AV Specialist Vol. 119 by Tim Jones

AV Cover 119.qxd

10/6/11

2:14 AM

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Game, set and match at Wimbledon TwoFour54 launch 3D lab

Creative graphics at Kenya’s Zuku TV

Exceptional sound quality at OFM South Africa Using video in education See us at

EVS at FIFA Women’s World Cup SABC SABC becomes becomes election election leader leader

Contents AV Specialist Volume 119

18 Game, set and match at Wimbledon with RTS/TELEX Wimbledon – the place at which the most sensational and dramatic chapters of tennis history have been written. Wimbledon symbolizes everything tennis has to offer: euphoria, drama, glamour and tradition.

270 Microtiles take the curves at Festival of Speed Production AV fielded the largest temporary Christie MicroTiles display ever at the recent Goodwood Festival of Speed — configured in a highly original design.

During July TwoFour54 launched the Middle East's first stereoscopic 3D lab offering dedicated facilities, equipment and support.

Last summer the Wananchi Group, East Africa’s first triple-play provider, established Wananchi Programming, a division dedicated to building a comprehensive channel line-up from original African and popular Western content, for its new Zuku pay-TV platform.

Editor Bev Kempster bev@avspecialist.tv Circulation Renate Mortimer renate@avspecialist.tv Designer Rajiv Gopalan rajiv@avspecialist.tv

Publisher & Managing Editor Kevan Jones kevan@avspecialist.tv Feature Editor Dick Hobbs dick@avspecialist.tv

SCPG captures the spirit of Kenya’s Zuku TV

Best of InfoComm 2011 With InfoComm launching a Middle East show during October I thought it would be worthwhile taking a look at some of the products that featured on the show floor during the recent InfoComm exhibition that took place in Orlando.

Publisher’s Note After Ramadan and the heat of the Dubai summer we’re

Advertising sales Africa, Middle East, UK Richie Ebrahim richie@avspecialist.tv

certainly hitting a hectic period over the coming months. First off, IBC in Amsterdam closely followed by the inaugural InfoComm

Europe Emmanuel Archambeaud earchambeaud@defcommunication.com

MEA show taking place in Dubai. I’ve been attending IBC for close on two decades and really

Represented in North America by: Broadcast Media International Michael Mitchell Tel: +1 631 673 3199 michael@avspecialist.tv Represented in the Middle East by: AV Specialist MENA FZ LLC PO Box 502314, Dubai United Arab Emirates Tel: +971 (0)4 391-4718 Fax: +971 (0)4 345-2898 Represented in South Africa by: Doddington Direct cc PO Box 3939, Honeydew, 2040, South Africa Tel: +27 (0)11 083-6418 Fax: +27 (0)86 525 3852 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 (July - December 2010) 4079

have to endorse it as the premiere show for the broadcast industry across the EMEA region. It’s an event that encompasses far more than a high-profile exhibition. With all the associated conferences, events, awards and networking opportunities the IBC Partnership have elevated their event to a must-attend festival that covers all aspects of content creation, management and distribution. At the beginning of October we also have InfoComm’s launch event in the Middle East. They’ve had a couple of missed opportunities over the last few years but for this event, they’ve teamed up with the powerful GITEX show and will be presenting a show that extends over 5 days. Last year’s GITEX show attracted well over 100 thousand visitors so this is going to be a different experience for exhibitors more accustomed to InfoComm’s traditional dealerdominated events. Here’s holding thumbs that the event runs smoothly and delivers value to those vendors who are participating. See you there.

1166019

Product

news Kramer introduce composite Video & Audio matrix switcher Grass Valley brings faster workflow to EDIUS 6

Kramer’s new VS-162AVM is a high performance matrix switcher for composite video and balanced stereo audio signals, with an exciting addition, a unique built-in 3.5” LCD monitor with headphone jack, appropriate for a wide range of applications. The VS-162AVM can perform glitch free switch during the vertical interval when an external reference signal is connected to the genlock input or if the unit is synced to an incoming video signal as a reference. The unit can be controlled locally, using the front panel buttons or remotely, via RS-232 or RS-485 serial commands transmitted by a touch screen system, PC, or other serial controller. The unit comes with a Windows control software and can also be controlled remotely via IR signals. The Take Button can execute multiple switches all at once. The unit can store up to 60 preset switches for easy and convenient operation. These setups can be recalled and executed when needed. The VS-162AVM is part of Kramer's expanding 16x16 matrix switchers' series that includes the VS-1616A (a 16x16 stereo balance audio switcher) and VS-162V (a 16x16 video matrix switcher). The current Kramer line of 16x16 matrix switches also includes products for component video, SDI and HD-SDI signals. Kramer products are distributed in South Africa by Electrosonic SA.

Grass Valley has announced the latest update to the popular nonlinear video editing software EDIUS 6. The update (version 6.03), distributed free of charge to registered version 6 users, brings new video file formats and hardware-assisted H.264 encoding, as well as support for Grass Valley’s EDIUS NX, SP and HD legacy hardware. This latest update supports both 50p & 60p file import (supported by JVC and Sony camcorders), allowing for a smoother workflow. For users of Intel’s Second Generation Core Processor, EDIUS has extended support for Quick Sync Video Hardware H.264 video encoding of MP4 files to complement the AVCHD acceleration introduced in EDIUS 6 version 6.02. Users will be able to enjoy faster than real-time encoding of videos for iPhone, Play Station Portable, as well as H.264/AVC videos up to 1920x1080p50/60. EDIUS 6.03 now also supports the legacy EDIUS NX, SP and HD editing platforms, in addition to the current STORM range of editing hardware.

LYNX Technik to introduce yellobrik HDMI to SDI converters

During IBC LYNX Technik is expanding its yellobrik series with the launch of HDMI to SDI converters. The new yellobriks convert HDMI video into broadcast quality SDI video, supporting SD, HD, and 3G-SDI. They also support 3D video formats. The CHD 1812 is a fully featured HDMI to SDI converter with two electrical SDI outputs as well as an optional fiber optic output. It

Egripment goes VR

incorporates an integrated frame synchronizer with full cross lock capability to any sync reference standard, which makes it an ideal solution for ingesting HDMI signals into a broadcast facility from an external asynchronous HDMI source. Audio in the HDMI signal is embedded into the SDI output and the two external analog audio inputs can be embedded into any AES channel. The analog audio inputs support professional balanced audio levels as well as consumer line levels. LYNX are represented in Southern Africa by Questek Broadcast.

During IBC Egripment’s main focus is on Virtual Reality and Full-camera studio automation. They are introducing a fully Encoded Package for several different 3

Egripment cranes, including their TDT System and their 305/306 Remote heads, as well as optional encoders for use on track dollies. The Encoding Package can be utilized in combination with VIZRT, Neuro TV, ORAD, Brainstorm and Ventuz. Additional vendors can be implemented easily. The package delivers high quality, precise and reliable crane operation in a much more affordable price range than other systems currently available in this market, while maintaining the same high standards that Egripment is known for throughout the world.

Product

news AJA FS2 dual channel Frame Synchronizer/Format converter

Datavideo's Handy Andy Prompter Datavideo's popular dv Prompter software is now available on the Google Android platform. Ready for immediate download from the app store, the Android version comes in the wake of the Apple iPhone version which is rated 4+ by its users. dv Prompter is a fully featured teleprompter application, with fast loading of scripts or cue sheets, a variety of font styles and a variety of playback settings. Used in conjunction with the Datavideo Smart Phone Prompter Kit, TP-100, dv Prompter software transforms into the perfect teleprompter for journalists, bloggers, education users or videographers. The kit incorporates a rigid camera hood and a special 60/40 glass to allow the presenter to read the script and the camera to see the subject. Included is 3m wired remote control, perfect for controlling the speed of prompting and jumping back or forward to different points in the script at will.

AJA Video Systems is now shipping FS2, its new universal frame synchronizer and format converter with two completely independent channels that support virtually any input or output. FS2 can be used as two separate frame synchronizers/ converters, or channels can be combined in a variety of ways, all within a single, compact 1RU form factor to support a wide range of workflows. FS2 builds on the success of AJA’s FS1 by adding dual channel features in a streamlined 1RU design at an unprecedented price point. Each FS2 video channel supports analog component or composite, 3G/HD/SD-SDI, Dual-Link and HDMI I/O, as well as Optical Fiber I/O options, and each channel has its own still-store, keyer, and video proc amp/color corrector. With support for all broadcast video formats in a single converter box, FS2 makes it easy to match up disparate video and audio systems and is ideally suited for broadcast facilities, production trucks and other multi-format production environments.

NewTek releases LightWave 10.1 with new stereoscopic features

EVS improves field editing with Xedio Edit-in-Place features

NewTek has announced Lightwave 10.1, the latest version of its Emmy Award-winning 3D modeling, animation, visual effects and rendering software. With powerful advanced modeling and animation tools designed to integrate into any production pipeline, LightWave 10.1 offers a new off-axis stereoscopic camera rig option, improved Viewport Preview Renderer (VPR), advanced import and export capabilities, including MDD and integrated Autodesk Geometry Cache support, a new Skin Shader node, and more. Artists count on the features of LightWave to deliver stunning results. LightWave 10.1 enhances creativity with new stereoscopic features that provide access to all major stereo camera rigs, and the ability to dynamically correct for toe-in distortion in the animation pipeline. Additional stereo enhancements include interactive OpenGL off-axis adjustment of the right and left camera planes, click-and-drag convergence point adjustment in the viewport, and the ability to disable the anaglyph representation of the stereo camera in OpenGL. Also in LightWave 10.1, interocular and convergence points can be dynamically animated over time to track stereo changes within a shot.

EVS has announced the release of Xedio suite 4.00 including the “edit-in-place” feature of its Xedio timeline editor. With a simple linkup between XedioCleanEdit laptop and external camcorders or drives, a field journalist or editor can start instantly true timeline editing operations without timeconsuming media import. This new solution has been successfully adopted by the Belgian news broadcaster RTL-TVi for their ENG editing operations using the new Sony SxS camcorder recording in XDCAM HD422. Presented in exclusivity at IBC2011 (9 to 14 September), the new Xedio 4.00 features loads of media handling improvements for newscasters including the new edit-in-place feature of its timeline editor, Xedio CleanEdit. The new solution is dedicated to field journalists and editors looking for faster and easier ways to manage real-timeline operations right after shooting. With the new Edit-in-Place” feature of Xedio CleanEdit, any devices such as camcorders, drives, or local storage can be linked up to the journalist laptop for immediate media reviewing and editing. 4

Welcome to the most exciting way to create television programming... Live! Introducing the world’s most advanced live production switcher! ATEM switchers include advanced technology and powerful features, all built into a familiar M/E design that’s fast and easy to use! With an advanced broadcast SDI based design, ATEM also includes HDMI connections for connecting HDMI consumer cameras or computers! The new ATEM has been totally redesigned with Blackmagic Design technology and quality. Live switching multiple cameras is the lowest cost and fastest video production possible! Live Creative Power Get the most creative solution for live switching, with cut, mix, wipe, dip, DVE, graphic wipe and stinger transitions! Load clips into the 2 built in media players for exciting custom animated stinger transitions! ATEM includes a built in DVE with 3D borders, light source and drop shadow! You can even use the DVE for transitions!

More Connections ATEM includes loads of SDI and HDMI connections for professional SDI cameras or HDMI consumer cameras! All inputs feature re-sync so you can plug in anything! You get 6 program outputs in SDI/HD-SDI, HDMI, HD component and USB 3.0, plus down converted SD-SDI and composite video. The multi view includes SDI and HDMI, plus you get 3 aux outputs. Built to Perform ATEM uses a familiar M/E style of operation so you get an instantly familiar workflow that’s fast and easy to use. ATEM includes a software based control panel for Mac and Windows! If you need a hardware control panel then simply add the ATEM 1 M/E Broadcast Panel for a true broadcast grade solution. ATEM even uses an FAA certified operating system for a high reliability broadcast grade design.

Incredible Features Only ATEM includes 4 upstream keyers, each with independent chroma, pattern, shaped and linear keying, 2 downstream keyers, graphic wipes, stinger transitions, 2 built in media players, DVE transitions and more! The built in multi view allows all cameras, preview and program to be viewed on a single SDI or HDMI monitor, so ATEM is perfect for portable location use! Now you can cover any live event, anywhere!

ATEM 1 M/E Production Switcher

Full 2 RU ATEM switcher chassis includes Mac and Windows control software.

ATEM 1 M/E Broadcast Panel Traditional M/E style broadcast quality hardware control panel.

2,495 US$4,995

US$

Learn more today at www.blackmagic-design.com/atem

NEW@IBC HS-600 SD Mobile Video Studio Datavideo’s HS-600 is a revolutionary mobile hand carry studio. The HS-600 is a low cost 8 input SD switcher. It is combined with a build in talkback system and a 17.3” TFT LCD monitor. The HS-600 has a light weight and compact design and is therefore easy to carry. This mobile video studio has all the features you need and is the perfect solution for on location work!

F EATU R ES -

Stand 7.D39

8 Channel SD switcher 6 Composite Video + 2 DVI-D 17.3” multi-image video monitor 8 inputs talkback system with tally feature Preview out: DVI-D for multi-viewer with clock and audio level indicator Main out: CVBS x 3 (recorder/program out/ streaming) Aux out: CVBS x 2 DV In / Out: 1394 x 2 (for DN-60/ video streaming)(optional) 2 PIP functions 2 logo displays Frame still store memory Luma key function for text overlay

Datavideo EMEA Office - Datavideo Technologies Europe BV Floridadreef 106, 3565 AM Utrecht - The Netherlands - Telephone: +31 (0)30 261 9656 - www.datavideo.info

Product

news Industry-leading workflow solutions At IBC 2011, Avid will demonstrate how it helps customers achieve whatever they imagine with open, industryleading workflow solutions that feature innovations in media asset management, storage, graphics, news production, video editing and audio technology. These solutions enable the world's leading professionals and media enterprises to make the most of their media through greater collaboration and productivity. A highlight of the show will demonstrate the newest developments in Avid's graphics solutions, providing broadcasters with brand-enhancing, cost-saving, powerful graphics workflows for stellar on-air graphics production. Also on display will be Avid's vision of their Integrated Media Enterprise solution that provides broadcasters, post production houses, content owners, and creators with the ease, flexibility, and reliability they need to maximize the value of their media assets.

Harmonic extends Spectrum Media server family Harmonic has announced significant additions to its industry-leading Omneon Spectrum media server product line. The new Omneon MediaDeck 7000, a fully integrated fourchannel media server system, offers high capacity, performance, and modularity in a convenient 1-RU form factor. In addition, the company is adding new I/O modules to its recently introduced Omneon MediaPort 7000 Series that supports MPEG-2 encode and simultaneous generation of H.264 proxies. Together, these new products give users even more choice and flexibility in server deployment, allowing them to tailor systems precisely to their needs. The MediaDeck 7000 system is the newest member of the Spectrum media server family, and it offers multiple-codec playback, up/down/crossconversion, HD/SD simulcast capabilities, and two-channel modularity. Supporting all members of the MediaPort 7000 family of I/O modules, the MediaDeck 7000 server is an economical but highly capable unit that is ideal for applications requiring two to four channels in an integrated 1-RU package.

Vislink launches new wireless camera

At IBC 2011 Vislink will feature its latest wireless camera and satcom technology as well as new products from Gigawave, which are now part of the Vislink brand. "Our product portfolio continues to lead the industry. The welcome

addition of Gigawave with its highly impressive stable of specialised RF equipment for OB, news gathering and security applications - as well as expertise in live streaming, satellite communications and motorsport - has further strengthened our ability to serve worldwide markets with the highest standards of technology, service and support," says Vislink International Managing Director Stephen Rudd. Vislink will demonstrate new Link Research digital pre-distortion (LDPD) wireless camera technology, flawlessly deployed for the first time to cover The 2011 Open Golf Championship in Sandwich, Kent, during often treacherous weather conditions.

Axon launch Synapse-based modular routing system Axon have proven that their outstanding growth in revenues last year was no flash in the pan as they continue to launch the most advanced broadcast glueware development programmes worldwide. At IBC, Axon will launch an advanced modular video routing system that is incredibly compact, lightweight and energy efficient. Desgnated SynCross, the unit is a Synapse based simple expandable video routing system capable of switching 3Gb/s, HD and SD SDI signals, as well as compressed domain signals such as ASI/DVB and

SSI/SMPTE-310. The SynCross routing system can populate the frames from 1 slot with 8 in- and outputs up to 5 slots for a 40x40 routing solution. It is easy to expand a SynCross system up to 40 in and outputs, both in electrical or fiber or a mix between optical and electrical. “In modern broadcast operations Glue is becoming an increasingly important consideration,” commented Peter Schut, chief technology officer at Axon. “As a company we lead the market in this area with over 20 years experience in the development of advanced glue products and system.”

See us at IBC2011 Booth #10.A21

AXON glue and beyond Logo Insertion Embedded Loudness Control Audio Linear Accoustic Legalization Processing

Keying and Mixing

Routing

HD/SD

Voice-over Functions

AFD ready

3Gb/s

Video Delay

Audio Description

Analog

Integrity Checking Powered by Linux

Multiview Low Latency

Dolby® E

Dolby® Digital TWINS

Teranex based Algorithms

Embedded Metadata

HE-AAC 5.1 + Dolby ® Metadata Dolby Digital Plus ®

16 Channel CWDM Up, Down, Cross and Standards Conversion

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

www.axon.tv

Committed.

Product

news Snell launches Centra Vite for Instant Router Control Blackmagic Design launch SmartView HD

At IBC2011 in Amsterdam, Snell will launch Centra Vite, a new router control and configuration tool that simplifies the setup of router installations and speeds them into operation. Centra Vite is provided free with all Snell Nucleus controlled routers. "At Snell, we offer the industry's most comprehensive range of routing switchers with solutions for operations of any size — from simple edit suites, to OB trucks, to large switching centers and playout installations. And now, with Centra Vite, our family of world-class routers is easier to install and configure than ever before," said Kirsty Aldridge, product manager for control and monitoring at Snell. "As a bonus, Centra Vite offers a straightforward upgrade path to Snell's powerful Centra system-wide control and monitoring system without compromising existing user interfaces and fundamental operation." Centra Vite provides a simple and intuitive way to define the basics of the router setup.

Another exciting new product due for launch at IBC by Blackmagic Design is the new SmartView HD rack monitor with a large 17 inch LCD screen, 3 Gb/s SDI video inputs and centralized network based control for only US$895. SmartView HD features a large 17 inch LCD screen in a compact 6 rack unit design that's less than an inch thick. It handles SD, HD and 3 Gb/s SDI video standards, and all screens can be remotely adjusted via your Ethernet network. You can install SmartView HD into equipment racks for local monitoring in post production, for multi-monitor video walls in master control rooms or for camera monitoring with production switchers! Because SmartView HD is affordable, and supports most SDI video standards from SD, HD and even 2K, it’s the perfect solution to install anywhere customers need more monitoring. It’s a really nice little monitor and it looks great once you add a few units wherever you need SDI monitoring.

Joined-up thinking from PAG

Atomos announce shipping date for Samurai

Atomos, the creator of the award-winning Ninja, is delighted to announce that the highly anticipated HDSDI Samurai 10-bit Apple ProRes field recorder, monitor and playback/playout device will begin shipping in September. Samurai is already the most complete and affordable HD SDI ProRes field recorder and will now ship with playout of fullresolution HD-SDI (1920 x

1080) decoded from the Samurai’s recorded media. With this new playout capability, the Samurai becomes the lowest cost, truly portable recorder that plays out Full HD from Apple ProRes files for uncompressed quality on any size of monitor. “We’ve actually delayed the release of the Samurai to include HD SDI playout,” said Jeromy Young, CEO of Atomos. “It was a much-requested feature and we felt it was worth the extra effort and development time to include this for the Samurai’s release. The addition of external power options and playout for only $100 more makes this a compelling choice.”

PAGlink is a onesystem power solution for all types of professional camera, designed to power the full range of equipment used by broadcast stations, hire facilities and production companies. PAGlink can be used to power HD DSLRs, handheld camcorders, broadcast cameras, HD high-end digital cinema and 3D camera set-ups. PAGlink is the only system that allows you to link multiples of batteries – two, three or more – on your camera. For example, three linked batteries weighing less than 2.2kg create a 9

single unit of nearly 20Ah (288 watt-hours), extending run time many times over and allowing up to 12A current to be drawn. The batteries incorporate heavy duty contacts which are engineered for high-drain applications. PAG Sales Director Nigel Gardiner says “Television stations were telling us that they needed more power for their cameras. By linking the batteries we could keep the individual capacities below 100 watt-hours for unrestricted shipping to any location. We set out to create a system that would enable more batteries to be linked, and make more power available from smarter, smaller and lighter units. We believe that we have achieved a superior linking battery system that can be used to power every type of camera used in the industry”.

www.fujinon.eu

Taking a fresh look at HD

The Fujinon ZA series ZA22x7.6 ZA17x7.6 ZA12x4.5

Please visit us in Amsterdam IBC 2011, Booth 11-C20 September 9–13, 2011

The transition to HD requires substantial investments. Be wise and chose Fujinon’s attractively priced ZA series HD lenses – the smart solution. Thanks to the reduced (by one) zoom factor. The ZA series offer full HD quality and the same user-friendly controls as incorporated with the renowned HA series. Fujinon. To see more is to know more.

Alhurra’s Al Youm returns to Cairo streets for Eid Alhurra’s primetime magazine program Al Youm celebrated Eid live from Cairo’s Tivoli Dome. Thousands of Egyptians were present during the live show co-hosted by Al Youm anchors Engy Anwar and Amr Khalil. The broadcast featured a performance by Egyptian singer Ramy Sabry who sung his hit song Kelma.

n addition to the live Sept. broadcast, Al Youm builds on the success of “Tell Us Your Story” campaign, where Egyptian viewers are invited to come out and record a twominute interview about their life. The most compelling narratives were selected and their story featured on the program and Al Youm’s Facebook page. Amr Khalil expressed his excitement to meet with his viewers again in Tivoli Dome. “It is even more special because we’re celebrating Eid. It was also a great opportunity to listen to new stories and offer the very best to our viewers.” Engy Anwar remarked, “I was really looking forward to meeting with Al Youm’s audience for the second time. Having the show outside the studio always brings a whole new energy to the program.”

In June, Al Youm launched the “Tell Me Your Story” campaign from Cairo’s Tivoli Dome where the Al Youm co-hosts met with thousands of fans and listened to their stories. One of the stories that appeared on Al Youm was that of Ahmed Kamel, a university student who overcame a serious drug addiction and is now a therapist helping others overcome addiction. Select interviews done at the booth will also appear on Al Youm’s Facebook page.

Located in Dubai’s Media City, Al Youm is anchored by Engy Anwar, joined by Mona Wehbi in Beirut, Amr Khalil in Cairo and Eman Haddad in Jerusalem, along with live news updates from Alhurra’s headquarters outside of Washington, D.C.

Make Your Plans Come True

Visit us at IBC 2011

Booth 8.B90

More channels. More power. Greater possibilities.

Sports Production

With its flexible 8-channel SD/HD and 6-channel 3D/1080p configurations, EVS’ new generation of XT servers combines ultimate speed with power to create unlimited possibilities for tomorrow’s live productions. Designed with the latest broadcast and IT technology, XT3 guarantees maximum motion control and flexibility.

Designed to Perform

www.evs.tv

Broadcast and proAV Training Schedule Over the coming months SACIA and MECIA are presenting a number of industry training programmes designed to keep you up to date with the trends and technologies shaping the future of the broadcast and professional AV industry.

GEN111 Essentials of AV Technology 21 - 23 November: Dubai 29 Nov - 1 Dec: Johannesburg This 3-day course provides in-depth explanations of the science and technology for basic audio, visual and audiovisual systems integration. A brief overview of the sales, rental/hire, design and installation functions is included in the course content. This course builds the studentâ&#x20AC;&#x2122;s understanding of the fundamentals used on a daily basis in the audiovisual industry. It is also great prep for the students wanting to earn the InfoComm-recognised AV Technologist certificate.

GEN112 CTS Prep 5 - 7 December: Johannesburg 12 - 14 December: Dubai This 3-day course is designed to help prepare candidates as they prepare for InfoCommâ&#x20AC;&#x2122;s Certified Technology Specialist (CTS) credential. This credential is accredited by ANSI under the International Standard ISO/IEC 17024 General Requirements for Bodies Operating Certification Schemes of Persons program. This popular course provides a forum for people to explore a wide range of topics relevant to the AV industry, and work collaboratively, studying the exam content areas with the help of facilitators.

BMT111 Broadcast and Media Technology - Understanding your Industry 30 - 31 October: Dubai 14 - 15 November: Johannesburg This 2-day course aims to familiarise delegates with broadcast and media technology, the associated jargon and the role that technology plays in the business in which they operate. It is designed for staff in broadcasters, their technology suppliers, post-production, facilities and related businesses where their work requires an appreciation of the technology as opposed to an in-depth understanding of it. Typical delegates will include administrative and managerial staff in marketing, sales, support, purchasing, commercial, human resource and similar functions. It is structured to have broad appeal and to be interesting and engaging as opposed to being technically demanding.

InfoComm classes are presented under license from InfoComm International. IABM classes are presented in association with the International Association of Broadcast Manufacturers. For more information visit www.sacia.org.za or www.mecia.org

TwoFour54 Intaj launches MENA region’s first stereoscopic 3D Lab During July twofour54 intaj launched the Middle East and North Africa (MENA) region’s first Stereoscopic 3D lab, making it the only facility of its kind in the Middle East to offer dedicated facilities, equipment and expert support across the third dimension.

ayne Borg, Deputy CEO and Chief Operating Officer at twofour54 said: “The new 3D lab is an exciting addition to twofour54 intaj’s existing facilities. The introduction of this facility will help support the opportunities that Stereoscopic 3D is opening up to content producers across a wide range of media and entertainment platforms. “It is clear that 3D has had a massive impact on the entertainment industry recently – four of the top grossing US films in 2010 were filmed in 3D; however, there are significant other media business opportunities that our new 3D lab can support, such as advertising, computergenerated imagery (CGI), animation, corporate videos, events and even industrial and medical applications. Launching this type of facility is another example of how twofour54 actively responds to market demands from across the region for facilities and expertise that meet international standards,” he concluded.

Hub for 3D activities The new lab has been designed to become a hub for all stereoscopic 3D activities in the region; providing end-toend production solutions in stereoscopic 3D – from cameras, rigs, specialist AVID edit suites, Baselight colour grading – through to finished productions and a specialised Research & Development Centre. In addition to the state-of-the-art facilities and services, the new lab will provide a range of training solutions in conjunction with media training academy twofour54 tadreeb. The programmes on offer have been designed to comprehensively train both students and production professionals in the latest 3D techniques using the very latest in hightech equipment and will be delivered by twofour54 tadreeb’s highly trained instructors. Hasan Sayed Hasan, Head of twofour54 intaj said: “In developing our new 3D lab, we selected a core set of hardware and software that are considered to be the industry standard

tools for Stereoscopic 3D production. We also ensured that the facilities brought in provide flexibility to the 3D content producer; for example, the Element Technica Quasar rig was used exclusively for the 3D telecasts of the 2010 FIFA World Cup, and can be utilised with a wide range of cameras and in different configurations. The editing and finishing tools from AVID, Filmlight, and the 3D Plug-ins offer also a wide range of tools for various types of productions.” The new lab will include an R & D Centre that will work with selected projects testing Beta versions of editing systems– supported by 3D Lab’s cutting-edge technology & software/hardware. This combination of technology and expertise will help break new ground in 3D and bring stereoscopic 3D best practices to the Region. The Centre will offer Stereo QC (quality control) to 3D film productions, Broadcast 3DTV programmes and advice to 3D hardware and software manufacturers.

footage will soon become highly sought after and increasingly valuable. 3D Lab will also provide simple and direct access to 3D footage. In addition to technology, the new lab will provide a range of training solutions in conjunction with twofour54 tadreeb and is aimed at students looking to specialise in 3D, professional looking to expand their skills and other companies seeking to understand business opportunities.

3D production chain

Hasan Sayed Hasan, Head of twofour54 intaj said: “In developing our new 3D lab, we selected a core set of hardware and software that are considered to be the industry standard tools for Stereoscopic 3D production."

twofour54 intaj will be the only hub in MENA offering a range of S3D equipment and services spanning the whole production chain. With the expansion of S3D globally, library 13

Fibre leads AV integrators to single enclosure solutions Too many signals, too much hardware, and distance limitations drive need for single enclosure HDCP-compliant solutions out to HDMI/DVI over fiber optic cable

experience signal degradation over long distances. With cable runs 50-75’ or longer for larger spaces, this can be a real issue. “In a commercial environment, we still use both, but we tend to use fiber more than copper or CAT5,” says Sousa. “When we do defense installations, we almost exclusively use fiber optic cabling because it solves other issues as well related to classified/unclassified transmissions.”

V integrators face a daunting challenge when installing complex, high definition, multimedia systems involving multiple displays and distances over 15 feet: incorporating and often converting a myriad of signal input options to high definition formats over fiber optic cable and doing so with a relatively “clean” installation that minimizes potential points of failure. Although this sounds simple enough, the reality is quite the opposite. With so many possible signal formats including HDMI, DVI, HD-SDI, Svideo, Composite video and RGB, converting, processing and transmitting all the required inputs to HDMI or DVI over fiber optics requires a cluster of off-theshelf extenders, converters, switches and cabling.

The Light Bridge product offerings from BCI include a variety of pre-designed enclosures with multiple signal input options out to a single multi-mode fiber.

Complex integration challenge

Standard solutions

Further complicating matters, high definition electronics such as Blu-Ray players, satellite and cable HDTV set-topboxes, and computers come with deeply embedded HDCP Digital Content Protection and EDID display resolution synchronization issues that must be addressed in the connections and cabling that – if not done properly – can render content unplayable. Throw in that most commercial installations also require audio, USB, IR, and Ethernet connections for computer/laptop connections, and RS-232 for touch panel control systems, and AV integrators are often forced to cobble together a potpourri of off-the-shelf products together in a configuration that would make Rube Goldberg proud. “Any of the individual components will work fine if you’re connecting Point A to Point B,” says Brad Sousa, Regional Vice President at AVI Systems, one of the largest audiovisual systems integrators in North America. “The real challenge is when you start building more complex systems. The more source devices there are that need to be connected to a variety of displays over distance, the more messy, unorganized, and failure-prone the installation.”

Signal degrades

This is leading Sousa, and other top AV integrators, to seek out solutions they can standardize on that can accommodate the variety of analog and digital video, audio and computer inputs on the market while using a minimal number of enclosures. Such a solution is

According to Sousa, most CAT5 extenders for HDMI/DVI often amplify the signal instead of regenerating it as is the case with fiber optics. The longer the CAT5 cable and the more connections between source and display, the more the signal degrades. “With fiber optics, by the very nature of converting from an electric signal to optical and back again, you get a really, really nice signal at the end,” explains Sousa. After extensive research into available product offerings, Sousa discovered Broadata Communications Inc (BCI), a U.S.-based manufacturer of direct pluggable, mini enclosures and wall plates (including the first to offer Decora style) that can accept any signal input out to HDMI/DVI over a single multi-mode fiber. “BCI’s products allow us to mix and match just about any combination of video, audio and data formats to high definition,” says Sousa. “So these products become a bit of a Swiss-Army Knife for an integrator that is trying to retrofit or upgrade a system from an analog system to a new digitalbased transport.”

Reduced costs

not only more efficient, but reduces costs while cleaning up the install. The ability to move to fiber optics is the second part of the equation. Today, companies such as AVI Systems are moving more to fiber optics over copper or CAT5 cabling. The reason: for distances over 15 feet, copper is not recommended and CAT5 can 14

While most off-the-shelf products in this market space are manufactured in Asia, BCI’s ability to design and manufacture high end, even custom, solutions for its customers at its U.S. facility differentiates it from the rest of the off-the-shelf fiber extender product market. What also appealed to Sousa is that BCI’s Light Bridge Technology – essentially proprietary embedded software – handles the analog to digital signal conversion without the need for a separate converter box. This reduces costs, since converter

boxes are common components in such systems, and eliminates several potential points of failure.

HDCP interoperability The products also address critical HDCP interoperability issues that can occur when an install becomes increasingly complex. HDCP is a method of copy protection designed to prevent the interception of digital data while it is being transported from the source to the display. It uses authentication and a method of key exchange to keep the connection secure. Sousa explains, however, that HDCP was initially designed to work in a one source, one display type consumer environment. In today’s media or presentation rooms, you might find ten or more computing devices, 2-3 cable boxes, and even multiple Blu-Ray players connected to a variety of projectors, flat panels and touch screens. As the required transmitters, receivers and switches are daisy-chained together, HDCP interoperability and timing issues can cause conflicts that can render the media unplayable. “The value of BCI’s product is it enables us to address the HDCP and other data protocol issues despite the number of connected source or displays,” says Sousa. According to Sousa, AVI Systems has standardized on

BCI designs and manufacturers application-specific, single box solutions accommodating almost any imaginable combination of signal inputs for integrators.

off-the-shelf BCI’s units for many of its projects. At one of the U.S. government’s leading National Laboratories, for instance, the unit worked so well that it has become the standard across hundreds of offices as it rolls out collaboration systems utilizing high resolution graphics in tandem with real-time video conferencing. “We were able to build a repeatable process that speeds up difficult installations, and this has had a significant impact on our bottom line,” said Sousa.

Single-pipe solution Another firm advocate of this approach is Kosuke Kisara, a

communications engineer who is CTO of PSI Inc., a company that has been heavily involved in introducing fiber optics and multi-media transmission systems into the Japanese market over the past 15 years. PSI has been using a customized digital video converter/transmitter for HDSDI, HDMI and DVI to ease cable TV customer’s transition from analog to digital, for security surveillance systems, digital signage, hospital operating room HD video systems, and to integrate video, audio and data communication over one pipe. “We’ve sold 70 fiber optics systems using DVI converters to this hospital,” said Kosuke. “Another customer purchased 30 HDMI fiber optics systems for huge video displays in train stations and department stores.” As in the case of AVI Systems, these systems were enabled via boxes designed by Broadata to eliminate multiple boxes and simplify what would otherwise have been a very challenging installation. “BCI has been accommodating whenever we have required specific modifications or custom requirements,” said Kosuke. “The units are competitively priced, the company is using its own patented technology and manufacturing it at its own facility. They have been responsive to our needs on quality and standards.”

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See us in

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

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Sony and Rotana produce first 3D Arabic music video A landmark joint venture between the Rotana Audio Visual Group and Sony Gulf has provided Arabic audiences with the first 3D experience featuring a music video clip on Najwa Karam in her song ‘Ma Fi Nom’.

he 3D music clip marks the beginning of the era of 3D production in the region. The hitech feat was pulled off with the assistance of three professional teams from the US and the UK. Additionally, the Lebanese W&P Production group undertook extensive research on 3D techniques to familiarize the Middle East crew with the breakthrough technology, including the sophisticated equipment and digital cameras that were used for the shoot. Popular Lebanese singer Najwa Karam was chosen to feature in the clip for her distinct Arabic flavour with a contemporary twist that fits well with modern 3D technology. Her unique signature style is reflected throughout the video and enhanced with 3D technology. Filmed by director Walid

Nassif, the song ‘Ma Fi Nom’ and particularly its drum beat present a novel music style, which accompanied by her sonorous voice provide the most compatible rendering to translate into a

3D platform. The three-day shoot took place in Northern Lebanon at Nahr Ibrahim, in the Kesserwan area of Basateen Al Ossi, Jeita Grotto and the studio in Mansourieh, and has been one of the biggest production budgets in the Middle East. Clyde De Souza, a senior stereographic consultant in the region, provided 3D stereography consultation for the music video. The 3D version will premiere at the ABC Achrafieh theatre in Lebanon. The video clip will later be played in over 600 Sony outlet stores throughout the Arab world. The clip was also shot in 2D to enable Rotana TV viewers to watch it on their regular TV sets. The video additionally features a solo by Abdelmalek Al Baljani from Morocco, a contestant from the Arab Got Talent reality show.

“With Canon’s 3D solution, it’s easier to set up and to get the best quality pictures. Only Canon gives me simple adjustability through the drive unit display, and let’s me create a matched pair from any two of the same lens models.” John Perry, 3D Engineer, CanCommunicate

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Game, set and match at Wimbledon with RTS/TELEX Wimbledon – the place at which the most sensational and dramatic chapters of tennis history have been written. Wimbledon symbolizes everything tennis has to offer: euphoria, drama, glamour and tradition.

or every year since 1876, the All England Lawn Tennis and Croquet Club has hosted the tournament at the end of June and the beginning of July, gaining the keen interest of sports fans around the world. It's a competition with a highly individual flavour, not simply because all the matches are played on grass but also because of the strictness with which its many traditions are respected. This year's event, which ran from 20 June to 3 July, drew TV audiences worldwide in the hundred millions.

25 million viewers The men's single final produced some exciting television as Novak Djokovic defeated Rafael Nadal to become the Wimbledon champion for 2011. An estimated 25 million viewers worldwide watched the final alone. As in previous years, NEP Visions was commissioned to cover the event. Paul Fournier, Visions' Head of Sound, and a team equipped with five outside broadcast trucks and a complete fly-away system were on hand to supply their clients – the American sports channel ESPN and broadcasting giant NBC as well as Sony Television 3D – with flawless images, sound and the first ever host coverage of Wimbledon in 3D.

needs of the Wimbledon production. "Even though you can never be content with compromise on any production, Wimbledon is especially exacting. Everyone involved – not just the players, but the broadcasters,

An exacting broadcast A key role in all this was played by four Advanced Digital Audio Matrices (ADAMs) from RTS. In ESPN’s fly-away broadcast system and for NBC, respectively, 136-user and 96-user ADAM frames were used. To satisfy Sony's 3D requirements and form an intercom system unit, Paul Fournier and his team networked the ADAM frames in the two Gemini trucks with Tribus cards. In addition, the MADI streams were routed over the MADI-16+ cards. A variety of RTS/TELEX keypanels (KP32, KP12) and three RVON-16 cards, which allow external communication over IP, satisfied the remaining equipment 18

technicians and service personnel – are stretched to their utmost. The production this year ran flawlessly from the opening service game onwards. Our clients are satisfied – and so, naturally, are we."

Electro-Voice delivers Line Array to East Africa Live Gigs Co-Operative AV Ltd. Kenya takes delivery of the first Electro-Voice line array in East Africa, supplied by Audio Visual Engineering Ltd.

lectro-Voice has delivered the first Electro-Voice mid-sized line array loudspeaker system to its African concert sound partner Live Gigs Co-Operative AV Ltd. in Kenya. The system was first demonstrated during the Kenya Music Week in December last year by Audio Visual Engineering Ltd. (AVE) as a part of the Kenya Music Week’s live stage performance system. Live Gigs CoOperative AV Ltd. new system consists of twelve XLC 127 DVX, two Dx46 processors, and six CP4000S amps. Easy rigging and easy setup were two of the reasons for the system acquisition, the other being the Electro-Voice Dx46. This IP-based DSP enables the user to control the complete system from front of house using wireless network protocols. Complete system control and

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racks were supplied with Electro-Voice power and audio distribution panels. “Electro-Voice systems have a great reputation worldwide,” explains Tom Awando from Live Gigs CoOperative AV Ltd. “We were in the market looking for a high quality midsized line array, and found the EV XLC’s size-to-power ratio tough to beat.” Another major reason for the purchase was that Electro-Voice has a strong source for local support in Kenya: Audio Visual Engineering (AVE). “This high level of local support and partnership was key to our decision, both in terms of technical and after-sales support”, adds Live Gigs’ Mohammed Shafiq. “Live Gigs is extremely satisfied with the sound system’s performance thus far”, commented Tony Sawyer, MEA Technical Support Manager.

Very pleased with Electro-Voice Line Array (from left to right): Mohammed Shafiq (Live Gigs Co-Operative AV Ltd. Kenya), Tony Sawyer (MEA Technical Support Manager), Tom Awando (Live Gigs Co-Operative AV Ltd. Kenya), Omar Abdalla Sheikh (AVE Kenya), and Robert Hesse (Vice President Sales Communication EMEA of Bosch Security Systems and Managing Director of EVI Audio GmbH)

supervision via IRIS-Net software and its easy-to-use GUI was an added feature. The amplifier and touring

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orking for Twofour Digital, the Gloucesterbased AV specialists commandeered no fewer than 270 Tiles, configured in a giant concave 30 x 9 display to help car manufacturer Audi showcase its entire range. Production AV were brought in by Central Presentations Ltd, to whom they had earlier demonstrated MicroTiles. The latter, in turn, introduced Twofour Digital and Audi to the unique technology when they were looking for a jaw-dropping media display that would wow visitors to their touring pavilion at Goodwood. “When they saw MicroTiles they decided to fill the whole of one wall with a curved display, giving them a 12m x 2.7m screen,” said Production AV project manager, Sam McCrea. Set on a 1m high plinth the display was the largest temporary MicroTiles installation yet seen in Europe. The screen showed footage created by the Twofour Digital team showcasing the best of Audi on a 30minute loop. Video coverage included a range of Audi racing cars heading up the famous 1.16 mile hill climb, including an Auto Union Type D, Audi R8 LMS and the Audi R18 TDI sports prototype that raced in this year’s Le Mans 24 hours.

On-demand video content Twofour also provided ondemand video content for the Audi team to use on their social networking sites.To construct such a large display with its precision curvature had required careful prep time — and a lot of resourcefulness, as Production AV set out in search of the requisite number of tiles to complement their own inventory. “We set it up in the warehouse with a 6mm wedge between the back of each tile to get the curvature; but they coupled easily, and when we switched on the display the impact was immediate,” stated McCrea. The content was fed from a Pandoras Box media player as well as five MacBook Pro’s running

PlaybackPro, via an eight-output Christie Spyder X20 processor. “We used six outputs of Spyder for the MicroTiles walls, splitting the display into six separate sub arrays — with three 10 x 5 as the top row and three 10 x 4 arrays on the bottom,” explained the Production AV project manager. “That enabled us to work in full 1920 HD resolution for each array. The whole display ran flawlessly throughout and the client was delighted.” The regular stream of visitors were also able to see the lightweight, aluminium, five cylinder 408PS quattro Concept, R8 GT Spyder, A1 and RS 3

Sportback, while there was a viewing platform of the track. Paul Middleton from Twofour Digital confirmed: “Once they had seen all the amazing Audi footage on the 12m screen visitors could not help but be wowed.” And Hugh Fletcher, National Digital Manager for Audi UK, stated: “We are always looking for new and innovative ways to showcase our cars and to improve our visitors’ experience at the Goodwood Festival of Speed. “The screen not only added to the atmosphere inside the Audi pavilion, but also brought our fantastic brand and product range to life.”

Jünger Audio helps OFM deliver exception clarity South African commercial radio station OFM entertains its audience with a mixture of adult contemporary music, news, weather, traffic and other relevant information

audio. It seemed to me that this might be the right option for us because I could use it to just correct the phone levels.”

roadcasting 24 hours a day from its studios in Bloemfontein in the Free State Province, OFM is a lifestyle radio station that likes to connect with its audience through plenty of telephone interaction. As phone-in programs are such an important part of its remit, OFM wanted to ensure that these reflected the same high audio standards as the rest of its programming. But there was a problem – the audio levels on phone-ins were not always regular and that, says OFM’s technical manager Jan Van Der Walt, was something worth investigating.

Technical challenge “One of our biggest technical challenges was the poor quality of the telephone conversations we were broadcasting,” he explains. “As almost all of our content is live, this became quite a problem. It was particularly noticeable when callers were using cell phones and were in areas of poor signal, but we also had problems with some fixed line calls where the position of the caller’s phone could influence the level of the incoming audio. The result was that the energy level of the telephone audio was often lower than the standard audio we were broadcasting. This meant that the phone calls sound much softer, which in turn made it difficult for audiences to hear, especially if they were driving and were trying to hear the radio above the ambient noise around them.”

Huge radio footprint Given OFM’s location in one of the most scarcely populated parts of the country, and given its huge footprint – geographically it broadcasts to the Free State, most of the Northwest province, parts of the Northern Cape and the Sothern parts of Gauteng – it was imperative for the radio station to sort out its audio level problem. “Many of the people who listen to us often drive huge distance, in excess of 800km,” Jan Van Der Walt

Satisfied customer

says. “Obviously it can become very annoying if you can’t hear the telephone contributions.”

Automated solution In search of a solution, Van Der Walt visited South Africa’s Media Tech show and came across Jünger Audio’s products via its South African distributor Tru-Fi Electronics. Van Der Walt was particularly struck by the stand-alone 2-channel D06 LEVEL MAGIC™ processor, which offers both analogue and digital inputs and outputs. This automated Level and Loudness control device relies on an adaptive level control algorithm that is designed to adjust the level from any source at any time, with no pumping, breathing or distortion. It works by simultaneously combining an AGC, a Transient Processor for fast changes and a “look ahead” Peak Limiter for continuous unattended control of any programme material, regardless of its original source. “What I wanted was an audio processor that would just fix the levels that were wrong, rather than changing the entire program,” he explains. “Personally, I am always scared of ‘over processing’ because I believe that the challenge of great audio is to let it sound as close as possible to the natural origin of the sound. What I liked about the Jünger Audio D06 unit was its ability to work only with level and not process the 21

Tru-Fi arranged for OFM to demo a unit for a couple of weeks and as time was an issue it installed a twochannel D06, even though OFM thought it might need a larger 4channel unit. Van Der Walt says: “My original plan was to buy the bigger 4channel unit and put the phone line through one channel, the news sound contributions via PC through a second channel and use the remaining two channels for play-out of the entire programme. However, because the D06 only has two channels we decided to wire it to the AES in and outputs and put the final programme through it. The results were way beyond anything I expected. In fact they were so great that I refused to allow Tru-Fi to take the unit out – I just bought the demo! We use an Axia live wire system, so it doesn’t matter where the unit is physically installed, but in my case it lives in my main control room and all of our main programme output goes through the D06 before it is fed to the processor and the STL.”

OFM's happy listeners Installing a Jünger Audio D06 has solved FM’s level problems with telephone calls and resulted in much happier listeners because they can now clearly hear all of the programme content, regardless of where they are listening – or where phone-in participants are calling from. “The best thing about the D06 unit is how easy it is to use, but I also like the fact that it is transparent and does nothing to the audio except fix the level,” Van Der Walt adds. “We are really happy with it and it is working very well for us. There couldn’t be a better name for this product than LEVEL MAGIC because the Jünger Audio D06 really does do magic with the levels that used to be a big problem all over our shows.”

SCPG captures the spirit of Kenya’s Zuku TV Last summer the Wananchi Group, East Africa’s first triple-play provider, established Wananchi Programming, a division dedicated to building a comprehensive channel line-up from original African and popular Western content, for its new Zuku pay-TV platform. One of the first tasks for the group was to appoint an agency that could provide all the creative elements for the new platform including consultancy, branding, animation, promotion and training.

he Zuku TV offering, carried on Wananchi Group’s triple-play cable network, delivers a variety of entertainment, sports and movie channels under the Zuku Afrika, Zuku Movies, Zuku Sports and Zuku Life brands to homes in Nairobi and Mombasa. Following a competitive pitching process from agencies across the world the project was awarded to SCPG, Israel’s largest full-service creative agency, based in Tel Aviv. Industry veteran Bruce Steinberg, Head Content Consultant for Zuku TV, explains, “We were looking for an experienced agency that could get to the heart of East African culture and mix that with a western flavour. A lot of the content on the platform is from the US and UK, particularly for the Zuku Movie and Zuku Life channels. However, Kenya has a very proud cultural background and it was extremely important that this was reflected in the design.”

Brand and identity The biggest challenge for SCPG was to create a brand and identity that reflects modern life in East Africa. To achieve this, a small focus group of Wananchi people was selected to provide opinions on fashion, television, advertising and culture. The main aim for a project like this is to bring the diversity of the channels and programme line-up together with a brand that encapsulates the spirit and ideals of its audience. It was also very important that the community knew that they had the highest-quality television at an affordable price.

create on-air identities that would resonate with modern, middle class African audiences. SCPG responded with distinctive and beautiful work that immediately established the freshness

Understand the target audience The focus group enabled SCPG to understand the target audience and create branding for the platform that felt familiar yet fresh. Hannelie Bekker, MD, Wananchi Programming adds, “The challenge we put to SCPG was to design imaging that evokes a sense of African identity without resorting to the clichéd visual language of animals and sunsets to

and quality of our fledgling channels. The on-air imaging sets the tone for each of the channels and creates a gorgeous wrapping for the programming line-ups." Armed with a wide range of lifestyle references based on Kenyan culture, SCPG returned to Israel to start creating the look and feel of the platform. David Biran, Chief Creative Director, SCPG explains, “We started the design process with the Zuku Movies channel, which was actually the easiest element because it has a very western influence. The local channels were much more challenging. For the main element of the design across the platform we took African colours and shapes and put them in a clean structure with light frames, building in elements based on the tone of each channel.”

An air of individuality The challenge we put to SCPG was to design imaging that evokes a sense of African identity without resorting to the clichéd visual language of animals and sunsets to create on-air identities that would resonate with modern, middle class African audiences," says Hannelie Bekker, MD, Wananchi Programming.

The branding had to flow throughout the design whilst maintaining an air of individuality to reflect the theme of the channel. Nitzan Danon SCPG’s CoFounder and Director adds, “Zuku Sports, for example, is much rougher, faster and stronger than Zuku Africa or Zuku Movies, which represent the various genres of programmes and films that they show. It’s

like a tree: every channel starts with a similar structure but each branch is different. Each channel has different content resources, management and a different marketing approach.” He adds, “The team developed numerous designs because there were a lot of features and directions that we wanted to explore before sending to the client. We built in a repetitive element on each of the designs but we showed the client various options depending on the channel. There were approximately ten to 14 directions on each because we’d carried out a lot of research and we wanted to be very accurate.

Design variation A further example of the design variation is the promo content between the shows. Biran says, “At the beginning of the project we decided the background for the promos would be black; it’s very dramatic and cinematic and it’s also very TV-orientated. When we got to Zuku Africa, which is the most colourful design, we decided to change the background colour to white to draw on those strong colours. It uses the same common language, fonts, animation and approach as the other channels but when you see the promos they really stand out, making

Zuku Africa look like the proudest guy in town. This was really important as it’s aimed at a young crowd that feel very proud and we wanted to reflect that.”

Global workflow Although the project has its roots in East Africa it has had development contributions from all over the world and is transmitted from Dublin, Ireland highlighting a fully global workflow. SCPG acted as consultants throughout the project. As well as supplying a design bible, the agency also went back to Kenya

recently to train the new team at Zuku, explaining the design process: how to make and read a brief; the different stages involved in making promos; what to look for in a promo for a film or a TV series; and many other elements. Steinberg concludes, “We are delighted with the results and are very pleased to have selected SCPG who fully understood not only the creative vision but also the vision of the East African people. They delivered a brand for Zuku TV that encapsulates the spirit of its audience.”

EVS deploys live solutions at FIFA Women’s World Cup 2011 Host broadcast organization HBS collaborated with EVS to supply equipment to enhance live production coverage at the Women’s World Cup in Germany. Match productions involving multiple Outside Broadcast (OB) facilities as well as broadcast companies relied on EVS solutions for all live replays, highlights and graphic analysis throughout the event.

rom 26 June – 17 July the FIFA Women’s World Cup 2011 in Germany marked a milestone in competitive women’s football with first rate television coverage in terms of production and distribution. This was a major step in women’s football competition to be on par with men’s tournaments when it comes to broadcasting. The event’s host broadcaster HBS required EVS technology for all live replays and live editing operations of matches managed by multiple OB facilities involving German Top Vision, Studio Berlin and TVN. Games were played in nine different stadiums throughout Germany (Augsburg, Bochum, Frankfurt, Monchengladbach, Wolfsburg, Berlin, Dresden, Leverkusen, Sinsheim) and were covered by 16 HD cameras for regular matches and up to 18 HD cameras for top matches. Each camera angle was recorded on five XT series servers (six channels each) controlled by 5 LSM remotes connected through a high bandwidth media sharing network

allowing live operation teams to control any instant shot for slo-mo replays, prepared advanced highlights packages and closers.

All systems were managed by IPDirector, EVS’ production content management system, which allows reviewing and smooth handling of all recorded media and key sequences. The system was used to exchange files transparently via Avid and Apple FCP editing suite for advanced montage.

operators to draw a line in under 5 seconds showing the offside positions of players. All live program feeds were gathered at the IBCC (Broadcast Coordination Centre) based in Frankfurt mainly dedicated to unilateral broadcast operations. Following the successful operation of last year’s World Cup media exchange platform entirely based on EVS systems, various broadcasters covering this year’s Women World Cup opted for smaller scale workflow based on EVS servers and content management system offering similar capabilities.

Live graphics analysis

Live editing tools

Initially introduced by HBS in Johannesburg last summer, the Epsio live graphic analysis system has been added to the live OB setup for the replay of litigious actions involving offside positions of players. Integrated to the XT system and controlled by the LSM remote controller, Epsio manages an autodetection of the playing field with autographic overlay creation, allowing

At ARD-ZDF, live incoming feeds were recorded on two EVS XT series servers allowing the production team to create extra highlights and polished edits using EVS live editing tools or Avid suite. Since all media is recorded natively as Avid DNxHD codec based on EVS’ new web-service API, the media exchange between EVS and Avid editing suite was managed without wasting time or quality-

Handle recorded media

impacting encoding/decoding process. â&#x20AC;&#x153;HBS and EVS have been working closely together for over 10 years providing the sports broadcasting market with technological solutions that answer the most demanding requirements during live event operations,â&#x20AC;? said Pierre Lâ&#x20AC;&#x2122;Hoest, CEO of EVS. â&#x20AC;&#x153;This strong collaboration between a world class host broadcast event specialist and a leader in live sports broadcast technology has led to a crossfertilization of live event productions offering even better content creation at a faster pace and increased efficiency.â&#x20AC;?

Unprecedented enthusiasm, packed stadiums, top-quality football and a brand new champion: The FIFA Women's World Cup 2011 in Germany took the feminine side of the worldâ&#x20AC;&#x2122;s most popular sport to a whole new level and will remain forever in the memory. For many, Japan's penalty shoot-out victory over USA in the Final was a fitting conclusion to the tournament, especially in light of the catastrophic earthquake and tsunami which devastated the country earlier in the year. The Nadeshiko, inspired by star player Homare Sawa , combined slick passing with technical finesse to prove that women's football has truly arrived in every corner of the globe.

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SABC becomes elections leader with Chyron graphics The South African Broadcasting Corporation (SABC), a public service and commercial broadcasting organization located in Johannesburg, is committed to “broadcasting for total citizen empowerment.”

he broadcaster’s delivery of municipal elections coverage in May 2011 demonstrated this commitment, offering citizens the latest live election results, presented and illustrated with exciting 3D graphics created by Chyron Creative Services and powered by Chyron HyperX3 and LEX on-air graphics systems. Because the electoral system in South Africa is very complex, SABC took advantage of project management from Chyron from the very beginning. Initially, the two companies worked together to organize the editorial content that would be included in the election results broadcasts, the type of graphics this content would require, and how data from the SABC’s custom designed election results system could be pulled into those graphics.

Chyron creative service The SABC’s editorial team with the help of Chyron Creative Services created a flow chart for each graphic, and the Chyron and SABC design staff followed through to establish the overall look of the graphics while making sure SABC’s editorial requirements would be met. With these details determined, the Chyron and SABC teams started work on the programming that would make all those plans happen. The graphics package created for SABC’s coverage of South African elections included bar charts, pie charts, comparison charts for candidates, geographical areas of South Africa, and voter turnout, all of which combined to make it easy for viewers to understand the significance of incoming data. In all, the package contained 26 graphics, along with extra coding for particularly unique or complex graphics with many moving parts. From start to finish, the creation of these graphics by the joint SABC and Chyron teams was completed in just weeks. The professional design of these election graphics set the SABC broadcast apart from competing coverage, and the power of Chyron’s HyperX3 and LEX systems was

essential to smooth playout of these rich and visually striking 3D graphics. Because SABC already had invested in Chyron systems and had worked with the company for its 2009 elections coverage, operators were already familiar with the features and functionality of the graphics platforms themselves.

Crawl and ticker Throughout its election broadcast, SABC also used a crawl and ticker to present information. The crawl drew from a variety of data sources, and the ticker relied on election center data selected through Coach, a software program that made it easy for users to select the type of election results to display within Chyron graphics. Chyron and SABC programmers worked with Coach developers ahead of time to ensure that elections data could be translated into the graphics from the Creative Services team. Starting weeks before the election, the Creative Services team in Johannesburg worked with SABC to check and test graphics as the full package was delivered. SABC and Chyron staff in South Africa also held a series of Coach training 27

sessions for SABC staff as the actual broadcasts approached. When it became time for the election results broadcasts, which ran from May 18 to 21, both Chyron and SABC staff moved to an outside broadcasting site at the national elections center — a temporary set with cameras, control room, and a remote production (OB) truck — in Pretoria. An easy-to-use interface to the Chyron systems allowed the team at SABC to order up a particular graphic and display it appropriately. Staff from Chyron remained on hand throughout to provide technical support as needed, in conjunction with the SABC’s election results system team. SABC’s coverage of South Africa’s 2011 municipal elections proved to be a success. The broadcaster’s on-screen product set a new standard in graphics quality for such events, and the project itself, run jointly by SABC and Chyron, demonstrated how end-to-end project management, graphics design, programming and integration with thirdparty systems and data suppliers, software training, and robust on-air graphics systems can help to simplify even the most complex large-scale live news productions.

Reaching farther than ever with the new generation of Arabsat satellites The youngest satellite fleet in the region continues to grow. This year, our new state-of-the-art Arabsat-5C satellite will bring even more capacity and in-orbit redundancy to the Middle East, the whole African continent, Europe and the Indian subcontinent. This means even more choices, more flexibility including Ka-band spot beams, and more capacity for communications, broadcast, telephone, broadband, VSAT and interactive services. Tune in to the future, today. www.arabsat.com

Check Your Tyre Pressure Properly inflated tyres last longer and can also make your vehicle up to 3% more fuel efficient. When tyres heat up the pressure alters, so check them at least once a month when they are cold. Single-wide tires can improve gas mileage by 4-8% because they are lightweight and have lower resistance on the highway. They also have lower repair costs and require less maintenance.

Drive Slowly and Smoothly Drive smoothly because fuel consumption is increased through rapid acceleration, hard braking, stopping and starting and changing gear too frequently. Speed also has an impact - driving 55 miles per hour instead of 65 miles per hour can save up to 20% of fuel usage, according to the U.S. Environmental Protection Agency (EPA).

Ten Tips that optimize fuel economy on your OB fleet

Don’t Be Conned By Your Air Con Air conditioning, in-cab heaters, demisters and rear window heaters all use up fuel, so only use them when you really need them. According to the AA, using both front and rear demisters can increase your vehicle’s fuel

As fuel prices around the world hit a record high, every driver is looking for ways to squeeze as many miles as possible from every precious gallon or litre. If you are a broadcaster with a fleet of Outside Broadcast vehicles, how do you stop fuel overheads from rocketing and eating in to your hard earned profits?

ecognising that fuel is not a discretionary purchase, systems integrator Broadcast Networks has come up with a list of Ten Top Tips that will to help broadcasters keep their fuel bills to a minimum. “Reducing fuel consumption is better for the environment and better for broadcasters’ profit margins,” says Managing Director Tom Haye. “In recessionary times it pays to think about how you can cut fuel costs – and it’s surprising how following our simple tips will really help keep fuel overheads down.”

smaller OB vehicle. Broadcast Networks has just launched a very small, fuel efficient OB that is built inside a Land Rover Discovery. These nippy vehicles, kitted out with the latest high tech equipment, are the future of OB for many broadcasters and are well worth investigating for the long term.

Tighten Up Your Fuel Cap All fuel, but especially the high octane ones, will vaporize when exposed to heat. Reduce evaporation by fully tightening the fuel cap (to the second click) every time you fill up.

Service Your OB Trucks Pick The Right OB Vehicle For the Job The larger the truck, the more fuel it needs so where possible use a

Regular services will ensure your truck is running efficiently, using less fuel and producing fewer emissions.

“Reducing fuel consumption is better for the environment and better for broadcasters’ profit margins,” says Managing Director Tom Haye. “In recessionary times it pays to think about how you can cut fuel costs – and it’s surprising how following our simple tips will really help keep fuel overheads down.”

consumption by as much as 6%, so use elbow grease, a cloth and de-icer to clear frost and condensation. Using air conditioning at low speeds is less economical than opening a window, but on the motorway air conditioning is more cost effective because open windows cause drag, which can have a greater impact on fuel consumption.

Watch Your Weight Every extra 100 pounds carried reduces fuel economy by roughly 2%. Therefore avoid carrying equipment you don’t need. Try to compact the entire production system into one vehicle so you don’t need for a tender truck and only have to drive one vehicle to an event rather than two.

Don’t Be a Drag Keeping windows closed when driving at speed will reduce resistance and save fuel. A properly designed OB vehicle will be sufficiently aerodynamic to reduce drag to a minimum so it is worth investing in the best coach build you can afford.

Broadcast Networks has just launched a very small, fuel efficient OB that is built inside a Land Rover Discovery. These nippy vehicles, kitted out with the latest high tech equipment, are the future of OB for many broadcasters and are well worth investigating for the long term.

should also avoid hilly terrain and if you do get caught in a queue, turn off the engine because a typical 420hp heavyduty truck engine consumes fuel at the rate of around two litres an hour when left idling and stationary.

Plan Your Route Use a sat-nav with real-time traffic alerts to plan your route and avoid unnecessary traffic jams. Big trucks

Be Smart When You Buy While the petrol price is regulated in Southern Africa, diesel prices vary

from filling station to filling station so shop around and make sure you’re buying at the best price. Premium fuels give smoother running, better performance and a better return on your mileage. Driving with a full tank increases vehicle weight so, unless you are on a motorway where fuel prices are much higher, apply the little and often rule when it comes to filling up.

YOU WANT MORE? For more information on any of the products featured in this issue simply scroll your mouse over the page and click on the product image for an instant link to the manufacturer›s website. Additional rich media content is available from many articles. For a more engaging read, visit the library on the AV Specialist website at www.avspecialist.tv AV Specialist’s digital edition can be read across multiple platforms, including iPads, iPhones and Androids.

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Al Jazeera Sports joins MENOS to access ASBU Exchange network Global broadcaster Aljazeera Sports Channels will use award-winning technology from satellite communication specialist Newtec and the Arab States Broadcasting Union to receive its multimedia content

l Jazeera has invested in several Multimedia Exchange Network over Satellite (MENOSTM) TV interactive terminals from leading satellite communication company Newtec. The technology will be used to receive TV and data from key sporting events. The award-winning MENOS network is a revolutionary all-IP solution for exchanging multimedia content over satellite and is operated by the Arab States Broadcasting Union (ASBU). It enables fully automated, cost-effective sharing of video and radio content among scattered sites. The ASBU MENOS network is jointly operated with Arabsat utilising their satellite capacity. Slaheddine Maaoui, ASBU Director General, said: “For the first time Al Jazeera will be benefitting from the ASBU-MENOS network we successfully operate. We are pleased

to continue our ongoing cooperation with Al-Jazeera in this vital project for the Arab region. We are constantly looking at ways to improve technology and services. Thanks to the MENOS network there is now a professional broadcast exchange network ensuring a high quality service to our members,

as well as other broadcasters in the region.” The TV Satellite Interactive Terminals (SIT) will be provisioned in the ASBU network, utilising Arabsat satellite capacity. In addition to installing the terminals, Newtec will also be training Al Jazeera staff and providing professional service training. Serge Van Herck, CEO of Newtec said: “MENOS is a revolutionary networking concept. It has been designed to provide not only the fastest and most cost-effective technology for exchanging media content, but also a complete range of tools to facilitate related coordination tasks and people collaboration across the network.” Newtec installed its MENOS multimedia concept at the Arab States Broadcasting Union facility in Algiers in 2008.

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Crossing the Serengeti with the Studio fluid head Robert Primes ASC, a senior lecturer in cinematography at AFI, Dan Kneece, SOC, president of the Society of Camera Operators, and young cinematographer Yousef Linjawi worked together on a documentary about the Serengeti, which translates to “endless plain” in the Maasai language.

he equipment included the Studio 9+9 fluid head from Sachtler. Primes explained, the team’s goal in Tanzania was to “capture the beauty of another culture, one that includes the emotions of mothers, fathers and children, the drama of survival and the joy of living without the sometimes questionable complexity of the human condition.” The team put together a versatile camera package supplied by Clairmont Camera, Fujinon, Weisscam, Canon, Panavision and others, that included the Sony PMW-350 with a Fujinon’s 25:1 zoom and image stabilizer, and the Weisscam HS-2 high speed camera with the giant Panavision 135-420mm T2.8 lens. “We chose the Sachtler Studio 9+9 heads for both cameras because of its incredible versatility and range. The Sachtler 9+9

(35mm equivalent), it was exactly what we needed. The heads are so versatile they can perfectly balance almost anything. We also carried some marvelously sturdy yet lightweight Sachtler carbon fiber legs, even though the bulk of our work would be done off the camera cars.“

Studio heads might be thought of as overkill for a documentary,” Primes admits. “However, with the heavy Weisscam sporting a 70 pound lens, and the EX-350 sporting a 2500mm lens

Marshall Electronics presents V-MD185 MD series rack mount monitor 1366 x 768 LED-backlit panel with wide viewing angles Flexible"future proof" solution Swap and interchange modular inputs at any time Choose from a variety of inputs including 3G-SDI and Fiber Multi-format Compatibility False Color Filter Thin mechanical design

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4K digital imaging advances While stereo 3D continues to make headlines with new kit appearing on almost a daily basis, the research and development of 4K technologies appears to be on an equally fast track. 4K represents another leap toward higher resolution digital imaging and denotes four times the amount of picture information than 2K which is itself twice the resolution of HD. The filmmaker’s, if not yet the consumer’s, appetite for higher fidelity images is driving the industry toward 4K tools. That’s not withstanding the fact that the human eye would find it difficult to take in all detail at resolutions beyond 4K.

K is not particularly new since it is widely acknowledged that Dalsa invented the first professional system a few years ago. Expensive to hire and arguably ahead of its time, Dalsa cancelled development of the Origin in 2009. Now 4K is on the agenda of all the major camera manufacturers who have plans for product based on unique compression systems. However, it pays to take the hyperbole associated with digital imaging with a pinch of salt. Some vendors are claiming to have innovated technologies capable of resolutions as high as 8K, others that they can produce twin 4K images for stereo recording while others already have 4K or 5K cameras which are being used

in earnest by A list directors.Measuring the quality of digital imaging systems is to large extent subjective and dependent on the skill of the cinematographer to bring out the best in the technology. Manufacturers have struggled to attain the qualities in exposure, dynamic range and overall ‘look’ of 35mm film, which is nominally supposed to equate to a digital pixel count of 2K. Certainly the promotion of a camera’s ability based purely on a sensor’s horizontal pixel count can be misleading. Virtually all of the 4K systems in development are based on bayer pattern sensors, which inevitably leads to some reduction in resolution during the debayering process. Moreover the ergonomics of the camera’s bodywork, its ability to work with prime lenses (many of which are 34

rated at 8K or more of light coming through the glass) and the elegance of handling the large volume of data onset and into post are all considerations for the cinematographer. A 4K picture is, in most people’s opinion, a far richer, more nuanced and detailed experience than 2K, yet the business case is far from transparent. The bandwidth required to transmit it to homes is light years away, there is only one cinema projection system capable of supporting the format and the sheer volume of data would buckle the budgets if not the equipment within post production facilities. “Studios don’t want projects delivered in 4K,” explains Leandro Marini, founder of LA digital intermediate specialist Local Hero Post. “We should be moving to 4K as an industry – it is the future of film - but most of the infrastructure is solidly 2K and it’s not that easy to switch into 4K.”The chief bottleneck lies in the rendering of VFX images at 4K which requires more disc space, more time and more expense. Ironically it is much easier to perform a 4K finish on a romantic comedy than on a VFX heavy film. Part of the answer lies in building out support for 4K recording, storage and post production tools to permit a 4K workflow from acquisition to master. Some of this is being delivered with tools including high capacity solid state media, monitors and 4K capable capture cards coming to market.

Wider dynamic range Manufacturers argue that recording 4K is not just about delivering in 4K today but about capturing content at a higher resolution with benefits in dynamic range, colorimetry and latitude to 2K or HD images derived from it. In that sense it is similar to the approach broadcasters took when capturing at HD for an SD-only deliverable. Perhaps the most advanced format for next-generation TV broadcasting is the NHK-backed Super Hi-Vision which posts an 8K resolution (7680 x 4320 pixels), sixteen times higher than full HD but this has a tentative first satellite broadcast deadline of 2020. We will doubtless see further advances in 4K technologies at IBC2011 because, despite question marks over the business model today, it will likely become more prevelant, perhaps even the defacto standard given time, as new tools and accessories facilitate smoother and cheaper production.

New LED technology available from LEDVision Full-service daylight screen rental company LEDVision is the first South African LED rental company to stock the recently launched DuoLED product from Lighthouse. The company now stocks 250 panels of the brand-new DuoLED 18 screen.

s its name suggests , this screen has a dual function and can be used either as a semitransparent screen or as a conventional LED screen depending on the position of shuttering behind which can be adjusted at the flick of a switch. It is a the perfect "lightweight LED mesh" solution, an increasingly common requirement on international technical riders. The modular panel screen has an 18mm pixel pitch and works on a simple clip-together system, needing a mere fraction of the time, transport and manpower required to assemble a conventional screen. Each 576mm x 576mm panel weighs in at a fly-weight 8.3kg, (around a third of the weight per square meter of traditional LED Screen products) and has a depth of less than 150mm; yet boasts a formidable 5000 nits brightness for daylight viewing, accurate reproduction of 281 trillion colours and IP65 ingress protection rating. It is also the ideal screen type for creative usage as a set element, for lighting effects and on exhibition stands, with a 120deg viewing angle both horizontally and vertically. The

product is outdoor rated IP65 front and back, making it a resilient option for the variable South African climate. "The processing is fantastic," says LEDVision's Operations Manager, Allen Evans " everything is completely software controlled, with an excellent user interface. Also, the AC input eliminates the need for power boxes and data boxes making for a very neat look." The LEDVision team are currently preparing the new screen for use on the James Blunt tour.

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Using video in Education Today’s students communicate with iPhones, iPads, and BlackBerrys. Integrators need to find new ways to move technology into classrooms and distance learning rooms.

he current generation publishes on the web, demands instant feedback, and lives in the world where they are free to be creative, innovative and autonomous. They are not dependent on time or place. Take away their communicators and you take away their ability for instantaneous communications. The use of video in education offers a world of opportunities beyond the virtual field trip. Students are growing up in a digital age and are seeking innovative ways to learn and collaborate with others. They constantly multi-task, mixing a variety of media to serve their needs at a moment’s notice.

Traditional classroom setting No longer do they wish to only rely on the talking heads of teacher’s in a traditional classroom setting. Educators should be encouraging students to work together wherever and whenever they wish. This is called collaboration and it begins in the classroom. Building a consistent front end will allow schools,

colleges and universities to teach from a consistent platform. The “back end”, or engine, may change with each new innovation.

Creativity and innovation Consistency in the classroom will allow for the creativity, innovation and autonomy today’s students seek. The objective is to understand that a consistent high-tech classroom can remain and grow. Tracking cameras for instructors, student camera and touch-totalk microphones for remote students, video whiteboards, high definition document cameras, and fully integrated computers will drive the content and make it easier to communicate. Given that new technologies and delivery systems will be introduced every year, why change the front end every time a new “engine” is developed? Add videoconferencing, streaming, video-ondemand, Skype, and cloud computing, but do not change everything just because students demand an addition to their communication inventory. In this 36

article, learn about the video paradigm shift, how the distribution of content is changing the way information is accessed, and how to make the best use of video technologies to engage students at school or wherever they might be located, and at any time, day or night.

The Education Marketplace Today It is important to be aware that video today is not the video of the 90s. Early adopters of the technology grew up believing that one must pay attention on a video call, “see the whites of their eyes and watch them sweat”. The digital generation doesn’t view video the same way. Rather, video is another tool in an arsenal of tools used to exchange information. Students are constantly multi-tasking with their media tools, often using several tools at the same time. Video is a tool added to that mix and when it is important to view someone’s reaction, or see visual content, they will pay attention to the video message. Video must be easy to use with zero learning curve, accessible on a variety of

Stanford Graduate School of Business

Objectives: To provide flexibility in the capture and use of video for instruction. The Knight Management Center, the new home for the Stanford Graduate School of Business, opened its doors April 29, 2011. The Knight Management Center is composed of eight buildings platforms, and video calls must be able to be made on the fly, whether or not it is a one-on-one video call or a multipoint video call. Because video today is available on a variety of platforms (think computer, personal hand-held device, television, appliance), can be accessed from many locations, is more flexible to set up, and easier to use, there are more widespread classroom opportunities, as well as having video available at home and at other locations outside the classroom for students and educators to access video as needed. Unfortunately, organizations have not kept up with the rapid pace of change. Traditional videoconferencing environments focus on conference rooms or classrooms where the videoconferencing codec (brain of the system that codes and decodes the video signal) is viewed as the heart of the technology. Conference rooms and training rooms are still being built from a traditional audio visual and/or IT perspective. There is a rapid shift away from traditional rooms to podcasts, streaming rich media, and video on demand. AV and IT personnel need to be ready for this change and start paying attention to what 6th grade students are now using to communicate. The days of “Star Trek Communications” are now here! Students are going to attend schools where technology is up-to-date and allows them the constant communications they use on a daily basis. Educational institutions who do not provide the tools, technology, and applications for their students risk becoming public housing. Video

“designed to meet diverse current instructional and technological demands, as well as future needs.”A new video infrastructure for distance learning, class capture and videoconferencing was installed in the new building. Fifteen classrooms have the ability to control cameras remotely. The facility is using Tandberg codecs, video capture provided by Digital Rapids, and Vaddio HD18 cameras. Bryan McCann, Instructional Technology Manager at Stanford Graduate School of Business stated, “This infrastructure, including tools like the Vaddio cameras, will allow us to connect more effectively with the world outside the walls of the GSB, bringing in alumni and exploring the potential for distance learning and other modes of video based instruction.

power, memory size, local storage, etc.). The drudgery of keeping up with the latest software through purchases and downloads will be minimized. The responsibility of policing phishing, viruses, piracy, etc. will be shifted to the “cloud” service provider. Compatibility and legacy of applications will become a service provider issue.

What Changes? What Stays The Same? Technology continues to change at a fast pace and it is important to understand which aspects of video technology can be reused and which

communications need to be portable, easy to use, on-demand, wireless when necessary, and allow people to attend classes from anywhere at any time.

Communication Options Integrating technology into the teaching and learning environment is changing how students learn. Video is more than talking heads. The technology now allows information to be accessed when needed, recorded for future reference, and streamed to many sites to view at the same time. Quality learning takes place when students connect with information and can internalize it in a way that alters or enriches their thinking. Classrooms today are any locations where the convergence of instruction and learning can take place. These new classrooms include online sessions, collaborative sessions, and other virtual experiences, in addition to traditional teaching sessions. Students may also be working from home using computers, hand-held devices, and their home TVs to participate in video calls. Regardless of the setting, students and teachers expect to have access to resources that support the learning process. Today applications reside on PCs and most technology has some form of a computer built into it. It is time to abandon the proprietary black box and hardware and purchase tools that can be reused as technology changes. Additionally, cloud computing technology is evolving where applications, as well as data, text, audio, video, etc. reside in the “cloud” reducing the processing and storage burden on local devices, (e.g. CPU computing 37

aspects need to be upgraded as technology changes. Purchase devices that can be reused as the black box changes or are software based and only require an upgrade. These devices can be divided into two components: front end and back end. Build a consistent and easy-to-use front end.

Auto tracking camera Deploy auto tracking cameras for instructors, student cameras, and microphones. Embed the video whiteboards, place document cameras where needed and provide simple and easy use control systems. What changes is the fact that the entire room doesn’t have to change when the engine changes.

Teacher microphone Front End Components include microphones, cameras, displays, control systems, instructor and student microphones. At least one microphone is needed to be heard by the distant site. Many of the microphones are already built into the equipment being used. However, when many people are in the same room, the number of microphones selected will be determined by the number of people needing to be heard and the size of the room. Placement of

(rear or front projection), and electronic writing surfaces. Speakers are also required for audio reception. Many systems use multiple displays to show images of people and graphics at the same time.

selected they can remain the same, and sites will only have to worry about the changes in the back end equipment (i.e. processors, carriers, storage and streaming).

Touch panel

microphones and type varies (i.e. handheld, lapel, and table top). Quality audio is just as important as quality video, so do not skimp on microphones and their placement.

Video systems have some type of controller to operate the equipment. The controller can be a touch-screen panel or a hand-held device. The control of the system can also be remotely done or transparent to the participants. While all technology changes over time, video front end components tend to offer

Videoconference education Codecs

Video systems include at least one camera and, again, quality is an important factor to ensure clear images. There are a variety of camera options in videoconferencing including document

stability and need less updating. Creating a strategy to standardize on a viable audio and video front end helps minimize constant changes. Select high quality microphones and cameras to ensure calls can be heard and people and data can be clearly seen. A versatile control system is also recommended with easy to use interfaces so users can participate in their calls with simple menu picks. Once the proper front end devices are cameras, presenter cameras, cameras that track the speaker, and multiple cameras to cover multiple angles in a room. Cameras are now appearing in many portable and hand-held devices (i.e. telephones, hand-held devices, flipcams, etc.)

University of Minnesota

Objectives: Automatically record classes for an executive MBA program.

Education display The images need to be viewed on a display which could be a monitor, screen

Back End Components include Processors (codecs & bridges), network providers, storage, and streaming. A codec (coder/decoder) is the heart of a videoconferencing system. It is a computer that handles the compression and decompression of the video and audio signal. Codec processing has rapidly changed in a short period of time, much as computers have changed. The codec is the device in the videoconferencing system that is most likely to need upgrading on a regular basis. It is recommended that facilities be designed to be codec agnostic so that any codec will work with the system. A bridge is used to connect multiple sites together during audio, web and video calls. Bridging technology can be built into the video equipment, resident as a

The Carlson School of Management at the University of Minnesota had a need to record classes for an executive MBA program without the involvement of a technical staff or an operator in the room. They selected the 38

Vaddio TrackVIEW camera system to follow professors around the room and use the Vaddio MicVIEW and ControlVIEW to capture student questions. Vikki Anderson, Classroom Technology Coordinator stated, â&#x20AC;&#x153;The technology is seamless. It has made everything so easy.â&#x20AC;? In addition to class capture, the technology is used to live stream seminars 4-5 times a semester for the schools MIS Research Center. This is done without the need to be there to set up equipment and lay down cables. Everything is now automated and all five rooms can be easily managed online. The University of Minnesota would next like to add Vaddios Squiggle Video Whiteboard to allow students to see what is happening on the white boards during the lecture capture.

stand-alone device, or part of the network.

technical support. Educators can now

use of video in education.

Network pipe The “pipe” that carries the video from one point to another is delivered by a network provider, which today could be a cable company, a telephone company,

or an independent provider of networking services. Video quality depends on the bandwidth quality and the delay or latency of the call. Calls going over multiple networks may cause more delay, and thus, poorer video quality. The variety of network types has changed over the years and continues to change as carriers develop and deploy new network offerings.

Storage Many organizations now record and save their video conferences to allow review of the material at a later date or retrieval of the information by those unable to participate real-time. Instructors

share their courseware with students scattered in a variety of locations. The students can access the information realtime or on demand. Remember, a video is only as good as its weakest link. This means if you spend a lot of money equipping a chancellor’s office and less money in outlying classrooms, the call will only be as good as the outlying classroom. This adage is especially true for audio. If someone dials into a video call on a cell phone and they happen to be in a car driving on a noisy highway, that noise will be heard by all. Be sure to select the same quality of equipment to be deployed at all sites to ensure consistency. This also applies to camera images. Don’t assume you can improve the quality of video images recorded on an expensive camera. A number of schools are already aware of the value in keeping the front end consistent and are sharing their most recent applications for

Summary The paradigm is changing. Classrooms and training rooms are becoming an important part of the decision process for CIOs and IT departments. Building a consistent and easy-to-use front end will allow students and educators to benefit from changes in technology, with only the back end components needing change. Distance learning, streaming, recording, distribution via web links are all readily available technologies. The engines will change and grow, but the consistency of the front end classroom will remain the single most important piece of the solution. Carefully selecting, quality front end products will allow organizations to cost effectively reap the benefits of video communications for many years without the need to constantly change all aspects of technology as the engines change.

Idaho State University

may also wish to make their lectures available as a podcast or have the information archived internally. This affords instructors and students the ability to receive information when it is most needed and save it to review again at a later date. The goal is for flexibility in accessing information whenever it is needed.

Streaming Streaming video solutions combine high-end video and audio with synchronized slides and interactivity to produce compelling messages to educate and inform. Streaming solutions have been designed as self-service offerings, eliminating the need for

Objectives: Reduce dependence on the need for system operators. Idaho State University has 25 video classrooms in which 300 – 350 hours of distance learning classes are held each week between four major locations. Many of the distance learning rooms are booked from 7:30 a.m. – 10:00 p.m. each day. The school has 20 + years experience with distance learning and desires to reduce the 39

overall dependence on system operators to manage the facilities. Over the past several years, Idaho State University has implemented ProductionVIEW, ControlVIEW, MicVIEW, StepVIEW and IRVIEW products from Vaddio to help automate the distance learning classes. “Installing Vaddio equipment has allowed Idaho State University to reduce the number of system operators, which gives the university more money for other projects,” stated Jim Dalley, Distance Learning Video Network Manager. He further explained that because of student schedules finding good operators is often difficult and once they are trained the school doesn’t get enough time to use the students’ expertise, since they graduate so quickly. As a result, Idaho State University plans to make more rooms fully automatic to ease the burden of trying to find operators.

Grass Valley delivers flawless-motion from World Ski Championship In February, German broadcaster ZDF provided the host broadcast facilities for the 2011 World Ski Championships in Garmisch-Partenkirchen. Immediately before the event, it added a new Grass Valley LDK 8300 Live Super SloMo camera paired with a K2 Dyno Replay System. ZDF also bought two new Grass Valley LDK 8000 Elite wireless cameras systems to add to its outside broadcast inventory.

he Grass Valley LDK 8300 Live Super SloMo camera produces full resolution HD images at 1X, 2X, or 3X normal frame rates. A server captures this high-speed output and replays it at standard frame rates, slowing the action by up to three times, smoothly and without compromising image quality. The LDK 8300 also has a standard frame rate output so it can be used as one of the main standard-speed cameras, saving the cost of an additional operator and taking up no additional space.

Dockable camera The dockable concept of the LDK 8000 Elite HD camera means that the wireless adapter directly replaces the triax or fibre adapter, ensuring that the camera keeps its perfect balanced ergonomics for shoulder operation and that the look and feel is identical to a cabled version. This is particularly important when the operator needs to get into the action, getting close-up reaction shots from ski racers as they skid to a stop at the bottom of the course. The common front end of the wireless LDK 8000 Elite, cabled LDK 8000 Elite, and Super SloMo LDK 8300 cameras means that their pictures match perfectly, ensuring that the director can intercut between any sources on a busy live broadcast without disconcerting jumps in image quality. As part of its K2 Dyno Replay System, ZDF selected the Grass Valley K2 Summit media server to be used with the K2 Dyno Replay Controller which provides an intuitive way for operators to identify and cue clips to be replayed, and to control the speed of playback for maximum impact on screen.

Replay capability The K2 Dyno Replay System can provide replay capability for one or two 3X Super SloMo cameras, but can also be configured for use with up to six standard-speed cameras or three pairs of 3D camera rigs. This powerful versatility

is made possible by the unique ChannelFlex capability of Grass Valley K2 Summit and K2 Solo servers. ChannelFlex allows a single server channel to handle multiple HD video streams simultaneously.

Powerful and cost-effective “The K2 Dyno and K2 Summit combination is a relatively new concept from Grass Valley that ZDF was tracking with interest,” said Dirk Bubley, Grass Valley Key Account manager for ZDF. “It forms a powerful and very cost-effective combination with the LDK 8300 Super SloMo camera. The combined K2 Dyno Replay System performed flawlessly at Garmisch-Partenkirchen. Everyone was delighted with the quality of the coverage.”

Camera showplace “Skiing is a great showplace for specialty camera systems, with the 40

potential for fantastic slow-motion replays to illustrate the forces on the skier’s legs and the flexing of the skis themselves,” said Jeff Rosica, Executive Vice President of Grass Valley. “The Grass Valley LDK 8300 is the world standard in super slomo cameras. We are delighted to support ZDF's high-end sport production needs. By bundling the LDK 8300 with the K2 Dyno Replay Controller and K2 Summit media server, we are able to make live super slow-motion very affordable.”

ISE inks new five-year contract with RAI

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New agreement will see systems integration tradeshow remain in the Netherlands until at least 2016

ntegrated Systems Events has signed a new five-year contract with Amsterdam RAI for the hosting of the Integrated Systems Europe exhibition. The contract will run from 2012 until 2016, inclusive. “Our previous contract with the RAI was due to expire next year, but we have decided to renew early in order to provide a clear business path for our exhibitors, to facilitate our forward planning as organisers, and to enable the RAI itself to plan for the future growth of ISE,” comments Mike Blackman, Managing Director, Integrated Systems Events. Aside from its inaugural year in Geneva (2004) and a single iteration in Brussels (2006), every ISE show has been held in Amsterdam, and Blackman says the city has no obvious rival for an event such as Integrated Systems Europe. “More than 600 million people live and work within a direct threehour flight of Schiphol airport, and these areas represent some of the most developed and sophisticated economies in the world, as well as some of the most dynamic in terms of recent and future growth. “Beyond the hard numbers, the city of Amsterdam is a welcoming, relaxed and culturally diverse city in which it is easy for people of almost any background to come and do business. “These factors combine together to provide the backdrop for a truly

international tradeshow at which every link in our industry’s value chain is represented by companies from dozens of different countries.” Accompanying Blackman at the signing ceremony in Amsterdam was Hans Bakker, president and CEO of Amsterdam RAI. “The city of Amsterdam is renowned for its creativity, innovation and passion for trade, values that apply equally to Integrated Systems Europe and Amsterdam RAI. This connection serves as the ideal foundation for a successful partnership in the years ahead. We very much look forward to welcoming ISE to the RAI for the next five years!” Blackman also notes that as ISE has grown down the years, the RAI itself has also evolved and continues to develop as a venue. “Since we first held an ISE show here in 2005, the RAI has continued with an ambitious programme of new building and refurbishment. This has given us new exhibit space and conference rooms in the shape of the Elicium building, enhanced organisers’ facilities at the Europa entrance and the ‘RAI Live!’ digital signage system with is such a big hit with our industry – to name just three developments. “Our new long-term commitment to Amsterdam is matched by the RAI’s own expansion plans, and we believe that the best years of our relationship are still to come.” 41

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Robe used to light first 'Sport Awards Gauteng' show A brand new sporting awards event - the Sport Awards Gauteng 2011 - was staged at Emperor's Palace in Kempton Park, Johannesburg, South Africa - an initiative by the local Gauteng government to reward and acknowledge those in the province who excel at various sports. It was broadcast live on the Supersport 4 satellite TV channel.

ighting designer Nicholas Michaletos' rig contained 80 Robe moving lights, which were the core of the lighting, supplied by locally based MGG productions - plus a large generic rig - all of which was programmed and run by MGG's Kevin Rieck using a grandMA console. The lighting design was based around a set and production design by Wayne Sproule of Pendragon Dezign. He gave Michaletos a very clear idea of what he wanted in terms of lighting aesthetics, and the result was a slick and smooth fusion of classical theatrical and televisual styles.

Translucent framework The set provided a translucent framework to the space that needed to be lit so it would change colour and style to match the content being displayed on the video centrepiece - the back of the set consisted of a large LED screen. The set took texturing and colouration extremely well, and this plus the clear brief from Sproule, made lighting the show "relatively straightforward" to a seasoned professional like Michaletos.

20 Robe CitySkape 48 LED floods, 20 x LEDForce 7s, 14 Robe ColorSpot 700E ATs and 12 ColorWash 700E ATs. These were arranged on four overhead LX bars in the theatre's roof, with some on the floor.

Translucent framework He had used Robes only once before, on a show at the Opera House in Bloemfontein. This was a while back, so he was extremely pleased to get his hands on the latest Robe technology for this show. The rig included the amazing new ROBIN 600 LEDWashes - MGG was the first rental company in South Africa to take delivery of these. Their range of real whites at different colour temperatures is extremely useful for television environments, together with the dynamic 15 - 60 degree zoom and the smooth colour mixing. On the Sport Awards, the LEDWash 600s were positioned front-of-house, and used primarily for audience cut-away shots, but once Michaletos discovered "How effective their whites and CTO functions are," they became very useful to fill the stage apron as well. Joining the 12 x ROBIN 600 LEDWashes on the rig were

Visual clarity Michaletos expands, "My aim was to provide a visual clarity with neat, clean looks giving good television and media shots - while the set and video visuals provided the sparkly bits and the magic required". The lighting rig featured conventional back-lights, side colour booms and white key lights for entrances, the presenters, the podiums and the stage apron. "The overhead Robes gave me colour, beams and gobos," he 42

explains, adding that they offered all the flexibility he needed, while PARs provided his basic 3 colour washes from the sides and overhead at the back. Kevin Rieck comments that he learnt a huge amount from Michaletos on this show, "He created colours and combinations that I would never have thought of!" he concludes. A night of glamour and massive media interest saw the presentation of many Awards including that of Lifetime Achiever to Soccer boss Irvin "The Iron Duke" Khoza for his work in making the historic 2010 FIFA World Cup a resounding success.

ATG commences world's fifth-largest ENPS newsroom at SABC South African Broadcasting Corporation (SABC) has commissioned ATG Broadcast to design and install a networked ENPS newsroom. With 1,100 user licences, the new system will be the world's fifth largest of its kind.

ts primary role will be to prepare content for all SABC television and radio news operations, including regional stations and international bureaux. “The project commenced in July and is scheduled to take nine months to complete," details ATG Broadcast Managing Director Graham Day. "The core installation will be located in SABC’s headquarters at Auckland Park, Johannesburg. The system will also include a Quantel sQ server and editing infrastructure for ingest, post-production and playout. Ingest and playout will be controlled using a Miranda Omnibus Columbus. SABC’s entire news operation will migrate to ENPS from an outgoing Dynatech Newstar system. Training is obviously a key element of the transition. We will be arranging ENPS super-user instruction in Johannesburg for about 1,500 operators using dedicated demonstration terminals attached to the core." The decision to use ENPS was made after a public tender and rigorous evaluation and SABC chief technical officer Richard

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Waghorn commented: “We are very impressed with what we have seen of ENPS and we believe that the integration of several top-drawer vendors will give us the best combination of performance and reliability. The new system will be a significant event for our news teams in that it will align the SABC with other international broadcasters. ”The scale of SABC’s requirements will put the project in the top bracket of ENPS installations around the world. AP director of international business development for ENPS Paddy Payne reflected: “I am delighted that ENPS has emerged successfully from what has been a rigorous period of evaluation. We will be proud to offer not only the customary ENPS commitment to quality and service but also support in our system for all 11 official languages of the Rainbow Nation.” Projects manager Dave Whitaker is supervising and directing the installation from ATG Broadcast's UK headquarters, in conjunction with Inala Broadcast and Questek in South Africa. 43

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Mediatech Africa shows its worth! Mediatech Africa, South Africa’s largest media and entertainment technology expo for the broadcast, film, production, professional AV, sound, lighting, staging and rigging markets, achieved remarkable attendance figures with more than 6,400 visitors over a three day period.

he business to business expo which took place from 20-22 July at the Coca-Cola dome in Johannesburg is the largest and most diverse of its kind on the African continent and attracts exhibitors from across the world as well as local manufacturers and suppliers with visitor demographics encompassing a broad cross section of the industry. This year saw that 46% of visitors were new to the exhibition, with the remaining 54% having attended this biennial expo previously. Of the 6400 visitors, 45% were either managing directors; CEO’s, company directors, owners or partners and 35% of the visitors were engineers & technicians. The largest area of interest was in the Broadcast sector at 50%, followed closely by the Pro Audio sector, Lighting, Post Production and Film sectors. An impressive number of brands were displayed with over 800 individual brands showcased with a significant increase in the number of international representatives. Robinson enthused: “I am very positive and delighted with the number of visitors, particularly those from overseas, and also the quality of the exhibits. The standard of this year’s expo was exceptional and I truly believe is comparable to the international standards set by other overseas industry related events such as IBC and PLASA”. Screen Africa Technology and Production Conference was hosted at Mediatech Africa, focusing on innovative and interactive topics related to the industry with topics including Media Asset Management, 3D production, 3D post, DTT (Digital Terrestrial Migration) and

DVB-T2 technologies for South Africa. In addition to the conference, a series of presentation areas within the main expo provided informative and fascinating information regarding new products and technology on a continual basis throughout the entire expo programme. With over 15 industry sectors on display, Mediatech Africa certainly lived up to its promise of being the meeting place for the industry and the ideal venue to view, experience and even purchase product, bringing buyers and sellers together under one roof.

Exceeded expectations “We believe that the show was a huge success for several reasons,” says Steven Lauter, sales manager at Jasco/ Spescom. “The foot-count through the door far exceeded our expectations and, having sponsored the registration area as well as having had a large stand at the entrance, I believe we received good branding value. We used the show as a platform to launch our new brand, Jasco which resulted from the recent Jasco/Spescom merger. We felt it opportune to be able to present our new face to the market place in this manner. From a business perspective, we gathered many leads, particularly in the Avid, Viewcast, ClearCom, and Sony spaces. Again, it was opportune to have the show when one of our major competitors in the video editing domain, Final Cut Pro (FCP), launched their new version which received mixed reviews.” Jasco’s experience was mirrored by comments from Stacey Pearson, marketing manager at Touchvision Digital Media Solutions. “Mediatech Africa 2011 44

was the best year for us. In the past we generally promoted software and found that we were not seeing much return on Investment. This year we promoted various solutions from AJA . The interest was immediately evident. There was a product on our stand for every customer’s requirement. AJA Video is a leading manufacturer of high-quality and costeffective digital video interface, conversion, acquisition and desktop solutions supporting the professional broadcast and post-production markets. Touchvision exhibited AJA in their edit category by bundling with Apple's FCP, AVID’s Media Composer as well as Adobe Production bundle’s stereographic workflow. The quality of visitor at this year’s show was high standard and we were able to gather many new leads.” Concilium Technologies had the largest stand on the show floor and managing director Steve Alves was equally up-beat. “We found the Mediatech Africa 2011 show to be one of the best yet, and we were able to engage productively with all of the broadcasters and production facilities during the three days of the show, while cementing new relationships as well. The resources committed by our overseas partners were testament to the fact that they view Mediatech Africa as a significant event on their calendars, and this was evidenced in the large contingent of overseas experts who assisted with demonstration of the award winning products from Harris, Ross, Hightech and DK technologies, amongst many others. Mediatech also offers an opportunity to the younger generation to be inspired by the technologies they would otherwise be unable to experience.”

Broadcast industry makes slow recovery The IABM (International Association of Broadcasting Manufacturers) has released the fourth edition of its "Broadcast and Media Technology: Global Market Valuation and Strategy to 2015" study.

ased on original research commissioned from IHS Screen Digest, the study offers unique insights into the recovery and growth of the worldwide broadcast industry. Key findings in the IABM report show a 6 percent growth of the global broadcast and media technology section from 2009 to 2010, and financial data within the report also indicate that the industry will be growing at about the same rate as GDP by 2015, but there will be annual differences, including some years when it will be below. At this pace, the study suggests, the industry will return to its 2008 size in 2012. "Our industry, like all others, was badly hit by the recession, but it is encouraging to see how strongly it is recovering," said Peter White, director general at the IABM. "While times have been very hard and all companies had to make tough decisions, there have been very few casualties in this diversified and specialized business. The industry is seeing a paradigm shift at present, with traditional broadcasting being augmented by online services to the multi-screen consumer, and London 2012 and the American political process will both drive this change forward." The IABM's distinctive position within the worldwide broadcast and media technology supplier industry enables the organization to draw upon detailed financial returns prepared by a broad and representative sample of vendors. Built on this information, the global valuation report is able to scale the industry accurately and to provide detailed forecasts to 2015. The project itself is steered by a partnership group of leading industry vendors including Avid, Axon, EVS, Grass Valley, Harmonic, Harris, Miranda, Nevion, Quantel, Snell, Sony, and Vitec Group, all of which are members of the IABM. As the industry picks up, one of the key challenges faced by broadcasters and suppliers will revolve around the changing skills required by a fastchanging technical environment. In order

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ccording to Gary, there were a number of industry trends that were apparent on the show floor. Here are some of his personal observations of the show: “Unlike past years where you left InfoComm with one clear trend, the 2011 version of InfoComm had more than one,” says Gary. “Here are the top technology trends that the rAVe team observed on the show floor.”

well, died. Although there were plenty of 3D displays, they were literally relegated to the back of the booths. Practically no one was bragging about 3D projectors, 3D AV processing or even 3D applications. And, the scuttlebutt on the show floor was that 3D is way overrated.

technology. What’s that mean? Well, it means you can now take a DVD players output and switch it over a network along with a VGA source, a video source, HDMI sources and anything else AV - send it via the network and, in the future, feed it directly into a networkable display as Ethernet and “play” it or, for now, use a “decoder” on the other end that strips whatever you want off the network and puts it back as AV to connect it to ANY display technology. Ultimately, we’re likely less than three years away from the end of RGBHV stuff.

IP’d AV

3D Sucks If InfoComm 2010 was the year of 3D hype (which we declared during last year’s show when more than 50 booths focused on 3D applications), 2011 seems to have been the year that 3D,

Finally!!! For years, six to be exact, I’ve been begging and pleading the routing and switching companies to embrace the network way of doing it put it all on a network and route it via IP. And 2011 will forever be remembered as the year that Extron, AMX, Crestron, Biamp, Kramer and ClearOne all had AV over IP using HDBaseT or AVB 46

Seamless Ruled As my buddy George Walter at DPI put it, it was the year of “blending.” What the heck does that mean? Well,

remember the days when you needed a $20,000 box to do edge-blending and seamless projection of multiple images across one screen? Well, those days are gone as InfoComm brought us a couple of companies doing it via software and a web cam. The most impressive was a company in the back of the hall called Scalable Display Technologies - the system was simple and astounding.

all the external power supplies and wallwarts) all across one single Cat5 cable. All of the inputs go through one of the 4x4 to 32x32 XTP CrossPoint “switchers” and anything in can go to anything out – including video, audio, control or power.

AMX’s Enova

Touch Screens Everyone was showing touch screen everything. Touch screen virtual walls, projectors, LCDs and even tables. You’ll see them all over the videos we shot, but the popularity of the interactive SmartPhone is quickly spilling over to the large-screen display world. I wonder how long it will be before touch screen functionality will be a standard in projectors in much the same way as the zoom lens technology is now? On top of these broad technology trends there were a few stand-out products that are worth mentioning, as they bode well for the future:

Best New Product at InfoComm 2011 This was a tough one to decide upon as both our finalists are examples of the future of AV distribution, so we’re giving the award to both Extron and AMX this year.

Not quite as powerful as the Extron XTP, but conceptually, they are similar. The Enova converts analogue and digital video and control to a 16x16 or 32x32 Enova Digital Media Switcher. However, the Enova’s control, although integrated into the switcher, is still a separate controller from a cabling and distribution standpoint - thus, you’ll need a second Cat5 cable.

button – without losing resolution or brightness. The NX-4 offers the highest contrast and resolution on the LED market today. The latest addition to Barco Live Dots’ streamlined, yet varied product line of indoor and outdoor LED displays, the NX-4 is ideal for corporate events, auto shows, live entertainment and any application where crystal clear, high-impact imagery is a must.

Best New Video Product:

Most Ubiquitous Technology: Interactive projection. There were at least 30 booths showing interactive projectors in all sorts of applications from interactive walls, tables, floors, ceilings and people. What was once a market owned by SMART Technologies is now clearly a commodity. If you bought stock in SMART when it went public at about $17 per share last year, bummer! The company’s been closing this week at its lowest stock price ever at a bit above $5 per share. SMART can still do well, but it will have to diversify out of the interactive projector business as that is, in fact, a commodity. So this year, we’ve given the Most Ubiquitous Technology award to Interactive Projection Technology -thanks to Hitachi, Epson, Panasonic, Mitsubishi, Sanyo, NEC, and a few dozen other manufacturers. The irony of this isn’t lost on us. And oh, by the way, did you notice that SMART Technologies didn’t exhibit at InfoComm 2011?

Extron MLS 608 D. This should become the defactostandard in classroom, boardroom and meeting room installs as the AV Hub. Well, over 90% of AV room systems can be totally handled with Extron's 608 D as it switches four analogue sources (VGA, Component, etc), four HDMI (with HDCP) sources and even has one Extron MTP input (all with audio) and outputs it all to Cat5 to a receiver (included) that decodes it all back again to whatever signal you want (VGA, HDMI, component, etc). It's got onboard DSP, HDMI audio de-embedding and can be configured for 1x20-watt stereo output or a 70-volt system for distributed audio. Want more info?

Best New Audio Product:

Best New Outdoor LEDs: Extron’s XTP This is how systems will all be routed in the future. The XTP system from Extron allows for connectivity of analogue and digital video (VGA, component video, HDMI, DVI, etc.), digital audio, IR control, RS 232 control, Ethernet and power (yes, this eliminates

Barco’s X-Series. These are LEDs that are capable of both 3D and 2D displays and this is accomplished by integrating both 4mm and 6mm LEDs in the same screen – pretty creative, if you ask us. The new NX-4 seamlessly mixes 2D and 3D simultaneously with the press of a 47

Sound Devices MixPre D. This is a portable, battery-operated two-channel mixer that has mic, line and USB inputs and fits between a camera’s tripod and the camera itself using

An evolution in technology. A revolution in business possibilities.

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threaded 1/4 20" camera mount support. The MixPre-D sets a new standard for compact, highperformance portable audio mixers. Designed specifically for audio professionals needing the most flexible connectivity, the MixPre-D is ideal for any production application where capturing great sound is important, but size and weight are a concern. At the heart of the MixPre-D are two studio-grade mic/line inputs with limiters, high-pass filters and available phantom power. Inputs can be linked in standard or MS mode for stereo recording applications. All of these input functions are configured with front panel controls.

Best New Classroom

Christie D4K35. This was a mind-blowing projector. In addition to being 35,000 lumens at a native 4096x2160 resolution (4K) using 3-chip DLP technology, the dang thing looked just like a digital cinema projector. It is ideal for large sized applications such as amusement parks, auditoriums automotive design, classrooms, museums, planetariums, screening rooms and visualisation. For Pro AV applications the Christie D4K35 offers the flexibility to use different lamp powers depending on your application requirements. Its motorised lens mount, user replaceable lamps and fieldalignable DMDs ensure that set up is fast and maintenance costs are reduced. It ships standard with four 3G HD-SDI input slots, enabling native high quality (4:4:4, 12-bit) content to be displayed.

Best New Meeting Room Projector:

Projector: NEC’s U310W. There were a lot of short-throw projectors at InfoComm and we saw pretty much all of them. But the one that stood out the most to us was the new 3100 lumen DLP-based U310W from NEC. Enjoy large images even in meeting rooms with small space. Less shadow and glare gives the presenter more space to engage with his audience and enhances the experience with interactive white boards. Go wide with your presentations and play video content in native aspect ratio. Free installation angles give you additional freedom for eye catching digital signage installations. DLP technology ensures that there is no colour decay during long daily operating hours. 3D capability makes you ready for next generation digital content. An ideal solution for meeting rooms and digital signage applications, as well as for classrooms.

Best New Rental and Staging Projector:

Sony’s FH30 Projector. This is a 4300-lumen, WUGA (1920x1200 resolution), 3LCD projector that offers 113-degree lens shift (yes, 113 degrees), so from a retrofit standpoint, this is an awesome box. The VPL-FH30 is designed to fit smoothly into almost any environment where a high-quality projector is required. Its brightness, zoom and throw range, coupled with its wide lens shift range, mean it can perform where other projectors would struggle - even in high ambient light. Onceinstalled, the VPL-FH30 has excellent image capabilities and a long lifespan that delivers low Total Cost of Ownership. Sony's BrightEra technology improves and maintains colour purity throughout the life of the system by protecting the LCD panels against harmful ultra violet light. Clever features such as synchronised lamp and filter replacement cycles reduce costs and downtime. Featuring the usual wide range of inputs, an external monitor connection for the presenter's convenience, and advanced projection capabilities such 49

as side-by-side image projection and DICOM medical training, the VPL-FH30 is an obvious projector choice for venues that demand quality and practicality.

Best New Flat-Screen Display: (tie)

This category was a toss up between NEC’s X461S LED-based LCDs and Samsung’s new HE series. The NEC panels are 46” LED edge-lit LCD monitors (1.7” deep) that are designed for 24/7/365 operation with HDMI, DisplayPort, VGA and DVI, plus an OPS slot for a media player. Not be outdone, Samsung’s new HE Series (1.2” deep) are LED-lit LCDs that come in 40” and 46” sizes, are native 1080p, are spec’d at 5000:1 contrast ratio and handle video through both analogue and digital connectors - and even through the USB port. They also have a killer thin-bezel. They’re both great products so we’ll share the award between the two.

Best New Digital Signage Display:

Panasonic’s TH-42LFP30W. This LCD is designed to be outside in any weather. It’s a 1080p 1500 cd/m2 display that has an integrated touch screen with transreflective technology. It has a forced-air cooling system that allow the display to be used even in direct sunlight and is certified with an IP53 rating. Only catch? Not delivering until January 2012.

The South African Communications Industries Association is a not-for-profit Trade Association committed to promoting the adoption of professional standards in the audiovisual industry throughout Africa.

An informed business choice Question: When selecting a vendor for your next AV installation, which of these items is the LEAST important item you should consider? a. b. c. d.

Price quoted for the project Installation quality of the installations dept Company reputation in the marketplace Financial stability of the supplier

Answer: (a) In today’s tough economic climate it’s obviously important to consider price as an important factor in choosing a supplier for your next AV installation. But choosing a supplier based on price alone is a surefire path to failure and an ineffective AV solution. Chose a vendor based on their ability to provide an AV solution that meets your requirements and make sure you’re buying from a reputable organization with certified staff and the resources to back-up your installation on a longterm basis.

SACIA is the leading trade association for the professional AV industry in Southern Africa. We promote the adoption of professional standards in the local market and our members commit to truth, honesty and the pursuit of excellence in all aspects of the audiovisual profession. When you’re looking for a reputable supplier with a proven track record in the professional AV market, our members are a good place to start. For more information on SACIA and a full list of members, please visit www.sacia.org.za

Best Digital Signage Hardware Product:

Once again we have a tie between two great products. Gesturetek’s Cube interactive projection floor is perfect for retailers, advertisers and exhibit designers. It projects either a 5'x4' or a 9’x11’ image on the floor that you can interact with - making it entertaining while also potentially blasting advertising at the user. Introducing The Cube - a compact, turnkey, 'plug and play' interactive display unit that brings the power of gesture control to a variety of display spaces. The portable Cube interactive projection floor has been taking retailers, advertisers and exhibit designers by storm! It project an engaging 5' x 4' interactive display with entertaining games and head-turning special effects onto virtually any floor for branding, advertising, entertainment and product promotion. Just take it out of the box and turn it on! No technician is required to install it and it occupies minimal floor space. The Cube can engage customers, command attention, increase visitor traffic, drive sales and create a more dynamic customer experience. One North American retail chain installed several hundred Cubes as digital playgrounds, after early results suggested a sales increase in stores that had been outfitted with The Cube. Another leading consumer appliance company launching a new brand in over 50 stores improved brand awareness with an interactive virtual reality game promotion that ran on The Cube. Many other organizations, such as museums and consumer products companies, have used the lightweight and easy-touse Cube as the centrepiece of their travelling exhibits, special events and touring promotions. Sharing the honours is the new BrightSign TD1012 unit – a portable, battery-operated digital sign that runs for 15 hours on one charge and accepts embedded content or content streaming via Wi-Fi is perfect for table-top retail applications or tent-based retail.

Best New Wireless Technology:

The Peerless HD Flow. This is a very creative niche for wireless that every AV integrator should check out as it allows you to wirelessly send VGA, HDMI (HDCP compliant), audio and component audio (H.264) to one, two, three or four receivers up to 130 feet. The concept for Peerless is that you can have an HD monitor mounted with no wires to deal with behind the TV (other than power). And since it sends out a signal to up to four receivers, this is a perfect wireless digital signage system solution.

Best New Control System Hardware Product:

This is more than an access App, this is actually a teacher’s dream in that whatever you are projecting on the screen appears on the iPad AND you can annotate right on top of the displayed image. This turns the iPad into an interactive whiteboard in any room with any projected image - while not restraining the teacher and forcing them to stand at the screen. Another great product for the education market is Epson’s BrightLink Interactive Projector. In the past, you needed a projector and an interactive whiteboard to create an interactive learning environment. Now, make a table1 or almost any wall interactive with the BrightLink 455Wi Interactive Projector. This high-performance projector + pen combination integrates interactive functionality in one machine, without the constraints or expense of an interactive whiteboard. With ultra-short throw distance, extraordinary size flexibility, and fully-loaded projector technologies, BrightLink redefines a true all-in-one solution able to engage your learning community.

Best New Product for Higher Education Market: AMX’s wide-screen Modero X-Series: There’s no question that touch panel manufacturers will need to differentiate now that you can get an iPad 2 for less than $500, not to mention the forthcoming rumoured QXGA resolution (2048x1536) iPad 3. AMX is, right now, the leading differentiator with its new Modero X Series as they are very flat, offer multiple aspect ratios, are wall and desktop mountable (horizontal or vertical) and are viewable from any angle.

Best New Product for K-12 Education Market: NEC Display’s Image Express iPad App: 51

Crestron's CAPTURE-HD: SonicFoundry better be worried about Crestron's CAPTURE-HD as it's simpler to use and does what they do, albeit in a different way. This captures VGA video, audio, the presenters slides as well as cameras in a meeting and/or lecture capture and is simple enough for the entire faculty to use, and affordable enough for wide-scale deployment. If you sell SonicFoundry or have considered it, check this out...

The $75 billion audiovisual industry provides critical support to large corporations, small businesses, retail outlets, education and healthcare institutions, entertainment venues, the government and more. AV helps us communicate better, protects critical infrastructure, assists with life-saving diagnoses, educates students around the world and keeps society informed and entertained. To learn more about the audio visual industry in Middle East visit www.mecia.org

Best New Rental/ Staging Product:

Christie Nitro: The Nitro projection yokes from Christie are for live events/stage/ entertainment lighting and creative video projection and make old-school Gobo lights seem antiquated. , Christie Nitro Solutions offers two yoke models to choose from. Each yoke provides a platform to move and control a variety of Christie large format video projectors via DMX protocol – allowing you to integrate lighting equipment and video projectors easily with the same control console. These versatile yokes can be flown, rigged or set up at floor level, according to your application needs. The Christie YK100, a single-arm yoke, supports the Christie M series and the Christie LX1500 to give you a range of brightness levels (5700 to 15,000 ANSI lumens) to choose from. This yoke is designed with an interchangeable head system that lets you replace the video projector with another Christie projector or Xenon light.

speaker is sold in pairs and is designed for fast and easy installation into sound systems requiring high quality, wide bandwidth audio playback. Sharing the glory in this category are the new JBL Control 65P pendant

speakers. These use JBL’s Radiation Boundary Integrator technology, get 120-degree conical coverage and come in black or white. They bring renowned JBL sound and outstanding coverage to rooms and venues with open architecture or high-ceilings, while providing superior voice and musical clarity for rooms with difficult acoustics. The diverse line-up, coupled with stylish design, is suitable for a wide variety of applications and decors, from convention and exhibit spaces to atriums, restaurants and retail stores. Included, easy-to-install hanging hardware features redundant suspension cables and UL listed adjustable-height hangers.

Best New VTC Camera:

auto iris and automatic gain control, are typically set at the factory and cannot be changed by the end-user. With Vaddio’s SmartSHOT technology the user can set the DSP to the value they need for a specific venue and not some predetermined value set for a perfect room. Ultimately, the DSP functions allow the camera operator the ability to deliver an extremely crisp detailed image with vibrant high definition colour in any environment.

Best New Audio Conferencing Product:

Polycom SoundStructure VoIP Interface. A VoIP interface card for the SoundStructure line aimed at the ProAV integration market! It adds Polycom's SIP telephony features to the SoundStructure line of products. With this, SoundStructure's features, such as Polycom HD Voice performance and noise cancellation technology, are brought into installed VoIP environments, and its modular interface makes transitioning to VoIP simple and cost-effective.

Best Product You Probably Didn’t See:

Best New ProAV Audio Speakers:

Extron are not well known for their audio speakers but their SF 228T SoundField speaker deserves to be recognized. It is a 2x2 ceiling tile speaker (that also fits in 2x4 tiles) that packs in an 8” woofer and 2” tweeter. The frequency response is 50 Hz to 20 KHz. Great sound from a unit that offers 60 watts continuous pink noise and 120 watts continuous program output. This

Vaddio ClearVIEW HD-19 PTZ. The Vaddio HD-19 gets its name from the 19x zoom - no, not digital zoom, optical zoom! There was a time when taking the camera that came with a VTC system was good enough, but not anymore. And, if you're considering third party cameras, this is THE ONE to get. The newest member of the Vaddio ClearVIEW family of cameras, the ClearVIEW HD-19, comes equipped with a 19x optical zoom lens and is built around a 1.3 megapixel, 1/3rd-type Sony Exmor high-speed, low noise CMOS sensor. Integrated SmartSHOT technology with AIP (Adjustable Image Processing) provides end-user control of advanced imaging DSP functions. AIP, which includes auto white balance, 53

eeColor. This has amazing potential and it’s dang hard to explain. eeColor uses what they say is patented 3D colour mapping to increase colorimetry, brightness and contrast, while at the same time preserving skin tones and memory colours. This is accomplished through a proprietary technology that is based on the actual physics of adaptive vision where, in a human’s vision, less

www.christiecontrol.com/entero

How many bulbs does it take to change your mind?

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

The eNTeRO led SeRieS rear Projection modules

when it matters.

bright lighting makes objects look less colourful and lower contrast, and higher “colourfulness” makes objects look brighter and higher contrast. Whew. Well, this still doesn’t do the product justice and, remember, this product will be BIG. We think a display manufacturer will either buy this technology and integrate it into its HDTVs or eeColor will end up licensing it - yes, it’s that good!

Best Potential New Technology:

HDBaseT. This is the technology being used by all the biggies so far in signal routing and distribution via Cat5. The promise of HDBaseT goes well beyond the ProAV market as it’s a HomeAV standard too. HDBaseT not only allows for video, audio, control, ethernet, control and power via Cat5, but it’s also designed to be multi-device compatible. For example, using the AMX Enova system, you can, one day, connect the output of that into any HDBaseT HDTV or projector as a display, routing the video, control AND THE POWER to the TV all through one Cat5 cable. Signal routing and distribution will never be the same if this becomes the standard that it appears to be becoming, with early adopters including Crestron, AMX, Extron, Samsung, Sony and LG.

Kudos Award: MonkeyLectric’s Bicycle LED Digital Signage Display: The MonkeyLectric Monkey Light is a bike light (with 256 LEDs on four spokes of each bicycle wheel) that plays up to 90 seconds of video or up to 1000 images. It turns a bike wheel into a digital signage display as you pedal. The system is self contained, durable and weatherproof. It is integrated into a fully functional bicycle wheel. The Video Pro is designed to meet the needs of professional and commercial users. It

Best ProAV Mobile App (e.g., iPad, iPhone, Android):

offers the capability for evening, night time and indoor display of motion video, slideshows and images in an exciting and uniquely capable form factor. All common image and video formats can be transferred from a computer onto the Video Pro. Media, playlists and wireless real-time control can be customized to meet your application needs. The system displays moving full colour images filling the space of a bike wheel. The durable, self-contained design is suitable for all-weather use on city streets, and can also be used on stationary displays with a motorized mount. It functions at bike speeds between 10 and 30 mph (15 to 50 km/h).

Best Killer New App:

Planar’s D802. This is an 82” LCD (very well designed aesthetically, by the way) with off-board electronics - native 1080p. Because all the video signal processing and power supply is in an external processor, the 82” is sealed and is only 3.7” deep (amazing for the size of the display). But why the “Killer App” Award? Well, again, displays have become a commodity and any time a monitor manufacturer differentiates, we like that. But, in this case, this is something all display companies need to be looking at -- outboard electronics. It’ll make everyone’s life easier (installers, clients, the Green police) as you can consolidate power-supplies and cable management. Way to set an example, Planar! 55

Crestron. Crestron simply blows away the App world in ProAV land. The company's iPhone, Android, iPad and Mobile Apps are beautiful, functional and offer seamless control. If you want to see how to build the perfect iPad App, check out Crestron's Mobile ProG, it's perfect. Imagine using your iPad as a touchpanel for your home entertainment system, or to control all the lights in your home. Crestron Mobile Pro G puts a professional-looking Crestron

touchpanel user interface right on the popular Apple iPad, enabling all kinds of customizable control capability, while utilizing the complete screen space on the iPad. Crestron Mobile Pro G talks directly to the control system without any third-party software or external servers. With Crestron Mobile Pro G, simply tap the screen to select movies, music and TV in any room or adjust volume, light levels and room temperature with just a touch. Using the home Wi-Fi network locally or the powerful 3G networks remotely, total control is always at your fingertips. Control multiple locations, such as a primary residence, vacation home and office, from a single, intuitive graphical interface that provides real-time status of room temperature, lighting levels, shade position, volume and digital media metadata including album, song and artist. New locations are easily added by opening the "Connections" page on the iPad, and customized buttons, graphics and dynamic text can be added by your installer. Updates or changes to the control program are automatically sent to the iPhone when Crestron Mobile Pro G is launched. With a large library of built-in graphics to aid in custom designs Crestron Mobile Pro G puts a virtual Crestron touchpanel in the palm of your hand for complete mobile control.

SACIA exhibit at Education Week

Deloitte proceed with SARS Task Group Deloitte are now proceeding with the assessment phase of an assignment to engage with SARS, ITAC and other regulatory bodies on behalf of SACIA. The objective of the assessment is to propose a change in the recently introduced import tariffs on flat panel displays used in broadcast and ProAV installations. Deloitte have pointed out that the likelihood

of our application succeeding hinges on several factors, including the ability of SARS to administer the duty reduction mechanism. According to Deloitte, understanding the differences between consumer and professional panels is critical to the success of the application to ITAC so they're looking for input from as many affected people as possible.

During July SACIA exhibited at the Africa Education Week in Johannesburg. “Bridging the skills gap through quality education for all” was the theme for this year’s event, which provided a forum for over 1600 attendees from across Africa to discuss the critical issues affecting schools, colleges and universities. The event included a technology track

that focussed specifically on the use of AV technology in the education sector. The SACIA stand was manned by Association members and our objective was to highlight the advantage of working with member companies who’ve committed to truth, honesty and the pursuit of excellence in all aspects of the audiovisual profession.

MECIA to exhibit at inaugural InfoComm ME exhibition From 9-13 October MECIA is exhibiting at the inaugural InfoComm Middle East exhibition that’s taking place at the Dubai World Trade Centre. The exhibition is colocated with the annual GITEX show and features many of the leading manufacturer’s active in the professional AV market. “Over the last few years ProAV suppliers have been looking for a dedicated exhibition that’s focused on our market,” says MECIA Executive Director Kevan

Jones. “Being co-located with GITEX 2011, InfoComm MEA exhibitors will gain immediate access to thousands of decision makers and purchasers. In 2010, GITEX attracted 136 thousand ICT professionals and provides immediate access to the lucrative ICT markets across the region.” Alongside the exhibition InfoComm are also presenting an industry conference and a range of InfoComm Academy training programmes.

Sharp sponsor Mediatech workshop During July’s Mediatech exhibition SACIA also hosted a workshop which focussed on the use of AV technology in the public service. About 60 delegates packed our workshop session which featured a number of great presentations and panel discussions. SACIA also 56

announced the formation of a Special Interest Group that will focus specifically in the use of AV technology in Government and Public Service. The workshop was sponsored by Sharp Electronics who used the opportunity to introduce their new 60” flat panel display to the South African market.

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