AV Specialist Vol. 124 by Tim Jones

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Quality turnout turnout at at IBC and PLASA Power of unified communication

Education in the cloud World’s toughest endurance race

Video walls go green

New training courses from IABM Technology trends from IBC See us at

Olympics 2012 – greatest show on earth

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Contents AV Specialist Volume 124

PLASA 2012 enjoys a fitting end to an era! PLASA 2012 saw a successful final chapter of the show's history at Earls Court, with high quality visitor attendance, a hugely popular Professional Development Programme and a vibrant out-of-hours social schedule - a fitting end to an era before the show begins anew at ExCel London in 2013.

14 Danie Ferriera, CEO of Urban Brew spent 6 weeks in the Antarctic covering the Scott-Amundsen centenary race to the South Pole. During the process the urban Brew team lived in a landscape of white on glaring light.

Publisher & Managing Editor Kevan Jones kevan@avspecialist.tv Feature Editor Dick Hobbs dick@avspecialist.tv Designer Rajiv Gopalan rajiv@avspecialist.tv Advertising sales Africa, Middle East, UK Lorna MacLeod lorna@avspecialist.tv Europe Emmanuel Archambeaud earchambeaud@defcommunication.com Represented in the Middle East by: AV Specialist MENA FZ LLC PO Box 502314, Dubai United Arab Emirates Mobile: +97150 4683265 Represented in South Africa by: Doddington Direct cc PO Box 3939, Honeydew, 2040, South Africa Tel: +27 (0)11 083-6418 Mobile: +2782 555 5556 Represented in Europe by: Def & Communication 48 Bd Jean-Jaurès, 92110 Clichy, France Tel: +33 (0)1 4730 7180 Fax: +33 (0)1 4730 0189

The power of true unified communications Communication in today’s business world is so much more than picking up the phone and making a voice call.

IAC unveils world’s greenest video wall IAC and Prysm have unveiled two new video walls in the lobby of the IAC HQ, located in the Chelsea neighborhood of New York City, providing the most technologically advanced viewing screens available in an event space.

The greatest show on earth When a broadcast operation attracts the largest television audience ever seen, then the story behind it is sure to be interesting.

Publisher’s Note Over the last year SACIA has expanded our range of training programmes and over the last few weeks we’ve been working hard to promote the adoption of professional standards in the communications industry across southern Africa. Alongside these efforts, we’ve also focussed on encouraging the adoption of ethical business practices in the region. The SACIA Board has declared that we need to go beyond promoting ethical behaviour and embed ethical business practices in everything we do. To this end we are in the process of collaborating with all stakeholders to develop a code that will be widely supported by the industry. We’re inviting all stakeholders to work with us in this process so that we can all unite around a common standard. The primary purpose of this code is that we create an environment that takes advantage of the opportunities associated with a strong ethical culture. The code needs to raise the ethical expectations of all stakeholders and legitimise discussion about the moral challenges we experience in our day to day activities.

AV Specialist supports SACIA members in the quest for truth, honesty and the pursuit of excellence in all aspects of the audio visual profession.

There are many questions to be answered as we move through this process so if you’re keen on joining us, please drop me an email and let me know.

The CORIO®matrix advantage … its anything in, anything out flexibility The CORIO®matrix Scaling Routing Swithcher is an Audio/Video matrix with up to 32 input/output 3G-SDI/HD-SDI/DVI-U connection combinations. • CORIOsoftswitch ﬁrmware based routing, switching & scaling platform • Up/Down/Cross Scaling and Format Conversion • Scaling or non-scaling outputs available & can be mixed • Modules for any analog or digital format thru 3G-SDI • 16 AV module slots (4 dedicated input, 12 bi-directional) + 3 Data slots • Seamless Switching between different sources • Routing of different incoming video formats to a user deﬁnable output format and resolution • Optional DVI-U adapters (DVI to other connectors) • Optional Monitoring card • Optional Audio card for routing with embedding/de-embedding

• Optional Redundant Hot Swappable power supplies

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The Video Processing Specialists TV One Ltd., Unit V, Continental Approach, Westwood Industrial Estate, Margate, Kent CT9 4JG, UK Tel: +44 (0)1843 873311 Fax +44 (0)1843 873312 sales.europe@tvone.com

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Product

news New Lupoled 560 panels from Lupo Light The new LUPOLED range of studio and production lights has been expanded to include the models LUPOLED 560 DMX and LUPOLED 1120 DMX DUAL COLOUR. They are ideal for video (as they are very light and battery-powered) and TV studios and can be dimmed with precision from 0 to 100%, without variation of colour temperature, and they may be used to light the set or placed, even by hand, close to the subject to be photographed. THE LUPOLED 560 panels may be connected to mains electricity (100 V – 240V) or to a Lupo Light battery with VMount attachment. With the special superlight battery (a mere 600 g), LUPOLED panels have a battery life of roughly 3 hours at maximum power and this characteristic makes them particularly suitable for exterior shooting.

Volicon at Africast During this year’s Africast show taking place in Nigeria from 23-25 October, Volicon will present their new Observer TS MPEG transport stream logging and monitoring system which helps cable, satellite, broadcast, and IPTV operators address the volume and complexity of broadcast and network services. The newly enhanced version of Observer TS accommodates an even broader array of inputs, including ASI, QAM, 8-VSB, and DVB-T MPEG TS interfaces. It also boasts improved system density for HD and SD programs and simpler ease-of-use interfaces. The system allows users to record (log) MPEG transport streams continuously and monitor the A/V content including BS.1770-2 loudness, NAVE, and other correlations of data and video. Additionally, Observer allows users to stream and export content remotely to all stakeholders in the media enterprise. Because Observer TS logs the full transport stream, the user is able to go back an hour, a day, a week, or a month to examine and/or export content and effectively eliminate chronic issues.

Riedel MediorNet to provide Grass Valley camera integration During this year’s IBC exhibition in Amsterdam Riedel Communications and Grass Valley revealed the new MediorNet interface card for integrating Grass Valley cameras into MediorNet fiber networks. The new MediorNet MN-GV-2 card allows the user to network Grass Valley 3G camera systems and base station including the LDK and the brand new LDX series via MediorNet. This provides a solution for routing bi-directional camera signals including all embedded audio and telemetry control data through the MediorNet fiber infrastructure. MediorNet’s network approach allows the free assignment of cameras to any Base Station / CCU within the network, providing unparalleled flexibility in set-ups and eliminating the need for re-wiring when production configurations change. In addition, the network’s point-to-multipoint capability allows a camera video signal to be routed to several outputs. Ultimately, the Grass Valley camera system becomes an integrated part of the MediorNet backbone solution for signal distribution streamlining production scenarios, sports broadcasting applications and fixed installations.

TriCaster 8000 now shipping Newtek have announced the immediate availability of TriCaster 8000 for production and media publishing professionals who deliver live video for large, complex events, with full integration of social media production tools. TriCaster 8000 is the first live television production platform that allows producers to create multi-camera video programs for broadcasting, live streaming, and projection, while simultaneously publishing clips and stills to Facebook, YouTube, Twitter, and Flickr. The TriCaster 8000 model is the most integrated and customizable multi-camera video production system on the market, delivering virtually limitless scalability with third-party router support, recordable macros that can be triggered simultaneously, and extensive effects and graphics capabilities with eight M/E rows. 3

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Product

news Vizrt unveils Virtual SloMo solution

New universal dolly from Egripment

During this year’s IBC show Vizrt unveiled, for the first time, a solution to synthesize high-speed sports footage from standardrate TV cameras. The image-based solution is running within Libero Highlight, Vizrt’s best-of-breed 3D sports analysis system. The Virtual SloMo effect can be applied to any available television camera feed and, hence, offers completely new flexibility to create high-speed, high-quality footage for sports replay and analysis, not only from an OB van, but also from a studio environment. Besides new sports and more versatile production integration, the new Libero Highlight contains a number of new annotation effects: The Virtual Run, a unique eye-catching effect that allows letting key players run along their upcoming path in a 3D freeze frame, has been a big hit at this summer’s major sports events and aroused great feedback among the viewers.

During IBC Egripment launched their new Universal Dolly; combining all the best features of previous dollies into one unit that is sure to meet all client requests for a ‘platform size’ dolly. “Once camera operators see this dolly, they will fall in love with it. It is the lightest, strongest and most versatile dolly ever created,” says Richard Villhabe, marketing manager at Egripment.The “Universal” dolly utilizes a completely new method of steering and it folds into a small and lightweight package that weighs only 16.8 kg; carries a very good payload of 200 kg and offers a solid camera platform. It also offers steering from the back or the front side, both 2 wheel steering and also 4 wheel steering when very tight turns are required. It can also be equipped with sideboards that are flat or contain 100mm or 150mm camera bowls, and can be operated with Pneumatic Wheels, Hard Rubber Wheels or Track Wheels. When equipped with Track Wheels it runs on standard width Track of 62 cm wide, straight and curved.

Quantel launches Station sQ At IBC 2012 Quantel launched Station sQ - a complete HD news production system. Station sQ is built on the same technology platform as its larger brother, Enterprise sQ, and delivers the same audience-winning performance in a package that is within the reach of every media organisation. Station sQ includes everything required for fast-turnaround production: file and video ingest, central storage, networked editing and live playout. Completing the package, Station sQ includes support and project services to help customers get the system up and running as smoothly and quickly as possible. Faster-than-realtime file ingest (XDCAM and P2) is handled by Quantel's sQ Load application; video ingest by sQ Record. The system can operate as HD, SD or mixed resolutions, all handled together on the same timeline. Playout is controlled by sQ Play, which can download MOS rundowns from newsroom computer systems. Editing is carried out on sQ Cut journalist editors and the sQ Edit effects editor; both share the same easy to learn but highly capable user interface.

Harris transforms Channel-in-a-Box market Harris has altered the course of channel-in-a-box design for broadcasters, delivering the industry’s most complete all-in-one solution to help customers rapidly launch, expand and sustain their on-air channels and services — while strengthening revenue growth and protection. The Harris Versio solution combines baseband video, channel branding and automated workflow capabilities in an easyto-deploy, software-based, single-rack-unit (RU) solution. Versio significantly reduces the cost and time to launch broadcast, cable and other TV channels and services while offering simple integration with production, traffic and billing, scheduling, asset management, content playout and master control functions — taking full advantage of existing facility workflows for maximum return on investment. 4

Videohub Control Software

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Now it’s easy to build your own customized SD, HD and 3 Gb/s SDI router! Build your own customized router any size you need! Universal Videohub is a powerful broadcast grade routing switcher featuring up to a massive 288 inputs, 288 outputs and 288 deck control ports. You can add interface cards to either regular SDI or optical fiber SDI connections as well as single or dual power supplies and single or dual cross-points for full redundancy. Cards can be removed when powered so all electronics can be swapped at any time for 24/7 reliability!

World’s Highest Quality With future proof 3 Gb/s SDI connections built in, Universal Videohub allows twice the SDI data rate than normal HD-SDI. Use 3 Gb/s SDI for 1080p60 and high resolution real time 2048 x 1556 feature film editing. 3 Gb/s SDI allows auto switching between all SD, HD and 2K video formats in both 4:4:4 and 4:2:2 quality. Network Router Control

Industrial Strength Routing Switcher With up to 288 inputs and 288 outputs, Universal Videohub has enough SDI connections for the largest facility. With so many SDI inputs and outputs, Universal Videohub is perfect for broadcast with multiple feeds, as well as post production where you need loads of monitoring! Universal Videohub also includes 288 RS-422 deck control ports for a complete routing solution. Simultaneous SD, HD or 3 Gb/s Video Universal Videohub handles mixed SD, HD and 3 Gb/s SDI connections all on the same router at the same time. Universal Videohub detects when an input changes, and automatically sets all the connected outputs to match the changed input. For a true broadcast quality solution, all SDI outputs are fully re-clocked and output SDI slew rates update automatically.

Universal Videohub is compatible with hardware control panels such as Blackmagic Design’s Videohub Smart Control and for lower cost includes free software control panels for both Windows™ and Mac OS X™. Software panels let you route from your desktop! Universal Videohub uses ethernet for the control panel interface so you can control your routing from anywhere in the world!

Mix and Match to Customize! Universal Videohub SDI Interface (4 x SDI I/O) Universal Videohub Optical Fiber Interface (4 x SDI I/O) Universal Videohub 72 Universal Videohub 72 Crosspoint Universal Videohub 288 Universal Videohub 288 Crosspoint

US$385 US$995 US$3,945 US$4,245 US$8,345 US$19,995

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

www.sacia.org.za

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Product

news Avid advances next generation newsroom solutions Sony strengthens XDCAM HD422 range

During IBC Avid announced a broad range of newsroom offerings featuring Avid Interplay Sphere, a cost-effective solution to help journalists write, edit, and produce more and better stories from where they are happening. With Interplay Sphere connectivity, NewsCutter or Media Composer software, and a laptop, operations can be conducted for a fraction of the cost of the traditional remote news truck. Avid Interplay Sphere, the industry’s first cloud-enabled centre of distributed news production, is now available for shipment. Key Interplay Sphere features include easy, two-way access/connection that enables editors or journalists in the field to securely edit complete stories from any location, collaborate with distributed teams across complex workflows, and easily deliver content to production facilities. “Interplay Sphere opens a new frontier in universal connectivity for news, sports, and video production, letting you craft better stories from where they’re actually happening with a full range of media access and collaborative capabilities,” said Dana Ruzicka, vice president of segment and product marketing at Avid.

In response to the growing importance of the HD422 format in broadcast operations due to workflow and picture quality, Sony has been progressively expanding the XDCAM HD422 line-up. As part of this, the PMW-150 handy camcorder, equipped with 1/3-inch 3CMOS sensors, joins already wellrecognised HD422 memory camcorders such as the PMW-500 shoulder camcorder that is already widely-used in broadcasting, the PMW-200, equipped with 1/2-inch 3CMOS sensors and successor of the renowned PMW-EX1R flagship handy camcorder, plus the high-quality PMW-100 light-weight handy camcorder equipped with a 1/3-inch single CMOS sensor.

Blackmagic Cinema Camera MFT

Grass Valley LDX series cameras Combining business flexibility, operational excellence and outstanding image performance, Grass Valley has announced the launch of the LDX Series of camera systems. The LDX Series — initially consisting of the LDX Première, LDX Elite, and LDX WorldCam — signifies the next step in image acquisition. With uncompromised performance in 1080p50/60, full compatibility with Grass Valley's line of 3G Transmission solutions and stunning 1080p/1080i/720p images, the LDX Series is the industry’s most advanced range of cameras. The LDX Series is based on three completely new, state-of-the-art, third-generation CMOS imagers – Grass Valley’s Xensium-FT. The LDX Series boasts an ergonomic design with time saving features such as improved colour management and automated controls, allowing operators to concentrate on creativity. The Grass Valley team of imaging scientists – led by Dr. Peter Centen - has a heritage of over 50 years in the development of imaging technology, and has been at the forefront of every breakthrough in image capture.

Since the Blackmagic Cinema Camera was announced at NAB the company has been overwhelmed by the fantastic response. They started shipping product a few weeks ago but demand far outstrips supply and some of the components used in the assembly are arriving in their factory slower than they expected. Despite this success, their engineers have not slowed down and are

continuing to develop the next software update with new features for release very soon. They have also been working on a Passive “Micro Four Thirds” model of the camera. People have been asking for this as there are a lot of nice high end manuallyoperated MFT lenses on the market, and the MFT mount can also be easily adapted to PL and other lens mounts using third party adapters. The new Blackmagic Cinema Camera MFT is expected to ship in December, and will be the same price as the original model. It’s identical in features as they are both the same camera, just with different lens mounts. The price will also be the same.

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

An informed business choice Question: When selecting a vendor for your next AV installation, which of these items is the LEAST important item you should consider? a. Price quoted for the project b. Installation quality of the installations dept c. Company reputation in the marketplace d. Financial stability of the supplier

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

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

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Product

news RF transmission from Anton Bauer During IBC Anton Bauer showed off their new ABHDRF compact transmitter that’s capable of sending a robust HD signal over great distances; all while being powered by Anton/Bauer batteries. A collaboration between Anton/Bauer and Integrated Microwave Technologies, Anton/Bauer’s AB-HDRF System is a COFDM transmitter that utilizes the 5.8 GHz frequency band. The AB-HDTX sends its signal directly to the ABHDRX dual-diversity receiver or the DirectVu handheld confidence monitor/receiver. The unit’s size makes it ideal for reality-based, ENG/EFP and live event coverage. “We are thrilled to debut this new system to the IBC community,” says Shin Minowa, vice president of marketing and business development, Anton/Bauer. “The response has been overwhelmingly positive thus far and we believe professionals love this system because it is compact, fits on the end of their camera and can be powered with their existing Anton/Bauer batteries”.

AJA introduces new storage and dock accessories for Ki Pro During IBC AJA Video announced several new enhancements to its Ki Pro family of tapeless video recording devices available in both portable and rack-mountable form factors, including a new line of USB3-enabled KiStor drives for Ki Pro and Ki Pro Rack, along with a new KiStor Dock with Thunderbolt and USB3 connectivity. The AJA Ki Pro family of products enables fast and efficient workflows that interface traditional analogue and digital acquisition formats into simple edit-ready files. The new KiStor drives use a built-in USB3 connection in place of the previous FireWire connection allowing for faster throughput to the host computer and dramatically reducing transfer times. The new drives will be available in three capacities: 250GB, 500GB and 750GB. The 750GB drive will allow a maximum recording time of nearly 8 hours of 1080p/24 Apple ProRes 422 HQ material with 4 channels of audio.

Miranda introduces iTX playout hardware

Atomos Announces Ronin and Ronin Duo at IBC 2012

Atomos, creator of award-winning field recorders Ninja-2 and Samurai, have announced their new Ronin portable Recorder/Player /Monitor. Ronin is a smart solution for both fixed-facility and on-location production. "Atomos has a reputation for developing affordable low power, high functionality, portable devices. We are now leveraging our expertise to

Miranda Technologies has launched iTX Playout Appliance, a dedicated hardware foundation for Miranda’s highly advanced iTX automated playout platform. The Miranda iTX Playout Appliance is a robust, 1RU hardware device that now provides existing and prospective iTX customers the convenience of a single call solution for software, hardware and support — with a choice of the new iTX appliance or an HP self-provisioned server — simplifying ordering, installation and deployment of an iTX automated playout system. “The introduction of iTX Playout Appliance demonstrates our firm commitment to deliver value through continuous improvement of our product portfolio,” said Jason Rogers, Miranda’s senior vice president, Workflow and Playout. “Its benefit as a solid and reliable foundation for iTX software is matched by its convenience as a device available with iTX pre-installed, or as an easily configured on-site pairing with an existing iTX software framework.” The iTX Playout Appliance is available in single- or dual-channel configurations. It supports standard iTX channel packages and optional plug-ins, powerful real-time graphics, embedded Dolby D and E processing and ANC data such as captions, watermarking and SCTE 104 messaging. Other benefits include fault-tolerant RAID 10 disk storage, a fast loading, performance enhancing solid-state system drive and dual, user-replaceable power supplies.

move into more production environments, including studio, broadcast and professional AV," said Jeromy Young, CEO and Founder of Atomos. "Our simple to use, touchscreen AtomOS operating system provides the ease of operation that is important to these markets." Based on the awardwinning Samurai field recorder, the Ronin features touchscreen ease of use, capture to Apple ProRes and Avid DNXHD, professional monitoring and edit review. Like the Samurai, it can operate on location with battery or DC power, but it can also be used in a fixed facility, rack-mounted environment using AC power. 9

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PLASA 2012 enjoys a fitting end to an era! PLASA 2012 saw a successful final chapter of the show's history at Earls Court, with high quality visitor attendance, a hugely popular Professional Development Programme and a vibrant out-of-hours social schedule a fitting end to an era before the show begins anew at ExCel London in 2013.

lthough the show attracted fewer visitors than last year, following a quiet - and gloriously sunny - Sunday, numbers picked up again for Monday and Tuesday, and after an unusually busy final day the overall visitor attendance reached 11, 500 (subject to ABC audit). Despite anecdotal reports of reduced international turnout, the overseas attendance was in fact a robust 25% of the total footfall, compared with 26% in 2011. The overall response from exhibitors, however, was vintage PLASA - excellent quality visitors and good levels of business - plus a strong sense of the buzz returning to the marketplace.

Resounding success It was also clear that the seminars, presentations and debates taking place in the purpose-built theatres in Earls Court 2 had been a resounding success with exhibitors and visitors alike. Registration for seminars showed more than 100% increase on last year. In all, more than one third of the attendees saw one or more of the sessions. The variety of topics, the quality of the content and the enthusiasm and professionalism of the presenters provided a 'something for everyone' experience. Students who had travelled from Nottingham to learn from "guys who are actually doing it and telling it how it is - we would never get stuff like this at home," were obviously impressed. James Simpson, Lighting Visualiser from the Royal Opera House and a presenter himself commented: "The range of seminars was relevant and interesting. I managed to get along to 4 or 5 and felt I learnt something from all of them - the term 'professional development' was very appropriate in that I felt I learnt a lot from each one." From the very first sessions on Sunday, visitors took full advantage of the sessions that were on offer. On a

baking hot afternoon, The Backstage Academy presented to a full house in Theatre D, while LED Theatrical Luminaires: Are We There Yet? had to be relocated to the larger Theatre A to accommodate the audience. The crowds that arrived to see some of the sessions that had been sold out before PLASA had begun were described as 'simply overwhelming'.

Extravaganza of events The presentations that celebrated the industry's involvement in this summer's extravaganza of events proved, not surprisingly, to be the highlights of the programme, with more than 550 people seeing the sessions on the Olympics Ceremonies presented by technical director Piers Shepperd. "The PLASA 2012 organisers would like to thank all the contributors for their invaluable input. Through their effort and commitment, the Professional Development Programme has become an integral and unmissable part of the PLASA experience and promises to go from strength to strength at our new home in 2013." Comments show manager Sophie Atkinson. 10

PLASA Rigging Conference Once again, the Earls Court Conference Centre played host to the PLASA Rigging Conference where delegates gathered from all corners of the globe to listen to industry experts, share good practice and debate the future structure of rigging on an international level. The legendary 'Disney Rigger' Roy Bickel, opened the Conference with a thoroughly engaging, entertaining and informative speech about his influence on the development of modern rigging over the last 50 years which was enthusiastically received by the packed audience. The conference, a near sell-out event, was attended by 156 delegates from around the world.

Vibrant buzz Out on the exhibitor floor there was a vibrant buzz. Over half of this year's exhibitors were displaying worldwide product launches and with 47 entries in the Awards for Innovation, sponsored this year by AED Rent and Lighting&Sound International, there was a strong emphasis on ground-breaking technology. The coveted Gold Award

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went to Cast Software for their BlackTrax 6D Tracking System, an Ethernet-based, software and hardware solution that tracks objects or people in a defined 3D space and delivers the dynamic positional data in realtime to other entertainment systems like 3D audio, moving lights, robotic cameras and media technologies. Phil Ion of Core Lighting whose new Worklight was an entry in the Innovation Awards and who distribute their products through White Light, echoed the feedback of many exhibitors: "PLASA 2012 has been really good for us. We've got a lot of high quality leads and have seen a large number of international customers from as far away as Hong Kong and Australia - more this year than in 2011."

Product launches It wasn't only the high end of electronic technology that enjoyed a strong presence this year. J&C Joel, a leading supplier of flame-retardant fabrics, launching 36 new products to the market, were swamped with visitors throughout the Show. Head of marketing Claire Taylforth explained: "There is no substitute for the 'touch and feel' of our products. To fully understand the new Oeko-Tex standards programme customers want to see the product live rather than on a screen. All our staff have been really busy every day - it's been really worthwhile - and fun." From small, specialised suppliers like Atlantic Star from Latvia displaying the new ORBIS XL and ORBIS Fly lighting solutions to Foy Inventerprises, Inc. from Las Vegas whose Flying By Foy service is one of the most respected performer flying services in the world, PLASA's exhibitor list remained as diverse as ever.

the year. In fact, we have possibly seen more international visitors than UK this year." The decision for PLASA to relocate eastward to ExCeL London for 2013 was naturally a hot topic of conversation on the Show Floor. ExCeL and its facilities have formed part of the London 2012 Olympic success and PLASA is eager to exploit all that the new venue has to offer for the benefit of its members. "ExCeL is a cutting-edge, purpose-built exhibition venue with the infrastructure to attract international markets," comments PLASA CEO Matthew Griffiths. "Its world-class facilities are the perfect match for PLASA's planned investment in content and growth and an exciting prospect for the entertainment technology markets worldwide."

Move to Excel Members who have already experienced what ExCeL has to offer concur. Andrew Richardson from Adam Hall Ltd remarks: "I've attended ExCeL for many exhibitions and it's set up in a much better way to handle big

Strong international flavour A strong international flavour was, as always, proof of PLASA's global reputation as one of the most important trade shows of the calendar. Speaking on the final afternoon of the show, Nexo's sales director Denis Baudier said the show had been "very good", for the company with a particularly strong international attendance. He added: "A lot of our export customers are coming here, so with PLASA coming six months after ProLight&Sound in Frankfurt it's a great opportunity for us to talk with them about their view on the second part of 11

exhibitions. A venue with an airport within walking distance has to be a good thing - PLASA is an international show." Core Lighting's Phil Ion agrees: "The venue is really well set up for shows - the exhibition space is great, the number of hotels and availability of rooms there makes it easy to plan. We've always found transport in and out of the area to be a breeze, which I know some people are concerned about. Whereas Earls Court is divided into two halls, at ExCeL we'll all be in together, which I think will bring a whole new feel to the show. We're very excited to be part of it." PLASA succeeds as a unique experience for exhibitors and visitors through the buzz and dynamism of the people who attend. As Malcom Burlow from Highlite says: "There's a great vibe and buzz at the Show this year. I've been coming to Earls Court for 20 years; people love coming to London for the PLASA Show and I can't wait for next year, wherever it is!" Koi Neminathan, sales director at Avolites, is also unequivocal: "London is our home market and wherever PLASA moves we will be there!" ExCeL London provides a huge, campus-based experience for visitors only five minutes' drive from London City Airport and is well served by the London Docklands Railway that proved such a success at the Olympics this year. It is 30 minutes to the West End via the Jubilee line and the recentlyopened cable car links to the O2 Arena. PLASA 2013 promises to be bigger, fresher and the beginning of a whole new chapter for PLASA and its members.

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InfoComm MEA 2012 covers AV-IT systems, solutions and education The second edition of InfoComm MEA opens on Sunday 14 October 2012, almost one-and-a-half times larger with 112 exhibitors. This represents a significant increase of 68% in number of exhibitors and 46% growth in size over last year’s event.

rganised jointly by the Asia-Pacific arm of InfoComm International and Dubai World Trade Centre, InfoComm MEA has benefitted immensely from the combined expertise and resources. Not only has the event continued to enjoy the support of international brand leaders, InfoComm MEA’s colocation with GITEX TECHNOLOGY WEEK, organized by Dubai World Trade Centre, has also successfully launched InfoComm MEA at the forefront of AV-IT convergence, a phenomenon that is fast gaining traction in the business world.

AV-IT integration Visitors to the event will be able to learn how various AV technologies can be incorporated into their information communication systems, to become a more efficient and effective integrated network. Leading AV companies such as Arrive, Barco, Crestron, Da-Lite Screens, DIS, Extron, Jupiter Systems, LG, Meyer Sound, Mindstec, Mitsubishi, projectiondesign, RGB Spectrum, RTI, Sharp, Sony, Venuetech, Vtron, and Wolfvision will showcase their systems and solutions – ranging from digital signage and content management, telepresence and video-conferencing, interactive multi-media teaching and distance learning, environmental control and facility management, to command and control for traffic, defence or emergency and rescue operations. The five-day trade exhibition from 14-18 October is accompanied by a comprehensive Summit program offering educational as well as networking opportunities for both AVIT trade professionals and industry end-users. The Summit program comprises: • IT, Education and Hospitality Industry Conferences, presenting AV applications for these industries;

• Education and Hospitality Orientation Tours of the exhibition hall, to see actual demonstration of the applications; • InfoComm University Seminars, offering technical updates on technologies and trends; • IMCCA Unified Conferencing

Seminar, to address latest issues on unified communication; • Manufacturers’ Presentations on their latest products and systems; and • InfoComm Round-Table Networking and Education Advisory Group Meeting.

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Visionaire showcases future of education in the cloud Visionaire, a leading provider of Information & Communication (ICT) and Intelligent Building Management (iBMS) technology solutions and services across a diverse range of industry sectors, has demonstrated its connected concept for the “Future of Education in the Cloud” by showcasing its ‘Victor Unify Simplify Integrated Learning Suite’ at September’s Ankabut Users’ Meeting held at Al Ain University. Ankabut is the United Arab Emirates’ Advanced National Research and Education Network offering academic institutions connectivity to other education networks around the world.

neeta Gupta, President of Visionaire said her company is committed to the evolution of the UAE’s education sector and the significance of the Cloud-Connected Classroom.“The Ankabut User’s Meeting provided the perfect platform for us to showcase the developments we have made in content creation and delivery systems to classrooms and to connected learners who may be located in different classrooms and different cities at the same time this was collaborated with partners like Arrive, Brocade Intel and Microsoft,” she said. Arrive’s CloudPoint Interactive Appliance supports full HD output and gives universities and schools the opportunity to benefit from Ankabut through dedicated high-bandwidth connectivity, offering the unmatched cloud-based application to classrooms. The hardware is built on robust Intel architecture and with fully integrated Microsoft’s App-V, Citrix and VM Ware Virtual Desktop Infrastructure. Arrive’s ViewPoint HD Lecture Capture Appliance provides simultaneous data including the teachers’ video, voice, and data screen which can be captured and broadcast simultaneously to connect students online. “This is achieved utilising the high bandwidth available at Ankabut for distance learning and lecture archival – High Definition Recorded Lectures can be viewed by students at their own convenience many times and notes can be added to the lecture to create what is called “rich media”,” added Gupta. “It is being widely adopted by Universities and schools for archiving and creating live teaching experiences for remote classrooms as well as repeated viewing of the same class.”

Smart Learning Classroom initiative that will do away with the obsolete system of teachers walking into classrooms and lecturing for an hour to drowsy and disinterested students. Instead, they are planning to introduce their students to innovative e-learning programmes available with the help of high speed Internet, often in the form of a wi-fi campus. This way, teaching can be integrated and extended to include out of classroom exchange of ideas as well.

UAE launch smart learning programme During September His Highness Sheikh Mohammad Bin Rashid Al Maktoum, VicePresident and Prime Minister of the UAE and Ruler of Dubai, launched the Mohammad Bin Rashid Initiative for Smart Learning for higher education in the United Arab Emirates. The initiative will reach about 13 thousand students in the early stages of college education at the Zayed University, the Emirates University and the Higher Colleges of Technology. Sheikh Mohammad launched the programme at the Abu Dhabi Men’s College headquarters where he signed on iPad, a device that will be used for the programme. He talked to students and urged them to derive maximum benefit from the potential and opportunities provided to them so as to acquire the required scientific and technical skills. “Optimum use of technology in our universities and colleges will bring about a qualitative leap in knowledge, enhancing the capabilities of our sons and daughters to address future challenges. It will help them start a new career path in science and technology and open up new avenues for innovation and excellence and allow them contribute to building a knowledge-based community,” Sheikh Mohammad said. “The UAE needs the energies and minds of its children to realise significant achievements in science and technology.” John Couch, Vice-President of Education - Apple, described the initiative as “historic and the first of its kind in size and scope in the Middle East”. “It took eight months of planning and a very careful assessment of our campus’ ability to handle these devices,” explains Thomas Cochran, Associate Provost and Campus Director of Zayed University. “We then had to get the faculty interested enough to play the active role which such a large-scale process requires and finally, we had to decide on the content being taught and how it should be practised.” The iPads have been distributed to all students at the early stage of their college education where they learn mathematics, English, Arabic and information technology.

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The power of true unified communications Communication in today’s business world is so much more than picking up the phone and making a voice call. It is about collaboration, cross platform communication and presence, and intelligently locating the best resource and getting in touch with them in a way that suits all parties.

n a nutshell, it’s all about Unified Communication (UC). However, true UC is not simply a combination of email, messenger and voice anymore. It is the ability to bring all of these media together, along with video conferencing, presence management and more, into a single solution that allows for a seamless user experience between different communication technologies, across a variety of different platforms such as laptops, tablets and even smartphones, and across a variety of UC landscapes and environments.

Rich tool-set Today’s users are looking to communicate with richer tools than ever before, and are no longer satisfied with a normal audio call. Users are demanding the ability to know if contacts are available, and then to collaborate, share rich content and see people face to face. Given the increasing mobility of workforces, all of these tools also need to be available not only in boardrooms and conference centres but also PC and tablets. Users want to have a seamless experience which works regardless of brand or technology. This is the power of true unified communications, with standards-based tools and communication that enable crossplatform, cross-technology seamless communication for users no matter where they are or what device they wish to connect with.

Boost productivity Ultimately any modern UC solution should work with the technologies that the business people within the organisation want to work with, helping to boost productivity, simplify the way information is shared and improve efficiency, meeting the challenges of today’s tough economic climate. Whether a user is on a train, in a boardroom, at a home office or sitting at the airport, connectivity should allow

“Today’s users are looking to communicate with richer tools than ever before, and are no longer satisfied with a normal audio call,” says Divesh Nathoo, pre-sales manager at Kathea. “Users are demanding the ability to know if contacts are available, and then to collaborate, share rich content and see people face to face.”

for these users to join in on collaborative, productive visual communication. By providing a single, central interface, UC not only allows for more efficient communication, it also simplifies management, driving down operating costs. Extending this platform outside of the enterprise to include customers, partners and suppliers, further improves collaboration and information sharing. This wider UC network not only allows for cheaper IP-based calls to be made across the network, it also enables faster, more agile decision-making, better levels of service and an improved ability to proactively respond to changes in the market.

Video collaboration However the true power of UC lies in video collaboration, which delivers a host of benefits and also minimises the need for travel across geographically 14

dispersed organisations, lowering travel expenses and decreasing carbon footprint. Video capability as part of a UC strategy should offer easy to use video collaboration for a variety of environments, from doctors connecting with patients to lecture halls, conference rooms, court rooms and manufacturing. Across environments and industries, video is becoming the new communication standard, enabling users to meet, debate, consult, decide, plan, instruct, agree, sell, create and most importantly to collaborate face-toface with users regardless of their geographic location. Bringing together multiple communication technologies into a single platform for collaboration, regardless of a user’s location, network, carrier, protocol, application, or device, is what true unified communication is all about. Given the number of different platforms, technologies and environments available, achieving true unified communication requires open and native interoperability to enable all the disparate parts involved to work together seamlessly. From voice and email to instant messenger, presence, calendars and contact, to video collaboration, UC should be able to seamlessly integrate to provide the end user with an immersive and rich communication experience.

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Urban Brew cover world’s toughest endurance race When Urban Brew Studios secured the global television rights to the world’s toughest endurance race, the 2011/12 Scott-Amundsen Centenary Race to the South Pole, CEO Danie Ferreira opted for Sony cameras from Jasco Broadcast Solutions. The experience was mind blowing – so was the performance of the Sony PMW-EX3 XDCAM EX cameras.

eventeen extreme endurance athletes from six countries, were flown to the start, 704km from the South Pole, from where they raced to the finish unsupported, on foot and with cross country skis, hauling gear and provisions. “The Urban Brew team had a dual focus – to document the entire event, complete with daily updates, and to capture the experience of the South African competitors,” says Ferreira. “With a small team of four and three Sony PMW-EX3 XDCAM EX camera kits we spent 6 weeks on the ice – often at temperatures of 40°C, in katabatic (downward moving) winds of up to 80mph, in a landscape of white on glaring white.”

Where most TV series end, this race starts Two Urban Brew crew members covered the leading competitors while the other two captured the dramas unfolding at the back of the pack. While exhilarating, the cold and pace of work were fatiguing. Says Ferreira: “In summer the sun never sets at these latitudes, it just moves around your head. We found ourselves working two or three days at a stretch to capture the action before taking a break. This made the performance of the cameras and related equipment a vital part of our success. The challenges we prepared for were not the challenges we faced, however.”

to in South Africa. We were unsure how the equipment would function in this environment.

Performance batteries “We thought the Sony BP-U60 batteries would be our greatest challenge, as their staying power in cold

The coldest desert Ferreira, a self-confessed Antarctic junkie who had visited the area four times, knows the environment well. “The Antarctic is the coldest, highest, driest desert on the planet,” says Ferreira. “Where most TV series end, this race starts. There is amazing coastal and marine life but the minute you move onto the plateau you are 3000 meters above the sea and must battle low levels of oxygen. And there is no landscape definition, no mountains or other features – it’s like a white sea of ice. At -30°C to 40°C, its 60° colder than what we are used 15

environments is typically low. To ensure we had sufficient battery power, we had ported inverters. To our surprise and delight, instead of lasting only a couple of hours each, they lasted 15-20 hours each. The tripods, which we had not given much thought to, seized at -40°C, which meant we could not use the pan and tilt functionality. We had to resort to shooting off the ice surface. As any colour darker than white melts the ice, and we didn’t want the cameras getting wet, we worked fast.” The camera’s themselves gave not a single problem. “The cameras started every time and functioned fully to performance spec without trouble, which is almost unprecedented in my experience. I did impose some very strict rules on how and where they were used and stored, however. As our most important tools, we were careful to keep them in the dry cold of the external environment, never bringing them into the moist heat of the tents.” Other challenges were keeping frost bite at bay and dealing with glare. “To work the camera we had to take off our heavy outer gloves which left fingers vulnerable. We also had to shoot with a wide aperture to overcome the challenges of ice build-up on the lens.

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With 24 hours of daylight and a white on white on white environment with no landscape definition, we needed a lot of neutral density filters to bring light levels down.â&#x20AC;?

The winners The event was won by the Norwegian team in a record breaking 15 days. The Welsh team followed, making it to the finish in 22 days. The South African team of Braam Malherbe and Peter van Kets came in third at 24 days, having assisted Team British Green to carry the load of an injured team mate. It was quite a feat for the two who had never used skis before this event but who had, respectively, ran the Great Wall of China and rowed solo across the Atlantic Ocean. â&#x20AC;&#x153;Braam and Peter are truly remarkable athletes,â&#x20AC;? says Ferreira. â&#x20AC;&#x153;To have achieved what they did is outstanding. Brave Hearts, the 90-minute feature which captures Team SAâ&#x20AC;&#x2122;s journey, tells the story well â&#x20AC;&#x201C; the psychological and physical challenges.â&#x20AC;? Cold Sweat is currently being screened locally on SABC 3, a three-part feature covering the whole event. Both the documentary feature and the documentary series will flight internationally in the coming months.

â&#x20AC;&#x153;The Antarctic is the coldest, highest and driest desert on the planet,â&#x20AC;? explains Urban Brew CEO Danie Ferreira. â&#x20AC;&#x153;With a small team of four we spent 6 weeks on the ice, often in howling gales and temperatures of around -40Â°C. Despite these conditions, our equipment held up well.â&#x20AC;?

Concludes Ferreira: â&#x20AC;&#x153;For me this has been a dream come true â&#x20AC;&#x201C; I love the Antarctic and I love to work with a camera â&#x20AC;&#x201C; I got to do both with great equipment and an event that few will ever personally witness.â&#x20AC;? Says Rupert Dalton, Sales Executive at Jasco Broadcast Solutions: â&#x20AC;&#x153;We were pleased to have been able to

advise on the purchase of the Sony PMWEX3 cameras used for this event. Itâ&#x20AC;&#x2122;s an awesome achievement by some pretty amazing South Africans â&#x20AC;&#x201C; the Urban Brew team and the athletes. These documentaries are a showcase for South Africaâ&#x20AC;&#x2122;s talent as much as the capabilities of Sonyâ&#x20AC;&#x2122;s cameras.â&#x20AC;?

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Ă&#x152;WĂ&#x152;Ă?Ă?Ă&#x152; Â&#x160;Â&#x2018;Ă Ă&#x152; Ă?kÂ&#x161;Ă&#x2014;k_Ă&#x152;"Â&#x17E;Ă&#x201A;Ă&#x17D;Â&#x2021;XÂ&#x2018;Â&#x160;xxĂ&#x152;Ă&#x2022;ÂĽÂ&#x203A;zĂ&#x152;WĂ&#x152;,Â˛$Â˛Ă&#x152; Â&#x17E;Ă&#x;Ă&#x152;--Ă&#x2030;Ă?zÂĽz_Ă&#x152; @Â&#x160;Ă&#x201A;Â&#x2018;@Â&#x161;bĂ&#x152;Ă&#x2022;ĂŚĂ?ĂŚĂ&#x152;W WĂ&#x152;.kÂĂ&#x2014;NÂ&#x2018;Â&#x160;XĂ&#x152;$xĂ&#x152;/Â&#x17E;Ă&#x2014;Ă&#x17D;Â&#x2021;Ă&#x152; xĂ&#x201A;Â&#x160;X@Ă&#x152;WĂ&#x152;Ă&#x17E;Ă&#x17E;Ă&#x17E;Â˛kÂ&#x2018;kXĂ&#x17D;Ă&#x201A;Â&#x17E;Ă&#x2026;Â&#x17E;Â&#x161;Â&#x160;XÂ˛XÂ&#x17E;Â˛Ă¤@Ă&#x152;WĂ&#x152; kÂ&#x2018;ÂĂ&#x152; Â&#x160;Â&#x161;kĂ&#x152; 8^Ă&#x152;ĂŚpĂ&#x160;ÂĽĂ&#x152; 8 ,Ă&#x152;ÂŻĂ&#x2022;pĂ&#x152;}Ă?Ă&#x152;zĂ&#x2030;Â°Ă&#x152;W WĂ&#x152; kÂ&#x2018;ÂĂ&#x152; Â&#x160;Â&#x161;kĂ&#x152; Â&#x160; Â&#x2021;Ă&#x17D;Â&#x160;Â&#x161; ^Ă&#x152;ĂŚp-Ă&#x160;ĂŚĂ&#x152;! .1 "Ă&#x152;ÂŻĂ&#x160;Ă&#x2022;Ă&#x152;Ă&#x2030;pĂ&#x152;}Ă&#x160;Â°Ă&#x152;W ÂŠ 2011 Kramer Electronics, Ltd. All rights reserved. Reproduction in whole or in part without written permission is prohibited

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he Frank Gehry-designed IAC HQ is home to many of IAC’s industry-leading Internet and media companies. The new installation features the world’s largest high-resolution video wall using Prysm’s Laser Phosphor Display (LPD), a groundbreaking display technology delivering stunning, lifesize images using low-power, solid–state lasers. The two walls will deliver more than 50 million pixels combined, and will reduce power and cooling costs by 70 percent over the previous projection technology.

Green technology “The new technology displayed in the IAC HQ’s video walls sets the standard for green technology,” said Vincent Luciani, Chief Information Officer of IAC. “We expect to dramatically decrease our energy costs while simultaneously providing an unparalleled viewing experience for our hundreds of clients and thousands of employees and visitors that attend events at the IAC HQ each year.” “Our momentum is growing as Prysm installations continue to populate some of the most wellknown international organizations. We are very excited to support IAC, a name synonymous with success,” said Amit Jain, CEO and Founder of Prysm. “This installation demonstrates Prysm’s immersive experiences and its image uniformity over the long life of these displays does not require regular adjustments leading to fast ROI as well.”

“With Prysm’s LPD video wall we expect to significantly reduce our energy costs while simultaneously providing an unparalleled viewing experience for the thousands of staff and customers who visit our headquarters each day,” says Vincent Luciani, chief information officer at IAC.

walls deliver close to 180-degree field of views, leading to exceptional immersive views from any angle in the large event space. Prysm is a video display provider that offers brilliant lifelike and life-size displays for truly immersive experiences. The privately held company invented a new large format commercial display platform based on its proprietary Laser Phosphor Display (LPD) technology. Traditional technologies such as

Freedom to create Prysm’s new LPD technology gives designers the freedom to create video content in any shape, size or format. IAC HQ’s video displays consist of two separate walls. The west wall measures nearly 120’ wide by 10’ tall, consisting of over 43 million pixels, and the east wall measures 20‘ wide by 10’ tall, displaying 7.3 million pixels. The two 18

projection, PDP/plasma, LCD, and LED cannot compare to LPD’s brilliant uniform picture quality delivered in any shape, size and viewing angle. Prysm’s LPD video display solutions meet the highest environmental standards using less power than traditional technologies. Leading brands in retail, financial services, technology, and media as well as government organizations use Prysm’s displays.

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Sky News Arabia chooses Envivio for OTT broadcast streaming service Envivio, a leading provider of live and on-demand multi-screen IP video processing and delivery solutions, has announced that Sky News Arabia has deployed their software-based encoders for its real-time web streaming service.

he broadcaster, based in Abu Dhabi, uses the Envivio video processing solution to compress and stream its live video content to its website for over-the-top (OTT) viewing on PCs and mobile devices by people around the world. “It is important for Sky News Arabia to be able to deliver a high quality streaming service to all of our subscribers as well as other interested viewers from various countries,” said Ihsan Yahya, Project Design Engineer at Sky News Arabia. “We selected Envivio because they were able to get our OTT service up and running in three weeks, and provided excellent customer service.”

Fast and independent Sky News Arabia is a 24-hour, Arabic-language rolling news channel broadcasting in HD quality from Abu Dhabi. A joint venture between Abu Dhabi Media Investment Corporation (ADMIC) and the UK’s BSkyB, the channel offers fresh, fast and independent news across multiple media platforms to audiences across

the Middle East and North Africa (MENA) region. In addition to satellite and cable TV broadcasts, millions of viewers across the region can enjoy live streaming on the Internet or on the go via their smartphones, tablets and PCs. “Viewing patterns continue to shift, with people choosing to watch their favourite content on a variety of screens beyond the TV,” said Julien Signès, president and CEO of Envivio. “Sky News Arabia is an innovative broadcaster, offering its content on Internet-connected platforms to broaden its distribution

reach and offer a better service for its subscribers.” Muse is Envivio’s IPcentric multi-screen architecture designed for live or on-demand video transcoding, processing and distribution to any device. Significantly improving efficiency and operations compared to architectures that call for separate broadcast and multi-screen headends, Muse is available on the Envivio 4Caster appliances or HP blade servers. Envivio is a leader in solutions for multi-screen video processing and delivery. The company claims to remove the boundaries of traditional television and make the world’s video content universally enjoyable by all viewers, on any device, across any network, at any time. Now in its second decade of developing market-leading video convergence solutions, the company provides services for more than 300 content and service provider customers around the world, including eight of the top 10 mobile operators, nine of the top 10 broadband providers and three of the top four US cable operators.

Share ideas on LinkedIn Join the SACIA LinkedIn group and share the online discussion about products and issues impacting the future of the professional AV industry in Southern Africa.

To find us, click the Groups Tab in your LinkedIn profile and search for SACIA

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The greatest show on earth When a broadcast operation attracts the largest television audience ever seen, then the story behind it is sure to be interesting. For the London 2012 Games, Olympic Broadcasting Services (OBS) as host broadcaster assembled a remarkable array of technology and talent.

ach of the 205 countries taking part had a rights-holding broadcaster, of which 132 took space in the International Broadcast Centre (IBC) in the Olympic Park. The larger broadcasters from around the world built studios and tailored their own coverage. For broadcasters with fewer resources OBS produced 12 packaged channels covering all the key action, with commentary available in English, Spanish and Arabic. Lord Coe, the head of the London Organising Committee for the Olympic Games (LOCOG), often said that running the Olympics is like organising 26 simultaneous world championships. Those 26 sports covered 34 venues, and in turn that called for 52 outside broadcast trucks, some travelling a great distance to play their part: Live, based in Abu Dhabi sent a truck which was responsible for the opening ceremony coverage, amongst other things.

Staggering numbers The staggering numbers continue. The core coverage called for more than 1000 HD cameras and 3500 effects microphones â&#x20AC;&#x201C; 5.1 surround sound accompanied the HD pictures. For those not taking the packaged channels 96 multi-lateral feeds were available in the IBC, covering literally all of the action. Alongside standard cameras were a large number of innovations. The DiveCam fell on a track alongside the divers on the 10 metre board, following them from their launch into the water. For synchronised swimming a special twin camera was developed which shot both above and below the waterline. Around the vaulting horse there was a timeslice camera to give a wraparound view of the gymnast in mid air.

provided one of the most memorable establishing shots ever, swooping across the river and through one of Londonâ&#x20AC;&#x2122;s most famous and historic buildings. OBC worked with LOCOG on the lighting at each venue. Here there were two aims: to produce a dramatic sense of occasion for the sports themselves, but also to ensure the audience were also clearly visible, allowing for great reaction shots. Whether they were spectators having a great day out or friends and family of the competitors sharing the agony and the ecstasy, the reaction shots formed a vital part of the coverage.

Spectacular views Some of the most spectacular views were created by the two longest cablesuspended cameras ever built. The longer, at 2250 metres, ran the entire length of the rowing course at Eton Dorney. The second, a mere 1560m, crossed the Thames and over the historic Greenwich Palace to the equestrian arena in Greenwich Park. As well as tracking competitors on the cross country stages, it

Keeping track All of this coverage generated huge amounts of video content, which had to be carefully managed if the rights-holding broadcasters were to get maximum benefit from it. So the heart of the IBC was a server network and asset management system which were crucial to the success of the operation. 20

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EVS supplied the hardware and much of the software. The front end is an ingest server. This has a capacity of 1000 hours, with 48 inputs and 24 outputs. As content was ingested it was transcoded and handed on to other processes: there was no time to wait for an event to finish before users could have access to it. Backing up the ingest server was a SAN, also provided by EVS, which stored 5600 hours of content. At the same time as writing to the SAN the content was transcoded and delivered to an Avid Isis server which supported OBS’s own editing requirements, including the Olympic News Channel, a 24 hour rolling news output. The material was also coded at three levels of proxy resolution for Microsoft Smooth Streaming. This allows any connected computer to access the content using bitrate adaptive streaming, ensuring the best possible experience wherever the user was connected. With the huge numbers of users wanting to access the store, everyone connects through the browse server. In and out points of required content were marked, and the request for full resolution transfers was added to the queue. Users could create their own packages using the browse content, simply replacing the action with full resolution material as soon as it arrived.

Metadata is critical For all this to work, metadata was critical. In the heart of the IBC was a room containing 50 logging positions. Here operators tagged the content for athletes and action, helping the rights-holding broadcasters find the shots they wanted. EVS developed a touch-screen interface to speed the tagging process. For each piece of video the screen is ready populated with competitors and other useful information, and the fixed parts of the metadata – competition, venue, heats and so on – is automatically inserted into each clip. This information came from the Olympic Data Feed which provided everything from names to finishing times and record performances.

During the Olympic rowing event South Africa stunned favourites Great Britain and Denmark to claim their first ever Olympic rowing gold medal in the lightweight men's four in front of a 25 000 crowd.

athlete interview, talking to the stars immediately after their event. OBS generated more than 2000 of these, and the major broadcasters also carried out their own. At each venue one or two locations for these interviews. These were sent back to the IBC as a continual stream, and again there needed to be a means of adding the metadata if they were going to be of any use. EVS created a special iPad app which was used by the production assistant at each interview point. The athlete name was selected from the list of those involved in that specific event, and if the interview was for a specific broadcaster that was entered on the iPad too. Other than that, all the PA had to do was tap for the in and out points of the interview and the metadata was sent over

Data feed The data feed and the tagging together combined to create a new source of information, the broadcast data feed, which was tied to source timecode and always available. This was used to generate graphics from templates, for example: OBS estimated that it created more than 95,000 individual graphics over the course of the Olympics alone. Alongside the action there was atmosphere. One popular feature was the 21

Wifi to the asset management system.

Tapeless workflow All this meant that coverage was faster, more involving and more popular with audiences worldwide. Moving to a completely tapeless and largely automated workflow meant the operation could be relatively lean and mean. Despite adding many more services – online feeds, 3D and Super Hi-Vision coverage and more – and serving more rightsholding broadcasters than ever before, the footprint of the London 2012 International Broadcasting Centre, in space and in staff, was no bigger than that for Beijing. The Olympic caravan moves on, first to Sochi in 2014 then to Rio in 2016. It will be fascinating to see what new developments are added for their coverage.

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Ten things we learned at IBC2012 This year was IBC’s 20th anniversary in Amsterdam. Dick Hobbs is a veteran not just of all 20 but several IBCs in Brighton and even one in Wembley before that. Rather than describe the offerings of the major manufacturers, he looks at some of the key messages coming out of this year’s exhibition and conference. UHD is the new 3D

Stereoscopic 3D to the home has largely failed to set the consumer world alight, despite heavy promotion by consumer electronics manufacturers. It seems that it does not matter how persuasively you tell them they will enjoy it, ordinary people just do not want to become immersed in television. The next battleground is in ultra-HD: higher resolutions than today’s HD. Sony had an 84” screen showing 4k television, which looked beautiful. The pictures, though, were carefully chosen: they were recordings of picturesque locations like the Italian Amalfi coast, taken on

gloriously sunny days, with the camera panning impossibly slowly across the scene. The sort of cinematography, in fact, you only see demonstrating new and far-from-finished technology. Over in the Future Zone, NHK of Japan were once more showing their Super Hi-Vision system, which is 8k resolution. Going one better, NHK had 85” screens. More important, they were showing real television: the opening ceremony of the London Olympics, as well as Usain Bolt’s 100 metres final. Up close – as you are always going to view a demonstration at an exhibition – I found the opening ceremony footage a bit distracting. You could see too much detail: hoists going up and down were comfortably hidden in the shadows on my everyday HD screen at home but were an obvious movement in Super Hi-Vision. NHK has always said that it is aiming for 2020 for it to be productised, and I hear rumours of considerable interest from Qatar for the 2022 World Cup. Its 22

standardisation process is already under way. Will 4k or Super Hi-Vision chime with consumers? Only time will tell.

Everybody is second screening

Perhaps the main reason consumers have been so indifferent to 3D is that they are concentrating on their iPads. With Facebook approaching a billion users worldwide, social media is here to stay, and one of the things we do

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is talk about television. So the smart thing to do is to harness social media, to help you understand as well as build your audience. Companies like IPV have tools which will trawl through Twitter comments in real time to determine how your programme is being appreciated, making instant judgements on the audience’s attitude to the content and the presenters. Real intelligence built into the system allows it to understand sarcasm and irony to get a really accurate picture incredibly quickly – while the programme is being transmitted. One of the IBC Innovation Awards was given to a companion app, produced by Red Bee Media for zombie show The Walking Dead on FX UK. This was a playalong companion to the show itself, adding value to the content and retaining audiences. Most significantly, it used audio watermarking technology from Civolution to synchronise the app to the programme, whether you were watching as broadcast or time-shifted. IBC also reflected on the value of social media in a rapidly changing society, too. In a conference session on the socalled Arab Spring, Nart Bouran, head of Sky News Arabia, said that the citizen revolution, empowered by social media, had forced changes, but warned “we also have to be very cautious that we, the broadcasters, are not being manipulated. We attempt to verify every event via our own trusted sources.”

targeting advertising to specific groups of users or even to the individual. The challenges of this are high: it is not easy to build up and manage the preferences of a whole population – even ignoring the restrictions of privacy laws – and even then you have to determine which members of a household are actually watching at any time. Companies like Ruwido are developing remote controls which learn the way that individuals hold and move them as a clue to who is watching. Once you have worked out who might be looking at the screen and what they might be interested in, you still have to give them the right commercial. The problem here has been that the traditional solution is to download the commercials in advance and switch at the device, which means breaking in to the transport stream resulting in freezes, spinning wheels while a new group of pictures is created, a shift in technical quality, and generally an unpleasant experience which is far removed from the seamless broadcast output we are used to. So audiences are likely to reject it. A relatively new company in the business, Yospace, has a much better technology which inserts the replacement content at the point of encoding. That means a seamless stream is presented to the content delivery network resulting in perfect reception at the consumer device. Yospace is a scalable cloud service which means in theory it could tailor content down to the individual. For now that seems unlikely, but it is already enjoying some success in presenting alternative content and commercials for different platforms.

arrive over ethernet or Wifi. You need to understand the file structure before you can do anything with it. And, for very good reasons, each manufacturer developed its own file structure to suit its own needs. This was heading for disaster, so the Advanced Media Workflow Association (AMWA) and the European Broadcasting Union (EBU) came together in a joint initiative aimed at banging heads together. The initiative is called FIMS: the framework for interoperable media systems, and AMWA and EBU got just about every relevant manufacturer and a lot of major broadcasters to actively cooperate in its development. They got an IBC Award for this, and quite right too. FIMS is what it says: a framework. It is a solid basis on which people can develop file-based and cloud services, and gives us a fighting chance of being able to build modern technology systems the way we used to with baseband signals. According to Bloomberg, one of the first broadcasters to adopt FIMS, a workflow development that used to take four to six weeks can now be up and running in a couple of days.

4 2 3

No-one knows where the money will come from

We still talk about the cloud, even if we are not quite sure what to do with it

FIMS could make file-based systems interoperable

With audiences sharing their focus across multiple devices, and programmes generally time-shifted if only to spool through commercial breaks, there is a sensation that the traditional, advertisingfunded television business model is breaking down. Yet there is a clear need for the traditional channel: not only does it provide a means for creating and marketing new content, it is the only way to support major live events like the Olympics. One solution which has been talked about for some years is the idea of

In the old days, connecting equipment from different manufacturers was easy. If it was a BNC connector it was video; it if was an XLR it was audio. That was pretty much all you needed to know. If everything is a data file, then the complications are great. The physical transport layer is no help: it is all going to 23

I have already used the C word a couple of times. It is unavoidable. There is a growing understanding that cloud concepts like software as a service and storage as a service are transforming traditional IT, and so we should be taking notice too. And yet there is still considerable resistance. One element of this concern has some grounding in fact. Whereas a bank or an airline reservation system would be dealing in large numbers of small files, we have fewer, very much larger files. As we generally need to move those files to be able to do anything with them, then we are entirely dependent upon big bandwidth, which is largely out of our control. Companies like Signiant and Aspera are having a huge impact in this area, and

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are winning large amounts of business simply because it is a problem that has to be solved. The second, rather more nebulous, challenge is the fear of piracy. Despite the fact that banks quite like to keep their dealings pretty confidential and they manage to ship data around cloud networks, there is still a fear that cloud services could leak. We can only point to highly successful businesses like Forbidden Technologies, which has been providing cloud editing for many years now, and hope that the message will get through.

Everyone is jumping on the low-cost bandwagon…

It may have started with Final Cut Pro – broadcast editing for petty cash – but now you can buy pretty much the whole content chain on a tight budget. Probably the busiest – and certainly the noisiest – stand at IBC was GoPro and its ridiculously tiny, ridiculously good, ridiculously inexpensive camera. It is cheap enough for them to give away in competitions (although not to hardworking journalists!) and produces remarkable pictures. Anything else you might need is now available at credit card prices. Even prompting is now affordable: Autoscript has launched a budget company called You Prompt, and companies like Teleprompting Techniques will sell you an app for an iPhone or iPad. This may seem great for people who want to get in to video production, but in truth the capital hardware cost is rarely the real defining budget item. It has two practical impacts, though. First, it disrupts the sales and support chain which professional users have come to rely on. And that, in turn, leads to the second concern, which is…

…but everyone still wants high production values The London Olympics probably got the biggest television audience ever. It did not do that with a couple of GoPros and a

research and development budget for Samsung is $9 billion. To put that into context, according to the most recent IABM study the whole of the broadcast technology market is worth around $18 billion, so one consumer electronics company alone spends on R&D half of our total revenues. For some IBCs in a row, now, there have been predictions of wholesale takeovers of our industry by the IT giants, but yet again this has not come to pass. The reason, I think, is that they look closely at broadcasting and related products, and see not opportunities but headaches. While we rely on a lot of standard IT hardware and techniques, what we do with it remains very clever and extremely challenging. In, say, a banking system, a realtime response means putting details on a screen sometime between, say, half a second and a second. The operator is barely going to notice any difference so long as it remains in that time frame. If the system meets that requirements 99% of the time everyone will judge it to be good. We need a new picture every 20 milliseconds. Not about every 20ms, or most 20ms, but every single 20ms. And, even though we accept five nines – 99.999% availability – as being the best performance we can reasonably expect, we are conscious that it means our channel may be impaired or off air for some minutes each year, which we really do not like. This year there were 1455 companies exhibiting at IBC, many of them small but with the inspiration to create an inventive solution to a real world problem. Like the Timecode Buddy, a wireless slate which links into production metadata. It’s neat, fills a real need, and depends on someone caring enough to develop it into a product that is never going to make billions.

lashed-up DSLR. It called for a huge amount of top-end professional kit. Year in, year out our schedules are dominated by top quality drama and documentaries. These may no longer be shot on 35mm film, but their replacements are top end devices like the Arri Alexa or Sony F35. These allow highly experienced cinematographers to create beautiful, atmospheric pictures which themselves are a tangible part of the story-telling environment. Live television, too, is constantly on the lookout for new functionality. Grass Valley introduced a new series of cameras at IBC, based on the latest generation of CMOS sensors. These give a sensational picture with excellent handling of fine detail. Because they are CMOS cameras – which depend on voltage not charge in the imagers – sensitivity and noise is not dependent upon format, so they are as good at 1080/50p as any other frame rate. iMovix, too, launched a new camera, the x10, which outputs a continuous live stream at a staggering 300 frames a second, giving much more flexibility for ultra-slow motion replays. This is an incredible technical achievement, and I look forward to seeing this one in practice.

The broadcast business is inventive but small

Mergers and acquisitions still abound

David Eun, who is described as the executive vice president of Samsung, and is actually slated to be the Korean company’s public face, was interviewed in the IBC conference. He revealed that the 24

On the other hand, our small industry cannot sustain 1455 companies,

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so there is a rolling process of the clever little ones being bought up by mediumsized companies keen to fill a niche, and of medium-sized companies being bought by larger ones looking for economies of scale. Miranda had been an acquisitive business itself, bringing in key technologies, and then absorbing Omnibus for its automation. Now Miranda itself has been bought, by Belden, presumably just for financial muscle. Belden, best known as a cable manufacturer, had previously bought Telecast Fiber, whose products are now part of the Miranda line, with Miranda now branded a Belden company. The one bit of company news we really wanted to hear at IBC was not forthcoming. Shortly after NAB Harris announced the sale of its broadcast division, and there were some rumours that the results would be at IBC. These proved to be unfounded, and we will have to wait until the end of the year to know who the new owners are. I did have a conversation with the head of Harris broadcast, the aptly named Harris Morris, who is engaging, informed and entertaining and always good to talk to. As expected, he would give no clues about the process, although he did describe it as

an “auction”, suggesting that there are several players still in the game. To my prompt that it was likely to be venture capitalists who fund an independent Harris, he said “that was our hypothesis from the beginning, and it still holds.” He also said that the Harris Corporation – which makes most of its money from government and defence contracts – will allow the new business to retain the Harris name.

will.i.am wears Christian Louboutin shoes The fact that this was one of the questions following his conference keynote adds weight to the idea that will.i.am as an IBC speaker had an element of the stunt about it. That is not to say he is not qualified. He has a role within Intel, not just as a spokesman but as a source of ideas on creative technology. He is also actively engaged in developing educational programmes in depressed areas, making the idea of growing up to be an engineer as exciting as growing up to be a rock star. He did not necessarily say what his audience wanted to hear. As a spokesman for young people, for instance, he said that camera phones were much more intimate than big old-

fashioned cameras, which is fine if you want to be intimate but not when you want to be detached from and commenting on the action. His core message, though, was “connectivity is a fact of life. It is all about engaging with people”. And, wherever we are in the broadcast industry, we cannot deny the truth of that.

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SuperSport extends OB fleet with RTS systems South Africa’s pay-TV provider SuperSport has recently added OB4HD to its fleet of high definition outside broadcast trucks. OB4HD was equipped to be multi-functional by Sony Professional Solutions Europe in Basingstoke and will be used by SuperSport primarily to provide live coverage of sporting events.

he truck’s two slide-outs allow the company’s outside broadcast team to work in comfort with state-of-theart equipment including 29 high-definition cameras. As well as a virtual studio manager, the truck has been fitted with an intercom system from RTS that ensures flawless communication between all members of the crew.Explaining how his company’s collaboration with the South African pay-TV provider came about, Gerhard Strydom, Manager Broadcast Sales & Marketing with Sony South Africa said: “We had already shipped a number of OB trucks to Supersport that have served with distinction, which was doubtless the reason we obtained this latest commission.” The nerve centre of the high-tech control room is provided by an Advanced Digital Audio Matrix (ADAM)

from RTS linked to a variety of RTS keypanels, the models in question being 24 KP-12-CLD, twelve DKP-16-CLD, four KP-32-CLD, three KP-32, one KP-32-CLD and one KP-12. A wireless RTS belt-pack system (three BTR-800 and twelve TR800), a two-wire intercom system also from RTS (two DSI 2008 and six BP-325) and 69 headsets from the RTS MH series

– including the MH-402 model which offers active noise reduction (ANR) – further secure communications within and beyond the high-end vehicle. The RTS systems installed in the OB4HD were selected according to Strydom also because SuperSport’s existing fleet is equipped with RTS equipment – offering the advantage of facilitating trunking. “All the systems on board the OB4HD wagon deliver outstanding sound quality,” he says.The feedback from Johan Chandler, the Head of SuperSport’s Outside Broadcast Department, has also been excellent. So much so, in fact, that Sony Professional Solutions Europe is already hard at work on two more outside broadcast vehicles for SuperSport South Africa. These, needless to say, will again feature from RTS.

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IABM launch new courses for broadcast engineers The IABM (International Association of Broadcasting Manufacturers) Training Academy has announced the launch of two new training courses designed specifically for engineers working in the broadcast technology sector. Each of the two-day courses, "Network Essentials for Broadcast Engineers" and "Compression Fundamentals and Applications," offers intensive training led by experienced trainers and experts in the field.

he two new courses we're introducing today have been developed in response to feedback from broadcasters themselves, along with extensive industry research," said Steve Warner, training manager at the IABM. "These additions to the growing array of IABM Training Academy courses not only cover subjects that are basic and essential building blocks of AV environments, but also address the knowledge and skill areas that are essential in a rapidly changing global media business." The "Network Essentials for Broadcast Engineers" course is a hands-on course that addresses the transition of the broadcast and media production

world from a customized environment with dedicated interconnections between specific-to-function hardware to general-purpose hardware, bespoke software, and IP-based network interconnects. "Network Essentials for Broadcast Engineers" will feature discussion of the core fundamentals representing the network infrastructure for interconnections in a file-based or streaming environment. The course also will cover the network's underlying communication infrastructure, as well as practical media applications for the network. In addition to addressing how networks function now, the course will prepare delegates for future changes that are

inevitable with the transition from IP4 to IP6 and new technology becoming more cost-effective. This course will be offered by SACIA during Q1-2013. The second course being introduced by the IABM Training Academy is "Compression Fundamentals and Applications." This course explores the role of compression as a fundamental building block of AV environments and how it enables functionality simply not possible with uncompressed media. Attendees gain a fundamental understanding of video compression and how the science can be applied to preserve and optimize image quality â&#x20AC;&#x201D; an essential for success â&#x20AC;&#x201D; in operational environments.

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Harris transmitters power two new FM radio stations for Gulf News Harris Broadcast Communications is helping music lovers in the Middle East enjoy Gulf News Broadcasting’s (GNB) recently launched Arabic and Hindi radio stations in crystal-clear FM, thanks to the company’s Flexiva aircooled FM transmitters.

he new GNB radio stations — launched in co-operation with the UAQ Broadcasting Network — are Hayat 95.6 FM and Josh 97.8 FM. The stations join GNB’s existing Englishlanguage FM stations, Radio 1 and Radio 2, as well as the Hindi channel Hum. Harris Flexiva transmitters offer a compact footprint and power-efficient design to minimize space requirements and operational costs. This provides an efficient and reliable transmission platform that delivers a strong, clear signal to audiences throughout the UAE. GNB selected 20kW models to ensure the largest possible coverage area for new and existing listeners while keeping costs low. The Flexiva design also provides software-defined exciter technology that offers GNB a clear and simple upgrade to digital radio standards if desired. “The

Flexiva transmitter from Harris is proven to deliver a highly reliable and stable performance, and will help us reduce our overall operational costs,” said Digby Taylor, project manager, Gulf News Broadcasting. “The low power consumption of the Flexiva design delivers tangible energy savings and, because of its compact size, offers a

simplified installation process and easier on-going maintenance.”Transmitted from the UAQ Broadcasting Network station in the United Arab Emirates, both new stations are currently on-air and entertaining audiences across the region. Josh FM is the UAE’s newest Bollywood music station, attracting young residents in the region; and Hayat plays a mix of modern Arabic music for 18 to 35 year olds “Harris continues to support radio broadcasters and service providers to increase efficiency in their operations by improving their technology investments,” said Said Bacho, vice president sales and service, Middle East and South Asia, Harris Broadcast Communications. “Our investment in the development of our transmitter solutions help broadcasters and operators produce, distribute and transmit content more efficiently.”

Harris build digital HD News Facility at Palestine TV Harris Broadcast Communications will provide a digital end-to-end integrated high-definition (HD) infrastructure and workflow solution at a new Palestine TV news production and playout facility, providing all necessary tools to drive the broadcaster's news, production and master control centers. Based in Ramalla, this new studio and master control room (MCR) will support the entire workflow production chain from ingest through to playout, playing news stories to air with speed and efficiency.

he installation is expected to start in September and is due on air by end of 2012. The project was brokered by Star 2000, a leading dealer and systems integrator in Palestine. The Harris solutions are built around the Harris NewsForce HD/SD news platform for live digital news production. The Harris NEXIO MOS Gateway will provide seamless integration with Final Cut Pro editors and a central newsroom computer system, allowing journalists direct and immediate access to content stored on the NEXIO storage area network (SAN). Harris NEXIO AMP servers will play news stories to air while NEXIO low-resolution browse software will enable journalists to preview and edit

low-resolution clips, reducing storage and management complexity. “We were looking to work with an established vendor that could provide a complete integrated HD news production and playout workflow, and Harris fit our requirements perfectly,” said Firas Abed Al-Rahman, chief of development and technical support at Palestine Television. “The regional availability of technical support and stock that Harris offers directly and through its collaboration with Star 2000 is an added benefit, providing easy access to local engineers and fast service response times.” Harris ADC automated content management and distribution brings everything together in the file-based 28

environment, managing complex operations within master control. Its media ingest capabilities include automated and manual processes for content acquisition and preparation, giving operators maximum flexibility and ease of use. "As broadcasters migrate to file-based environments they are looking to implement integrated solutions that help to streamline workflow processes and optimize operational efficiencies,” said Said Bacho, vice president sales and service, Middle East and South Asia, Harris Broadcast Communications. “The new facility at Palestine TV will provide advanced functionality, increased on-air reliability and reduced total cost of ownership.”

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Harris launch first HD News channel in Iraq's Kurdistan region Harris Broadcast Communications will soon deliver an integrated infrastructure and workflow solution for the first Iraqi high-definition (HD) news channel in the Kurdish region of the country.

udaw Media Group, one of Iraq’s leading publishing companies, selected Harris technology as the core of its new filebased production workflow and playout facility. With this channel, Rudaw will extend its reach beyond print media and venture into television to gain audience share from Kurdishspeaking TV viewing communities. Based at a recently completed Greenfield site in Erbil, the capital city of Iraq’s Kurdistan region, this news production center will incorporate the latest Harris HD infrastructure and workflow technologies for signal routing and management, distribution and play to air. The deal was brokered by Sahi-Ateksis, a leading distributor in the region.

News production The facility will primarily be used for the production of news programming and documentaries, and is expected to go on air at the end of September 2012. “We were looking to build out the most comprehensive and streamlined HD file-based news production workflow and playout facility in the region, and

chose to use the proven Harris infrastructure and workflow solutions because they are both reliable and future proofed,” said Hejar Berenji, technical director of Rudaw Media Group. “Furthermore, Harris understands the nature of our new business and is able to provide us with a locally-based technical support team that recognizes the cultural and linguistic diversity of the region — a key driver in our choice of vendor.” The infrastructure solutions to be implemented at Rudaw include a Harris Platinum router that integrates video and audio processing, as well as Harris HView SX Pro multiviewers, within its frame. This single-frame

routing and multiviewer solution minimizes space requirements, cabling and energy consumption. Harris Videotek CMN-41 test and measurement devices will ensure signal integrity and superior on-air quality. Harris Invenio digital asset management software will simplify content ingest and storage across the media workflow, and transfer that content to the NEXIO HD playout server for onward transmission — all under the control of the Harris ADC automated content management and distribution system.“Our established track record of delivering wellengineered technical solutions that meet the business and operational needs of our customers has been critical to our success in the Middle East — and the project at Rudaw TV is no exception,” said Said Bacho, vice president sales and service, Middle East and South Asia, Harris Broadcast Communications. “The implementation of the Harris filebased HD workflows at Rudaw will provide all round benefits today and reduce the costs associated with upgrades in the future.”

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Don’t throw out your analogue security cameras With the rise of convergence and the evolution of the data network to incorporate multiple technologies, security and video over IP has become increasingly popular. Thanks to increased bandwidth availability in South Africa, IP security cameras are becoming a more viable option, and do offer many benefits. However there are also downsides to this technology, particularly in light of the fact that local bandwidth remains inconsistent and is still relatively expensive, and video streaming requires large amounts of stable bandwidth to perform to its best ability.

also critical to understand the needs of the business, the network and infrastructure availability, the archiving needs, network loads and so on. To put it simply, you need to know what the benefits to your specific organisation would be, and whether or not these outweigh the cost of replacing systems. As an example, in a sports stadium where storing footage is not critical, but having a detailed, highly accurate view of a large area is, an IP Megapixel camera will be the best solution. However, in a distributed branch office environment where footage needs to be transferred offsite for monitoring, then an analogue solution may be the answer.

he reality is that ripping out an existing solution to install IP-based surveillance is not always applicable or necessary, and the need for a full IP-based surveillance network can only be determined given an enterprise’s unique requirements and circumstances. So before organisations rush to jump on the IP bandwagon and replace analogue security solutions with IP, it is vital to analyse needs, scenarios and costs, and understand whether IP is in fact the best solution, or a costly mistake in today’s environment.

The benefits of IP The evolution of IP technology offers organisations the ability to run a host of applications and services, from voice and video to security, over a single data network, which offers organisations of all sizes a very convenient converged network. CCTV networks are one area where IP can deliver very specific benefits, including powering the camera system using Power over Ethernet (PoE), meaning that the camera network can be powered by the same data cabling as the cable which transports the video. This then enables the IT department to effectively take control of the entire security function. Megapixel IP cameras are also available, which produce high-resolution images with more detail, and, where analogue signal degrades over distance, digital signal does not, as it does not require conversion before it can be transported over a digital network.

The downside However, when it comes to IP cameras, the quality that footage is streamed at is the quality it is recorded at. This means that in order to stream high definition Megapixel video footage in high detail, an enormous amount of bandwidth is necessary. Even with standard definition footage, any and all IP video traffic is added to existing networks, which also have to run other IP technologies such as email, Internet access, Voice over IP (VoIP)

Mark Chertkow, CEO of Graphic Image Technologies in Johannesburg advises caution before you decide to throw out your old analogue surveillance cameras and replace them with IP-equivalents. “Local bandwidth remains inconsistent and expensive,” he says.

and so on. IP cameras also require video to be constantly streaming, which means that the network traffic they generate is constant and can hamper other applications that need to run. IP-based video security feeds also requires consistent quality of bandwidth availability, and if this is interrupted security footage will fail to be recorded or transmitted, which defeats the purpose of a security camera solution. Added to this, unless networks are very well managed, huge volumes of traffic from multiple security cameras will have a devastating effect on network performance for other applications. Managing security on the security networks is also vital, since IP networks can be subject to denial of service attacks which can compromise the entire system. All of this adds up to the fact that in a lot of situations in the South African market, IP is not necessarily the ideal security solution.

So how do you decide? Firstly, it is vital to understand the relative pros and cons of IP before ripping out and replacing existing systems. It is 30

The best of both worlds There are pros and cons to both IP and analogue solutions. So why not leverage the best of both worlds? Solutions are available that enable footage recorded by analogue cameras on a DVR to be converted to digital feed for live streaming and remote monitoring. This enables footage to be recorded in full quality by existing analogue cameras in a format that can be stored and archived, while also enabling footage to be converted into highly compressed digital feeds to be transported and streamed using very little bandwidth over IP networks. This way, users do not sacrifice on quality, as the original footage is still in a higher definition format, and also do not need to take up valuable bandwidth to stream video. Using existing analogue camera solutions with intelligent conversion and compression technology to stream surveillance video over IP, organisations can sweat security assets for longer, retaining existing analogue cameras while still leveraging many of the benefits that go hand in hand with IP. However, ultimately the choice of whether to go IP or not depends on an individual organisation, its infrastructure, its needs and its budget. If in doubt, it is best to get advice from the experts, since security is one area that businesses can ill afford to get wrong.

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Gearhouse commits $4 million in new technologies Gearhouse has taken the unprecedented step of doubling its annual investment in new technology as the company continues to eye expansion opportunities across the Middle East.

he appetite to invest is driven by client demand and the company’s rapidly expanding venue support model. ‘’Looking ahead to the next generation of digital audio, the decision to purchase the Midas Pro 9 was an obvious one’’ said Dave Williams Head of Audio. This outlay is complimented by a comprehensive stock of wireless Sennheiser G3 in-ear monitors and a number of L-ACOUSTICS 115XT HiQ Active Stage Monitors. The company continues to increase its fleet of high end concert and conference audio systems to manage the increasing demand in these sectors. Further investment in specialist rigging services sees the addition of Kinesys Systems to the company, the first choice in motion control for lighting designer’s and theatre consultants around the world. When it comes to Kinesys, this system offers precision positioning and

speed control to manage chain hoists. Bespoke systems have been deployed for acts such as U2’s 360 tour for the transforming video screen as well as theatre productions such as We Will Rock You. The system is designed to provide the capability of moving truss structures, scenic elements, screens and people in a variety of applications that could relate to product reveals, weddings and live entertainment. ΩTo further support both the regions and inbound production companies Gearhouse has invested in Coolux’s award winning media server, Pandoras Box. “Renowned for its ability to manipulate images in both 2D and 3D it can create stunning visual effects and is a system that is rapidly becoming the industry standard for both corporate and entertainment events” said Peter Jones, Gearhouse’s Head of Video. The system supplements the existing and significant

investment in Watchout and Vista Spyder and adds a further dimension to the company’s ability to deliver world class events. The purchase of state of the art control desks and programmable lighting fixtures includes MA Lighting’s grandMA2’s, High End Systems Road Hog Full Boars and one hundred of the ever popular Clay Paky Sharpy’s and Martin Mac 301’s giving Gearhouse the added ability to respond to the lighting designers demand for the best of class technologies to be in the region. The investment is not only limited to technology but at the heart of the company lives a team of dedicated professionals passionate about quality and service excellence. Gearhouse is focused on expanding its workforce of trained support engineers and is adding over 20 new recruits to its team that now tops 100 people based in Abu Dhabi and Dubai.

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Ster-Kinekor to become fully DCI-compliant by mid-2013 Ster Kinekor theatres, the largest cinema exhibitor in South Africa, with 438 screens and 63,000 seats spread across 54 sites, has confirmed a major deal with Christie as it undertakes full conversion of its cinema estate to digital.

ter-Kinekor Theatres currently has Christie Series 2 cinema projectors operating within the Group but this will grow considerably — to 180 Christie series 2 projectors along with 198 Solaria One and Solaria One+ projectors, which will be available from the end of 2012. These come complete with lens, customdesigned Xenon lamp, Christie Integrated media Block (IMB) and easy-to-operate Screen Management Software (SMS). The new deployment will also include Christie 4K DLP Cinema projectors for use at select cinemas across the country in Johannesburg, Pretoria, Durban and Cape Town — chosen after careful evaluation against competitive models. This will be the first time that the Christie Solaria, Solaria One and Solaria One +, as well as Christie IMB and 4K resolution, have all featured in the same deployment. SterKinekor Theatres began the conversion process back in 2008, turning their first five screening rooms into 3D digital with the help of Christie 2K projectors. As a result of this success, they set a target to become 100% DCI-compliant by mid-2013 and formed a partnership with Arts Alliance Media (AAM) to help expedite this.

Enhance viewing experience Ster-Kinekor Theatres CEO, Fiaz Mahomed says that the upgrade is a critical step in helping the company grow the business and take film viewing to the next level. “Christie is crucial to this development, and their close relationship with Arts Alliance and overall bid was compelling. The digital conversion will ensure a heightened viewing experience and is critical in meeting the very real demand from our valued audiences in seeing the best film content — at its best.” He also believes that the Christie solution offers many competitive advantages. “The superior optics and high brightness are ideal for 3D applications and the projectors also provide low cost of ownership,” he said. “As for the 4K platform, the High Frame Rate and 4096 x 2160 resolution move the whole experience on a step further.” Dale Miller, Vice President Christie EMEA

Ster-Kinekor Theatres CEO, Fiaz Mahomed says that the upgrade is a critical step in helping the company grow the business and take film viewing to the next level. “Christie is crucial to this development, and their close relationship with Arts Alliance and overall bid was compelling. The digital conversion will ensure a heightened viewing experience and is critical in meeting the very real demand from our valued audiences in seeing the best film content — at its best.”

noted. “With the recent opening of a local office in Johannesburg, led by Territory Manager Phil Lord, Christie is perfectly placed to offer a high level of technical support.”

Trusted partner Richard Nye, Cinema Sales Director, Christie EMEA, concludes: “We are delighted that the largest exhibitor in South Africa has decided to move forward with a full digital deployment, and that Christie has been selected as the trusted partner in this ground-breaking agreement,” he said. “Ster-Kinekor always put the customer experience at the top of their priorities by being prepared to push the technological envelope — and this makes the cultural fit with Christie a tight one.” This massive deployment of screens in the South African market further increases Christie’s dominance in the EMEA and worldwide cinema market.

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Editec wins Ultra SloMo contract for Saudi football season The UK’s Ultra SloMo specialist Editec has won a contract to supply I-Movix Ultra SloMo equipment, along with technical backup, for the new season of Saudi Premier League coverage.

he contract follows a successful year of operations with Editec’s now industry standard I-Movix Sprintcam Vvs high speed camera system with leading Saudi-Arabian Sports Production company Sport Expert, based in Riyadh. The new contract is for coverage of the next season of this most prestigious series. This year it has been decided to increase the rental contract up to three camera systems later in the season. Prior to the last season, Sport Expert had been asked to bring coverage of the Kingdom’s soccer season up to world-class standards, and an I-Movix ultra slow motion system from Editec was one of the new technologies they installed.

Outstanding shots Not only has the use of this impressive technology been a hit with the producers but also the Saudi Royal Family. To demonstrate the kind of outstanding shots possible with the IMOVIX system, Sport Expert created a close-up shot of a football lit from behind by bright sunlight, and shot at 2500 frames per second as water was poured over it. As they scattered on impact with the ball, the sunlit droplets looked like sparkling diamonds, and this shot was then used in the opening sequence for the first game. It was so successful that the mobile unit received a direct call from a member of the Saudi royal family requesting the shot to be repeated during the game. The impact of the new coverage was both immediate and immense. Audiences for a single game were as high as 25 million, and media response was very enthusiastic.

raised production values. Steve Cotterill MD Editec UK said "We are very pleased that Sport Expert have chosen to use our technology once again. Despite the harsh conditions in Saudi Arabia, the Sprintcam performed without fault. The camera was supplied with a special high temperature cooling upgrade and I am sure that this has helped the situation as temperatures have soared to around 48 deg at times." Sport Expert covered around 450

Game analysis Executive Producer and Senior Director Dave Horridge said, ‘We received Royal requests for more ultra-slow motion footage to be included – even during the pre-match warm-ups. We use it more than you would normally see in the UK because the quality is so good, and people love the effect.’ There is also of course the game analysis and decision opportunities it offers, as well as the

Steve Cotterill MD Editec UK said "We are very pleased that Sport Expert have chosen to use our technology once again. Despite the harsh conditions in Saudi Arabia, the Sprintcam performed without fault. The camera was supplied with a special high temperature cooling upgrade and I am sure that this has helped the situation as temperatures have soared to around 48 deg at times."

games during the season from Riyadh, Jedda and other major cities, with as many as six games being televised concurrently. The company equipped six OB units with the latest equipment and used the Editec I-MOVIX SprintCam Vvs HD system for the most important games. Based on the Phantom camera from Vision Research, the SprintCam Vvs HD offers up to 5,600 fps in 720p or up to 2,600 fps in 1080i. The system provides instant replay at native HD resolution and image quality with a dual output for a live and replay feed. Other features that make it convenient in an outside broadcast environment include an integrated viewfinder, tally and intercom, all running down a single SMPTE fiber to a CCU in the truck. These developments increase reliability and picture quality, and reduce the need for setup and training.

Simple to operate The replay remote and the OCP (control panel) make the SprintCam Vvs HD very flexible and simple to operate. Anyone with a good working experience in live broadcast will find it familiar, and operational knowledge is enough to understand the system’s workflow. To achieve the best possible communication, Sport Expert took full advantage of the system’s built in talkback facilities: ‘We have the audio system wired so that the cameraman can talk direct to the VT operator recording the output from the camera. I can also watch what he’s doing so I can tell him if he’s missed a good shot, or tell him to cue the shot to miss an out-of-focus section.’

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Smallest, brightest and most powerful 3D projector Boasting an impressive set of features designed for demanding applications, the F85 series is the brightest projector in the projectiondesign range. The projector boasts a brightness of up to 11,000 lumens, and a contrast ratio of 14,000:1 for crisp, detailed images. The projector is available in WUXGA or 1080p resolution versions as well as a special version that can optically switch between REC709 and DCI P7 colour spaces. It brings colour saturation and accuracy, optional image processing and connectivity to any installation space. “Performance, versatility, connectivity, brightness and low cost of ownership were our objectives when creating the new F85 series,” says Anders Løkke, Marketing Director at projectiondesign. “The F85 is compatible with a range of input and outputs including X-PORT module connectivity and bandwidth opening up the markets in which it can be used including rental and staging, live events, visitor attractions, advanced visualization and simulation and training.” As well as 2D imaging, the projector can be used in active or passive 3D stereoscopic mode removing the requirement for multiple projectors in stereoscopic set up. The F85 series can display sequential 3D at up to 120 Hz, as well as frame rate convert any input signal to 120 Hz with the X-PORT DCC120, and combine two input streams to a single sequential.

NEC delivers enhanced touchscreen capabilities to public displays NEC Display Solutions has unveiled the latest additions to its range of touch-enabled public displays, bringing a new level of interactivity to retail signage, way finding, classrooms and even corporate meetings. The new range of 46- and 65-inch NEC MultiSync public displays will allow up to six simultaneous touch points (or four drag points) depending on the operating system. The displays use four cameras with an unmatched response time of up to 120 frames per second, providing a high resolution, intuitive, cost effective and robust solution for interactive touch product applications, with no calibration required.

Electro-Voice presents the ZX1-Sub

With precisionengineered components, high power-handling capacity, and powerful, well-balanced sound: the passive ZX1-Sub is the latest member of Electro-Voice’s compact and lightweight ZX loudspeaker family. Presenting an optimal combination of performance, portability and efficiency, the ZX1-Sub is well suited to both mobile applications and fixed installation. A range of features make the ZX1-Sub a standout choice in its class. Its EV-engineered 12” EVS12S woofer operates in the 42 Hz to 200 Hz (-10 dB) frequency range and boasts

a frequency response of 53 Hz – 125 Hz (-3 dB). The nominal impedance of the subwoofer is 8 ohms and its maximum sound pressure level is 127 dB. A robust, 15mm-thick internally braced wooden enclosure with two side handles, a structured coating and a sturdy steel grille ensure both reliable performance and rugged durability in day-to-day use. Product Marketing Manager ProSound EMEA, Markus Schmittinger, is delighted with the new arrival: “It has never been easier to give a solid foundation to a compact PA,” he says. “The ZX1-Sub was conceived primarily for configurations involving EVID, ZX1 and EVU systems, but it will also optimize system performance when paired with loudspeakers from other manufacturers.” Electro-Voice is distributed in South Africa by Prosound.

Rimage announces new disc publishing systems

Rimage has announced the launch of their Professional 5410N and 3410 disc publishing systems. The new systems incorporate a myriad of improvements inside and out, including performance enhancements and new automation features. “Optical discs remain an essential content delivery vehicle for a wide range of businesses and industries,” said 34

Sherman Black, CEO of Rimage. “Rimage has sold thousands of Professional series disc publishing systems since they were launched in 2010, and we are excited to offer our customers an even better solution today.” Some of the additional new features and upgrades include the ability to configure hard drives as a combination of RAID 5 and RAID 0 for reliability and performance. Both Rimage Professional systems deliver the reliability and performance to help businesses increase their productivity and deliver professional-looking results every time.

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Mitsubishi Electric reveal new large-format LCDs at Infocomm MEA

Christie 4K solutions for Business

Seen for the first time in EMEA, Mitsubishi’s new 70” MDT701S and 55” MDT552S public display monitors are the latest additions to its professional flat panel display range. Both are built for style and versatility, and are equally at home in digital signage applications or in more discerning high-end uses such as conference suites and corporate facilities. The narrow-bezel, slimline edge-lit LED displays combine an elegant profile with extremely high image quality, ease of use and low cost of ownership. Both displays are Crestron Connected™ devices, enabling them to be easily integrated into existing systems and managed via PC, IoS or Android devices using Crestron’s RoomView Express or Fusion RV platforms. In addition to LAN connectivity, both models feature Intel OPS (Open Pluggable Standard) slots to greatly simplify deployment and management in digital signage applications. Front and rear ambient light sensors fine-tune display performance automatically to ensure optimum visibility and energy usage. Built-in speakers throw vertically to reduce the unpleasant reverberation sometimes experienced with rearfacing units.

Meeting the growing demand for 4K projection outside of cinema applications, Christie has announced the official launch of Christie Twist 4K. Designed for Christie 4K, 3-chip DLP projectors used in business applications, Christie Twist 4K enables the warping, blending and colour matching of multiprojector displays in large-screen, fixed installation applications including amusement parks, automotive designs, museums and planetariums that require exceptionally large images in a multi-channel (tiled) format. Christie Twist 4K creates uniform, tiled images with superior colour consistency across the entire display when using several projectors and is on display at the Christie booth with the new Christie D4K25, 25,000 lumen projector. “Whether it’s a flat or curved surface, with Christie Twist 4K, ProAV professionals can now blend and colour match images from multiple 4K projectors – easily creating large, ultra-high resolution canvasses that will amaze audiences like never before,” said George Tsintzouras, senior director, product management for Business Products, Christie.

Chief offers new Interactive

LifeSize redefines Video Collaboration Infrastructure

Chief, an industry leader in mounts, racks and interactive solutions, has announced that its new interactive ceiling-mounted projector solution and interactive flat panel solution are now shipping to the EMEA region. Flexible and future-proof, the CMSI interactive accessory easily converts an existing ceiling-mounted projector into a robust interactive platform. With a built-in sensor, the accessory mounts on the wall above an existing dry erase board, and its aesthetic design and brushed aluminum finish blends into any environment. The FCI accessory installs with FUSION Series flat panel mounts, and the PACI adds interactivity to displays using Q-Latch Series swing arm mounts and mobile carts and stands. The accessories are engineered for easy installation with a design similar to Chief side speaker adapters. The accessory works with 40-55" LED-backlit LCD displays with a rigid front panel.

Lifesize has introduced enhancements to its bridging portfolio to provide flexible, virtualized multiparty support with LifeSize UVC Multipoint (optimized for the resolution of mobile devices) and LifeSize bridge, now with high-availability clustering. LifeSize is making bridging flexible and reliable to support everything from scheduled video calls with dozens of participants to on-demand mobile video calling. These new bridging solutions enhance the way people choose to work— on-demand and on the go. One of the driving forces behind this new offering is the evolution of the modern workplace—with more remote workers, fewer physical office spaces and more flexible hours. With this new landscape comes a new challenge: how to effectively collaborate and boost productivity in an increasingly mobile world. 35

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Universal 3G-SDI converter TV One’s new C2-2375A is a universal 3G-SDI convertor that provides high quality bi- directional conversion between analog and digital video formats. The high resolution RGB/YPbPr output is selectable as virtually any PC or HDTV resolution and with the exclusive AutoSet feature it take the hassle out of setting up by automatically sizing and positioning so that the computer image fits exactly on the video screen. The second output can be set to a completely different format and resolution. The C2-2375A utilises TV One‘s CORIO 2 scaling engine, this enables the user to have control of the Zoom (x100) and Shrink features (10%) so that the image can be customised to the user’s requirements. It also uses Digital Flicker Elimination circuitry and high sample rate to create to provide crisp clear images, whilst full bandwidth Chroma sampling ensures high resolution colours. Other advanced features of the C2-2375A include a Keying mode, which enables computer graphics to be laid over an external composite, YC or SDI signal. A Mix mode enables a seamless cut, wipe or fade transition between input sources. The PIP mode gives the user the ability to place a DVI-U/SDI window over a DVI-U/SDI source, or vice versa and the genlock feature is SD and HD compatible and ensures precise synchronization of the incoming signals.

Barco LiveDots launch new series of cost-effective LED displays Barco LiveDots has unveiled a budget-friendly family of LED displays specifically designed for branding, advertisement and sports applications. The brand-new V-series consists of two models: the V6 – a 6mm indoor SMD LED display – and the V10 – a 10mm outdoor SMD LED display. “By adding a new platform to our portfolio, we can now offer our customers four different LED platforms to choose from, covering a wide spectrum of applications. The X-series is our premium product line, offering unprecedented image quality; the C-series is our mid-range offering, providing Barco image quality at an attractive price for both rental and permanent installations; while the T-series is dedicated to 24/7 operation for branding and advertising applications where total cost of ownership is key,” says Carl Rijsbrack, CMO of Barco LiveDots. “And with the introduction of the V-series, we have a solution for customers looking for cost-effective LED displays that offer an outstanding performance and reliability.”

Sony transform education sector presentations Sony has announced three new additions to its ultra short-throw projector family, the VPL-SW535C, VPL-SW525C and VPL-SW525. Upgrades to its game-changing range include interactive writing capabilities for the VPL-SW535C and VPLSW525C, which enable the use of pen devices with driver and drawing software to work in conjunction with the projectors. The new projectors highlight Sony’s commitment to the education sector by providing a fully interactive audience experience, at the same time as saving energy. The pen, a common feature on the VPL-SW535C and VPL-SW525C, is compatible with third party software and has an ergonomic design to fit comfortably in the user’s hand. Each new projector is also equipped with Sony’s unique BrightEra 3LCD Inorganic Panel technology, which delivers higher picture quality, substantially brighter images, higher efficiency and better contrast. “Adding interactivity to a number of our projectors makes them even more appealing to users wishing to engage with their audiences,” said Jess Goedhals, General Manager of Broadcast and Professional, Sony Professional, Sony South Africa.

Introducing the VS-88DTP 8x8 DVI Matrix Switcher Kramer Electronics is pleased to introduce the highperformance VS-88DTP Twisted Pair Matrix Switcher for DVI signals. The unit reclocks and equalizes the signal, and can route any or all inputs to any or all DGKat twisted pair outputs simultaneously. The VS-88DTP has a maximum input data rate of 1.65Gbps and is HDTV compatible. The VS88DTP has eight DVI-D inputs on DVI-I connectors, and eight DGKat twisted pair outputs on RJ-45 connectors. The unit features Kramer’s re?Klocking & Equalization technology, which rebuilds the digital signal to travel longer distances. The VS-88DTP features Kramer’s DGKat Signal Integration – unique technology for converting digital TMDS signals to signals that run over twisted pair cables. The unit can be controlled via the front-panel touch switches, through its serial RS-232 and RS-485 ports, via Ethernet, or by the included IR remote control. 36

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Extron Dual Link DVI Fiber Optic Extender

New Crestron control panel creates elegant statement

Extron Electronics is pleased to announce the immediate availability of the DDX 102 Dual Link DVI Fiber Optic Extender, an efficient transmitter and receiver set for long haul delivery of DVI signals over fiber optic cabling. It uses all digital technology to deliver perfect pixel-for-pixel transmission of video images up to 2560x1600, including HDTV 1080p/60. The extender delivers dual link DVI-D signals up to 500 meters (1,640 feet) over two multimode cables or single link DVI signals over one fiber optic cable. The capabilities and compact size of the DDX 102 make this fiber optic extender ideal for sending high resolution DVI content in a wide variety of applications. "AV system designers and integrators needed a compact, cost effective solution for extending dual link DVI signals long distances over fiber optic cabling," says Casey Hall, Vice President of Sales and Marketing for Extron. "The DDX 102 provides direct device connection, a clamshell design, and a detachable cable that make it ideal for a wide variety of applications." The DDX 102 transmitter and receiver feature industry standard LC-type connectors, and can be used for point-topoint fiber optic applications with dual link DVI requirements.

Crestron has announced details of its new 7” surface mount touch-screen, the TSW-750. The designer, edge-to-edge glass touch-panel, provides a space-saving screen with a clean and contemporary appearance and includes Core 3 UI graphics and high-performance video for the ultimate user experience.“Crestron’s new TSW-750 combines technically advanced functionality with a clever and elegant design,” says Robin van Meeuwen, Managing Director at Crestron UK. “A single Cat5 serves up power, control, H.264 video and Rava™ SIP intercom. It provides a high screen resolution and clear display, within a thin profile screen, making it perfect for the contemporary home or modern office building.” Featuring a brilliant 7 inch capacitive touch screen display and five soft-touch buttons, it delivers the ultimate experience in unobtrusive, space-saving design.

LG showcases latest products and solutions

Analog Way introduce new Edge Blending system

Understanding the need for continuous innovation and increased consumer engagement in the digital signage market, LG Electronics is expanding its line of commercial display solutions for 2012, led by larger screen sizes and enhancements to its popular digital signage systems. At this month’s InfoComm MEA show in Dubai, LG will be showcasing its new 72-inch class (71.5 inches measured diagonally) LED large screen display as well as new LED versions of its award-winning EzSign TV product, a digital signage and TV hybrid.“We understand that business owners need to engage their customers quickly and effectively to provide the best ROI (return on investment) for their company,” said . David Kim, Director, MEA B2B Team of LG Electronics, Middle East and Africa (MEA. “LG’s versatile technology portfolio is designed to create an interactive, engaging experience for consumers. With the addition of LG’s largest LED display and new LED EzSign TVs, LG’s product line offers intuitive, user-friendly and effective solutions for enhanced information sharing for a wide variety of vertical markets and venues.”

During the infoComm MEA show in Dubai, Analog Way will extend its range of products dedicated to soft edge blending applications. Smart Edge FX offers up to twelve inputs, including four fitted with 3G/HD/SD-SDI and two fitted with HDCP compliant DVI. It outputs digital and analog signals in DVI, RGB, and offers a Video Output card providing SD or HD-TV formats in various signals from Composite Video to HD-SDI. Smart Edge FX can display up to four layers including one logo, one frame, and two live layers customizable by the user. The product allows the display of up to two PIPs on a still background, or one PIP on a live background. Seamless transitions are available as well as a variety of visuals effects which can be combined during transitions (dynamic PIP, flying, zooming and cropping PIP,…). Multi-Screen Edge Blending can be achieved by linking up to three Smart Edge FX units, resulting in a panoramic image with two, four, or even six videoprojectors, either horizontally or vertically, without any loss of synchronization. 37

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moForce student films award in Nigeria

Oasis win distributor of the year Every year during IBC, Datavideo hands out their “Distributor of the Year Award”. This year's award was given to UAE-based Oasis Enterprises. “We are proud to recognise Oasis Enterprises as our distributor of the year,” says Daphne op de Beek, managing manager of Datavideo Technologies Europe. “Their great dedication and effort in selling Datavideo products is commended. Despite the economic crisis, they have

A music video produced by students from the Mohamed Amin Foundation in Kenya has taken top honours at the maiden edition of the African Student Film Festival hosted by the University of Lagos in Nigeria during September. Wololo was directed by Catherine Muema with lyrics written and performed by Kenyan artist Nina Ogot. Students from the Mohamed Amin Foundation in Kenya have achieved excellent

managed to show a steady sales growth as well as providing good service and technical follow-up to the enduser. We hope to continue our relationship for many years to come." In picture: Basel Al Aref - General Manager of Oasis PPD, Abdulrahman Al Adawi - Technical Sales engineer of Oasis PPD , Rob op de Beek – Managing Director of Datavideo Technologies Europe BV. and Jack Lin, President of Datavideo.

results with short films in the past 10 years. Repeated Awards have been won at ZIFF (Zanzibar), AMAKULA (Uganda), ZUKA (Uganda), KIFF (Kenya), Tampere (Finland), BISFF (Bangkok, Thailand) and a nomination for World’s Best Short Film in New York. “We’re very proud of our students and their continued success on the global market,” says David Johnson, director of the Foundation.

Audio training in Middle East Take Five Productions in Dubai is now the official Middle East representative of the College of Sound and Music Production (COSAMP) which is Australia’s largest supplier of music technology curriculum/teacher training resources. COSAMP supplies over 175 Schools, Colleges and Universities with custom packages of training resources, from beginner to advanced tuition in the recording, manipulation and editing of music and voice. COSAMP’s music technology teaching resources program is called the Tech Production Network (TPN) and includes

lesson guides, assessment tasks, DAW practical exercises and an Interactive Study Guide for students. The packages are very cost effective with a license issued per school rather than per student. All materials are sourced online, so delivery is also cost effective, efficient and environmentally friendly. Schools have determined that having an “in-house” facility for teaching music technology is very popular with students and has lead to increased enrolment numbers in schools that have introduced this creative and popular subject.

Broadcast Workflows continues success During October SACIA repeated the IABM’s popular Broadcast Workflows course with 85 broadcast professionals having gone through the programme over the last 5 months. “When we introduced the course back in June we expected it would be a once-off course that we might repeat sometime in 2013,” says SACIA Executive Director Kevan Jones, “but due to on-going support from the industry we’ve now run the course every month since then. It’s been hugely popular 38

and feedback from participants has been overwhelmingly postitive.” According to course instructor Leith Murgai, the two-day course is aimed at anyone in the Broadcast Technology Industry needing to understand the full breadth of broadcast workflows. The course improves delegates knowledge of the concepts, terms and processes used in Broadcast Technology. It also explains how change in one part of the workflow can impact all others.

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Broadcast & Media Technology – understanding your industry Jurgen Burghardt was in Johannesburg during October to deliver the IABM’s popular course: Broadcast & Media Technology – understanding your Industry. This was the very first IABM training course introduced to the market (delivered in South Africa during January) and has continued to be a popular choice with newcomers to the industry. “This two-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,” says Jurgen. “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.” Prior to running the course Jurgen took time to visit the Pilansberg National Park and sample the countries wildlife. “I was blown away by the beauty of the South African countryside and the hospitality of the South African people,” said Jurgen. “I look forward to my next trip with great excitement.”

InfoComm licensed training back in Johannesburg On 5-7 November SACIA will be hosting the proven GEN111 Essentials of AV Technology course delivered under license from the InfoComm University. This course provides in-depth explanations of the science and technology for basic audio, visual and audio-visual systems integration. A brief overview of the sales, rental/hire, design and installation functions is included in the course content. This course builds the student’s understanding of the

SACIA hosts Ethics breakfast in Johannesburg

Install training for the AV industry

There’s a dire shortage of skilled operators in the AV industry but with no formal training programme in place, there’s no obvious route for work-seekers to acquire skills and pursue a career in the sector. In order to address this problem, SACIA is developing a series of training programmes that will guide AV technicians through their career

– from entry-level to advanced training. “Our initial course will explore a range of outcomes and graduates of the course will be able to demonstrate a competence in working with both hand tools and power tools according to prescribed practices,” says course developer Mark Hull. “They’ll also be able to install audiovisual system equipment according to known best practices and be able to communicate effectively with fellow team members, team leaders and clients.” The course content is currently under peer review and we’re expecting to deliver the first programme during Q1-2013.

fundamentals used on a daily basis in the audio-visual industry and is ideal for AV professionals who already understand the context of their job and how the industry works, but need to build their technical knowledge. Participants will learn about the fundamentals of light and sound and how they relate to the industry. There are also new sections on AV-IT integration, networking, customer service lessons, future trends and more.

During October SACIA hosted a members networking breakfast to discuss the ethical challenges facing the broadcast and communications industry throughout Southern Africa. The meeting was addressed by Kris Dobie from the Ethics Institute of SA and was designed as the first step in the process of gathering information to prepare a code of conduct that will be adopted by SACIA members and the broader industry in 39

the region. The session was recorded by Airtime, the SABC’s outside broadcast unit, and we’ll be posting a video of the event on our website in the near future. In his opening address Kris referred to South Africa’s continued slide down Transparency International’s Corruption Perception Index and stressed that, while our efforts to promote ethical business practices within the communication industry were commendable, our efforts would surely be tainted by activities in the broader commercial sector. “SACIA’s efforts need to be built around collaboration with many stakeholders in order to build commitment towards ethics and anti-corruption,” he said.

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First ECME hybrid event deemed huge success The first ever Event Camp Middle East held during September was deemed a huge success. Hosted in Dubai by Satellite Visual Communications, ECME brought together 180 event professionals throughout the Middle East, Europe, Australasia and the US. In-room events were held in Dubai and Bahrain and speakers were streamed online worldwide, creating the first ever ‘Event Camp Middle East’ (ECME12).

he purpose of Event Camp Middle East is to provide an interactive environment with expert speakers, live collaboration and remote attendance to engage likeminded event professionals involved with the continual development of our events industry," commented John Quinn, ECME12 Committee. ECME12 stimulated discussion within the industry and created a platform for event professionals to engage with some of the leading industry speakers from around the world. Global insights into topics such as the sustainability of events, the process of hybrid events, social media within events and the evolution of smartphone technology were topics of the day.

High interaction High interaction and audience participation at ECME12 had questions posed via the hash tag #ECME12 by inroom participants and the online audience. A constant stream on the twitter wall saw 656 tweets by 86 users and comments from across the world. The Middle East based speakers at ECME12 were industry veterans and included John Quinn of Satellite Visual Communication who presented on “The Evolution of Event Technology in the Middle East” that focused on mobile event Apps, Impactful Presentations and Audience Response Systems. Other regional presenters included Ajay Bhojwani of MCI Middle East who covered “Usage of Event Technology by Corporate and Government Organisations” and Husam Jandal from WSI on “Digital Marketing and Social Media Strategies”.

Josh Dry is a marketing executive with ShowGizmo and joined ECME from Bahrain. He has been a pivotal member of the ECME12 committee and spoke on The Evolution of Mobile Apps at Events.

Bahrain and the wider global community. Expert speakers such as Ruud Jansen, having used many online streaming systems, had high praise for the Newzpoint system saying “critical to the success of any hybrid event is the connectivity system and live streaming capability of the virtual speakers.” New Zealand based company Smartshow LTD, provided the event App Showgizmo for the ECME12 as well as the SMMF12 showcasing firsthand the evolution of event technology. Delegates and participants downloaded the App to their smartphones utilizing the agendas, speaker ratings, attendee networking capabilities, QR codes at both events and have continued access for the remainder of the year! Building from the success of ECME12 planning for ECME13 is already underway. Global speakers have already committed, additional countries such as Oman and Saudi are keen to participate, ECME12 partners have confirmed commitment for ECME13 and new sponsors have already shown an interest in getting involved!

Connecting the world The integrated multichannel multimedia system Newzpoint, provided by UAE based Live Streaming partner John Robins was key to the success of ECME12; connecting 8 speakers across 5 countries to audiences in Dubai and

ShowGizmo is a smartphone app for events – the only one you need. ShowGizmo combines web and smartphone technology to create more productive, valuable events. It enables event organizers and all attendees access and management of all event information and better connections with each other using the wide range of features.

MEDIORNET COMPACT 50G Real-Time Media Network

• Synchronized 50G real-time network for 3G/HD/SD-SDI video, audio, data & intercom at the price of multiplexing point-to-point ﬁber products • Flexible signal routing incl. point-to-multipoint • Integrated Frame Store Synchronizer, Embedder/De-Embedder, Test Pattern Generator, On-Screen Display & Timecode Insertion at every port • Fully compatible with Artist, RockNet and modular MediorNet systems