adds BTS Technical Director Craig Buckland. "The Advanced Scheduling module allows schedules to be generated in the planning department and finalised in the presentation area before being exported to the automation system. Features such as drag-and-drop of promos, automatic time-checking and automatic logo insertion are available in the Advanced Scheduling module. The contents of
programme-break junctions are automatically created using templates to ensure items such as channel identifiers and commercial introductions are included in the correct places. Customisable graphic layouts are used to create and maintain long-term plans.
Graphic layouts "With the Advanced Sales module, commercial spot placement rules can be defined in the contract including dates,
dayparts, programmes and genres. Placement rules are checked during the booking process and warnings given if they are violated. There are several methods to place spots, including selectively or using an automatic placement routine. A number of other booking processes help with filling any empty airtime. Spot placement is immediate, allowing reports and analysis to be produced showing planned and actual spot placements. Seamless integration between scheduling and advertising sales avoids last-minute merge problems and allows ad-sales a longer period of selling." Tolo TV was launched in October 2004, becoming one of the first commercial television stations to operate in Afghanistan and laying the foundations for a network offering a very broad range of content. Tolo TV's output includes local and international news, sports, currentaffairs, movies, comedy, serials, documentaries, music, children's programming, lifestyle and entertainment shows. Tolo TV is broadcast free to air across Afghanistan and regionally via satellite. The network is part of the privately-owned Moby Group which is based in Kabul with offices in Dubai and Washington DC.
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Sound advice from ITU to keep TV volume in check A new ITU standard on audio levels for broadcast television is on the table aimed at putting an end to annoying variations in sound volume between programmes and advertising breaks.
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any viewers are irritated when changing channels or cutting to a commercial break leads to a significant variation in the audio levels accompanying the picture. Viewers generally adjust the sound to their liking when they settle down to watch their programme, only to find that changing channels or interrupting the programme for an advertising break requires them to adjust the volume control all over again. The ITU's proposed new measuring technique will bring more uniformity to loudness in international programme exchange and make television viewing more pleasurable. Loudness variation has become more noticeable with the advent of digital broadcasting because of higher sound quality, so this development is expected to be eagerly received by industry and viewers alike.
Careless sound technicians There are many reasons for this variance and according to Getu Cherinet Ewunetu, an engineer with the Ethiopian Radio and Television Authority, the problem is often created by careless sound technicians or the improper
application of standards; “but more often than not the problem is created purposefully by advertising agencies who crank up the volume on their commercial spots in order to maximize impact,” he says. His views are supported by Yousif Yousif from Al Aan TV in Dubai. “We acquire programme material and advertising content from hundreds of different sources and find that every producer sets his audio in a slightly different way. It’s just not possible to apply the same standard to every commercial
“Sometimes when you’re watching TV, a loud commercial message can really startle you,” says Melvin Saldanha from Taj TV in Dubai. “Even before the first advert begins, your hands are itching for the remote control for a pre-emptive strike.” He declares it imperative that the maximum subjective loudness of advertisements be consistent and in line with the maximum loudness of programmes and junction material. “Consumers should not have their hearing assaulted in an attempt to grab their attention.” According to Saldanha, “TV programming is made up of many different sources: new programmes and ads, archival material, live and prerecorded broadcasts. It’s handled by many people. It may come to you through cable, satellite or another distribution method and may use either digital or analogue technology. Because of the many steps involved from creating a program to watching it at home, there are many opportunities for the sound volume to stray from ideal levels. It is not just a matter of level, it is common practice to over-compress audio and raise the normal level creating a signal lacking in dynamic range. There is only one place to solve this problem and that is at Ingest. Loudness control needs to be linked with the general overall Quality Control (QC) of the audio signal levels. With the increased penetration of multi-channel audio, perceived loudness is replacing traditional monitoring; this standard will also encourage transition to this model. Of course this is speaking from a file based transmission system; understandably for some broadcasters the problem is more complex. Many manufacturers have brought out automatic levelling systems to be placed in the broadcast chain but a human-based audio QC check at the ingest stage, assisted by a loudness meter, would still appear to be the most desirable solution.”
spot or programme we ingest for playout so our solution is to use the automatic gain control on our playout automation software. It helps minimize the variation in apparent volume but cannot eliminate changes altogether.”
A frustrating experience Equally frustrating is the variation viewers experience as they skip between 46
channels. Multichoice are the largest multichannel broadcaster in Africa and have installed very complex audio processing on their DSTV services that equalize the level between channels , and between content within a channel. “But as the country moves down the DTTV trail we find ourselves having to share a delivery platform with different broadcasters who each work according to different
specifications,” says Manny Coelho, head of media services at the broadcaster. “It’s critical that we all work to a common standard and the ITU specification is a great place to start.” While viewers are quick to blame differences in loudness on careless sound technicians or deliberate policies on the part of advertisers, it’s not always their fault. There are a number of technical reasons for differences in 'loudness' which are not easily controlled at the broadcast studio. When sound is measured on a technician's VU meter, the equipment registers the strength of the electrical sound signal, which is not itself a direct measure of how loud the TV sound will be to viewers. Volume is also affected by other things such as the range (or degree of compression) of the sound. An international standard To rectify the problem, broadcasters need a monitor or meter which displays 'loudness' (rather than electrical signal strength), and an agreement on a standard setting level for loudness, so that sound technicians everywhere can make the same adjustment. The draft new ITU-R Recommendation suggests how sound levels should be measured and set in international programme exchange to maintain more constant volume for viewers.
According to Getu Cherinet Ewunetu, an engineer with the Ethiopian Radio and Television Authority, audio problems are often created by careless sound technicians or the improper application of standards; “But more often than not the problem is created purposefully by advertising agencies who crank up the volume on their commercial spots in order to maximize impact,” he says.
At its meeting in November 2009, Study Group 6 of ITU's Radiocommunication Sector (ITU-R) agreed a draft new Recommendation for the standard audio setting in an internationally exchanged TV programme. This setting is termed the 'target loudness', and the new Recommendation establishes a numerical value. Entitled 'Operational practices for Loudness in the International Exchange of Digital Television programmes', the draft Recommendation will now be submitted to national telecommunications
administrations for approval. The new standard complements existing Recommendation ITU-R BS.1770, which describes features of the 'loudness meter' that should be used by broadcasters to measure loudness. Work is underway to enhance BS.1770 with 'gating functions' in order to eliminate periods of silence or lowlevel signals that do not appreciably contribute to the perceived loudness of a programme, and this should be advanced at the next meeting of ITU-R Study Group 6 in April 2010.
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Optimizing the news production workflow In the world of broadcast news, stations are looking to achieve both greater efficiency in producing the broadcast newscast and a greater capacity for distributing this content immediately to media consumers via the Web and mobile devices.
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with industry-leading solutions. The platform’s Web services application programming interface (or API) allows news production software vendors to integrate their products with systems within the Omneon platform. Known as the Omneon Media Services Framework, this integrated Web services API supports best-of-breed file-based workflows by easing third-party integration and providing unified content management capabilities across server and storage systems.
y automating the movement of content through the news production workflow, making media readily accessible across production staff, and accelerating the transcoding processes that repurpose media for Web publishing, broadcasters can offer timely news content to viewers over all relevant distribution platforms.
Digital workflow Omneon addresses all these capabilities with a new workflow that’s based on the Omneon media storage and processing platform. This platform includes the company’s flagship Spectrum media server, tightly integrated with the Omneon MediaGrid active storage system and three application services: ProBrowse proxy generator and server, ProXchange grid transcoder, and ProCast content delivery network. Using the Omneon media storage and
Adding Efficiency to Ingest
Jason Danielson is Omneon senior director, market development.
processing platform, broadcasters can implement a cost-effective news production and delivery workflow built 48
The Omneon Spectrum and MediaDeck media server systems are deployed at broadcast stations worldwide to provide reliable ingest of all industry-standard formats, including MPEG-2, IMX, XDCAM HD, and DVCPRO 25/50/HD. The new Omneon media storage and processing platform focuses on empowering the most relevant
formats today for HD news workflows, DVCPRO HD or XDCAM HD. The ingest of material into the Omneon platform’s media server is controlled by one of several best-ofbreed news production systems that support the entire news ingestproduction-distribution workflow. This system not only schedules and automates multiple ingest channels, but also provides tools for adding metadata,
either immediately as content arrives in the system or later as the production process permits. The news production system also supports crash records as well as allows metadata to be associated with incoming files from field devices and network news file feeds. Serving as multichannel ingest servers, the Spectrum and MediaDeck systems capture and encode channels to a compressed format for air and, at the same time, generate MPEG-1 proxies that become available for review or editing just seconds after ingest begins. Thus, proxies may be created immediately at the point of ingest by Omneon ingest port hardware or by the Omneon ProBrowse proxy generator, which transparently provides access to proxies by the MAM system during ingest.
Solution Partners for Media The use of proxies across news facilities enables a large number of journalists to make editorial decisions about incoming content and use their own production tools to create timely news segments for air. In large network broadcast operations, journalists can number in the hundreds. News production tools from companies such as Ardendo, Dalet, Gallery, and Solutions for Media (S4M), among others, provide the timeline-based editing functionality, simple effects, and voiceover tools these journalists need to complete news sequences for air. The MediaGrid system allows all of these journalists to access and edit proxy material simultaneously, just seconds after material begins to be received. Finished pieces can begin airing seconds after a timeline is completed.
Journalists edit news segments and add voiceovers at BFMTV in France using desktop tools from Dalet Digital Media Systems running on an Omneon media storage and processing platform.
Complex news sequences For more complex news sequences, journalists can create roughcut edit decision lists (EDLs) that can be imported into a craft editor, typically Apple Final Cut Pro, for finish editing if needed. The journalists’ news production software generates an XML file from the proxy rough cut, and this XML list is imported into Apple Final Cut Pro, where it populates the edit timeline with the rough-cut edit decisions. The Omneon ProBrowse XML file also populates the Final Cut Pro timeline with the full airresolution clips so that the finish edit is performed with the air-quality content. For Avid-based workflows, the Omneon ConformTool, a media transfer and format conversion application, ensures smooth compatibility by rewrapping the media to MXF OPAtom, creating the AAF file that associates the video and audio tracks of the clip, and providing a drag-and-drop interface through which users can import the desired clips into the Avid bin for editing. The flexibility of this collaborative workflow enables a pool of craft editors — as many as several dozen — to use Avid NewsCutter, Avid Media Composer,
or Apple Final Cut Pro to work on promos and finish the news sequences begun by journalists.
Streamlining Editing Processes The MediaGrid active storage system supports edit-in-place for Apple Final Cut Pro, Avid Media Composer, and Avid NewsCutter systems. Scalable in capacity, bandwidth, and media processing power, the MediaGrid system integrates with these leading applications to provide an editing experience that is similar to what the editor experiences when connected to application-specific storage from the edit system vendor. Editors experience no latencies or delays while reviewing timelines or jogging and shuttling through source clips, even as several dozen other editors access the same content. Because the Omneon platform supports the movement of sequences between edit environments with ease, editors can enjoy convenient access to media, whether they’re working with one or multiple edit platforms. Omneon’s new low-latency MXF encoding capabilities make content available on the MediaGrid for editing even faster than traditional edit-whileingest approaches. By transferring content actively, the Omneon platform gives dozens of edit workstations access to content within 10 seconds of the start of ingest.
Accelerate workflow The Sony Cinémon workflow accelerator for Final Cut Pro allows XDCAM HD content ingested by the 49
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Omneon Spectrum and wrapped in MXF OP1a to be edited immediately on Final Cut Pro systems without the need for transcoding or rewrapping. As a result, broadcasters can very quickly and easily combine the XDCAM HD material acquired on Sony cameras with content ingested on the Omneon server systems. This same tool supports the fast, intelligent export of the finished news sequence from Final Cut Pro for playout to air while the file export is still under way. Facilities leveraging both Final Cut Pro and Avid edit systems in a mixed edit environment can use ConformTool to enable a transfer of timelines between edit environments. This functionality gives users drag-and-drop or single-click control over the migration of sequences from Apple to Avid edit systems. The close integration of the MediaGrid system and ConformTool supports the offloading of export and conform processes for both Final Cut Pro and Avid editing environments. ConformTool pulls files from the MediaGrid system, flattens them into a new file, and incorporates them into an open MXF OP1a file that is ready for playout.
Distributing Content: The key to the efficiency of an Omneon-based workflow is that the content never moves. Proxy generation, shot selection, craft edit, conform and transcode processes can work on the content while it continues to reside in the Omneon storage and processing platform. This approach avoids the most common cause of bottlenecks in a broadcast operation: transferring files between islands of storage. In the
Omneon workflow model, content remains on the MediaGrid system, allowing users to touch content as needed while minimizing network traffic. Using the Omneon storage and processing platform to perform gridbased transcoding of conformed content, Omneon ProXchange creates versions for playout-to-air and for Web and phone distribution. ProXchange performs fasterthan-real-time conversion between a wide variety of acquisition, production, and delivery video file formats. Rewrapping between QuickTimeŽ and MXF selfcontained and reference is performed with preservation of all audio channels, timecode values, and clip metadata. The integration of transcode processing within the MediaGrid active storage system streamlines file-based workflows by reducing the need for external transcoders and multiple file copies. The system can process individual clips manually or be configured to run in an automated mode based on user-defined settings for “watch folders.� For example, the ProXchange system can take MPEG-2 50-Mbps I-Frame content, automatically create a transmission copy in MPEG Long GOP at a lower bitrate, and concurrently create an H.264 clip for distribution to IPTV or the Web. In addition to automatic transcoding-inplace of content created for air, the system may be set up to provide content for review before users direct that content into subsequent production cycles.
Archiving News Content Because best-of-breed news production systems include archive management functionality and are tightly
integrated with newsroom computer systems, all scripts, voiceovers, and other text related to a news story are associated with the sound and video shot by news teams and can be archived back to MediaGrid or to a tape archive system as desired. In either case, search tools or database engines allow for quick federated searches across past news shows based on any of the elements that were used in the broadcast. These MAM systems employ industry-standard archive management systems to allow control of virtually any of the dozens of tape archive options on the market, from small tape vaults holding only eight digital tapes to large robotic systems capable of holding petabytes in nearline storage.
The Platform Makes the Difference Automating and accelerating the processing of media across the news production workflow, the Omneon storage and processing platform streamlines the use of sophisticated production tools in delivering timely news segments. The Omneon Media Services Framework provides a unified Web-services application programming interface that allows best-of-breed news solutions vendors to integrate applications quickly and enables broadcasters to optimize the use of the entire Omneon media storage and processing platform. By supporting a broad range of partner applications, Omneon systems allow broadcasters to work with the production and management tools they prefer, using workflows that enhance collaborative creative efforts and reduce overall time required to deliver finished news content to multiple platforms.
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2009: Another year of expansion for OmniBus Systems
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OmniBus Systems, the award-winning provider of comprehensive broadcast automation, content management and workflow solutions, achieved another year of strong financial performance in 2009, generating record levels of cash flow and profitability. Building on the previous year's success, OmniBus has won breakthrough sales to leading broadcasters and service providers with its flagship iTX transmission and automation platform. "2009 was an outstanding year for OmniBus, with the company expanding dramatically in all regions despite the downward trend that has affected many areas of the industry," said Mike Oldham, OmniBus Systems' CEO. "We've realized this success in tough trading conditions because of the strength of our next-generation, IT-based automation and transmission platform, OmniBus iTX. Difficult times make the economic benefits of iTX more important to customers as they realize the high-end capabilities of the platform. They can replace outdated conventional technology, and benefit from an extended feature set and enhanced integration and flexibility — while still achieving big savings." iTX sales were brisk in 2009, with more than 100 channels launched in the North American market alone. Many of the major names in U.S. broadcasting and service provision are now listed among the users of OmniBus products. Responding to the demand for its products, the company has strengthened its sales, service and delivery teams with a number of appointments, including Iain Wood as regional manager for the Middle East and Africa. "We are finding that the best talent in the industry is keen to work with OmniBus as we spearhead the industry transition to software-based solutions operating on cost-efficient standard IT servers," Oldham said. "iTX sales have been growing because the software platform allows broadcasters and media companies to manage existing channels and launch new channels at a reduced capital outlay and with lower ongoing operating costs. The iTX platform replaces the functionality of traditional video servers, automation and graphics solutions and can be used to launch broadcast, satellite, IPTV and mobile TV delivery services. Our strong financial position allows us to continue to invest in an aggressive R&D program to ensure that we maintain our clear lead in the industry. "In 2010 we expect our growth to be boosted by the expansion of HD broadcasting, and multi-format delivery, both of which are considerably easier to achieve with iTX," he continued. "We have also closed significant sales to content distributors and playout centers, along with station group customers in the U.S. and Canada."
Dubai: March 2nd to 4th, E1 - 11 IPTV Forum: March 23rd to 25th, N°123
Exhibitor rebooking surpasses 2009 as attendance numbers surge Record-breaking ISE 2010 wows AV industry and lays groundwork for future growth Achieving the highest attendee total in the event’s seven-year history, Integrated Systems Europe 2010 attracted 28,489 attendees to the Amsterdam RAI between 2–4 February, organiser Integrated Systems Events has announced. The total represents a 14.4% increase from last year’s total of 24,912, which was itself a record. Those attendees saw products from 640 exhibitors – up from 564 in 2009 and another record for the show. Digital signage, professional audio, collaborative conferencing, LED technology and building automation all contributed to the growth in exhibitor numbers, confirming ISE’s position as the undisputed No.1 show for professional AV and electronic systems integration in the EMEA region.
100 first-time exhibits “We are delighted to have once again hosted a record-breaking event here in Amsterdam,� comments Mike Blackman, Managing Director, Integrated Systems Events. “To have posted a substantial increase in attendance is a reflection of the long-term strength of our industry, and a vindication of our marketing programme which was more extensive than ever this year.� Exhibitors were effusive in their praise for ISE 2010, with manufacturers from across the technology spectrum offering evidence of
three days of great business having been done. “This is the best European show for the AV market – clean, refreshing, and new,� said Pauline Brooksbank, Managing Director at image-processing company Calibre UK. “It’s a relaxed environment, and what’s good is that the bigger stands are split across the halls, so it’s easy to get around. Well done ISE on creating such a great show!�
Record breaking event PMC, which manufactures highquality loudspeakers for the home theatre market, was one of over 100 first-time ISE exhibitors. The company’s Marketing Coordinator Samantha Thomas enthused: “ISE was a great success. We were very impressed with the turnout of trade
visitors, not only in quantity but in quality and diversity as well.� The exhibitor rebooking process began on the second day of this year’s show, and by the close, over 83% of the space for ISE 2011 had already been booked – up from 71% at the equivalent time a year ago. “Our remarkable percentage of rebooked space for 2011 demonstrates that our exhibitors did not merely have a busy show – they enjoyed three days of substantial new business opportunities,� adds Blackman. “This confirms our belief that the market for professional AV and electronic systems integration still has plenty of growth potential for the future.�
Conference programme Further optimism was expressed outside of the show floor, not least at the ISE DOOH Business Conference, the show’s traditional curtain-raiser for the digital signage and out-of-home advertising communities, where over 100 delegates gathered to consider how this new market is likely to grow strongly in the years to come. Elsewhere, record numbers of visitors attended the education sessions organised by ISE’s two supporting associations, CEDIA and InfoComm International, while the ISE Theatre hosted a wide-ranging programme of free panel discussions that likewise drew hundreds of attendees.
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tended to stay put and this has acted to reduce the churn of talent in the marketplace.
Specialist recruitment agencies Talking to specialist recruiters, it seems that things are loosening up in the early months of 2010. However, it also appears that salary and benefit packages have tightened up with some employers trying to achieve “more for less”. “In the UAE it’s almost ground to a halt,” commented Graham Day, Director of Trimedia Middle East, “there are some
“Employment in the Middle East television industry has almost ground to a halt,” says Graham Day, director of Trimedia Middle East. “There are some niche jobs but almost nothing is available for ex-pats.”
Recruitment is no song and dance routine! We’re all in danger of having a serious excess of reality TV! The plethora of music, talent and dance shows makes us realise how limited most people’s singing or dancing capability really is! Unfortunately the same is often the case with recruitment. Most managers have little or no training in selection or interviewing skills and are self taught.
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hile you probably don’t exhibit the “cringe factor” personally in this regard, you no doubt know somebody who does! Only a few organisations are blessed with a comprehensive HR capability. If you have one, don’t curse it, make the most of their knowledge and experience. If not, this article may help you on your way.
Climate control Over the last year or so the broadcast technology and ProAV markets have had a tough time and some sectors continue to struggle. In many cases
reduced revenues and profits have led to cost reductions, headcount freezes and regrettably some lay-offs. How has this impacted recruitment? Many companies have stopped expanding their workforce and have managed with the team they have or are only replacing critical staff who decide to move on. Others are resorting to short or fixed term contracts. While we have seen problems with financial liquidity we have also seen problems with human liquidity. People have, understandably, become risk averse. In tough times “the devil you know” is often the wiser approach than risking pastures new. Good people have 54
niche jobs but there are few vacancies and almost none for ex-pats.” For the most senior appointments, in companies that are venture capital or private equity backed, then people seem willing to pay the going rate for the best talent. Even so, at that level, there’s more
Lee Barnett, director of Broadcast Recruitment at Caspian One reports that during the last years he’s had several vacancies in the Middle East where he was able to provide suitable candidates. “But the budget for the post was removed before the candidates were taken on,” he says. “People are being laid off before they’ve been appointed.”
of a trend to trade absolute remuneration for stock options or a stronger performance related element. For most appointments though salaries and benefits are being squeezed. Lee Barnett, Director of Broadcast Recruitment at Caspian One reported that last year he had several vacancies in the Middle East where he found good candidates but the budgets for the posts were removed before the candidates were taken on. Such is life in the media marketplace – people are being laid off before they are appointed! Despite this Lee says there are still vacancies in the region. “There’s increasingly an emphasis on candidates with languages who can be employed locally at conventional rates. It’s becoming much less of an ex-pat community.” Graham Day confirmed this, “The budgets available for posts are only likely to attract locals or single ex-pats with no dependents willing to make a big time commitment. There’s also a trend to shorter term contracts.”
On-the-job training In South Africa, broadcasters seem more inclined to seek staff with fewer qualifications at a lower rate and then do their best to grow them through on the job training. Natalie Delport, owner of Portal to Learning in Johannesburg has seen clear evidence of that trend and also reports an increased use of fixed term contracts and interim employment. Natalie spends much of her time recruiting trainees and helping “train the trainers”. At the SABC they have a long standing moratorium on recruitment but continue to appoint interns and trainees. Ron Morobe, Acting Group Executive for their Human Capital Services, says that: “Our interns see SABC as a preferred employer and recognise that we provide one of the few broadcasting training opportunities in the country.” In Europe, the second half of 2009 went very quiet in the media sector but Jeremy Burnell of JBA Executive says: “Most clients had a good Q4 and this, combined with increased merger and acquisition activity, has helped improve optimism for 2010. Europe is picking up while growth markets such as Asia-Pacific and South America have maintained higher levels of activity throughout.” There are some encouraging pockets of recovery across the region. According to Michele Dwayk at Harris Corporation in Dubai, “We’re having some difficulty finding the right talent. Key people are still in demand in the region and finding candidates with the right skills and experience profile has always been a
The SABC’s Ron Morobe asserts that the SABC is seen by many job seekers as a preferred employer who is able to provide ongoing training to interns and trainees. “We have a standing moratorium on recruitment of professional staff but continue to introduce young talent to the industry,” he says.
challenge.” Harris are recruiting several staff and increasing the number of sales and service engineers dedicated to the region.
It’s in this area where there is significant change with the emergence of on-line and social media tools for finding the right candidates. Traditional page advertising has largely given way to on-line resources and communities where companies look for talent. Sites like LinkedIn and Twitter have started to play a major role in this arena and this means that job seekers really do need to be active in on-line communities to find the best opportunities. In addition, sector specific tools are available like AV Specialists very own AVJobSearch. “We continue to use recruitment agencies for specialist staff but we’re also making increased use of LinkedIn and AVJobSearch” commented Michele from Harris, “but the most effective way to find good people is informal networking in the local industry community.”
Training and Up-skilling Notwithstanding the fact that there is a pool of potential talent, company requirements are changing and it can still sometimes be difficult to find the right person for the job. Changing technologies
Recruitment realities In any event, the recruitment scene is challenging right now. There are more candidates chasing fewer vacancies and rates of remuneration are under pressure. That might imply that employers have plenty of people to choose from but, as we’ve already established that’s not always the case and they still have to find them.
Top Tips for Recruitment
Jeremy Burnell of JBA Executives reports that 2009 was a quiet year for the media industry in Europe. “Despite this we’re very optimistic about 2010,” he says. “Broadcasting is a global business and there’s strong demand for qualified staff in the Asia-Pacific and South American markets.”
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1. Make sure you really know what type of person you need 2. Check carefully whether there is a candidate in your organisation already 3. Don’t just think about knowledge and skills, think about behaviour and personality 4. Make use of on-line recruitment sites, social media networks and your community 5. If you use a recruiter, make use of their experience in the selection process 6. Don’t just interview, get candidates involved with other people and other activities 7. Think whether some behavioural profiling would help make the right decision 8. Give all candidates a positive feeling about you organisation
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1
and changing ways of working require staff knowledge and skills that are right up to date. The convergence of the IT, telecoms and media sectors is creating demand for hybrid experience. That’s all well and good but who’s doing the training? Generally cash strapped companies have cut back on training although there are notable exceptions as with SABC referred to previously. We’ll be looking in more detail at training in an upcoming edition of AV Specialist.
Gain new skills Now is really the time for those in work to make sure they take every opportunity to gain new skills and new awareness as it will pay handsome rewards for the future. From an employer’s perspective this is a “double-edged sword”. If you develop your people, do you risk equipping them for a better job elsewhere, leaving you high and dry? The answer may be yes but this is easily overcome by creating a genuine “learning culture” in the organisation where staff soon see that they can develop and grow within their own organisation rather than taking significant risks by going elsewhere. Natalie Delport confirmed this, commenting: “Employers do development
InfoComm's internationally recognised CTS programme identifies job seekers as having up-to-date knowledge on the science behind modern AV systems. The training course has been presented in both Dubai and Johannesburg during the last few months and is scheduled to take place in both centres during April. The exam can be written at any Promotric testing centre in the region so AV professionals who are looking to enhance their career with an ISO-registered qualification have no excuse not to participate in the training or write the test.
Lee Barnett also has concerns in this area. “This is where a recruitment specialist can really help their clients. It’s not just about finding good candidates, it’s also about helping the client to choose the right one. Some of the most talented people are not always the best interviewees and it’s really important to find out who will be the best long term fit into the organisation! If you want to try out one of Bill’s personality assessments go to the Prelude website and have a go! http://www.prelude-team.com/
Selection Performance
Conclusions
Probably the most important area for management attention in hard times is in improving your selection performance. It’s hard enough to find the budget and then go through the recruitment process. However, if you select the wrong candidate you can do untold harm to the organisation, your existing team and the applicant. This is a skill area that few managers have much experience of. We turned to Bill McAneny of the Prelude Team for his help on this subject. Bill is an industrial psychologist who works with companies to help them select the right people. He has particular experience of the broadcast sector and of the Middle East. “The key to successful recruitment is to clearly identify the behavioural characteristics you need as well as the skills and experience. Conventional interviews have a predictive delivery of about 20%. They are very subjective and are riddled with unconscious prejudice! They provide little or no personality or behavioural review – frankly you might as well chuck a ping-pong ball out of the window and see who it hits!” That all sounds fine but how do you go about it?
So, there’s little doubt that jobs are scarcer and it’s tough out there. Candidates need to identify the skills in demand and equip themselves with the right knowledge and expertise for the future. They also need to network in the industry community to have the best chance to find the right job. In a poll on the AV Specialist web site, candidates revealed that the three most popular places to look for jobs were social networking sites; specialist recruitment agencies; and industry websites. Bottom of the list were exhibitions and events followed by daily newspapers. No surprises with those results and they reflect some good advice. Arguably it’s an employers market but some specialists are still in short supply. The key for companies is to specify the job thoroughly and then concentrate on getting the selection right. Use our “Top Tips for Recruitment” to focus your thinking and your activity. Times in the broadcast technology and ProAV sector are changing fast. After a turbulent last twelve months it looks like 2010 will be a pivotal year for the future of the industry in the Middle East and Africa.
In-depth assessment In South Africa, broadcasters are inclined to seek staff with lower qualifications and then provide on-the-job training. Natalie Delport also reports that there’s a growing trend toward fixed-term contracts and short-term employment.
one day and expect outcomes next day. It’s really not like that. It’s about creating long term behavioural change. The effect is compound. You need to set goals and measure outcomes. Interacting with people in this way can change the whole culture of the organisation. Often you can do better by reinvesting in the people you have rather than looking elsewhere.” If you’re employed in the AV business there’s no better time to think about tackling your CTS certifications.
Bill’s approach is to expose candidates not just to interview but to a range of activities and a range of people. This is coupled with in-depth assessment using some standardised psychometric assessment tools. This way you find out about their behavioural traits and you see how they’ll fit into the company and the team. Some readers will no doubt say that is all too much trouble and expense but it really does change the nature of the selection. Candidates come out with valuable experience, a better understanding of themselves and usually have a high opinion of your company – even if unsuccessful. The upside gain is that you improve the probability of success from say 25% to say 75%. That’s really worth having! 57
About the author
Roger Crumpton is a freelance writer, commentator, facilitator and presenter. He was formerly the Chief Executive Officer of the IABM.
Multi-skilled workforce requires continued professional development The current competitive atmosphere has a number of companies trying to balance their restructuring and retention needs. In the midst of all that expanding and contracting decision making is one sure truth about remaining competitive. Maintaining a well trained, multi-skilled workforce is more than just an overhead cost consideration, but the recognition that without appropriate knowledge and skills, a company, irrespective of size, can lose its competitive and distinctive edge.
T
he unfortunate trend in short term cost cutting is to reduce or in some cases, completely eliminate the training budget. It’s usually the easiest place to look because training is viewed as overhead costs. The quick slash and burn approach to help bring up the numbers typically results in a return to the hands-on, learnas-you-go, scattergun approach to skill competence. The organization is then left with those individuals who are willing to learn in order to survive as opposed to a skilled workforce that wants to grow. What makes this strategy particularly dangerous is the unprecedented labor shortage unfolding in the United States and the ‘free agent’ approach to career
between conventional wisdom and practical reality gets lost when the idea is to keep the ship afloat. The often translates into organizations having a bunch of highly skilled employees who are proficient in bailing water, but once the waters are calm and stability has been established, no one knows how to row the boat.
Not a recreational luxury development as seen among the current crop of full time employees. All conventional wisdom supports the notion that training is critical to the efficient functioning of an organization, but the link 58
Training is not a ‘recreational’ luxury to be implemented when times are good, but is an essential survival tool when times are pretty rough. It is important to maintain an ongoing assessment of the internal training needs of the organization while anticipating the changes in the
external environment that will dictate new skills and knowledge. The corporate world has seen the emergence of E-Learning, Online Training, and Distance Education as expanding compliments to traditional in-class learning. These new approaches to training have helped to take some of the expense out of training (i.e. travel, hotel accommodations), but they also represent the continuing education and training opportunities that are consistent with the ‘lifelong’ learner philosophy that is a guiding beacon for contemporary organizations. In fact, the growth of the Internet has helped to take a lot of the sting out of costly training by allowing access to training Websites and online certification programs.
Importance of training As the economic cycle continues to spin toward its next step in the process, many organizations are weighing the importance of training in lieu of other seemingly pressing concerns. The doubts are probably tied to an inability to measure the true impact of the training experience, and, consequently, its true worth. When all else fails, perhaps some reflective thought on the next quote and its corporate interpretation might shed some light. “If you think education is expensive, try ignorance.” In the business setting, that quote is taken to mean, “If you think training is expensive, try incompetence.” In South Africa, as in many other countries, the Government is the largest user of IT and AV technology. The task of buying the equipment they need is undertaken by the State Information Technology Agency, better known as SITA.
Procurement agency The Agency is responsible for the procurement of all AV and IT technology and manager Izak de Villiers explains that their purpose is to consolidate and coordinate the State’s information technology resources in order to achieve cost savings through scale. They’re also looking to increase delivery capabilities and enhance interoperability. Izak views Information Technology (IT) as a strategic resource for government, with SITA managing the IT procurement and delivery process to ensure that the Government gets value for money. “The use of AV technology throughout Government and state-owned enterprises has boomed in recent years and today we’re finding every school, municipality, University, courtroom and government office has a requirement for audiovisual equipment,” says Izak. “Since few of these organiations have in-
In a fast-moving AV industry formal qualifications can quickly become outdated so it's critical to participate in a programme of continuous professional development. infoComm's professional CTS credential requires qualified individuals to earn renewal units by participating in industryspecifi training programmes provided by manufacturers, Associations, consultants and their own online Academy..
house AV skills the equipment needs to be supplied by vendors who are able to provide a solution that’s matched to the communication requirements of the user. We’re looking to work with vendors who have the ability to provide a total solution that go’s beyond ‘box-drop’ selling. We want our suppliers to provide installation, maintenance, training and ongoing support so it’s important that we work with vendors who are capable of providing these services to an acceptable standard; and finding suitable suppliers is harder than you’d think.”
International standards In the latest SITA tender 431 the Agency has mandated that suppliers of AV technology to state-owned enterprises must be certified to internationally recognized AV standards - and they’ve identified InfoComm’s CTS credential as their preferred standard. “In a market like IT and AV technology that’s developing at a rapid pace, we can’t rely on past work experience or outdated qualifications,” he says. “InfoComm is an ISO-registered standards generating body for the global AV industry and any individual who has earned the InfoComm CTS credential has clearly demonstrated their knowledge and understanding of advanced audiovisual systems. More importantly, in order to maintain their CTS status, qualified individuals need to commit to an ongoing programme of professional development. 59
Ongoing professional development Individuals maintain their CTS credential by participating in a wide range of approved training programmes provided by manufacturers, trade associations and consultants, as well as InfoComm’s own online Academy. Their knowledge is current and we can purchase products and services confident in their ability to provide technical backup, support, training and service.” Izak goes on to explain that SITA have implemented a contract management process that ensures the responsiblility for providing a working AV solution lies exclusively with their supplier. “When we issue our tender document we’re no longer asking suppliers to provide a solution in a box – we’re asking for a system that will address the communications needs of Government. Our suppliers are required to ensure the solution is fit for its intended purpose and if they don’t deliver we’ll hit them where it hurts – in their wallet; we’ll just keep them coming back until their solution does what we want.” InfoComm training in Southern Africa is hosted by SACIA, a not-for-profit trade association whose objective is to promote the adoption of professional standards in the audiovisual industry. Over the last few months they’ve hosted a number of InfoComm training programmes and are currently working to register the CTS credential with SAQA, the South African Qualifications Authority.
Mitsubishi Electric shows large screen OLED at ISE 2010 During ISE Mitsubishi showed off a 149" prototype OLED screen. Believed to be the world's first scalable OLED screen technology, the new system aroused considerable interest. OLED screens create light by a process of electroluminescence (EL). Each pixel consists of an anode and cathode separated by a thin organic membrane. Its simple construction means that the screen surface can be made extremely light and thin. Using specially-developed driver electronics, Mitsubishi has created an edge-less OLED display module that can be joined together with others to create seamless screens of virtually any size and shape, including curves. The company believes this modular approach will deliver the versatility required of the next generation of indoor Digital Signage displays. Unlike conventional LED systems, its slim, lightweight construction means that large screens can be installed on virtually any building surface. Unlike LCD or plasma, Mitsubishi's OLED modules are truly edge-less so that any shape of screen can be created without visible borders.
GREEN SLIM Projectors XJ-A155 Casio has invented a mercury-free laser and LED hybrid light source capable of high-brightness projection for use in next-generation projectors. Using this “clean and green” technology, Casio is releasing a line of GREEN SLIM projectors. At present, high-pressure mercury lamps are used as the light source for data projectors capable of producing 2 000 or more lumens. Semiconductor light sources that do not contain environmentally harmful mercury (such as laser and LED) are promising light sources for next-generation projectors but until now, mass production has not been feasible. Casio has changed all this by creating an original mercury-free hybrid light source capable of generating high brightness by combining a laser, a phosphor and an LED.
Extron premieres high performance switcher
New discussion system for small to medium sized meeting areas
Extron Electronics is pleased to announce the introduction of the FOX 4G Matrix 320x. This high performance, modular fiber optic matrix switcher provides complete, end-to-end digital A/V signal transmission and routing over fiber optic cable in very large environments such as university and corporate campuses. It is expandable from 16x16 up to 320x320, and supports digital switching at rates up to 4.25 Gbps. With hot-swappable I/O boards, real-time system monitoring, and redundant, hot-swappable power supplies, the FOX 4G Matrix 320x delivers highly reliable, enterprise-wide switching of fiber optic A/V and control signals for large scale, mission-critical environments. "The FOX 4G Matrix 320x is ideal for the largest A/V system applications requiring a highly robust, dependable switching system using a fiber optic infrastructure," says Rainer Stiehl, Vice President of Marketing for Europe.
Bosch Security Systems used ISE to launch a new discussion system that combines new elegant styling with innovative features designed and developed by Bosch experts in Europe. The CCS 900 Ultro Discussion System is intended primarily for small to medium sized meeting areas such as town halls, local business centers and courtrooms. It offers a host of design features that make it easy to manage meetings, including an advanced new patent-pending “Possible-ToSpeak” function which gives a visual indication of when the microphone is available for a delegate to take the floor. The system’s superior speech intelligibility is assured by Bosch’s proprietary DAFS (Digital Acoustic Feedback Suppressor) technology, which has been proven over many years in the company’s conferencing and public address systems. With this new all-in-one system, users can listen to proceedings and easily participate directly in discussions. 60
JVC to add new projector to its 4K2K D-ILA line-up
NEC unveils 70-inch monitor NEC Display Solutions will launch its latest top-of-therange model of P-series public display in March 2010, with the NEC MultiSync P701. The 70-inch full high-definition monitor is a professional grade panel especially built for long-term use and features a sophisticated multistep overheating protection system that enables it to be used even in the most demanding digital signage applications. NEC Display Solutions’ P-series, consisting of the NEC MultiSync P401, P461 and P521 models, will be expanded by the new flagship model P701. With its brightness of 600 cd/m2, contrast ratio of 2,000:1 and resolution of 1,920 x 1,080 pixels, the monitor delivers crisp, vivid digital signage content in full HD quality making it ideal for size-critical implementations in retail signage, control centres or in public buildings.“With the P-series’ numerous features and expansion options, our latest P701 professional panel promises to deliver to the requirements of demanding digital signage, conference or control room applications,” said Ian Gobey, General Manager of NEC Display Solutions Middle East. “It offers exceptional state-of-the-art technology for all kind of professional digital signage application and is built with reliability and variability in mind, aimed at environments that require simplified installation and easy integration,” he adds.
JVC has announced the early-March launch of the DLASH7NL, a 4K2K D-ILA projector. It incorporates three 1.27-inch 4K2K D-ILA display devices for high-quality imaging and dual ultra-high-pressure mercury lamps for 5,000 lumens of brightness. Combining superb definition and resolution with low-cost maintenance, the 4K2K D-ILA projector is expected to be widely accepted for planetariums, museums, simulators and medical institutions, as well as used for high-spec designing and monitoring. The new model joins the DLA-SH4K, a 4K2K projector launched in January 2008, and like its predecessor, the new DLA-SH7NL achieves ultra-high resolution of approximately 10 megapixels (4,096 x 2,400), or more than four times full HD, plus a stunning 10,000:1 native contrast ratio.
Crestron TPMC-3X I/O 2,8” WI-FI touchpanel
Crestron have launched the TPMC-3X handheld WiFi touchpanel that delivers the best remote control available for home theatre and AV presentation, marrying style and ergonomics with the ultimate in performance and customisability. Its sleek form factor is easy to hold, with large tactile pushbuttons, electroluminescent
backlighting, and a fully customisable touchscreen for a wireless control solution that is both intuitive and fun to use. Gone are the limitations or previous generation remotes, and the frustration of using them. The TPMC-3X offers seamless interaction with AV and environmental systems, providing true feedback of all your settings, and displaying metadata information for all your digital media. Whether watching TV, choosing a movie or music title, adjusting room temperature and lighting, checking the security system, or even monitoring live video right on the built-in touchscreen, the TPMC-3X affords a user experience like no other handheld remote.
TV One announces new DVI over Fiber system The new 1T-CT-570 DVI-D over Fiber Optic Transmission System made its official debut at the ISE 2010 Exhibition. This new DVI Fiber Optic Extender consists of the 1T-CT-571 Transmitter and the 1T-CT-572 Receiver and is a high performance system used to transmit PC signals and HDTV video at resolutions up to WUXGA and 1080p respectively over distances up to 500 metres (1640 feet). The 1T-CT-571 Transmitter connects directly to the source device’s DVI output connector and the 1T-CT-572 Receiver connects directly to the display or other destination device’s DVI input connector. Four Fiber Optic cables provide a RF immune, virtually lossless method for transporting the video signal to a remote location. No adjustments are required and setup consists of simply making certain that the source device’s output resolution matches the destination device’s capabilities, and ensuring that the cables are securely and correctly connected. Two 5VDC Power Adapters are provided as standard, however most PC’s and other source devices provide sufficient power through their DVI output for the 1T-CT-571 Transmitter to work without these. 61
SMART unveils new widescreen interactive whiteboard system SMART Technologies announces the SMART Board 685ix interactive whiteboard system - a high-definition, highperformance collaboration tool that virtually eliminates shadows, glare and projector light in the eyes. The fully integrated system comprises a SMART Board 685 interactive whiteboard and the new wall-mounted, ultra-short-throw UX60 widescreen projector with a 16:10 aspect ratio and WXGA resolution (1280x800). As more and more developers of multimedia and video content shift to a widescreen aspect ratio, the projector’s widescreen format provide a future-proofed investment for school districts, post-secondary institutions and businesses. With high-definition image quality and easy access to other peripheral devices from the front of the room, the SMART Board 685ix interactive whiteboard system delivers a top-of-the-line interactive whiteboard experience. The UX60 projector uses Texas Instrument’s (TI) DLP Brilliant Color technology high-contrast engine to produce stunning color performance and vibrant, crystal-clear images. The DLP technology virtually eliminates color decay and maintains color quality even after years of use.
Digital Signage revolution helping ‘Revitalise the High Street' LG Electronics has uncovered a major interest in digital signage as one of the catalysts helping to lift the retail industry out of recession, according to a recent poll. As part of its participation in ISE 2010 LG conducted a survey amongst a sample of the visitors at the show to explore views on digital signage developments and their likely impact on town centres and the retail environment in particular. Some 79% of those polled believed digital display technologies will be very important or vital to revitalising the high street in the year ahead.LG’s Future of the High Street survey revealed support from 32% respondents for the resurgence of town centres, with most believing it will be driven by retailers finding new ways to deliver better customer service.
Samsung showcase innovative portfolio of B2B solutions
Samsung used the recent ISE exhibition to showcase its innovation in large format, digital information display (DID) monitors, alongside its expertise in LED and interactive solution technology. Hosting a 400 square metre exhibit area Samsung showed its LED products and interactive whiteboard solutions,
targeting the booming DID market, as well as e-Book readers, LED projectors, and the latest display technology. DIDs are mainly used to provide information at airports, retail stores, and other public areas. They can also be used as a part of interior décor to effectively provide a wide array of information. Samsung Electronics believes that the adoption of DID systems would enable quick and precise delivery of information, enhance PR and exhibition activities, remove the need to print information and advertisements, and decrease maintenance costs, through easy system changes.
TOA creates D-2000 series digital mixing system TOA has launched the D-2000 series all-in-one digital mixing system that combines the functions of auto mixing, matrix switching, and signal processing. While the system’s table-mounted remote console unit boasts an exceptionally small footprint, the D-2000 can be expanded to comprise up to four rack processing units for a total of up to 128 audio inputs and outputs. CobraNet compatibility means the processing modules can be connected to a LAN for remote operation. Brett Downing, Sales & Marketing Director at TOA Europe says: “The D-2000 is a very exciting product to be launching. The D-2000 is unique and it directly reflects our investment in delivering systems to users who increasingly want to use sophisticated audio matrixing and processing for smaller venues with single or multiple rooms such as municipal and corporate conference facilities, hotels and fitness clubs. We’ve got a real winner with the D-2000.” 62
projectiondesign explores new territory
Four new professional monitors from Sharp at ISE 2010
projectiondesign presented its latest innovation in projection technology with the preview of the innovative FR12 Remote Light Source projector at Integrated Systems Europe 2010. The patent pending FR12 Remote Light Source (RLS) concept relocates the lamps from the projector to a rack-mount enclosure up to 30m away from the projector head. Light from the 19-inch rack-mounted RLS illuminates the projector head via an innovative Liquid Light Guide (LLG). The result is a compact, ruggedized, virtually maintenance-free projector head with completely silent operation. There are no limits on installation orientation and lamp maintenance is entirely simplified. The FR12 Remote Light Source projector is ideal for 24/7 operation and applications where fan noise and heat management are issues, as well as in any location where projector access is restricted. “At the forefront of creating some of the most exciting technologies and innovative products, projectiondesign has made history by producing innovative projectors that are compact, bright and highresolution,” says Anders Løkke, International Marketing & Communications Manager at projectiondesign.
Coinciding perfectly with ISE 2010, Sharp’s new line-up of professional LC displays seems predestined to grab the attention of the entire sector. The electronics group is the first LCD manufacturer in the world to produce a high-performance monitor with a diagonal of 152 centimetres (60 inches). With three other product innovations, Sharp is also marking its reentry into the lucrative high-volume market segments for screens with diagonals of 132 centimetres (52 inches), 119 centimetres (47 inches) and 107 centimetres (42 inches). “With our innovative line-up of professional monitors, a new era is dawning for Sharp,” says Peter Heins, Product Manager Professional Monitors at Sharp Electronics. “These competitive products mean that in future Sharp will also enjoy an excellent position in the high-volume market segment for monitors with a diagonal of 152 centimetres.
Harris demos latest digital advances The new creative canvas
Harris showed the latest enhancements to its comprehensive digital out-of-home (DOOH) solution at Integrated Systems Europe (ISE) 2010. “Harris continues to revolutionize the way that businesses operate digital signage networks — large and small,” said Brian Cabeceiras, vice president of strategic marketing and technology for Harris Broadcast Communications. “At the core, digital signage is about enhancing the customer experience and maximizing a business’ return on investment. We’re unveiling a new version of our digital out-of-home solution that expands monetization of networks by supporting IPTV, mobile delivery and extensive content targeting, enabling further optimization of revenue.” Comprising the Harris InfoCaster digital signage system and the Punctuate business and advertising management application, the Harris digital out-of-home offering enables users to ingest, schedule and distribute dynamic — and targeted — content. Customers have a choice of three new InfoCaster hardware platforms that deliver smaller, more costefficient form factors for compact installations, yet are packed with power and functionality.
At ISE Christie launched their unique MicroTiles digital display technology that creates a virtually seamless digital canvas in almost any size or shape - and offers spectacular, crisp visuals at any distance. The MicroTiles are modular digital display tiles that can be stacked and clustered like building blocks to create display walls of any shape or scale, using an entirely new, advanced optical design that produces unparalleled levels of brightness, contrast and color reproduction.The Christie MicroTiles system represents a huge step forward in large-format digital display technology, offering superior color and image reproduction, the widest possible viewing angles, and a near absence of seams on display walls, with only a 1mm gap between the tiles. The groundbreaking LED- and DLP-based system is designed for long, reliable commercial use in public areas, with no lamps or other consumable parts to replace. The LED light engine, a key component of MicroTiles, is rated at 65,000 hours to half brightness usage, or nearly 7.5 years of continuous operation. 63
MultiChoice scoops another High Definition channel MultiChoice subscribers in Southern Africa now see a bigger world of HD on their screens, with Discovery HD Showcase being the latest channel to be added to the growing list of HD channels on DStv.
T
he Discovery HD Showcase channel hit the screens in December and is described as the only global high definition television brand offering the very best factual entertainment, selected from various Discovery channels as well as exclusive content that can only be seen on Discovery HD Showcase Offering breathtaking sound and magnetic imagery, the channel covers a variety of programmes including science, technology, people, places and natural history. Like other HD channels, this channel will be available to Premium bouquet subscribers in South Africa that have PVR decoders that are HD capable. MultiChoice launched a PVR decoder that is HD capable last year. In early December, MultiChoice announced the launch of SuperSport HD on its DStv platform. The addition of Discovery HD Showcase brings the number of HD
channels on DStv to three. “This latest addition demonstrates our commitment to growing our HD offering on DStv. Our Premium subscribers will now enjoy a wider scope of HD content, covering Sport, Documentary and general entertainment from the three HD channels” says Nico Meyer, CEO of MultiChoice South Africa.
Premium digital content MultiChoice provides premium digital media entertainment, content and services to multiple devices which includes Pay TV subscriber services to over 2.4 million customers. Its dynamic technology platform and excellent bouquet of channels, built around compelling and premium movie and sports channels has resulted in the company building a significant television business across South Africa,
broadcasting more than 80 video, over 40 audio and over 30 radio channels and more than 3 interactive channels, 24 hours a day on its DStv platform. MultiChoice also owns M-Net/ SuperSport which deliver premium thematic channels and exclusive content to the growing number of subscribers. MultiChoice’s newest company DStv Mobile, is currently investigating and trialing DVB-H technologies that will play a significant role in the transmission of the 2010 World Cup. MultiChoice’s involvement in South Africa goes beyond its core business. Through its corporate social investment, the company actively participates in social transformation and through technology, enables individuals and communities to help themselves ultimately leading to growth of the economy of the country.
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