MP Issue 9 by Ali Sultan

CONTENTS

Managing Partners Hamad Al Saab Ali Sultan

WELCOME

NEWS

MUST HAVE

KNOW WHO

KNOW HOW

KNOW WHO

KNOW HOW

Copy Editor (Arabic) Hamad Al Saab

KNOW HOW

PR and Client Relations Hamad Al Saab

KNOW HOW

Creative Director Ali Sultan

MP’s Favorite Gadgets Retro Summer Cover Competition Entries Summer of 69 Reminiscing Ads

Best Online Portfolio Sites Pro Bono Project Case Study & Silkscreen Tutorial

KNOW WHO

AUS Student Showcases Emirates Photography Competition Winners

KNOW WHO

Team

ADFC New Voices & The Circle Conference

Project Manager Sylvia Voss Sales and Marketing Manager Hamad Al Saab

Boomtown Showcase

Content Ali Sultan

Script Talk Claire Naber

Zain Speed Changes Everything Showcasing Audio

Shure SRH750DJ Review Korg iElectribe iPad App Review

Creative Designer Lezanne Swart

KNOW HOW

Zero G Sounds of the 70s Review

KNOW WHO

‫حديث مع‬ ‫كلير نابر‬

KNOW HOW

‫سؤال وجواب مع‬ ‫ديفيد شيبرد‬

KNOW HOW

KNOW WHO

International Austrian Photography Competition Creating Retro Typography in Adobe Illustrator

Copy Editor (English) Lysa Warren

Free Retro Fonts

Interview with ADFC’s David Shepheard

Publishing and Advertising ThinkTank Publishing & Creative House FZ-LLC UAE OFFICE

Dubai Media City Building No. 5 - Office G14 Dubai, UAE Voice: +971 4 4347683 Fax: +971 4 4343926 Email: office@thinktank-me.com www.mp-mag.com

Kuwait Office Yousef Al-Shallal Email: yousef@mp-mag.com office-kwt@thinktank-me.com

PR Consultant Kuwait Ibtesam Sultan Ibtesam@mp-mag.com The opinions and views contained in are not necessarily those of the publisher’s. No part of this publication or content, thereof maybe reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing.

Printed at Emirates Printing Press, Dubai Distributed by Abu Dhabi Media Company

WELCOME

Dear creative readers,

For this issue we have done something new and different. Our vision is for Media Production to be a platform for creatives to exchange knowledge and inspiration. This is why we called all creatives to take part in our Summer Cover Competition, themed Retro Summer to select the cover of Issue 9. It has been a great success in terms of fun and exposure for all participants and I would like to thank everybody for their support. Also, I want to take this opportunity to congratulate Atif Balouch for winning the cover competition and also the runners-up who made it

into the final 5. Well done, Romain Danger, Ali Al Shobbar, Ashraf Ghori and Abdulrahman Al-Bunni. It is not only the cover that is dedicated to the revival of the golden age of disco. We have research adverts produced in the 70â&#x20AC;&#x2122;s to inspire you for your next retro project. The showcases this issue come from the talented graphic designers from American University of Sharjah and photographers from Kuwait Science Club.

goes retro and reproduces her posters herself using silkscreen printing. I hope this issue shows that creativity does not only depend on technology, but also on the value of experimentation and selfexpression. So letâ&#x20AC;&#x2122;s keep experimenting and maybe look back every now and then and get inspired by those were creating before fancy software and hardware was available to everyone. Till the next issue...

Line Maria le Fevre gives us insight into her pro bono project where she

p12

p20

p26

p54

p57

p64

p10

COVER ART WORK

ork r W r u Yo ur Cove on O your work at

it .com Subm nk-me a t k n i @th office

By Atif Balouch Cover Material and execution by Emirates Printing Press

www.cabsat.com

YOUR PREMIER

BROADCAST

PLATFORM

8 - 10 February 2011 Dubai International Convention and Exhibition Centre, UAE CABSAT MENA is the MENASA region’s most exciting, interactive broadcast event, featuring all the major global technology and service providers for this growing industry. Now in its 17th year, CABSAT MENA continues to extend its global reach and is the dominant technology platform for anyone wishing to target broadcasters, production companies, animation houses, content owners and creators, software developers, systems integrators and distribution channels in the Middle East, North Africa and Southern Asia. The region’s leading event for the digital media industry, CABSAT MENA will showcase all the latest innovations in digital media, including recording equipment, HD & 3D TV and cinema, IPTV/Mobile TV, and content creation, management, and delivery technology.

SAVE THE DATE AND BOOK YOUR SPACE NOW!!! For more information, please contact us: CABSAT MENA Team Dubai World Trade Centre LLC, PO Box 9292, Dubai, UAE Tel: +971 4 3086077 / 6282 • Fax: +971 4 318 8607 • Email: cabsat@dwtc.com • www.cabsat.com

Organised by

In conjunction with

CABSAT MENA supported by

Asia Pacific Broadcasting Union

Arab State Broadcasting Union

International Association for Broadcasting Manufacturers

www.satellitemena.com

NEWS Doodle 4 Google twofour54 unveils Mena Zayed campus Purpose-built precinct set to become home to region’s creative industries. twofour54, the company driving Abu Dhabi’s development as a centre of excellence for world-class Arabic media and entertainment content, has unveiled the masterplan for its new campus in Mena Zayed at Cityscape Abu Dhabi 2010. Launched in October 2008, twofour54 is putting the physical and intellectual infrastructure in place to create an ecosystem where businesses including broadcast, digital media, gaming, publishing, music and film can create world-class Arabic content in a creative environment. The announcement of the stunning, new 600,000m² bespoke media precinct, which will house more than 12,000 media specialists, is a clear statement of intent in twofour54’s ambitions to be regarded as the home of the region’s creative industries. twofour54 has engaged some of the world’s leading architects and consultants to work on the project. Bernard Tschumi, who has provided the concept master plan for the project, was responsible for the master plans of Mediapolis, Singapore and the Parc de la

Villette in France; UN studio, who won the design competition for the development of Zone 1, will work under the lead consultant Adamson Associates International; and Kohn Pedersen Fox, who have been appointed to develop Zone 2, which will house Abu Dhabi Media Company’s new headquarters. The stunning design for twofour54’s Mena Zayed campus reveals a bold waterfront development, which makes use of its prominent position near the city’s Corniche to celebrate and support the growing cultural and community spirit that is clearly growing throughout the city. The development will be an integrated digital environment, designed by Diller Scofidio + Renfro from New York, which actively encourages people to experience and interact with its creative environment. It incorporates state of the art studios and post production facilities; a specialist training academy; offices and conference facilities; and the new Abu Dhabi Media Company headquarters all supported by hotels, retail, restaurants and residential units. For more information, please visit www. twofour54.com

Over 170 students from across the UAE took up the ‘Doodle 4 Google – I love Football’ challenge, redesigning the Google logo in the spirit of football. Representing a multitude of nationalities, including Jordan, Saudi Arabia, Egypt, Lebanon, the UAE, France, England, India, Pakistan and a host of other nations, the competition brought out the very best of the children’s artistic talent. A panel of judges, including Virgin radio duo Kris Fade and Chad Manes, Emirati artist Jalal Luqman, directors from the Dubai Culture and Arts Authorty, and Shaikha Al Reesi from Dubai Children city, narrowed down the entries to the top ten finalists, and MENA residents were encouraged to vote for their favorite doodle throughout the first week of June by visiting the site. Globally the ‘Doodle 4 Google’ competition was open to all children and teenagers, across 38 participating nationalities, and acted as an opportunity for young artists to be challenged to create an image around the ‘I love of football’ theme, that is independent from any specific team they support. Participating countries are Australia, Germany, Ghana, South Korea, New Zealand, South Africa, United Kingdom, Netherlands, Spain, Italy, France, Hong Kong, Taiwan, Czech Republic, Kenya and the UAE. Further information, competition details, photos and past doodles are available at www.google.ae/lovefootball

EPP wins 5 Sappi Awards Emirates Printing Press, Dubai wins 5 awards including GOLD at the Sappi European printers of the year awards 2010. Emirates Printing Press (EPP), a pioneer printing house in Dubai, has won 5 prestigious Sappi European printers of the year awards at a gala award ceremony held on 29th May 2010 in Prague, Czech Republic. EPP’s CEO, Mohamed Al Shirawi and Executive Director, Samuel Natarajan received the awards on behalf of the company including

the GOLD and SILVER awards in the Web printed magazines category, BRONZE in the sheet-fed printed magazines category, SILVER in the books category and BRONZE in the brochures category. EPP is the only printer from the Middle East to have been nominated for the Sappi European printer of the year awards 2010.

The Sappi European Printer of the year awards have been considered the Oscars of the printing industry and this year over 2,000 entries from 852 printers in 34 European countries contested for these awards. www.eppdubai.com

12 4 13 5

NEWS

Adobe Unveils Digital Viewer Technology for Magazines Revolutionary WIRED Reader Application Delivered Through New Adobe Digital Publishing Technologies. Adobe Systems Incorporated (Nasdaq:ADBE) has unveiled a new digital viewer technology that enables print publishers to bring stunning digital versions of their magazines to life. This new publishing software was developed with input from Condé Nast’s WIRED magazine, a publication that recently debuted a digital edition for Apple iPad, utilizing the new digital viewer technology. WIRED’s June issue Reader application, now available through the Apple iTunes App Store, is built using Adobe’s digital viewer software. With engaging, interactive features and a fresh navigational metaphor, the WIRED Reader showcases the capabilities of Adobe’s new digital viewer technology, allowing readers to experience video content, slide-shows, 360 degree images and rotate content in vertical and horizontal modes. Designed by the awardwinning print team, the WIRED Reader goes several steps further, taking advantage of the tablet form factor and enabling readers to

explore magazine content using touch gestures, including a zoomed-out browse mode, to see the content of the issue at a glance. Readers are able to experience the design fidelity of a print magazine, with the dynamic interactivity of digital media. The viewer technology also promises a new advertising paradigm. With the WIRED Reader major corporations are already using the new interactive features to deliver high-impact brand campaigns. These advertisements encourage readers to interact with each brand, integrate seamlessly with the content and keep readers within the magazine experience. Adopting this new digital magazine medium, publishers have the opportunity to expand their advertising inventory and by reaching readers in new ways, increase circulation and deliver incremental digital revenue. To learn more about the Adobe’s digital publishing platform for magazines, eBooks and newspapers go to www.adobe.com/go/ digitalpublishing

Beyond the Surface at thejamjar This summer, thejamjar showcases work from 15 young artists in ‘Beyond the Surface’, running from the 1st July to 31st August 2010. The young artists on show are between the ages of 16 and 18 and are currently studying art in schools across Dubai. This exhibition is for most of the students their first opportunity to be exhibited to a professional gallery standard.

Some works in the exhibition manipulate surface, building tactile extensions outwards or burrowing into and destroying surface; others explore political conflict and human emotion. The diverse range themes, as well as styles and mediums employed in the work is a reflection of the varied art practices on show here. Whether using their art to investigate the world around them or to examine their own identity, these artists have already developed strong individual voices and original approaches to art, and are not afraid to tackle sometimes difficult and controversial subjects with skilled technique.

‘Beyond the Surface’ asks us to look further than the obvious surfaces which frame our everyday life, bringing together art works which can be taken at face value or used as a jumping off point for different threads of investigation. In its most direct definition, the term surface refers to the outer or topmost boundary of an object, but the object in question need not be the inanimate surfaces of the world we

The artists in ‘Beyond the Surface’ have been selected from Repton School, Jumeirah College, Universal American School and Wellington International and follow on from thejamjar’s commitment to fostering relationships with educational institutions from all levels. thejamjar believes this is essential to nurturing appreciation and understanding of the arts in the UAE, as well as supporting young emerging artists based here.

inhabit. We ourselves comprise of surfaces - of our external appearance, of the persona we present to the world – and the surfaces that make up our existence are subject to less direct and constantly renegotiated definitions.

For more information, please visit www.thejamjardubai.com or www.artinthecity.com

Must Have

MP’s favorite gadgets July / August 2010

In this issue we have gathered our favorite gadgets available on the international market. Let’s admit it, we all love our gadgets and we collect them religiously.

Barry’s Farm 9-5 Laptop Sleeve

BackPack by Twelve South

Cover your laptop in a stylish corporate laptop sleeve. Barry’s Farm’s 9-5 laptop sleeve equips your laptop with the right designer outfit that goes with your suit or dishdasha (candora). It is customizable for any popular laptop brand from HP, Acer, Apple to Sony and Toshiba.

BackPack is a sturdy, sleek looking shelf designed exclusively for your iMac. This handy little piece of heavy gauge steel is perfectly sized to hold backup hard drives, USB peripherals or even a charging iPod. It also is a great place to display office toys and gadgets on a forward facing iMac. You can use BackPack’s perforated base to tie up loose cables and connectors creating the clutter-free zen-like workspace your iMac was designed for.

Selling Price: 40 $

Selling Price: 29.99 $

The 9-5 pm sleeve is available from www.barrysfarm.net

BackPack is available from www.twelvesouth.com

MUST HAVE

New Mac Mini Zikmu Parrot by Philippe Starck This innovative speaker system is not just another iPod / iPhone dock station. This is a speaker system that can be fed with any music source that uses common data transfer technology. Parrot can play back music using a bluetooth connection, Wi-Fi connection or the traditional auxiliary input. The left and right speaker interact with each other using bluetooth technology which means they can be placed anywhere within a radius of 10 m without losing sound quality. Specifications: Total power output: 100W RMS, 50W per channel Frequency range: 50 Hz – 20 kHz Compatible audio formats: MP3, LPCM Settings: volume, R/L balance, equalizer with presets, RF remote control, RCA line-in input for all audio analog sources Power supply: 70W (per speaker)

Selling Price: 1600.00 $ BackPack is available from www.zikmu.parrot.com We have also spotted the Parrot at the 4 Boutique in Kuwait: www.thenumber4.com | +965 24925444

Apple released the new Mac Mini after it’s been really quiet around this product line. The new Mini hosts big technology inside a small body. Apple has two model at offer at the moment; a 2.4 GHz model with 320 GB hard drive and 2 GB RAM and a 2.66 GHz model with 500 GB hard dive and 4 GB RAM. Both models come with plenty of ports to connect to any peripheral device you might use in a small workstation or in a home entertainment environment. Looking at the rear panel, you will find 4 USB 2.x, 1 FireWire 800, 1 mini jack audio input and 1 mini jack audio output and a Gigabit Ethernet connection. A computer screen is connected through Apple’s Mini Display Port and for the first time in an Apple desktop computer, Mac Mini features a HDMI connection to connect to an HD TV and last but not least Apple added a SD card slot. Now, the power supply is built into the Mac Mini which means that there is no power brick attached to the computer anymore.

Starting from: 699.00 $ Mac Mini comes with OS X Snow Leopard pre installed. For more information please visit www.apple.com/macmini/

12 8 13 9

With the Media Production Retro Summer competition we decided to pass the challenging task of picking the next MP cover on to our readers. The competition heated up as voters signed in to cast their votes and show support for their favorite entry. Thank you all for your enthusiasm and input.

1 Atif Balouch

KNOW WHO Retro Summer Cover Competition

2 Ashraf Ghori 3 Ali Shobbar 4 Romain Danger 5 Abdulrahman Al-Bunni

10 11

SUMMER OF 69 The word ‘retro’ derives from the Latin prefix retro, meaning ‘backwards’ or ‘in past times’ – particularly as seen in the words retrograde, implying a movement toward the past instead of a progress toward the future, and retrospective, referring to a nostalgic (or critical) eye toward the past. For us designers it is always interesting to see how our fellow designers created advertisment campaigns and corporate designs many years, before we were spoilt with tools like Phothoshop and Illustrator. We found a couple of old Arabic magazines from 1968 and 1969 that give a good overview of what was produced in late 60’s and early 70’s in the MENA region. Check out mediaproductionmagazine.com for more old school printing methods and videos.

1 /// Rabso Tagline: Ladies request the size that fits you best.

2 /// Cident Toothpaste Tagline: White shiny teeth.

3 /// Kuwait Airways Tagline: We fly you with Boeing Aircrafts.

4 /// Qamaraldeen (Peach Paste) Tagline: The most beautiful gift for the most beautiful bride.

5 /// Lotus Tagline: The new colored automatic washing machine, in multiple amazing, attractive colors. The one that modern housewives can’t live without. All advertisements appeared in Hawaa Issue 634 November 1968.

KNOW HOW Reminiscing Ads

2 3

12 13

28 29

Best Online Portfolio Sites Media Production did the legwork for you to show you a comparison between the top portfolio and networking websites for graphic designers, photographers, digital artists and illustrators. So go right ahead and flaunt your work! Béhance Network Creative Portfolios, Projects, and Collaborations www.behance.net Registration: Registration is free, but you have to be invited to join the network, which entails sending them an email telling them who you are and what you do, with some sort of online portfolio for them to have a look at. The Béhance Network is more exclusive, so you have to be good to get on it. Who it’s for: Artists, illustrators, graphic designers and photographers. Site Layout: Easy to navigate and professional display of work against dark gray background. Uploading or displaying work: They have a tour which takes you through the different steps to upload your work. You have a lot of freedom in terms of layout. Portfolio image limit: Unlimited projects (with advanced privacy settings which allow you to display projects to all, some, or none.) Multi-media Projects: Yes, you can combine unlimited images, videos, audio and text.

Best of the Rest

Coverage: Large reach, with many high-profile visitors viewing work each month. They have the Network, which helps employers from around the world track, find and hire top talent.

www.cargocollective.com

www.chancellorofdesign.com

www.designtaxi.com

www.illustratorworld.com

www.thecreativefinder.com

www.blellow.com

www.designrelated.com

www.creativefolks.net

www.dribbble.com

www.illustrationweb.com

Collaboration: Collaboration and feedback between other creative professionals across the world.

KNOW WHO Best Online Portfolio Sites Coroflot The Creative World at Work www.coroflot.com Registration: Registration is free, simple and easy. Who it’s for: Artists, illustrators, graphic designers and photographers. Site Layout: Layout is well-organised and easy to access. Uploading or displaying work: They have a user manual which takes your through the different steps to managing your portfolio on their site. There are privacy settings which allow you to show your work to whomever you choose.

Flickr Share your photos. Watch the world. www.flickr.com Registration: Registration is free, but you need to have a Yahoo! ID in order to create an account. The basic account is free, and then there is the option to upgrade. Access to Flickr is blocked in the UAE, although people seem to find ways around this. Who it’s for: Photographers mainly, but also illustrators and designers wishing to share their work with the creative community. Site Layout: Clean, easy to navigate, layout. Uploading or displaying work: Work, i.e. photographs and now video as well, is uploaded to your set. There’s a ‘Magical Feature Tour’ which takes you through the basics. There are 5 ways to upload your photos and videos to Flickri.e. via the Flickr Uploadr, via iPhoto, Aperture,

or Windows XP plugins, via the Flickr upload web page, via email or via various free third-party desktop programs. Portfolio image limit: When you have a free Flickr account, you can upload 2 videos and 100MB worth of photos each calendar month. Multi-media Projects: Image and video files. Coverage: Probably the most popular and well-known photo-sharing website in the world. Collaboration: Flickr Groups, allows members to create groups and join other groups in order to collaborate on work. You are not permitted to use Flickr for commercial purposes though, and your account will be terminated if you sell your services, yourself or products through your photostream.

Portfolio image limit: Unlimited upload of files to your portfolio. Multi-media Projects: Coroflot accepts any type of image file, which is automatically converted into jpgs if they’re not in this format already. Additionally, they also accept .mov .qt (movies), .swf (Flash), .dcr .dir .dxr (Shockwave) and PDFs. Coverage: You can set your work status to ‘Actively Seeking Employment’, either for a ‘Full Time Position’ or as a ‘Freelancer’ or you can set it to ‘Not Seeking Employment at this Time’. According to this, your portfolio will be sent to prospective employers. Collaboration: There is something called, ‘Groups’ on Coroflot, which you can either join or start to share ideas with other creatives.

16 17

KNOW WHO Best Online Portfolio Sites

DeviantART where ART meets application! www.deviantart.com Registration: Registration is free. And a Premium Access upgrade is possible. It’s not as exclusive as The Béhance Network, so you might encounter some creative work which is a little bit amateurish. On the other hand, one also encounters some diamonds in the rough on this site. Who it’s for: Digital artists, traditional artists, photographers, film and animation artists, manga/anime artists, graphic designers, writers and poets, artists, graphic designers and photographers. Site Layout: Th whole site is displayed against a light green background and thumbnails of members are displayed here as well. It’s not as professionallooking as some of the other portfolio sites.

Uploading or displaying work: Work is uploaded to a portfolio, which you can create with the DeviantART Portfolio tool. Portfolio image limit: There is a free version for the Portfolio tool, where you can upload up to a 100 images. Or you can upgrade to a Premium version, with unlimited portfolios and image hosting. With this version, you can also use your own domain name. Multi-media Projects: Accepts all kinds of files, images as well as video. Coverage: One of the most popular art community websites in the world. Collaboration: They have something called, Groups, which you can either join or start, to collaborate with other creatives.

Carbonmade Your online portfolio www.carbonmade.com Registration: Free and easy. Who it’s for: Designers, photographers, illustrators and artists. Site Layout: Fun and funky, with professional portfolio page layout.

account which is free, allowing you to upload 5 projects or 35 images or the ‘Whoo!’ account, which you can upgrade to for a monthly fee and to which you can upload 50 projects, (amounting to 500 images and 10 videos) and also use your own domain name. Multi-media Projects: Yes, you can upload jpg, gif, bmp, tiff, and png images, with image size limit at 5MB or less.

Uploading or displaying work: Simple and easy, no code involved, simply upload your image or video files, through the ‘Add a Project’ button.

Coverage: They have over 240 000 portfolios on their site (and counting) and portfolios are divided into different categories, so that it’s easy for potential employers to find you. You can also track who’s viewing your portfolio through Google Analytics.

Portfolio image limit: There are two account options, the ‘Meh’

Collaboration: No, not as this stage.

Giving back to the community through design Pro Bono Project Case Study and Silk-screen Tutorial This pro bono project is a series of posters, developed for the Migrant Forum in Asia Group. They will be utilized in an international awareness campaign promoting the rights and recognition of Domestic Workers during the International Labour Conference in Geneva, where new international standards will be defined and agreed upon in the summer of 2010. The concept behind the series was developed to address the message of a Decent Work Agenda for Domestic Workers. The posters aspire to initiate change and persuade the people involved in setting new standards for Domestic Workers, particularly in their work environments, which for most are in a foreign country.

The concept uses a juxtaposition of typical scenarios of domestic work with that of imprisonment, to illustrate the many challenges Domestic Workers face. Some of the many pressing issues include: withheld salaries and travel documents, being kept locked within their workplace, and suffering physical abuse and even rape. The traditional approach with many abuse and violence campaigns is to make the graphic nature very emotional. The idea for this campaign is derived from the perspective that most law makers, working from a rational mind set, will respond more positively to the witty senselessness and absurdity of the situations presented in the poster series. This led to the use of iconic-style illustrations as opposed to recognizable images of personal

faces. With this tool, the posters remain non-emotive, and strive to tell of reality as it is. The concept here is to avoid getting personal, and instead state facts. Thought-provoking messages are commonly more likely to interest people and lessen their initial resistance to a confronting topic; and in this case, hopefully speak to the law-makersâ&#x20AC;&#x2122; sense of responsibility, to recognize the need for change. Colors were chosen to draw attention by being very bold, and to suggest a contradiction between the perceived picturesque feminine house-work environment and the actual reality of Domestic Workers. The copy â&#x20AC;&#x2DC;I AM A DOMESTIC WORKER, NOT A SLAVE. I HAVE RIGHTSâ&#x20AC;&#x2122; is quite confrontational. Shouting slogans can often be counterproductive as law-makers have a tendency to go into defence mode when demonstrators march. This slogan clearly outlines the message by stating simple facts, and maintains harmony with the overall theme. By Line Maria le Fevre

KNOW HOW Pro Bono Project Case Study

Using a scoop coater apply the light sensitive emulsion to both sides of the screen and leave to dry in the dark room for 3 hours.

Using a second screen, measure and block off an A2 sized rectangle with tape. This will be the screen we will use for the flat base color of the poster.

The first step is to select a screen which is big enough for the print youâ&#x20AC;&#x2122;re going to do. Wipe it down on both sides to make sure itâ&#x20AC;&#x2122;s free of dust and dirt.

Mix up the colors you will be printing with. Measure out your extender base at a minimum 10% of all the ink. Add the chosen inks and mix it well with the extender base. Test the color on a piece of paper as you go along. For this poster, I needed yellow, magenta and black ink.

>>>

Set up your work surface on the printing table. Start by making sure the table is clean and then fasten

the masked-off screen to the printing frame. Prepare newsprint sheets to do test prints on, and have your selected paper ready.

The concept uses a juxtaposition of typical scenarios of domestic work with that of imprisonment, to illustrate the many challenges Domestic Workers face. 20 21

Pour yellow ink on the screen, at the top of printing area. Using the squeegee, flood the masked-off screen with the background colour, by drawing the color down and then back up again.

Print a few test prints on newsprint in order to check registration and ink coverage and then print on the final

Do a test print on a sheet of acetate. The newsprint or final paper is

sheets of paper that youâ&#x20AC;&#x2122;ve selected for the job. Apply equal pressure to the squeegee as you draw it down the screen.

placed under the acetate sheet to check the registration of the print.

Place the wet sheets of paper on the drying rack to dry.

KNOW HOW Pro Bono Project Case Study

Once you’ve finished printing all the sheets, clean the screen with a water pressure hose.

Expose images onto the emulsion-coated screen. Set the count on the exposure machine to 60. Sunlight can also be used when a machine is not available.

Prepare your printing plates, by printing out the individual graphics, separated in the digital file,

according to your layers of color. The prints need to be on acetate in 100% black.

Let the screen dry completely, before fastening it inside the printing frame. Mask off the magenta plate with tape, so that the black ink doesn’t print there.

Follow the same steps as you did with the background color, by applying ink to the top of the image you’re about to print and then flooding the screen, making sure the whole image print area is covered.

Once the screen has been exposed, wash out the exposed areas immediately with the pressure hose, making sure that none of the emulsion is left in the exposed areas.

>>> 22 23

KNOW HOW Pro Bono Project Case Study

Print a few test prints on newsprint once more to check ink coverage and registration, before proceeding onto final pages with the yellow background.

Thoughtprovoking messages are commonly more likely to interest people and lessen their initial resistance to a confronting topic.

Set up for the final color of the print, which is magenta in this case. Flood screen and do test prints before proceeding to final paper.

Line Maria le Fevre is located in Dubai

where she works as freelance graphic designer for local companies as well as international clients. She has design and branding experience from five countries and is currently exploring the printmaking discipline to allow for a process of more experimental design. Her online portfolio can be viewed at www.linelefevre.com

Allow the prints to dry completely before removing them from the drying rack.

Clean the screen after you have completed printing the black plate. Let it dry completely, before setting up the screen for the final plate.

Subscription Voucher YES! I would like to subscribe to

UAE - 120 AED Kuwait - 10 KD Bahrain - 13 BD (postal charges apply) KSA - 125 SAR (postal charges apply)

YOUR DETAILS * Title:

* First Name:

* Surname:

* Date of Birth:

* Occupation:

* Company:

* Address:

* P.O. Box: * Country: * Telephone Number: * Mobile Number: * E-mail Address:

* Signature:

* Date: * Required Data

Return this order form to: ThinkTank Publishing and Creative House FZ-LLC E-mail: office@thinktank-me.com

UAE

Mail:

ThinkTank Publishing and Creative House FZ-LLC Dubai Media City Building No. 5, Office G14

Fax:

+971 4 4343926

Kuwait

Bahrain

KSA

Published by: ThinkTank Publishing & Creative House FZ-LLC

Subscription Department:

AUS Student Showcases

KNOW WHO AUS Student Showcases

Abir Fawaz Abir Fawaz was born in Lebanon in 1987 and moved to the UAE soon after, where she has been living for 22 years. She is currently pursuing a Bachelorâ&#x20AC;&#x2122;s Degree in Visual Communication from the College Architecture, Art and Design (CAAD) at the American University of Sharjah (AUS). Abir is interested in a diverse range of design areas as reflected in her experience in web-design, animation, photography, illustration and printmaking. Additionally, she is a member of the CAAD Design Center team for two years, Abir handles designing posters for events, lectures, exhibitions and showcases that are held at the college by well-known architects and designers. Having interned at both at Leo Burnett and Art Dubai, Abir has been exposed to the professional design environment. A featured guest at the START Pavillion at Art Dubai Fair in 2010, Abir co-hosted a workshop using stencils of her pattern design to paint on two walls. The workshop was a direct reflection of the UAE/UK Cultural Exchange Program that she took part of in October 2009. Further, Abir has gained experience at a number of national and international design competitions such as the CAAD-initiated project that was aimed to present a gift to H.H Sheikh Dr. Sultan Bin Mohammad Al Qassimi, Ruler of Sharjah during the AUS 2009 Commencement. Further, she participated in an international campaign led by Colors Magazine that was aimed at opening the doors of visual expression and communication to a variety of cultural societies. +971 50 360 0912 abir.fawaz@gmail.com

>>>

26 27

Tayma Bittard Tayma Bittard is a visual communication student studying at the American University of Sharjah since Spring 2008. She was born in Paris, France from Syrian parents. Tayma grew up in a very diverse environment, which constantly opened her mind to new things and new experiences. Many members of her family are architects, including her father and two elder sisters, and as a child, she was frequently exposed to all forms of art and design. She feels that it isnâ&#x20AC;&#x2122;t too surprising that she ended up in the design field herself. Although all subject matters in visual communication interest Tayma, she finds herself particularly drawn towards photography and advertising. Mostly, wanting to explore all forms of the design practice and hoping that her future will embrace a diversity of experiences. +971 50 706 8886 blablatay@hotmail.com

KNOW WHO AUS Student Showcases Afra Bin Dhaher is a second year Visual Communication student at the American University of Sharjah. She derives her inspiration from art and graphic design history and the joyous objects she stumbles upon in her daily life. In her work Afra enjoys combining the handmade with the digital. Recently her passion for photography has earned her her first two awards; the IBDAA

Award for the best UAE entry and the Sheikha Manal Young Artist Award. Furthermore, her work has been exhibited in New York City as part of the United Nations Exhibition entitled The Reflective Mirror. +971 50 519 1555 abdhaher@gmail.com

>>>

Afra Bin Dhaher 28 29

Lujain Abulfaraj is a graduating Visual Communication student from the American University of Sharjah. Currently she is preparing to showcase her work in this yearâ&#x20AC;&#x2122;s Senior Exhibition at Mojo Gallery. Lujain was a participant and winner of an Honorable Mention in the international competition, Memefest, for her work titled Serenity. She was also a winner in the Juried Freshman Exhibition for her still life drawing.

Lujain Abulfaraj

Earlier last year, Lujain began an apprenticeship at TBWA/RAAD in Jeddah, Saudi Arabia and took part in re-designing several SMC Interiors technical catalogs. Being in an advertising environment she learned how to manage and communicate ideas with several clients including Al-Sawani Group and Al-Marai. She was also responsible for developing the layout for the corporate magazine for the firm. Lujain was born in Saudi Arabia and raised in Kuwait and is a soon to be graduate in her final semester studying Visual Communication in Sharjah. She is passionate about design and currently very active

in the fashion and art scene. She is also exploring new areas of design where she translates Arabic calligraphy into expressive forms that has resulted in a series of lyrical Islamic artworks. Lujain spends most of her free time with friends and fiancĂŠ or traveling back home to be with family. +971 50 946 8910 lujain.abulfaraj@gmail.com

KNOW WHO AUS Student Showcases

Ritu Arya From an early age, Ritu has always had a creative outlook on life. Art has always had a great impact on her, and she eagerly waited for an opportunity to incorporate it into her career. Dubai has been home to Ritu for twenty-two years now, but it has never let her forget her Indian roots. Her culture is very important to her and has been an inspiration for a lot of her work. Ritu recently graduated from the American University of Sharjah, achieving a degree in Visual Communications. Through this program she has been able to acquire and build upon several skills, such as illustration, printmaking and photography. Sheâ&#x20AC;&#x2122;s currently looking for employment in any design-related field, in hopes of gaining work experience before she applies for her Masters degree abroad. She hopes that her time working will help her gain a better understanding of the industry and thus help her to decide what field of design she wants to specialize in. +971 50 775 1274 r.arya@live.com

30 31

Emirates Photography Competition Winners Each year, the Abu Dhabi Authority for Culture and Heritage runs an annual photography competition in the UAE under the supervision of the FIAP. The aim of the Competition is to develop photography in the UAE, by attracting as many photographers as possible, fostering new talent and supporting professional photographers through specialized workshops, meetings, seminars, individual and group exhibitions within the UAE and abroad. All efforts are made to purchase and publish photographic works entered in the Competition. In its capacity as one of the professional competitions held in the region, the Competition received entries from various artistic schools and disciplines, including Compound and Panoramic photography, Negative and Positive slides, Negatives,

Digital Photography and Modern Art Technical Processing. Photographs of all types and sizes were accepted, providing that they conformed to the accepted standards of the art of photography. Every year, the Competition has a main theme designed to encourage photographers to address new, unusual and unexplored aspects of photography, in addition to four other themes that change annually. In its 5th Session, the Competition celebrated the famous Arab scientist Al Hassan Ibn Al Haytham Al Basri (965-1038 AD), who excelled in the fields of optics, physics, engineering, astronomy and philosophy. The main theme of this session is derived from one of his best-known titles, The Prince of Light. In accordance with the organizers’ belief in the universality of the Arts, the commonality of human creative endeavour at all times and in all places and the ability of photography to increase communication and

interaction between nations, the Competition is open to all photographers from all over the world. As part of the key role played by Abu Dhabi Authority for Culture and Heritage in attracting and developing all aspects of talent in the UAE, the fifth session of this Competition offered a special section for amateur photographers who are UAE nationals. Also for the first time, a special award was granted for the three best group works submitted by international photographic societies or clubs with the aim of enhancing such artistic forums and supporting the cultural impetus provided by photography.

2 1 Mr. X 2 Alter Ego 3 At the Edge of Living 4 Wine and Bread (All images by Herman Cater, Grand Prize Winner of the Emirates Photography Competition, ‘Prince of Light’ theme.

>>>

KNOW WHO Emirates Photography Competition

Herman Cater was born in 1941 in Slovenia and became interested in photography at age 10, by assisting his father in his small photography business. At 17, Cater moved to Belgrade to study English language and literature. He became an English teacher, and in 1977 was made an advisor for foreign languages at the educational board. Cater first met the old man of his portrait series while taking photographs of mountain roads in Slovenia. Cater began photographing the man over a period of seven months, documenting a meager existence of wine, cigarettes and scarce food. The two became friends. Cater used only the light coming through the windows of the old house; his use of chiaroscuro captures perfectly the shadow world of the old and alone. When the photographer learned the old man died of exposure last winter, he was deeply saddened. He now plans to create a book from his photos of the old man.

For Herman Caterâ&#x20AC;&#x2122;s full biography by Shawn Oâ&#x20AC;&#x2122;Sullivan, please visit www.mp-mag.com

32 33

KNOW WHO Emirates Photography Competition

9 5 Fun Time by PANG Piow Kan from Malaysia – 2nd Prize in the Portraits and People Category 6 Thoughts by Cristina Garzone from Italy – 1st Prize in the Portraits and People Category 7 Fearless by Chan Kwok Hung from China - Honorable Mention in the Portraits and People Category 8 Wrinkle Lines by Nasser Haji - 3rd Prize in the UAE Category 9 Hands Theater by Mzna Al Khaled Al Dossary from Saudi Arabia – 1st Prize in the Still Life and Abstract Category

For more information on these and winners in the other categories of the Emirates Photography Competition, please visit www.ephotoc.net

34 35

Kuwait Science Club Wins Gold in Austria Kuwait Science Club won the gold medal in its participation in Austria International Photography 2010.

Austria. The contest was organized by the International Federation of Photography and the American Society of Photography.

The Austria International Photography Contest is the largest photography contest organized in Europe, in the city of Linz,

Here are some of the most interesting entries the Kuwait Science Club submitted for this competition.

1 3

Rashid Sbizali CANON EOS 5D MARK II 1. Thinking 2. Colored slippers 3. My Third Leg Jassim Al Ayoubi Nikon D3 4. Big Family

KNOW WHO Kuwait Science Club 6

7 9

5. Pearl Divers 6. Whatâ&#x20AC;&#x2122;s wrong? Dr. Mohammed Al Khamis CANON EOS 5D MARK II 7. Destructive Ages 8. The Dark Side 9. Ages

36 37

11 12 Saad Al Farhan Nikon D300 11. Grand Race 12. Contrast Abstraction 13. I Canâ&#x20AC;&#x2122;t Play

Mohammad Al Tabekh CANON EOS 1D MARK III 14. Magician 15. Girl From the Long Neck Tribe 16. Countryside

KNOW WHO Kuwait Science Club

17 Rashed Sbazali CANON EOS 5D MARK II 17. Sunrise Kuwait Faisal Hamada CANON EOS 5D MARK II 18. Misery 19. Surfer’s Paradise Maisa Al Samdan NIKON D70S 20. Monopoly 18

Asmaa Hussain NIKON D90 21. Ruins of a Great Empire 22. I’m on Top of The World

38 39

Adobe Illustrator How to create retro style typography in Illustrator.

This tutorial shows you how to work creatively with the blend tool in Adobe Illustrator. Learn how to create this design in minutes and with minimal effort.

KNOW HOW Creating Retro Typography

Create a new canvas in Illustrator and type the words you want to use for your design.

Adjust the size and the first color.

5&6

Select both shapes and press ‘apple + alt + b’, to apply the ‘blend’ effect.

Outline the text using the short cut ‘apple + shift + o’. Always make sure that you have one copy of the outlined text on the side for further use

Make a copy of your type and adjust the color and the size.

If illustrator doesn’t give you enough steps between the two shapes use the ‘blend option’ panel to create more steps in between. In my case I chose the option ‘specific distance’ of 0.1 mm to have a smoother effect.

40 41

You might have noticed that there is a path connecting every anchor point we created to change color and/or position.

If you are happy with the way the effect turned out, you can start experimenting with this path to create an even more playful design.

Use the â&#x20AC;&#x2DC;pen toolâ&#x20AC;&#x2122; to add more anchor points on the path then twist and play with bezier curve.

KNOW HOW Creating Retro Typography

Once you are done go to the main menu and select ‘object’ -> ‘expand’ to convert the generated fill ‘Media Production’ shapes to actual shapes you can edit.

After expanding your design, it should look somewhat like this.

Make a copy of your type and adjust the color and the size.

Further Steps in Photoshop After I finished the design in Illustrator, I pasted it onto a prepared canvas in Photoshop and added some elements that are part of Media Production’s corporate identity.

11&12

For better visibility I decided to change the color of the last ‘Media Production’ shape. For that you will have to upgroup the object to have access to the individual shapes. Now change the fill color of the top object, i.e. the word, ‘Media Production’.

I put all the elements in one group and changed the blending mode to multiply, and I was done. I suggest you give it a try and see how powerful the ‘Blend’ options in Illustrator are. I hope you learned something new and I am looking forward to receiving your feedback on this tutorial.

42 43

KNOW HOW Free Retro Fonts

s t n o F o r t Re Free retro fonts to download

Author: K-Type License: Shareware

Author: Ray Larabie License: Freeware

Author: K-Type License: Shareware

Available formats Win TrueType Mac TrueType

www.fontalicious.com

www.larabiefonts.com

www.k-type.com

Author: K-Type License: Shareware

Author: Lime License: Freeware

Author: Ray Larabie License: Freeware

Author: K-Type License: Shareware

Available formats Win TrueType Mac TrueType

www.k-type.com

www.houseoflime.com

Available formats Win TrueType Mac TrueType Mac PostScript www.larabiefonts.com

FreeRetroFonts_OL.indd 4

www.k-type.com

6/27/10 6:53 PM

VIDEO

PROMOTING EMIRATI CULTURE THROUGH FILM Abu Dhabi Film Commission (ADFC) was launched by the Abu Dhabi Authority for Culture & Heritage in 2009, with the objective of assisting the development of the Film and TV industry in Abu Dhabi, nurturing new talent and contributing to the promotion of Arab culture through film. ADFC’s Director, David Shepheard, provided Media Production some further insight about ADFC, its programmes and what the Commission is looking for when it comes to pitching a project…

Which demographic in the UAE - if any in particular are the ADFC’s initiatives mainly geared towards? For example, do UAEbased filmmakers of any nationality, age, religion or gender stand an equal chance for gaining funding or support when making an application or are there some criteria which might make one group more favored over another? The funding and development programmes from ADFC are open to filmmakers of all ages and backgrounds. We do focus on finding and developing Emirati talent, but the UAE is a multi-cultural and open society and the film and TV industry is a truly global business.

What kinds of things are you looking for in an application when a prospective grant recipient applies with his or her film project or idea? This is dependant on the scheme they are applying to. Our main criteria for applications is making sure that there is an identifiable audience for the film that is being proposed. For our Shasha Grant, we take 1st or 2nd draft scripts as it’s a development grant. So again, we are looking for the elements of the story that will resonate with a wide audience. We are trying to help the stories from the UAE be told in film, so making sure people will want to watch the films is important. We

also look at the scale and potential cost of the project as well.

Is ADFC willing to fund productions by UAEbased filmmakers that are intended to be shot outside of the UAE? At the moment, our Shasha Grant is the only fund that will support a project that could be shot outside the UAE - although we work with the producers who receive the Shasha grant to try and locate the project here. Our main premise is to help develop the local industry. One of the main ways to do this, is to increase the level of activity and local production. Other organizations in Abu Dhabi have a remit to fund global productions, so that is a good fit for us.

What kind of genres are young filmmakers and media creatives in the UAE showing an interest in nowadays? Is the trend more towards documentary, fiction or possibly even entertainment formats? I am happy to say there is a mix of all these genres. We run specific schemes for documentaries and narrative films, so hopefully we are helping to develop a good mixture of the different story telling genres.

Do you find that young filmmakers are showing a desire to tackle controversial subject

KNOW WHO David Shepheard matter and, if so, what are the ways that ADFC can both encourage and support them to delve deeply into their work while collaborating with them to maintain awareness of the current boundaries that may exist? I think that young filmmakers are always tackling difficult subjects, whether it be something from their life or culture or some international issue that they have an opinion on. We are here to help them tell their stories and have a voice through film, but be respectful of the cultural sensitivities of the country in which we live.

Do you think Emirati youth are showing an interest in researching their country’s past through film? Has there been any evidence of this in the recent applications for projects submitted and/or funded?

What are the strongest aspects and most inspiring qualities that filmmakers in the UAE are currently demonstrating? An eagerness to learn and become stronger filmmakers. Filmmaking in the UAE is still very young. So the current group of filmmakers still have a pioneering spirit and just passionately want to get out there and create films. It’s very exciting!

What are the weakest aspects of film education or film culture in the UAE and what role can ADFC play in addressing or improving those areas? By nurturing and mentoring filmmakers, funding projects and being the main support mechanism to help them grow into better filmmakers.

What prize elements are already available or accessible in Abu Dhabi to attract and facilitate cinema production on the ground and what typically still needs to be imported in order for a film production to function? The UAE has everything a major production will need to get the film completed here. From cameras, to a film processing lab and backed by facilities houses and a very experienced resident crew. We just need to grow the infrastructure so that we can facilitate even more production. But that is coming and is improving with the increased

level of production that has happened here in the last year.

What types of projects do you think ADFC will be funding in the next 3-5 years? Could we be seeing the possibility for bigger budget or foreign (i.e. nonArab language) productions for example? A major objective for ADFC is to establish a Production Incentive Fund to attract more international production to the UAE But we are clear that the incentive fund has to be economically sustainable and is of benefit to the filmmaking sector in the UAE This will make the country a more competitive option for producers looking for international locations. By Talal Al-Muhanna Please visit www. film.gov.ae for more information about ADFC.

We have seen film ideas concerned with how the heritage and culture of the UAE has changed in recent years. The speed with which the country is developing is staggering and young filmmakers are starting to look at the past 50 years of the country’s history and explore some of those changes and developments.

As more and more films of all kinds get made in the UAE, do you think ADFC will be able to improve the chances for these films to get seen by wider audiences by getting involved in distribution and exhibition networks including VOD, DVD, special cinema screenings etc.? Yes. One of our roles is to develop the distribution opportunities for filmmakers from the U.A.E. Be it via international broadcast opportunities, submissions to international festivals or special screenings that ADFC will hold around the world. This is an important objective for us. To expose the country and its talent around the globe.

Jordanian filmmaker Amin Matalqa at The Circle Conference in Abu Dhabi in 2009. Seated on Matalqa’sright is Claire Naber - a scriptwriter and the Head of Institutional Development at RSICA, the Red Sea Institute of Cinematic Arts in Jordan.

We do focus on finding and developing Emirati talent, but the UAE is a multicultural and open society and the film and TV industry is a truly global business. 46 47

New Voices & The Circle Conference Abu Dhabi Film Commission’s programme, ‘New Voices’ ended its first year with three half hour documentaries by Rola Shamas, Amna Ehtesham Khaishgi and Natalie Shami. The short documentaries will be broadcasted by Baynonah TV English after the summer. New Voices Rola Shamas’s Freehold Generation looks at the young people who live in Al Ain and portrays their creative drive to perform rap music using both English and Arabic language, while living in a more traditional environment. Amna Ehtesham Khaishgi’s story follows four Abu Dhabi residents who decided to start a new life by converting to Islam in Leap of Faith. Natalie Shami’s documentary on Saadiyat Island of Happiness investigates the current UAE art scene and how it could evolve with the advent of new galleries and exhibitions in Abu Dhabi. Part of the New Voices programme was to provide intensive training to eight emerging filmmakers from the UAE, who were mentored and trained by professionals from the UAE and around the world, which helped them develop the skills of creating a documentary. Each of the filmmakers completed a three minute documentary about different stories from the daily life of Abu Dhabi, as well as a full thirty minute treatment for a broadcast slot. Each of the filmmaking teams pitched their proposals in a meeting with the broadcaster, in which the final selection of films was made by executives from the broadcaster and ADFC.

Comments from New Voices Finalists Amna Ehtesham Khaishgi New Voices was an excellent experience! I was so impressed with the ADFC’s commitment in providing the best training for the upcoming talent from Abu Dhabi. Programmes like New Voices will surely be able to make this country the hub of the best creative minds. Natalie Shami My experience in the New Voices Program was very educational. I learned so much in a very short period of time - from developing an idea, problem solving and working in a film crew. Rola Shamas This region has many actual, real and exotic stories waiting to be told in our own language.

KNOW WHO ADFC New Voices & TCC

It is time for The Circle Conference! 350 Film & TV professionals came from 35 different countries to Abu Dhabi in 2009. Plans are currently underway for the 4th edition of this important event. The Circle Conference in 2009, which was successfully organised by Abu Dhabi Film Commission, created a platform for different film & TV professionals to come together in Abu Dhabi to meet with producers, directors, writers, financiers and filmmakers from the UAE and the region, discussing future plans and initiating coproduction agreements as well as the birth of a variety of different movies being filmed now. The Circle Conference 2009 was a tremendous opportunity for dialogue among the leading lights of the entertainment community around the issues that are shaping the film and television industry in the UAE and beyond. David Shepheard, Director of Abu Dhabi Film Commission concluded last year’s The Circle Conference stating: “by bringing their insights and experiences and global perspectives to Abu Dhabi, they’ve played a vital role in our efforts to stimulate a new level of entrepreneurship in this region, and helped cement Abu Dhabi’s place as a global center of excellence in film and television.” The Circle Conference featured keynotes, panels and master classes addressing global trends in production, finance and distribution, the impact of digital technology, and the development of the film and TV industry in Abu Dhabi. Over 40 industry leaders addressed their opinions throughout the conference, including keynotes from New Regency Pictures Chairman Hutch Parker, Participant Media CEO Jim Berk and CBS Paramount Network Entertainment Group President Nancy Tellem. Furthermore, panel discussions featured filmmakers, producers, agents and production executives from Europe, the US, South Africa, Argentina, China, and across the Middle East. Additional highlights were a landmark panel on ‘Women In Film in the Middle East’ chaired by Pyramedia CEO Nashwa Al Ruwaini, featuring women filmmakers from around the region. There was also a special seminar about Abu Dhabi Film Commission’s Locations Service, a searchable online database of regional locations. The Circle Conference concluded in the first Emirates Skills Training Council Conference, a programme bringing together schools, media production companies and broadcasters from throughout the region to help students connect with opportunities in film and television. The Saudi female filmmaker, Haifaa Mansour was chosen as the Shasha Grant recipient, a 100,000 USD development grant, from among five finalists who came to the Circle Conference to pitch their projects to a jury of industry leaders. Her film Wajda is the story of a free-spirited 11 year-old Saudi girl coming of age in a restrictive society. Abu Dhabi Film Commission continued to work closely with Mansour to see the project through to development and production and will keep supporting all the regional filmmakers through this competition and other year-round programmes. Please visit www. film.gov.ae for more information about ADFC.

48 49

Boomtown Productions Boomtown is one of Dubaiâ&#x20AC;&#x2122;s longest established film production companies. Founded by Shane Martin in 1999, Boomtown specialises in the production of television commercials and corporate films to international standards for advertising agencies and clients in the Middle East.

KNOW WHO Boomtown Showcase

Meydan As wind sculpts the dunes, from one of the dunes incredibly powerful horses emerge from the starting gates, with sand spectacularly dripping from the dunes. What a sight! The eagle watches the horses as they stir, snort and stamp. The eagle swoops down as the gates open and the horses majestically bolt from the gates. As the horses bolt from the gates, the vision of race-fit thoroughbred horses, galloping at full speed in a visual cacophony of aerial, tracking, mounted and static dramatic telephoto. The wide angle and actionbased graphic images, across the gorgeous windswept dunes will thrill and tantalize the viewer. Faster and faster the posse of horses thunder through the sand, in a visual feast of images, a sonic symbolic boom barrier is pierced dramatically and incredibly visually. It is mesmerizing and evocative and the film explodes into a hybrid of slow motion. In essence, what we observe is a radiating, almost solarized wake that booms across the dunes from the majestic galloping horses like a wave. Photographically, the Meydan film is something that Boomtown is very proud of! A distinct array of photographic tools and

techniques were used to utilize the visual storytelling. A blend of naturalistic 35mm color film inter-cut, with high-speed digital photography for dramatic effect was used to great effect. This script was big, very big. Consequently, it was an exciting script for visual effects people. Not only does it contain challenges in how we create and bring to life an epically-sized building development, it also demanded a lyrical approach to the effects. One of the biggest technical challenges in this commercial was to create a believable scenario. The look and feel had to be utterly convincing so that we believed it really happened. Beyond the technical, the addition of the various CGI details (buildings, sand, horses, shadows and lighting)—and how they are integrated— became as much a part of the storytelling as the editing and the cinematography. A huge array of special effects software programs were utilized during the making of the Meydan spot, from ‘Avid’ to ‘Massive’, the pool of expertise needed to deliver the final product was huge.

>>>

Boomtown Bio

Boomtown is one of Dubai’s longest established film production companies. Founded by Shane Martin in 1999, Boomtown specialises in the production of television commercials and corporate films to international standards for advertising agencies and clients in the Middle East. We also provide location and production services for many of the world’s best-known production houses. And in 2007 we established a long-form production department, to develop and produce Feature films and quality long form Television projects. Unashamedly director-led and quality-driven Boomtown is proud to be known as a ‘boutique’ production house. Big enough to count but small enough to care we ‘walk the walk’ on each and every job. Relentlessly pursuing production value at every opportunity to make original ideas into outstanding films. In recent years our work has been recognised at Dubai Lynx, The MENA Crystals, The Loeries, The New York Festivals, The One Show, The Cresta Awards and the London International Advertising awards. And in January 2010 Boomtown was named Production Company of The Year by ITP/Digital Studio magazine for the ground breaking launch film for the Dubai Metro, the first stereo 3D film produced in the region. www.boomtown-productions.com

Not only does it contain challenges in how we create and bring to life an epicallysized building development, it also demanded a lyrical approach to the effects. 50 51

MTV Boomtown Productions was asked by LOWE to produce a charity spot for MTV to highlight the dangers associated with AIDS and unsafe sex. Boomtown won numerous awards for the film, from a Gold Lynx Award to a Silver Loerie, everyone involved was more than happy to contribute to such a notable cause. It started as a novel class exercise: Ask a room full of Montgomery County high school students to take turns chewing the same piece of gum. To demonstrate how sexually transmitted diseases are spread, a visiting speaker invited students to share gum in health classes at four county high schools. As demonstrated in the class, sharing gum is at best unsanitary. But what this script said, is the use of sex without protection has a much worse consequences. The biggest being AIDS.

AIDS is a modern plague, it has killed millions, and has far-reaching consequences, both social, economically and personally - its impact is huge. This script addresses the prevention of AIDS in an interesting and intelligent way. You wouldnâ&#x20AC;&#x2122;t share chewing gum with a stranger, so why would you have unprotected sex and expose yourself to worse? It was vital that the film felt natural, contemporary and grounded, effectively and realistically conveying the message of safe sex to the viewer, thereby delivering a striking message to everyone. The film succeeded in everything from delivering a powerful message, to being a visually attractive spot.

KNOW WHO Boomtown Showcase ADTA A breeze blows along the streets outside the museum. Inside the ornate walls lie priceless antiquities from around the world. Trees rustle and move in the air. A bird sings. Across the road lies a gallery. The envy of the art world, housing a collection, second to none. The building themselves? Renowned across the globe, they are found inside one of the major cities of the world. The city itself is an internationally known modern capital with a rich cultural and spiritual heritage. The name of the city? Paris? NewYork? London? It is time for a new interpretation of Abu Dhabi. A city ready to become a cultural and creative centre. To step to the world stage. A quiet transformation has been taking place over the past ten years, quiet but with a sense of focus and speed. A shift in perceptions, the results of this transformation? The Yas Marina Circuit designed by Hermann Tilke. A venue deemed suitable to host the Formula One for years to come. The Yas Marina hotel designed by Asymptote Architecture, an incredible and striking building. All examples of an old city with a new beginning. The dawn of a new day. Thatâ&#x20AC;&#x2122;s what this script is all about. A new day, it metaphorically captures the beginning of a new era for Abu Dhabi. And with this new era will be new possibilities, new people and new travelers. A new light...

One of the most vital parts of the film, was capturing the feeling of Abu Dhabi, Telecine was key to delivering a film with the colour tones that would evoke feelings strong enough to sell Abu Dhabi as a tourist destination for everyone. A simple candlelight flickering between orange and yellow in a city street, the shadows move up the wall and across the floor throwing textures into contrasts. The Emirates Palace sits beneath the first light of day, the sun rises and frames the profile of the palace briefly in gold and orange, before the emerging light turns the sky to the rich blues of dawn. In order to help speed-up the transitions and change of light, some footage was shot at 4 or 5 frames a second. We can see the azure

blue sky punctuated by white clouds racing overhead. Beneath lies the Sheikh Zayed Mosque. The silhouettes of clouds follow the curves of the domes, tracing the majestic features of the architecture. This was an opportunity to create a unique and special set of films. By capturing the true nature of Abu Dhabi the films were able to present a picture of a truly individual place. A place destined to stand alongside Paris, New York and London. It is time for the world to see a new interpretation of Abu Dhabi. And the dawning of a new day.

The script cleverly uses this light as a metaphor. It is the catalyst for change in the film. A measure of time and of a new day. For this reason the photography was crucial. The movement and change of light lies at the heart of the idea. The rich golden lights of the Emirates Palace, the warming fabric of a Majlis as the sun arches over a desert. The movement of shadows across sand, concrete and steel. It acutely portrays glimpses of fantastical places at their most poignant and magical times. In order to capture these moments several different techniques were used. Colour was used to determine mood, the red warm tones of the desert or the cold blues and coloured lighting of the Yas Marina Circuit.

52 53

SCRIPT TALK

Media Production continues its Q & A series focusing on Arab screenwriters. In this issue, we profile Jordanian filmmaker, Claire Naber. Born to a Jordanian father and Australian mother, raised in Jordan but fortunate to have also experienced living overseas, Claire Naber holds a BA in Media and Cultural Studies from Middlesex University in London and an MFA in Creative Writing from the University of New South Wales in Sydney. After graduating from university in London, she stayed on in the UK for an additional two years – working in the fields of fashion, music and television, before returning to Jordan to work in television and radio for a year.

Following the year spent in Amman and Aqaba after her time in the UK, Claire decided to pursue her passion for writing and headed to Australia for post-graduate studies followed by some time spent working in marketing. Eventually returning home in 2006, Claire was hired as Project Manager of the newly forming Red Sea Institute of Cinematic Arts – a position that has evolved into her current role as Head of Institutional Development. As such, Claire shuttles between Amman, Aqaba and LA supporting the growth of RSICA as a regional and international entity by building relationships and forming ideas with other professionals within the film industry and also from the educational sector. As a writer, Claire is currently working on Yasmeen - her first feature-length script and a project which she describes as her “love letter to Amman”. A romantic comedy, Yasmeen touches on how “modern meets traditional, local meets immigrant, and the true meaning of home”.

In 2009, Claire married fellow Jordanian filmmaker Amin Matalqa, the Writer/Director of the hugely popular Jordanian feature Captain Abu Raed. The newlyweds are now collaborating creatively on Yasmeen – their first project together as writer (Claire) and director (Amin).

Recent festivals/awards: Yasmeen was an official selection of the Dubai Film Connection 2009 – the co-production market of the 6th Dubai International Film Festival; Yasmeen’s producer Fadi Al Sarraf was awarded entry to the Cannes Producers Network 2010 by the Dubai International Film Festival; Yasmeen awarded a $25,000 work-inprogress award by the Dubai International Film Festival in 2009.

Scene from Define ‘Over’ written by Claire Naber and directed by Tamir Naber. (Jordan, 2006, 15mins, HD, English)

KNOW WHO Script Talk - Claire Naber

Past project at-a-glance: Define ‘Over’ (Directed by Tamir Naber; Written by Claire Naber)

Logline for Define ‘Over’ A black comedy about love, obsession, and the fine line between passion and craziness.

Current project: Yasmeen

Synopsis: After inheriting some land in Jordan, Omar, a 37 year-old Arab-American living in Los Angeles, returns to the city of his childhood, Amman, for the first time in 25 years. While settling in to take care of family business, he meets 27 year-old Yasmeen, the beautiful and feisty girl next door who has so far refused to give in to all social pressures to get married. Omar and Yasmeen form an instant bond and - as she reintroduces him to the city of his youth - a feeling of nostalgia is aroused within Omar as he rediscovers the essence of daily life in Amman: the sounds of the lively streets, the scent of fresh coffee and spices, playing soccer with kids as he did when he was a boy. At the same time, Yasmeen finds herself slowly drawn to the innocence of the new stranger in her midst and begins to believe that she may have found her soul mate after all. But what Yasmeen doesn’t know is that Omar’s intention has always been to sell off his inheritance so he can return to Los Angeles and settle down with his ex-girlfriend. And as Omar finds himself reconnecting to the city of his youth and taking a liking to Yasmeen, the decision to return may not be so simple as he originally thought...

Q&A Media Production: What inspired you to write this story? Where did the idea originate? Claire Naber: Growing up in Jordan with a Jordanian father and Australian mother, I’ve always really loved the amazing differences and surprising similarities between East and West, the varying modern and traditional outlooks of each and especially the area of cultural cross-over where these things get mixed together in unexpected ways. Having now met so many Arabs who live all around the world – which is getting smaller all the time! – I’ve become fascinated by the stories which make up the immigrant or ‘expat’ experience. Most of the expats I have met have had this distinct sort of nostalgia for their homeland and because of having grown up in a different place this often appeared to me to be a kind of ‘old-fashioned’ view of what they pictured or remembered their homeland to be. It’s very touching to observe this natural yearning for home and, at the same time, seeing how it is a memory which doesn’t quite match to what the reality on the ground is. With this idea in mind it occurred to me to explore the situation of an Arab/Jordanian male expat returning from America or Europe, who then meets a local ‘modern-thinking’ girl who has herself never left her country. This would then form the basis of a story about what might transpire between them. I also thought it would be a

wonderful experience to write a romantic comedy for – and from – Jordan, and see where that would go… MP: How long did it take for you to arrive at your first draft of the screenplay and where is the project at now? CN: The first draft took about 4 months to complete (give or take) but with a madly pressured week to finish the second half of the script in order to make some deadlines. Right now I am working on the 5th draft and the re-writing is constant. MP: Did you seek any support to develop the project in the early stages through, for example, screenwriting workshops, writer’s residencies, grants etc.? CN: Absolutely. And we consider ourselves truly blessed that Yasmeen was selected for the 2009 edition of the Dubai Film Connection. The project was one of 3 film projects granted a prize for development which has really helped us keep it moving.

>>>

A romantic comedy that looks at life and love in modern Amman through the eyes of characters simply searching for their true place in the world.

54 55

KNOW WHO Script Talk - Claire Naber

As Asall allwriters writerswill willagree, agree,the theblank blankpage pageis isyour yourenemy enemyuntil until it becomes becomes your your playground. playground. So So II think think the the most most challenging challenging it thing initially initially is is defining defining the the actual actual story story before before putting putting itinto it into thing scriptform. form.Later Lateron onwhen whenyou youare arewell wellunderway, underway,ititis isthe thererescript writingprocess processthat thatgets getsreally reallytough. tough.That Thatisisthe thestage stage when writing youstart startto toimagine imaginethat thatmaybe, maybe,just justmaybe, maybe,you youwant wantto to you change95% 95%of ofwhat whatyou youalready alreadyhave haveto tomake makeititbetter! better! change

MP: Which stage of the writing process - from initial idea to first to final draft - do you find the most challenging creatively and why? CN: As all writers will agree, the blank page is your enemy until it becomes your playground. So I think the most challenging thing initially is defining the actual story before putting it into script form. Later on, when you are well underway, it is the rewriting process that gets really tough. That is the stage when you start to imagine that maybe, just maybe, you want to change 95% of what you already have to make it better! MP: As an Arab filmmaker, do you write in English or Arabic primarily? What factors do you have to take into consideration when choosing which language to use? CN: I write in English while trying to keep in mind the authentic dialogue and mannerisms of my characters for when the script is

eventually translated into Arabic. Personally, I find that English is a good common ground language to use within the industry - whether regional or international – and also for when you are looking for production support, funding or in search of a collaborator. MP: Did you write this script solo or was there some collaboration involved? CN: I am writing this script myself, but am truly lucky to have Amin as my sounding board and thinking partner. As the signed on director of the project Amin brings with him a truly educated perspective on how movies work and of course he has been invaluable with the story development techniques and inspiration too. As this is my first screenplay – something very different from writing narrative prose – his input has been crucial. MP: Who is your producer and what is the latest development for this project production-wise? CN: Fadi Sarraf, Amin Matalqa and my brother Tamir Naber are producing this film along with myself. So lots of great support. Production-wise, our goal is to get this movie shooting in early 2011.

MP: Any idea about what your next project might be? CN: I keep getting ideas that I think “Oh I’d love to work on that next!” before realizing that it’s an all too tempting distraction to think about other projects and even, perhaps, a sort of procrastination from finishing-up the work on Yasmeen. It takes a lot of discipline to write and I have to concentrate on the current project now. This means hard work, fundraising and lots of focus in the months ahead. By Talal Al-Muhanna

On the set of Define ‘Over’ written by Claire Naber and directed by Tamir Naber. (Jordan, 2006, 15mins, HD, English)

1 Scenes from the Zain TVC

Behind The Scenes

Speed Changes Everything

Media Production spoke to JWT Kuwait’s

Executive Creative Director Mr. Alessandro Antonini about the production and challenges of Zain’s latest TV campaign.

What is the product you are promoting through this TVC? The Zain High Speed Internet Network. The fastest mobile internet connection available in Kuwait. How did you intend to convey the message? We wanted to show how, when you reach the high speed threshold, your internet experience changes. Not only can you surf faster but you can actually enjoy features that are simply not possible to get at a lower speed. That’s why what you see in the scene is not only things going faster, but starting doing things differently. E.g. the water sprinkler starts dancing and the child takes off with his kite.

56 57

2 2 Scenes from the Zain TVC

Synopsis Kuwait wakes up to find something new is coming. A wave of energy that is giving a new spin to things and the whole nation. Everything accelerates creating a joyful choreography.

The most important thing is choosing the right director. And good directors only work with good production houses, who only work with good crews. The first decision cascades on the others. Where was the ad shot and how did you choose the production crew? Most of the ad was shot in Beirut and some of it by a second unit in Kuwait. The most important thing is choosing the right director. And good directors only work with good production houses, who only work with good crews. The first decision cascades on the others.

What was a creative challenge that needed special attention? We didnâ&#x20AC;&#x2122;t just want to show how speed creates spectacular effects, we wanted the result to give a positive impression. As the commercial was shot outdoors, what were the weather conditions and how did you manage to overcome these obstacles and deliver the commercials idea?

KNOW HOW Zain - Speed Changes Everything

...we decided not to tell a story about internet, that would have been too limiting and possibly cold, but a story about life. We only show a download bar at the end to conclude the narrative. The weather got miserable at some point and we had run out of indoor scenes to shoot.

We had students in polo shirts who were freezing but fortunately they were in the background. The kid with kite was the hero. It was good that he enjoyed being pulled 10 meters up in the air by the crane so much, that he ignored the cold wind and the rain. I can’t say the same about the rest of us.

This ad is very dependent on the music. Since it is accelerating, how did you manage to bring image and sound together? For the first offline cut we used a reference track that had an accelerating tempo. Once the cut was locked we worked in parallel on the digital effects and a new musical track with an Arabic flavour to it.

How is Zain’s new high-speed internet portrayed in the commercial? Internet influences every aspect of our lives. We connect to our friends, we study, we work, we shop, we find entertainment with it. So we decided not to tell a story about internet, that would have been too limiting and possibly cold, but a story about life. We only show a download bar at the end to conclude the narrative. What was the director’s vision this TVC shooting? The director Mr. Christophe Navarre wanted to give it a very modern yet naturalistic look and feel. Which is exactly what we needed for a story like this.

>>> 58 59

The kid with kite was the hero. It was good that he enjoyed being pulled 10 meters up in the air by the crane so much, that he ignored the cold wind and the rain. I canâ&#x20AC;&#x2122;t say the same about the rest of us.

10 8&9 Scenes from the Zain TVC 10 Boy pulled by kite, behind the scenes look

KNOW HOW Zain - Speed Changes Everything

We didn’t just want to show how speed creates spectacular effects, we wanted the result to give a positive impression.

What were the challenges during the shoot and how did you manage to overcome them on set and/or post-production? The challenge was more about finding a balance between the overall naturalistic style and the little bit of ‘magic’ that we added in postproduction. The water towers shot is a good example of it. Even more so the water sprinklers special effect that was done entirely live without any post-production.

Client: Zain Marcom Manager Zain: Besma Al Nafisi Zain Kuwait Marcom Team Member: Sara Taqi Agency: JWT Executive Creative Director: Alessandro Antonini Creative Director: Alessandro Mark Makhoul Creative team: Mitul Shah and Amin Abuhamzeh Group Account Director: Ghada Nasr Account Director: Khalid Mahdi Head of TV Production (JWT MENA): Gilbert Nahas Production House: City Films Production Director: Christophe Navarre Executive Producers: Joyce Hadifé and Marc Hadifé Equipment list: It was shot in 35mm. Some plates were taken with Canon 7D HD digital.

14 11 Behind the scenes, bucket SFX 12 Diwaniya 13 Storyboard 14 Magic in post-production, Kuwait water towers

60 61

Showcasing Audio

When you are a musician showcasing your hot-off-the-table album, the past decadeâ&#x20AC;&#x2122;s internet media explosion has been wonderful for careers. The ease at which individuals can freely advertise their music to the mass public, and even structure paid, downloadable content with popularity charts, has revolutionized the music industry in many advantageous ways.

rom Twitter to YouTube, myspace pages and Facebook, this new media era will continue to push creative envelopes as digital technology is both, constantly enhanced and made more universally viable to the entire spectrum of creatives. In the film world this is not always the case. As a director, camera operator or writer all of these networking sites serve well in the quest for the creatives. However, sometimes this comes at a cost. It is fantastic for getting your name out there, fantastic for showcasing your work and receiving criticism in combination with inspiration, but once your content is uploaded, it is there for all to see, and will never be taken down. For all independent and emerging directors, this is a blessing and a hinderance. Short films, like a lot of student film festival entries, have a shelf life of 9 to 18 months. Much beyond that and people want to see new work. Additionally, a number of film festivals will not accept content which has been uploaded to YouTube or any form of media website upon submission. So be aware of your media rights and allowances as you take advantage of these networking sites. In terms of aspiring master sound designers and re-recording mixers, getting your work out there and showcasing yourself is a little more indirect. All of the same networking possibilities still apply as mentioned above. However, one critically damaging factor to

people in both the musical and post-production industry, is the loss of quality sustained over these mass media networks. You might be able to make a perfect encoding that sounds identical as an MP3 to an uncompressed WAV on your studio grade monitors. But unfortunately you cannot control what type of speakers and amplification lie at the other end of the line. So, true reproduction especially of homemade music and movies, is hard to achieve. On the other hand, you can often lose the whole meatiness of your work and mixing skills because it was designed for 5.1 surround and is now playing out of a mono speaker system. Often, resources for sound designers come in the form of technical manuals or books about techniques. By far one of the best and well-rounded websites for resources is www. filmsound.org. They offer online glossaries of audio terminology, interviews with renowned sound designers, links to specific resources like sound effects, and information about unions/guilds of the sound design industry. The site is quite helpful for quick know how and links for further explanation. It is also a great resource for knowing when audio conventions, conferences, and awards are taking place. I would highly recommend that all aspiring directors and cameramen educate themselves on this great resource and make it a personal chore to understand the sound processes, enough to know key areas of importance.

Personal websites are very popular for aspiring sound designers. It offers a private way for recognition and showcasing of their work and portfolio. Due to the target audience, sound design differs from the film/music world. In the film/music community media targets are generally fairly wide and everybody needs to see it. In the sound community your showcasing targets are potential employers and fellow sound designers. There are numerous resources and personal sites that can easily be found online and sound studio companies often have links to their partners and client lists to help in client research. On union and guild websites, you can find all kinds of application information and news. However, YouTube is by far the greatest current resource, despite its pitfalls. The sheer amount of viewing power that you can achieve in combination with its diverse clientele, makes it a fantastic way to get your work out there and possibly the next millionaire to be. Apart from online resource there are also some fantastic books that are not to be missed in your reference library which are focussing on sound design for visual media. One good book for sound design is, Practical Art of Motion Picture Sound by David Lewis Yewdall. It portrays the industry and gives insights based upon personal experiences. For anybody in the sound industry it is a great read with numerous examples to play with. For anybody in the film industry,

KNOW HOW Showcasing Audio

Sound Design by David Sonnenschein is a must read. It delves deeply into the technical workings of sound design, but it also portrays the psychology of sound and how certain choices in our sound creation can affect mood, state of mind, and emotional impact. Furthermore, it gives insight into other areas of the film world which are intertwined in the creation process. This book also explains how every individualâ&#x20AC;&#x2122;s input can affect the quality of the end result. www.IMDb.com has proved to be a great resource for every part of the industry. It gives you a short filmography of each individualâ&#x20AC;&#x2122;s role in every movie they have worked on. It also provides you with technical information

about which cameras and studios were used and other resources that can allow you to hunt down various production companies for your career. As musicians or technical engineers, composers, sound designers or anybody that has made their career through sound, we pour our hearts into our creations and hope the world enjoys our various forms of entertainment. Whether they are hidden emotional roller coasters or fantasies surrounding musical experiences, we love our work and hope it inspires and entertains the public today and future generations in the industry. By John Kochanczyk

By far one of the best and well-rounded websites for resources is www.filmsound.org. They offer online glossaries of audio terminology, interviews with renowned sound designers, links to specific resources like sound effects, and information about unions/guilds of the sound design industry. John Kochanczyk

is a Sound Designing fanatic, residing in Abu Dhabi, who has been practicing sound design projects for over 10 years. He has delivered projects covering the spectrum from live performances to onsite media capture to post-production. He is a specialist in ADR and Foley and likes nothing better than to

stay up late reading ProTools manuals and shortcuts while fiddling with new add-ons in his home studio. Recently, he has become a Certified Master Pro in Final Cut Studio. John holds degrees in Sound Design for Visual Media, and Visual Arts and Design from Vancouver Film School and he is currently

the Post-Production Supervisor and Production/Post Sound lecturer at the New York Film Academy in Abu Dhabi. Always eager to share his extensive knowledge and experiences with students and media professionals, he can be contacted at j.kochanczyk@gmail.com.

64 65

Shure SRH750DJ The Shure SRH750DJ headphones are geared towards professional DJ mixing and monitoring, but would be just as well-received by someone looking for fantastic sound and durability.

irst impressions are disconcerting as the headphones seem a little too lightweight and are made of plastic. However, as you start to put them through their paces a whole different impression begins to emerge. The lightweight construction gives way to surprising durability and quality. The wide headband sits comfortably and the swiveling cups allows for numerous listening styles. Then the audio quality hits you. The incredible bass clarity and resonance that these cans produce at any volume is nothing short of impressive. Then come the mids and treble, the balance and design that has gone into these headphones provides a wonderful listening experience. The highs donâ&#x20AC;&#x2122;t overwhelm and are supported by strong

Technical Specifications mids. When combined with the incredible bass you get an acoustical picture that does justice to any musical genre. Additionally, the minute details are well represented and are not squashed by the incredible bass nor detailed treble. If you want headphones that have a flat boring response then these are not for you. However, if you want headphones that give fantastic sound and durability that outperforms most other offerings in the same price class then these are perfect, regardless if you are a respected DJ or personal listener. By John Kochanczyk To contact John Kochanczyk, please visit www.mp-mag.com

Transducer Type : Dynamic, Neodymium Magnet Driver Size : 50 mm Sensitivity (1 kHz): 106 dB/mW Nominal Impedance (1 kHz): 32 ÎŠ Maximum Input Power (1 kHz): 3000 mW Frequency Range: 5Hz - 30 kHz Net Weight (without cable): 227 g Cable: 3 m left-sided, detachable coiled cable Plug: Gold-plated, 3.5 mm stereo mini plug with adaptor to 6.3 mm For more information on these or other Shure devices, visit www.nmkelectronics.com, or call +971 4 266 5244

REVIEW Shure SRH750DJ

1 \\\

2 \\\

4 \\\

Adjustable headband with ergonomic fit.

3 \\\

Collapsible design with 90-degree swivel earcups.

High impedance with maximized power handling.

Detachable, left-sided coiled cable and easy cable replacement.

5 \\\

6 \\\ Closed-back, circumaural design, providing excellent sound isolation.

Tailored frequency response giving high-output bass and clear highs.

66 67

Retro Sound Revived Korg iElectribe iPad App With the launch of iPad, Apple is on the verge of revolutionizing mobile internet and mobile communication, but who would have thought that iPad could actually be a music production tool?

Working with iElectribe came across the Korg iElectribe, which is an emulation of the traditional Korg Electribe drum machine series.

In 1999, Korg introduced the first generation of the Electribe groove boxes, which soon became very popular amongst DJs, and electronic music producers. The reason why this device family was such a success, was that these machines were very powerful in their sound quality and sound flexibility. Other than available groove boxes that time, Electribe was not just a sample player that can be loaded with all kind of sound bits, but a drum synthesizer that opened the possibility to creating sounds rather than reproducing them. The interface is organized like the actual Korg Electribe which makes it user-friendly for Electribe users. Non-Electribe users will find out how easy the use of iElectribe is after a very short period. All functions are on the home screen with no complicated layers that confuse the user.

First, you need to access your iTunes App Store and download the iElectribe onto your iPad. iElectribe is available exclusively for iPad, not iPhone nor iPod Touch or other mobile devices. It sells at 19.99 $ which is much cheaper than the hardware version of it which is around 700 $. Once you complete the download, click on the icon and your iElectribe is ready to go. After pressing the ‘start’ button you can already listen to the preset loops and play with them. Since iElectribe works natively on the iPad you can use the mini jack headphone outputs to connect it to your stereo or mixer, but

keep in mind that the you would connect an unbalanced output. Make sure that you don’t have any wire running around this connection to avoid interferences.

Pros Now, iElectribe is more mobile and can be taken with you where ever you go. You can create music with fellow musicians without carrying a Korg Electribe with you all the time. With the price of almost 20 $ it is ridiculous to think about purchasing it or not. The sound quality is superb and very close to its hardware sibling. The only difference between the two Korg Electribes is that the iElectribe is lacking a bit in the base when using the base boost function, but this is hardly audible.

KNOW HOW Korg iElectribe

1 \\\

The virtual display is located at the top left of the panel and displays different than the original Electribe the pattern name and not just the number. You can scroll through the presets by using the scroll knob located next to the display.

2 \\\

Under the virtual display you find the the master volume section, where you adjust the output level of iElectribe. The Tube Gain knob next to the master volume triggers the virtual valves that simulate an analogue amplifier. You can choose from subtle analogue distortion to heavy analogue distortion.

3 \\\

The transport panel includes a ‘mute’ button, ‘solo’ button, ‘tap’ button and a ‘pattern set’ button. Under these buttons you find the standard ‘record’ button, a ‘stop’ button. a ‘play’ and a ‘loop’ button.

4 \\\

Here in the ‘Part’ section is where you choose your sounds. There are two types of sounds available. The first 4 buttons with the label ‘Synth 1’ to ‘Synth 4’ trigger the build in oscillators to synthesize a sound, the remaining 4 buttons play back a PCM audio sample.

5 \\\

You can start creating a sound with 4 of the available wave forms, sinus, square, triangle and saw. Each one of these waves has a specific character and determines the sound character.

6 \\\

In the oscillator section you can edit your sounds. it features a ‘Pitch’ control knob, ‘Mod Depth’ that controls the modulation frequency depth for the primary wave and a ‘Mod Speed’ knob that controls the frequency of the modulating frequency.

This is the actual step sequencer where the beats are programmed and the sounds are triggered. In total you can create a 4 bar 64 beats drum loop.

With the iPad’s large screen the knobs and buttons are easy to operate and respond very accurately.

Conclusion

Cons iElectribe does not support user samples (yet?). This means you will have to work with the existing PCM audio samples. Another important feature still missing, especially for live performances, is the song function, where you can prepare a live performance set. An audio export function is missing here too, but I hope it will be added in the upcoming upgrades.

iElectribe is a very good case study to test how far you can go with consumer products in terms of production. This app is a preview for what we can expect for the future of music production tools. With a very low price it is accessible to a wider range of creatives and opens the door to experimenting with new old tools.

7 \\\

This is the global effect section where you can choose from 8 different effects for the entire drum loop. This means if you select an effect here, it will be applied to entire drum loop.

8 \\\

The motion sequence section allows you to record parameter changes for selected parts or the master effect section.

On the downside, the integration into an existing studio environment is not possible, and the missing song function makes it unsuitable for live performances with long set lists. Altogether iElectribe is a very neat music production tool that shouldn’t be missed.

The sound quality is on a very professional level and covers everything needed, not just for a retro electronic groove but many more musical genres.

68 69

KNOW HOW Sounds of the 70s

Zero G

Sounds of the 70s sample library and sample player With the release of ‘Sounds of the 70s, the UK-based sound design company Zero G brings back retro sounds to the modern digital workstations (DAW). This virtual sound module comes packed with over 900 loops ready to use for your productions. All sounds featured in ‘Sound of the 70s’ have been recreated and sampled to capture the essence of the golden dance floor age and bring them to the 21st century. The 1.4 GB huge sample library takes the user on a sonic journey that covers popular musical styles from the 70s like soul, disco, funk, and punk.

Of course the included Intakt sample player can be integrated into your DAW as a virtual instrument. Supported formats are; VST, DXi, ASIO, RTAS, Audio Units, DirectSound. It also supports the native apple audio driver core audio, which gives the user the option to run ‘Sounds of the 70’ as a stand-alone application on a Mac with very little latency. To increase the sound editing flexibility all loops are sliced into sound bits that can be edited and tweaked in Intakt individually. You can purchase this package for 199.95 $ or download the library including the instrument patches for your NI Intakt or NI Kontakt for 239.00 $. Listen to demo sounds at www.mp-mag.com or visit www.zero-g. co.uk for more information on purchase and download.

Bundled with the all-round loop sample player Intakt by Native Instruments, this package is ready to jumpstart your retro inspired music production.

System Requirements • 1.4 GB Free Hard Disc Space • DVD-ROM Drive

Minimum Requirements • Windows XP, Pentium III/Athlon 400 MHz, 256 MB RAM • Mac OS 10.2.6 or higher, G3 500 MHz, 256 MB RAM

Recommended System

NI Intakt loop player Intakt is based on the Kontakt sampling engine, offering up to 128 stereo voices with 32 bit processing and up to 96 kHz sample rate support. It even supports Direct from Disk playback. Similar to apps like ReCycle, use it to tempo match any stereo loop on-the-fly, or chop, morph, effect and twist loops into your own sonic creations all from a convenient one-screen interface plug-in within your host music production software!

• Windows XP, P III/Athlon 700 MHz, 512 MB RAM • Mac OS 10.2.6 or higher, G4 733 MHz, 512 MB RAM

*Please note native instrument’s Kompakt player is not Intel Mac compatible, if you wish to use this product with an Intel Mac you need to own Kontakt 2.2 Or later. (‘Sounds of the 70s’ is not compatible with Mac OS9)

Supported Interfaces VST, DXi, ASIO, RTAS, Audio Units, Core Audio, DirectSound

Our flagship interface combines Liquid technology with Saffire PRO firewire interfacing to deliver a host of authentic pre-amp flavours, seamless software integration, a vast i/o count with excellent routing flexibility and future-proof, rock-solid driver stability. + Two Liquid Pre-amps, each allowing you to choose from ten classic emulations + Total I/O count of 28 Inputs and 28 Outputs, including 8 Focusrite pre-amps + Professional 24 bit / 192kHz digital conversion, with JET PLL Jitter elimination

Saffire Mix Control - powerful and intuitive software control that features throughout the PRO range.

Saffire PRO 40 The Focusrite Saffire PRO 40 has eight Focusrite mic-pres, eight line inputs, and a host of digital i/o. There are also two discrete headphone buses, a dedicated stereo output and a pair of unique â&#x20AC;&#x2DC;loopbackâ&#x20AC;&#x2122; inputs.

+ Eight Focusrite mic-pres, based on a 25-year pre-amp legacy + Professional 24 bit / 96kHz digital conversion, with JET PLL Jitter elimination + ZeRO-latency intuitive DSP Mixer/Router with quick one-click set-ups

Saffire PRO 24 DSP Saffire PRO 24

VRM - simulate different monitors and rooms, just using your headphones

Saffire 6 USB

Two Focusrite mic-pres, based on an unparalleled pre-amp legacy

Two Focusrite mic-pres, delivering extremely low noise and distortion.

Two Focusrite mic-pres capture every subtle nuance of your sound

With an ADAT input, Saffire PRO 24 provides a vast i/o count for the money

Onboard DSP-powered, latency-free EQ, Compression and Reverb

Features four phono outputs and flexible monitoring for laptop DJs

Xcite+ bundle features 1 gig of loops, Ableton Live 7 Lite, and more.

www.nmkelectronics.com Nicolas Kyvernitis Electronics Ent. Ltd. P.O. Box 3191, Sharjah, United Arab Emirates Telephone: +971-4-2665244, Telefax:+971-4-2626682

The best sounding, best performing interface in its class

‫‪KNOW WHO‬‬ ‫‪Script Talk - Claire Naber‬‬

‫المهرجانات‪/‬الجوائز األخيرة‬ ‫ً‬ ‫رسميا من قبل ُملتقى دبي‬ ‫• تم اختيار "ياسمين"‬ ‫السينمائي ‪ – 2009‬وهو سوق اإلنتاج المشترك‬ ‫لمهرجان دبي السينمائي الدولي السادس‪.‬‬ ‫• تم منح فادي الصراف منتج فيلم "ياسمين"‬ ‫حق االنضمام لشبكة منتجي مهرجان "كان"‬ ‫‪ 2010‬من قبل مهرجان دبي السينمائي الدولي‪.‬‬

‫حديث مع‬ ‫كلير نابر‬ ‫وأم أسترالية ونشأت‬ ‫ُولدت كلير نابر ٍ‬ ‫ألب أردني ٍ‬

‫ً‬ ‫أيضا بفرصة العيش‬ ‫في األردن‪ ،‬غير أنها حظيت‬ ‫بالخارج‪ .‬تحمل كلير بكالوريوس في الدراسات‬

‫اإلعالمية والثقافية من جامعة ميدلسكس في‬

‫لندن وشهادة ماجستير الفنون الرفيعة في الكتابة‬ ‫اإلبداعية من جامعة نيوساوث ويلز في سيدني‪.‬‬

‫بعد تخرجها في الجامعة مكثت كلير بالمملكة‬

‫المتحدة لسنتين إضافيتين عملت خاللهما باألزياء‬

‫والموسيقى والتليفزيون قبل أن تعود إلى األردن‬ ‫عام واحد‪.‬‬ ‫للعمل في اإلذاعة والتليفزيون لمدة ٍ‬ ‫‪72 73‬‬

‫في موقع تصوير “‪ ”Over‬تأليف كلير نابر وإخراج‬ ‫تامر نابر (األردن ‪ 15 ،2006‬دقيقة‪ ،‬صورة فائقة‬ ‫الوضوح‪ ،‬باللغة اإلنجليزية)‪.‬‬

‫• تم منح "ياسمين" جائزة األعمال تحت التنفيذ‬ ‫والبالغة قيمتها ‪ 25000‬دوالر من قبل مهرجان‬ ‫دبي السينمائي الدولي ‪.2009‬‬ ‫نظرة على المشروع السابق‬ ‫“‪( ”Over‬إخراج تامر نابر‪ ،‬تأليف كلير نابر)‪.‬‬ ‫هو كوميديا سوداء تتناول الحب والهواجس‬ ‫والخيط الرفيع الذي يربط الولع بالجنون‪.‬‬ ‫المشروع الحالي‪:‬‬ ‫"ياسمين"‬

‫قررت كلير بعد ذلك السعي وراء شغفها بالكتابة‬ ‫واتجهت إلى أستراليا إلتمام دراساتها العليا‪،‬‬ ‫تالها العمل بعض الوقت في مجال التسويق‪.‬‬ ‫بعد عودتها إلى األردن عام ‪ 2006‬تم تعيين كلير‬ ‫كمدير مشروع في معهد البحر األحمر للفنون‬ ‫السينمائية والذي كان قيد التأسيس حينذاك‪،‬‬ ‫ً‬ ‫حاليا رئاسة‬ ‫وهو المنصب الذي أدى إلى توليها‬ ‫المؤسسي بذات المعهد‪ .‬وبطبيعة الحال‬ ‫التطوير‬ ‫َ‬ ‫عمان والعقبة ولوس‬ ‫بين‬ ‫التنقل‬ ‫دائمة‬ ‫كلير‬ ‫فإن‬ ‫ّ‬ ‫ككيان إقليمي ودولي‬ ‫المعهد‬ ‫لدعم‬ ‫أنجلوس‬ ‫ٍ‬ ‫عالقات بناءة وتطوير‬ ‫وذلك من خالل توثيق‬ ‫ٍ‬ ‫أفكار خالقة مع مهنيي الحقل السينمائي وكذلك‬ ‫ٍ‬ ‫القطاع التعليمي‪.‬‬ ‫ً‬ ‫حاليا بـفيلم‬ ‫وفيما يختص بالتأليف‪ ،‬تعمل كلير‬ ‫“ياسمين” وهو أول سيناريو طويل لها والذي‬ ‫عمان”‪ .‬هو كوميديا‬ ‫تصفه بأنه “رسالة حب إلى ّ‬ ‫المعاصر‬ ‫“تالقي‬ ‫رومانسية يتناول كيفية‬ ‫ُ‬ ‫بالتقليدي‪ ،‬والمواطن بالمهاجر والمعنى‬ ‫الحقيقي للوطن”‪.‬‬ ‫تزوجت كلير في ‪ 2009‬من المخرج األردني أمين‬ ‫مطالقة مؤلف ومخرج الفيلم األردني الشهير‬ ‫“كابتن أبورائد”‪ .‬هذا ويعمل العروسان حاليا بـ‬ ‫“ياسمين” وهو أول تعاون يجمعهما كتأليف‬ ‫(كلير) وإخراج (أمين)‪.‬‬

‫نبذة موجزة‬ ‫ً‬ ‫عمان يعود "عمر" الشاب‬ ‫بعد أن يرث‬ ‫أرضا في ّ‬ ‫األمريكي العربي األصل والبالغ من العمر ‪37‬‬ ‫ً‬ ‫عاما من لوس أنجلوس إلى مسقط رأسه ألول‬ ‫ٌ‬ ‫منشغل بقضاء‬ ‫مرة منذ ‪ 25‬سنة‪ .‬وبينما هو‬ ‫بعض المصالح العائلية يلتقي "ياسمين" جارته‬ ‫ً‬ ‫ربيعا والتي‬ ‫الشابة الجميلة المشاكسة ذات الـ ‪27‬‬ ‫ال تزال ترفض الخضوع للضغوطات االجتماعية‬ ‫التي تطالبها بالزواج‪.‬‬ ‫ٌ‬ ‫صلة قوية وبينما تعيد‬ ‫تنشأ بينهما على الفور‬ ‫ً‬ ‫صبيا يغمر‬ ‫هي تعريفه على المدينة التي احتضنته‬ ‫"عمر" الشعور بالحنين إلى عبق الحياة اليومية‬ ‫عمان حيث صخب الشوارع ورائحة القهوة‬ ‫في ّ‬ ‫والتوابل ولعب الكرة مع األطفال كما كان يفعل‬ ‫في صباه‪ .‬في ذات الوقت تجد "ياسمين" نفسها‬ ‫ً‬ ‫ً‬ ‫فشيئا إلى براءة ذلك الغريب الجديد‬ ‫شيئا‬ ‫منجذبة‬ ‫ً‬ ‫أخيرا‬ ‫وتبدأ في االقتناع بأنها ربما تكون قد عثرت‬ ‫على توأم روحها‪ .‬ولكن ما ال تعرفه "ياسمين" هو‬ ‫أن "عمر" لطالما كان ينوي بيع إرثه والعودة إلى‬ ‫لوس أنجلوس لالستقرار مع حبيبته السابقة‪ .‬غير‬ ‫أنه ومع إعادة تواصله بمسقط رأسه وإعجابه بـ‬ ‫"ياسمين" فإنه يجد أن قرار العودة ربما ال يكون‬ ‫بالبساطة التي حسبها‪.‬‬ ‫العمل كوميديا رومانسية تتناول الحياة والحب‬ ‫شخصيات تبحث عن‬ ‫عمان الحديثة بعيون‬ ‫في ّ‬ ‫ٍ‬ ‫مكانها المناسب في هذا العالم‪.‬‬

‫المقابلة‬ ‫ميديا برودكشن ‪ :‬ما الذي ألهمك لتـأليف هذه‬ ‫الرواية؟ من أين خطرت لك الفكرة؟‬ ‫وأم أسترالية‬ ‫كلير‪ :‬نشأتي في األردن بين ٍ‬ ‫أب أردني ٍ‬ ‫جعلتني أعشق الفروق المذهلة والتشابهات‬ ‫المدهشة بين الشرق والغرب‪ ،‬ووجهات النظر‬ ‫ً‬ ‫وخاصة األوجه‬ ‫المعاصر والتقليدي‬ ‫المتباينة بين ُ‬ ‫الثقافية المشتركة حيث تمتزج تلك األمور على‬ ‫عكس المتوقع‪.‬‬ ‫وحيث أنني سبق وأن قابلت العديد من األشخاص‬ ‫العرب المقيمين في كافة أنحاء العالم‪ ،‬والذي‬ ‫ً‬ ‫مولعة‬ ‫ينكمش بمرور الوقت‪ ،‬فقد أصبحت‬ ‫بقصص المهاجرين وتجارب المغتربين‪ .‬وقد‬ ‫ً‬ ‫ً‬ ‫واضحا‬ ‫حنينا‬ ‫أبدى أغلب المغتربين ممن القيتهم‬ ‫إلى الوطن بسبب نشأتهم في ُ‬ ‫الغربة وقد وجدت‬ ‫ً‬ ‫ً‬ ‫ألمر‬ ‫وهو‬ ‫الشيء‪،‬‬ ‫"بالية" بعض‬ ‫نظرة‬ ‫في ذلك‬ ‫ٌ‬ ‫مؤثر رؤية ذلك التوق الطبيعي إلى الوطن‪ ،‬مع‬ ‫إدراك عدم مطابقة الذكريات للحقيقة الواقعة‪.‬‬ ‫من خالل تلك الفكرة خطر لي استكشاف وضع‬ ‫شاب عربي‪/‬أردني عائد من أمريكا أو أوروبا يلتقي‬ ‫ٍ‬ ‫بفتاة محلية "عصرية التفكير" لم تبرح وطنها‬ ‫قط‪ ،‬ومن ثمة َنسج قصة على هذا األساس‬ ‫لألحداث التي قد تجري بينهما‪ .‬كما أنني كنت‬ ‫أحسبها فرصة رائعة لتأليف كوميديا رومانسية‬ ‫لألردن ومن األردن ومعرفة إلى أين سوف‬ ‫تأخذني التجربة‪.‬‬ ‫ميديا برودكشن‪ :‬كم من الوقت استغرق‬ ‫االنتهاء من المسودة األولى للنص وأين وصل‬ ‫المشروع اآلن؟‬ ‫كلير‪ :‬استغرق إتمام المسودة األولى نحو ‪4‬‬ ‫ً‬ ‫ٌ‬ ‫مضغوط للغاية من‬ ‫أسبوع‬ ‫(تقريبا) تخللتها‬ ‫أشهر‬ ‫ٌ‬ ‫أجل االنتهاء من النصف الثاني للنص في الوقت‬ ‫حاليا على المسودة الخامسة ُ‬ ‫ً‬ ‫وأعيد‬ ‫المحدد‪ .‬أعمل‬ ‫الكتابة بصفة دائمة‪.‬‬ ‫ميديا برودكشن‪ :‬هل شهدت المراحل األولى‬ ‫دعم للمشروع من خالل ورش‬ ‫سعيك لتأمين‬ ‫ٍ‬ ‫المنح ‪...‬الخ؟‬ ‫أو‬ ‫عمل للتأليف‪،‬‬ ‫ِ‬ ‫ٍ‬ ‫كلير‪ :‬بالتأكيد‪ .‬ونحن نعتبر أنفسنا محظوظين‬ ‫للغاية باختيار "ياسمين" من قبل ُملتقى‬ ‫دبي السينمائي في عام ‪ 2009‬ليكون أحد ‪3‬‬ ‫مشروعات تم منحها جائزة التطوير التي ساعدتنا‬ ‫ً‬ ‫كثيرا على االستمرار بالمشروع‪.‬‬

‫كلير نابر تعمل على أول سيناريو طويل لها وهو‬ ‫كوميديا رومانسية تقع أحداثها في األردن‪.‬‬

‫ميديا برودكشن‪ :‬في أية مرحلة من مراحل التأليف‬ ‫– من الفكرة األصلية وحتى المسودة األخيرة –‬ ‫تواجهين أصعب التحديات اإلبداعية ولماذا؟‬ ‫كلير‪ُ :‬يجمع كافة المؤلفين على أن الصفحة‬ ‫الفارغة تكون بمثابة العدو إلى أن تصبح ملعبك!‬ ‫لذا أعتقد أن أصعب التحديات هي تحديد القصة‬ ‫ً‬ ‫الحقا‬ ‫نص سينمائي‪.‬‬ ‫الفعلية قبل تحويلها إلى ٍ‬ ‫ومع المراحل التالية تجد أن إعادة الكتابة تزداد‬ ‫صعوبة‪ ،‬إذ أنك تتخيل حينها بأنه ربما يجدر بك‬ ‫تغيير ‪ 95%‬مما قمت بكتابته للحصول على ما‬ ‫هو أفضل!‬ ‫ً‬ ‫غالبا ما‬ ‫ميديا برودكشن‪ :‬كمخرجة عربية هل‬ ‫تقومين بالكتابة باللغة العربية أم اإلنجليزية؟ وما‬ ‫هي العوامل التي يجب أخذها في االعتبار عند‬ ‫اختيار اللغة التي ترغبين في استخدامها؟‬ ‫كلير‪ :‬أكتب باإلنجليزية وأحاول مراعاة الحوار‬ ‫األصلي وأنماط شخصياتي في حال تم ترجمة‬ ‫ً‬ ‫شخصيا أجد أن‬ ‫النص إلى اللغة العربية‪ .‬أنا‬ ‫مشترك يمكن‬ ‫أساس‬ ‫اإلنجليزية هي لغة‬ ‫ٍ‬ ‫ٍ‬ ‫استخدامها بفاعلية في هذه الصناعة سواء‬ ‫ً‬ ‫ً‬ ‫ً‬ ‫دعم إنتاجي‬ ‫إقليميا أو دوليا‪ ،‬وأيضا عند بحثك عن ٍ‬ ‫أو تمويل أو شريك عمل‪.‬‬ ‫ميديا برودكشن‪ :‬هل قمت بتأليف النص‬ ‫بمفردك أم حدث ذلك بالتعاون مع آخرين؟‬ ‫ٌ‬ ‫محظوظة‬ ‫كلير‪ :‬أكتب هذا النص بمفردي ولكنني‬ ‫كشريك فكري لي‪.‬‬ ‫بالفعل على وجود "أمين"‬ ‫ٍ‬ ‫ً‬ ‫ً‬ ‫مثقفا عن‬ ‫منظورا‬ ‫فهو كمخرج للمشروع يقدم‬

‫أعشق الفروق المذهلة والتشابهات‬

‫المدهشة بين الشرق والغرب‪ ،‬ووجهات‬ ‫المعاصر والتقليدي‬ ‫النظر المتباينة بين ُ‬

‫ً‬ ‫وخاصة األوجه الثقافية المشتركة حيث‬

‫تمتزج تلك األمور على عكس المتوقع‪.‬‬

‫ً‬ ‫جهدا ال ُيقدر بثمن في تطوير الرواية‬ ‫كيفية عمل األفالم وبالطبع فقد َبذل‬ ‫إلهام كذلك‪ .‬وبما أن هذا يعد النص السينمائي األول بالنسبة‬ ‫وكان مصدر‬ ‫ٍ‬ ‫لي فقد كانت مساهمته حاسمة للعمل‪.‬‬ ‫ميديا برودكشن‪ :‬من هو منتج المشروع وما هي آخر تطورات اإلنتاج؟‬ ‫كلير‪ :‬فادي صراف وأمين مطالقة وأخي تامر نابر يتولون إنتاج هذا العمل‬ ‫بدعم عظيم! نهدف إلى البدء في‬ ‫باإلضافة إلي ومن ثمة فإنني أحظى‬ ‫ٍ‬ ‫التصوير مطلع عام ‪.2011‬‬ ‫ميديا برودكشن‪ :‬هل لديك فكرة عما سوف يتناوله مشروعك القادم؟‬ ‫ً‬ ‫أفكار أجدني أقول عنها‪" :‬كم أود أن أتناول ذلك‬ ‫دائما ما تخطر ببالي‬ ‫كلير‪:‬‬ ‫ٌ‬ ‫ً‬ ‫مشروعات أخرى‪،‬‬ ‫في‬ ‫التفكير‬ ‫مغر‬ ‫إلهاء‬ ‫ذلك‬ ‫أن‬ ‫كم‬ ‫أدرك‬ ‫أن‬ ‫قبل‬ ‫تاليا!"‬ ‫ٍ‬ ‫ٌ‬ ‫ٍ‬ ‫بل يكاد يصل إلى حد ُالمماطلة في إتمام "ياسمين"‪ .‬إن التأليف يتطلب‬ ‫ً‬ ‫ً‬ ‫عظيما ويجب علي التركيز في المشروع الحالي‪ ،‬مما يعني الكثير‬ ‫انضباطا‬ ‫المقبلة‪.‬‬ ‫من العمل الجاد والسعي إلى جمع التبرعات خالل الشهور ُ‬

‫‪KNOW WHO‬‬ ‫‪David Shepheard‬‬

‫سؤال وجواب مع ديفيد شيبرد‬ ‫تم إطالق لجنة أبو ظبي لألفالم في ‪ 2009‬من قبل هيئة أبو ظبي للثقافة والتراث بهدف المساعدة في تطوير صناعة‬

‫السينما والتليفزيون في أبوظبي‪ ،‬ورعاية المواهب الجديدة والمساهمة في تدعيم وتعزيز الثقافة العربية من خالل األعمال‬

‫الفنية‪ .‬وقد التقت مجلة "ميديا برودكشن" بالسيد‪ /‬ديفيد شيبرد – رئيس اللجنة – الذي قام بدوره بإلقاء الضوء على برامج‬ ‫وتطلعات وأهداف لجنة أبوظبي لألفالم في سياق الحديث التالي‪.‬‬

‫برامج التمويل والتطوير المقدمة من قبل اللجنة‬

‫متاحة لكافة المخرجين من شتى األعمار والجنسيات‪.‬‬

‫سؤال‪ :‬ما هي الفئة العمرية (إن وجدت) التي‬ ‫تستهدفها المبادرات المقدمة من قبل اللجنة؟‬ ‫على سبيل المثال هل يحظى المخرجون‬ ‫بفرص‬ ‫المقيمون في اإلمارات العربية المتحدة‬ ‫ٍ‬ ‫متكافئة للحصول على التمويل أو الدعم الالزم‬ ‫بغض النظر عن جنسياتهم أو أعمارهم أو ديانتهم‬ ‫أو نوعهم أم أن هنالك معايير خاصة تُ عطي‬ ‫األفضلية لمجموعة بعينها دون أخرى؟‬ ‫جواب‪ :‬برامج التمويل والتطوير المقدمة من قبل‬ ‫اللجنة متاحة لكافة المخرجين من شتى األعمار‬ ‫والجنسيات‪ .‬ينصب تركيزنا على اكتشاف وتطوير‬ ‫المواهب اإلماراتية‪ ،‬غير أن المجتمع اإلماراتي‬ ‫يمتاز بتعدد الثقافات‪ ،‬كما أن صناعة السينما‬ ‫ٌ‬ ‫صناعة عالمية بطبيعة الحال‪.‬‬ ‫والتليفزيون هي‬ ‫سؤال‪ :‬ما هي الصفات التي يجب توافرها في‬ ‫عمل سينمائي لنيل‬ ‫من يتقدم بفكرة أو مشروع‬ ‫ٍ‬ ‫فرصة الحصول على التمويل الالزم؟‬ ‫جواب‪ :‬ذلك يعتمد على البرنامج الذي يتقدم‬ ‫المرشح إليه‪ .‬المعيار الرئيسي هو قابلية وجود‬ ‫جمهور لمشاهدة العمل المقدم إلى اللجنة‪َ .‬تقبل‬ ‫"منحة الشاشة" المسودة األولى أو الثانية للنص‬ ‫السينيمائي كونها منحة تطويرية‪ .‬نحن نبحث عن‬ ‫جمهور‬ ‫عناصر القصة التي قد تترك صدى لدى‬ ‫ٍ‬ ‫عريض من المشاهدين ألنه يتم رواية القصة‬ ‫ٍ‬ ‫اإلماراتية من خالل األعمال السينيمائية ومن‬ ‫ثمة نهتم بمدى إقبال المشاهدين على هذه‬ ‫األعمال‪ .‬هذا باإلضافة إلى أخذنا في االعتبار‬ ‫مستوى العمل الفني وكلفته اإلجمالية‪.‬‬ ‫‪74 75‬‬

‫استعداد لتمويل إنتاجات‬ ‫سؤال‪ :‬هل اللجنة على‬ ‫ٍ‬ ‫المخرجين المقيمين في اإلمارات العربية المتحدة‬ ‫ممن ينوون تصوير أعمالهم في الخارج؟‬ ‫جواب‪ :‬في الوقت الراهن تعد "منحة الشاشة"‬ ‫مصدر التمويل األوحد لدعم المشاريع التي‬ ‫يتم تصويرها خارج اإلمارات العربية المتحدة‪،‬‬ ‫غير أننا نعمل مع المنتجين الحاصلين على هذه‬ ‫المنحة لمحاولة إقناعهم بإتمام أعمالهم الفنية‬ ‫هنا‪ .‬هدفنا الرئيسي هو المساهمة في تطوير‬ ‫الصناعة المحلية‪ ،‬ومن الطرق األساسية إلنجاز‬ ‫ذلك هو زيادة معدل النشاط واإلنتاج المحلي‪.‬‬ ‫منظمات أخرى في أبوظبي تقوم‬ ‫كما أن هناك‬ ‫ٍ‬ ‫ً‬ ‫مواتيا لنا‪.‬‬ ‫بتمويل اإلنتاجات العالمية‪ ،‬مما يعد‬ ‫سؤال‪ :‬ما هي نوعية األفالم التي يهتم بها‬ ‫شباب المخرجين والمبدعين في اإلمارات اليوم؟‬ ‫ً‬ ‫اتجاها نحو األفالم الوثائقية‪ ،‬الخيالية أو‬ ‫هل تجد‬ ‫حتى الترفيهية؟‬ ‫سعيد بوجود مزيج من تلك النوعيات‬ ‫جواب‪ :‬إنني‬ ‫ٌ‬ ‫الثالث‪ .‬نحن نوفر برامج محددة لألفالم الوثائقية‬ ‫والروائية ولذلك فإننا نأمل في المساهمة بتطوير‬ ‫متميز من األفالم الروائية المختلفة‪.‬‬ ‫مزيج‬ ‫ٍ‬ ‫ٍ‬ ‫سؤال‪ :‬هل ترى أن المخرجين الشبان يبدون رغبة‬ ‫في معالجة المواضيع المثيرة للجدل‪ ،‬وإذا كان‬ ‫الحال كذلك فما هي السبل التي تقوم اللجنة من‬ ‫خاللها بتشجيع ودعم هؤالء المخرجين للعمل‬ ‫بحرية مع االلتزام بالحدود التي يجب عليهم‬ ‫مراعاتها في ذلك؟‬

‫ً‬ ‫دائما ما‬ ‫جواب‪ :‬أعتقد بأن المخرجين الشبان‬ ‫كانت‬ ‫سواء‬ ‫الصعبة‬ ‫بأن القضايا‬ ‫أعتقدتناول‬ ‫يرغبون في‬ ‫ً‬ ‫ً‬ ‫الشبان دائما ما‬ ‫المخرجين‬ ‫جواب‪:‬‬ ‫سواء أو من‬ ‫تراثهم‬ ‫أو‬ ‫الشخصية‬ ‫حياتهم‬ ‫من‬ ‫مستوحاة‬ ‫كانت‬ ‫الصعبة‬ ‫القضايا‬ ‫تناول‬ ‫في‬ ‫يرغبون‬ ‫ً‬ ‫لمساعدتهم‬ ‫تشغلهم‪.‬‬ ‫دولية‬ ‫قضية‬ ‫خالل‬ ‫من‬ ‫هناتراثهم أو‬ ‫نحن أو‬ ‫الشخصية‬ ‫حياتهم‬ ‫من‬ ‫مستوحاة‬ ‫نظرهم من خالل‬ ‫وجهة‬ ‫قصصهم وإبداء‬ ‫خاللسرد‬ ‫في‬ ‫لمساعدتهم‬ ‫نحن هنا‬ ‫تشغلهم‪.‬‬ ‫قضية دولية‬ ‫منتقاليد‬ ‫احترام‬ ‫ضرورة‬ ‫السينيمائية‬ ‫أعمالهم‬ ‫خالل‬ ‫نظرهم‬ ‫معوجهة‬ ‫وإبداء‬ ‫سرد قصصهم‬ ‫في‬ ‫أعمالهمالبلد الذي‬ ‫وعادات‬ ‫نقيممعبه‪.‬ضرورة احترام تقاليد‬ ‫السينيمائية‬

‫ً‬ ‫سواء كانت‬ ‫دائما ما يرغبون في تناول القضايا الصعبة‬ ‫المخرجين الشبان‬ ‫ً‬ ‫ً‬ ‫سواء كانت‬ ‫المخرجين الشبان دائما ما يرغبون في تناول القضايا الصعبة‬ ‫ً‬ ‫مستوحاة من حياتهم الشخصية أو تراثهم أو من خالل قضية دولية تشغلهم‪.‬‬ ‫مستوحاة من حياتهم الشخصية أو تراثهم أو من خالل قضية دولية تشغلهم‪.‬‬

‫وعادات البلد الذي نقيم به‪.‬‬ ‫سؤال‪ :‬هل تعتقد بأن الشباب اإلماراتي يظهر‬ ‫سؤال‪ً :‬‬ ‫العمل‬ ‫الوطن من خالل‬ ‫بالبحث‬ ‫اإلماراتي يظهر‬ ‫تاريخالشباب‬ ‫في بأن‬ ‫تعتقد‬ ‫اهتماما هل‬ ‫من‬ ‫ذلك‬ ‫على‬ ‫يدلل‬ ‫ما‬ ‫وجدت‬ ‫هل‬ ‫السينيمائي؟‬ ‫ً‬ ‫اهتماما بالبحث في تاريخ الوطن من خالل العمل‬ ‫المقدمة‪/‬الممولة؟‬ ‫المشاريع‬ ‫خالل‬ ‫السينيمائي؟ هل وجدت ما يدلل على ذلك من‬ ‫ً‬ ‫ً‬ ‫بكيفية تغير التراث‬ ‫متعلقة‬ ‫أفكارا‬ ‫رأينا‬ ‫لقد‬ ‫جواب‪:‬‬ ‫خالل المشاريع المقدمة‪/‬الممولة؟‬ ‫إن‬ ‫األخيرة‪.‬‬ ‫السنوات‬ ‫اإلماراتية ً‬ ‫أفكاراخالل ً‬ ‫التراث‬ ‫بكيفية تغير‬ ‫متعلقة‬ ‫والثقافةلقد رأينا‬ ‫جواب‪:‬‬ ‫اإلمارات‬ ‫السنواتدولة‬ ‫تطورت بها‬ ‫والثقافةالمذهلة‬ ‫السرعة‬ ‫إن‬ ‫األخيرة‪.‬‬ ‫التيخالل‬ ‫اإلماراتية‬ ‫باستكشاف‬ ‫المخرجين‬ ‫أدت‬ ‫اإلمارات‬ ‫الشباندولة‬ ‫تطورت بها‬ ‫اهتمام التي‬ ‫إلىالمذهلة‬ ‫السرعة‬ ‫على تاريخ البالد‬ ‫طرأت‬ ‫والتطورات التي‬ ‫التغيرات‬ ‫باستكشاف‬ ‫الشبان‬ ‫المخرجين‬ ‫إلى اهتمام‬ ‫أدت‬ ‫والتطوراتً‬ ‫الماضية‪.‬‬ ‫الخمسين‬ ‫خالل‬ ‫طرأت على تاريخ البالد‬ ‫عاما التي‬ ‫التغيرات‬ ‫ً‬ ‫عاما الماضية‪.‬‬ ‫خالل الخمسين‬ ‫سؤال‪ :‬مع تزايد عدد األعمال الفنية المختلفة‬ ‫المتحدة‪،‬‬ ‫عدد اإلمارات‬ ‫تزايد في‬ ‫سؤال‪:‬يتممعإنتاجها‬ ‫التي‬ ‫العربية المختلفة‬ ‫األعمال الفنية‬ ‫بمقدورها‬ ‫يكون‬ ‫سوف‬ ‫اللجنة‬ ‫بأن‬ ‫تعتقد‬ ‫هل‬ ‫التي يتم إنتاجها في اإلمارات العربية المتحدة‪،‬‬ ‫خالل‬ ‫من‬ ‫األفالم‬ ‫لتلك‬ ‫أكبر‬ ‫مشاهدة‬ ‫فرص‬ ‫تعزيز‬ ‫هل تعتقد بأن اللجنة سوف يكون بمقدورها‬ ‫فيها‬ ‫التوزيع‬ ‫فرصفي‬ ‫مشاركتها‬ ‫بما خالل‬ ‫والعرض من‬ ‫لتلك األفالم‬ ‫شبكاتأكبر‬ ‫مشاهدة‬ ‫تعزيز‬ ‫المدمجة‬ ‫واألقراص‬ ‫بالطلب‬ ‫الفيديو‬ ‫عروض‬ ‫مشاركتها في شبكات التوزيع والعرض بما فيها‬ ‫الخاصة؟‬ ‫السينيمائية‬ ‫واألقراص المدمجة‬ ‫بالطلب‬ ‫والعروضالفيديو‬ ‫عروض‬ ‫تطوير فرص التوزيع‬ ‫مهامنا‬ ‫من‬ ‫نعم‪ .‬إن‬ ‫جواب‪:‬‬ ‫السينيمائية الخاصة؟‬ ‫والعروض‬ ‫عن‬ ‫سواء‬ ‫المتحدة‬ ‫من العربية‬ ‫اإلمارات‬ ‫فرص ً‬ ‫التوزيع‬ ‫مهامنا تطوير‬ ‫لمخرجينعم‪ .‬إن‬ ‫جواب‪:‬‬ ‫االشتراك‬ ‫خالل‬ ‫العربيةأو من‬ ‫اإلماراتالعالمي‬ ‫فرص البث‬ ‫طريق‬ ‫عن‬ ‫سواء‬ ‫المتحدة‬ ‫لمخرجي‬ ‫ً‬ ‫العروض الخاصة‬ ‫البثالدولية‬ ‫المهرجانات‬ ‫في‬ ‫االشتراك‬ ‫أو أوعبرمن خالل‬ ‫العالمي‬ ‫طريق فرص‬ ‫العالم‪ .‬هذا‬ ‫عبر أنحاء‬ ‫جميع‬ ‫اللجنة‬ ‫التي تقيمها‬ ‫الخاصة‬ ‫العروض‬ ‫في أو‬ ‫الدولية‬ ‫المهرجانات‬ ‫في‬ ‫التيٌ‬ ‫العالم‬ ‫أنحاءتعريف‬ ‫جميعأجل‬ ‫إلينا من‬ ‫مهم‬ ‫هدف‬ ‫ٌ‬ ‫هذا‬ ‫العالم‪.‬‬ ‫بالنسبة في‬ ‫تقيمها اللجنة‬ ‫باإلمارات‬ ‫ٌ‬ ‫بها‪.‬تعريف العالم‬ ‫تزخرأجل‬ ‫التيمن‬ ‫وبالمواهبإلينا‬ ‫مهم بالنسبة‬ ‫هدف‬ ‫ٌ‬ ‫باإلمارات وبالمواهب التي تزخر بها‪.‬‬ ‫الملهمة‬ ‫سؤال‪ :‬ما هي نقاط القوة والمميزات ُ‬ ‫والمميزات ً‬ ‫القوةباإلمارات‬ ‫المخرجون‬ ‫يتسم بها‬ ‫التي‬ ‫الملهمة‬ ‫هي نقاط‬ ‫سؤال‪ :‬ما‬ ‫حاليا؟ ُ‬ ‫مخرجين‬ ‫ليصبحوا‬ ‫التعلم‬ ‫إلى‬ ‫التوق‬ ‫جواب‪:‬‬ ‫ً‬ ‫التي يتسم بها المخرجون باإلمارات حاليا؟‬ ‫التزال‬ ‫اإلمارات‬ ‫السينما في‬ ‫متميزين‪ .‬إن‬ ‫مخرجين‬ ‫ليصبحوا‬ ‫صناعة التعلم‬ ‫التوق إلى‬ ‫جواب‪:‬‬ ‫المخرجين‬ ‫مجموعة‬ ‫صناعةنجد أن‬ ‫مهدها‪ ،‬لذا‬ ‫في‬ ‫التزال‬ ‫اإلمارات‬ ‫السينما في‬ ‫متميزين‪ .‬إن‬ ‫بروح ريادية‬ ‫تتسم‬ ‫اآلن‬ ‫الساحة‬ ‫على‬ ‫الموجودين‬ ‫المخرجين‬ ‫مجموعة‬ ‫أن‬ ‫نجد‬ ‫لذا‬ ‫مهدها‪،‬‬ ‫في‬ ‫ٍ‬ ‫أمر‬ ‫األفالم‪.‬‬ ‫اآلنإنتاج‬ ‫الساحةفي‬ ‫بشغف‬ ‫للعمل‬ ‫وتسعى‬ ‫ٍ‬ ‫بروح إنه ٌ‬ ‫ريادية‬ ‫تتسم‬ ‫على‬ ‫الموجودين‬ ‫ٍ‬ ‫للغاية‪.‬‬ ‫مثير‬ ‫ٌ‬ ‫أمر‬ ‫إنه‬ ‫األفالم‪.‬‬ ‫إنتاج‬ ‫في‬ ‫بشغف‬ ‫للعمل‬ ‫وتسعى‬ ‫ٍ‬ ‫ٌ‬

‫مثير للغاية‪.‬‬ ‫ٌ‬ ‫سؤال‪ :‬ما هي نقاط القصور في التعليم أو‬ ‫المتحدة‬ ‫العربية‬ ‫السينيمائية‬ ‫التعليم أو‬ ‫اإلمارات في‬ ‫في القصور‬ ‫نقاط‬ ‫الثقافة ما هي‬ ‫سؤال‪:‬‬ ‫في‬ ‫اللجنة‬ ‫تلعبه‬ ‫أن‬ ‫يمكن‬ ‫الذي‬ ‫هو الدور‬ ‫وما‬ ‫السينيمائية في اإلمارات العربية المتحدة‬ ‫الثقافة‬ ‫ذلك؟‬ ‫ومعالجة‬ ‫تناول‬ ‫وما هو الدور الذي يمكن أن تلعبه اللجنة في‬ ‫ذلك؟ تقديم الرعاية واإلرشاد‬ ‫ومعالجةطريق‬ ‫جواب‪ :‬عن‬ ‫تناول‬ ‫المشاريع‬ ‫تقديم تمويل‬ ‫باإلضافة إلى‬ ‫للمخرجين‪،‬‬ ‫الرعاية واإلرشاد‬ ‫عن طريق‬ ‫جواب‪:‬‬ ‫لمساعدتهم على‬ ‫دعم‬ ‫كآلية‬ ‫والعمل‬ ‫المشاريع‬ ‫رئيسية تمويل‬ ‫باإلضافة إلى‬ ‫للمخرجين‪،‬‬ ‫ٍ‬ ‫دعماألفضل‪.‬‬ ‫والتطور نحو‬ ‫النماء‬ ‫رئيسية لمساعدتهم على‬ ‫كآلية‬ ‫والعمل‬ ‫ٍ‬ ‫النماء والتطور نحو األفضل‪.‬‬ ‫سؤال‪ :‬ما هي العوامل التشجيعية الموجودة‬ ‫جذب‬ ‫التشجيعيةشأنها‬ ‫العوامل والتي من‬ ‫هي أبو ظبي‬ ‫ما في‬ ‫المتاحة‬ ‫أو‬ ‫الموجودة‬ ‫سؤال‪:‬‬ ‫التي‬ ‫العناصر‬ ‫هي‬ ‫وما‬ ‫السينما‬ ‫صناعة‬ ‫وتسهيل‬ ‫أو المتاحة في أبو ظبي والتي من شأنها جذب‬ ‫ً‬ ‫هي الخارج؟‬ ‫جلبها من‬ ‫تستدعي الحاجة‬ ‫عادة ما‬ ‫العناصر التي‬ ‫السينما وما‬ ‫وتسهيل صناعة‬ ‫ً‬ ‫عادة ما تستدعي الحاجة جلبها من الخارج؟‬

‫جواب‪ :‬تتوفر هنا كافة المقومات الضرورية التي‬ ‫األعمال‬ ‫المقوماتإلتمام‬ ‫كافةإنتاج كبرى‬ ‫شركة‬ ‫تحتاجها‬ ‫قد‬ ‫جواب‪:‬‬ ‫التي‬ ‫الضرورية‬ ‫تتوفرأيهنا‬ ‫معامل‬ ‫تصوير‬ ‫السينيمائية‪،‬أيمن‬ ‫إلى األعمال‬ ‫إلتمام‬ ‫كاميراتكبرى‬ ‫شركة إنتاج‬ ‫قد تحتاجها‬ ‫العمل‬ ‫المختلفة‬ ‫المرافق‬ ‫لألفالم إلى‬ ‫وأطقم معامل‬ ‫تصوير إلى‬ ‫كاميرات‬ ‫السينيمائية‪ ،‬من‬ ‫البنية‬ ‫فقط هو‬ ‫المرافقيلزمنا‬ ‫الخبرة‪ .‬كل ما‬ ‫واسعة‬ ‫تطويرالعمل‬ ‫وأطقم‬ ‫المختلفة‬ ‫لألفالم إلى‬ ‫السينيمائي‪.‬‬ ‫اإلنتاج‬ ‫المزيد من‬ ‫التحتية‬ ‫هو تطوير البنية‬ ‫يلزمنا فقط‬ ‫إلتاحة كل ما‬ ‫واسعة الخبرة‪.‬‬ ‫معدل‬ ‫بواقع زيادة‬ ‫ويتحسن‬ ‫إلتاحةبالفعل‬ ‫موجود‬ ‫وهذا‬ ‫ٌ‬ ‫السينيمائي‪.‬‬ ‫اإلنتاج‬ ‫المزيد من‬ ‫التحتية‬ ‫المنصرم‪.‬‬ ‫موجود العام‬ ‫خالل‬ ‫اإلنتاج‬ ‫بالفعل ُ‬ ‫ويتحسن بواقع زيادة معدل‬ ‫وهذا‬ ‫ٌ‬ ‫المنصرم‪.‬‬ ‫اإلنتاج خالل العام ُ‬

‫سؤال‪ :‬في اعتقادك ما هي المشاريع التي سوف تقبع اللجنة بتمويلها‬ ‫نرىتقبع ً‬ ‫أكبر‬ ‫لميزانيات‬ ‫المحتمل أن‬ ‫القادمة؟ هل من‬ ‫السنوات ‪3-5‬‬ ‫خالل‬ ‫ٍ‬ ‫بتمويلها‬ ‫فرصااللجنة‬ ‫سوف‬ ‫المشاريع التي‬ ‫اعتقادك ما هي‬ ‫سؤال‪ :‬في‬ ‫المثال؟‬ ‫سبيل‬ ‫على‬ ‫عربية)‬ ‫(غير‬ ‫خارجية‬ ‫إنتاجات‬ ‫أو‬ ‫ً‬ ‫ٍ‬ ‫لميزانيات أكبر‬ ‫خالل السنوات ‪ 3-5‬القادمة؟ هل من المحتمل أن نرى فرصا‬ ‫ٍ‬ ‫"صندوق تحفيز اإلنتاج" الذي‬ ‫تأسيس‬ ‫للجنة‬ ‫الرئيسية‬ ‫األهداف‬ ‫من‬ ‫جواب‪:‬‬ ‫إنتاجات خارجية (غير عربية) على سبيل المثال؟‬ ‫أو‬ ‫ٍ‬ ‫يكون‬ ‫بشرط أن‬ ‫"صندوقذلك‬ ‫تأسيسإلى هنا‪،‬‬ ‫للجنةالعالمي‬ ‫اإلنتاج‬ ‫المزيد من‬ ‫منجذب‬ ‫شأنه‬ ‫من‬ ‫اإلنتاج" الذي‬ ‫تحفيز‬ ‫الرئيسية‬ ‫األهداف‬ ‫جواب‪:‬‬ ‫السينما‬ ‫إلى على‬ ‫بالفائدة‬ ‫اإلنتاجيعود‬ ‫اقتصادية وأن‬ ‫جدوى‬ ‫شأنهذي‬ ‫التمويل‬ ‫صناعة أن يكون‬ ‫قطاع بشرط‬ ‫هنا‪ ،‬ذلك‬ ‫العالمي‬ ‫المزيد من‬ ‫جذب‬ ‫من‬ ‫بالفائدة ً‬ ‫يعود ً‬ ‫عن‬ ‫الباحثين‬ ‫للمنتجين‬ ‫منافسا‬ ‫خيارا‬ ‫وأنالبلد‬ ‫اقتصاديةهذا‬ ‫سيجعل من‬ ‫اإلماراتي‪،‬ذيمما‬ ‫السينما‬ ‫صناعة‬ ‫على قطاع‬ ‫جدوى‬ ‫التمويل‬ ‫ممادولية‪.‬‬ ‫تصوير‬ ‫مواقع‬ ‫ً‬ ‫ً‬ ‫منافسا للمنتجين الباحثين عن‬ ‫خيارا‬ ‫سيجعل من هذا البلد‬ ‫اإلماراتي‪ٍ ،‬‬ ‫تصوير دولية‪.‬‬ ‫مواقع‬ ‫ٍ‬

KNOW WHO KNOW WHO David Shepheard David Shepheard

Bayt Abdullah Fund Raising Campaign

MOSAL 072452010

EVERY MOMENT COUNTS

Donate

Donate: National Bank of Kuwait KACCH/Bayt Abdullah Account Number: 0003 0657 60110

This advertising space is a DONATION