Broadcastpro Middle East

Technology inTelligence for TV, film and radio

PUBLICATION LICENSED BY IMPZ

issue 3 | sePTemBer 2010

TOP TECH PROJECTSERTU, Sharjah TV, OSN and AMC in focus

DOCO SPECIALThe first Arab in space

IN THE LABAdobe CS5 reviewed

OF CHANGEAGENT Information Minister unleashes majorinitiatives to transform Saudi media market

IBC 2010SHOW ISSUE

EXCLUSIVE INTERVIEW

DR. ABDUL AZIZ KHOJA, MINISTER OF CULTURE & INFORMATION, SAUDI ARABIA

Ramadan Kareem! It’s often said that you can’t get any work done in the Middle East during the Holy Month of Ramadan because people follow a different time zone altogether. While in most cases, this is true, it is during the Holy Month that BroadcastPro Middle East secured its biggest coup – an exclusive interview with a man who is dearly loved and revered for the transformation he has brought about in Saudi Arabia’s media landscape.

Dr. Abdul Aziz Khoja, Minister of Culture & Information, Saudi Arabia is the man who has inspired the need for a “bureaucracy-free media” and sped up policies to deregulate the media market so that private TV and radio stations can operate in the Kingdom. He is also the man who lifted the ban on the late poet Ghazi Al-Gosaibi’s literary works that were banned in the Kingdom for almost 30 years.

Since Dr. Khoja assumed office as Minister of Culture and Information, we have seen a dramatic shift in policies towards the media.

Dr. Khoja is outspoken, and an academician and poet, who worked for several years as Saudi’s ambassador to several countries including Lebanon before taking on his new role at the MOCI last year.

Although the changes in the Kingdom are still embryonic, Dr. Khoja is quick to point out that with more than 60% of the Kingdom’s population being under 20, change is imminent and will be quicker in the coming years.

Perhaps some of his dynamism is reflected in the Saudi Ministry of Culture and Information (MOCI) itself, which works a lot more efficiently than most other regional government departments.

In his interview with BroadcastPro Middle East, Dr. Khoja comes across as an outspoken and dynamic voice who speaks boldly about the issues at hand and the initiatives undertaken by the Ministry to address them.

Deregulation and the opportunity for private channels to operate from the

Kingdom will open up a gamut of new opportunities for a chain of organisations in the industry including broadcasters, suppliers and systems integrators. This, in turn, will spur competition and ensure that the Kingdom deploys the best-of-breed solutions while also creating employment opportunities for Saudi nationals.

Saudi Arabia is the largest market in the region but it’s not the only one. We look at several of the other multi-million dollar projects that are ongoing in different parts of the Middle East in this issue. The Middle East offers a multitude of opportunities for broadcast veterans looking to design intelligent systems, and IBC provides the perfect platform to discuss this.

Welcome

Alan Constant, a broadcast veteran with 40 years experience in the industry and CTO of Arab Media Corporation has rarely given interviews to the media. He breaks his silence this month with a comment piece in BroadcastPro.Turn to page 80.

www.broadcastprome.comSubscribe now

Vijaya Cherian, Senior Editor, BroadcastPro Middle East

PublisherDominic De Sousa

COONadeem Hood

Commercial DirectorRichard [email protected] +971 (0) 4 375 5684

Senior EditorVijaya [email protected] +971 (0) 50 768 3435

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CiRCulATiOnDatabase and Circulation ManagerRajeesh [email protected] +971 (0) 4 375 5679

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© Copyright 2010 CPI. All rights reserved. While the publishers have made every effort to ensure the accuracy of all information in this magazine, they will not be held responsible for any errors therein.

Cover HE Dr. Abdul Aziz Khoja, Minister of Information & Culture, Saudi Arabia.

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16

70

52 4 news Region’s first OB facility

set up in Dubai.

30 LAUnCH PARTY Pictures from our launch.

48 3D In FOCUs Producers talk about 3D

opportunities in the Middle East.

58 HD RADIO Upcoming trends and challenges

ahead for broadcasters.

64 InTeRvIew IBC CEO Mike Crimp talks to

BroadcastPro about what to expect at the show.

80 vIewPOInT Satellite pay TV under threat.

TOP Tv PROjeCTs A close look at ongoing projects in ERTU, Sharjah TV, OSN and AMC.

DsLR RevOLUTIOnDoP Harvey Glen shows how DSLRs are increasingly rewriting the video production space.

DOCO sPeCIALDocumenting the journey of

the first Arab into space.

in this issue

SEPTEMBER 2010

September 2010 | www.broadcastprome.com | 3

34

IBC 2010Show ISSuE

10 eXCLUsIve!

Dr. Abdul Aziz Khoja, Saudi Minister of Culture & Information talks about deregulating KSA’s media.

16

70

52 4 news Region’s first OB facility

set up in Dubai.

30 LAUnCH PARTY Pictures from our launch.

48 3D In FOCUs Producers talk about 3D

opportunities in the Middle East.

58 HD RADIO Upcoming trends and challenges

ahead for broadcasters.

64 InTeRvIew IBC CEO Mike Crimp talks to

BroadcastPro about what to expect at the show.

80 vIewPOInT Satellite pay TV under threat.

TOP Tv PROjeCTs A close look at ongoing projects in ERTU, Sharjah TV, OSN and AMC.

DsLR RevOLUTIOnDoP Harvey Glen shows how DSLRs are increasingly rewriting the video production space.

DOCO sPeCIALDocumenting the journey of

the first Arab into space.

in this issue

SEPTEMBER 2010


34

IBC 2010Show ISSuE

10 eXCLUsIve!

Dr. Abdul Aziz Khoja, Saudi Minister of Culture & Information talks about deregulating KSA’s media.

| www.broadcastprome.com | September 20104

mEDia-aLLiaNcE POWERs iNTigRaLMedia-Alliance has completed a station upgrade for Dubai-based broadcaster Intigral, a Saudi Telecom-Astro Malaysia joint venture broadcasting more than 200 international chan-nels as well as VoD services.

Intigral’s setup had been aimed at supporting around 50 chan-nels, but needed to upgrade to support more 200 channels in addition to VoD. Its goal was to achieve automated processes, including ingest, online and offl ine censorship and auto editing, while improving search and catalogue facilities, auto subtitling and repurposing the same contents to different platforms.

A live censorship system was created based on a client/server application scalable from a few channels up to hundreds. At the core of the system is the Avio video server, offering instant replay and live editing capabil-ity, as well as allowing editors to cut, edit and replay while still recording. The client application, Catone, also includes the Onda fl exible scheduling system as well as automated ad insertion.

As well as 25 Avio video servers supporting up to 50 channels in both SD/HD, Intigral has 50 operators running Catone for live censorship, Avio video servers and the Viva ingest system for the ingest area, and both DiskArchive Alto-100 and MediaXplorer Media Asset Management (MAM) sys-tems for archiving, production and offl ine censorship. The upgrade was carried out by Dubai-based systems integrator Glocom.

WASP3d mAKES SuccESSful ENtRy iNtO Abu dhAbiAbu Dhabi Media Company (ADMC) recently deployed a WASP3D solution to enable the live coverage and presentation of its EPL and UFL championships. Besides supplying the solution, WASP3D helped integrate its solution with all of ADMC’s various data sources, and provided on-air assistance and training to enable the successful broadcast of the two championships.

Two independent WASP3D setups have been deployed to equip ADMC studios with on-air graphics (including player statistics, match score, match summary, post match analysis, player profi le, team stats and predictions for the championships). WASP3D also provided custom interfaces to enable the easy integration of real-time live score data feeds from various sources.

“Integration with the broadcaster’s newsroom and automation solutions was crucial to this project,” commented Deependra Rathi, regional

business manager – WASP3D (MEA). “Our ability to provide a networked workfl ow, achieve seamless data integration with third party sources, handle complex animations and provide adequate onsite support put us at a huge advantage.”

WASP3D has also provided customised applications based on its Software Development Kit (SDK) that enables the end user to write in their own codes should they require to add further interfaces to talk to the system.

“In most cases, end users are forced to go back to the supplier for every future customisation but because of WASP3D’s easy-to-use tools and in-built features such as UBT, anybody with a programming knowledge can develop varied applications with minimal efforts,” explained Rathi.

For UFL, ADMC has employed WASPi Mimosa, a touch-screen based, non-linear presentation tool that enables expert match analysis. Mimosa allows the anchor to follow a non-scripted

presentation format by giving them total control over the graphics system. Telestration features are also built into the system to provide better analysis.

The production of these events is being handled by Endemol.

“We have a few support staff stationed on-site to train and provide further assistance for the project. However, ADMC is perfectly capable of handling the system independently now and its staff are well trained,” added Rathi.

PRONEWS

Deependra Rathi, WASP3D.

45,000Estimated number of visitors to IBC2010.

1,300Exhibitors at IBC every year.


PRONEWS

Northwestern University in Qatar (NU-Q), which offers undergraduate degree programmes in communications and journalism, has recently awarded a project for a three-camera HD studio, a newsroom facility and an end-to-end tapeless workflow to a systems integrator in the Middle East. The project is scheduled for completion in December.

“A brand new film studio for our communications programme is part of the project while our newsroom will cater to the journalism students,” stated David Carr, chief information officer, NU-Q.

The media students at NU-Q have, thus far, worked with RED cameras. However, the new studio will enable them to work with IKEGAMI cameras as well. The new project will see AP’s ENPS newsroom solution deployed at the facility while Sienna will manage the workflow.

NU-Q is also using the Haivision Furnace IP video delivery system to enable easy, efficient sharing of student-created content with its US partner, School of Communication and Medill School of Journalism in Chicago.

The Haivision Furnace system simplifies delivery of university-branded content to 35 public displays across the Doha campus.

“Haivision’s Furnace system offers our campus enormous value by enabling flexible delivery of high-quality video with remarkably low setup and maintenance requirements. Haivision’s Furnace is our primary video distribution tool. Its performance, including support for video up to 1080p, is key for us as we continue to refine our facilities and course offerings,” Carr added.

Content produced by students in the Doha and Evanston campuses are shared through Haivision’s Bridge Receive and Bridge Transmit systems.

In the near future, students and faculty will also be able to use Haivision’s InStream player to access a variety of content anywhere within the campus environment: whether online, in the classroom, or in the studios currently being constructed. This capability will give students at both the Doha and Evanston campuses greater opportunity to work on joint projects and productions.

Nu-q buildS NEW StudiOS

David Carr says NU-Q’s students have been working in a RED environment for the last two years.Melody House Musical Instruments will be DPA Microphones’ new distributor in Dubai. The appointment is part of a rebranding process that will see Melody House move into the pro-audio sector to complement its MI roots.

Sound engineer Greg Cargopoulos from Melody House, who has worked with DPA microphones, called them “a life-saver in many situations”.

“I have been working as a sound engineer for many years, often on corporate events where there are several headband and lavalier microphones on stage at one time. The thing I like about these mics is how the frequency response is so neutral. The design is always to be as neutral as possible, rather than have a coloured frequency response. This, coupled with a flat-response loudspeaker system, is the way to get maximum gain-before-feedback, as it gives the engineer maximum control. The microphones are very well thought of in terms of design. They sound great and the way they are mounted is very clever and innovative,” he commented.

Melody House will look to raise the profile of DPA in Dubai, and has a substantial stock of demo mics for all applications to give their customers. The company also hopes to launch a retail shop in Dubai soon.

“Melody House will be a really good partner for us in Dubai as they have a well established network,” stated DPA’s regional sales manager, Michael Trolle. “In addition, opening a retail store gives us an opportunity to grow our instrument mic market, together with Melody House. The other high-end brands that they represent are a very good match with DPA.”

DPa mics aPPOiNTs DUBai DisTRiBUTOR

Melody House’s Wesley Fernandes (l) and Greg Cargopoulos.

aL JaZEERa OPTsfOR sTREamBOxAl Jazeera recently deployed a family of IP encoding and server products from Stream-box for up to 20 of its Arabic language bureaux. Armed with only a laptop running the Streambox encoding software, a camcorder, and a portable BGAN terminal, Al Jazeera news teams can now access remote and often rugged locations to stream live or file-based video of breaking news. This next-generation technol-ogy for video transport over low-bandwidth IP networks is revolutionising newsgather-ing around the world, giving news teams a highly versatile, easy-to-use, and cost-effective alternative to traditional SNG/ENG mobile systems.

iNc UNDERTakEs UPgRaDE fOR qaTaRi sPORTs chaNNELKuwait-based systems integrator INC has been contracted to undertake a major upgrade for Al Dawri and Al Kass TV. The project will see the SI upgrade the Qatari sports channel’s facility to allow for a full digital end-to-end workflow for post production. The project is sched-uled for completion in October.

The project will include deploying the Avid iNews Version 3, upgrading and expand-ing the channel’s non-linear editing systems and install-ing ISIS central storage.

Al Kass TV will switch from Adrenaline to Avid’s latest Nitris DX system and the Newscut-ter Nitris DX. Avid’s newest AirSpeed Multi Stream servers will be employed for all HD and SD ingest as well as playout.

Eight AirSpeed servers – four for ingest and four for playout – will be installed. The servers support various formats includ-ing DVCPro 25, DVCPro 50, IMX 30 and IMX 50 in addition to having internal storage. Other solutions that will be deployed include a Capture Manager for automatic news-feed ingest and Deko 3000 graphics solutions from Avid.


PRONEWS

Northwestern University in Qatar (NU-Q), which offers undergraduate degree programmes in communications and journalism, has recently awarded a project for a three-camera HD studio, a newsroom facility and an end-to-end tapeless workflow to a systems integrator in the Middle East. The project is scheduled for completion in December.

“A brand new film studio for our communications programme is part of the project while our newsroom will cater to the journalism students,” stated David Carr, chief information officer, NU-Q.

The media students at NU-Q have, thus far, worked with RED cameras. However, the new studio will enable them to work with IKEGAMI cameras as well. The new project will see AP’s ENPS newsroom solution deployed at the facility while Sienna will manage the workflow.

NU-Q is also using the Haivision Furnace IP video delivery system to enable easy, efficient sharing of student-created content with its US partner, School of Communication and Medill School of Journalism in Chicago.

The Haivision Furnace system simplifies delivery of university-branded content to 35 public displays across the Doha campus.

“Haivision’s Furnace system offers our campus enormous value by enabling flexible delivery of high-quality video with remarkably low setup and maintenance requirements. Haivision’s Furnace is our primary video distribution tool. Its performance, including support for video up to 1080p, is key for us as we continue to refine our facilities and course offerings,” Carr added.

Content produced by students in the Doha and Evanston campuses are shared through Haivision’s Bridge Receive and Bridge Transmit systems.

In the near future, students and faculty will also be able to use Haivision’s InStream player to access a variety of content anywhere within the campus environment: whether online, in the classroom, or in the studios currently being constructed. This capability will give students at both the Doha and Evanston campuses greater opportunity to work on joint projects and productions.

Nu-q buildS NEW StudiOS

David Carr says NU-Q’s students have been working in a RED environment for the last two years.Melody House Musical Instruments will be DPA Microphones’ new distributor in Dubai. The appointment is part of a rebranding process that will see Melody House move into the pro-audio sector to complement its MI roots.

Sound engineer Greg Cargopoulos from Melody House, who has worked with DPA microphones, called them “a life-saver in many situations”.

“I have been working as a sound engineer for many years, often on corporate events where there are several headband and lavalier microphones on stage at one time. The thing I like about these mics is how the frequency response is so neutral. The design is always to be as neutral as possible, rather than have a coloured frequency response. This, coupled with a flat-response loudspeaker system, is the way to get maximum gain-before-feedback, as it gives the engineer maximum control. The microphones are very well thought of in terms of design. They sound great and the way they are mounted is very clever and innovative,” he commented.

Melody House will look to raise the profile of DPA in Dubai, and has a substantial stock of demo mics for all applications to give their customers. The company also hopes to launch a retail shop in Dubai soon.

“Melody House will be a really good partner for us in Dubai as they have a well established network,” stated DPA’s regional sales manager, Michael Trolle. “In addition, opening a retail store gives us an opportunity to grow our instrument mic market, together with Melody House. The other high-end brands that they represent are a very good match with DPA.”

DPa mics aPPOiNTs DUBai DisTRiBUTOR

Melody House’s Wesley Fernandes (l) and Greg Cargopoulos.

aL JaZEERa OPTsfOR sTREamBOxAl Jazeera recently deployed a family of IP encoding and server products from Stream-box for up to 20 of its Arabic language bureaux. Armed with only a laptop running the Streambox encoding software, a camcorder, and a portable BGAN terminal, Al Jazeera news teams can now access remote and often rugged locations to stream live or file-based video of breaking news. This next-generation technol-ogy for video transport over low-bandwidth IP networks is revolutionising newsgather-ing around the world, giving news teams a highly versatile, easy-to-use, and cost-effective alternative to traditional SNG/ENG mobile systems.

iNc UNDERTakEs UPgRaDE fOR qaTaRi sPORTs chaNNELKuwait-based systems integrator INC has been contracted to undertake a major upgrade for Al Dawri and Al Kass TV. The project will see the SI upgrade the Qatari sports channel’s facility to allow for a full digital end-to-end workflow for post production. The project is sched-uled for completion in October.

The project will include deploying the Avid iNews Version 3, upgrading and expand-ing the channel’s non-linear editing systems and install-ing ISIS central storage.

Al Kass TV will switch from Adrenaline to Avid’s latest Nitris DX system and the Newscut-ter Nitris DX. Avid’s newest AirSpeed Multi Stream servers will be employed for all HD and SD ingest as well as playout.

Eight AirSpeed servers – four for ingest and four for playout – will be installed. The servers support various formats includ-ing DVCPro 25, DVCPro 50, IMX 30 and IMX 50 in addition to having internal storage. Other solutions that will be deployed include a Capture Manager for automatic news-feed ingest and Deko 3000 graphics solutions from Avid.


Abu Dhabi’s media free zone twofour54 has launched an employment and traineeship programme called ‘intaji’ for UAE nationals. The 12-month programme, which will use twofour54’s state-of-the-art production facility to train nationals in the television production and broadcasting industry, will officially begin in October. Applications for the programme will be accepted until September 18. Nationals who join the programme will also be offered a salary.

The programme has been specifically developed by twofour54 to give young Arabic talent the necessary skills to work in the media industry. The customised programme will include a combination of theoretical classes and practical training. The course will be delivered by the in-house team at twofour54 intaj, the media precinct’s technology facility.

Speaking about the programme, Wayne Borg, COO of twofour54 stated the organisation is “committed to developing the region’s talent pool, and this is exactly what our intaji traineeship programme is designed to do”.

“As the region’s entertainment landscape evolves, it is essential that

tWOfOuR54 uNvEilS iNtAJi PROgRAmmE

we develop and build the talent infrastructure to ensure the long-term success and sustainability of the industry. The trainees will work with twofour54 intaj to develop practical skills in various broadcast disciplines, whilst earning a generous salary for the duration. Once completed, trainees can look forward to an exciting job in what is a dynamic and creative industry and one that will continue to play a big part in the region’s economic development.” he stated.

intaji will enable trainees to specialise in a wide range of media disciplines including camera operations, lighting, media management, audio, video and graphics. The programme has been developed by intaj in conjunction with twofour54 tadreeb, the organisation’s training arm.

PRONEWS

aRaBsaT iNcREasEs saTELLiTE caPaciTY WiTh NEW LaUNchEs Arabsat’s 5A and Badr-5 satellites, which were handed over recently by Astrium and Thales Alenia Space as part of an in-orbit delivery contract, have entered commercial service and will now provide communication services. Both satellites were deployed and tested in orbit in the same period owing to their close launch dates.

Badr-5 is co-located with the Badr-4 and Badr-6 Direct-to-Home (DTH) satellites at Arabsat’s hot spot. Badr-5 provides the highest level of service within the MENA region and new services over the Central Asia region.

Badr-5 provides capacity for more than 700 TV channels, HDTV, 3D, telecom services including broadband, in addition to providing full in-orbit backup for the Arabsat fleet. Badr-5 is a Eurostar E3000 satellite equipped with a payload that includes 56 transponders operating in different bands.

Arabsat-5A is a multi-mission satellite that provides additional transmission capacity at the Arabsat orbital position for a wide range of satellite communications services, covering the whole continent of Africa, Central Asia and Middle East regions. Arabsat-5A is a Eurostar E3000 satellite equipped with a payload that includes 50 active transponders operating in different bands.

Astrium and Thales Alenia Space are co-prime contractors for the satellites’ construction and delivery into orbit. Astrium assembled and tested the spacecraft while Thales Alenia Space supplied the communications payloads.

Dmi mULLs aRchiViNgDubai Media Inc. (DMI) recently issued a major tender for an extensive archival project. The first part of the project is aimed at creating a digital workflow, where staff can access, browse, edit and send content to air without relying on tape. The second part will look to digitise hundreds of thousands of content stored on tape at the state broadcaster’s library.

“Archiving is a huge challenge as we’re not just talking about transferring thousands of hours of material but also tagging the right metadata onto them to en-sure we can retrieve them when we want to,” stated Hassan Cha-hine, CTO of Dubai Media Inc.

“Without the right metadata, this content will be lost forever in a set of files. Our aim is to begin archiving everything that goes to air so that all content can be retrieved from a network. The next and bigger challenge is to archive our library, which in-cludes several years of tape. This is, of course, a time consuming project and will take several years. We have to find the right systems integrator to partner with for this project,” he added.

The broadcaster is also simultaneously looking for a suitable storage solution to complement this project.

“Presently, we use Om-neon servers for ingest and transmission. However, we don’t want to consume too much space on the ingest server. Ideally, we should be able to push everything to an archive where we can store multiple versions of a material including low-res and high-res versions to send to different platforms. We are looking at this as well.”

Wayne Borg, COO, twofour54 and below, a session in progress at the intaj facility.

Hassan Chahine, CTO, DMI.


Dot Cast has launched a 12,000 sq.ft coach building facility in Dubai. The faciility is the first-of-its-kind in the Middle East and claims that it can provide fully-fitted OB vans at 30% lower costs than its European counterparts. The company is currently building a 16-camera trailer for an international manufacturer. The trailer is primarily designed for sports production and supports both SD and HD.

“We will deliver this trailer with eight cameras initially but it is wired for 16. Along with this, we will also supply a second support van,” stated Farid Bittar, CTO of Dot Cast.

Bittar is a broadcaster veteran with expertise building OB vans in Italy and the United Kingdom. A third van is also being built at the facility presently.

“In previous years, we have seen systems integrators get the coaches done overseas and do the fittings here. We procure only a basic trailer from abroad. We do the rest from doing up the walls to the air conditioning at this facility,” commented Bittar.

Dot Cast claims it launched this facility to fill a gap in the market and also, to tackle the HD boom.

“There are huge expenses involved in building an OB van abroad, travelling to the site to ensure specs are met and also, to eventually ship the product

to the region. A local facility solves all of that. We also expect a lot of demand for OB vans as more broadcasters move to HD. Rather than shut down their operations, many are looking to use an HD van as a control room as they undertake upgrades. We have had requests to use an OB van in this manner.”

Bittar claims that the facility has the capacity to build five big trailers along with smaller vans at the same time. The company’s biggest challenge, however, is to gain confidence in the market.

“We need to establish more confidence among clients. When customers see what we are capable of delivering and the benefits of building OB vans locally, they will begin to appreciate this facility,” added Bittar.

cOAch buildiNg fAcility lAuNchES iN dubAi

UBms JOiNs iaBmDubai-based distributor United Broadcast and Media Solutions (UBMS) has set a new mile-stone by being the first in the Middle East to become an official corporate member of IABM.

“We are committed to the growth of this industry and we value the combined role in ensuring that growth through good business practices. Being part of IABM ensures a distinction between credible and non-credible suppliers,” commented Reza Nikfar, CEO of UBMS.

UBMS represents several major brands such as Sony, Sachtler, Anton Bauer, Fujinon, Ianiro and Marshall Electronics in the region.

The 16-camera trailer and Farid Bittar, CTO of Dot Cast.

Reza Nikfar, CEO, UBMS.

CABLES CONNECTORS PATCH PANELS MDUs RACK SYSTEMS FIBRE/HYBRID CABLES ROUTERS KVM SWITCHES

Argosy products are available from stocks at locations in the UK, UAE, India and Malaysia

SERVING THE BROADCAST INDUSTRYA R G O S Yt: +44 1844 202101f: +44 1844 202025

www.argosycable.come: [email protected]

See Argosy at IBC Stand no.10.D55

Robust, slim-line and affordably priced, the Miranda NVISION CompactRouter Series is ideally suited to all utility routing applications.

M I R A N DA N V I S I O N C O M PAC T R O U T E R SN O W S T O C K E D B Y A R G O S Y

n Extremely small form factor for space-conscious production environments

n Ultra light weight ideal for mobile applications

n Wide range of matrix sizes – 8x8, 16x4, 16x16, 32x4, 32x32

n Comprehensive array of formats including 3Gbps/ HD/SD, Analogue Video and Audio, AES and Port/Data routing

n Powerful configuration tools providing easy set up of salvos and partitioning in addition to control panel configuration and network settings

n Multiple control capabilities using Ethernet, serial control, local and remote controlpanels, in addition to control by other Miranda NVISION or third party routing systems

Miranda NVISION Broadcast Pro Mid East 175 x 110 _Layout 1 24/08/2010 13:30 Page 1

CABLES CONNECTORS PATCH PANELS MDUs RACK SYSTEMS FIBRE/HYBRID CABLES ROUTERS KVM SWITCHES

Argosy products are available from stocks at locations in the UK, UAE, India and Malaysia

SERVING THE BROADCAST INDUSTRYA R G O S Yt: +44 1844 202101f: +44 1844 202025

www.argosycable.come: [email protected]

See Argosy at IBC Stand no.10.D55

Robust, slim-line and affordably priced, the Miranda NVISION CompactRouter Series is ideally suited to all utility routing applications.

M I R A N DA N V I S I O N C O M PAC T R O U T E R SN O W S T O C K E D B Y A R G O S Y

n Extremely small form factor for space-conscious production environments

n Ultra light weight ideal for mobile applications

n Wide range of matrix sizes – 8x8, 16x4, 16x16, 32x4, 32x32

n Comprehensive array of formats including 3Gbps/ HD/SD, Analogue Video and Audio, AES and Port/Data routing

n Powerful configuration tools providing easy set up of salvos and partitioning in addition to control panel configuration and network settings

n Multiple control capabilities using Ethernet, serial control, local and remote controlpanels, in addition to control by other Miranda NVISION or third party routing systems

Miranda NVISION Broadcast Pro Mid East 175 x 110 _Layout 1 24/08/2010 13:30 Page 1

PRONEWS


BlackMaGic acquires echolaBBlackmagic recently acquired EchoLab, one of the world’s leading designers and manufacturers of production switchers. Blackmagic/EchoLab products will be showcased at Blackmagic’s IBC booth #7.B25.

Speaking about the acquisition, Blackmagic’s CEO Grant Petty stated: “I have been using live production switchers since I was in school where we covered local theatre, sports, racing and bands. I think it’s the most exciting way to do production because it’s all live and thousands of people are watching what you are doing. Production switchers need to be powerful while also being familiar and easy to operate. I think the ATEM switchers from EchoLab are the most exciting switchers I have ever seen, and it’s incredibly exciting to add these products and intellectual property to the Blackmagic Design family.

“The ATEM switcher is a fantastic creative tool, and it includes powerful features not found in any other product. Since the acquisition, we have already dramatically expanded the engineering team working on ATEM. This fresh engineering team, which is a combination of new as well as experienced EchoLab staff, will allow us to move faster in adding new features to the ATEM product.”

Last September, Blackmagic Design made headlines when it acquired daVinci.

PROGLOBAL

sklaVis FilM laB iNstalls ciNtel solutioN Sklavis Film Lab Co. in Greece recently installed a refurbished Rascal Digital and Pandora Pogle Film Scanning Suite for both new and archive productions.

The lab has installed a high-quality, high-speed HD and 2K fi lm scanner with extensive colour correction as well as audio capabilities. Using Cintel’s sister website www.usedtelecine.com, Sklavis Film Labs was able to specify a complete fi lm scanning suite that met their requirements.

Sklavis Film Labs chose Cintel’s Rascal Digital ‘data-cine’ fi lm scanner fi tted with 16mm and 35mm fi lm gates, SD and HD video outputs and 2K HSDL Data outputs. It coupled this with a Pandora controller and colour correction solution as well as additional Sound Follower and Keycode tracking equipment.

Digital Intermediate technician Giannis Kouretis stated that there was a requirement to scan a large quantity of new and archive fi lm, predominantly to 2K data.

“The Rascal Digital speed performance in 2K at 15fps, as well as real-time HD is very powerful. Our needs included additional primary and secondary colour correction as well, and the Pandora system was able to provide this. To complete the fi lm scanning suite, we needed a Keycode tracking system and additional audio capabilities. www.usedtelecine.com was a very comprehensive tool that helped us specify what we needed and to get a good idea of the budget required. Cintel was then able to provide an entire package including shipping, installation and a warranty,” he said.

The HEAT Group, owners of the Miami HEAT National Basketball Association (NBA) team and operators of Miami’s AmericanAirlines Arena, are using Digital Rapids’ StreamZ encoding system to speed the production of high-quality live and on-demand video content for the HEAT.com website and internal production workfl ows. Most recently, StreamZ was used for live streaming of events leading up to and following the signings of high-profi le free agent players Dwyane Wade, LeBron James and Chris Bosh.

The Broadcast Services department at The HEAT Group produces live event coverage and pre-packaged content for all departments in the organisation, including advertising, marketing, internal training, the HEAT.com website, and shows airing on NBA TV and regional television. The group also produces content such as half-time features that are used within live game broadcasts on SunSports.

Online video is a key focus for the production group, as the team leverages it to support the HEAT brand, engage existing fans and grow the team’s fan base globally. Content from the team’s in-arena HEATV broadcast, special features and more are encoded through StreamZ into the formats required for on-demand Web viewing. StreamZ is also used for live Web streaming of special events and announcements. The StreamZ system is

diGitAL RAPids dRiVes heAt

also used in an automated workfl ow to transcode library footage provided by NBA Entertainment into The HEAT Group’s preferred editing format for subsequent production needs.

“By enabling us to effi ciently create high-quality material for HEAT.com with very fast turnaround, the Digital Rapids StreamZ system helps us engage and grow our fan base, and that has a direct impact on our revenues,” said Ed Filomia, senior director of Broadcast Services for The HEAT Group. “We’re able to get video content from the arena and events onto the website faster than ever before, while the versatility of the system lowers our equipment and operational costs by supporting our live and on-demand production needs in one platform.”

The importance of streaming video as an integral part of the team’s marketing strategy was underscored at the recent start of the NBA’s 2010 free agency period. As part of a campaign to encourage HEAT star Wade to re-sign with the team, HEAT mascot Burnie took up residence on an exterior ledge of the arena for a week. To fuel publicity and fan interest in the campaign, StreamZ was used to provide a live stream of Burnie’s exploits 24-hours per day through HEAT.com. The system was also used for live streaming of the welcoming party and press conference marking the signings of Wade and his new superstar teammates James and Bosh.

HEAT mascot Burnie’s exploits were

streamed live through Heat.com.


tpa chooses riedelTPA, Angola’s largest TV broadcast network, recently upgraded its comms infrastructure with a large Riedel Artist intercom system. Riedel Communications delivered an extensive system including a large wired Riedel Artist matrix intercom installation along with a comprehensive wireless Acrobat intercom solution.

Avantgarde, Riedel’s Portuguese partner and the Portuguese system integrator Ibertelco, were responsible for the installation.

The TPA studio complex includes four studios, two OB trucks and a master control room. To expand TPA’s existing intercom installation, which previously covered only the master control room, it was necessary to integrate all areas into one system.

At its heart is a set of six Riedel Artist 32 mainframes that expand the existing Artist system at TPA. All mainframes feature redundant power supplies and CPU cards. In conjunction with Artist’s dual fibre ring, the entire installation is protected against system breakdowns in case of failure.

The individual Artist frames are placed in the various TPA studios and two TPA OB trucks.

TPA uses a total of 23 Riedel Artist 2000 series control panels with LCD displays in the studios and the master control room.

While in the field, the control panels are integrated into the intercom installation via ISDN links. Two Connect DUO interfaces in the master control room provide the ISDN connections. While in the studio, the trucks can easily be integrated via fibre cabling. In addition, the Connect DUO interfaces integrate regular ISDN telephone lines into the wired intercom installation.

The system is already installed and in operation.

PROGLOBAL

Viditech OPts fOR AxOnViditech, a Dutch supplier of broadcast facilities, recently invested in AXON’s Cortex software application to monitor and control the equipment in its three OB vans. This purchase is special as AXON Cortex Router Control (Cortex-RC) will be used as an upgrade to Viditech’s existing OB-van OB4 (built in 2001), where it will control a variety of third-party products.

The purchase was a direct result of AXON’s Cortex Master Classes, which took place in October last year. These Master Classes were set up by AXON to showcase the potential of Cortex.

“We are very pleased that Viditech has purchased Cortex and is willing to share its experiences with our development team,” stated Leo Smeding, sales manager, AXON Netherlands.

“AXON’s Master Class on Cortex made us aware of the large potential of this

AXON’s Leo Smeding flanked by Jan de Pijper and Frank Screever of Viditech.

monitoring and control software. We are currently working on implementing and fine-tuning Cortex for our application,” commented Jan de Pijper, CEO of Viditech.

Cortex was initially developed as a monitoring and control software solution for AXON’s signal processing equipment Synapse. It has since grown into a comprehensive package that includes control for third-party products. This software application makes the implementation of multiple video and audio signal paths easier, more efficient and cost-effective than ever.

Cortex provides comprehensive tools to configure, monitor and maintain not only the complete range of Synapse products, but also a wide variety of other devices. As a result, an unlimited numbers of users can take total control of multiple and complex routines.

ross Video to acquire Norpak corporatioN Ross Video Limited has entered into an agreement to acquire Norpak Corporation. The sale is scheduled for completion on September 17, 2010.

Norpak is well known as the manufacturer of Nielsen encoders and Closed Captioning Inserters as well as VBI, VANC and transport stream data insertion products. Norpak has been an openGear partner for the past three years and offers a range of openGear compliant data insertion products.

Ross Video plans to integrate Norpak operations and personnel into Ross’ Ottawa Research and Development Center and Iroquois Manufacturing Facility. Ross will continue to sell and service the Norpak product portfolio, which will transition to the Ross brand.

JaVeriaNa uNiVersity allies with VsN VSN recently undertook a systems integration project for The Pontificia Javeriana University in Bogotá to enable its 1000 students to work in multi-platform environments, different HD video formats and various sources.

The University recently opened its new Centro Ático centre, an educational and practicum centre for the new TV broadcasting professionals in Colombia.

VSN’s MAM solution lies at the heart of the project. It was customised and adapted to meet Centro Ático’s requirements. The MAM will be the integration link between all production and post-production systems from different manufacturers such as Autodesk Smoke, Sony Vegas, FCP, Avid Media Composer and Pro-tools.

The infrastructure can support more than 450 clients in a collaborative work environment. The main format is XDCAM HD 50Mbps. Built on a gigabit ethernet mixed infrastructure, the core of the system is a high-performance data storage unit provided by DataDirect Networks.

PROEXCLUSIVE

In an exclusive interview with Vijaya Cherian, Saudi Arabia’s Minister of Culture & Information Dr. Abdul Aziz Khoja -- the man behind the dramatic transformation in the Saudi media landscape -- speaks about the challenges of creating a “bureaucracy-free media” in the Kingdom and the initiatives undertaken by the Ministry to achieve this objective.

Agent of Change


PROEXCLUSIVE

In an exclusive interview with Vijaya Cherian, Saudi Arabia’s Minister of Culture & Information Dr. Abdul Aziz Khoja -- the man behind the dramatic transformation in the Saudi media landscape -- speaks about the challenges of creating a “bureaucracy-free media” in the Kingdom and the initiatives undertaken by the Ministry to achieve this objective.

Agent of Change


Your Excellency, you have often spoken in the past of “opening new vistas for the Saudi media”. How do you plan to transform the media scene in KSA?I’m a fi rm believer in giving the media more room to manoeuvre and operate. The media plays a substantial role in educating and modernising a country. It also acts as a bridge between the people and the government. I have a lot of admiration for the Saudi media. It has been a partner with the government for more than six decades. However, the media here has exercised a huge amount of self censorship. It is not something that the government imposed on them. It was a self-imposed restriction. We could interpret the media as being a refl ection of Saudi society, which has traditionally been quite conservative. As a result, the media was also quite closed. We are now trying to encourage the media to be more open. It must be the medium that brings the issues in society to the surface to the government. We encourage the media to be more critical and play the role of a mediator between the people and the government.

Can you give me a recent example where the media has exercised this freedom?The fl oods in Jeddah this year is a good example where we saw both Saudi TV and the press exposing some of the malpractices in construction and how their abuse had exacerbated this tragedy.

PROEXCLUSIVE

Your Excellency, you have often spoken in the past of “opening new vistas for the Saudi media”. How do you plan to transform the media scene in KSA?

Dr. Khoja at the launch of Saudi Press Agency’s training centre with Dr. Riyadh Najm

(right), deputy minister of technical affairs, MOCI, KSA.


I hear you recently lifted the ban on the works of a Saudi poet, whose poems were banned for almost 30 years? Yes, that’s true. This is an example of how bureaucracy can affect intellectual thinking and the media. This was a bureaucratic mistake and it was time to rectify it. We will try to ensure this does not happen again. This is an example of how there should be less interference in literary and media activities. This is a huge task for the Ministry of Culture and Information (MOCI) and every step we take in this direction is indeed a huge step forward to liberalise the media in the Kingdom. Whatever positive steps we take

will have a positive impact on not just TV, radio and the press, but also cinema.

Already, with so many new technologies, you can’t effectively ban anything because it’s all pervasive so we may as well embrace it. What we must ideally practice is only self censorship.

As a poet and a literary thinker, would you consider encouraging filmmaking in Saudi Arabia? On several occasions, Saudi filmmakers have decried the lack of a public platform to showcase their creativity in the Kingdom.We do already have several Saudi men and women filmmakers who have made a mark internationally. Haifaa Al Mansour is one who has made us proud. Filmmaking should be encouraged as it plays a significant role in any culture. However, when you introduce films into a country, the society itself has to decide whether it is willing to accept it. Is Saudi society ready for it is a question to be reckoned with as it is still quite conservative and needs evolution.

I believe that the government is leaving this to the society to decide. The government is already providing financial support to those engaged in this craft but viewing films in public will be left to society. Having said that, I can assure you that change is on the way. More than 60%

As a great advocate for deregulation in broadcast, we hear that several steps have already been taken in this direction. Can you speak of some of KSA’s achievements on this front?Yes, deregulation is crucial. Lifting the bureaucracy is the first step to deregulation. No doubt, all industries must work under a set of regulations but these laws must not hinder the work of the industry. If it does, it defeats the purpose of having them. Bureaucracy is one of the biggest obstacles to taking the media forward in Saudi Arabia. It’s like a dam that we must break so that the media can penetrate and flow freely as the waters would through the society to bring about change.

As part of our deregulation efforts, we have given a licence to one private comedy channel and within a couple of months, more licences will be granted to run private TV channels. We’ll follow the same process as we did for radio and allow people to bid. Six private radio stations will operate soon.

Deregulation is also very important to support employment initiatives in the country. In Saudi Arabia, the government is presently the main employer and this cannot go on forever. By encouraging new business opportunities and opening the market to private entities, Saudi nationals will have better employment opportunities and gain the expertise they require.

“More than 60% of Saudi society today is below the age of 20 and gradually, their needs will dominate and their mindset is clearly different from that of the older people. With time, we will see a remarkable change in how people view filmmaking. Change is on the horizon.” Dr. Abdul Aziz Khoja, MOCI, KSA.

PROEXCLUSIVE

Dr. Khoja in Arafat on the outskirts of Mecca, where the main Hajj ritual takes place. Dr. Khoja debating at the Arab Media Forum.


of Saudi society today is below the age of 20 and gradually, their needs will dominate and their mindset is clearly different from that of the older people. With time, we will see a remarkable change in how people view filmmaking. Change is on the horizon.

We hear you interact with the public through Facebook and Twitter? This is rare for ministers from the Arab world. Facebook and Twitter help me to reach out to the public directly, especially our youth. As I said before, a huge percentage of the Saudi population are young people, and they are technology-oriented. These platforms give me an opportunity to listen to the voice of the new generation. They are our future and will run this country in the coming years. It’s important to keep in tune with their needs.

Content has always been a big issue in the Saudi market. Can we expect you to open more doors on this front? Contrary to public opinion, people here can watch all the satellite TV channels. There are dishes all over the Kingdom. What you can see in Dubai, you can also see in Saudi Arabia. There are currently 160 soap operas running on Arabic satellite channels during Ramadan and they are vying for the attention of our viewers, which is one of the biggest markets in the Arab world.

What is your vision for Saudi’s media landscape and what changes can we hope to see in the coming months? First of all, the media needs more breathing space. When you take bureaucracy out of the media, you give it a new set of lungs to breathe. We are trying to create a bureaucracy-free media. This is our first step. This cannot be done for as long as it remains a government entity entirely so we are in the process of transforming Saudi TV and Radio into a public corporation. The same goes for Saudi Press Agency. It’s better to work with government funding but free of the government’s administrative and financial regulations.

The proposal has already been submitted to the Council of Ministers and it’s in the final stages of approval.

ABOUT DR. KHOJA Dr. Abdul Aziz Mohiddin Khoja hails from Makkah in Saudi Arabia. Dr. Khoja is a well-known poet and his poems have been the subject of critical studies in universities. He holds a bachelor’s degree in chemistry and geology from Riyadh University and a PhD in chemistry from the University of Birmingham. He was a faculty member at Makkah Al-Mukarramah and later, at King Abdulaziz University. He later joined the Ministry of Information as undersecretary, and was later made acting director at Gulf Television. He has chaired several important councils including the Executive Council of the Islamic States Broadcasting Organisation. He was the Ambassador of Saudi Arabia to several countries including Lebanon (2004-2009), Morocco ( 1996-2004), Russia (1992-1996), and Turkey (1986-1992). In 2009, he was appointed Minister of Culture and Information. He has transformed the Saudi media landscape substantially by deregulating the media and welcoming private players into TV and radio.

PROEXCLUSIVE

Dr. Khoja debating at the Arab Media Forum. Dr. Abdul Aziz Khoja visits the office of Umm Al-Qura, the official newspaper of the Kingdom.

“... With so many new technologies ... you can’t effectively ban anything because it’s all pervasive so we may as well embrace it. What we must ideally practice is only self censorship.” Dr. Abdul Aziz Khoja, MOCI, KSA.


Saudi TV, for instance, generates a lot of revenue but it needs to reach a point where it is self sufficient and can operate autonomously without funding from the government. I am sure it can be done if we create the right environment for it to operate creatively. Also, the Saudi market is huge for advertisers and we realise that to get a share of this pie, we have to change our traditional ways of operating.

What are some of the challenges of corporatisation?We need to look at it from all angles. We don’t want to introduce it and find that it’s not working. We have to move carefully because the media is a source of information to the public. We are at the last stage in this regard. Transformation will mean implementing special administrative and financial rules that are different from that for government employees. People will have to change their mindset to work in this environment and contribute more creatively. Some training will be required but it will all happen in time.

Piracy has been a huge issue in KSA. How are you addressing this?Traditionally, we have seen a lot of piracy here but we have taken it seriously by imposing severe monetary penalties on pirates. As a result, we have recently been taken off the top list of offenders of the International Intellectual Property rights. This is a big step forward for us. We received congratulations from our partners, the government of the United States recently for our positive steps in this direction. Tough regulations to counter piracy are an incentive for foreign investors to come to KSA and this, in turn, will help our economy. More companies are now willing to come here and invest in the country knowing that there are laws to protect their rights.

You previously mentioned that the media will play a big role in developing your foreign policy. Can you elaborate? The media has always been considered as the medium to reach out to the public. It helps to clarify the stereotypical images that hinder our co-coperation with other countries. The

PROEXCLUSIVE

Directorate of Foreign Information receives journalists annually to tour the country and see it for themselves so as to remove their misconceptions about the Kingdom.

Does Saudi TV have plans to launch more channels?I’m reminded of an old American song that says 57 channels and nothing on. I like to believe we have seven channels and something on.

As a teacher yourself, do you have plans to introduce a training centre for aspiring TV journalists and filmmakers? We do have quite a few media courses and facilities here. King Adbdulaziz University in Jeddah, King Saud University in Riyadh and Umm Al-Qura in Mecca are some that have good media departments.

On the technology front, where is the Kingdom headed?We are taking the HD route and have invested in many studios to support this format. We use DVB-T technology with features to provide interactivity with our audience. Media should always travel in parallel with technology and not be left behind. If they are on a highway, I’d say both should be in the fast lane and keep up. We are always investing in the right technology tools to ensure we stay ahead of the game.

What’s on your immediate agenda as the Minister of Culture and Information?I am pushing for two things. To free the media from the burden of a bureaucratic setup and to further cultural exchanges between Saudi Arabia and other countries so that people view us in a more friendly and positive light.

The first is a challenge but we have already made considerable progress in terms of giving licences to private channels to operate besides other initiatives mentioned previously.

For the second goal, the Directorate of International Cultural Affairs in Saudi Arabia is working proactively to ensure that several initiatives are in place to promote cultural exchanges between us and other countries. The less we know about someone, the more wary we are of them. Cultural exchanges give us an opportunity to reach out to different people. When we know and understand each other better, promoting peace will be easier and we will all be able to live together despite our differences. PRO

Dr. Khoja with several Ministers and children at the third Arab conference aimed at protecting the interests of children.

“The media needs more breathing space. When you take bureaucracy out of the media, you give it a new set of lungs to breathe.We are trying to create a bureaucracy-free media. This cannot be done for as long as it remains a government entity entirely so we are in the process of transforming Saudi TV & Radio into a public corporation.” Dr. Abdul Aziz Khoja, Minister of Culture and Information, Saudi Arabia.


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Egyptian Radio and Television Union (ERTU) is presently working on Phase II of a massive project to upgrade its 24-hour news operations to HD. The multi-million dollar project, which is jointly undertaken by Egypt-based systems integrators Systems Design and Cairo Communications Systems will see ERTU make its first foray into HD by building a brand new master control room (MCR), upgrading a studio that is used for its 24-hour Nile News Channel, and also overhauling its newsroom production system. The project is scheduled for completion in October 2010.

ERTU aims to be the top news provider in the Middle East and Africa. As part of this objective, the company is upgrading all of its broadcast systems from SD to HD, while also making provision for 3Gbps and fibre. Additionally, the broadcaster is standardising its workflows for more streamlined graphics creation.

Phase 1, which was completed earlier this year, saw ERTU build Studio 11 for its news bulletins. However, Studio 11 saw the deployment of SD equipment only.

ERTU News continues HD facelift

Phase 2 will focus entirely on HD solutions. The brand new MCR will support HD. Likewise, Studio 5, which handles Nile News Channel will be fully refurbished and ready to handle the new format. This part of the project will also see an overhaul of the broadcaster’s newsroom production system, which supports ERTU’s entire news department.

ERTU will continue to use AP’s ENPS solution for its newsroom.

Phase II will also see the deployment of HD cameras, VTRs and switchers from Sony Professional Solutions; Lawo audio mixers; Aveco automation; and playout and transmission solutions from EVS.

A big chunk of this project, however, was supplied by Miranda Systems, which claims that it is now fully capable of providing entire blocks within a workflow.

“Miranda provided large parts of the workflow including two Nvision 3G routers, the master control solutions, multi-viewers, interfacing and processing equipment, on-air graphics systems for branding 2D and 3D graphics and the solutions to drive the inset video walls,” says Hany Bartella, general manager at Miranda Technologies, Middle East.

“External feeds are crucial for any news operation and they need to have the ability to handle multiple feeds in a variety of formats. Miranda is providing them with universal processors that can handle all the formats whether it is HD, SD or 3G.”

At the heart of Nile News Channel, therefore, is Miranda’s NVISION 8280

Project FocusEnD UsER: ERTU, EgyptsI: Systems Design and Cairo Communications SystemsObjEcTIvE: Upgrade to HDPROjEcT cOmPlETIOn: October 2010

PROEGYPT

BroadcastPro Middle East brings you four exclusive case studies of ongoing projects at ERTU, sharjah Tv, Orbit showtime network and Arab media corporation.

The ERTU building at night.


PROEGYPT


PROEGYPT


router, configured 198 x 198, to handle a mixture of 3Gbps, HD and SD signals. As it was crucial for ERTU to have a high level of system resilience, it opted for redundant controller cards, redundant power supplies and Miranda’s patented N+1 cross point redundancy technology. This provides a zero downtime capability, with a back-up system for the largest possible impact block in the router.

The router will be controlled by Miranda’s NVISION 9000 dual controller system, and a mixture of standard and customised control panels. It will also be integrated with three NV5100MC master control switchers for Nile News’ channel playout.

The project will also see ERTU deploy Miranda’s Vertigo Suite graphics automation.

“This will give Nile News a highly streamlined and cost-effective graphics automation system,” explains Bartella.

“The system combines asset management and work order management, as well as template authoring and population. It includes an After Effects plug-in graphics pre-rendering tool, and an Autopromo interstitial promo generation module for the most advanced on-air graphics. It also employs multiple Miranda graphics processors, including ten X-3D processors for 3D graphics and video walls, two Vertigo XG graphics processors for 2D graphics, and an Intuition XG graphics co-processor for operation alongside the master control switcher system,” he adds.

An important aspect of the new graphics solution is that Miranda’s news graphics system Xnews is tightly integrated with ERTU’s ENPS workstations. This ensures that any changes in the news rundown are reflected immediately in the graphics system.

Xnews has already been installed at ERTU’s new Studio 11. This solution simplifies last-minute changes to the run-down of the news bulletins by allowing journalists and producers to quickly create

“Miranda provided large parts of the workflow including two Nvision 3G routers, the master control solutions, multi-viewers, interfacing and processing equipment, on-air graphics systems for branding 2D and 3D graphics and the solutions to drive the inset video walls.”Hany Bartella, GM, Miranda Technologies, Middle East.

PROEGYPT


graphics within the newsroom itself, rather than using external designers. The system has also improved the consistency of the company’s graphics, and the quality of its branding, as a whole.

The new infrastructure at Nile News will comprise 34 Miranda Densité 2 frames that will house a variety of signal processing modules, allowing multiple signal formats to be mixed, matched and processed.

Playout and signal monitoring at Studio 5 and master control room will be performed using two Kaleido-X multi-viewers, each configured with 96 video inputs and eight multi-viewer outputs.

“These multi-viewers are tightly integrated with the MCR router, and will perform multi-room monitoring for video production, audio production and camera shading areas, with fully independent display layouts and control panels in each room. The monitoring displays, which present alarms for video loss, video black, audio silence and audio mono, can be instantly reconfigured for different productions with full flexibility over window positioning and sizing,” explains Bartella.

“Before ERTU saw the Kaleido-X, it was slightly reluctant to switch from a

traditional monitor wall in view of the importance of the monitoring function. However, ERTU was prepared to install our multi-viewer solution because it has no single point of failure, and is packed with redundancy features including auto-recovery. ERTU is now confident that the new system will make operations significantly easier because of the powerful layout software.”

Along with the Nile News Studio 5 and MCR, ERTU is also upgrading its newsroom production department, which serves the entire ERTU news department. Here, ERTU will switch from its current Leitch newsroom production system to a Quantel solution. This part of the project includes a further NVISION 8280 router, configured 126 x 256 with 18 x 36 fibre I/Os and full redundancy options. With the fibre connectivity, ERTU is future proofing its infrastructure for 3Gbps.

ERTU’s newsroom production system will also use Miranda’s Densité modules for signal processing, including the XVP-3901 universal processor which performs the up/down/cross conversions, as well as the colour space and aspect ratio conversions

necessary to maintain the chosen output format, regardless of the input format.

The manufacturer’s iControl monitoring system will be used to oversee all of these system elements, and will also provide in-depth monitoring of third-party equipment via SNMP, including servers and encoders. The monitoring system incorporates streaming video to monitor and control incoming and outgoing television feeds equipped with Densité signal processing cards.

The system presents the transmission path status, and the status of devices, using ERTU’s CAD schematics and wiring diagrammes of the infrastructure. This interface is displayed across multiple displays using a Kaleido-X multi-viewer. With this system, operators can zoom in from facility-level to device-level representations on the monitor wall GUI.

The manufacturer will provide ERTU staff with extensive training as part of the deal. It will also provide creative services support to help ERTU build news graphics templates before this phase of the project is completed. PRO

PROEGYPT


graphics within the newsroom itself, rather than using external designers. The system has also improved the consistency of the company’s graphics, and the quality of its branding, as a whole.

The new infrastructure at Nile News will comprise 34 Miranda Densité 2 frames that will house a variety of signal processing modules, allowing multiple signal formats to be mixed, matched and processed.

Playout and signal monitoring at Studio 5 and master control room will be performed using two Kaleido-X multi-viewers, each configured with 96 video inputs and eight multi-viewer outputs.

“These multi-viewers are tightly integrated with the MCR router, and will perform multi-room monitoring for video production, audio production and camera shading areas, with fully independent display layouts and control panels in each room. The monitoring displays, which present alarms for video loss, video black, audio silence and audio mono, can be instantly reconfigured for different productions with full flexibility over window positioning and sizing,” explains Bartella.

“Before ERTU saw the Kaleido-X, it was slightly reluctant to switch from a

traditional monitor wall in view of the importance of the monitoring function. However, ERTU was prepared to install our multi-viewer solution because it has no single point of failure, and is packed with redundancy features including auto-recovery. ERTU is now confident that the new system will make operations significantly easier because of the powerful layout software.”

Along with the Nile News Studio 5 and MCR, ERTU is also upgrading its newsroom production department, which serves the entire ERTU news department. Here, ERTU will switch from its current Leitch newsroom production system to a Quantel solution. This part of the project includes a further NVISION 8280 router, configured 126 x 256 with 18 x 36 fibre I/Os and full redundancy options. With the fibre connectivity, ERTU is future proofing its infrastructure for 3Gbps.

ERTU’s newsroom production system will also use Miranda’s Densité modules for signal processing, including the XVP-3901 universal processor which performs the up/down/cross conversions, as well as the colour space and aspect ratio conversions

necessary to maintain the chosen output format, regardless of the input format.

The manufacturer’s iControl monitoring system will be used to oversee all of these system elements, and will also provide in-depth monitoring of third-party equipment via SNMP, including servers and encoders. The monitoring system incorporates streaming video to monitor and control incoming and outgoing television feeds equipped with Densité signal processing cards.

The system presents the transmission path status, and the status of devices, using ERTU’s CAD schematics and wiring diagrammes of the infrastructure. This interface is displayed across multiple displays using a Kaleido-X multi-viewer. With this system, operators can zoom in from facility-level to device-level representations on the monitor wall GUI.

The manufacturer will provide ERTU staff with extensive training as part of the deal. It will also provide creative services support to help ERTU build news graphics templates before this phase of the project is completed. PRO

PROEGYPT


sharjah’s state broadcaster, sharjah Television, is probably one of the last of the state broadcasters in the Gcc to join the bandwagon to modernise its facility but it has been coming for a while under the leadership of Amna Khamis Al nakhi, managing director of sharjah Radio and Tv, and cEO of sharjah media corporation (smc).

In the last year, the station has been working towards acquiring high-quality content and engaging a new and wider audience focused around Arab and Muslim family values. Last month, the broadcaster also announced that a better programming grid was in the offing later this year.

In fact, SMC recently partnered with Lambie-Nairn to give both Sharjah TV and SMC a new look to signal, what Al Nakhi, called “our commitment to be among the top public-service broadcasters in the region”.

To make all of this possible, Sharjah TV recently contracted systems integrator Salam Media Cast to deploy an end-to-end, fully digital file-based workflow at its facility. Initially, the upgrade was to be undertaken as two phases with production and playout being followed by archiving. However, it was later decided that the two phases would be combined.

Project Focus

EnD UsER: Sharjah TV, UAEsI: Salam Media CastObjEcTIvE: Turnkey solution for end-to-end tapeless workflowPROjEcT cOmPlETIOn: October 2010

Sharjah TV moves to tapeless workflow

“Sharjah TV was looking for scalable solutions to archive content in a digital file-based format,” explains Sami El Shafai, executive director, Salam Media Cast.

“The overall project consists of the deployment of server-based technology in an effort to streamline operations and enhance production capabilities. The need for a digital file-based archive has become a critical component and the intent is to archive content in the same file-based format and to totally eliminate, over time, traditional videotapes from the workflow.”

Four key suppliers have been brought together for this project. Avid will provide solutions from ingest to post with automated playout from Sharjah TV’s studios while Harris will offer transmission playout and channel management solutions. VIZRT will provide the graphics while Front Porch Digital will supply the archiving solution.

Two core areas will be covered as part of this project, namely news and programming.

The first part of the workflow includes an Avid production and playout solution.

“Sharjah TV is an existing Avid user,” explains Sami El Shafai, executive director, Salam Media Cast. “So they wanted to upgrade their Avid setup. Avid also offered

PROsHARjAH


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to trade in their existing equipment with their newest solutions, so it was the ideal choice in terms of both user preference and the technology itself,” he says.

The production system will be based on Avid’s Unity ISIS servers for both news and programming. This replaces the previous Avid Media Network at Sharjah TV.

Avid’s Asset Management System, Interplay will replace the previous Media Manager, and will manage the media movement as well as the metadata. The video production process, both for news and programmes, will be based around the ISIS shared storage and its Interplay asset management, giving all users rapid and simultaneous access to video material.

Additionally, the iNews Newsroom Computer System (NRCS) will provide scriptwriting and running order production facilities, as well as the ability to add character generator events to stories from a single user interface. Avid Interplay will provide a central point for users and technical staff to capture, log, locate, store and delete Avid assets.

The workflow sees the iNews NRCS as the genesis of all stories, with a preliminary running order being created for each show. iNews also allows the creation of resourcing sheets, to allocate crews and equipment such as cameras and vans to each story.

From here, Viz Content Pilot provides a centralised and uniform structure to manage and play out the graphic elements. The templates created by the artists will be stored on a hub and shared by the users. iNews clients can preview the VIZ templates using the Active X Plugin and type up CG text, and save it with the story on iNews, including timings such as start time and duration. When the running order is sent to the Avid Command playout tool, any CG instructions are passed onto Vizrt.

Any automatic triggering timings saved with the event (such as start time and duration) will ensure that the CG event is automatically played by Viz. Equally, it will be possible to play any CG events manually.

Contribution feeds, external lines or studio feeds are recorded to the ISIS

using an AirSpeed Multi Stream unit. This is controlled by Avid Capture Manager client workstations. The material is available within seconds from the time the material is ingested and is available to the Avid production tools for viewing, logging and editing. At ingest, recorded media is registered with the Avid Interplay production asset management system, and associated data can be searched by any Interplay clients on the system.

Avid Interplay provides comprehensive administration tools for mission-critical performance. Using either pre-configured roles or customised user privileges, access to assets can be controlled individually or by groups, depending upon the need of each facility. Users can be assigned roles (such as reviewer or editor) that determine their access capabilities. On a project level, users can be granted operational privileges for specific files or folders and folders can be designated for certain types of users.

The Avid Interplay Access tool provides powerful search, check-out/check-in, revision control, and administration

PROsHARjAH

“The overall project consists of the deployment of server-based technology in an effort to streamline operations and enhance production capabilities. The need for a digital file-based archive has become a critical component and the intent is to archive content in the same file-based format and to totally eliminate, over time, traditional videotapes from the workflow.”Sami El Shafai, Executive Director, Salam Media Cast.


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to trade in their existing equipment with their newest solutions, so it was the ideal choice in terms of both user preference and the technology itself,” he says.

The production system will be based on Avid’s Unity ISIS servers for both news and programming. This replaces the previous Avid Media Network at Sharjah TV.

Avid’s Asset Management System, Interplay will replace the previous Media Manager, and will manage the media movement as well as the metadata. The video production process, both for news and programmes, will be based around the ISIS shared storage and its Interplay asset management, giving all users rapid and simultaneous access to video material.

Additionally, the iNews Newsroom Computer System (NRCS) will provide scriptwriting and running order production facilities, as well as the ability to add character generator events to stories from a single user interface. Avid Interplay will provide a central point for users and technical staff to capture, log, locate, store and delete Avid assets.

The workflow sees the iNews NRCS as the genesis of all stories, with a preliminary running order being created for each show. iNews also allows the creation of resourcing sheets, to allocate crews and equipment such as cameras and vans to each story.

From here, Viz Content Pilot provides a centralised and uniform structure to manage and play out the graphic elements. The templates created by the artists will be stored on a hub and shared by the users. iNews clients can preview the VIZ templates using the Active X Plugin and type up CG text, and save it with the story on iNews, including timings such as start time and duration. When the running order is sent to the Avid Command playout tool, any CG instructions are passed onto Vizrt.

Any automatic triggering timings saved with the event (such as start time and duration) will ensure that the CG event is automatically played by Viz. Equally, it will be possible to play any CG events manually.

Contribution feeds, external lines or studio feeds are recorded to the ISIS

using an AirSpeed Multi Stream unit. This is controlled by Avid Capture Manager client workstations. The material is available within seconds from the time the material is ingested and is available to the Avid production tools for viewing, logging and editing. At ingest, recorded media is registered with the Avid Interplay production asset management system, and associated data can be searched by any Interplay clients on the system.

Avid Interplay provides comprehensive administration tools for mission-critical performance. Using either pre-configured roles or customised user privileges, access to assets can be controlled individually or by groups, depending upon the need of each facility. Users can be assigned roles (such as reviewer or editor) that determine their access capabilities. On a project level, users can be granted operational privileges for specific files or folders and folders can be designated for certain types of users.

The Avid Interplay Access tool provides powerful search, check-out/check-in, revision control, and administration

PROsHARjAH

“The overall project consists of the deployment of server-based technology in an effort to streamline operations and enhance production capabilities. The need for a digital file-based archive has become a critical component and the intent is to archive content in the same file-based format and to totally eliminate, over time, traditional videotapes from the workflow.”Sami El Shafai, Executive Director, Salam Media Cast.



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features at the desktop. In addition, all of the Avid editing clients can directly access the Interplay asset management system via an “Interplay Window” available on the editor’s GUI.

This allows production staff to easily navigate and organise assets, add or modify media objects such as master clips, sequences, and effects or work with graphics files. Sub-clips created on Assist can be located and dragged into an editing bin on the Avid NewsCutter editors. With many basic and advanced effects such as blur and colour correction, users will be able to finalise packages at their desktop.

Here, the Avid AirSpeed Multi Stream servers for playout are controlled by Avid Command, which receives the running order information from iNews and translates it into a playlist with video events. The playlist is controlled manually by the playout operator, who decides when to roll out each package and graphic.

“Vizrt will be used to play out graphics under the control of iNews Command. Vizrt has a 103-inch screen driven by the Viz engine. This will provide a new look to the channel,” explains El Shafai.

Programme Production Progamme production is designed dif-ferently from News. The media required for each “playout-ID” for programmes is generated by Harris Broadcast Master and will be ingested and stored under the relevant folder using Avid.

mcr PlaybackHarris Broadcast Master will generate the scheduling list for playout. This list is dynamically exchanged with the ADC automation system. QCd sequences will be sent to playout and handled by ADC.

“Besides creating schedules and managing playlists, Broadcast Master also gives the sales and marketing teams tools to manage their acquisition and commercial client profile,” says El Shafai.

An integral part of the playout is also the Front Porch DIVArchive solution. This will manage an Oracle/Sun SL3000 Robotic Tape Library and supports up to 56 tape drives. It offers nondisruptive scalability of up to 3000 slots providing as much as 1.5 PB of storage capacity when used with Oracle/Sun T10000 tape drives and cartridges.

archive management Any material that needs to be archived will be sent to Avid Interplay using Interplay Access, Assist or a NewsCutter. These allow the end user to archive the files. The Avid Interplay Archive database with FPD tracks files stored in an external storage library, enabling Interplay users to look for archived and online media simultaneously using any Interplay Assist application on a networked PC.

“This workflow will help Sharjah TV achieve its business and operational objectives, and revolutionise its current production workflows by giving its journalists the power to produce and edit their own stories while providing different levels of access rights to news and post-production staff according to each user’s needs. Besides providing standard user interfaces to all creative staff in the news and postproduction business areas, this workflow also provides a fully non-linear production environment where simultaneous access to material is a given. It also provides the ability to store material long-term whilst keeping track with a rich asset management database,” adds El Shafai. PRO

PROsHARjAH

“This workflow will help Sharjah TV achieve its business and operational objectives, and revolutionise its current production workflows by giving its journalists the power to produce and edit their own stories while providing different levels of access rights to news and post-production staff according to each user’s needs.”Sami El Shafai, Executive Director, Salam Media Cast.


Project FocusEnD UsER: Orbit Showtime NetworkObjEcTIvE: Relocating Bahrain operations to Dubai and upgrading the Dubai facility

PRODUbAI

Orbit Showtime Network expandsand upgrades

When Orbit showtime network (Osn) was formed last year, the pay Tv network expressed its intention to retain its broadcast operations in both Dubai and bahrain. According to initial plans, playout operations were meant to be split between the two centres with Bahrain handling general entertainment (GE), News and the Arabic channels while Dubai was tasked with playing out movies, sport and VOD services. This meant migrating thousands of hours of material along with the corresponding metadata and subtitles from Bahrain to Dubai and vice versa.

In July 2010, however, the network decided to shut down its Bahrain operations in view of the costs of maintaining two facilities. While some technical aspects that came out of the merger remained untouched such as the decision to migrate all channels from 25 degrees to 7 degrees, which was to be the new home of the OSN platform, several other crucial decisions required significant change.

Two digital transponders and the network’s Conditional Access Security (CAS) operations will be relocated from Bahrain to Dubai along with several other elements. In addition, the Dubai facility will have to be expanded to

“The move from MPEG 2 DVBS to MPEG 4 DVBS2 is due to happen in the coming months,” confirms Whittaker.

“We will move everything to MPEG4. Our HD channels are already MPEG4-DVBS2. We have begun upgrading our muxes to eventually migrate everything but this is tied into the new HD boxes. So, if I turn the OSN series to MPEG 4 and our viewer does not have a new box, they will not be able to see our channels any more. Depending on when we have completed the box swap, whether it’s later this year, or early next year, we will migrate everything,”

The move to MPEG4 will enable OSN to gain extra bandwidth to launch new HD channels. HD is OSN’s USP at the moment and the network has been trying to increase its HD offerings in the region. So far, its HD bouquet includes 10 channels and Whittaker adds that the network’s current architecting plan is to increase this number. Bandwidth efficiency plays an important role in achieving this objective.

“The switch to MPEG4 will give us 20% bandwidth efficiency. DVBS2 will give us an additional 20% bandwidth on top of that. Of course, this involves buying a lot of expensive Harmonic equipment but it will make us more efficient in terms of launching HD,” explains Whittaker.

The new Harmonic equipment will replace the existing systems, and enable greater efficiency and picture quality, explains Whittaker.

“The old equipment used to occupy a rack and a whole bay but now, it’s just half a bay for two transponders as the new mux and code equipment is much smaller. Just as the equipment has shrunk, the encoding

accommodate operations that were previously handled in Bahrain.

“The new decision means we have to increase our production and channel capacity in Dubai,” explains Mike Whittaker, vice president of Broadcast Operations & Technology, OSN.

“In addition, this facility is about five years old so it was due for a tech refresh anyway. We already had a plan to replace our production servers. We replaced our archive last year. We had a Sony Petasite but have now switched to Front Porch Digital. It was cheaper to replace the Sony Petasite than get it properly supported,” he adds.

Several key blocks within the workflow will be replaced or upgraded in the course of this year including the facility’s production system, its central router as well as its playout.

“This upgrade presents the perfect opportunity to put in 3G capability. This is not essential at this point as we have already tested 3D on our new HD box and it works fine the way we have designed our systems. You need the bandwidth, no doubt and when there is an opportunity to replace old equipment, it makes commercial sense to introduce the new,” adds Whittaker.

OSN is currently working on several other projects as well. For instance, the pay TV network is presently swapping its old boxes for new HD set-top boxes (STBs). The new STBs will enable subscribers to view HD while also keeping illegal subscribers from accessing the OSN bouquet.

Parallel to this effort, OSN is also slowly working to upgrade entirely to MPEG4.



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algorithms have also become much better, so just by using new equipment in MPEG2, you can see how much better the picture quality is in HD,” he adds.

For now, OSN will have to continue showing both SD and HD content until it upgrades its playout operations.

Whittaker explains: “We have an SD and HD copy of Avatar presently because we cannot downconvert from HD to SD. When we upgrade our playout, which is part of the expansion plan, we will be able to downconvert HD to SD. On our HD service, of course, we can upgrade SD to HD and this works when we are running ads or promos. But the important thing people want to see in HD is the physical programming, and we’re going native with 1080i.”

The new playout solution will be designed to be completely tapeless from the point of ingest. The OSN facility in Dubai has always been tapeless,

maintains Whittaker. However, the new upgrade will eliminate all traces of tape.

“Tape is a liability for us. We do have a very small tape library. Once we have ingested something from a tape, then we are tapeless. We are not just tapeless; we also have redundancy and duplicate playlists so should something go wrong, there’s always a backup.”

The next year, once the boxes have been fully swapped, OSN will also undertake Digital Video Broadcasting (DVB) subtitling on its HD and SD services.

“Anything branded OSN presently has subtitles. However, because we are sort of a retail platform in that we don’t know what boxes people currently have, you can’t turn the subtitles on and off. With our our new closed boxes, the customer can choose whether to have the subtitles on and we have the opportunity to offer multiple languages whether English, Arabic or something else,” explains Whittaker.

OSN is working on several parallel projects from migrating all the media to relocating some parts of the operations and HD investments from Bahrain to Dubai as well as upgrading and expanding the Dubai facility and launching its new HD PVR. Whittaker, however, has a large team of engineers under him and more will join from Bahrain.

Having a strong team meant OSN was less dependent on one vendor to provide all the solutions and instead, designed and architected its own designs and undertook most of its integration in-house.

“We have quite a sophisticated architecture that is integrated with various solutions that include the Omneon server, Pebble Beach, Harris Broadcast Master, Screen Subtitling Systems and so on. We have picked the things that are right for the job and represents the best value. At this point, it’s a great opportunity to refresh and revisit our workflow again,” adds Whittaker. PRO

Mike Whittaker, VP of Broadcast Operations & Technology, OSN.


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saudi-based Arab media corporation, the parent company of Arab Radio & Television (ART) has contracted UK-based systems integrator ATG broadcast to design, supply, install and commission a studio for the media conglomerate in Riyadh.

Equipment for the 300 sq.m studio will be pre-fabricated and tested at ATG’s facility warehouse in the UK before being shipped to the site. The studio is scheduled for completion later this year.

The studio will be wired for five cameras and includes a simple workflow comprising two Harris Nexio servers and three Final Cut Pro editing suites. HD 1080i 50 will be used as the standard video format throughout with embedded audio where possible (HD video to SMPTE 292M).

Project Focus

clIEnT: Arab Media Corporation, RiyadhsI: ATG BroadcastObjEcTIvE: Five-camera studioPROjEcT cOmPlETIOn: 2010

Arab Media Corporationbuilds studio in Riyadh

PROKsA

Tech specsCameras: Ikegami HDK-79 1080p, Canon lenses, BDL promptingVision mixer: GVG Kayak 2.5M/Eaudio mixer: Studer Vista 5serVers: Harris NexioCG: Avid DekomultiViewer: Miranda with a pair of Panasonic 42” PlasmasinterfaCinG: AxonCentral router: Probel Siriusedits: FCPteChniCal furniture: Custom ConsolesliGhtinG: Third party

In the studio, the audio mixing will be managed by a Studer Vista 5 audio mixer with a number of AES/EBU inputs de-embedded from the HD signal and analogue inputs from the studio mics and so on. This will be de-embedded back into the HD signal for broadcast.

While a small amount of direct ingesting and playout will be done via Harris’ own ingest and playout programme, the rest will be ingested into the Nexio using the ingest manager and made available for editing through an FCP Integration Gateway server that will link FCP with the Nexio.

“With the gateway, most standard formats including DV25 / DVCPRO25, DVCPRO50, DVCPRO HD, AVC-Intra, IMX (30/40/50), XDCAM HD (35 Mb), XDCAM HD422 (50 Mb), XDCAM EX, graphics files (BMP, JPG, TGA, TIF, PSD, PNG) and PCM uncompressed audio formats will be supported,” says Jim Greaves, business development manager, ATG Broadcast.

In addition to this, the installation will include a range of Nexio plug-ins comprising NEXIO Browser and NEXIO Export. The NEXIO Browser is a plug-in application on the FCP that exposes all compatible content as MOV files on the FCP client. NEXIO Browser also exposes standard metadata, provides a preview window for quick reviewing of content, allows metadata searches and manipulation, and enables immediate placing of content from this window into the FCP bin by linking, not copying. This will allow edit in place on files being ingested.

After NEXIO Browser has linked the content in FCP’s bin, the full feature set of FCP becomes available for generating an edit. Completed edits are turned into new high resolution IDs by rendering flattened files back onto the NEXIO SAN with the NEXIO Export plug-in, where it it is then available for playback.

“Our teams are currently working on several large projects in Europe for major broadcasters in the field of 3D and HD facilities, and we hope to bring this expertise with us to the new projects in the Middle East region.” Graham Day, MD, ATG Broadcast.

While 90% of the equipment is HD, a small portion will also support SDI i/o, explains Greaves.

This project is the first of many ATG claims to have in the pipeline following its showing at CABSAT.

“We are looking to open an office in the region based on the response we received at CABSAT,” explains Graham Day, managing director, ATG Broadcast.

“Our teams are currently working on several large projects in Europe for major broadcasters in the field of 3D and HD facilities, and we hope to bring this expertise with us to the new projects in the Middle East region. Our sister company Hiltron just won a major IPTV headend contract in Abu Dhabi, so as a group we feel this is a good sign for future growth for us in the region,” he adds. PRO

Graham Day, MD, ATG Broadcast.


saudi-based Arab media corporation, the parent company of Arab Radio & Television (ART) has contracted UK-based systems integrator ATG broadcast to design, supply, install and commission a studio for the media conglomerate in Riyadh.

Equipment for the 300 sq.m studio will be pre-fabricated and tested at ATG’s facility warehouse in the UK before being shipped to the site. The studio is scheduled for completion later this year.

The studio will be wired for five cameras and includes a simple workflow comprising two Harris Nexio servers and three Final Cut Pro editing suites. HD 1080i 50 will be used as the standard video format throughout with embedded audio where possible (HD video to SMPTE 292M).

Project Focus

clIEnT: Arab Media Corporation, RiyadhsI: ATG BroadcastObjEcTIvE: Five-camera studioPROjEcT cOmPlETIOn: 2010

Arab Media Corporationbuilds studio in Riyadh

PROKsA

Tech specsCameras: Ikegami HDK-79 1080p, Canon lenses, BDL promptingVision mixer: GVG Kayak 2.5M/Eaudio mixer: Studer Vista 5serVers: Harris NexioCG: Avid DekomultiViewer: Miranda with a pair of Panasonic 42” PlasmasinterfaCinG: AxonCentral router: Probel Siriusedits: FCPteChniCal furniture: Custom ConsolesliGhtinG: Third party

In the studio, the audio mixing will be managed by a Studer Vista 5 audio mixer with a number of AES/EBU inputs de-embedded from the HD signal and analogue inputs from the studio mics and so on. This will be de-embedded back into the HD signal for broadcast.

While a small amount of direct ingesting and playout will be done via Harris’ own ingest and playout programme, the rest will be ingested into the Nexio using the ingest manager and made available for editing through an FCP Integration Gateway server that will link FCP with the Nexio.

“With the gateway, most standard formats including DV25 / DVCPRO25, DVCPRO50, DVCPRO HD, AVC-Intra, IMX (30/40/50), XDCAM HD (35 Mb), XDCAM HD422 (50 Mb), XDCAM EX, graphics files (BMP, JPG, TGA, TIF, PSD, PNG) and PCM uncompressed audio formats will be supported,” says Jim Greaves, business development manager, ATG Broadcast.

In addition to this, the installation will include a range of Nexio plug-ins comprising NEXIO Browser and NEXIO Export. The NEXIO Browser is a plug-in application on the FCP that exposes all compatible content as MOV files on the FCP client. NEXIO Browser also exposes standard metadata, provides a preview window for quick reviewing of content, allows metadata searches and manipulation, and enables immediate placing of content from this window into the FCP bin by linking, not copying. This will allow edit in place on files being ingested.

After NEXIO Browser has linked the content in FCP’s bin, the full feature set of FCP becomes available for generating an edit. Completed edits are turned into new high resolution IDs by rendering flattened files back onto the NEXIO SAN with the NEXIO Export plug-in, where it it is then available for playback.

“Our teams are currently working on several large projects in Europe for major broadcasters in the field of 3D and HD facilities, and we hope to bring this expertise with us to the new projects in the Middle East region.” Graham Day, MD, ATG Broadcast.

While 90% of the equipment is HD, a small portion will also support SDI i/o, explains Greaves.

This project is the first of many ATG claims to have in the pipeline following its showing at CABSAT.

“We are looking to open an office in the region based on the response we received at CABSAT,” explains Graham Day, managing director, ATG Broadcast.

“Our teams are currently working on several large projects in Europe for major broadcasters in the field of 3D and HD facilities, and we hope to bring this expertise with us to the new projects in the Middle East region. Our sister company Hiltron just won a major IPTV headend contract in Abu Dhabi, so as a group we feel this is a good sign for future growth for us in the region,” he adds. PRO

Graham Day, MD, ATG Broadcast.



PROLAUNCH

Industry pros from the UAE gathered together for an evening of networking at BroadcastPro Midde East’s launch night.

BroadcastPro’s launch party

On July 19, professionals from the UAE’s broadcast and production industries joined Dubai-based publishing house CPI to celebrate the launch of BroadcastPro Middle East magazine at Jambase, Madinat Jumeirah, Dubai.The event was a huge success as it attracted more than 110 pros from the UAE, and provided the perfect opportunity for the industry to gather together for an evening of networking. Our friends from IDX and Ross Video, who were visiting Dubai, also joined us for the launch.

To quote from a few post-event mails that reached us, “the local industry needs more networking opportunities like this”, this is “one of the first events organised by a magazine outside of a show that saw several decision-makers gather together at one place”, and “a remarkable turnout for a magazine launched from scratch”.This event was supported by Avid Middle East, Adobe, United Broadcast & Media Solutions (UBMS) and Kodak. We also thank Action Filmz and Advanced Media Trading for providing us with on-site support. Jocelyn Mae Yniguez of UBMS with Anu Thomas of Sony

Professional Solutions Middle East.

Abdulhakim Karmostaji (l), operations manager and Saeed Al Janahi (r), broadcast

segment manager of Dubai Studio City.

Hasan Sayed Hasan, head of twofour54’s Intaj and Colin Sherriff, GM of TSL Middle East.

Syed Iftikhar Ali, transmission and operations manager of DMI with Mather Ali, GM of Vislink Systems, Middle East.

Dominic Baillie, VP of Engineering and Operations at Ten Sports with Srinivas Kuppa, chief engineer at DMI.

Abu Dhabi Media Company’s executive director of Broadcast Karim Sarkis (l), and deputy executive director of Broadcast Sarkis Semaan (r) graced the occasion.

Aiham Ajib (r), creative director and Nadia (l) of Real Image.

From left: Freelancer Giovanni Fraeyman with Atlas TV’s Damian Barker and Mike Charlton.


PROLAUNCH

Industry pros from the UAE gathered together for an evening of networking at BroadcastPro Midde East’s launch night.

BroadcastPro’s launch party

On July 19, professionals from the UAE’s broadcast and production industries joined Dubai-based publishing house CPI to celebrate the launch of BroadcastPro Middle East magazine at Jambase, Madinat Jumeirah, Dubai.The event was a huge success as it attracted more than 110 pros from the UAE, and provided the perfect opportunity for the industry to gather together for an evening of networking. Our friends from IDX and Ross Video, who were visiting Dubai, also joined us for the launch.

To quote from a few post-event mails that reached us, “the local industry needs more networking opportunities like this”, this is “one of the first events organised by a magazine outside of a show that saw several decision-makers gather together at one place”, and “a remarkable turnout for a magazine launched from scratch”.This event was supported by Avid Middle East, Adobe, United Broadcast & Media Solutions (UBMS) and Kodak. We also thank Action Filmz and Advanced Media Trading for providing us with on-site support. Jocelyn Mae Yniguez of UBMS with Anu Thomas of Sony

Professional Solutions Middle East.

Abdulhakim Karmostaji (l), operations manager and Saeed Al Janahi (r), broadcast

segment manager of Dubai Studio City.

Hasan Sayed Hasan, head of twofour54’s Intaj and Colin Sherriff, GM of TSL Middle East.

Syed Iftikhar Ali, transmission and operations manager of DMI with Mather Ali, GM of Vislink Systems, Middle East.


Abu Dhabi Media Company’s executive director of Broadcast Karim Sarkis (l), and deputy executive director of Broadcast Sarkis Semaan (r) graced the occasion.


From left: Freelancer Giovanni Fraeyman with Atlas TV’s Damian Barker and Mike Charlton.


PROLAUNCH

Mark Barkey, sales manager of Axon with Ali Ajouz, senior VP of marketing, OSN.

Dave Roberts, Group manager, CABSAT with Mather Al-Ali, GM, Vislink Group.

From left: Kaveh Farnam, CEO of Advanced Media with Anu Thomas of Sony, Serine Gharibian, Advanced Media and Dimo Valev, marketing manager of MediaCast.

From left: Rob Waters of IDX with Suresh Akkappilly of Nevion and Christopher Darnley, JVC Gulf.

Tarif Sayed and Rola Najem of The Frame.

Raz Islam (l), sales director of BroadcastPro Middle East with Karim Sarkis (centre) and Sarkis Semaan of ADMC on the right.


From left: Fernando Carrasco of VSN with Swarup Mukerjee, Vislink and Parvaiz Anjum of UBMS.

Peyman Dadpanah, business director, MediaCast with Amaury Simon, GM, E-motion International.

Melvin Saldanha, DVP, Engineering, Ten Sports flanked by Andrew Davies and Colin Sherriff of TSL ME.



PROLAUNCH

Hasan Sayed Hasan of twofour54 Intaj with Abdul Ghani, sales manager, Argosy Middle East.

(l) Ihab El Baba of Alif Alif talks to Keith Dallison of MBC with Nick Barratt of MBC in the background.

Basel Al Aref, GM, Broadcast, Oasis Enterprises with Rob Waters of IDX.

Leo Joseph, country manager, Kodak Cinelabs Dubai.

From left: Oystein Riise-Naess of Avid Middle East with Dimo Valev of MediaCast and Steve Beebe of OSN.

Ziad Kebbi, MD, Endemol Middle East.Guests at the launch.

Brian Murray (R) of Ross Video with a guest.


PROLAUNCH

Daniel Kilalea with colleagues from Boomtown Productions.

From left: Frederic Danvin with Amaury Simon, E-motion.

From left: Sarkis Semaan, ADMC with Hasan Sayed Hasan, twofour54 Intaj and Hassan Chahine, CTO of DMI.

Naiem Aiyed of SoftEdit and Munzer Rushdi, DMI.

Dominic De Sousa, publisher, CPI and COO Nadeem Hood at the launch. A guest with Steve Beebe (r),

broadcast support engineer at OSN.

Keith Dallison of MBC with Deborah Charlton of Atlas TV.

Gregory Unrau, head of production and training with Marcelle AlEid, marketing head of Abu Dhabi Film Commission.

Pavan Gilani (l), marketing specialist and Oystein Riise-Naess (r), application specialist, Avid Middle East.

Nick Lim of Chosun Group with Katherine Doll.

PRODOCUMENTARY

In an exclusive interview with BroadcastPro Middle East, KSA-based production house SilverGrey shares details of a production documenting the flight of the first Arab into space.

Journey into Space


PRODOCUMENTARY

“Blending the new [4K] footage with very old

archive material was very tricky in post production

as there were huge differences in quality.”

Silvio Saade, executive producer, SilverGrey - Picture & Sound.

In June 1985, seven men travelled into space on the Discovery STS-G51 space shuttle with a cargo that included American, Mexican and Arabian domestic communications satellites. While the event saw the deployment of the ARABSAT 1B satellite into space, it also marked a milestone for the Middle East as one of the crew members included an Arab – the fi rst to make the journey into space.

Prince Sultan bin Salman bin Abdulaziz Al Saud was a 28-year-old fi ghter pilot back then. He represented ARABSAT and joined the crew as a payload specialist.

This month, the seven-member crew is scheduled to congregate at the King Abdullah City for Science and Technology in Riyadh along with the president of NASA and a few thousand dignitaries from across the world to mark the 25th anniversary of that journey.

To commemorate the occasion, Saudi-based production house, SilverGrey - Picture & Sound, was roped in to create two Arabic-language documentaries: an hour-long feature on the journey; and a second 20-minute documentary on the Kingdom, its background and its contribution to science and technology. The hour-long documentary, which will have signifi cant focus on Prince Sultan bin Salman, is expected to feature on National Geographic later this year.

Shot on three RED cameras, the feature-length documentary includes interviews with each of the astronauts and other important fi gures involved with the trip. This is interspersed with archive material

HRH Prince Sultan bin Salman bin Abdulaziz Al Saud.


PRODOCUMENTARY

“Blending the new [4K] footage with very old

archive material was very tricky in post production

as there were huge differences in quality.”

Silvio Saade, executive producer, SilverGrey - Picture & Sound.

In June 1985, seven men travelled into space on the Discovery STS-G51 space shuttle with a cargo that included American, Mexican and Arabian domestic communications satellites. While the event saw the deployment of the ARABSAT 1B satellite into space, it also marked a milestone for the Middle East as one of the crew members included an Arab – the fi rst to make the journey into space.

Prince Sultan bin Salman bin Abdulaziz Al Saud was a 28-year-old fi ghter pilot back then. He represented ARABSAT and joined the crew as a payload specialist.

This month, the seven-member crew is scheduled to congregate at the King Abdullah City for Science and Technology in Riyadh along with the president of NASA and a few thousand dignitaries from across the world to mark the 25th anniversary of that journey.

To commemorate the occasion, Saudi-based production house, SilverGrey - Picture & Sound, was roped in to create two Arabic-language documentaries: an hour-long feature on the journey; and a second 20-minute documentary on the Kingdom, its background and its contribution to science and technology. The hour-long documentary, which will have signifi cant focus on Prince Sultan bin Salman, is expected to feature on National Geographic later this year.

Shot on three RED cameras, the feature-length documentary includes interviews with each of the astronauts and other important fi gures involved with the trip. This is interspersed with archive material

HRH Prince Sultan bin Salman bin Abdulaziz Al Saud.


gathered from various sources. Small sequences of animation will be used to fill in the gaps.

Besides this, the production house employed a team in Beirut to undertake the research for the project. A team is Beirut worked on the animation as well.

“This was a big-budget production that included around 60 people,” explains Silvio Saade, executive producer and CEO of SilverGrey - Picture & Sound.

“As it involved extensive research and travel, we split the production crew into two parts. One was a mobile team that had to collect all the archive material and also do some interviews with the astronauts who were part of the trip. They had one RED camera with them, while the second team stayed in Saudi Arabia and shot most of the material for this documentary with two more RED cameras,” explains Saade, adding that SilverGrey is presently the only company in Saudi Arabia that owns three RED cams.

The team travelled to several international cities to interview most of the crew, which mostly included American and French astronauts.

“These astronauts are now retired so we had to travel to their homes to do the interviews. Of course, the production included a trip to NASA itself, which was very exciting. There’s also a lot of focus on Prince Sultan bin Salman himself, who is still a very dynamic figure and involved in several important activities in the Kingdom,” explains Saade.

Although the Prince retired from the Saudi Royal Air Force, he continues to be the chairman of several organisations in the Kingdom including the King Khaled International Airport and the General Authority of Civil Aviation (GACA), The Saudi Commission for Tourism & Antiquities (SCTA), The Saudi Aviation Club and The Prince Salman Science Oasis among others.

One of the biggest challenges of producing this documentary involved integrating old material stored on many different formats including tapes and film with 4K material shot on the RED.

“30 to 40% of the footage involves archives and some of this includes very old film material. Blending the new footage with very old archive material was very tricky in post production as there were huge differences in quality. As a result, we had to de-saturate all the differences in the archive material and re-colour everything we collected. Everything needed to be tweaked properly to ensure that the final feature looked wholesome and not patchy. With systems like Flint at hand, this job was easier to do. It was very interesting to restore all of this archive material, which came from so many different sources. It was a fantastic experience,” adds Saade.

Lighting and grip was provided by Speed Track Productions, a SilverGrey partner.

“Although based in Saudi Arabia, Speed Track organised all the global shoots. They hired the technical freelance crew members in all the cities in which we shot,” explains Saade.

A group of 55 musicians came together to compose the sound track for this feature as well.

“Composer and conductor Firas Shatila from Sonic Fusion, another SilverGrey partner, composed the music in Saudi Arabia, and recorded live instruments in Beirut,” explains Saade.

PRODOCUMENTARY

Executive producer Silvio Saade (l) with a colleague at a shoot.

Filming Prince Sultan bin Salman for the documentary.

An interview in progress for the documentary.

The crew that took the flight into space on the Discovery STS-G51 in June 1985.

CREWExecutive Producer: Silvio SaadeDirector: Pierre Salloum1st Asst Director: Husma Al SayedDoP: Tony MekaryMusic: Firas ShatilaEditor: Hani Faddoul


While this was a large production that involved five months of work, the process was quicker owing to support from the Saudi government, says Saade.

“All the doors opened for us to collect the material we wanted. This made things very easy,” explains Saade.

The project is a huge feather in SilverGrey’s cap, which is one of the largest production houses in the Kingdom. SilverGrey also has other companies that specialise in sound, lighting, equipment rental and still photography so that it can offer a turnkey production package to clients in the Kingdom.

Saade says the company, which was conceived in 2000 along with a producer friend, diversified

to be able to offer a full package to its own clients while also making its services available to other local and international productions that wanted to use them. Today, SilverGrey also has offices in Beirut and Jordan.

“After my masters, I worked with Dentsu, a leading advertising agency in Japan. They sent me down to Saudi Arabia for a project in the late 90s. Here, I met an old producer friend of mine and we decided to work together on a project. But we found nothing here – no talent and no equipment. We bought most of our equipment online from a hardware store in Dubai to shoot our documentary. Today, SilverGrey has about US $4 million worth of equipment, and we have diversified the company so that our equipment and services can be rented out and we can service the entire industry rather than be a monopoly player,” explains Saade.

In the meantime, excitement is gradually building up in the Kingdom to celebrate the special occasion. SilverGrey hopes to present the one-hour long documentary on DVDs to attendees while the shorter version is tentatively scheduled to be screened at the event. - Vijaya Cherian PRO

PRODOCUMENTARY

Scenes from the past.

Prince Sultan bin Salman.


Having come from a high-end post production and television background, I have always viewed Adobe products in the past as toys, and although Photoshop has been integrated into my workfl ow for many years now, I began to appreciate After Effects only when version 7 appeared on the scene. Even then, I only used it for the odd animated text. It was only when the CS versions appeared on the scene that I started to take it more seriously; and with each release, we have seen CS get better.

Now with the CS5 release, Adobe has rewritten the boundaries of what is capable with its software. For the purpose of this review, I shall concentrate on the tools that relate mostly to the broadcast and post production environment namely Premiere and After Effects.

If you’re not already an Adobe user or if it isn’t that long since you bought CS4, you may wonder why you must upgrade to CS5. Besides the new functionality available across the applications, the sheer speed of CS5 in apps such as Premiere and After Effects is reason enough.

The reason it is so fast is because Adobe moved from 32 bit to 64 bit by way of its new Adobe Mercury Playback Engine. It has combined 64-bit support with extended use of CPU and computing-based resources.

Combine this with an NVIDIA CUDA Graphics card to handle current HD workfl ows and to

PROREVIEW

Having come from a high-end post production and television background, I have always

With Adobe CS5, the post production community saw the software provider move fi rmly into the professional league. Dubai-based editor Alistair Rankine gives us the lowdown on the CS5.

CS5 takes centre stage


PROREVIEW

allow the user to get more power from their CPU. By running the GPU and the CPU in parallel, you get an extremely powerful, fast 64-bit operating system that provides the user access to the entire computer’s memory on high-end systems.

Of course, the drawback is that you will have to run either a 64-bit version of Windows 7 or Windows Vista. Mac users will need to run OSX 10.6 (snow leopard). If your hardware is fairly old, a pre-requisite to running CS5 will be purchasing a whole new system.

Let’s get down to the nuts and bolts. What can CS5 do for you?

Let’s start with Premiere. Over the last couple of years, our industry has changed a great deal with the introduction of a tapeless workflow. Premiere CS5 has gone all out to embrace this and now offers new native tapeless support for Sony XDCAM HD 50, Panasonic AVCCAM, DPX and AVC-Intra, enhanced native support for Red as well as Canon and Nikon DSLR cameras.

So what does ‘native” support mean? This means that you can import these files directly into Premiere and start working with the files instantly. No transcoding is required and because it is native, footage is still in its original form and retains the pristine quality at which it was shot.

The most impressive part of this feature is Premiere’s ability to work with the Red camera’s R3D files in their native form be it 2K, 3K or 4K. Not only can you import them without transcoding, you can also drop them straight onto the timeline and work with them straight away, with the availability of real-time scrubbing and real-time playback. This is a huge advantage over other non-linear editing packages and could be a major reason why users may migrate from FCP to Premiere. CS 5 now includes a RED source settings dialogue box that allows you to set the non-destructive colour settings to your R3D files.

Another impressive feature is the ability to import, export and edit natively with DPX 10 bit DI (Digital Intermediate) files. DPX has become an industry standard over the last few years and is one of the best ways of sharing files between facilities and colour grading suites. In previous versions of Premiere, it was necessary to export the sequence to After Effects to output a 4k file. Now it can all be done straight from the Premiere as a DPX sequence.

It is also possible to adjust the playback resolution of your video in the source or playback monitor.

Adobe CS5

Image, courtesy of www.mettle.com.

Image of Mocha, courtesy of www.imagineersystyems.com.

Image, courtesy of www.clockworkvfx.com.


PROREVIEW

allow the user to get more power from their CPU. By running the GPU and the CPU in parallel, you get an extremely powerful, fast 64-bit operating system that provides the user access to the entire computer’s memory on high-end systems.

Of course, the drawback is that you will have to run either a 64-bit version of Windows 7 or Windows Vista. Mac users will need to run OSX 10.6 (snow leopard). If your hardware is fairly old, a pre-requisite to running CS5 will be purchasing a whole new system.

Let’s get down to the nuts and bolts. What can CS5 do for you?

Let’s start with Premiere. Over the last couple of years, our industry has changed a great deal with the introduction of a tapeless workflow. Premiere CS5 has gone all out to embrace this and now offers new native tapeless support for Sony XDCAM HD 50, Panasonic AVCCAM, DPX and AVC-Intra, enhanced native support for Red as well as Canon and Nikon DSLR cameras.

So what does ‘native” support mean? This means that you can import these files directly into Premiere and start working with the files instantly. No transcoding is required and because it is native, footage is still in its original form and retains the pristine quality at which it was shot.

The most impressive part of this feature is Premiere’s ability to work with the Red camera’s R3D files in their native form be it 2K, 3K or 4K. Not only can you import them without transcoding, you can also drop them straight onto the timeline and work with them straight away, with the availability of real-time scrubbing and real-time playback. This is a huge advantage over other non-linear editing packages and could be a major reason why users may migrate from FCP to Premiere. CS 5 now includes a RED source settings dialogue box that allows you to set the non-destructive colour settings to your R3D files.

Another impressive feature is the ability to import, export and edit natively with DPX 10 bit DI (Digital Intermediate) files. DPX has become an industry standard over the last few years and is one of the best ways of sharing files between facilities and colour grading suites. In previous versions of Premiere, it was necessary to export the sequence to After Effects to output a 4k file. Now it can all be done straight from the Premiere as a DPX sequence.

It is also possible to adjust the playback resolution of your video in the source or playback monitor.

Adobe CS5

Image, courtesy of www.mettle.com.

Image of Mocha, courtesy of www.imagineersystyems.com.

Image, courtesy of www.clockworkvfx.com.


This allows you to playback RED footage on your laptop. You can also set up separate playback and pause resolutions. This allows your footage to play in real time, but at a lower resolution, one which your system can handle. When you pause, you will view the footage at full resolution. This will be excellent if you’re on set and the director wants you to pull the footage into a laptop to see how the edit is progressing.

I personally have never been a fan of the Premiere interface and when it comes to editing, again it is that perception of Adobe products as toys. I must admit I prefer the interfaces of other software apps over Premiere. That said, it is extremely difficult to overlook the above features. Equally important is the fact that Premiere, when installed as part of Production Premium, now has the ability to share projects with both Avid and FCP.

This will allow you take advantage of other features in Premium Pro such as After Effects. For instance, if Premiere is not your preferred editing solution, you can edit on FCP or Avid and import that product into Premiere. From there, you can take your project straight into After Effects. Premiere serves as a perfect bridging tool between other products.

After Effects has several more features but the ones above are the most likely to impress modern editing professionals. In addition, if Premiere utilises the new Mercury Playback Engine, After Effects uses it to even greater advantage.

After Effects is a great multi-layer compositing and motion graphics tool capable of working at film resolution. The new CS5 version of After Effects benefits hugely from the 64-bit mercury playback engine as it allows After Effects access to more memory for both playback and rendering. Basically, After Effects will now take advantage of whatever memory you direct at it.

In previous versions of After Effects, one of the biggest drawbacks was the ability to view results in real-time without rendering them. This was done via the RAM preview which renders the frames to the memory in order to play them back smoothly. This means that when you RAM-preview the HD material, the

most you would get is a couple of seconds of HD playback and even less if working with 4K.

Now we can direct as much RAM towards After Effects as we need using the new integrated memory management system. This allows you to decide how much RAM you want to allocate to each of your Adobe applications and how much you want to leave for other apps. Adobe claims that with a workstation with 136GB of RAM, it is now possible to preview as much as 37 seconds of 4K footage. This will make a significant difference to your workflow.

As with Premiere, After Effects also natively supports formats such as RED R3D and DLSR amongst others.

For those who hate spending hours upon hours doing frame by frame rotoscoping, After Effects’ new Roto Brush is a boon. It’s not as straightforward as just taking the Roto Brush and selecting the area you want to remove from the background. But it gets you around 90 to 95 percent of the way there and will need some further tweaks and adjustment to finish it off, all depending on the quality of the footage and whether you have motion blur to contend with as well.

Unlike rotoscoping, you don’t need to be overly precise when you are selecting the areas you want to Roto. After Effects is clever enough to calculate the image you want to keep from the ones you don’t. As I say, it is not 100% accurate and you will still need to tweak and possibly hand Roto areas that it misses, but it could save you valuable hours if not days depending on the size of your project. Even if you want to finish your compositing in other applications, you may still want to Roto in After Effects and export your image and matte (alpha channel) to your preferred compositor.

If you do find that you have some problem areas when using the Roto Brush, these can be fixed with the help of another new application to After Effects. Mocha!

This actually appeared in later versions of CS4 but now includes the Mocha Shape plug-in as a standard in CS5. For those of you unfamiliar with Mocha, it is made by a British company called Imagineer whose main products are Mocha, Mokey

PROREVIEW

“The new CS5 version of After Effects benefits hugely from the 64-bit Mercury Playback Engine as it allows After Effects access to more memory for both playback and rendering. Basically, After Effects will now take advantage of whatever memory you direct at it.” Alistair Rankine, post-production expert.

ROTO BRUSHAfter Effects’ new Roto Brush is not as straightforward as just taking the tool and selecting the area you want to remove from the background. It gets you around 90 to 95 percent of the job although it will require further tweaks to complete depending on the quality of the footage and whether you have motion blur to contend with as well.


Eliminate complicated manual video patching forever! Broadcast Videohub is a powerful broadcast grade routing switcher featuring a massive 72 inputs, 144 outputs, 72 deck control

ports, auto switching SD, HD, and 3 Gb/s SDI, in a compact rack mount chassis only a few inches thick.

Industrial Strength Routing Switcher

With 72 inputs and 144 outputs, Broadcast Videohub has enough SDI connections for 72 edit systems or decks. With twice as many SDI outputs, each user can have a completely independent SDI output for monitoring. This means you can monitor direct from any equipment in your building without effecting routing! 72 deck control ports are also included for a complete routing solution.

Simultaneous SD, HD or 3 Gb/s Video

Broadcast Videohub handles mixed SD, HD and 3 Gb/s SDI connections all on the same router

at the same time. Broadcast Videohub detects when an input changes, and automatically sets all the outputs connected, to match the changed input. SDI re-clocking and output SDI slew rates will also change automatically.

World’s Highest Quality

With exciting new 3 Gb/s SDI connections built in, Broadcast Videohub allows twice the SDI data rate than normal HD-SDI. Use 3 Gb/s SDI for high resolution real time 2048 x 1556 feature fi lm editing. 3 Gb/s SDI has full compatibility with SD, HD and 2K in 4:4:4 or 4:2:2 all with a single BNC cable.

Network Router Control

Broadcast Videohub uses software control panels that run on Windows™ and Mac OS X™ for “routing control” right from your editing system desktop! Broadcast Videohub connects to any computer via USB and is then shared over your local network. Router labels can be changed from any computer and are fully unicode compatible for foreign language support.

Broadcast Videohub

US$14,995

Introducing the world’s largest affordable SD, HD and 3 Gb/s SDI router!

Learn more today at www.blackmagic-design.com

Eliminate complicated manual video patching forever! Broadcast Videohub is a powerful broadcast grade routing switcher featuring a massive 72 inputs, 144 outputs, 72 deck control

ports, auto switching SD, HD, and 3 Gb/s SDI, in a compact rack mount chassis only a few inches thick.

Industrial Strength Routing Switcher

With 72 inputs and 144 outputs, Broadcast Videohub has enough SDI connections for 72 edit systems or decks. With twice as many SDI outputs, each user can have a completely independent SDI output for monitoring. This means you can monitor direct from any equipment in your building without effecting routing! 72 deck control ports are also included for a complete routing solution.

Simultaneous SD, HD or 3 Gb/s Video

Broadcast Videohub handles mixed SD, HD and 3 Gb/s SDI connections all on the same router

at the same time. Broadcast Videohub detects when an input changes, and automatically sets all the outputs connected, to match the changed input. SDI re-clocking and output SDI slew rates will also change automatically.

World’s Highest Quality

With exciting new 3 Gb/s SDI connections built in, Broadcast Videohub allows twice the SDI data rate than normal HD-SDI. Use 3 Gb/s SDI for high resolution real time 2048 x 1556 feature fi lm editing. 3 Gb/s SDI has full compatibility with SD, HD and 2K in 4:4:4 or 4:2:2 all with a single BNC cable.

Network Router Control

Broadcast Videohub uses software control panels that run on Windows™ and Mac OS X™ for “routing control” right from your editing system desktop! Broadcast Videohub connects to any computer via USB and is then shared over your local network. Router labels can be changed from any computer and are fully unicode compatible for foreign language support.

Broadcast Videohub

US$14,995

Introducing the world’s largest affordable SD, HD and 3 Gb/s SDI router!

Learn more today at www.blackmagic-design.com

and Monet, all of which are available as standalone workstations. The main function of these platforms is that of Motion tracking and Shape Tracking.

Imagineer has developed a 2.5D planar tracker that works by tracking the shapes of an object rather than a single pixel. The results are astounding!

Mocha in After Effects works as a standalone platform. You will send your image to Mocha, work on the shot and then send the tracking data back to After Effects to apply to objects you are tracking. With the integration of the shape plug-in, it is now possible to track hand drawn shapes and variable width mask feathers making it easier to track semi-transparent areas, motion blur sections or areas of noise that a point tracker usually fails to track.

For those of you who may want to use CS5 as a one-stop shop and not just as an editing and compositing environment, After Effects now comes with Synthetic Aperture’s Color Finesse 3 LE as standard. This is a powerful colour correction tool that works natively in 64-bit. The move to 64-bit not only speeds up the processing but also irons out a few bugs from the previous version where the out-of-memory error would occur.

Some of its new feature includes Auto-Colour and Auto-Exposure. These give you a one-click starting point for your colour correction process and a Vibrance control to give more refined control over saturation with less chance of clipping individual colours. Color Finesse has the ability to output LUTs to other applications.

After Effects now has the ability to import LUTs in the form of 3DL or CUBE file formats. This allows the user to work in the same colour space that the footage was shot and helps to ensure that everyone in the production pipeline is working to achieve the same finished result.

Auto-Keyframe mode has been added to assist with animation to ensure that you haven’t been working on a layer only to find that you forgot to turn the Keyframe button

on. Automatic parameters include position, rotation, shape properties, mask properties effect point properties and camera manipulation.

Finally, Digieffects FreeForm comes as standard with After Effects. This was created by www.mettle.com and published by Digieffects. It bends, extrudes and warps using mesh points or displacement. It works with After Effects 3D cameras and lights so it can be fully integrated into a 3D scene. Once you learn how to use it, you will probably be spending less time jumping back and forth between After Effects and your 3D software.

When integrated into After Effects, Digieffects FreeForm can be used either to bend or mould objects within the scene allowing you to create and manipulate surfaces. It is also an impressive visual effects tool and offers the possibility of creating effects such as text that look like flowing lava or melting ice. When used properly, this tool offers endless possibilities.

In conclusion, Adobe has entered new realms with CS5 and has proved that it is serious about its place in Broadcast production and post production. Most facilities have had After Effects in their pipeline for years now and it has proved its worth. I think we will now see Premiere appear more often in facilities as an Edit tool and if not as a full-blown editor, certainly as a tool for sharing projects between machines. This is a very clever move by Adobe.

However, many people ask me if such products will replace high-end systems. The question is usually asked by people who haven’t worked on high-end systems. Each product has its place. As much as I love the new CS5, I don’t think I would like to sit on After Effects with a client while I work on a heavy composite. I would still veer towards systems such as Flame or Smoke for that kind of work. Adobe products complement some of the high-end systems to achieve outstanding results. PRO

Alistair Rankine is a Dubai-based post production specialist. He is also an associate partner of VFX Consulting Worldwide.

IN A NUTSHELLPROS

64-bit Mercury Engine. Amazing performance and speed. Native support for almost anything you want to ingest. Roto Brush and Mocha. Cost-effective

CONS The interface. A 64-bit system is a pre-requisite to run CS5. All plug-ins for Premiere and After Effects must be upgraded to 64-bit. This may be pricey. You may have purchased Mocha and Digital freeform recently and now it is standard. It may cost you a lot more than you think.

wiSh liSt Change the interface

and add true node-based compositing.

PROREVIEW

Color Finesse 3 LE is a colour correction tool that works natively in 64 bit.


This paper is intended to help a broadcaster or service provider to better understand the current realities and options with 3D, the technology choices involved and the likely routes by which 3D will emerge into the mass market.

With 3D, the complexity has grown exponentially and now includes the satellite, broadcast, cable, fi lm and media production, and consumer electronics sectors – as well as a host of supporting communities such as sport, advertising, news gathering and gaming.

Especially critical for 3D are the fi nal parts of the delivery chain – the family home and the human eye and brain. While the telecommunications industry has invested billions to solve the ‘last-mile’ problem, 3D necessarily involves a great deal of complex

engineering to solve the ‘last-meter’ problem – getting the right signals into the consumer’s eyes at the right time to ‘fool’ the brain into perceiving depth. These are non-trivial issues, both in engineering and human terms and many human factors need to be taken into account if we are to optimise the entire 3D viewing experience.

technoloGy options in DeliVerinG 3DBroadcasters have a number of different options available to them in terms of the technologies that they can use to distribute 3D content. Some may already have invested heavily in HD platforms, while others are still at a greenfi eld stage.

Integral to the technology choice issue comes the question of implementing 3D on

This paper is intended to help a broadcaster or service provider to better understand the current realities and

PRO3D

legacy infrastructure. Which options can give the fastest payback on investment – while simultaneously protecting future fl exibility?

So far, all the services being offered by broadcasters – or those in the planning stage – are being made available as part of an existing HD service subscription or on a pay-by-event basis. The ability of broadcasters to offer live-to-air 3D events is a valuable differentiator when set against their competitors using other delivery mechanisms.

Television broadcast differs greatly from pre-packaged cinema or Blu-ray content, having to contend with an infrastructure containing numerous, often independent, stages of content repurposing.

There are two methodologies for delivering 3D content: frame compatible 3D (“3D-in-2D”) and 2D compatible 3D.

Taking television to the third dimensionThis white paper looks at the options available to broadcasters to distribute 3D content.


Frame compatibleBroadcast and Direct-to-Home (DTH) 3D services being launched in 2010 will be based on 3D content that has been created from pre-processing separate left and right eye images in such a way as to appear to existing broadcast equipment and consumer STBs as if the 3D content is standard 2D HD content. This is known as frame compatible 3D - or 3D delivered in 2D infrastructure (‘3D-in-2D’). In the majority of cases, this will be done by using horizontal resolution sub-sampling (spatial compression) and then multiplexing the “half resolution-per-eye” images together.

The reverse process is employed in the newly announced 3D TV sets, where the TV set is aware that the received 2D-compatible content involves, in fact, left eye and right eye multiplexed images and internal post-processing (including up-sampling and left/right polarization) is done to render the images as 3D.

There are many possible spatial sub-sampling methods defined, but the two most common are side-by-side (half-resolution horizontally) and over/under (also known as “top-and-bottom” or “half-resolution vertically”).

At the Consumer Electronics Show (CES) in January 2010 at least six major TV manufacturers announced that they will be shipping 3D TVs that support frame-compatible side-by-side packing during 2010.

The advantage of a frame compatible or “3D-in-2D” solution is that it allows the service provider to use existing content storage, play-out, and broadcast transmission equipment and - most importantly – their existing deployed HD STB population to support 3D services. Of course, the consumer needs to purchase a 3D TV set and view the images using the included 3D glasses (unless it’s an auto-stereoscopic display, which will not be common for many, many years) in order to see the picture in 3D.

Existing 2D TV sets will render two separate 2D images with or without the consumer donning any 3D glasses that happen to be in the home which is clearly not an acceptable viewing option.

PRO3D

FACT 18 3D films are scheduled for release in 2010 and the infrastructure required to show them is being constantly upgraded.

Quoted from Ericsson white paper

the disadvantages of this solution are:The image has only half the resolution of normal HDTV. Horizontal resolution is reduced - but other methods would reduce vertical resolution instead or a combination of vertical and horizontal resolution reduction. While resolution reduction has not had a major impact on current 3D movie presentations in cinemas which use a similar method, the industry is still actively studying this issue. While this may be acceptable at the consumer’s end of the broadcast chain, reduced resolution is not acceptable for production, post-production, editing, storage etc.

Additionally, this solution does not allow existing 2D TVs to display a compatible 2D image and such a service is 3D TV compatible only. A separate 2D service or programme must be simulcast if the service provider wishes 2D TV users to view a full-resolution HD 2D version of the same content.

the advantages of this solution are:Operators can start to offer 3D services as soon as they can source 3D content and have a 3D pre-processor, a standard (2D) HD encoder, and sufficient bandwidth for a HD service.

Operators can offer 3D services via deployed HD STBs and do not need to wait for new decoder silicon to reach new STB designs before launching 3D services. Note that some operators have announced that their deployed STBs will have their firmware upgraded to support 3D, and such upgrades will be performed in the background through the existing transmission channel with no consumer involvement or negative impact. In the future, operators will be able to enhance their service offering by providing full resolution HD 3D (Full 3D) to new STBs based on new decoder silicon, while still providing 3D to their customers using current STBs (3D-in-2D), by deploying a new 3D video encoder.


Frame compatibleBroadcast and Direct-to-Home (DTH) 3D services being launched in 2010 will be based on 3D content that has been created from pre-processing separate left and right eye images in such a way as to appear to existing broadcast equipment and consumer STBs as if the 3D content is standard 2D HD content. This is known as frame compatible 3D - or 3D delivered in 2D infrastructure (‘3D-in-2D’). In the majority of cases, this will be done by using horizontal resolution sub-sampling (spatial compression) and then multiplexing the “half resolution-per-eye” images together.

The reverse process is employed in the newly announced 3D TV sets, where the TV set is aware that the received 2D-compatible content involves, in fact, left eye and right eye multiplexed images and internal post-processing (including up-sampling and left/right polarization) is done to render the images as 3D.

There are many possible spatial sub-sampling methods defined, but the two most common are side-by-side (half-resolution horizontally) and over/under (also known as “top-and-bottom” or “half-resolution vertically”).

At the Consumer Electronics Show (CES) in January 2010 at least six major TV manufacturers announced that they will be shipping 3D TVs that support frame-compatible side-by-side packing during 2010.

The advantage of a frame compatible or “3D-in-2D” solution is that it allows the service provider to use existing content storage, play-out, and broadcast transmission equipment and - most importantly – their existing deployed HD STB population to support 3D services. Of course, the consumer needs to purchase a 3D TV set and view the images using the included 3D glasses (unless it’s an auto-stereoscopic display, which will not be common for many, many years) in order to see the picture in 3D.

Existing 2D TV sets will render two separate 2D images with or without the consumer donning any 3D glasses that happen to be in the home which is clearly not an acceptable viewing option.

PRO3D

FACT 18 3D films are scheduled for release in 2010 and the infrastructure required to show them is being constantly upgraded.


the disadvantages of this solution are:The image has only half the resolution of normal HDTV. Horizontal resolution is reduced - but other methods would reduce vertical resolution instead or a combination of vertical and horizontal resolution reduction. While resolution reduction has not had a major impact on current 3D movie presentations in cinemas which use a similar method, the industry is still actively studying this issue. While this may be acceptable at the consumer’s end of the broadcast chain, reduced resolution is not acceptable for production, post-production, editing, storage etc.

Additionally, this solution does not allow existing 2D TVs to display a compatible 2D image and such a service is 3D TV compatible only. A separate 2D service or programme must be simulcast if the service provider wishes 2D TV users to view a full-resolution HD 2D version of the same content.

the advantages of this solution are:Operators can start to offer 3D services as soon as they can source 3D content and have a 3D pre-processor, a standard (2D) HD encoder, and sufficient bandwidth for a HD service.

Operators can offer 3D services via deployed HD STBs and do not need to wait for new decoder silicon to reach new STB designs before launching 3D services. Note that some operators have announced that their deployed STBs will have their firmware upgraded to support 3D, and such upgrades will be performed in the background through the existing transmission channel with no consumer involvement or negative impact. In the future, operators will be able to enhance their service offering by providing full resolution HD 3D (Full 3D) to new STBs based on new decoder silicon, while still providing 3D to their customers using current STBs (3D-in-2D), by deploying a new 3D video encoder.


2D backwarDs compatibilityThere are also industry efforts to deliver full resolution HD 3D TV to the home, as well as methods that enable the same content to be used by both existing TVs (all 2D) and the new 3D TVs. This is known as 2D backwards-compatible or 2D-compatible 3D.

The existing standard for Multi-view Video Coding (MVC) – an amendment to the H.264/MPEG-4 AVC standard - provides a potentially interesting technology path for bit-rate efficient, full-resolution HD, stereoscopic (3D) transmission.

The latest generation of Blu-ray Disc players will have MVC-compatible chipsets capable of decoding full-resolution HD 3D TV, but the timelines for such silicon reaching DTH STBs is currently unclear. There is also a legacy issue with deployed STBs that do not support MVC or the higher resolution 3 Gbps+ HDMI (in particular HDMI 1.4 or later) that would be required for full resolution HD 3D TV signals to be delivered from the STB to the 3D TV.

The two most commonly discussed 2D backwards compatible methods are “2D+delta” (stereoscopic MVC) and “3D-in-2D+enhancement”.

2D + DeltaThe principle used here is that a 2D image – for example, the left camera image only – is transmitted for use on 2D TVs, with a delta signal also transmitted that contains additional view information with which to create a 3D image (i.e. create the right camera image from the left camera image and the delta data). As left and right images are very similar, the bit-rate cost for the delta stream may be only 40-60 percent more than the 2D image, as opposed to double the bit-rate. The advantage of this solution is that a service provider can offer a single service that can be displayed by both legacy 2D TVs as well as new 3D TVs.

While this may appear to be a good solution for Greenfield deployments where 3D-ready STBs will be deployed, some factors need to be considered: The production values and grammar of 3D and 2D are very different. Contrast the typical camera set-up at a sports stadium for 3D - low angle, long distance shots for good 3D effect – versus that for 2D - in closer, camera panning, and so on. As a result, the industry is presently questioning the likelihood of a 2D production being the same as either the left or right image of the 3D production. If it turns out that separate productions are required in the majority of cases, the practical use of 2D + delta is far less than ideal.

Early-to-market deployments, based on the need to use existing deployed STBs, will begin transmissions with 3D images spatially compressed into a single 2D image – or 3D-in-2D, as described earlier in this document. As such, there will already be a legacy 3D deployment situation in the marketplace.

3D-in-2D + enhancementThe principle here involves transmitting the same 3D image as used in early-to-market deployments (left & right 3D images with spatially-reduced resolution combined into a single 2D image), as well as the additional information from an enhancement layer.

This contains the spatial information not present in the base layer feed and delivers increased spatial resolution of the two images that are finally presented to the user as the 3D image. Due to a high level of correlation, the enhancement layer bit-rate cost is substantially less than double the 3D-in-2D base layer image.

This solution will allow early adopter 3D customers (3D-in-2D) to continue normal use, with no STB replacement required. For new users, with new 3D-supporting STBs, then both the base layer and enhancement layer streams are processed together to provide “Full 3D”, involving discrete, full resolution HD left and right images, for use with displays that support full 3D. The service provider can therefore support both 3D technologies (3D-in-2D and Full 3D) within a single service. With the imminent implementation of new 3D signaling techniques now in discussion within standards development organisations (a proposed 3D SEI message), there is a possibility that a legacy STB will be able to recognise the 3D-in-2D format and scale one of the views to 2D HD. The resulting image will be half HD resolution, of course, but at least this would provide a 2D-compatible solution. If full resolution HD 2D is required, however, then a separate 2D service or program must be simulcast.

Discussions are on-going with content providers to determine what percentage, if any, of productions will be done with common 2D/3D in mind, and whether live productions such as sports events and concerts will require a rethink on camera placement.

Further standardisation of 3D, including improved MVC, is in progress as well, but the results of this will be longer term, long after 3D services have been launched to consumers.

FACT Digital screens now account for about 15% of the world’s modern cinema screen with more than 55% of them equipped with digital 3D. This deployment also seems to be accelerating, with 3D screen deployments in 2009 having grown by 255% when set against 2008 levels.


FACT More than 20 3D TV models plan to reach market this year.


PRO3D


FACT Market sales for 3D sets are estimated to rise from an annual figure of 3.3 million for 2010 to nearly 50 million by 2015.

Source: Insight Media

implementation timeFramesFrame compatible 3D solutions can be launched today, as long as careful consideration is given to interoperability issues. As noted earlier, all of the announced broadcast/direct-to-home (DTH) 3D services that are planned to launch in 2010 will be frame compatible 3D. Production equipment already exists, existing 2D broadcast equipment and consumer STBs can be used, and new 3D TVs are already available for sale, with more models being rapidly added over the next 3-6 months. 2D compatible 3D will first appear in Blu-ray

Disc players, although not much content will be available in 2010. However, it’s likely that it will be after 2011 before 2D-compatible 3D will be used for broadcast television for the legacy equipment reasons explained earlier. Broadcasters launching frame-compatible services now will need to continue to provide frame-compatible 3D for the duration of the typical TV set swap-out cycle. 3D-in-2D + enhancement will therefore be more attractive to markets such as North America and Western Europe, while greenfield deployments will have more flexibility and choice available to them.

As such, unless there is a break-through in common 3D/2D production, 3D-in-2D+enhancement will likely follow frame-compatible platforms in late 2011 or 2012.

contribution 3DThe issues for Contribution 3D applications differ greatly from DTH, with the most important being the need for the best picture quality possible – defined as full spatial resolution, 4:2:2 chrominance, 10-bit precision, and other factors – and not compromising on these in the drive to reduce bit-rate or support legacy equipment as inevitably has to be done for early DTH applications.

For single operator content coverage, some operators may place a 3D pre-processing box on-site at the event and use normal, existing (2D) HD-capable DSNG equipment for backhaul. The 3D-in-2D preprocessing could even be embedded in the existing encoder. This approach has the advantage of enabling 3D contribution cost-effectively using existing equipment. However, pre-processing the content at the source will limit its value in post-production, distribution and future repurposing, so many operators will likely choose to deliver full resolution left and right channels as illustrated below.

For universal open contribution, the 3D content must be transmitted with the highest fidelity and in a format independent of the broadcaster’s chosen 3D DTH delivery method. One possible solution is to deliver dual-stream left eye and right eye images, by synchronizing two

encoders for transmission and two receivers/decoders for reception. This method enables full resolution HD 3D transmission of left and right images, while maintaining their input temporal and phase alignment within an acceptable tolerance.

contribution implementation timeFramesDual stream (left eye + right eye) full 3D contribution solutions can be launched in Q2 2010, as long as careful consideration is planned for stream synchronisation. Improvements in the synchronisation method and equipment integration will follow in the second half of 2010. PRO

This excerpt is taken from a white paper released by Ericsson TV on 3DTV this year.


Manufacturers, broadcasters, producers and an ever-increasing band of fi lmmakers are in agreement that 3D represents an important part of the future of the fi lm and TV industry. But when it comes to working out how to get more 3D content into viewers’ homes and into cinemas, opinions are varied. While broadcasters tend to say there is a lack of content, those responsible for making 3D fi lm and TV say there are not enough outlets for 3D fi lms and programmes.

Mohammed Youssif, CEO of YahSat’s soon-to-launch TV subsidiary YahLive is unequivocal.

“3D programming is the future of TV,” he says.

For broadcasters, it presents an opportunity for differentiation and the sale of premium subscription packages, while satellite operators are keen because, as Youssif explains, one 3D channel requires at least six times the satellite capacity required for the same standard defi nition channel.

The main barrier, however, is the lack of content, Youssif admits.

“Other than the World Cup and the movie that came with my 3D TV as a demo, I could not purchase any movies from

the market, so until we see some 3D-only channels and more content, people will be reluctant to invest in 3D TVs.”

Looking at the conundrum from a different perspective are fi lmmakers based in the Middle East.

“You can shoot it, but where do you show it?” asks Dubai-based fi lm and TV producer Nicolas Forzy.

“15% of the screens in the UAE are 3D equipped – that equates to about 30. That percentage is roughly the same in the US and Europe, and it remains to be seen if that percentage will go up.”

The proportion of 3D TVs in the home is even less with Sony and Panasonic estimating that 3D TV sales account for 10% of total TV sales.

But with electronics manufacturers channelling marketing effort and basing recent releases of TVs around 3D, the base is likely to increase. And despite the most recent wave of 3D releases struggling to attract crowds of a similar size to releases such as Avatar and Alice in Wonderland, the ability to charge more for entry to a 3D fi lm means it remains an attractive option for cinemas.

In the meantime, as the 3D sector enters a period of maturity and the

PRO3D

Manufacturers, broadcasters, producers and an ever-increasing band of fi lmmakers are in agreement that 3D

Big-budget, high-grossing blockbusters such as Avatar and Alice in Wonderland have dominated discussions of the resurgent 3D sector, but as fi lmmakers and TV producers in the Middle East wait for the sector to mature, they look to corporate clients for 3D work. BroadcastPro Middle East fi nds out how they satisfy a brief for fi lms to be shown in the boardroom or an exhibition hall.

Another dimension

number of screens and outlets increases, corporate fi lms represent an opportunity for producers of 3D content. This is an area where the UAE is one step ahead of other countries in the region. Boomtown Productions, a UAE-based production house, for instance, produced a 3D fi lm last year to mark the launch of the Dubai’s metro system.

CommerCiaL ConSiderationSDaniel Kilalea, production manager at Boomtown, says interest in the promotional fi lm has led to more enquiries for commercial work.

“There are quite a few big events companies here, and when something is launched, it is often a huge affair and so the guys always want to do something innovative,” he says.

“We’ve recently had enquiries about mounting a 3D rig on a helicopter for a big energy company to launch a new plant.”

The immersive experience of 3D with depth perception lends itself to demonstrations and walk-throughs of new developments. While the makers of entertainment programmes might be deterred by the cost of 3D and the uncertainty that surrounds distribution, the risks are minimised for corporate clients commissioning one-off pieces to showcase new products or services.

“At the moment, the monetising avenues for 3D are not clear, so it would make sense to look at other avenues where money making is not the object,” adds Forzy.

Having a pre-selected audience gathered in one space means that a

“At the moment, the monetising avenues for 3D are not clear, so it would make sense to look at other avenues where money making is not the object.”Nicolas Forzy, fi lm and TV producer, Dubai


PRO3D

lack of screens is not a barrier. Short programmes also tax the viewers’ eyes less. While dedicated 3D channels are making their way into the Middle East TV market and 3D screens in cinemas are catching up, there is little interest in shooting TVCs in 3D, possibly due to a lack of understanding from agencies and marketing managers.

“Right now, no one is really shooting in 3D for commercials,” says Forzy.

“We have seen 3D in the cinema, but that doesn’t showcase the client’s product; it tells a story. A client needs to understand what 3D is going to do for their product ad very often; they need to be educated and shown. What I have done is taken a 46” screen to the premises, sat them down with a pair of glasses and asked them to have a look at how it changes viewing sport and then, we say ‘Now, let’s talk about your product’. Then they understand and start to ask more precise questions.”

Digital agency Air set up in Dubai five months ago, and it is hoping that the Metro film was just the start of the region’s desire to showcase products and projects in 3D. It has placed 3D technology at the heart of its commercial communications work, and technical partner Mat Schramm says that autostereoscopic screens, where viewers don’t need to wear glasses, are best for their needs.

“It’s great for marketing because it can be used in retail at point of sale, exhibitions, hospitality and even medical or architectural visualisations. We have a 180”, billboard-size 3D TV ready to deploy, but we’re waiting for a client with the right budget,” he says.

Shooting on targetWhile 2D footage can be converted into 3D in post, as critics of recent 3D release Clash of the Titans pointed out, adding 3D effects can result in a laboured effect that looks like an afterthought.

“Shooting a 3D project as if it is a 2D project with two cameras will never result in worthwhile 3D,” says Chris Parks, stereographer and founder of UK-based Vision 3, a 3D specialist firm.

“The finished product will gain little from the thin veneer of 3D spread over the top of what should actually just be a 2D project.”

Planning for 3D in pre-production means that whip pans, fast cuts and other shots that might induce sickness in some viewers can be avoided. Indeed, being aware of the limitations of what the viewer can comfortably handle is an important part of the process.

“If the focus point keeps moving in and then out, your eyes refocus and that is what makes you feel nauseous,” says Boomtown’s Kilalea. “Jumping out is a good effect, but it can make you feel ill if overused.”

He gives the example of one of the recent Harry Potter films that featured a 3D scene shot from the point of view of a broom stick.

“It was a crazy experience – I have a strong stomach but if they didn’t stop the 3D effect when they did, I would have felt quite ill. You want to make it immersive, but you don’t want to overdo it,” he warns.

CameraS and rigSTo achieve a stereoscopic effect for the Metro film, Boomtown used two Arriflex D21 cameras, which they sourced from rental huse Filmquip.

Kilalea says they were limited by an umbilical cable from the cameras to a deck to record on to Sony HDCAM SR tape.

Adopting 3D TVAt the end of July, Panasonic added another all-in-one device to its nascent range of 3D video camera. The SDT750, which it claims is the world’s first 3D camcorder for consumers, will be available in the Middle East from October.

In this region, the camcorder will be packaged with the detachable 3D conversion lens for approximately $1,400, and Panasonic says it will record in 1080/60p for NTSC or 1080/50p for PAL recording (full-HD 1,920 x 1,080, 60 or 50 progressive recording) with an effective motion image pixel count of 7,590,000 pixels (2,530,000 pixels x 3).

Masaru Toyota, GM, Global Sales & Marketing, Camcorder, Network Business Group, Panasonic AV Company says the Japanese firm will target the early adopters who have already purchased a Panasonic 3D TV.

“We are optimistic that we will achieve a good number [of sales] – we’ve not pinned down a specific number, but we have a consumer database that we plan to capitalise on. We have already received a worldwide order (excluding Japan) for the first shipment of not less than 10,000. At the moment, the total demand for camcorders is decreasing year by year, so we hope we can use this model as a trigger to change that movement.”

Panasonic has plans to expand its 3D camcorder range further, but it will keep a close eye on demand for 3D TVs together with the SDT750, which will sit at the top of the range of 3D camcorders.

“Maybe we can expand to get some demand from professionals who want to create 3D images but professional cameras are so expensive that SDT750 seems quite acceptable,” adds Toyota.

“We can expect to get some demand, especially semi-professionals or very small studios. They may need such products.”

Masaru Toyota.

Panasonic’s new launch.


“That was a bit of a pain because you had to lug the decks. It was workable, but ideally you want cameras that record on board so you are more flexible and you don’t have to worry about the cable at all.”

With two images being merged into one, another important consideration is the matching of lenses.

“They have to be as identical as possible,” says Kilalea. “When lenses are manufactured the differences can be minute, but with 3D, you need to match your lenses. If you can get two from the same batch, that’s great, because you need to make sure both images have the same quality and nuances.”

Using two cameras instead of one makes filming in 3D a cumbersome operation, and it has been reported that the size of the rig needed to shoot in 3D is one of the reasons Inception director Christopher Nolan is not keen on the format.

Boomtown brought in the Hines rig from the UK to create its 3D film on the Metro. The Hines 3D rig is a motorised mirror rig with one camera facing forward and the other mounted on the top facing down.

“As you need to have control of convergence and divergence points, the physical limitations of using huge cameras means you can’t get them close enough to have the desired effect, but using the mirror rig means you can get them closely aligned,” explains Kilalea.

“You could use a side-by-side rig, but then you are limited to how close you can focus on something.”

P+S Technik, a German company, has tried to resolve the rig problem by making available 3D rigs on a mass basis, and these are now available in Dubai through its local distributor.

In the meantime, experienced stereographers, who act as the bridge between the director and the director of

photography (DoP), are in short supply in the Middle East. Along with specialist kit, they will also need to be hired from other parts of the world.

ConSUmer 3d CameraIn the meantime, one firm that claims to be

leading the charge in producing smaller and cheaper cameras for filming 3D is Panasonic. In January this year, Panasonic unveiled a $21,000 all-in-one 3D camera, and at the end of July, it launched a 3D camcorder for consumers with a detachable 3D lens.

Although it is aimed at consumers, Panasonic says there may be some demand from semi-professionals or small studios.

Producers, however, seem to be sceptical. “As it’s an all-in-one unit, they’ve matched the lenses, which is good.” says Kilalea.

“However, you are limited by how far you can shoot. From what I’ve seen so far, they aren’t in the same realm as a proper stereo rig; most pro cameras cost $50,000 to $100,000 each, so if you’re looking at $20,000 and below for an all-in-one unit, it’s not going to be in the same bracket.”

Vision 3’s Parks says the “ability to make 3D is becoming available to a much wider audience with high-end systems costing hundreds of thousands of dollars down to consumer cameras costing $500”.

“The quality varies hugely, both in terms of content and hardware, but the investment is gaining momentum and things will only improve.”

Although they may not be embraced by professional users that demand broadcast quality, such products will push the overall case for 3D.

CUtting CoStSHiring extra kit adds to the overall budget, and depending on the project, Air’s Schramm says it can make it “prohibitively

PRO3D

“Most of the enquiries we receive for 3D work are from clients in hospitality; hoteliers, developers and retailers, together with work for shop fronts and exhibitors.”Mat Schramm, technical partner, Air.

expensive” to shoot live action 3D. To get around part of the problem of having to fly in specialist equipment, Air is building its own 3D rig, which it is testing with Canon DSLRs 5Ds and 7Ds.

“We’ve found that we get some great results just shooting TV commercials with [the Canon DSLRs]. We’re designing the rig for use with multiple cameras, but at the moment we are testing it with those cameras – they are an affordable solution for getting a great result,” he says.

Recruiting 3D kit and specialists is an expense that can be reduced even further if live action footage is replaced by animation.

“With animation, the rig is in a virtual world, so animating costs lesser at this stage until we have more of these independent rigs in the country,” Air’s Schramm says.

According to Schramm, Air generates 3D content in a virtual environment, with a virtual 3D rig and two virtual cameras that have the same properties as real cameras, together with [animation software] 3dsMax and additional plug-ins for stereoscopic rendering.

“Most of the enquiries we receive for 3D work are from clients in hospitality; hoteliers, developers and retailers, together with work for shop fronts and exhibitors – the likes of GITEX and Cityscape,” says Schramm.

“You have to give consumers what they want, and at this stage, it is embryonic. We’re at the stage where consumers aren’t screaming for it, which makes the broadcasters sit back a little bit more. But I think we are right at the cusp of it becoming a phenomenon in this region.”

In the meantime, filmmakers have the task of persuading marketing managers and those with the cheque books that 3D is not a risky business.

Says Forzy: “People are receptive to it, but they need to understand when you shoot 3D you must shoot 2D as well so if it doesn’t work, it will be safe. It’s also a combination of price, time and opportunity. If all of that is right for the client, that will dictate if it will work. Sometimes it will be right, sometimes it won’t – one thing it will never be, is systematic.” PRO


AXONglue and beyond

3D signal processingAxon also provides modular solutions for 3D-TV: the G3D100 (3Gbps version,

also available in HD version: H3D100). This product, part of the Synapse family is a pragmatic toolbox for customers that are involved in 3D production and need to

monitor, process and transmit stereoscopic images.

So, when you become involved in 3D production, select Axon as your technology partner and partner and you will be in good company. Many major broadcast companies have

made the same choice, and they also discovered that Axon is really all about ‘glue and beyond’. www.axon.tv/G3D100

Committed.

PROUSER

DoP Harvey Glen was recently tasked with shooting a series of commercials for Gulf Air with the Canon 5D MK II DSLR camera. He speaks to BroadcastPro Middle East about how DSLR cameras are revolutionising the professional video production space.

DSLRs change video production in Middle East


Cameras designed for still photography have, in the last year, begun to have a huge impact on the video production market. One of the fi rst in the region to exploit the potential of these cameras to make low-budget, sophisticated television commercials was Harvey Glen, a freelance Director of Photography (DoP) based in Dubai.

Glen fi rst used the 5D MK II last spring on a BBC factual documentary project titled Science Story. Since then, he has been involved in several video productions with the DSLR camera including a TVC for Mercedes and more recently, for Gulf Air.

The Gulf Air series included fi ve episodes of which four were meant to be profi les of the airline’s staff and were shot by Glen on the RED camera. The fi fth in the series employed the time lapse technique and employed the DSLR cameras.

“This fi nal commercial was to be shot on the 5D MK II with the initial concept of doing 80% time lapse in stills mode and 20% on video,” says Glen.

“The reason for this was twofold. Firstly, we wanted to cut down on the amount of data recorded and secondly, we wanted to keep the time lapses old school .i.e. do it the traditional way. We had two-and-half days in the schedule to shoot the time lapse bit at various locations in Bahrain Airport, which is the chief hub of Gulf Air,” explains Glen.

The crew was armed with two 5D MK II cameras, two Vinten pro 5 tripods, a Canon 24-70mm and 70mm-200mm (both F2.8), a set of Nikon Carl Zeiss Prime lenses, a Matte Box, follow focus unit, a set of screw on ND fi lters, a set of 4x4 straight NDs and ND Grads and a Canon TC-80N3 remote timer.

“We all set off to our previously recced locations to capture the action. The fi fth commercial was meant to have about one minute of action but neither the director, Richard Topping, nor I thought that the airport would have enough dramatic

PROUSER

action to sustain the amount of time lapse needed to successfully fi ll the time slot. As a result, we decided to shoot more 5D real time video footage to accompany them. This was a good decision as the fi nal edit is made up of 80% video and 20% stills time lapse,” explains Glen.

The market, however, has always been sceptical about the role of a DSLR in video production. Take the 5D MK II itself. It is essentially a stills camera designed for the still photography market so at fi rst glance, the ergonomics of the camera do not lend itself to video production.

It has no view fi nder; no way to be hand held other than hold it out in front of you which is uncomfortable; it doesn’t balance on a tripod particularly well especially if specifi c pans and tilts are required; it has no built-in ND fi lter, no peaking or zebra function for focus and exposure; and pulling focus directly off the barrel of a photographic stills lens is far from ideal.

Despite this, the Canon DSLR cameras have shot to fame over the last year in the video production market with good reason, says Glen.

“For one, they have amazing video functions. The 5D MK II shoots 1920x1080 at 24, 25 and 30fps. It has a full frame sensor and records in the H264 format. This is better than any other professional video camera that Canon has ever released. H264 is traditionally a delivery format, not a shooting format, but that has not stopped its success as it is so simple to covert the fi les to Apple Pro Res for ease of editing,” Glen explains.

The fi rst time the DoP used a 5D MK II was last spring when he worked on the BBC documentary. It was a huge learning experience for the DoP.

“At that stage, the manual exposure fi rmware upgrade hadn’t been released and auto exposure was all you could use. The director I was working

DSLRs change video production in Middle East

DoP Harvey Glen.


with was very keen to use the 5D MK II on some dramatic reconstruction. As I owned a 5D MK I (which doesn’t shoot video), I knew the operations of the camera, but was a little unsure why we would want to shoot on this when we had a HD Panasonic AJ-HDX900 camera especially, as you could not control the exposure. This is vital. How else could you ever do any creative lighting?” says Glen.

It wasn’t until the DoP started tinkering with the camera in low light that he began to fully “appreciate the shallow depth of field you could achieve, something akin to using a pro 35mm adaptor and a set of primes on a regular HD camera”, he says.

“Due to the readily-available range of lenses (especially tilt and shift), I was more than happy to give the 5D MKII a go. At that stage though, I did not realise how this camera would change our industry. In the past year, the firmware upgrades have enabled the camera to have full manual functions and it has rapidly become a lot more interesting. DSLR or HDSLR (High Definition Single Lens Reflex) cameras are now being considered as an alternative to RED. If you look at the specs and the H264 format that the 5D MK II records compared to the RED’s 4/ 4.5K, it doesn’t compare, but that does not stop the HDLR’s footage from looking beautiful and being a very cost-effective option,” he says.

Having experimented heavily with the camera on the BBC documentary and later, for the Mercedes commercial that followed a Hitchcock style plot, Glen quickly found the accessories to get the best out of the Canon DSLR.

“I found out that the first thing you need when shooting video on a HDSLR is a view finder. In this case, Zacuto makes the Z Finder, an expensive but very essential piece of plastic with a magnifier. It enables you to actually see your picture and judge your exposure and focus much more accurately than you could with the LCD screen. It also enables you to have three points of contact with the camera, your eye and both hands which makes hand-held work more comfortable and less tiresome. As with still images, you can use the same scale at the bottom of the frame to help judge a correct

exposure. You can also add rings of ‘teeth’ to the lens to aid a follow focus, as well as matte boxes and various versions of hand held rigs. With all the right accessories, the stills camera quickly comes to look like something one would expect to find on a film set,” explains Glen.

For the Gulf Air project, the crew had to move around the airport quickly, ensuring they reached each location in time to catch the action whether it was a plane with the new livery landing or passengers boarding.

“We used the 5Ds, which even fully fitted with all the accessories, were still small and lightweight making them easy to transport. This is especially important when you have to go in and out of security three to four times a day, and you thought it was a nightmare when going on holiday!” chuckles Glen.

Often around the airport, the DoP was running two cameras simultaneously, one in stills mode taking several frames every other second while the other camera was physically recording. The role was typically that of a cinephotographer, a new name coined for those working across both disciplines.

“I set both cameras up identically decreasing the saturation, contrast and sharpness, which gives the image a more flat look. We did this to recreate the RAW set up as the 5D does not record RAW video although it shoots stills in RAW. By doing this, we had much more freedom in the grade to enhance the footage as we wanted,” says Glen.

On each project with the DSLR, the DoP claims to have successfully discovered something new that he could do with the camera.

When working on the Mercedes project, for instance, Glen says he learnt that these cameras perform best at low ISO.

“Increasing the ISO is a little akin to adding gain in a conventional camera. Canon says you can push the ISO to 1200. Personally, I wouldn’t go higher than 800 and whenever possible, I prefer to keep it at its minimum setting of 100 to avoid any unwanted grain. If you do increase the ISO, due to insufficient light, you will start to see the image break up with lots of noise in the blacks. You may

PROUSER

“The first thing you need when shooting video on an HDSLR is a view finder...Zacuto makes the Z Finder, an expensive piece of plastic with a magnifier ... [that] enables you to see your picture and judge your exposure and focus more accurately than you could with the LCD screen.” Harvey Glen, Director of Photography. From left: Producer Nick Hamilton, Ali Mohamed Hajeeh Hajeeh (client), DOP Harvey Glen, Ebrahim

Abbas Ali (client) and director Richard Topping at the Gulf Air shoot in Bahrain with the DSLR cameras.


not notice this at the time of shooting, because everything looks good on a small LCD screen, but when in the edit or watching it on 40+inch LCD TV (which the vast majority of people own these days) you will definitely notice it, and as this project was for international broadcast, I could not take any risks with the material,” explains Glen.

HDSLRs, like most cameras and lenses, are said to perform best at a wider aperture, especially if the cameraman wants to achieve a shallow depth of field. In fact, this seems to be the main reason these cameras are gaining popularity among video pros.

Glen adds that their ability to replicate the cine look (which is attributed to a shallow depth of field) “so simply, easily and, cheaply, is the reason they are playing a crucial part in this revolution.”

The DoP cautions still photographers though to move out of the mindset of “changing the shutter to compensate the exposure”.

“As with any moving image camera, if you increase the shutter above 1/100, your subjects will adopt a staccato effect. 1/50 or 1/60 is the preferable shutter speed for regular action,” he advises.

Canon’s 7D is also a favourite among pros and is slightly cheaper than the 5D MKII. It shoots at 1920 x 1080 (29.97, 25, 23.976 fps). In 1280 x 720, one can shoot slow motion 59.94, 50 fps.

This slow motion feature is said to have great appeal, according to Glen, as a cameraman is able “to closely replicate another popular filmic style look”. The main draw back with the 7D, however, is that it does not have a full frame sensor.

“This means that the lens sizes are not exact for shooting video. For instance, 35mm lens becomes a little tighter and the depth of field is not as shallow as the 5D MKII at the same F stop. Also the camera feels a little cheaper, less well made and is not weather proofed as well as the 5D MKII, but what can you expect for such a low price tag,” he says.

Lenses play a huge role in any photographic medium and with the option of shooting video on HDSLR cameras, cameramen have well-engineered lenses available at affordable budgets.

“This is nothing in comparison to the cost of the professional video lenses such as the Canon HJ11 Wide Angle or PL mount lens,” explains Glen.

In fact, Glen says one can also mount lenses from other brands to this camera with the aid of an adaptor. For the Gulf Air project, for instance, the crew used a set of Nikon Carl Zeiss primes.

“These have a fantastic quality and push the boundaries of HDSLR shooting as the depth of field is even further reduced. When using these adaptors, you lose all auto functions, which in my opinion, is a good thing. Fortunately, these cameras do have an expanded focus button (+ sign) which significantly helps to ensure your image is sharp before you start recording,” explains Glen.

Canon is not the only one to release cameras for this market. Nikon has also joined the bandwagon although its cameras have held less appeal thus far.

“The best Nikon offers, thus far, only shoots 1280 x 720, which is not the highest resolution. If you’re looking to buy an HDSLR to solely shoot video, this is not the best choice,” he cautions.

“Even though all the stills footage would be compiled together to become a moving image when using both cameras, I felt like I was simultaneously working as both a photographer as well as a cinematographer. Recently, the phrase Cinephotography has been coined to define how people are combining the two disciplines,” he adds.

The DoP claims the gap between the two crafts “is diminishing day by day as more photographers are becoming interested in video and people who were traditionally not concerned with still photography now own a high-end stills camera”.

“As these HDSLRs are more affordable, many amateurs are buying them,” explains Glen.

“What happens then is that more creative minds with access to smaller budgets are now able to create video footages if they have the drive and the passion while also being organised, have the talent, skill, an eye and the ability to understand the principles of photography and lighting to shoot videos. More competition will drive people to push the limits further while others unfortunately will probably never take the camera off auto.” PRO

Harvey Glen is a well-known DoP based in Dubai and has recently begun a blog for the production community at www.dopblog.com.

PROUSER

“[The Nikon Carl Zeiss primes] have a fantastic quality and push the boundaries of HDSLR shooting as the depth of field is even further reduced. When using these adaptors, you lose all auto functions, which in my opinion, is a good thing.

Harvey Glen, Director of Photography.


PROTECH

the same radio station and frequency, a digital broadcaster can now air talk radio on one channel while music airs on another channel. This translates into greater opportunities for increased advertising revenue for the broadcaster, and more options for the listener.

tHe evolUtIon oF Hd radIo transmIssIonWhen digital radio was fi rst launched in the United States, radio stations were required to broadcast via an IBOC (in-band on-channel) transmission in which digital and analogue signals shared the same channel and -20 dB power rating. The initial main method used for transmission, accomplished with a coupler, is called “high-level combining.”

While high-level combining proved effi cient in requiring less equipment to broadcast both analogue and digital content, it is not without problems. Due to the low power level, these -20 dB transmissions experience poor signal penetration in metropolitan areas where building interference is a concern.

An additional limitation of high-level combining is its inherent power

For broadcasters and radio listeners alike, the benefi ts of High Defi nition (HD) radio are plentiful. Without question, HD radio (also known as digital radio) promises to bring a richer experience for the listener, with near-CD-quality sound for FM stations and a dramatic improvement in the quality of AM stations. Digital radio signals are less vulnerable to reception problems, and the processors in digital radios eliminate the static, pops, crackles, and fades that are created by interference.

Besides improved audio quality, the high-bandwidth available with HD radio provides ample room for broadcasters to transmit additional information, such as a song’s artist and title, which is displayed directly on the digital radio’s display. Broadcasters can even choose to expand this service to include weather updates, traffi c alerts, or other local information that adds value and helps to cement listener loyalty.

The high capacity of digital signals also allows stations to support multicasting by dividing their digital signal to facilitate the broadcast of two or more programmes simultaneously. For example, by using

radio gears up for expansionKeith Pelletier, director of Engineering for Dielectric Communications speaks about the benefi ts of migrating to digital radio.

HD


PROTECH

inefficiency. Because digital radio broadcasting requires significantly less power than analogue transmission, broadcasters must “dump” the excess digital power into a dummy load (90% of the digital signal and 10% of the analogue signal is wasted). The excess power generates significant amounts of heat, which must be compensated for with additional cooling (HVAC) systems at the transmission site.

At the -20 dB power level, this amount of wasted power and added HVAC costs have been tolerable to broadcasters. However, after experiencing poor signal penetration in key metropolitan markets, digital radio broadcasters successfully petitioned the US government to expand the allowed power rating of digital signals to -14 to -10 db. Once signal levels were considered at -10 dB, an increase in signal by 10x, the high-level combining technique was no longer feasible due to the high HVAC operating costs and high energy waste.

In addition, because the analogue and digital signals are broadcast at the exact same frequency, signal interference between the two has

proven to be common. If the high-level combiner that is selected for this tandem transmission lacks sufficient isolation, the signal quality of both the digital and analogue stations significantly suffer.

Addressing signal interference between the digital and analog signals is not a simple, nor inexpensive, problem for the broadcaster to overcome. When the signals interfere with each other to the point that neither station can be clearly received by its listeners, broadcasters are forced to purchase new antenna systems, broadcast from a new location lower on the tower, or even rent new space on an alternate tower. Until the problem is corrected, the broadcaster is likely to lose listeners, their ranking in the market, and — ultimately — advertising revenue.

Improved IsolatIon emerges as a new optIon High-level combining is not the only available method for transmitting both digital and audio radio signals. Alternatively, many broadcasters have sought out “common amplification” transmission. In this method, combining of the signals is accomplished in the

“The high capacity of digital signals ... allows stations to support multicasting by dividing their digital signal to facilitate the broadcast of two or more programmes simultaneously.” Ketih Pelletier, Dielectric Communications.


transmitter instead of the coupler. This has the benefi t of having all of the transmission work being completed on the ground, with easy access for engineers. Common amplifi cation, however, still generates substantial heat and power consumption (transmitters are ineffi cient in this mode, in some cases with a power loss of 50% or more). Additionally, it’s power limited, and fails to reach the high power levels often required for broadcasting.

A growing trend in HD radio broadcasting is to favour a third option, “space combining.” By focusing on maximising antenna isolation to as much as 40 dB, today’s most advanced antenna manufacturers have discovered new ways to combine both analogue and digital signals directly in the antenna. This reduces the risk of interference between analogue and digital signals, and supports power levels that do not require such extensive power dumping and cooling. While these interleaved and dual-input panel antennas often place more weight and wind load on a tower, thus potentially requiring an additional investment in tower reinforcement, these up-front costs are more than balanced out by reduced operating costs. Space combining has emerged as the most effi cient way to get on the air with an IBOC system.

CHallenges In lIstener adoptIon While advancements are well under way in the infrastructure required to deliver digital radio, broadcasters still face challenges in gaining widespread adoption of this technology at the consumer level. Currently it’s estimated that in the United States, less than 20% of cars are equipped with HD radios. Because this is the environment in which digital radio is expected to be the most popular,

broadcasters and HD radio manufacturers are lobbying the government to encourage more car manufacturers to incorporate digital radios as a standard part of their new vehicle designs. Other manufacturers are developing set-top boxes that receive digital radio signals as well.

Perhaps a greater challenge for broadcasters is in determining the best way to solicit customers in new markets. Without a digital radio signal already broadcasting in an area, radio listeners fi nd it diffi cult to evaluate and embrace this new technology. Broadcasters are forced to make a speculative investment in a new market, installing equipment to support digital broadcasting under the presumption that once prospective customers are able to hear a digital signal in technology stores, they’ll purchase HD radios and become loyal listeners.

steps toward a gloBal adoptIon As it did in the US, HD radio worldwide must begin with governmental regulations on how to handle analogue and digital transmission frequencies. The challenges will be reduced if governments provide separate frequencies. But even in an IBOC broadcasting scenario as the US has experienced, technologies now exist that will make HD broadcasting a success. Testing and trials of these systems are already under way in many countries.

While it will still be many years before the adoption of digital radio worldwide — and the widespread use of digital radio receivers by consumers is realised — by selecting space-combining interleaved or dual-input panel antennas, broadcasters can take steps now to build an equipment infrastructure that will support even the “worst-case scenario” of shared-frequency IBOC broadcasting. PRO

PROTECH

“While it will still be many years before the adoption of digital radio worldwide ... is realised — by selecting space-combining interleaved or dual-input panel antennas, broadcasters can take steps now to build an equipment infrastructure that will support even the “worst-case scenario” of shared-frequency IBOC broadcasting.” Keith Pelletier, Dielectric Communications.

| www.broadcastprome.com | September 201060 Al MAzroui – iCAS (l.l.C) Send your rFQ now to: e-MAil: [email protected] www.AlMAzrouiCAS.CoM

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Like many industries in this diffi cult economic climate, the broadcast industry is being challenged to accomplish a wider range of core tasks using less equipment, a lower budget and fewer people. At the same time, however, customers are demanding an increase in the quantity and quality of products that they receive at a lower price point. This never-ending cycle facilitates the supply-and-demand growth engine for vertically designed products, or all-in-one products.

Market demands today dictate that broadcast products evolve toward highly fl exible, comprehensive integrated solutions requiring minimal initial capital expenditure and small incremental upgrade/expansion costs over the extended lifetime of the product. Audio monitors are an example of one such product segment, as they recently have undergone a total vertical transformation.

Audio monitors traditionally have been simple yet reliable products used at the end of the chain solely for monitoring one type of audio format at a time. Since the inception of rack-mount audio monitors in approximately 1987, little has changed with regard to their functionality, other than keeping up with the introduction of new audio formats such as AES, SDI embedded and Dolby.

Now, in a very different business landscape, next-generation audio monitors are fully capable of incorporating a host of advanced integrated features and functions, including a video monitor, and numerous system-centric features.

Next-generation audio monitors borrow almost nothing from their predecessors except for their rack-mount chassis and front-panel-mounted speakers. Such audio monitoring products play to the strengths of system integrators’ and end users’ knowledge and, in particular,

“In addition to being modular, next-generation monitoring units are more robust than earlier models. All-in-one units allow for simultaneous audio/video confi dence monitoring with up to 16 channels of simultaneous multi-format audio level metering, as well as fl exible loudness indication.”

Next-generation audio monitors provide enhanced workfl ow and full-featured processing, says Scott Fountain.

Taking audio to new levels

their ability to work with an off-the-shelf product that can be customised quickly from both a hardware and a user interface standpoint to meet the specifi c needs of each unique broadcast environment.

For starters, the units employ a common high-speed-bus motherboard that incorporates a number of slots for audio and video cards that bring all audio signals into the digital domain. The modularity of this design allows customers to purchase cards in a mix-and-match style, when and as they need them. Modular audio monitoring units have an advantage over older fi xed-style hardware, as they can be upgraded at any time. Their modularity also ensures that the units will not become obsolete; as new audio formats are developed, new cards also will be introduced. The mixing and matching of cards also makes it possible for the systems integrator or end-user to achieve the exact confi guration desired rather than investing in one or more fi xed hardware products that have too little or too much functionality and become obsolete upon the industry’s acceptance of new signal formats.

In addition to being modular, next-generation monitoring units are more robust than earlier models. All-in-one units allow for simultaneous audio/

PROAUDIO

Like many industries in this diffi cult economic climate, the broadcast industry is being challenged to


video confi dence monitoring with up to 16 channels of simultaneous multiformat audio level metering, as well as fl exible loudness indication. The major functionality incorporated into next-generation audio monitors can also include video monitoring, audio mixing and routing, audio swapper/level adjustment, programmable fi xed/variable line outputs and loudness measurement/control.

An integrated audio mixer is perfectly suited to function as a general-purpose mixer that can, in many instances, replace a traditional audio mixer. An added advantage of today’s integrated solutions is that their compact rack-mount design does not require an external control panel and speakers. Because the units also can monitor outputs, the operator has the ability to monitor inputs and outputs continuously and simultaneously. This function commonly is used for voiceovers and mixing of background tracks in space-constrained environments.

The incorporated audio routing functionality of new audio monitoring systems, coupled with their mix-and-match format cards, is an extremely powerful combination that allows users to convert virtually any audio format to any other audio format. This capability eliminates the need for external conversion equipment such as

A-D and D-A converters and muxes and demuxes, whose cost can outweigh the cost of the actual audio monitor, not to mention the system design, cabling installation, weight, power, spares and service issues that result from the increased product usage.

An all-in-one audio monitor’s built-in router also permits routing of any input or output to the front-panel meters or physical outputs. Thus, the user can monitor and/or mix any format in any order. When the mixer function is in use, master gain outputs can be monitored and controlled directly from the front panel. Audio swapping and level adjustments are practical extensions of audio mixing and routing functionality. Swappers are commonly used in transmission, pass through, incoming lines and contribution record areas. Programmable fi xed or variable line outputs provide for master gain control and/or direct speaker matrix control from the front panel. Outputs can be programmed to mirror the front panel meter channels, making monitoring with external speakers seamless.

With loudness quickly becoming an issue in markets around the world, many next-generation audio monitors have made the leap to incorporate loudness processing. Integration of loudness monitoring and control inside the modular unit greatly increases the benefi ts and

value to the customer by eliminating all the external associated equipment. Loudness processing typically is used for pass-through channels, incoming contribution recording, satellite channels and transmission areas.

The extremely fl exible and compact nature of such audio monitors makes them highly adept in all environments, allowing users to tailor the product to their exact monitoring/mixing requirements on the fl y. Frequent deployments include OB units, portable production systems, studios, MCRs, CARs, headends, cable stations, satellite stations and fi xed production facilities. Other uses include live-on-air turnaround-channel video/audio monitoring with audio processing, on-air loudness processing, control room speaker matrix control, line recording video/audio monitoring with audio processing, satellite link video/audio monitoring with audio processing, backup master control video/audio monitoring with audio processing, and on-air audio swapping/mixing.

As the industry and its requirements continue to change, whether as a result of economic forces, consumer demand, or other factors, today’s highly versatile audio monitors will adapt to provide additional audio and video functionality. PRO

Scott Fountain is director of Wohler Asia.

PROAUDIO



What are your expected audience figures this year? IBC attracts around 45,000 attendees every year and we expect the same this year notwithstanding events outside our control such as volcano eruptions! There certainly seems to be more optimism in the marketplace compared to this time last year from both suppliers and broadcasters alike.

The conference has an excellent offering of sessions and speakers this year and this has been reflected in the registrations – to date, figures show that conference delegates are investing more time and money into the conference, as registrations for full time passes are already up.

Do you have new exhibitors at IBC this year? Every year, IBC reflects the dynamic changes in the electronic media and entertainment industry and new exhibitors highlight how much this business really does move forward in a short space of time. IBC2010 will see around 250 first time exhibitors all showing new products and services.

In terms of the conference, we have an increasing number of speakers from outside the traditional broadcasting industry which represents the convergence that is taking place in our industry. For instance, new media companies such as Hulu, SeeSaw, YouTube and Facebook are all part of the speaker line-up in 2010.

Everyone says IBC’s a great place for networking.Talking to people – colleagues, opposite numbers from other companies, suppliers, consultants – has always been central to IBC. It is obviously true in the conference, but it is also true in the exhibition, where meeting

suppliers face to face can make or break a negotiation, or lead to a breakthrough in understanding, by either party.

A couple of years ago, the Hannah Montana movie won the big IBC Innovation Awards, and Howard Lukk of Disney said in his acceptance speech that the real genesis of the project was at IBC the year before. He knew that the difference between success and failure of the movie was getting it onto screens quickly, so he spent a long time talking to Quantel about realtime, high throughput 3D.

“I looked them in the eye and asked them if they could do it,” he said.

This was a major 3D movie which broke all sorts of box office records, and it only made it into theatres because all the parties met and talked at IBC. You cannot look someone in the eye by e-mail.

The IBC conference has changed a great deal in recent years. Is it still relevant to engineers?Yes, the conference has changed dramatically, but so has the nature of the industry. There has been a massive shift from bespoke hardware and the need to study specifications to standardised platforms and a focus on applications and usability.

Back then, the chief engineer would make a choice on purely technical grounds, having visited every relevant stand at IBC. Today, producers, creative artists and CFOs have as much input into technology choices as engineers.

Mike Crimp, CEO of IBC speaks to BroadcastPro Middle East about what’s hot at this year’s event.

Setting the stage for IBC2010

Some argue that the most important specification is the return on investment.

But the inescapable fact is that producers could not make creative content, nor their commercial colleagues find new ways of making money from it, without the underlying technology. We are in a technical industry and without innovation in our core technologies, we cannot hope to succeed.

So there are three distinct streams running through the conference, and we always put technology as the first. It was where IBC started, and it is as important today as it has ever been.

The other two streams are around content creation and innovation, and the business of broadcasting. There are times, though, when all three streams come together for keynote sessions.

What are some of the must visit conferences and areas at IBC this year?We have a first-rate collection of keynote sessions this year. Sir Michael Lyons, chairman, BBC Trust will examine the future of public service broadcasting; Gerhard Zeiler, CEO, RTL, will discuss how original content can be funded; Manolo Romero, managing director, Olympic Broadcasting Services steps up to the plate to reflect on the biggest international sporting event in the world; and finally, the technology keynote address from Kent Nowak, senior vice president, Texas Instruments will review the exponential progress of silicon development.

“In terms of the conference, we have an increasing number of speakers from outside the traditional broadcasting industry. For instance, new media companies such as Hulu, SeeSaw, YouTube and Facebook are all part of the speaker line-up in 2010.”

PROINTERVIEW

65 September 2010 | www.broadcastprome.com |

PROINTERVIEW


IBC itself is for mapping and leading the business opportunities arising from the development of the electronic media and entertainment industry. Being ‘by the industry for the industry’, IBC has always been a consultative organisation focused on delivering value for its stakeholders. This approach has enabled IBC to face and overcome numerous challenges over its 43-year history and remains core to its ethos today.

Do you have a big turnout from the Middle East at IBC? As far as the Middle East market affects IBC, it provides more visitors than exhibitors.

Any highlights this year that are different from previous years?Every year, many new products and services are demonstrated/displayed at IBC for the very first time. This year, we have an updated display by NHK of super high vision. Also new for this year, IBC, in conjunction with FMC, is offering visitors the opportunity of attending certified post-production training sessions with the latest software from Adobe, Avid, Autodesk and Apple.

The Exhibition Business Briefings which have traditionally been in the conference rooms have moved to our new ‘Connected World’ in Hall 9. At the heart of Hall 9, the Connected World Hub will stage a series of free-admission seminars, presentations and business briefings to help visitors understand the implications and opportunities of the Connected World. PRO

What do you think will be the hottest topics at the show? Sport? 3D? Media Convergence?3D is undoubtedly one of the hottest topics this year. We even have a dedicated theme day in the Auditorium on Monday September 13, which focuses on Stereoscopic 3D. This is complemented by several other sessions in the conference and again reflected in the New Technology Campus (Hall 6), where many of the stands will be showing the latest in 3D display technology. What are some of the new trends within broadcasting and how is IBC reflecting that?It’s difficult to talk about trends as the electronic media and entertainment industry is changing like never before. The way consumers now view and consume content is also rapidly changing.

“IBC2010 will be some 5% bigger than IBC2009 which gives some indication not only of how much confidence there is in the industry right now but also how pivotal IBC itself is for mapping and leading the business opportunities arising from the development of the electronic media and entertainment industry.”

Interactivity, catch up TV and internet connected games consoles are just some of the things affecting viewing figures, advertising revenues and audience share. For IBC2010, the impact of this consumer consumption is reflected with the introduction of ‘Connected World’ in Hall 9. This re-themed hall for ‘connected devices’ will incorporate the ever-growing IPTV, Mobile and Digital Signage zones, address the convergence of the telco, mobile and IP businesses and their growing importance in the electronic media and entertainment industry.

What are some of the challenges you have this year and how have they been addressed?IBC2010 will be some 5% bigger than IBC2009 which gives some indication not only of how much confidence there is in the industry right now but also how pivotal

PROINTERVIEW

68 | www.broadcastprome.com | September 2010

All of us know how our industry has moved from one of public service to big business. We are also acutely aware of the global trends of declining advertising revenue, increasing content costs and competition for subscribers. The degree varies between markets but generally, we find budgets are constrained and revenue harder to come by.

This need to increase revenue, to wring every last drop of benefit from expensive content has spurred technical innovation. Revenue generation was the driver behind the move to digital, HD and now, 3D. Each format offers an enhancement to our customers but results in, at best, short-term revenue increases and at worst, customer retention.

Perhaps the most interesting development has been to leverage the internet as a delivery system for video-on-demand and low-resolution streaming. Until now, broadcasters have tried to find ways to enhance the quality of the picture in order to retain customers and secure advertising and/or subscription revenue. It seems, however, that viewers are very keen to access the content they want even if the quality is lower and are even prepared to pay for it! It is the content that is of prime importance.

Unfortunately, the exploitation of new revenue streams has also resulted in an increase in costs.

Our legacy systems cannot be dismissed. We rarely have the opportunity to start from scratch and have to continue to leverage these major investments not least because they are already on-air. The temptation perhaps is to use them as our starting point, work around them, bolt on new technologies and workflows. We rely on the comfort zone of proven and well understood solutions and try and make the new formats and new delivery methods fit into them. Unfortunately, we are often forced down this route by proprietary files or interfaces. The high costs involved with upgrading our entire infrastructure using a video-centric philosophy has led to hybrid systems or standalone islands.

Some broadcasters also utilise different teams and different workflows, even different systems to package content in the right way for the target system or device. We have seen the uptake of workflow management software to relieve the complexity of hybrid systems and MAM to manage the broad spectrum of content and metadata.

While technology has enabled us to generate income from new markets, it is at the cost of complexity and a lot of cash. So what can we do to maximise our ability to generate revenue and minimise our exposure to costs?

How can we ensure the architectures we design today will be able to grow and evolve with changes in technology we haven’t foreseen?

I believe the answer is to build our systems even more intelligently.

We need to shift our focus from video to content and make our solution content-centric. We should invest our budgets in storing, managing and manipulating content, and moving its delivery to the periphery.

We should save expenses by keeping content in the file domain until delivery and limiting our need to manipulate video itself.

Our industry can leverage the huge cost savings found in utilising IT equipment to store content. I am aware of arguments based on reliability and support. While this was significant in the past, the IT industry supporting big business today has reliability criteria even more stringent than ours. We can and should build redundancy

PROOPINION

Dominic Baillie of Ten Sports tells us how we can maximise revenue generation while minimising exposure to costs.

Maximing your Investment Strategy


PROOPINION

and protection into our designs to ensure we maintain 24x7 availability.

When it comes to content delivery, we should embrace cost-effective solutions, adopt the mentality that we will evolve our formats and distribution methods over time and invest proportionately. We need to find efficient methods of repurposing and delivering content in the file domain and utilise the growth of the internet, the bandwidth available in the cable, DTH and mobile networks and the immense power of computers today.

There are some vendors who are helping change our mindset to embrace these ideas. The recent foray of big name automation and/or server manufacturers into the ‘channel- in-a-box’ space shows their interpretation of the market. There are great systems out there and some people have been developing these solutions for years. This technology has evolved to a state where it’s time we gave them serious consideration.

We need to select solutions that embrace formats supported across vendor platforms. We must build our solutions around one or multiple house formats and have the ability to translate between them. We should seek

out those vendors who understand how we need to describe our content and manage metadata in an ever-changing landscape.

The steps to a content-centric philosophy are straight forward. Firstly, view our legacy system as a delivery channel. Then, invest in our file-based infrastructure, storage, transcoding and management. Finally, change our ingest and new delivery channels to cost-effective modules that can be easily added to or replaced as necessary.

At NAB this year, there were two dominant themes. One was the buzz around 3D, the other perhaps more interesting in the context of this article. There was a lot of talk about SOA, which stands for Service Orientated Architecture. Simply put, it is a method for systems to advertise their capabilities to others and make them available to be utilised over standard interfaces.

SOA has been used in IT for years and forms the building blocks of applications and the internet. For the first time, I have now heard it being widely discussed for broadcast.

We have always wanted to bring together the best-of-breed products into our systems but have come across the

need to develop interfaces to integrate them. This presents several problems.

SOA, if implemented properly, can overcome this. In effect, it will remove the risk of integrating solutions by developing standard methods for interfacing products. We are on the verge of being able to integrate, exchange metadata and status information between systems without the need for custom interfaces, co-operation or development between vendors.

SOA removes another obstacle to the content-centric view of broadcast systems. It is a step towards breaking down the barriers to integrating products from multiple vendors. SOA makes it easier to centrally manage our content and systems, and to remain in the file domain throughout our workflow.

At IBC, I would recommend that you take time away from the normal and well-understood systems. Instead, take a look at some of the IT-based ideas and don’t buy anything that does not have an ‘SOA-enabled’ sticker. PRO

Dominic Baillie is the VP of Engineering and Operations at Ten Sports, Dubai.

“[With Service Oriented Architecture (SOA)], we are on the verge of being able to integrate, exchange metadata and status information between systems without the need for custom interfaces, co-operation or development between vendors. Dominic Baillie, Ten Sports.


PROOPINION

and protection into our designs to ensure we maintain 24x7 availability.

When it comes to content delivery, we should embrace cost-effective solutions, adopt the mentality that we will evolve our formats and distribution methods over time and invest proportionately. We need to find efficient methods of repurposing and delivering content in the file domain and utilise the growth of the internet, the bandwidth available in the cable, DTH and mobile networks and the immense power of computers today.

There are some vendors who are helping change our mindset to embrace these ideas. The recent foray of big name automation and/or server manufacturers into the ‘channel- in-a-box’ space shows their interpretation of the market. There are great systems out there and some people have been developing these solutions for years. This technology has evolved to a state where it’s time we gave them serious consideration.

We need to select solutions that embrace formats supported across vendor platforms. We must build our solutions around one or multiple house formats and have the ability to translate between them. We should seek

out those vendors who understand how we need to describe our content and manage metadata in an ever-changing landscape.

The steps to a content-centric philosophy are straight forward. Firstly, view our legacy system as a delivery channel. Then, invest in our file-based infrastructure, storage, transcoding and management. Finally, change our ingest and new delivery channels to cost-effective modules that can be easily added to or replaced as necessary.

At NAB this year, there were two dominant themes. One was the buzz around 3D, the other perhaps more interesting in the context of this article. There was a lot of talk about SOA, which stands for Service Orientated Architecture. Simply put, it is a method for systems to advertise their capabilities to others and make them available to be utilised over standard interfaces.

SOA has been used in IT for years and forms the building blocks of applications and the internet. For the first time, I have now heard it being widely discussed for broadcast.

We have always wanted to bring together the best-of-breed products into our systems but have come across the

need to develop interfaces to integrate them. This presents several problems.

SOA, if implemented properly, can overcome this. In effect, it will remove the risk of integrating solutions by developing standard methods for interfacing products. We are on the verge of being able to integrate, exchange metadata and status information between systems without the need for custom interfaces, co-operation or development between vendors.

SOA removes another obstacle to the content-centric view of broadcast systems. It is a step towards breaking down the barriers to integrating products from multiple vendors. SOA makes it easier to centrally manage our content and systems, and to remain in the file domain throughout our workflow.

At IBC, I would recommend that you take time away from the normal and well-understood systems. Instead, take a look at some of the IT-based ideas and don’t buy anything that does not have an ‘SOA-enabled’ sticker. PRO

Dominic Baillie is the VP of Engineering and Operations at Ten Sports, Dubai.

“[With Service Oriented Architecture (SOA)], we are on the verge of being able to integrate, exchange metadata and status information between systems without the need for custom interfaces, co-operation or development between vendors. Dominic Baillie, Ten Sports.

| www.broadcastprome.com | August 201070

The Avid ISIS 5000 is an easy-to-use, real-time, open shared storage solution that brings the power of best-in-class shared storage to local and regional broadcasters and post production facilities at a lower cost. The ISIS 5000 is built upon proven ISIS technology used in more than 700 major media enterprises to store, share and manage large quantities of digital media assets. Customers can improve allocation of creative resources and support changing project needs with an open shared storage platform that offers access to high-performance ISIS File System technology on lower cost hardware, support for third party applications and streamlined administration to create more content more affordably.

Designed to address the specific needs of workgroups requiring 40 or fewer client connections and looking for greater flexibility to accommodate ongoing changes and new business opportunities, the ISIS 5000 shared storage solution is fully tested and qualified

with Apple Final Cut Pro (FCP), as well as support for an end-to-end Avid workflow.

Major features include the ISIS file system. This enhances collaborative workflows by delivering centralised media access with guaranteed real-time performance – optimised for digital media file sharing. As a result of Avid’s ISIS File System running on lower cost hardware, an enterprise-class, workflow-enabling shared storage technology is now available to organisations for which this level of capability was previously out of reach.

The ISIS 5000 engine offers the ability to cost-effectively create compelling content by increasing the capacity to handle more projects and content in both SD and HD.

Support for Avid and Apple FCP editing systems enables customers to work with a variety of project workflows and leverage existing investments – as a result of an open architecture.

Other features include Ethernet connectivity; a FlexDrive and streamlined administration.

PROIBC2010

Avid ISIS 5000 Stand 7.J20

August 2010 | www.broadcastprome.com | 71

PROIBC2010

Autoscript app for i-Series Teleprompting company Autoscript will launch an application for its i-Series platforms that will interface with its WinPlus News or Studio software on Apple’s range of mobile devices.

After looking at how it could use Apple’s iPhone, iTouch and the iPad in a prompting environment, Autoscript developed its i-Plus software, which will allow downloading or transfer of scripts or run-orders directly to the device.

Autoscript managing director, Brian Larter, said: “Although there are a number of very basic apps in this area, we wanted to offer a system the Autoscript way – properly researched, professional and integrated with the rest of our range of prompting tools.”

With the WinPlus System connected to a newsroom system, it will allow users to send a script to a reporter on location anywhere in the world.

i-Plus will be available on the app store for download from mid-September.

At this year’s IBC, Autoscript will also demonstrate new hardware and software features, including enhancements to its LED range of TFT on-camera units, which the UK-based firm says gives better performance and features.

Cooke Optics Lenses produced by a UK-based firm and used by Hollywood legends Woody Allen and Martin Scorsese will be on show at IBC2010.

Cooke Optics will be demonstrating its full range of precision lenses for motion pictures, including its high-end 5/i Prime lens, “industry favourite” the S4 and the “lightweight and affordable” Panchro lens that was launched at last year’s show.

“The 5/i lenses have been an unparalleled success since their launch at IBC 2009, and are currently being used to shoot the latest films by Woody Allen and Martin Scorsese,” a company spokesperson said.

“A key feature of the 5/i Primes is a revolutionary, dimmable, illuminated focus ring, with two separately toggled scales for the cinematographer and the assistant that allow the focus puller to read the scales in low-lighting conditions.”

Cooke Optics says the reduced size, weight and true focal length markings of the Panchro lenses make them perfect for 3D stereoscopic productions, as well as documentaries, second unit shoots and situations when a faster lens is not crucial, or when shooting in difficult situations such as crash scenes or VFX shoots.

Stand 11.F60

Stand 11.D10


PROIBC2010

IP solutions provider Barix AG is simplifying connections for programme audio transport between studios and from studio-to-transmitter with a plug-and-play package that can have broadcasters on air within minutes.

At IBC2010, Barix will demonstrate its new Reflector Service to international audiences for the first time. The Reflector Service simplifies audio transport connections between locations, and is paired with the company’s Audio over IP technology at the send and receive points. The hosted Reflector Service application serves as an online centre to configure and monitor the audio transport bridge while also providing a straightforward relay of the audio feed.

The application dramatically simplifies installations for broadcasters relying on basic high-speed internet connections for studio-to-transmitter and point-to-multipoint distribution by eliminating firewall poking and costly static IP addresses that are difficult to configure. The Reflector Service even eliminates basic router forwarding configuration, as the devices are automatically partnered following connection to the Reflector Service via the World Wide Web.

Barix will pre-load the Reflector Firmware on the Exstreamer 500, a new low-cost version of the Exstreamer 1000 that specifically targets IP Audio applications in the broadcast market.

“Larger broadcast companies and broadcast engineers operating their own networks have found it easy to establish IP-based audio transport connectivity with our hardware,” said Johannes G. Rietschel, CEO and Founder of Barix AG. “Many of our customers that

Barix Reflector Serviceuse a basic internet connection to transport point-to-point audio have had challenges getting past firewalls and setting up static IP addresses. The Reflector Service essentially auto-configures the devices over the internet and serves as an intermediary; the encoder forwards the programme audio to the server and the decoder pulls the stream. It’s an out-of-the-box solution that greatly simplifies the setup process for our customers, also adding powerful 24/7 monitoring and statistics.”

Initial setup requires the user to sign up (visit www.barixreflector.com), plug in the two Exstreamer 500 devices and enter the unique MAC address for each device at the web page. After (optionally) selecting audio quality and adjusting audio levels, the auto-configuration process enables communication between the server and the two devices to begin streaming live audio within minutes.

The Exstreamer 500, like the Exstreamer 1000, is a professional Audio over IP device designed specifically for radio broadcasters, offering a one-half, 19-inch rack mount solution with encoding and decoding capability. Like the Exstreamer 1000, it also includes balanced inputs and outputs and a set of contact closure interfaces.

The Reflector Service is operated by StreamGuys, a professional hosting service provider with servers in the US, Europe and Japan. The monthly fee covers server usage, bandwidth and basic alarming/stream monitoring and is priced at $21.95 for a standard STL link.

Stand 8.B16

Your Partner for

High Quality Products and System Integration

Distribution

System Integration

Rental

Service

IBC 2010

Amsterdam

10-14 September

Visit us at Hall 3,

Stand A11

We are distributor for renowned manufacturers:

Qvest Media FZ LLCBusiness Central Towers - Dubai Media City

Phone +971 (0) 4 433 8109 Fax +971 (0) 4 438 0498

Mail [email protected] www.qvestmedia.ae

Anzeige IBC_207x270mm.indd 1 13.08.10 17:35

Your Partner for

High Quality Products and System Integration

Distribution

System Integration

Rental

Service

IBC 2010

Amsterdam

10-14 September

Visit us at Hall 3,

Stand A11

We are distributor for renowned manufacturers:

Qvest Media FZ LLCBusiness Central Towers - Dubai Media City

Phone +971 (0) 4 433 8109 Fax +971 (0) 4 438 0498

Mail [email protected] www.qvestmedia.ae

Anzeige IBC_207x270mm.indd 1 13.08.10 17:35


IDX Technology will be showcasing the new range of PlayMagic play out servers and Ambrado HD/SD video image processing solutions at IBC 2010.

The PlayMagic MFP-100 is a compact 1RU multi-format play out server featuring solid state drives delivering playback of HD-SDI/SD-SDI video with multi Gigabit network performance and IEEE1394 and USB connectivity. The MFP-100 supports MXF, QuickTime, MPEG-2 and DVCPRO HD with removable solid state drives of 128GB, 256GB and 512GB. With its superior SSD throughput, HD signal processing and flexible control connectivity, the MFP-100 exceeds HDD in stability, reliability and access speed.

IDX Ambrado will demonstrate new encoders/decoders utilising both MPEG2 and H.264 in a class beating compact solution that sets new standards of picture quality and latency. Video contribution and distribution is supported across HD/SD with DVB and IP support. The new SuperRES system creates high quality image and video reconstruction from low resolution images, and will be demonstrated for the first time during IBC.

PROIBC2010

Grass Valley ADVCmini Video Converter for MacGrass Valley’s ADVCmini hardware and software conversion product for the Mac platform is now shipping. The ADVCmini video converter allows consumers and prosumers to easily and reliably transfer high-quality video images from VHS tapes, digital camcorders, and similar sources to their Mac computer for editing in Final Cut Pro or iMovie.

High-quality video can be captured via composite, S-Video, or SCART cable (available for European users only), along with stereo audio. PerfectPicture technology guarantees excellent quality conversion from composite video sources. The intuitive unit is small, portable, and powered by the Mac’s USB port. The included software provides a video capture tool and compresses the video as it converts. All required cables are provided: USB, composite video/audio, S-Video, and (in Europe) SCART. An installation guide is also included.

IDX PlayMagicStand 11.C21

Stand 1.D11


PlAyBox StoPS trAFFiC A fully integrated traffic and playout system for television broadcast applications will be launched at IBC, following an agreement between PlayBox Technology and Step2e.

Targeted at broadcasters who need TV business management solutions, TrafficBox includes features for programme plan-ning, ad sales operations and long-term playlists schedul-ing. It also provides for the preparation of the physical material that is presented on-air: the video, audio, text, graphics and subtitles.

A complete range of fully integrated traffic management and broadcast playout capabilities, tying scheduling, traffic and rights manage-ment, planning, as-run logging, sales, statistics, billing and pre-billing will be available in one system. The new system will allow the creation of long- and short-term programme grids down to frame-accurate run lists including live, tape or video server events for single or multi-channel clients.

ArGoSy’S FiBre SolutionSArgosy will showcase the Win-chester Electronics EL Series Fi-bre Optic Video jacks and fibre patch cords at IBC 2010. The EL Series is part of Argosy’s fibre management offering, which includes the SDI fibre video converters, patch panels and the company’s BendBright-XS ruggedised fibre optic cables. Winchester Electronics’ EL Series Fibre Optic Video Jack provides a means to achieve an all-fibre broadcast facil-ity. It enables broadcasters to replace existing coaxial copper components or traditional ferrule-based fibre connectors with an expanded light beam connection technology and manually-actuated fib re s witch.

PROIBC2010

Omneon Omneon will use IBC to demonstrate how its video file-based infrastructure can help content owners and producers create more content using the tools of their choice, streamline workflows, accelerate media processing, and quickly package content for delivery to multiple destinations.

Its MediaGrid Active Storage System will be integrated with a high-performance production server to enable fast access to incoming media used in live and near-live broadcast production. Omneon will demonstrate how a single, shared storage resource can be the basis for a best-of-breed production environment, simultaneously supporting production tools from Adobe, Apple, Avid and EVS.

Omneon will also be demonstrating its ‘Spectrum’ media server system , which it claims is the industry’s most scalable, reliable, and cost-effective video server platform for multichannel playout, news, sports highlights and studio production workflows.

Also in focus will be the MediaDeck system, which is the foundation for the new MediaDeck GX solution, is an integrated channel-playout product that combines video server playout, world-class graphics, and advanced audio processing, all of which can operate under the control of the user’s preferred automation system.

Stand 7.A10

Stand 8.C30

Stand 10.D55


PlAyBox StoPS trAFFiC A fully integrated traffic and playout system for television broadcast applications will be launched at IBC, following an agreement between PlayBox Technology and Step2e.

Targeted at broadcasters who need TV business management solutions, TrafficBox includes features for programme plan-ning, ad sales operations and long-term playlists schedul-ing. It also provides for the preparation of the physical material that is presented on-air: the video, audio, text, graphics and subtitles.

A complete range of fully integrated traffic management and broadcast playout capabilities, tying scheduling, traffic and rights manage-ment, planning, as-run logging, sales, statistics, billing and pre-billing will be available in one system. The new system will allow the creation of long- and short-term programme grids down to frame-accurate run lists including live, tape or video server events for single or multi-channel clients.

ArGoSy’S FiBre SolutionSArgosy will showcase the Win-chester Electronics EL Series Fi-bre Optic Video jacks and fibre patch cords at IBC 2010. The EL Series is part of Argosy’s fibre management offering, which includes the SDI fibre video converters, patch panels and the company’s BendBright-XS ruggedised fibre optic cables. Winchester Electronics’ EL Series Fibre Optic Video Jack provides a means to achieve an all-fibre broadcast facil-ity. It enables broadcasters to replace existing coaxial copper components or traditional ferrule-based fibre connectors with an expanded light beam connection technology and manually-actuated fib re s witch.

PROIBC2010

Omneon Omneon will use IBC to demonstrate how its video file-based infrastructure can help content owners and producers create more content using the tools of their choice, streamline workflows, accelerate media processing, and quickly package content for delivery to multiple destinations.

Its MediaGrid Active Storage System will be integrated with a high-performance production server to enable fast access to incoming media used in live and near-live broadcast production. Omneon will demonstrate how a single, shared storage resource can be the basis for a best-of-breed production environment, simultaneously supporting production tools from Adobe, Apple, Avid and EVS.

Omneon will also be demonstrating its ‘Spectrum’ media server system , which it claims is the industry’s most scalable, reliable, and cost-effective video server platform for multichannel playout, news, sports highlights and studio production workflows.

Also in focus will be the MediaDeck system, which is the foundation for the new MediaDeck GX solution, is an integrated channel-playout product that combines video server playout, world-class graphics, and advanced audio processing, all of which can operate under the control of the user’s preferred automation system.

Stand 7.A10

Stand 8.C30

Stand 10.D55


PROIBC2010

CoBAlt DiGitAl Cobalt Digital’s new range of 3 Gigabit-capable Fusion3G cards for openGear will debut at IBC 2010. The openGear format takes application flexibility to new levels with its ability to handle 3G/HD/SD video processing cards, plus audio processing cards, from multiple manufacturers in the same frame. The Fusion3G range may be controlled using the Dashboard software, as well as by Cobalt Digital’s OGCP-9000 Remote Control Panels. HD/SD-SDI versions of the Fusion range are also available. Fusion3G cards are multi-functional and multi-featured and offer solutions to all of today’s signal processing challenges, including Loudness Processing, Audio Loudness Me-tering, Dolby Encode and Decode, Colour Correction, Fibre Transmit and Receive, and Up/Down/Cross Conversion with all the features of Cobalt’s popular 9000 Compass series, plus much more. Inputs and outputs include analogue video and audio, HD/SD-SDI video & audio, and fibre.

Norway’s projectiondesign will use IBC to debut its cineo35 2.5k – the world’s first compact projector capable of showing images at a native 2560 x 1600 resolution. By offering an uncompressed and unaltered display of 2K data, the cineo35 2.5k gives the fine detail view that 1080p projectors are unable to provide without cropping or scaling the image. Additionally, because of the extra resolution available, the projector can display full 2K in a window and still offer space for editing tools on the same screen. This makes the cineo35 2.5k the perfect projector for small to medium-sized rooms where colour accuracy and performance are the most important criteria.

The projector comes with multiple preset calibration profiles as standard, and users can switch quickly between colour spaces and calibration settings. Using projectiondesign’s RealColor colour management suite, calibration accuracy is guaranteed to be within 0.002 points from any target. To provide the best possible performance, the projection lenses and optics in the cineo35 2.5k have been custom designed for beyond 2.5k resolution. All lenses use special

aspherical glass elements and enhanced, low-dispersion glass for increased contrast, improved colour saturation and excellent sharpness, resulting in unsurpassed image clarity and detail.

“Up until now, operators of small to medium-sized edit suites and preview rooms had to use large, cumbersome, and noisy projectors if they wanted to display 2K resolution or higher,” commented Anders Løkke, marketing & communications manager, projectiondesign.

“The cineo35 2.5k offers performance similar to, or better than, any digital cinema projector while weighing a fraction of the amount and measuring only half a metre across. Yet it can still throw an image up to 4m wide and, because it is based on Texas Instruments’ DLP technology, what you see in preview is exactly what the movie-goer will see in a DLP Cinema environment.”

The cineo35 2.5k offers four discrete high-bandwidth inputs (two HDMI 1.4, two Dual Link DVI), and offers optional 3G SDI input boards. It also comes with a choice of lens options, and is available in both traditional lamp, as well as an LED version.

World’s first native 2.5K projector

Stand 8- C58

CAlreC AuDio Calrec Audio has unveiled a new management system for its Hydra2 network router at IBC this year. The Hydra2 Organiser, or H2O, allows the user to control a Hydra2 network independently from any console control surface. Users can set up routes and configure access rights to all desks on a given network, as well as label I/O boxes and ports for ease of identification. The app offers the ability to arrange ports into folders, making them quicker to locate. It is browser-based, allowing network access from a laptop or PC, and is compatible with Windows, Linux or OS X.

H2O is especially advantageous for clients who rent out large, multiple-studio complexes.

Stand 8- C58

Stand 8.A94


Ross Video raises the bar in high-end production switchers with Vision Octane, the world’s first 8 MLE switcher. At IBC, Vision adds an optional internal Multiviewer! This multi-head multiviewer has access to all internal and external sources. Source labels with transparency, full programme and preview tallies, and user selectable source assignments make this an excellent and cost effective solution for production control rooms.

Vision Octane is extremely powerful with 35 full-screen HD animation stores, 24 channels of 3D DVE with WARP capability, 96 inputs, 48 outputs, and an unprecedented total of 56 Keyers - 32 Full Keyers, 12 AuxKey Mixer / Keyers on the aux bus outputs and 12 DVE key combiners. Vision Octane can be loaded with any number of MLEs from 1 to 8, match any application, and be combined with up to 9 different control panels.

The entire Vision Series ships with a new 3G infrastructure as a standard feature. Stereoscopic 3D capabilities and comprehensive iMag MultiScreen support will also be shown.

PROIBC2010

Ross Video Stand 10.A31


Broadcast fibre optic cable provider Telecast has launched a new cable designed to meet the requirements of electronic news gathering and satellite news gathering at this year’s IBC.

The CopperHead 3050, which is part of the CopperHead 3000 Series, the newest addition to Telecast Fiber Systems’ patented CopperHead family of camera-mountable fiber optic transceivers, provides a single fibre optic link between any professional camera and the broadcaster’s truck or control room.

Also making its European debut at the show is the CopperHead 3200, which Telecast says offers “an affordable yet powerful multicasting solution for a range of HD broadcasting applications.”

“Both systems deliver uncompressed HD video and simultaneously transport bidirectional digital, SDI or HD/SDI, and analogue NTSC or PAL video, as well as all two-way camera control, audio, video, data, sync, tally and call, prompter, and intercom signals between the camera and the base station,” a spokesman said.And with an increasing amount of films released in 3D and a growing range of 3D kit and cameras on the market, Telecast says that it will continue to evolve its solutions to keep pace with the latest 3-D technology developments.

At this year’s show, Telecast will demonstrate fibre optic technology such as the CopperHead 3400, which helps to power the 3-D cameras used to film movies and live events. Telecast, a subsidiary of Belden, a provider of comprehensive signal transmission solutions for fiber, cable, wireless signal, and industrial networking applications, will also preview other 3-D concept products, including a prototype of the Telecast Gemini 3-D camera rig communication and power support unit.

PROIBC2010

Stand 10.B39

Noise Industries’ FXFactory Pro 2.5

FilmLight’s new Baselight

Amsterdam SuperMeet

Stand 7.F31

Noise Industries has released FxFactory Pro 2.5 for Apple Final Cut Pro, Motion, Final Cut Express, and Adobe After Effects applications. The new FxFactory Pro 2.5 introduces eight new visionary filters and transition plug-ins, as well as significant enhancements to the platform’s unique slideshow generator, which includes a sleek new user interface for selecting and arranging images.

FxFactory Pro 2.5 introduces users to eight brand new visually stimulating distortion, colour correction and transition plug-ins, as well as major quality and performance improvements to its distinctive slideshow generator.

FilmLight will showcase a new version of its Baselight colour grading system at IBC. Baselight 4.2 will feature major new creative and workflow tools driven by customer demand. It includes a new dust-busting tool (DSpot), Layer View for navigating complex grade stacks, timeline marks and notes and per-shot audio as well as numerous enhancements to the timeline, browser, keyer and shape systems to improve efficiency and usability. In addition, support is provided for RED Rocket.

As part of its ongoing partnership with Avid, FilmLight is demonstrating Baselight’s interoperability with Avid Media Composer 5.0 and Avid DS. This workflow uses native Avid MXF file formats, allowing a truly collaborative creative process and providing a faster, more efficient way of working.

telecast CopperHead 3050


Broadcast fibre optic cable provider Telecast has launched a new cable designed to meet the requirements of electronic news gathering and satellite news gathering at this year’s IBC.

The CopperHead 3050, which is part of the CopperHead 3000 Series, the newest addition to Telecast Fiber Systems’ patented CopperHead family of camera-mountable fiber optic transceivers, provides a single fibre optic link between any professional camera and the broadcaster’s truck or control room.

Also making its European debut at the show is the CopperHead 3200, which Telecast says offers “an affordable yet powerful multicasting solution for a range of HD broadcasting applications.”

“Both systems deliver uncompressed HD video and simultaneously transport bidirectional digital, SDI or HD/SDI, and analogue NTSC or PAL video, as well as all two-way camera control, audio, video, data, sync, tally and call, prompter, and intercom signals between the camera and the base station,” a spokesman said.And with an increasing amount of films released in 3D and a growing range of 3D kit and cameras on the market, Telecast says that it will continue to evolve its solutions to keep pace with the latest 3-D technology developments.

At this year’s show, Telecast will demonstrate fibre optic technology such as the CopperHead 3400, which helps to power the 3-D cameras used to film movies and live events. Telecast, a subsidiary of Belden, a provider of comprehensive signal transmission solutions for fiber, cable, wireless signal, and industrial networking applications, will also preview other 3-D concept products, including a prototype of the Telecast Gemini 3-D camera rig communication and power support unit.

PROIBC2010

Stand 10.B39

Noise Industries’ FXFactory Pro 2.5

FilmLight’s new Baselight

Amsterdam SuperMeet

Stand 7.F31

Noise Industries has released FxFactory Pro 2.5 for Apple Final Cut Pro, Motion, Final Cut Express, and Adobe After Effects applications. The new FxFactory Pro 2.5 introduces eight new visionary filters and transition plug-ins, as well as significant enhancements to the platform’s unique slideshow generator, which includes a sleek new user interface for selecting and arranging images.

FxFactory Pro 2.5 introduces users to eight brand new visually stimulating distortion, colour correction and transition plug-ins, as well as major quality and performance improvements to its distinctive slideshow generator.

FilmLight will showcase a new version of its Baselight colour grading system at IBC. Baselight 4.2 will feature major new creative and workflow tools driven by customer demand. It includes a new dust-busting tool (DSpot), Layer View for navigating complex grade stacks, timeline marks and notes and per-shot audio as well as numerous enhancements to the timeline, browser, keyer and shape systems to improve efficiency and usability. In addition, support is provided for RED Rocket.

As part of its ongoing partnership with Avid, FilmLight is demonstrating Baselight’s interoperability with Avid Media Composer 5.0 and Avid DS. This workflow uses native Avid MXF file formats, allowing a truly collaborative creative process and providing a faster, more efficient way of working.

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PROGUESTS

Satellite pay TV has been the mainstay of the TV industry for many years, but is now facing serious competition from other methods of content delivery. It is likely that satellite pay TV will be commercially dead within the Middle East in less than 15 years, and this article looks at some of the reasons why.

To an extent, pay TV in the Middle East and North Africa has been its own worst enemy. There are, simply, too many operators chasing too small a market. Although the region covers some 350 million people, the great discrepancies in wealth mean that the potential market for pay TV is actually much smaller. Some analysts put the size of the market as low as three to fi ve million. Compare this with the European market which contains substantially fewer people, but has a pay TV market at least ten times larger.

With such a limited market to work with, it would be logical for the market to comprise a small number of satellite operators, and for those operators to share technologies, but this is not the case. There are presently fi ve operators in the Middle East, with a sixth due to launch at the end of 2010. They use a diverse range of incompatible technologies, with thirteen incompatible cards and systems in use. There are many hundreds of FTA channels, some with comparable content to the pay TV operators. This dilution of the market share makes it very diffi cult for any operators to sustain a commercial business.

The greatest challenge to satellite pay TV comes, predictably, from the internet. Although this has generically come to be known as IPTV, this is, in fact, a range of technologies designed with the sole purpose of delivering content – music, video, games and so on. The meteoric growth of

downloaded services shows that consumers are increasingly aware that they are not bound by the limitations of the broadcasters’ schedules. They are increasingly comfortable with the idea of building their own viewing portfolio, selecting their own content and deciding when and how to view it. It is diffi cult for conventional satellite pay TV to provide this fl exibility, but it is easy, and getting easier, to do this via the internet.

Piracy is a serious issue in the region, as satellite broadcasts are more vulnerable to piracy than internet. Internet TV is a point-to-point delivery system, and so it is easier to control who receives the content.

Internet TV offers other benefi ts over satellite pay TV, both to the consumer and to the operator. The viewer can download only the content that they want, pay for it on an individual basis and view it when they want. For example, during the 2010 World Cup, some 86 million downloads took place, using the BBC i-player, and there is every reason to assume that this trend will increase.

One drawback of internet TV is that, usually, it is necessary to watch the downloaded content on a PC, and this is not always an attractive viewing environment. However, internet-enabled TV sets and set top boxes are now coming onto the market which will combine the superior presentation of the TV with the fl exibility and choice of the internet. TV sets with in-built memory and simple browsers are already available, and this can only grow.

The lack of high-speed bandwidth in the Middle East is the only constraint that is slowing the growth of internet TV, but even this will change as the internet backbones, in the major cities at least, begin to improve. Most subscribers in the Middle

East are still limited to less than 1 Mbit/sec, but this will change, and that will trigger an explosive growth in downloaded and real time TV services over the internet.

There are also advantages for the operators. The cost of setting up and running a head-end is substantially lower than a satellite station, and the non-real time nature of internet TV dramatically reduces the costs and complexity of the staffi ng and scheduling needed at the broadcast centre. With the relatively small market for media services in the Middle East, such savings can make the difference between profi t and loss.

The process has already begun. The impending decline of satellite pay TV, and the advantages of internet TV, drove the largest operator in the Middle East, ART, to plan a move from its traditional satellite pay TV platform to an internet TV system, and other operators in the region are following the same path. It is increasingly evident that any operator who relies on satellite pay TV for their future distribution faces diminishing audiences and declining revenue. The future, it seems, is already with us.

The greatest threat to internet television may, in fact, come from the operators themselves. Unless they adopt compatible technologies, and compete solely on content, the same fragmentation and dilution will occur as has happened with satellite pay TV, and with the same end result.

The download culture is in the ascendant; we may be seeing the beginning of the end of satellite pay TV as we know it.

Satellite pay TV under threat

It is increasingly evident that any operator who relies on satellite pay TV for their future distribution faces diminishing audiences and declining revenue.

Alan Constant (top pic) is the CTO of Arab Media Corporation and has more than forty years experi-ence in the pay TV industry. Chris Pollard (second pic) is a senior consultant, specialising in broadcast and communications.

Broadcastpro Middle East

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