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issue 26 | sepTember 2012
Technology inTelligence for TV, film and radio
six high-Profile arab
gaMe changers on Projects
that are transforMing
Middle east broadcasting
lighting installations
at three brand new
studios in Qatar
PLUS
Production stories,
reviews, case studies,
tech trends, oPinion
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IBC 2012
Be inspired at this year’s IBC.
Turn to Page 93
Visit www.broadcastprome.com/ibc
for our special IBC coverage
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Welcome
Every now and then, one has the pleasure of
meeting someone in a position of power who
has used the resources he has to bring about
a positive shift in the industry. Last month,
BroadcastPro Middle East met with six such
game changers in the Arab world – men
with a mission -- who have each undertaken
transformative initiatives at their respective
facilities that make them frontrunners.
Two months ago, for instance, a resolution
was finally passed in Saudi Arabia authorising
the establishment of an AV Commission and a
corresponding AV Act to embrace all forms of
media across different platforms. Dr. Riyadh Najm
was responsible for drafting the first elements of
this commission and has been actively involved in
bringing it to its present stage. He shares exclusive
details on how the new resolution will change the
face of Saudi Arabia’s media landscape.
During the Holy Month of Ramadan, when
the whole Arab world supposedly goes into
hibernation, BroadcastPro ME toured four TV
studios in Qatar, belonging to Qatar TV and Al
Jazeera. We were there to look at the state-of-theart lighting installations at each of these studios.
The studios were abuzz with activity as sets
were being designed for Al Jazeera Sports and
Qatar TV’s news channel. The star among these
four is a brand new 1100 sqm studio – one of the
issue 26 | sepTember 2012
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PRINTED BY
Printwell Printing Press LLC
six high-Profile arab
gaMe changers on Projects
that are transforMing
Middle east broadcasting
lighting installations
at three brand new
studios in Qatar
VIjaya Cherian, Group Editor,
Broadcast Division
From the top - Dr. Riyadh
Najm (KSA), Mohammad
Saeed Al Shahi (Dubai),
Samer Younes (Qatar),
Mustafa Tell (Jordan),
Mohamed Youssif (Abu
Dhabi) and Dr. Khalid
Al Midfa (Sharjah).
PLUS
Production stories,
reviews, case studies,
tech trends, oPinion
© Copyright 2012 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.
largest in the Gulf – designed and equipped to
international standards.
In Jordan, Arab Radio and Television decided
to ditch satellite for IP to deliver its Ramadan
content to its distribution centre in Italy. This was
a brave move that saved ART a whopping 80% of
satellite transport costs last month.
Likewise, Mohamed Youssif of YahLive is on a
unique mission to ensure that he delivers the best
of HD channels to the Arab world and it looks like
he’s already half way there.
In the meantime, within three months of
joining Dubai Media Inc as CEO, Mohammed
Saeed Al Shahi has already wrought changes,
while Sharjah Media Corporation is quietly
inching its way to the front by upgrading various
elements of its radio and TV entities under the
guidance of Dr. Khalid Al Midfa.
No platform could have been better than IBC to
showcase these initiatives in the Arab world that
are in every way innovative, and a testament to
what a few good men can achieve.
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in this issue
24 eArTH sTATIOn
In QATAr
september 2012
news
First sound stage - Dubai
New TV launch - Iraq
5
9
CAse sTUDIes
16 Qatar TV & Al Jazeera
30 IP delivery in Jordan
36 Audio archive, Sharjah Radio
16 LIGHTInG
In QTV
AV COMMIssIOn
52 Dr. Riyadh Najm, KSA
reVIew
82 NewTek Tricaster 8000
In LeBAnOn
76 Documentary production
16
TeCH TrenDs
49 HbbTV
79 Connected TV
OpInIOn
spOTLIGHT On QATAr
88 Broadcasters must change
108 The power of HEVC
93
62
44 MOHAMMAD
sAeeD AL sHAHI, DMI
36
DIGITAL AUDIO
ArCHIVe In sHArJAH rADIO
58 MOHAMeD YOUssIf
YAHLIVe, ABU DHABI
72
fILMInG In BAHrAIn
HeLICAM In DUBAI
PRONEWS
BFE launchEs in DuBai
Holland will head BFE’s Dubai office.
German broadcast systems integrator
BFE has opened an office in Dubai
Studio City. BFE’s operations in Dubai
will be headed by Derek Holland,
who previously worked with systems
integrator Salam MediaCast.
Speaking about the new office
in Dubai, Juergon Loos, director of
sales at BFE said: “Our new branch
office will support our activities in
the GCC region, where we are already
realising major projects for the
Ministry of Culture and Information
in the Kingdom of Saudi Arabia, MBC
in Dubai and Al Kass Sports Channel
in Doha, Qatar. This step emphasises
our strategic commitment to the
region for the future.”
Bahrain TV gETs
Million Dollar FacEliFT
Bahrain’s Information Affairs Authority
(IAA) has signed an agreement with
IT and Communication technology
powerhouse AurionPRO Solutions Inc
to develop media work and promote
quality TV programmes for Bahrain
TV. The multi-million dollar project will
see Bahrain TV’s production studio
upgraded at a cost of USD 2 million.
Work on the new studio is
expected to be completed Q1 2013.
During the signing ceremony,
IAA president Shaikh Fawaz bin
Mohammed Al Khalifa said: “The
revamped main production studio
will be equipped with high-quality
control rooms fitted with highresolution cameras, sound and
photo mixers, advanced video and
graphics systems.”
Under the deal, Bahraini media
professionals will be trained on the
latest TV production technologies.
Bahrain TV’s main studio will be
fitted with brand new equipment to
promote quality drama and artistic
production in partnership with the
private sector.
GULF REGION’S
FIRSt SOUNd
StaGE REady
Industry professionals working at Dubai
Studio City have been watching the gradual
rise of a building that will be the first of three
grand sound stages taking shape at the media
free zone. The smaller of the three grand
sound stages that includes 15,000 sq ft stage
space and an additional 15,000 sq ft space for
makeup, dressing rooms, and offices is likely
to be ready within the next couple of months
gauging from the photographs on the Dubai
Studio City web site.
The stage is part of a larger production
complex that is intended to eventually house
14 sound stages although the first phase will
see two more sound stages, each 25,000 sq.ft
developed and joined by a 30 metre wide
elephant door.
Speaking to BroadcastPro Middle
East, Jamal Al Sharif, managing director
of Dubai Media City and Dubai Studio
City, said: “Dubai, with its diverse,
cosmopolitan and affluent population
is an avid consumer of cinema and TV
productions from within and outside the
Arab world. On its part, the government
offers strategic support to create a global
film production hub through leveraging the
competitive advantages of the emirate.
“In line with this strategic approach
towards the film and TV industry, Dubai
Studio City is installing advanced technical
and community infrastructure such as sound
stages. The first in the Gulf region, these
sound stages are backed by state-of-the-art
production support offices. The facility, which
is already operational, marks a milestone in
the development of filming infrastructure.”
Designed to NC 25, the sound stage
has been built to meet the increasing
requirements for film production within
Dubai’s rapidly growing filmmaking
environment. It is completely sound proofed
and includes steel-framed catwalks with
vinyl flooring and wooden caped guardrails.
Elephant doors, which suppress or block
undesirable sounds such as machinery and
traffic, stand at 6.1m high and 5.4m wide.
The motorised rolling doors come with
tracks, sound traps and acoustic seals. The
door can travel at an incredible speed of 9.1m
per minute.
Other technical specifications include
roll-down fire doors to protect openings.
Jamal Al Sharif, MD of Dubai Studio City and Dubai Media City
says the sound stage has been built to international standards.
A RED Light System will be deployed with
red recording lights at all entry doors to the
sound stage, internally and externally. The
interior of the sound stage boasts extensive
storage and production office space. All
areas, including the dressing rooms and star
suites, have access to wi-fi, and are within
good access to post-production studios and
satellite communication services. Onsite
parking is readily available for trailers and
large equipment trucks.
Adjacent to the film complex are backlots
spanning three million sq ft of space for
shooting outdoor scenes and erecting
temporary external sets. The facility can
accommodate feature film productions,
television shows, music video productions,
reality shows and commercial shoots.
With the first sound stage at Dubai Studio
City gearing up to open its doors, the second
and third sound stages of the first phase will
not be too far behind. These studios will be
larger at 25,000 sq ft each.
An important element of this complex is
the addition of two water tanks, purposebuilt for underwater shots. A sophisticated
addition to the sound stage, the water tanks
can be used for film, TV and commercials,
offering the opportunity to produce action
underwater shots and sequences. Both pools
will be 19.2 m in height by 11.85 m in width,
with Pool 1 housing a depth of 3m and an
even larger Pool 2 being 4.5m deep.
September 2012 | www.broadcastprome.com |
5
ProNewS
InfoComm mEA 2012
rEturns to DubAI
The second edition of InfoComm
MEA 2012 will be hosted in Dubai
from October 14-18. Strategically
co-located with GITEX TECHNOLOGY
WEEK, InfoComm MEA lends greater
focus to the need for interconnectivity
in business and the trend towards
AV-IT convergence. Sectors such as
conventions, education and network
operations, are big users of combined
AV-IT technologies.
Companies such as Arrive Ltd,
Crestron, Extron, Jupiter Systems,
Mindstec Distribution, Mitsubishi
Electric, Sharp, Sony and VENUETECH
offer connectivity solutions. These
companies, and more, will be exhibiting
their latest products at the forthcoming
InfoComm MEA. InfoComm MEA will
feature over 80 companies from more
than 20 countries. The event in 2011
drew 12,131 visitors from diverse
business sectors.
VIsIon247 unVEIls
ArAbIC InItIAtIVE
In thE uk
Vision247 has begun broadcasting
19 Muslim and Arabic language
channels on the Vision TV Network.
The channels, which will be available
free-of-charge until September
2012, will provide live streamed
international broadcasts via internetconnected FreeviewHD devices for
viewers throughout the UK.
Speaking about the new
initiative, John Mills, CEO of
Vision247 said: “With half a million
Arabic speakers and close to three
million Muslims residing in the UK
today, there is a need for dedicated
broadcasting to support the
cultural heritage and beliefs of this
audience. Through Freeview, we are
able to extend this viewing choice to
every home.”
Arabia One and MuslimTV
channel packages will be available
on a subscription basis with a two
month free trial, then six months
half price. Monthly subscription
packages start from just £4.49. Al
Arabiya is free to view.
Older devices not connected to
the internet will receive on-screen
tips advising viewers on how to
receive the channels.
Sky NewS ArAbiA chooSeS
cobhAm wireleSS cAm SyStemS
Cobham’s wireless camera
system has been used in SNG
trucks at Sky News Arabia.
The equipment, including
Cobham’s MPEG4 encoder,
was originally demonstrated
at Sky News in the UK due
to its expertise with radio
frequency (RF) systems.
This demonstration took
place when Sky News Arabia
announced they were seeking
wireless camera systems,
Cobham has tied with SNG Broadcast to expand its operations in Dubai, says Delport.
flyaways and trucks. Cobham
The company will be
Now is the time to target the
won the tender to supply six
Middle East with a proper sales at IBC2012 with two new
of its HD wireless camera
products including the
strategy so with the signing
products, with Satcom as
latest version of its Solo
of SNG, we hope we can take
the truck provider and the
H. 264 wireless camera
flyaways supplied by SIS LIVE. that forward,” commented
system, featuring the ultra
JP Delport, broadcast sales
The two companies entered
mobile video link (UMVL)
manager at Cobham.
into a procurement process
communications protocol
SNG owns satellites and
with Cobham selling two HD
for highly stable, very low
systems to Satcom and four HD an antenna farm, and has
latency transmission, and
systems to SIS LIVE, who then been providing services
MediaMesh, which uses
integrated the package for Sky to Al Jazeera and various
broadcasters across the Middle wireless technology to
News Arabia.
enable a journalist in the
East. SNG now has a product
As part of its efforts to
sales division in Dubai that will field for live broadcast.
further strengthen its position
“These products are
aid Cobham with the sales of
in the Middle East, Cobham
their systems around the whole fairly unique to the industry
has also recently partnered
so they’re now gaining
region, including the emirate.
with reseller SNG Broadcast
momentum. MediaMesh,
Cobham’s digital HD
Services in Dubai. The
for instance, which is more
wireless camera systems
company now has a presence
down the IP route and KA
were also used extensively
in the UK, Dubai and Cyprus.
satellite interfaces which will
“Sky News Arabia is our first at the recent Olympic Games
be exciting for the industry,”
with around 40 HD systems
real sale that is recognisable
Delport added.
featured, says Delport.
in the Middle East market.
AlAn DICk upgrADEs AntEnnA In umm Al QuwAIn
Broadcast systems supplier Alan Dick
Broadcast, Ltd (ADBL) has upgraded
an existing antenna at Umm Al Quwain
(UAQ) Broadcasting Network within
the United Arab Emirates (UAE). The
installation was completed last month.
The modifications will permit
Radio Hayat FM, recently launched by
Gulf News Broadcasting, to transmit
at full power. Hayat FM’s 24/7
programming – a mix of Arabic music
along with local and international
6 | www.broadcastprome.com | September 2012
news – caters to listeners in the 1839 demographic.
ADBL technicians will upgrade the
feed system and dipole panels on the
original Alan Dick antenna with new
high power components to create
a double dipole panel with H90
horizontal/V90 vertical polarisation
and an omni-directional broadband
pattern. The new antennas were
manufactured in Cheltenham.
“We are honoured to receive
another contract from Gulf News
Broadcasting following on the heels
of a successful upgrade that led to
the recent launch of Radio ME, a
station that transmits from the same
site,” said Barry Sugden, director of
Alan Dick Broadcast.
“We appreciate the opportunity
to help a long-time client offer
programming to new audiences
while continuing to grow a successful
broadcast network.”
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LET’S GO THERE.
PRONEWS
IRaqI bROadcaStER chOOSES
PEbblE bEach SyStEmS
William Wade, CEO, AsiaSat.
AsiAsAt 5 Adds
dMi chAnnels to
bouquet
A new deal between Dubai
Media Incorporated (DMI) and
AsiaSat will see the satellite
operator beam Dubai TV and
Dubai Sports channels to the
Asia-Pacific region.
Speaking about the deal,
DMI’s MD Ahmad Al Shaikh said:
“AsiaSat 5 offers the greatest
choice of Arabic content for
Arab communities in Asia and
Australasia. With this deal, we
are expanding our viewership
through its coverage across a
vast area from Turkey and Egypt
in the west to Australia and New
Zealand in the east allowing
instantaneous access to pay TV
platforms, terrestrial networks,
hotel networks, embassies and
individual homes across Asia.”
Dubai TV and Dubai Sports
have been added to the existing
bouquet of over 40 TV and radio
channels on AsiaSat 5.
William Wade, president
and CEO of AsiaSat added that
the operator is committed “to
providing the best Middle East
entertainment to the Arabicspeaking communities across
the Asia-Pacific region.”
Dubai TV and Dubai Sports
are now available on AsiaSat 5
in C-band.
controlled that as well, providing direct
Iraqi broadcaster Al Baghdadia
control of both the nearline storage
TV launched a second channel
and the archive library allowing for
prior to Ramadan. The launch,
complex automatic media management
which included the installation of
through the same user interface and a
Pebble Beach Systems’ Neptune
single database shared between ingest,
automation system, Omneon
playout, media management and
servers and Vizrt graphics, was
archive systems.
undertaken by Dubai-based
“Although a single control system
systems integrator AV Solutions.
has provided Al Baghdadia with a
“The broadcaster launched
reliable solution, the broadcaster’s
with one channel a few years
management was willing to invest
ago and has since then,
further in redundancy to ensure 100%
undertaken substantial upgrades
Neptune gives Al Baghdadia greater
system availability to their viewers.
in increments,” explains Samir
control, says Samir Isbaih of PBS.
In a second upgrade, they added the
Isbaih, regional manager, Pebble
seamless, fully automatic fail-over option from us
Beach Systems Middle East.
as well,” adds Isbaih.
“With the Al Baghdadia customer base and
The automation takes care of simple scheduling
reputation growing in Iraq, Pebble Beach
as the broadcaster does not have a scheduling
Systems together with AV Solutions, provided the
system. Neptune also handles ingest, playout,
technology and the complex workflows to fulfill
media management and direct archive control.
their evolving requirements.”
“Al Baghdadia has also invested in providing
Initially, the automation solution from Pebble
an automatic graphics generation workflow
Beach Systems controlled the broadcaster’s near
as a result of which graphics from Vizrt are
line storage servers, playout, ingest and media
management. When the broadcaster undertook its automatically populated with the metadata
through the Pebble Beach Systems’ automation
first upgrade and deployed a robotic tape library
API,” Samir concluded.
based on LTO5 technology, the Neptune system
Ali Al JAbri replAces peter scArlet As director of Abu dhAbi filM festivAl
Ali Jabri is the director of ADFF.
Ali Al Jabri (above) has been
appointed festival director of
Abu Dhabi Film Festival. He
MBC Group has teamed up with Dubai-based
satellite-TV platform My-HD Media, which offers
a wide range of HD channels to audiences in the
Middle East and North Africa, to distribute the
network’s HD channels.
The long-term agreement is the first step
of upcoming expansions that represent a
considerable opportunity for both MBC and MyHD to significantly upgrade consumers’
viewing experience.
My-HD offers all of MBC HD channels on
replaces Peter Scarlet, who
managed the film festival
since 2009.
Al Jabri, who has been with
the festival for the last five
years was previously director of
the Emirates Film Competition
— a key element of the
festival’s programme.
Abu Dhabi Film Festival
was previously managed by
Abu Dhabi Authority for Culture
a large number of major HD Digital receiver
platforms such as Humax in the GCC, NHE in
Kuwait, Dansat in Saudi Arabia, Lotus in Algeria
and Tevicom in Morocco.
Speaking about the partnership, Cliff Nelson,
CEO of My-HD said: “We are happy to announce
that nearly one million MBC TV households who
already own Humax HD receivers can enjoy
MBC’s HD channels by purchasing a My-HD
viewing card, available at Humax dealers and
shortly in key hypermarkets across the GCC.
and Heritage (ADACH) but was
transferred to twofour54 earlier
this year.
As part of the first phase
of integrating with twofour54,
the festival’s organisers
moved to twofour54’s Khalifa
Park campus.
Ali Al Jabri’s appointment
is thought to be part of an
agrressive plan by Abu Dhabi
authorities to enable more
“The HD viewing experience is far superior
to SD (Standard Definition) channels; the
majority of homes already have, “HD” ready
TV’s but are not enjoying true HD content. Our
goal is to bring the best HD experience to
millions of MBC viewers.”
Sam Barnett, CEO of MBC Group added
that the partnership enables MBC to extend
its HD experience to “as many MBC viewers as
possible” and gradually reduce its SD offerings
in the market.
nationals to head the capital’s
media entities.
Speaking about Al Jabri’s
appointment, Noura Al Kaabi,
CEO of twofour54 said, “This is
a very important milestone in
the event’s history. Ali has been
instrumental in developing
the Emirates Film Competition
and we are sure he will bring
the same level of passion and
enthusiasm to his new role.”
Mbc
pArtners
with My-hd
MediA to
distribute
hd bouquet
9
PRONEWS
Salam mEdia
CaSt ExPaNdS
iNtO EuROPE
Niels Thomas to head Salam Media Cast’s London office.
al-Sharqiya
launcheS
excluSive
pan–araB
channel
Salam Media Cast (SMC) will open a new London
office, headed by Niels Thomas.
“SMC’s expansion into Europe will enable the
company to engage more thoroughly with its
international customers by providing much closer
cooperation and ensuring tighter control of project
timelines and costs,” Niels Thomas said.
Prior to joining Salam, Thomas was head of Sales
for North Europe at Sony Professional Solutions
Europe. Thomas has also previously worked for
Omneon, Thomson and Grass Valley.
Based in Doha, Qatar, SMC represents many
international manufacturers such as Avid
Technology, Quantel, SeaChange, Leitch, Drake
Electronics, Vinten Broadcast Ltd., Strand Lighting,
Telestream, Vizrt and EVS Broadcasting. It also
serves TV channels and networks, movie studios
and network operators in the region, providing
telecommunications, broadcasting, integrated
systems and security.
In 2010, SMC joined GSSG Holdings as part of
its Media Group, with offices in Qatar, UAE, Oman,
and Saudi Arabia. More recently, the company has
been expanding its team to reflect the technological
changes that are taking place within the broadcast
and media industries.
Dubai-based Al Sharqiya Television has launched Al Sharqiya Drama, a new channel
showcasing Arabic, Turkish and Western programmes. The channels went on air on the first
day of the Holy month of Ramadan.
Speaking about the launch, programme director of Al Sharqiya Television, Ala’a Al
Dahhan said: “We have exclusive content and some of these shows are produced by us”.
The new channel can be viewed on Nilesat 102 and Hotbird 9.
parter capital Group acquireS GraSS valley’S
GerMan SySteMS inteGration BuSineSS
Grass Valley has sold its German
systems integration business to
PARTER Capital Group, a major equity
investment firm based in Frankfurt,
Germany. The group consists of
systems engineers and specialists that
design and build outside broadcast
(OB) vehicles as well as production
and broadcast facilities across Europe,
the Middle East, and Africa (EMEA).
PARTER Capital Group has acquired
the division through one of its portfolio
companies, BTS broadcast technology
solutions GmbH. BTS will provide fieldtested, highly experienced personnel
to design, test, and validate television
and content systems.
The agreement is part of Grass
Valley’s strategy to focus on IT-centric
software and hardware systems, while
Alain Wright, EMEA region
president, Grass Valley.
building an ecosystem with its partners.
Grass Valley will work with BTS as
well as other partner companies and
systems integrators around the world
to deliver solutions in which all of the
parties complement each other.
“Grass Valley will continue providing
key solutions for systems
integrators — including
products such as our cameras,
switchers, editors, replay
systems and servers — to meet
increasing demand. PARTER
Capital Group shares Grass
Valley’s vision for the business
and we will continue to work
with them as an independent,
third-party partner,” said Alan
Wright, region president,
Europe, Middle East, and Africa
for Grass Valley.
“This divestiture is part
of Grass Valley’s focus to
strengthen its reputation as
the Premier Video Technology
Solutions Company to the
broadcast and production
industries, working with
partners and end users as a
solutions and service provider.”
Shotoku BroadcaSt
announceS eMea
appointMent
David Shepherd has joined Shotoku
Broadcast Systems as its EMEA sales
manager for manual products.
“We’re delighted to add David to
our sales team to support a significant
increase in the manual side of our
business,” said James Eddershaw, sales
director, Shotoku
Broadcast Systems.
“His strong
communication
skills combined
with his business
development
capabilities and
technical proficiency
will serve as a
tremendous benefit
to our customers as we respond to their
requests with a new range of broadcast
and professional products.”
Shepherd is responsible for supporting
current customers and developing new
markets for Shotoku’s range of manual
camera support systems, including
pan and tilt heads, pedestals, tripods
and virtual reality systems. He will work
closely with the management and R&D
teams to promote Shotoku’s entire
manual camera support range, and in
particular the recently expanded SP range
of cost-effective tripod systems for the
professional market. Shepherd is based
in the UK.
oSn extendS play
Service to ipad
UAE pay TV network OSN has extended its
Play service to the iPad so subscribers can
access some of the pay TV network’s Arabic
and English entertainment on tablet devices.
Introduced in March this year, OSN Play
is the region’s first online TV platform. It
enables OSN subscribers to view select
content on some of its devices. Play was first
made available on the PC. The service has
now been extended to the iPad.
Speaking about the initiative, Emad
Morcos, vice president of strategic and
business development at OSN said:
“OSN Play has been a great success with
thousands of our subscribers registering
to the service and enjoying their favourite
programmes on additional devices. We
are the first in the Middle East region to
introduce digital viewing on the iPad, giving
our viewers access to premium content
anytime and anywhere.”
PRONEWS
Ikegami Tsushinki recently delivered 33
sets of its new 3G HDK-97A HD cameras,
19 sets of its 17” HLM-1704WR LCD
monitors and 10 sets of its 9” HLM-904WR
LCD monitors to Al Jazeera Sport, Qatar.
The delivery was undertaken via its Abu
Dhabi-based distributor, Tek Signals.
Ikegami offered special training to the
Qatari network’s cameramen and video
engineers at its headquarters in Tokyo
this summer to familiarise them with the
systems operations and enable them to
maximise the potential of the equipment at
Al Jazeera Sport.
The channel will use Ikegami’s 3G
cameras at its newly established studios —
Studio-1, Studio-4, Studio-6, Studio-7 and
the morning studio.
Speaking about the order, Kentaro
Tanaka, regional sales manager for
Ikegami Japan said: “We are very pleased
with this huge order. 24 sets of our HD
HDK-79EXIII studio cameras, HDL-50 Box
cameras and LCD monitors are already in
operation at Al Jazeera. These products
have performed well and it is one of the
reasons why they have chosen Ikegami
products again, we believe.”
He added that the HDK-97A is Ikegami’s
IkEGaMI SEcuRES huGE dEal at
al JazEERa SPORt vIa tEk SIGNalS
The teams from Al Jazeera and Ikegami at the training centre.
latest top-of-the-line camera system
featuring 1080p and 3G.
HDK-97A features mass memory type
FPGA and 40/45nm design rule. The
video signals are digitised with 16-bit A/D
conversion to achieve very high picture
quality. The new 2/3-inch 2.3 mega pixel
1080 progressive CCDs are employed to
support not only the usual 1080i 59.94/50Hz
4:2:2 1.5G formats, but also 3G formats
such as 1080p 59.94/50Hz 4:2:2 and 1080i
59.94/50Hz 4:4:4 (optional).
Joseph Varghese, division manager of
Broadcast & Professional Systems at Tek
Signals claimed the deal is one of several
secured by the systems integrator in Qatar.
“We are happy to be one of the preferred
systems integrators for Al Jazeera Sports,
as we are confident of completing any
project in the shortest time period. We
are delighted to have supplied Ikegami’s
cameras to Al Jazeera.
“The HDK-97A supports 1080i
(119.88/100Hz), 1080p (29.97/25Hz),
720p (59.94/50/Hz/119.88/100Hz) as an
option. Also, taking full advantage of its
sensors and video circuits, the HDK-97A
offers natural looking pictures with 1000
TV lines of horizontal resolution, F10
sensitivity, and 62dB S/N ratio in HDTV
(1080i mode). The HDK-97A camera
system is future proof, and in particular,
the optional x2 slo-motion function will be
useful for sports applications,” he added.
Media Broadcasting Solutions
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RZ_Anz_SCISYS_IBC_175x110_120813.indd 1
2012
Mulitisite-Cache
13.08.12 10:57
11
Imagine Achieve
with Avid integrated news
Imagine working with a set of news solutions that let you create a
complete news package on your laptop, break a story from a mobile
device, or put a rundown together from the field. Our next-generation
integrated news packages help you achieve better content, faster
workflows, and ways for everyone in your organization to work more
effectively together.
Find out how. Visit www.avid.com/news
© 2012 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid, and the Avid logo
are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other trademarks contained herein are the property of their respective owners.
proNews
QNCC supports realtime video
streamiNg with avN eNCoders
Mbc TV series
courTs conTroVersy
Television drama series Omar,
which tells the story of a seventh
century Muslim ruler, Omar Ibn
al-Khattab, caused controversy
across the Arab world by
challenging a widespread belief
that actors should not depict
Islam’s central figures.
The series, which was filmed
in Morrocco and screened during
Ramadan, was funded by MBC
Group and Qatar TV. Recent
press releases from MBC stated
that several broadcasters across
the Arab world had secured the
broadcast rights to the series.
According to Reuters, the foreign
minister of the United Arab
Emirates tweeted that he would
not watch the series.
But even as Omar attracted
criticism, it also attracted praise
from Muslim viewers for the way
it tackled an important period in
Islamic history. Omar has been
praised for its elaborate sets
and costumes, visual effects
and battle scenes. What has
courted controversy, however, is
the depiction of the first rulers of
the Arab empire by actors. Such
depictions have been forbidden in
Islam to discourage idolatry.
Hatem Ali, director of the series,
and his team are reported to have
been prepared for controversy
before the first episode was aired.
“We were prepared for this. Omar
is the first television series that
delivers such important figures. So
people will be divided over this,
and that’s understandable.”
Qatar National Convention Center
(QNCC) has selected Visionary
Solutions’ AVN220 and AVN443HD
encoders to support real-time
streaming of SD and HD video and
audio signals cost-effectively during
live events and conferences.
Leveraging the power of H.264
encoding, its low up-front cost,
and the energy-saving capabilities
of AVN encoders, QNCC is able
to offer A/V services within one
of the world’s first public venues
built to the U.S. Green Building
Council’s Leadership in Energy and
Environment Design (LEED) Gold
Certification standard.
QNCC selected A/V systems
designer and integrator Svetlost
Teatar to seamlessly integrate
the AVN encoding systems
into the facility’s IP network,
without requiring any additional
into MPEG-2 real-time streams.
In addition, AVN443HD encoders
deliver a full-frame rate SD or HD
IP video stream using standard
H.264 hardware compression and
optimised transmission technology.
Each encoder consumes less than
5 watts of power and efficiently
dissipates heat, without sacrificing
performance or video quality,
making them ideal for QNCC’s
green-technology facility. “We’re proud to partner with the
Qatar National Convention Center
and Visionary Solutions on this
cutting-edge technology facility,”
said Dmitrovic Milos, systems
integrator, Svetlost Teatar.
“Visionary Solutions’ encoding
systems were easy to integrate
within the QNCC’s existing IP
network, as well as with other
infrastructure for A/V transport,
external devices.”
thus reducing operational expenses.
The AVN220 and AVN443HD
Both the AVN220 and AVN443HD are housed in the MPP1700
encoding solutions stream SD and
Media Processing platform. The
HD video and audio over a local
MPP1700 provides a high-density
area network that runs throughout
rackmount chassis with an
the complex to support regional
optional dual-redundant power
and international conventions,
supply. It is capable of holding up
exhibitions, gala events, concerts,
to 17 single slot encoder blades, or
theatrical productions, and
a combination of dual- and singlebanquets hosted at the QNCC.
slot blades.
“Visionary Solutions’ AVN
encoding solution was designed
for the live video streaming needs
at QNCC, thanks to its ultra-dense
design and H.264 compression
technology. This helps reduce costs
while delivering a superior-quality
video stream in real time,” said
Dejan Ljubisavljevic, senior R&D
manager, Svetlost Teatar.
QNCC is utilising the AVN220
encoders to compress SD video
Tropfest Arabia has announced its panel of celebrity judges. Representing countries across the Middle East and North Africa, this is the
second year of Tropfest Arabia, which will take place on October 26, 2012 at the Abu Dhabi Corniche.
The judging panel features a selection of celebrated filmmakers, producers and directors from across the Middle East. Emirati animator
and chairman of Lammtara Mohammed Saeed Harib will be on the panel, joined by Kuwaiti film producer and director Amer Al Zuhair,
Jordanian actress and producer Seba Mubarak, Syrian actress and filmmaker Kinda Alloush, Egyptian writer and director Amr Salama,
Lebanese musician and composer Khaled Mouzanar, and Saudi Arabia’s first female filmmaker Haifaa Al Mansour.
TropfesT
ArAbiA
Announces
2012 judging
pAnel
13
PROTRENDS
SPORTS VIDEO wORlD 2012
Sports equipment purchases — Growth by region 2012 from 2011
10%
9.30%
9%
8.40%
8%
7%
6%
6.10%
6.24%
5.10%
5%
4%
Sports video equipment spending shows
increases in every geographic region,
despite uneven experiences the industry is
seeing in many other markets. Ever since
the recession hit in 2008, and worsened
in 2009 and 2010, speculation had it that
despite previous gains, the sports video
market would be underperforming by the
same ratios that were hurting the sports
arenas and stadiums generally, namely
reduced attendance, unrented VIP boxes,
lower concession revenues and poor
season tickets sales. True, the sports
video spend was affected — some projects
were halted — and the market somewhat
slowed, but unlike many other consumeroriented segments, sports, seen by most
as a form of entertainment, continued
to do better than was anticipated and
rebounded sooner.
The spend on refurbishing or
constructing new stadiums kept going
during the darkest times, pretty much
through the worst years of 2009 and 2010
and in some regions like the Americas and
Asia, really didn’t dip much if at all. In the
USA, it has been mainly baseball parks
that have seen dramatic spending in the
past year or so, as some of the oldest ones
have been totally re-built, sometimes from
the ground up. Needless to say, in addition
to massive digital signage displays that
personify modern stadiums, TV equipment
installs have been happening on a scale not
seen before. And, video has been used in
parts of those stadiums where it heretofore
had not been in the old parks. An example
could be monitors (not cameras, mind you)
in restrooms, and stairwells, carrying the
signage and promotional campaigns steps
towards branding support and concession
going stimulation. Educational facilities both
for the games and for training environments
3%
2.30%
2%
1%
0%
USA
Europe
M-E/A
have been expanded as well. In other
markets, globally, new arenas have been
built, new trucks constructed and TV sports
departments expanded. Additionally, the
phenomenon of new sports channels being
deployed, many on a pay-for-view basis, is
also making a profound impact.
Now, a new study looking at 2011
purchases and 2012 purchase plans on
sports-related video equipment is setting
new records and exceeding goals. All of the
ten product categories that were tracked in
the new D. I. S. report, Sports Video World
2012 are showing increased spending.
The study, which was conducted during
the spring of 2012 and published at the end
of July 2012, offers a five-year forecast for
each of the separate product genres.
From an equipment perspective, there
are signs of significant build-outs in cameras
and camcorders, added virtual camera
positions, additional displays and control
room packages being deployed, affecting
spend on switchers and routers, graphics
and more. It seems that there is expansion
in addition to replacement or upgrades.
Regionally, only the European countries
have experienced any significant diminishing
of this increased spend, made worse by the
economic turmoil there and but has been
offset and mitigated to some degree by the
London Olympics and increased coverage
of sports heretofore not regularly covered
on TV, as well as spending by Sky and
others. Additionally, the uptake of 3D and
Asia-Pacific
Americas
Total
its application to cup games as well as the
deployment of new 3D sports channels has
kept the European weakness from having a
greater impact than it could have.
Whilst the interest in 4K resolution is also
seen as potentially strong, augmenting the
3D use, it’s probably too early to predict
how much that 4K influence will be, except
that it may combine with 3D in some
instances making such coverage even more
compelling.
The overall global sports video equipment
purchasing gain seen in the year 2012 over
2011 purchases is expressed as 6.24%
with the USA at 5.1% gain, Europe at 2.3%
gain, the Middle-East and Africa at 6.1%,
Asia-Pacific at 8.4% and the Americas at
9.3%, respectively. Of course, these gains
vary by product genre, by segment and as
stated, by region. But, the overriding theme
is that sports video spending is amongst the
most attractive in the entire professional
equipment marketplace and a consistently
stable place among many much less
predictable ones. PRO
Douglas I Sheer is
CEO and chief analyst
of D.I.S. Consulting
© 2012 D.I.S. Consulting Corporation - All Rights Reserved
Sports
market
exceeds
goals
PROEXCLUSIVE
Spotlight
on Qatar
In exclusive interviews with Vijaya Cherian, Samer Younes, consultant engineer for
the Television Support Development Committee of Qatar; Fahad Essa Al Kaabi of Al
Jazeera Arabic and Karim Abdel Massih of Oasis Enterprises, talk about the
state-of-the-art lighting technologies deployed at four TV studios in Qatar
16
PROEXCLUSIVE
Samer Younes, TVSDC’s
consultant engineer says the
lighting at Qatar TV’s new studios
have been designed to
international standards.
As you drive down the streets of Qatar and
watch the landscape flicker past in a haze of
dust, you are as much likely to be struck by
how this country has retained its uniqueness
and escaped from an overdose of urbanism
while also having launched an iconic brand
such as Al Jazeera. Equally incongruous is
the quiet and rather unassuming compound
of Qatar Media Corporation, which houses the
likes of Al Jazeera and Qatar TV. It’s not until
you step into their facilities that you become
aware of the sophistication of their operations.
BroadcastPro Middle East had the exclusive
opportunity to tour four of the studios within
the compound – two brand new studios built
for Qatar TV, a new studio for Al Jazeera Sport
and the network’s Arabic studio. What all of
these facilities have in common is brand new,
state-of-the-art lighting technologies. Broadcast
lighting specialist and systems integrator Oasis
Enterprises was responsible for procuring
and integrating the lighting at each of these
four studios. The shining star among the four
studios is Qatar TV’s brand new 1100 sqm
studio, thought to be one of the largest in the
MENA region and equipped with some of the
latest lighting technologies in the world.
The brand new studio is part of a multimillion dollar project undertaken by Qatar Media
Corporation to revamp Qatar TV (QTV) in its
In Brief
Clients:
1. Television Support Development Committee, Qatar
2. Al Jazeera Network
Systems Integrator: Oasis Enterprises
Objective: To install the latest lighting
technology at four studios
Key brands supplied: DeSisti, ETC and Coemar
“We have now put in place a full 3G/HD studio
with file-based solutions and the best lighting
system on the market to ensure that [Qatar TV] is
well armed to compete in the MENA marketplace”
Samer Younes, consultant engineer, TVSDC/QTV project
17
PROEXCLUSIVE
Left: Pictured is the new control room that is connected to
the new 1100 sqm studio built for Qatar TV. The studio is
equipped with 166 mini motorised hoists.
“This is the only studio in the region to be
equipped with such a large number of LED fresnel units
and they are a brand new technology from DeSisti”
Karim Abdel Massih, lighting system manager — Professional Projects Division, Oasis Enterprises
entirety and undertake a couple of new
launches as well under the QTV umbrella.
The finishing touches are also being
put to a brand new 5000 sqm building
that will be the home of Qatar TV in a
few months. The building will house
21 HD edit suites, we are told. On the
ground floor of the building, we had
a sneak peak of a second brand new
news centre that will be utilised for the
channel’s news programming. An earth
station – QTV’s first — was also delivered
in Summer 2012 as part of this project.
Several new people are being hired to
man the operations at the new facility.
“Qatar TV has plans to bring new
programmes to the market and
launch more channels,” confirms
consultant engineer for the project
at Qatar TV, Samer Younes.
“It required a new facility that would
enable it to undertake its ambitious vision
of creating better content, providing
better news coverage and so on. Before,
they were limited to two small studios
Innovat ing t he Fut ure o f G l o ba l Co mmunic at io ns
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To learn more about how VLink can
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Vlink_175x110_BroadcastPRO_ME_IBC2012.indd 1
See us in
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Theaward-winning
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MediorNet
Compact
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with analogue systems. We have now
put in place a full 3G/HD studio with
file-based solutions and the best lighting
system on the market to ensure that they
are well armed to compete in the MENA
marketplace. Besides the high-end Sony
cameras in our studios, we have invested
in RED cameras and have placed an order
for some Blackmagic Design cameras
as well to enable field productions.”
The 1100 sqm studio is a massive
facility that can accommodate four
different sets at any given time. It
has been fitted out with a whopping
196 hoists – 166 motorised mini
hoists and 30 scenery hoists from
Desisti – and 288 pantographs. More
importantly, this studio is equipped
with the latest LED fresnel lights and
has been designed to accommodate
varying productions for Qatar TV.
“This is the only studio in the region
to be equipped with such a large
number of LED fresnel units and they
are a brand new technology from
DeSisti,” says Karim Abdel Massih,
lighting system manager - Professional
Projects Division, Oasis Enterprises.
“In addition, all of the hoists in this
studio are motorised and each hoist has
four outputs — two dimmable and two
non-dimmable circuits as well as a DMX
data output to control intelligent fixtures.
The scenery hoists have a self working
Above: The 1100 sqm studio at Qatar TV is equipped with
166 motorised mini hoists.
Below: The modularity of the ETC dimmer system makes
replacement and maintenance easy.
s at
See u
IBC
0,
Hall 1 31
10.A
Booth
• Synchronized 50G real-time network
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Qvest Media
Dubai Media City
Tel: +971 - 4 433 8108
www.qvestmedia.ae
21
PROEXCLUSIVE
At Al Jazeera Arabic’s news centre, different colour backgrounds can be used to reflect the mood of the programme.
Al Jazeera Arabic
LED upgraDE savEs powEr
Qatari national and senior
cameraman Fahad Essa Al Kaabi
undertook the redesign of the
lighting at Al Jazeera Arabic.
Al Jazeera Arabic recently upgraded
its ten-year-old lighting solution
from ETC to LED kit from DeSisti,
ETC and Coemar. The entire redesign
and architecture at the channel was
undertaken by Qatari national and
senior cameraman at Al Jazeera
Channel’s technical operations
department, Fahad Essa Al Kaabi. The
project was completed in July 2012.
Al Kaabi chose the placement
of the different lights including
the LEDs and luminaires to create
different moods in the background
to reflect various news programmes.
“Previously, we had to change our
lamps every couple of weeks. The
old lights generate a lot of heat
and consume a lot of power. We
now have a new LED system that
allows for seven-colour mixing
around the newsroom to create
an attractive background and they
consume very little power. A new
control system has been put in
place to accommodate the number
of channels and LEDs. The old
console was not compatible with
the seven-colour mixing system. As
it’s a new installation and cabling
is difficult in the newsroom, we
also opted for a wireless system
from Lumen Radio Sweden that
is connected to all of the LED
lights. This is less cumbersome
and easier to operate,” he says.
Perhaps one of the biggest
challenges of upgrading the
lighting at this studio was dealing
with a 24/7 news operation.
“The channel is on air 24/7.
We had to work in between breaks
to complete the upgrade. Once
all of the units were replaced, we
undertook a training course for
the engineers and operators to
familiarise them with the system,”
explains Abdel Massih, who
project managed the installation
on behalf of Oasis Enterprises.
load (SWL) of 181 kg with a maximum
travel of 35 feet. Each of the four steel
lifting cables are 4mm in diameter,
constructed in (7 groups X 19 wires), with
a breaking force on each wire rope of at
least 1,200kgs. These are designed to lift
heavy equipment in the studio such as
decor, cars and so on that are required for
different productions.”
Besides this, Oasis has fitted out
power boxes on the catwalk, and
distributed them on the floor, the
walls and behind the curtains.
The project took a month to complete
and was delivered in July 2012.
The catwalk area for the studio has also
been designed to enable technicians to
service the luminaires, remove the hoists
and undertake maintenance work without
disrupting activities on the studio floor.
“Oasis undertook the entire installation
including the trunking, the infrastructure
and even, the brackets to be connected
to the high beams in the studio. The
screws and the accessories were
also shipped in from Rome. We were
reluctant to use any local accessories
as safety was our prime concern.”
22 engineers and technicians
worked to bring this project to fruition
owing to the tight deadline.
“Every detail has been carefully
planned,” adds consultant engineer for
Qatar TV, Samer Younes.
“Each hoist can be individually
controlled as they are all motorised. The
software allows our users to preset a
specific set up for each application and
you can just recall them based on what you
need. This can be controlled with an iPod.”
More importantly, the modularity of
the ETC system makes replacement
and maintenance easy.
“We have installed 3x72 modules for this
studio. To expand further, they just need
to add another rack or replace the present
one with a longer one,” chips in Massih.
Younes adds that the new lighting
technology makes it easier for QTV’s
operators as well.
“The big advantage of these systems is
that these hoists can be moved vertically
as well as horizontally. Most other hoists
only move vertically up and down so
there’s greater flexibility in terms of
tracking. This is unique to this studio. We
are also the only TV station in the Gulf to
have installed LED profiles at our studio.”
Qatar TV has also invested in a
PROEXCLUSIVE
RiLink
Global Fiber Service
From left: Samer Younes of TVSDC and Karim Abdel Massih of Oasis Enterprises.
brand new 500sqm studio that is fitted
with 100 mini hoists from DeSisti and
a combination of Tungsten and LED
Fresnel lights. The studio boasts a huge
Barco wall and several Sony cameras.
All four studios have been equipped
with rigging and luminaires from DeSisti
and ETC dimming and consoles.
The lighting element is only one
part of the larger picture at Qatar TV
although it forms a substantial chunk
of the end user’s investment. The rest
of the elements including two OB vans,
integration of the studios by Sony, MCRs
by Grass Valley among others are gradually
coming together for the big launch.
In the meantime, Oasis secured a deal
to undertake the lighting projects at all
three of Al Kass’ new studios in Qatar. PRO
“The big advantage ...
is that these hoists can
be moved vertically as
well as horizontally. Most
other hoists only move
vertically up and down so
there’s greater flexibility
in terms of tracking. This
is unique to this studio”
s at
See u
IBC
0,
Hall 1 31
10.A
Booth
Samer Younes, consultant engineer, TVSDC/QTV project
Al Jazeera Sport
STUDIO 7
Al Jazeera Sport recently took delivery of a brand
new studio. Oasis Enterprises undertook the lighting
installation for the same. The lighting, rigging and
dimming systems were installed at the facility. When
we visited the studio, several sets were being built
at the studio. This studio is fitted with 120 Desisti
motorised mini hoists, 50 pantographs and a large
number of 120W LED Fresnel lights from Desisti.
Besides that, this studio also uses the new sensor 3
dimming and switching rack from ETC.
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23
PROQATAR
Qatar TV
builds earth
station
Qatar TV’s first earth station
became operational last
month. In an exclusive
interview with BroadcastPro
Middle East, systems
integrator INC shares details
of the project
Qatar’s Television Support Development
Committee (TVSDC) recently undertook a
project that included developing an earth
station and enabling the transmission
of a new five-channel bouquet on two
different transponders, one belonging
to Arabsat and the other, to Nilesat.
The 3G/HD-SD/SDI-ready project was
undertaken by Dubai-based systems
integrator INC in conjunction with General
Dynamics (GD Satcom) and Ericsson.
“This is QTV’s first earth station although
there are many earth stations in Qatar
for other broadcast networks,” says
Samer Younes, consultant engineer
for TVSDC and Qatar TV projects.
“This will enable Qatar TV to
provide high-quality signals and add
more channels in the future without
any disruption or interference.”
The entire solution features a
satellite communication system that
presently supports up to five video
and audio services, two consisting
In Brief
Client: Television Support Development
Committee (TVSDC), Qatar
Systems integrator: INC
System Integrations
Objective: Transmission of a new fivechannel bouquet
PROQATAR
“The first phase required building the foundation
and shelter room, prior to the installation of
electronics and a mechanical system for the
antennas. In phase two, both systems were
installed, configured and commissioned while
system two was completed in phase three”
Tariq Qahwaji, operations manager, INC System Integrations
of a high definition (HD) package. It
can be further expanded in the future
to accommodate two additional TV
channels. All carriers are multiplexed
in the same carrier at 22 megabitsper-second (Mbps) and transmitted
simultaneously on Arabsat and Nilesat.
The compression system for this project
was integrated and commissioned by
Ericsson while GD Satcom integrated and
commissioned the transmission system.
Tariq Qahwaji, operations manager
at INC System Integrations, says
the project was strategically broken
down into three phases to comply
with the client’s deadline.
“Two of our teams worked in parallel
on site to meet the deadline. The first
team included systems engineers while
the second team had experienced
mechanical engineers. The first phase
required building the foundation and the
shelter room, prior to the installation
of electronics and a mechanical system
for the antennas. In phase two, both
systems were installed, configured and
commissioned while the second system
was completed in phase three,” he says.
The end user’s main aim was to have
its own teleport for transmitting its fivechannel bouquet — DVB-S2 modulated
carrier — on Arabsat and Nilesat satellites.
The DVB-S2 modulated carrier carries the
three SD channels and two HD channels.
The setup can be expanded to add
two more channels to the new bouquet
in the near future and transmit data
packages as well for home users
if the flexibility is required.
“The dynamic nature of projects of this
scope and magnitude is best exemplified
by the significant modifications
made during the design phase of this
project. These changes were made in
a collaborative manner while soliciting
and obtaining end user input that was
used in crafting the final equipment
configurations. Using a very interactive
and collaborative design approach, our
team was able to deliver a comprehensive
solution to the customer,” adds Qahwaji.
This equipment was chosen because
it is state-of-the-art and due to the fast
delivery time. As the project included a
completely new installation, it was not
integrated with any other systems. The new earth station, however,
has been integrated with the new
channels through fiber links between
the shelter, which houses the new
systems, and the baseband facility.
The aggressive project delivery schedule
was perhaps the main and most critical
challenge facing the team. The risks
associated with being late and missing
the contractual delivery requirements
were mitigated through a combination of
careful and thoughtful planning and close
coordination between INC and GD Satcom,
says Adeeb Abed, general manager of
broadcast, INC System Integrations.
“We had a three-month time frame
within which the work had to be completed
since the time the contract was awarded.
The first system was commissioned
including carrier line-up in March, 2012.
The second station was commissioned
and accepted by the end user in April
2012. We had only three months to
complete and deliver both systems to the
end user, so that they could broadcast
their services as scheduled. But at the
end, we successfully handed over both
systems as requested by the end user.”
That was made possible thanks to a
bold decision made early in the project
life cycle to air cargo all of the project
materials, which dramatically reduced
the time to get project materials on
the job site, according to Abed.
It enabled the project to begin the site
activation four to six weeks earlier than
would have been possible otherwise.
“The team carefully assessed the
complexity of the site layout and limited
time frame in order to come up with
a site activation plan that was based
on working efficiently and with great
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25
PROQATAR
From left: Operations manager Tariq Qahwaji and general manager Adeeb Abed of INC System Integrations.
“The team carefully assessed the
complexity of the site layout and
limited time frame in order to come
up with a site activation plan that was
based on working efficiently and with
... precision, as any mistakes would
inevitably cost the project valuable time”
Adeeb Abed, general manager of broadcast, INC System Integrations
Clockwise from top : xxxxx xxxxxxx
xxxxxxx x xxxxxxx xxxxxxx xxxxxxx x
xxxxxxx xxxxxxx xxxxxxx x xxxxxxx xxxxxxx
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precision, as any mistakes would inevitably cost
the project valuable time and result in failure to
meet the project delivery schedule,” says Abed.
He says the close coordination between GD
Satcom and INC made it possible for the team to
execute the project to the end customer on time.
The systems design incorporates auto
redundancy at all levels to guarantee
its operational integrity in the event of
an equipment failure. Using this design
approach, a restoration plan is executed
automatically in case of failure in order to
recover data and maintain service, he adds.
The team was significantly involved in the
planning of the project life cycle to mitigate
the risks and anticipate delays once the
construction phase had been deployed.
“Planning activities were mutually developed
by INC and GD Satcom to clearly detail all project
activities and provide all project participants
with a fully integrated project schedule. An
extensive virtual design review meeting was
conducted early in the project life cycle,
enabling necessary changes to be made to the
system configuration without delaying the
overall project completion date,” adds Abed.
An early and thorough site survey was
performed by an assigned GD Satcom expert.
The engineer surveyed the site location and
collaborated extensively with INC and the
end user during the visit to the job site.
An experienced field engineer prepared a site
layout plan needed to design and accommodate
multiple antennas with line of sight to the
entire satellite arc without interference. Using
information from the site survey, the site
activation phase was then planned in greater
detail, to accommodate the time required for site
prep work, civil works, and a site readiness visit.
As the civil works and site preparation
work progressed, the satcom systems
supplier organised a second trip to the site
for a site readiness visit. The scope of this
trip included a verification of the proper
location and placement of the foundation
embedded hardware prior to the pouring of the
concrete for the two main 7.3M antennas.
“Good engineering practices and
necessary checks and balances helped
avoid potential delays,” says Qahwaji.
“Finally, all of the electronics equipment were
fully integrated and tested in the factory prior
to shipment to the site. This is a critical and
necessary step to ultimately ensure a smooth and
timely execution of the field installation, test and
commissioning. Any problems or issues that arise
during this factory integration and test phase
can be fixed quickly and efficiently in the factory
setting, consuming significantly less time and
effort than if the problems were to be discovered
in the field during site activation,” he adds.
Comprehensive customer training was
provided to ensure key operational and
maintenance personnel were certified to operate
and maintain all of the project equipment. “This training was specifically tailored
to the needs and experience levels of the
trainees. The proper level of training ensures
that the end customer will be able to properly
operate and maintain the equipment.
This assures both the protection and long
life of the earth station equipment and a
high level of customer satisfaction in their
capital investment,” adds INC’s Abed.
Accelerated project completion was
successfully facilitated by establishing a
detailed design review in the early stages
of the project including identifying and
finalising the shipment of key components
to meeting the scheduled deadline.
INC adds that the timely completion of
the project was possible owing to careful
planning and close cooperation between
INC, GD Satcom and the TVSDC staff. PRO
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PROEXCLUSIVE
PROJORDAN
ART chooses IP
delivery for Ramadan
programming
Arab Radio and TV, Jordan, recently opted for IP
over satellite to transport its Ramadan content
from its headquarters in Jordan to its distribution
centre in Italy. In an exclusive interview with
Vijaya Cherian, ART’s general manager of
broadcast operations, Mustafa Tell, and the team
from solutions provider ONE Media Corp share
details of the technology that has revolutionised
broadcasting in the Hashemite Kingdom
30
Jordan-based pay TV network ART recently opted for
an IP alternative to transmit its video services for
Ramadan to its distribution centre in Italy instead
of employing the traditional satellite route. The
installation, undertaken with the help of US-based
ONE Media Corp, helped ART reduce the cost
of distributing its video services by almost 80%,
according to Mustafa Tell, general manager of Arab
Radio and Television Broadcasting Operations.
“Normally, it would have cost us about USD 45,00050,000 to uplink Ramadan programming over satellite
PROJORDAN
to our distribution centre. We have reduced
our costs substantially by using ONE Media
Corp’s ONE CONNXT IP solution,” says Tell.
Seeing the results, other TV operators in
the Middle East are also mulling the use of IP
instead of satellite. Some, like Jordan Radio
& Television, are considering the use of this
technology to broadcast matches from the
stadiums back to the TV station. Others are
considering packaging a whole channel and using
this technology to send it to distribution centres
while still others are thinking of this technology
as a more cost-effective backup to satellite.
In July 2012, IP tests were conducted at Jordan
Media City and according to Tell, “our engineers
were blown by what this technology could do”.
Interestingly, the chief developer of the ONE
CONNXT solution is Fadi Kahhaleh, a Jordanian
American. The ONE CONNXT technology works
very similarly to satellite. The system has an
encoder box installed at the sender’s end and a
decoder box at the receiver’s end. Both boxes are
developed by ONE CONNXT. Video feeds from
different sources, whether tapes or servers, are
sent to the encoder. The decoder that is matched
with this encoder is then permitted to receive
the video feeds, view, record and play it back.
Although ART has deployed this system,
it is not moving its bouquet entirely
away from satellite to IP delivery. It is
merely looking at the most cost effective
options to transport video effectively.
One of the big concerns that most parties
raise in such cases is how this would work
in areas where broadband is poor.
However, ONE Media Corp’s CEO Dave
Almstead says the technology and algorithms
it has created enables video to be transported
“from anywhere in the world on a pointto-point or a point-to-multipoint basis.”
“We have used this successfully to transport
video and it is far less expensive than satellite.
We’ve been using it since August 2011,
taking four channels of video from Singapore
to the US 24/7 and bringing that back and
then distributing it out to the network.
“We specifically developed the One World
Sports channel bringing sports video from
Asia (Singapore) back to the US. When we
looked at our budgets initially to do this, one
of the things that became very clear was that
transporting 1500 hours of satellite video
a year with two hubs across such a long
distance was going to be an insurmountable
amount of money to make in order to make
the business work. As a result, we went with
Lights, camera, action
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broadcast cables and infrastructure products.
Opposite page: ART’s HQ in Jordan.
Above: The ONE CONNXT box.
In Brief
Client:
Arab Radio and TV, Jordan
Solutions Provider:
ONE Media Corp
Objective:
To offer an efficient IP
service for the distribution
of content from the main
provider in Jordan Media City,
Amman to the distribution
centre in Avezzano, Italy.
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PROJORDAN
Mustafa Tell says ART saved 80% of costs it would normally incur by resorting to IP for the delivery of its Ramadan programming.
IP. After a couple of months of operating
it, ONE Media Corp realised we had a
technology that was worth sharing with
other broadcasters,” says Almstead.
“ART saw the value particularly in this
current market place where revenues
aren’t continuing to rise at double digit
rates every year. If you can get the same
quality, security and dependability
then this was an effective way for
them to manage their bottom line.”
The change at the transport level will not
impact the end user in any way as it’s only
from ART to its distribution point, says Tell.
It’s a game changer for new broadcasters
with small budgets, adds Almstead.
“If you’re a new broadcaster, you have
to think of substantial infrastructure
costs to uplink and downlink to a satellite.
The costs to put in the infrastructure
and maintain a satellite channel runs
into a few hundred thousand dollars.
The cost of transport for a year 24/7/365
depending upon how many locations are
going point to point will begin from USD
30,000. IP’s annual cost is about a month’s
worth of satellite costs,” adds Tell.
Going with the IP service merely entailed
deploying two ONE CONNXT boxes and
having a fairly decent internet connection,
says Tell.
“We tested this in multiple places. When
we first received the system, we tested
it in Singapore and the United States
and everyone said it’s because they have
a good internet connection. They said
the same about Italy and Europe. Our
engineers in Jordan are all accustomed
to satellite services and have worked in a
satellite environment so they didn’t think
it would work. So we decided to test it in
Jordan. We tested it for a week and there
were absolutely no issues,” adds Tell.
Almstead adds that people have
often been sceptical about IP services
because of the paucity of broadband
connectivity, which they invariably
link with wireless connections.
“People link wireless with broadband
and wireless no matter where it is, has
always been notoriously poor. It has
all kinds of failed possibilities, because
wireless adjusts to interference.”
One of the biggest challenges for the
team, therefore, was to convince the
engineers that it would work, says Paul
Dingwitz, CTO of ONE Media Corp.
“It is convincing people to move
out of the mindset that IP means low
internet quality. So, in Jordan, we had
a group of six engineers come and look
at the quality without giving them the
technical specifications. We asked them
simply to look at the picture and give us
their feedback. They were astounded.
They assumed it would be a high-end
10-15 megabit SD signal and when
we gave them our specs, their eyes
popped. If they hadn’t seen it in person,
they would never have believed it.”
ART itself has a lot of internal convincing
to do to take it any further than it has now.
The Ramadan programming was
appropriate for conducting tests as the
drama series tend to come in late, says Tell.
“We usually send them to our centre
in Italy and it costs USD 45,000-50,000
to do that for the whole month of
Ramadan on satellite. The annual cost
of IP delivery is less than that so we
decided we’ll try it as it is not live. It
actually comes in bits and pieces so it
was easy to send to our broadcast centre
in Italy. From Italy, it is broadcast to the
Americas and Australia. From Jordan,
we broadcast it to the Arab world.
“If our engineers are 100%
convinced, we may look to expand
our efforts with this service.”
Tell adds, however, that ART will
continue to use satellite extensively.
“We are using a combination of fiber and
satellite to send content to the Americas
and Australia presently and there, we
would like to switch to IP. The ones in
the Middle East will continue to be kept
on satellite because we have long term
partnerships with satellite providers
here and there’s more resistance from
the traditional users. We need to stress
that we’re not thinking of sending our
channels to the customers from the
internet, we are thinking of sending it only
to our distribution centres,” adds Tell.
The distribution centres itself require
no additional infrastructure to undertake
this project, explains Dingwitz.
“We are using existing infrastructure
that is already in place because the system
is very flexible and the requirements are
not so stringent. Generally, a business
level internet connection that has 3-4
megabits available for SD and a little bit
higher than that for HD will do for our
work. We can go substantially lower than
that with bit rates to achieve the same
quality. Right now, we have tested with
Italy, Jordan and Egypt. We are checking
the specs and they already have that.
“The bit rate in this case is adapted
based on the content and not so much
the connection speed. So, for high motion
content, the bit rates are higher while for
lower motion content it drops down. If it’s
a news channel or something with very
low motion, the efficiency is astonishing.
If it’s a sports channel with high motion
football or cricket, the bit rates are slightly
higher because it’s more motion. So
traditional internet thinking is adaptive
bit rate meaning if the connection speed
at my house is lower it adapts to that
and the quality gets worse and worse.
PROJORDAN
From left: Fadi Kahhaleh, chief developer of ONE CONNXT;
CTO Paul Dingwitz and CEO Dave Almstead of ONE Media
Corp Inc; and Mustafa Tell of ART, Jordan.
“It is convincing people to move out of the mindset
that IP means low internet quality. So, in Jordan, we
had a group of six engineers come and look at the
quality without giving them the technical specifications.
We asked them simply to look at the picture and
give us their feedback. They were astounded”
Paul Dingwitz, CTO, ONE Media Corp.
But our technology is based on the
content itself, so that doesn’t happen.”
Almstead declares that the big
difference between what went before
in terms of IP capability was that it was
created for the IT world and stretched
to meet the demands of broadcasters.
“This IP service has been built by
broadcasters for broadcasters. We are our
own client. We’ve been using One World
Sports for a long time and done some work
with Fox sports on high motion ice hockey.
We send signals from Australia to Toronto,
from Singapore to London and from
Italy to New York. It’s worked thus far.”
In fact, the solution is offered as
a managed service to end users.
“We have a master control staff that
manages, watches and keeps track of
all the statistics so we’re proactively
monitoring it. It’s no different than a
master control would at a teleport facility
or a channel. Our engineers often know
that there’re problems even before the
operational people do at the facilities,
so we’re proactively working with the
teams at each location, and that’s key
for broadcasters,” explains Almstead.
If the internet stops working, the team
explains that there are mechanisms
in place “to adjust to outages”.
“Outages occur no matter what
platform you’re using whether its satellite,
fiber or IP, and you just have to be able
to adjust to those outages and work
around those,” explains CTO Dingwitz.
“There’re many different levels of
outages — local, global and continental.
We work with each content provider
and broadcaster to determine which
level they want to adjust for and
sometimes it’s for all levels, and we have
mechanisms in place to put up slates or
alternate footage if there’re outages.”
Tell adds that issues with satellites are
just as prevalent although less publicised.
“We have a lot of cases where we
actually had problems with the satellites,
and not necessarily with the satellite
itself but from the uplink station or the
reception or the receiving station. It’s
the same risk wherever you go. The
difference is, here you’re paying much
less for a similar service. Actually, the
money I save could be used to invest
in a backup system,” he adds.
Almstead adds that the biggest
concerns that spring to one’s mind when
they talk of IP is lack of stability and
quality, and these have been addressed
successfully by the company.
Seeing what this company is offering,
a satellite solutions provider in the
Middle East that is running out of
capacity is also looking at a potential IP
service to offer broadcasters, we hear.
“They themselves would like to use
IP to save their satellite capacity. Of
course, we cannot connect from house
to house so they still need satellite
for all of that,” explains Almstead.
Tell adds that the reason ART
also went for a solution from this IP
provider was because its solutions are
primarily “software configured”.
“With this provider, we don’t have
to have different boxes in our service
for HD or SD. The same equipment
supports both formats. Every other
one has grade 1 or grade 2 boxes and
if you want to upgrade from SD to HD,
you will have to go for another box.
This is entirely software configured”.
So does this mean the beginning of
the end for the satellite business?
Not really, laughs Almstead.
“The satellite business is a big and
strong business on several different
fronts and can take care of itself. I was
shocked to hear at the Washington DC
satellite convention that 75% of satellite
capacity is being accessed for DTH
distribution. Having said that, IP services
are catching up and offering a more cost
effective alternative to satellite that
end users are studying carefully.” PRO
PROVIEWPOINT
Sharjah Radio deploys
digital audio archive
Sharjah Radio recently took
delivery of a dira! digital audio
archive solution that was designed,
developed, installed and integrated
by German manufacturer and systems
integrator SCISYS. BroadcastPro ME
brings you an exclusive case study
IN BRIEF
Client: Sharjah Radio
Systems integrator: SCISYS, Germany
In June 2012, Sharjah Radio undertook the installation
of a dira! digital audio archive solution along with
SCISYS at its facility. The audio archive solution
complements a dira production and playout system that
was deployed by SCISYS at Sharjah Radio a year ago.
The two solutions have been seamlessly integrated and
will enable Sharjah Radio to retain an audio repository for
frequently used items in radio production and playout; preserve
audio content produced daily by Sharjah FM and in the long
run, replace Sharjah FM’s present CD-based audio library.
“Sharjah Media Corporation’s (SMC) present audio
library is purely CD based,” explains Dr. Khalid Omar
Al Midfa, director of Sharjah Radio and TV.
“The CD library will be ingested step-by-step to the dira digital
PROSHARJAH
“We had a flexible project management
style that helped address those issues and
deliver the project a week ahead of schedule”
Wael Yasin, sales and key account manager, Media Broadcasting Solutions, SCISYS.
Above: Sharjah Radio
and below: Sharjah
Media Corporation’s
headquarters.
audio archive. In the meantime, content that is
created with the dira production and playout
system is already being transferred in a fully
automated process to the audio archive. Once all
of that audio is ingested, the new digital audio
archive solution will enable SMC to protect and
conserve 40 years of audio heritage created
by Sharjah Radio since its launch in 1972.”
The new project includes redundant storage
units with sufficient capacity for 40,000 hours
of linear audio connected to the previous
system for audio management, asset metadata
and central scheduling services; two ingest
workstations to ingest and edit audio and
metadata entries including software packages
for the import of audio directly from CDs
and for writing audio on CDs; and dira Multisite and Connect functionality for seamless
integration and data exchange between the
production, playout and audio archive systems.
The audio archive solution integrates
seamlessly with the existing broadcast
environment with a RAID-protected central
database for metadata and schedules;
and another for central audio production
storage along with redundancy for both.
Nine production and programme planning
workstations are part of this project. Four are
being utilised for production and audio editing,
import of audio and editorial functions and
metadata handling; while two workstations are
allocated for the creation of on-air schedules
and three additional workstations enable
the supervision of programme content.
A new studio area includes workstations in a
fail-safe setup for automatic, semi-automatic and
manual on-air playout including on-air crossfade preparation software as well as for off-air
pre-production; two playout workstations for
on-air live broadcasting including connectivity
to Studer on-air mixing consoles and one
dira Autorecorder workstation for recording
up to two stereo channels simultaneously.
SCISYS was also responsible for procuring
all of the relevant hardware components
required for factory assembly and integration.
“Initially, we anticipated a delay owing
to supply shortages caused by the floods
in Thailand, which led to unpredictable
delivery times for storage media,” explains
Wael Yasin, sales and key account manager,
Media Broadcasting Solutions, SCISYS.
“But we had a flexible project management
style that helped address those issues and
deliver the project a week ahead of schedule.”
The system was pre-configured at SCISYS’
factory site in Bochum, Germany. Most of the
required modifications to the radio production
and automation system were prepared in
advance using a remote connection.
After shipment, the SCISYS project team
came down to Sharjah for on-site installation
and final configuration of the equipment.
All of the servers, storage technology and
workstations utilised for this project are based
on HP components while the dira software has
been developed by the Media Broadcasting
Solutions division of SCISYS Deutschland GmbH.
Two HP Proliant DL 380 G7 servers host
the dira Archserv database for metadata,
its Schedserv database for schedules and
an internal Mediaserv storage for audio
in redundant configuration for the dira
production and playout system. This
solution is run on a Windows platform.
With regards to the audio archive system, the
server hosts a second instance of dira Archserv
in redundant configuration. On a standard
basis, both servers split up the functionality
between themselves (server 1 serves Archserv
and Mediaserv requests while server 2 serves
Schedserv and Mediaserv requests). In case of
an outage, however, one server will automatically
take over all functionality from the other.
37
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PROSHARJAH
SMC will eventually create a digital audio archive
to conserve 40 years of Sharjah’s audio heritage, says
Dr. Khalid Al Midfa, director of Sharjah Radio and TV.
Two HP D2600 storage arrays are
used for storage for the dira digital
audio archive. The initial configuration
sees 36 TB per enclosure offered in
RAID 5 configuration with 24 TB net
capacity in redundant configuration.
A key element of this project was
integrating dira’s production and playout
system with the new archive solution.
“This integration enables our staff
to search, browse and access content
from both databases, and easily transfer
it to their own work space,” explains
Mohamed Khalaf, head of Sharjah Radio.
“dira Multisite provides seamless
access to both the audio archive and
the production and playout system.
Multisite transparently groups one or
more secondary dira instances onto
the local workspace of our staff. In this
case, the production and playout system
plays the role of a home site and the
audio archive becomes a remote site.”
It allows working on the other site
as if it was the home system. Based on
the set of user rights enabled, it allows
searching, browsing and creating content
on the selected site without limitations.
The secondary site at Sharjah FM
is the archive system which can be
accessed from the production system,
according to the defined rights
structure. The search criteria covers
the entire range of relational search
that is supported in dira Highlander.
dira Connect enables the automatic
exchange of content between both
databases by making use of transfer
folders. When users drop content into
a transfer folder for export, content
will be automatically transferred
into the other database as well
according to pre-defined rules.
One element that has been
key to this installation has been
ensuring a common user interface
for all different applications.
“Instead of separate user interfaces
and applications for various content types
such as spoken word and script items,
the dira system here presents a single,
unified front end to all media stocks
without sacrificing any metadata quality.
“Highlander allows for an arbitrary
number of metadata sets through
the definitions of views on the
audio material and secondary items
that include presenter texts and
notes,” explains SCISYS’s Yasin.
With all items sharing the superset
of all metadata internally, Highlander
only provides the user with information
actually valid for the item – in a userconfigurable view that can present
the most valid information first. So, a
religious song, can for example, show
the artist and author first while a
commercial spot can show the advertiser
and the times to run it as some of
the most prominent data fields.
The integration between dira’s production and playout,
and audio archive system will provide greater flexibility
to staff, says Mohamed Khalaf, head of Sharjah Radio.
The actual metadata set available to
an item is determined when creating
it, by selecting an appropriate, predefined template for the piece. The
actual amount of data on any template
is determined by the customer.
Having the audio and its annotation
stored is, however, only the first step,
says Yasin.
Finding and using it is the process that
really counts.
“To enable global, easy retrieval, the
standard, flat audio store architecture
has been replaced with a nested,
Explorer-like store configuration that
can be browsed. Also, the filters and
searches can exceed the boundaries of
a store, thus making it possible to find
material wherever it may exist in the
“Multi-language support of the software including
Arabic language and related right-to-left workflows
was mandatory. This solution supports English and
Arabic end to end. In addition, because of the seamless
nature of this environment, it appears as if our users
are working on one database only, although they
are actually working on two separate platforms”
Wigdan Nassr-Abd Alrahman, project manager, Sharjah Media Corporation
39
PROSHARJAH
The new system is
scalable in terms of
storage and eases
potential migrations
to next generation
storages without
the need to access
external offline
media, says Wael
Yasin, sales and key
account manager,
Media Broadcasting
Solutions, SCISYS.
Hamad Abdelrazaq, head of Engineering, SMC.
system with just one query,” Yasin adds.
After finding the material, a helpful
step is to organise it into a project store.
Journalists can collect as many different
materials as they require in one place.
A sophisticated rights management
feature allows users to see only the stores
relevant for their work. Audio elements
are only transferrable to the next working
step depending on their process status.
Once an item is cleared for
transmission, it is also automatically
transferred to the archive import store if
it has not been archived before. Here, it
will await the completion of any missing
metadata information before it is finally
moved to its final archive destination.
In the meantime, archived content
that needs to be rebroadcast can be
transferred to playout and production
using dira Multisite’s drag and drop
functionality in dira! Highlander.
Sharjah Media Corporation’s project
manager Wigdan Nassr-Abd Alrahman,
adds that Arabic-language support
was a vital part of this solution.
“Multi-language support of the software
including Arabic language and related
right-to-left workflows was mandatory.
This solution supports English and Arabic
end to end. In addition, because of the
seamless nature of this environment, it
appears as if our users are working on one
database only, although they are actually
working on two separate platforms.”
The solution is entirely disc-based,
Yasin of SCISYS adds, explaining that
it relies entirely on online media.
“Unnecessary delay times in data
retrieval as known from tape based
solutions have been avoided as a result.
Further, this solution is scalable in terms
of storage and eases potential migrations
to next generation storages without the
need to access external offline media.”
With this system, the default
audio format within Sharjah Radio’s
archive system is set to a linear
audio format with a sample rate of
48 kHz and a word width of 16 Bit.
“The audio created in the dira
radio production and playout system
is produced in linear audio quality.
Therefore, we need not undertake
any further conversion before the
audio is transferred to the archive
storage. Ingested audio CDs and
other audio content are automatically
transcoded from their source format
to a linear audio format with a sample
rate of 48 kHz and a word width of
16 Bit during import,” adds Khalaf.
Prior to procuring the new solution,
an interim archive storage was created
in the dira production and playout
system at Sharjah Radio. The aim was
to complement the radio production
workflow with an adequate repository
for content that was already broadcast,
enabling easy migration to a long-term
archiving solution and implementing
workflows that can be applied in a single
production environment as well as
when an archive solution is deployed.
In addition to this, metadata
was a key element of this
installation, explains SCISYS.
“At the design stage itself, it was
mandated that specific metadata fields
must be completed during archiving. The
overall workflow ensures that all content
will contain the mandatory metadata
information before they are reused for
say, further playout,” explains Yasin.
It took SCISYS 14 days to implement
the solution on site. During this
period, training was conducted in both
Arabic and English for the end user.
The system went live on June 26
after the user was trained and the
audio was migrated from the interim
archives to its final archive destination.
“The project was successfully
delivered to budget and to schedule,”
says project manager Alrahman.
“We were happy with the on-site
installation and configuration, the
training that was delivered in both
Arabic and English and the final handover, which was accomplished within
two weeks of on-site work,” she adds.
Sharjah Radio’s playout system can
now be scaled up not just at one site
between one and several thousand
users but also across various multiple
sites connected across the country and
even the globe. Each broadcast site also
doubles up as a disaster recovery site.
“Everything we have undertaken
here with the new system is designed
to be scalable and has been future
proofed,” says Dr. Midfa.
“We have plans to expand our radio
operation. As we increase our efficiencies
with the new system, we will be able
to reallocate our human resources
to establish new services without
additional operational staff.” PRO
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PROINTERVIEW
Mohammad Saeed Al Shahi,
CEO of Strategy, Technology and
Executive Affairs, Dubai Media Inc.
DMI’s
star role
Mohammad Saeed Al Shahi was appointed CEO
of strategy, technology and executive affairs at
Dubai Media Inc. in March 2012. In an exclusive
interview with Vijaya Cherian, Al Shahi talks about
his role at the media entity and the changes
he has initiated to make the organisation more
competitive in the broadcast space
Congratulations on your new role.
I hear you have initiated several
changes since you joined DMI?
Thank you. I was appointed by HRH
Sheikh Maktoum bin Mohammed bin
Rashid Al Maktoum, deputy ruler of
Dubai and chairman of DMI to join the
media entity. I joined in March and
since my role is to oversee both the
technical and the executive affairs of
the entity, I have had to initiate several
changes across the organisation.
The one that required immediate
attention was our broadcast division.
We required a more sound technical
strategy than we have had in the past
and the last three months have been
spent designing a roadmap. We started
to develop our strategy. Our objective
is to migrate entirely to High Definition
(HD) and a tapeless infrastructure
PROINTERVIEW
where people can watch our programmes.
We also have a mobile app for iPhones and
Android devices. We are, however, looking
at potential alliances that will enhance
our initiatives in this area and we expect
to announce something big in Q1 2013.
We are very optimistic that we will
be able to ring in change and have put
together an aggressive technical plan to
ensure it all comes together within the
time scales we have planned. Part of those
efforts is to also hire people with new skills.
We are also mulling Digital TV and are
in discussions with several parties in the
region. On a parallel note, we are also
looking to expand our radio network.
Besides this, we are collaborating
with some international broadcasters on
knowledge sharing through projects.
Our focus now is to ensure that we
streamline our operations and work
more efficiently while keeping our
costs down, focus on new media, and
expand our international distribution.
by 2014 and we have started a few
projects to achieve that. This is a huge
chunk of what we will be doing.
We have also revisited our international
distribution strategy and are looking to
expand our reach into more markets
as part of the direction from our
chairman. As part of that, we are now
broadcasting our channels on AsiaSat
5 as well. Besides that, we are available
on Arabsat, Nilesat, Hotbird and Dish
Network in America. We have also gone
live with our HD channels on YahLive.
We believe the future is new media so we
are looking at this more closely. We have
a new media team that is about two years
old and looks after social media and all
digital media. We already have a presence
on Twitter and Facebook but will look to
see how we can be more active on that
front. On the other side, we have web sites
with live streaming and video-on-demand,
Any proud moments since you joined?
Yes indeed. I am very proud to say that
we covered the dhow race, which goes
on for around seven hours and heads
almost 160 kms into the sea, entirely
on our own. This is the first time in the
last two decades that a local team from
DMI has undertaken to cover this race
from A to Z, as every year it has sourced
people from the UK to come down and
do it. We are going to capitalise on our
inhouse resources more in the future.
DMI’s creative team recently won
around 20 programming awards, which is
“We have looked at
where we are today and
where we want to be in
the next two to three
years. Thus far, we seem
to have undertaken
upgrades in isolation.
Now, we need to have a
more unified workflow
so that all of our systems
are talking to each other”
Mohammad Saeed Al Shahi, CEO, DMI
probably the largest number of awards a
broadcaster has won at one given time.
We also launched six free-to-air sports
channels solely for the Olympics. Every
channel had a different feed highlighting
different sporting events. This is the
first time DMI has attempted this. We
also had some live content coming in
from London. Our Olympics web site
included live updates, live videos and
scores. Interestingly, we achieved this
without incurring additional costs.
Tell us more about Dubai Media Inc’s
broadcast strategy
Broadcast is about content and distributing
this content but also building the right
infrastructure to support the smooth flow
of content from production through the
different parts of the chain to multiple
platforms, whether cable, satellite, mobile
TV, connected TV or any other devices.
We want to be everywhere. We are even
looking at games now for the Xbox.
But DMI is a huge operation with so
many legacy systems. We have looked
at where we are today and where we
want to be in the next two to three years.
Thus far, we seem to have undertaken
upgrades in isolation. Now, we need to
have a more unified workflow so that all
of our systems are talking to each other.
For that, we first looked at all of the
projects we had at hand. We put those
on hold that are not aligned with our
overall technical strategy and have
begun executing those that are part of
our vision. Change cannot be wrought
overnight. We have such a huge operation
with so many studios, post production
suites, transmission and OB vans. We
are executing everything phase wise
and hope to achieve this ambitious
project within the next three years.
Phase 1 will hopefully be ready by
Q1 2013. Then there’s phase 2 and the
final phase 3 is when we will achieve
the overall goal of integrating all of our
departments including the technical
areas, the studios, the OB vans, post
production and other operations.
Our goal is to eventually move all
of DMI’s TV channels to HD by 2014,
restructure our transmission rooms to
adopt tapeless technology and superior
electronic archiving, extend our satellite
broadcast footprint and create an advanced
emergency transmission infrastructure.
45
PROINTERVIEW
“My main goal in coming to DMI is to improve
the quality of its products, bring in new ideas and
reduce costs. I believe, with the right team and
strategies, we are well placed to achieve that”
Mohammad Saeed Al Shahi, CEO, DMI
®
What are some of the projects
you have undertaken recently?
Our biggest news last month was
the relaunch of the DMI news
centre in Dubai Media City.
This has the largest floor space
and is perhaps the biggest news
centre in the entire Middle East.
It was inaugurated last month by His
Highness Sheikh Mohammed bin Rashid
Al Maktoum, vice president and prime
minister of the UAE and ruler of Dubai.
We have also begun production at our
new HD/3G studio. It is one of the largest
studios in the region and was upgraded
this summer by Qvest Media from SD
to HD with full 3G support. It’s a 1000
sqm studio with a state-of-the-art gallery
that is equipped with eight Grass Valley
3G LDK 8000 world camera systems.
What is your biggest challenge
in this new role?
Changing the mindset of the people is
probably the toughest. We are trying
to encourage people to adopt new
ways. It has been tough but overall, I
believe people have noticed a positive
change and they are adapting to it.
®
®
®
CEO Mohammad Saeed Al Shahi with
head of technology Afzal Lakdawala.
®
®
What budget do you have to
revamp your system?
We have never had an issue with
budget. However, we are now looking to
achieve a lot more with the same budget
and be more accountable instead of
incurring costs. Launching the Olympics
channels and covering the Dhow race
are examples of what we undertook
without investing more money.
We are carefully working towards
®
®
®
achieving our milestones. We are
undertaking a transmission project.
Previously, we used several different
systems for transmission.
Our plan now is to move to one
unified system so as to increase
quality and efficiency.
My main goal in coming to DMI is to
improve the quality of its products, bring
in new ideas and reduce costs. I believe,
with the right team and strategies,
we are well placed to achieve that.
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PROINTERVIEW
Afzal Lakdawala,
head of technology,
planning and projects, DMI.
will also be connected to our digital archive
from StorageTek, managed by Front Porch
Digital. The entire TX chain will be built
with 3G specs and support 3G broadcast.
»
Creative Department This year,
alongside the transmission project,we
will also revamp our creative department.
They presently have standalone
multiple edit suites. Again, we are
consolidating the creative department
so all NLEs, GFX machines and online
systems will be integrated with one
central storage. This central storage will
also be connected to our StorageTek
Archive and the entire infrastructure
will be built as per 3G specs and the
workflow will be completely file based.
»
Post Production Our post production
is running presently on the ISIS platform.
We have upgraded the ISIS platform to
integrate with Studio C, which is our first
HD/3G studio.This makes it easier for us to
have a file-based workflow from the studio
to post. The ISIS in post production is
already connected and integrated with our
StorageTek Archive which we implemented
along with the Olympics project this year.
»
Afzal Lakdawala
Head of Technology, Planning & Projects
DMI’s technical strategy
The new strategy is to migrate from our
existing tape-based SD format to a 3G/
HD file-based functionality and be able
to deliver our content across all media
platforms. We are no longer catering only
to a linear feed but to various platforms
in the market. We are one of the biggest
producers of local content and we want
it to be distributed everywhere.
Content storage
Right now, our library is tape based but this
will change eventually. As part of the first
phase of our roadmap, we have undertaken
the upgradation of our transmission project
that will be ready by Q1 2013. As part of this,
we have also installed an archiving system
from StorageTek managed by Front Porch.
Once that is in place, our transmission
master will be archived in digital format. This
will be ready within the next six months.
Though our StorageTek library is already
installed and commissioned, it is currently
being used only for production archives.
Once the archive library is integrated with
our transmission setup, we will prioritise our
requirement based on what is required on a
day-to-day basis. We will archive the current
content but archiving years of content is
a different task altogether. We’re talking
about thousands of hours of material. From
the time we decide to migrate, it’s going to
take years to migrate our entire library to
a digital format but the good part is that
we are heading in the right direction!
Projects in Progress:
»
Transmission We are working on
a number of projects simultaneously.
Presently, each channel at DMI has its
own transmission server and operates
in isolation. We are now migrating and
consolidating all of our channels into one
centralised workflow so all of them will play
out from one Omneon server controlled by
Pebble Beach automation. This, in turn,
Studios We recently upgraded Studio
C to a HD/3G file-based operation and
will undertake the same upgrade with
the rest of our studios as well in phases.
»
Microwave We are currently upgrading
our microwave links. Previously, we
had analogue lines running from Dubai
World Trade Centre to DMI. This year,
we have upgraded them to fiber so the
entire chain from the time we cover an
event on location to the time the signal
reaches our MCR, is completely digital.
Similarly, we are upgrading our SNG
system from MPEG2 compression
systems to MPEG4 as there will be
better utilisation of the bandwidth.
»
News Centre This year, as part of
phase 1, we have already upgraded our
news centre infrastructure to support HD
file-based functionality which includes
an Avid inews system along with ISIS,
Vizrt systems and Prysm Video Wall.
In phase 2, we will upgrade all of our
cameras, galleries and the MCR to support
3G specs, so the entire news centre
will be ready to handle HD file-based
workflow by the end of Q2 2013. PRO
PROXXXXX
This year’s IBC will see a host of
announcements around connected TV
standard HbbTV (Hybrid Broadcast
Broadband Television). Since it
was first announced in 2009, the
standard has grown in both scale
and importance with several market
deployments since last year, and HbbTV
itself continuing to develop with the
publication of the specs for version 1.5.
So what is HbbTV and why does
the connected TV market need it?
HbbTV and
connected TV
Hybrid Broadcast Broadband Television (HbbTV) has
become vital to the success of connected TV as it
enables content providers to offer their services on a wide
variety of standards-based receivers at no additional cost
49
PROTECH
Keith Potter.
HbbTV is a standard established to
harmonise the delivery of connected TV
services to the home and designed as an
alternative to proprietary systems. HbbTV
combines elements of OIPF (Open IPTV
Forum), CEA, DVB and W3C. Essentially, it
uses web-based standards to create an open
delivery solution that works in tandem –
meaning it can have a direct association with
– broadcast services.
HbbTV has now become a de-facto market
standard, beginning in Europe although it has
“Broadcasters and TV receiver manufacturers
have a vital interest in HbbTV being a success
to avoid their world becoming a legacy content
platform and to avoid the large investment and
distraction of proprietary platforms that don’t
have the economies of scale to be cost effective”
attracted interest from broadcasters and
platform providers around the world.
The connected TV market is currently
fragmented with a variety of proprietary
services that are causing consumer
confusion and not encouraging mass-market
adoption. Most of the major CE brands in
the TV space have now launched their own
connected TV portals and they do represent
a challenge to broadcasters. But these are
presented as an app-based user experience
that’s totally disconnected from the normal
TV content distribution model. Broadcasters
have the advantage of being able to leverage
their brands, content archives and, most
importantly, to provide services as a
natural adjunct to the dominant linear TV
consumption model.
HbbTV is a public standard and is vital
to the success of connected TV. It enables
content providers – whether broadcasters
or not – to offer their services on a wide
variety of standards-based receivers with
no additional cost. A well administered
standard will drive a retail market – witness
Freeview with its use of MPEG as a
middleware in the UK market for the kind
of success that’s achievable. There’s a desire
to standardise the creation and delivery
of connected TV to create a mass market,
a market that’s easy for consumers to
understand and take advantage of.
HbbTV also provides services that can be
directly linked to the broadcast experience,
indeed linked to individual channels and
programmes, with content controlled by
broadcasters. It also enables broadcasters in
conjunction with brands, to offer engaging
and interactive advertising campaigns.
The next version of HbbTV introduces
support for HTTP adaptive streaming
based on the recently published MPEGDASH specification, improving the
perceived quality of video presentation
on busy or slow internet connections. It
also enables content providers to protect
DASH-delivered content with potentially
multiple DRM technologies based on the
MPEG CENC specification, improving
efficiency in markets where more than one
DRM technology will be used. Version 1.5
enhances access to broadcast TV schedule
information, enabling operators to produce
full seven-day electronic programme guides
as HbbTV applications that can be deployed
across all HbbTV receivers to provide a
consistent user experience.
Vigilance and a responsible attitude to
deployment are required to continue the
early success of HbbTV. Broadcasters and
TV receiver manufacturers have a vital
interest in HbbTV being a success to avoid
their world becoming a legacy content
platform and to avoid the large investment
and distraction of proprietary platforms
that don’t have the economies of scale to
be cost effective.
HbbTV will be the first mass-market
application platform deployed across
multiple countries, so HbbTV content
providers have the advantage of many
compatible devices, but the potential
disadvantage of interoperability issues.
HbbTV is relatively cheap for manufactures
to implement, but some industry
insiders have noted that a self-certified
compliance regime – which is what HbbTV
is adopting - is akin to marking your own
homework. Broadcasters need to work
with manufacturers to ensure receivers are
validated and compliant to specifications
and so avoid costs and poor user
experiences.
Ensuring HbbTV application conformance
is fundamental to the success of the
connected TV standard and we’ll see some
solutions at IBC that harness the power of
this standard. PRO
Keith Potter is CEO of
Digital TV Labs
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PROKSA
Saudi media
gears up for
change
Two months ago, the Council
of Ministers in the Kingdom
of Saudi Arabia sanctioned
three resolutions that will
see the Kingdom’s media
landscape undergo dramatic
changes. In an exclusive
interview with Vijaya
Cherian, Deputy Minister
for Information Affairs at
Saudi Ministry of Culture and
Information Dr Riyadh Najm
talks about the resolutions
and what changes they will
bring to the Kingdom’s media
The media landscape in Saudi Arabia
has been undergoing radical changes in
the last few months that will culminate
in the corporatisation of Saudi Radio
and TV and Saudi Press Agency, the
establishment of an Audio Visual
Commission and the rollout of a TV
audience measurement system.
A resolution passed in early summer
this year will see authorities speed up
the corporatisation of Saudi Radio and
TV. While the media entity will remain
a government body, it will now have
the freedom to operate autonomously.
This will mean that it will run as an
independent corporation with a board
and be more commercially accountable.
Dr. Riyadh Najm, Deputy Minister for
Information Affairs says “the main objective
of corporatising Saudi Radio and TV is
to make it more competitive and more
responsive to market changes because
there is more competition from other radio
and TV networks in the MENA region”.
“To be more competitive, we have to
work with new schemes and systems. It
has to be more flexible and there should
be greater autonomy to make decisions
in terms of sourcing the right skills and
encouraging a more dynamic and proactive
work ethic. This is presently not the case. It
will have a board and operate autonomously
but will continue to receive a budget from
the Ministry of Finance for a while as it
is presently not self sustaining. But the
idea is to eventually be self financing.”
Presently, Saudi Radio and TV’s income
goes straight to the government treasury.
The new format will enable the media
entity to utilise the income it generates
for its own expenditure, adds Dr. Najm.
Perhaps one of the biggest challenges
of corporatising Saudi Radio and
TV is that its workforce is used to
working in a typical government
environment. That will now change.
“We have the legacy of a big organisation
but part of it is not productive enough.
Jobs were previously guaranteed even
if one failed to deliver. Corporatising a
media entity and making it accountable
revenue wise puts pressure on each person
in the corporation to deliver. If they do
not deliver, the new environment will no
longer be in a position to accommodate
them as we will no longer have the luxury
of relaxed funding. When we have to
be self financing, the pressure will be
greater but the workforce will also then
be more productive,” Dr. Najm explains.
In the meantime, Saudi Arabia’s present
printing and publishing law, which was
instituted about 20 years ago, is fairly
outdated and does not adequately address
the other media platforms including TV,
radio and other devices. A new Commission
is, therefore, being set up to oversee
various elements of the media environment
including TV, radio, and audio-visual
services across all types of platforms.
The Commission will act as a regulatory
body that serves Saudi TV and radio, both
private and public entities, and the telecom
networks that carry media and audiovisual
services. It will also be responsible
for issuing licences in this sector.
“The main objective of the Commission is
to serve and regulate Radio and Television
in the Kingdom. However, with the audiovisual services undergoing such dramatic
change and telcos becoming an integral
part of the media revolution, we felt we
needed a body that could serve all of these
diverse services,” explains Dr. Najm.
The deputy Minister also points out that
the present environment is not favourable
to issuing licences for private channels to
operate from Saudi Arabia. The Commission
is aimed at addressing that issue and on a
larger scale, creating a more friendly and
attractive media environment for operators.
“The Audio Visual Commission is the last
part in the jigsaw to restructure the AV laws.
“Presently, we are in an unfortunate
situation where most of the capital invested
in the media within the region is by Saudi
investors and targeted at Saudi audiences;
but none of those revenues benefit our
country as they are run from outside the
Kingdom. We are unable to establish an AV
industry here because we do not have a
proper ecosystem and regulatory structure
to empower it. We need to be able to build
this industry and offer job opportunities
to our people. The Commission is a
positive step in this direction.”
One new law that is being drafted by
the relevant regulatory bodies is the
Audio Visual (AV) Act. The new act is
aimed at enabling greater flexibility for
different media entities to operate within
the Kingdom although it will still be within
the ambit of the cultural values that are
PROKSA
“We are unable to establish an AV industry
[in Saudi Arabia] because we do not have a proper
ecosystem and regulatory structure to empower it.
We need to be able to build this industry and offer
job opportunities to our people. The Audio Visual
Commission is a positive step in this direction”
Dr. Riyadh Najm, Deputy Minister for Information Affairs, Ministry of Culture and Information, Saudi Arabia
fundamental to Saudi Arabian society.
“The new AV Act is under review.
The law will be used and implemented
by the Commission. We estimate this
will take about six to 12 months to put
in place. During this period, we will
continue to work with the existing
publishing and printing law.
“The charter of the Commission is also
being drafted. It will have to be approved by
the Council of Ministers,” adds Dr. Najm.
The AV Commission will be run by a
board that will be headed by the Minister
of Culture and Information. Several
relevant government bodies will have
representation on the board in addition to
few key players from the private sector.
At present, it is not known who will
head the Commission. However, the
plan is to ensure that the Commission
is run by a small group of highly skilled
staff rather than figure heads.
“We began work on this four years
ago when we first put together the first
draft of the Broadcast Act. The draft
needs to be revised now to reflect all
new international developments and
practices. It is a very challenging but
important time for the Kingdom as this
Commission and the relevant laws will
bring much needed change to our media
and create a more dynamic environment,”
explains Dr. Najm, who has been quite
instrumental in all of these developments.
“Once this review is done and
approved by the Commission of Experts,
it will be debated and reviewed by the
Shura Council (parliament) before it
becomes a legislation,” adds Dr. Najm.
On a parallel level, the Ministry of
Culture and Information is also presently
supervising the implementation of a
TV Audience Measurement body in
Saudi Arabia. It will involve establishing
a company owned by major Saudi TV
networks and media owners who will
contract an internationally recognised
operator to execute the project. An
Industry Board, comprising TV channels,
advertisers and MBUs, will be established
to take technical decisions. As part of the
process, an experienced auditor will also
be contracted to oversee the integrity
of the whole project. It is expected that
the sample size for the Kingdom will be
2000 households. Further details of this
initiative will be announced in September
2012 with the intention to begin supplying
audience data within 12 months. PRO
53
PROSIGNAGE
Enhancing the
stadium experience
Action replay is no longer an element that only TV viewers
have come to expect. Playing the highlights of a game
on digital signage displays at stadiums have become a
significant part of a fan’s immersive experience, says
Andy Starks, co-founder of Tightrope Media Systems
The traditional concept of the sports
stadium was a venue where fans arrived,
watched a game, and went home again. All
of the action was laid out on the pitch in
front of them with a scoreboard in view,
and that was the limit of entertainment.
Over the years, thanks to technology
breakthroughs, new and retrofit stadiums like
those in development throughout the Middle
East are able to capitalise on video technologies,
including instant replay and digital signage.
These technologies provide fans with an
immersive experience in the stadiums as they
use video technology to captivate audiences,
create an emotional connection and build a
sense of community around the team and the
venue. This, in turn, is helping increase revenues
in memorabilia, food and beverage sales.
Video technology is critical to making
this happen. Let’s take a look at how
instant replay and digital signage solutions
impact the stadium experience.
Instant Replay Technology
First, inside the stadium, you need oversized
screens that offer the replays that audiences
expect. On television they will see a critical
play from multiple angles, slowed down where
necessary. In a stadium, now they instinctively
look for the same replays on the big screen.
If a match is being covered by a broadcaster,
then you may be able to tap into their
coverage. But loyal fans expect the same
presentation whatever the game, which means
you have to plan for multiple replays. To
accomplish this, stadiums will have to install
a replay server, and preferably one that is
simple enough to be rapidly understood by
55
PROSIGNAGE
“Digital signage installations in sports
stadiums also have the capability to deliver the
killer blow – American operators have taken to
calling it “going red” – when every single screen
in the place shows a single message at the
same instant. If your key sponsor wants a way
to stress a message, this is a powerful tool”
Andy Starks, Tightrope Media Systems
occasional operators, rather than requiring a
professional (and expensive) operator skilled
in using the standard broadcast tools.
Stadium owners underestimate the power
of replays. They should use the big screens
to build the atmosphere, and the sense of
community in supporting the team. Show
clips from earlier games, special video with
interviews, features on training camps, or
games and competitions for team prizes all help.
Use live and recorded video on the screens
to build the atmosphere so the excitement
level is high the minute the athletes appear.
Andy Starks, co-founder
of Tightrope Media Systems.
Digital Signage Solutions
Having built a library of content, this should
then be used in multiple areas such as the food
concession areas to make them communal
gathering places. Build kiosks showing
specific aspects of the team’s history.
Emphasise the legacy of the stadium.
This sounds like a major project, but is
a simple digital signage implementation.
A central server can distribute different
content to screens around the stadium.
Simple programming tools can automate
the content distribution to a timeline.
If you have a digital signage system, you
can extend it into other areas. Sophisticated
stadium systems provide digital signage
all the way down to the menus on the food
concessions. Different types of events
– stadiums host concerts and sports at
different times of the day, and year. Hence,
the food and drink offering can change.
You could do this by tearing down
printed signage and replacing it, or you
could simply do it by pressing a button
on the digital signage controller.
The idea of replacing printed signage
is important, by the way.
A recent study by the Harvard Business
School found that the typical digital signage
system pays for itself in 18 months through
savings in print. It is more environmentally
friendly then constantly recycling paper, too.
Digital signage need not be hugely expensive.
An IP network is relatively low cost to
install, even around all areas of a large
stadium, and it is certainly something that
should be considered in any refurbishment
programme: it is not restricted to new builds.
Operationally, the important thing is to
choose technology – including creating
and scheduling the messaging and video
content, and the live replay server or servers
– which does not need specialist staff, and
particularly those who need to be hired
in at freelance rates for major events.
On the revenue side of the equation, the
system creates opportunities for advertising
and sponsorship, opportunities that do
not exist without the technology. The
density of advertising and sponsorship on
the screens is your commercial decision,
but remember that with digital signage
it is completely dynamic and flexible.
Digital signage installations in sports stadiums
also have the capability to deliver the killer
blow – American operators have taken to calling
it “going red” – when every single screen in
the place shows a single message at the same
instant. If your key sponsor wants a way to
stress a message this is a powerful tool.
Even better, although you can command a
high price for it, the cost to deliver it is just a
minute or two of time on the scheduling screen.
The modern stadium can become the centre
of the sports community, welcoming fans in,
entertaining them before and after a game,
giving them the same viewing experience they
would get at home with the best television
coverage, and creating a strong sense of
belonging. The same video and digital signage
technology can open up new opportunities for
the stadium owner, generating new revenue and
reducing traditional operating costs. Unlike the
game on the pitch, this is surely a win-win. PRO
Andy Starks is co-founder of
Tightrope Media Systems
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PROEXCLUSIVE
YahLive aims “high”
with strategic steps
YahLive secured its first customer six months
ago when it partnered with MBC Group to
broadcast the network’s HD bouquet to the
Arab world. Last month, YahLive signed on
its 44th channel and by the end of the year,
it hopes to add a total of 50 channels to its
roster. In an exclusive interview with Vijaya
Cherian, Mohamed Youssif, CEO of YahLive
reveals three new deals the operator secured
last month, and unveils the strategies it has
devised to reach out to the Arab world
In August 2012, YahLive, the UAE’s first and only
satellite operator, signed deals with three more
broadcast networks bringing the number of HD
channels it now beams to 44, thus inching closer
to the vision its CEO Mohamed Youssif announced
in December 2011 of creating an exclusive “High
Definition hot spot for the Middle East”. With a
capacity to carry only 130 HD channels on its
Yahsat-1A satellite located at 52.5° East, YahLive
has been careful in its selection of clientele to
ensure it offers a comprehensive content package
that is entertaining but also, non controversial.
Prior to the London 2012 Olympics, YahLive secured a
deal with GEM Group, a major Middle East TV network,
PROEXCLUSIVE
to broadcast its GEM Sports TV channel
in HD to the Gulf Cooperative Council
(GCC) region in Arabic, English and
Farsi. Last month, GEM Group went a
step further by taking three transponders
from YahLive to telecast its channels
to Farsi-speaking audiences across the
Middle East and the Subcontinent.
“GEM TV is targeting Iran, Afghanistan,
Pakistan and all of the Farsi-speaking
audiences in the region in addition to
the larger audiences across the Middle
East with our East beam that provides
coverage all the way from the Red
Sea to Pakistan,” explains Youssif.
One of YahLive’s key strategies is to
steer clear of all controversy by being
careful in its selection of channels.
“We realise content is a sensitive issue so
YahLive has been very selective about the
channels we host. We get a lot of requests,
but the channels we select do not carry
content that is deemed controversial. It
is a tight rope to walk but we have been
successful in maintaining our neutrality.”
That strategy has made YahLive’s
bouquet more attractive to Saudi
viewers as we can see from a landmark
partnership that awaits signature
as BroadcastPro Middle East goes
to press. The deal is still to be inked
although Saudi TV’s channels can already
be seen on the YahLive bouquet.
The partnership will mark a huge
milestone for YahLive not merely from the
point of view of heading closer to its vision
of beaming 50 channels by the end of the
year on its satellite, but for being able
to enter the Saudi market in full HD and
with the promise of offering a selection of
TV channels that are in keeping with the
Kingdom’s fundamental cultural practices.
“The Saudi market is undoubtedly one
of the biggest in the region. That is one
of the reasons we are looking to sign an
agreement with Saudi TV. We previously
broadcast the Saudi League over Europe in
HD and the Quran channel also in HD. We
are now looking to increase cooperation
with the Saudi Ministry of Culture and
Information to broadcast a set of six
channels including Al Sunnah channel
across the Middle East,” adds Youssif.
In the meantime, YahLive has added
Al Twazin, a popular family-oriented
channel that was hitherto being broadcast
on Nilesat in SD, to its bouquet.
“This is an interesting deal given that the
CEO of the channel was one of the people
who helped start Yahsat,” says Youssif.
“They are in the process of upgrading
to HD. In the meantime, we will
be upscaling their SD signal until
they have moved to native HD.”
Youssif reiterates that YahLive will
maintain its content strategy to continue
remaining attractive to Arab viewers.
“We are not aiming to have 700 to 800
channels. We are trying to select channels
that target a wide selection of people with
content that does not have extremist views.
We are not just focusing on the quality
of broadcast but the quality of content
as well. Our shareholders have been
supportive of our strategy. Even though
we only started out in December 2011,
we have 44 HD channels currently on the
satellite. This, in itself, is an achievement.”
YahLive also has several other unique
selling propositions that distinguish it from
other traditional players in the market.
For one, the orbital location of the
Yahsat Y1-A satellite in 52.5 degrees
East offers optimal line of sight for
direct reception within the Gulf area.
Besides this, YahLive offers a highpowered BSS capacity that is optimised
59
PROEXCLUSIVE
for DTH (Direct to Home) solutions.
In addition, YahLive provides separate
beams for Europe, the Middle East and the
Gulf so broadcasters have the flexibility
to choose specific geographical areas and
avoid “audience wastage” in areas where
their channels are not likely to be viewed.
“Our channel partners can select Gulfonly beams or all of the Arabic speaking
countries all the way to Morocco with the
Middle East beam or alternatively select
only the European beam. This choice we
offer is unique and allows channels to
to install dishes to watch the YahLive
bouquet. The fact that YahLive has a
more powerful beam that can be received
with dishes as small as 45cms (in the
Gulf) to 60cms (outside the Gulf) makes
it an attractive proposition to viewers.
However, Youssif’s team is presently up
against recent government regulations
in Abu Dhabi and Sharjah that have
restricted the installation of satellite
dishes to the rooftops of buildings.
To address that, YahLive is looking to
undertake a country-wide roadshow shortly.
provides to satellite have not fazed Youssif.
“IPTV is a niche market and will not
replace satellite-based transmission.
As more channels are added, the IP
network will get congested, making it
slower. Currently in Europe, ISPs are
using hybrid receivers because the more
channels they add, especially in HD, the
slower the IP becomes. Big networks
such as Orange deploy hybrid receivers
so the viewer can receive linear TV
through the satellite directly and enjoy
the interactive features through IP.
“In the Middle East,
channels have an average
allocation of three to
five megabits. We have
dedicated eight megabits
to each channel and are
keen on maintaining
the integrity and quality
of that broadcast”
Mohamed Youssif, CEO, YahLive
From left: Mohamed Youssif, CEO of YahLive with Sam Barnett, CEO of MBC Group when they signed a deal earlier this year.
broadcast only in areas where they have
the rights to do so, as opposed to one beam
that covers all areas,” explains Youssif.
Another notable element is that
YahLive allocates equal bandwidth to
each channel irrespective of the content
they carry. This ensures consistency in
the quality of images, says Youssif.
“Normally, if there are 10 channels
that come into the input, operators use
a statistical multiplexer to manage the
bandwidth. This means if one channel
features sports and a second channel
telecasts news, the mux looks at which
channel requires more bandwidth and
allocates it accordingly – in the above
case, to sport. The quality of your picture,
therefore, is hugely dependant on the
neighbouring channel.
“In the Middle East, channels have an
average allocation of three to five megabits.
We have dedicated eight megabits to each
channel and are keen on maintaining the
integrity and quality of that broadcast.”
Now that YahLive has secured a
substantial number of clients, it is looking
to shift focus to the second phase of its
strategy, which is convincing viewers
“We will be approaching building owners
to encourage them to add our dish to
their rooftops as well so viewers can tune
into YahLive. We are also in the process
of initiating a roadshow where we invite
installers and distributors in each area and
tell them about the benefits of YahLive.”
In addition, YahLive is also involved in
running campaigns on Al Arabiya and MBC
to educate viewers on the HD format.
“A series of educational programmes
is being run on Al Arabiya to clear the
misconceptions people have regarding
HDTV. People believe that they have to just
install a dish to watch HDTV. Others believe
if they have a flat screen, they are watching
HD although they have SD receivers. We
try to show them the entire chain from the
transmission of an HD signal to receiving
it on an HD receiver and watching it on
a screen that supports the format and
everything that goes in between,” he adds.
YahLive’s partnership with SES also
ensures that YahLive can have access to
sufficient capacity to run an additional 50
HD channels should it run out of space.
In the meantime, recent news of the IPTV
revolution and the alternative options it
“With innovations such as 4K, 8K and
ultra HD – you need a minimum resolution
of 33 megabits as opposed to the current
requirement of 2 megabits – how will you
do that with IP? As people’s expectations
grow, they will not be happy with the
so-called HD transmission in 4 megabits.
When people watch channels in 16
megabits or higher, they will appreciate
the huge difference in viewing quality.”
YahLive will have a strong presence
at IBC 2012 along with its partner SES
to showcase its offerings. No doubt, it
has embarked on the challenging task
of penetrating a crowded television
marketplace but it also has some
strong features that make it more
appealing to the Arab marketplace.
In the meantime, it is also simultaneously
looking at how to increase its capacity
and expand its availability.
“This is a process that takes time to
build and it depends on the demand that
you have. My present goal is to provide the
best HD satellite offerings in the region.
We can accommodate 130 HD channels
and we shall bring the best of HD content
together for the Arab world.” PRO
61
PROPRODUCTION
TreeHouse
takes flight
with helicam
Hayley Doyle meets up with Hazem Amim, founder and managing
director of TreeHouse, a Dubai-based production house that offers
professional helicam services
62
PROPRODUCTION
As new production houses begin to
mushroom in an already saturated market in
Dubai, we see some looking to distinguish
themselves by bringing more specialised
services to the emirate. One such production
house is TreeHouse, which claims to
be the first in the Gulf region to own a
‘helicam’ and offer related services.
TreeHouse, with a name which triggers a
playful picture of seclusion and imagination,
knew it needed to offer something special
in order to stand out from the crowd.
Sitting in the bright stylish, yet minimalistic
studio based in Dubai Media City’s Shatha Tower,
TreeHouse’s managing director Amim explains,
“We decided to do specialised filming techniques
and so, introduced the first professional
radio-controlled helicopter in the region.”
Although TreeHouse offers regular services
from pre-production through to post-production,
using industry-standard equipment, Amim
explains that this was not enough. Looking
back at his experience, one skill including 32
flying hours training with Emirates Aviation
Services as a student pilot, Amim created a
concept to merge all of this together to craft
the unique selling point for his company.
“My film background, my technical ability and
my flying knowledge helped me to invest in
the helicam. If you do not know how to fly,
you won’t be able to fly the helicam; if you do
not know how to film, you won’t be able to
imagine what the helicam is doing up there or
what camera settings to use; and if you don’t
have the technical expertise, you won’t know
how to fix it, how to put it together or how to
make it function properly. That combination
encouraged me to invest in such a platform.”
The most common name for the
helicam is an ‘octocopter’, and it is
the first of its kind in the region.
An unconventional helicopter with a total
of eight propellers, it was designed in the
US with German technology, assembled
in the UAE at TreeHouse, and given the
brand name Helicampro. A manually
operated or fully operated GPS-controlled
drone, Helicampro can be programmed
to function alone or with a team of two
people — a professional camera operator
with a pilot’s licence, and Amim himself.
It can fly as low as one metre above
ground and up to 150 metres in altitude,
with a 250 metre radius autonomously.
With a maximum speed of 60 kilometres
per hour, the Helicampro is obviously not
Soumaya Bellafquih, who heads production
at TreeHouse, hails from Morocco.
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63
PROPRODUCTION
Ahmed Abdullatif Khalid Al
Muhaideb, VP of Broadcasting
and IPTV Services Technology
with a staff member at du.
“If you do not know how to fly, you won’t
be able to fly the helicam; if you do not know
how to film, you won’t be able to imagine
what the helicam is doing up there or what
camera settings to use; and if you don’t have
the technical expertise, you won’t know how
to fix it, how to put it together or how to
make it function properly. That combination
encouraged me to invest in such a platform”
Hazem Amim, founder and managing director , TreeHouse
Clockwise from top: The video room,
the audio booth and the production
studio at TreeHouse.
your conventional helicopter. In addition to
this service, TreeHouse has also invested in
equipment for time-lapse professional filming.
“A lot of people are undertaking time-lapse
projects, but very few are doing time-lapse
with a moving camera. We’ve got equipment
that allows the camera to move on a track
or on a tripod with a rotating head.”
The Helicampro can support a range of cameras
including the Canon 5D Mark II, Blackmagic,
Canon 300C and 500C, and the RED EPIC among
others. Its body is made of composite carbon
fiber, making it light-weight to carry and to fly,
with an approximate weight of 3.5 kilograms and
a payload of up to an extra three kilograms. Using
a 5D Mk II on one battery charge, the helicam
has a maximum flying time of 10 minutes.
The impressive buildings and architecture in
Dubai are primarily seen by the human eye on
ground level. According to Amim, we often see
Dubai’s urban landscape from a height of 30004000 feet but when the camera levitates to 150
metres, we see a completely different perspective.
“It shows you how beautiful the buildings are.
It gives you a better idea of how they are put
together and where you are going when you are
walking,” he says.
Amim has recently won a contract
with Dubai Media Inc. to shoot all of its
Ramadan fillers and has ongoing projects
with the state broadcaster until 2013.
Filming the latest project for DMI, Amim
recalls the biggest challenge being the weather.
Technology is usually developed in the West,
or in areas where the climate is a little bit more
moderate, so in Dubai there were a lot of helicam
mishaps with overheating parts initially, he admits.
“The helicam is a very delicate piece of
equipment. We were filming in the desert
in Hatta and it went haywire suddenly. We
had to fix it on the spot and our expertise
extends that far,” he explains.
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PROPRODUCTION
Above: The helicam from different perspectives.
Amim and his team shifted the actual
shot from day to night, completely
changing the original daytime shoot.
Since the operating temperatures
were not normal for such a device, an
improvised solution resulted in attaching
an additional fan to cool that piece of
equipment. Yet, they still managed to
have it fly under these circumstances.
Soumaya Bellafquih, who hails
from Morrocco and heads production
at TreeHouse says discipline
is key to all productions.
“You cannot make work happen if you
don’t know what team work is, whether it’s
a short documentary, corporate video, or
a TVC. It’s the same discipline. You have
to learn to accommodate needs and learn
how to be creative within your budget.
The process, however, is always the same.”
TreeHouse has, thus far, undertaken
productions in the UAE, Saudi Arabia
and Jordan although the helicam has
only been used in Dubai so far. It has
been used to capture some of Dubai’s
major world attractions including
the Madinat Jumeirah, Burj Al Arab,
Dubai Creek Park, the Palm, and Burj
Khalifa. Amim adds that Dubai is one
of his favourite locations to shoot.
“A lot of people say there aren’t that
many locations in Dubai if you want to find
something old and rustic,” he says, “but
you can find it, you just need to look. If
Tom Cruise came to film here, it’s because
of the uniqueness of this place. We live in
a beautiful place that has a lot of offer.”
TreeHouse was born out of Amim’s
desire to launch his own production
house and business. Born in Jordan
and of Palestinian origin, Amim studied
computer science at the University of
Jordan, but grew up surrounded with
media people — his father being a
television presenter on Jordan TV and
his mother a Radio Jordan broadcaster.
That environment combined with his
understanding of computers initially
led him into the world of animation.
But gradually, his fascination with lights
and cameras led him to undertake
courses in cinematography.
This led to stepping away from
animation and becoming part owner of
Telemax, the biggest production company
in Jordan. Amim moved on from Jordan
eventually to MBC Group in Dubai, where
he worked for more than five years before
he left the corporate world for TreeHouse.
Many people thought that Amim was
crazy to start up his own business in
August 2010, right in the middle of the
financial crisis. However, he believes
that thinking too much about a business
model and overdoing calculations can
result in never starting up at all.
Although resources were not that
abundant, they were more easy to acquire
due to the crisis, and overheads were
much lower than if it had been peak time.
The company remains small, with just
five full-time employees— a producer,
sound engineer, personal assistant,
driver and the managing director, and
TreeHouse relies on all of the talented
freelancers Dubai has to offer.
Amim says “there are some really
good talents, especially directors of
photography and gaffers” in Dubai.
A project is already lined up for
TreeHouse to shoot a helicam scene
for Al Arabiya, MBC’s news channel.
Amim says he would like to see his
company expand in several directions.
Commercial production is not the
only way for the helicam to display
its usages, and there are plans
to go into real estate, hospitality,
events, fairs, and any production
that can be covered from the sky.
“Within five years, I hope to have a
fully-fledged, sophisticated production
house, capable of creating more room for
creative people to produce,” says Amim.
“We still want to go towards specialised
filming and intensely invest in that,
introducing reliable platforms that allow
creative people to think in a different way.”
Amim remains positive about the
future of production in the Middle East.
Although there are many assumptions
about the limitation of creativity in
the region with people being cautious
in experimenting, he believes that
the bar can always be raised and that
production in this part of the world
is heading towards a better future.
“Independent filmmakers are becoming
more abundant and people are expressing
their ideas and creativity more. The Gulf,
as a whole, has a very high purchasing
power at the moment compared to the
rest of the world. They are acquiring
almost everything. British football teams
are being bought, Dubai Ports owns half
of the most important ports around the
world, so people need to pay a little more
attention to this region because of its
power and how it is entering every other
place in the world. The film industry is
growing as much as the place is growing.”
TreeHouse is aspiring to its name,
reaching new and playful heights.
We hope it continues to fly. PRO
Below: CineStar camera
PROCONVERGENCE
Broadcast
and telco
convergence
at last
As the technology evolves, it becomes
practical and effective to move
content as data over IP circuits for
more applications. The underlying
driver for this is the same as one
of the key drivers behind the filebased revolution in broadcasting:
it allows the use of more standard,
commoditised products rather than
proprietary and bespoke technologies.
To move television signals between
centres or from a sports stadium back
to the studio traditionally required
co-ax video circuits. These were really
only of use to broadcasters, so the
telcos which provided them charged
high fees, in part because of the cost of
maintaining a little-used infrastructure.
Once we reached a point at which
video could be carried as packetised IP, in
real-time or fast enough to be practical,
The word “convergence” has been used around the
television business for decades, without anyone really
understanding its potential. With the advent of filebased workflows and the proliferation of IP circuits, it
appears that we are finally reaching the point where
broadcast signals can be transmitted over newer
telephony infrastructures
then it could be sent down any bearer
with sufficient free capacity. Those
circuits and routings might at other times
be used for other data operations: for
banks, airline reservations, the public
internet or any other application.
These are commodity circuits, so
the price is inevitably driven down.
Competition between telcos and specialist
data carriers also leads to lower prices and
improved customer service. That customer
service offering includes the ability to
guarantee bandwidth, quality of service,
and consistency of routing and latency —
all of which are important to broadcasters.
The move to IP delivery started with
non-real-time services. As broadcasters
developed file-based workflows they
preferred content — programmes and
commercials — to be delivered as files
as it saved the labour-intensive stage
of ingest and QC from tape. Producers
were equally keen on the idea because it
saved them the labour-intensive stage of
making delivery copies, not to mention
the cost of the tape stock and shipping.
High-speed file transfer software
brought the two together by accelerating
the data flow to make the best of the
bandwidth and reduce costs. There is
also confirmation management software
at each end of the delivery to ensure that
sender and receiver were confident the
content arrived where it was supposed to,
when it was supposed to, and without any
chance of anyone else seeing it on the way.
PROCONVERGENCE
The real benefit comes when it is practical
to use IP circuits for real-time transmission, in
particular for contribution circuits from remote
broadcasts such as sports stadiums or major
news events. This tackles head-on the costs of
using monopoly services over dedicated fabric. It
means a broadcaster can book, and pay for, just
the capacity needed at the time. It also means the
broadcaster can determine the balance between
bandwidth (and therefore cost), image quality
and latency required for that specific project.
While a few very prestigious projects will
use huge amounts of bandwidth to transmit an
uncompressed signal back to the studio, most
will choose some form of compression. Today,
contribution codecs are available using JPEG2000
or 10-bit H.264 4:2:2 which can provide more than
adequate quality for primary broadcast — albeit
at a different balance of bit rate, price and latency.
Conversely, given the availability of large
amounts of IP capacity and the quality and low
latency of modern codecs, some are suggesting
that multiple contribution circuits could
transform the way television covers sport. If
300Mb/s JPEG2000 is effectively transparent,
why not ship all the camera signals back to
the studio and mix the programme from a
permanent control room rather than send
Stan Moote, vice president of
business development,
Harris Broadcast.
69
PROCONVERGENCE
“Oman’s national telco OmanTel built
out a new country-wide contribution and
distribution network for broadcasters in
2011 and elected to do it over IP circuits,
bridging into the broadcast world”
Stan Moote, vice president of business development, Harris Broadcast
a truck to site, goes the argument. A 10Gb/s
fibre circuit would be sufficient for as many
as 15 cameras, plus all the audio, intercom,
control and return feeds around them.
The practicality of sending real-time
contribution quality over fibre does not mean that
the days of satellite uplinks are over. There are
times when a satellite is the best path, not least at
venues which do not have an access point to fast IP
fibre. Satellite is also a more cost-effective solution
when you are sending to multiple destinations.
Today the break-even point might be six or seven
destinations before satellite becomes the most
cost-effective option, but that is not uncommon.
On the other hand, sometimes establishing a
satellite uplink can be a challenge. It requires
clear line of sight to the satellite, which can
be difficult to find in some cities. If fibre is
available it can save a lot of cable rigging.
What it does mean, though, is a real
convergence inside the broadcast infrastructure,
at both ends of the circuit. It is imperative that the
architecture is based on both IP and real-time video
and audio, and there is a free flow between the two.
In the simplest of cases, it could be argued
that there is no need for convergence: the
remote broadcast is managed in video with
just an encoder on the output, with a matching
decoder at the point where it reaches the studio.
That would work for the main contribution
circuit, but there is the possibility of adding
much more value by further integration.
It is common, for example, for broadcasters to
brand their sports coverage with distinctive motion
graphics. These are created at headquarters, and
can be uploaded into the OB truck — which may
have been working for a competitor broadcaster
the day before — over the IP circuit. Some
contents of the production servers may be
needed back at the studio before physical disks
can be transported. That content can be sent
alongside the programme stream. There may be
several versions of the content: with and without
presentation, streaming versions, multi-language
branded — basically tailored for each team on
the spot. This far exceeds current methods of
produced and clean feeds being sent out.
The real requirement, then, is for an
infrastructure that can bridge the two worlds and
such technologies will become an important part
of systems engineering for both broadcasters and
telcos. Moving content between broadcast and
IP domains has to be as simple and transparent
as the video distribution amplifier is today.
The Sultanate of Oman’s national telco
OmanTel, which needed to build out a new
country-wide contribution and distribution
network for broadcasters in 2011, elected to do
it over IP circuits, bridging into the broadcast
world. It undertook this project with the
Selenio media convergence platform, which
has audio, video and IP backplanes and can
process signals and deliver to any domain.
Whether for permanent or temporary links, it is
clear that using industry standard IP connectivity
offers real benefits in cost and convenience, without
serious impact on quality or operational flexibility.
The ability to use commodity technology and
services from competing providers will continue
to drive down prices, which ultimately will lead
to more and better coverage for viewers.
The challenge for the broadcaster is to clearly
understand these newer transport options, their
limitations and develop technical strategies to
take advantage of this expanded and affordable
connectivity for seamless, high-quality television.
Stan Moote is vice president of business
development at Harris Broadcast. PRO
Stan Moote is vice president of Business
Development at Harris Broadcast
PROBAHRAIN
From left: Saleh Nass and Chaker
Ben Yahmed on location.
An ‘Element’ of
Hollywood in
Bahrain
They started out with a laptop, two hard disks, and a dream.
Today, Bahraini director and editor Saleh Nass, and his business
partner Tunisian director Chaker Ben Yahmed are the founders
of Elements Cine Productions, a production company based in
Bahrain. In an exclusive interview with BroadcastPro ME, Nass
talks about some of the recent films shot by the duo
PROBAHRAIN
A tale inspired by the state of world
media and more specifically, conflicting
stories arising from the Arab Spring is
the premise of Elements’ latest short
film, 66.6fm. The topical script was
written by Yahmed, and is a parable set
in a fictional country accompanied with
music by Bahraini composer Mohammed
Al Hasan. The story follows a couple that
is forced to quickly flee their hometown
when chaos breaks out. As they cross
the desert by foot in an attempt to
reach the next town, conflicting radio
broadcasts provide their only source of
news from home and where to go next.
Funded entirely by Elements and
working with a budget of USD 8000,
66.6fm features a small cast of four
actors, and had a crew of 12.
“When working with a small crew, a
lot of roles are doubled,” says Nass.
“There is the absence of a large
production support network, which you
can find say, in London or Dubai. For
example, I had to double up as a digital
imaging technician (DIT), which was fine
since I knew exactly where my footage
was once I started post production.”
A still from Elements’ short film 66.6fm.
The short was filmed using Elements’
own RED Scarlet camera. Earlier this
year, Nass, Yahmed and camera operator
Robert Resto, took a trip to RED’s studios
in Hollywood to train on the Scarlet and
Epic cameras and to iron out any problems
regarding workflows and operating.
Nass says the “inability to record onboard audio was the biggest issue, but
audio on traditional films was always
Short films undertaken
by Elements 2012:
* Huna London (awarded 3rd
prize at GFF 2012
* 66.6fm
* Red Coin (currently in
post-production)
73
PROBAHRAIN
“We rely on ourselves and what we have. We
try not to complicate the films too much and produce
them with the available time, equipment and talent”
Saleh Nass, co-founder, Elements Cine Productions
DoP and director Chaker Ben
Yahmed on location.
recorded separately so it wasn’t a problem
to do that. It just made the syncing process
a bit longer later on in post production.”
Audio was not the only challenge on 66.6fm.
There was the heat to deal with as well.
“We were filming in the desert at the
beginning of May,” recalls Nass.
“The Gulf sun was just starting to flex its
muscles. However, we kept the RED Scarlet in
the shade and had umbrellas on hand all the time.
Another challenge was finding a spot of desert that
wasn’t developed with Bahrain being an island.”
Along with the high temperatures outdoors and
finding a deserted spot, the crew had the added
complication of the bright, white sky, usually
requiring the need to use NDs and sky filters.
Luckily, Yahmed wanted a stark, dry look, so the
white sky ended up serving the shoot well.
Elements Cine Productions was founded in
2008 by Nass and Yahmed. They knew it would
be a challenge to create films in a region still in
its infancy in terms of content production, with
Bahrain being a country limited in film resources.
However, the two passionate filmmakers are
optimistic that they have made the right move.
“No doubt, it’s a challenge, but a healthy one,”
says Nass.
“It allows you to rely on what you have
and make the most of it. We try to make as
many of our own films as we can in between
corporate projects that ‘pay the bills’.”
The company was in its early stages when
it filmed a motor sport event video at the
Bahrain International Circuit. Success soon
followed with Yahmed’s first short film, One
More Day, winning the Black Pearl Award at
the Abu Dhabi Film Festival, giving Elements
a good name on the festival circuit.
At the beginning of 2012, Elements worked on a
short film titled Huna London by Bahraini director
Mohammed R. BuAli. Filmed on the Si-2K, it won
the third prize at this year’s Gulf Film Festival.
With 66.6fm completed and submitted for
various film festivals, Elements is currently in postproduction with another short film, Red Coin, for
which filming was concluded in June 2012. Directed
by Lebanese filmmaker Fadi Tannous and shot on
the Canon 5D Mark III, Red Coin is a comedy about
a man down on his luck and riddled with debt. The
sound mix for the film was being finalised as we
were going to press. Music by Bahraini musician
Nader Ameeruddin will be featured in this film.
“The Canon 5D Mark III was significantly
easier to use than the Mark II in my
personal opinion,” explains Nass.
“Due to personal preference, I generally tend
to stay away from DSLRs as the image is too
compressed for my taste, in comparison with RAW
footage from the Scarlet. But the Mark III still made
the film look good. I didn’t have as much freedom
in post production as I did with the Scarlet. RED
CineX is a great programme to play with when
processing your rushes for the edit. It allows you
to achieve so much prior to the final grade.”
Time was a challenge when shooting for Red
Coin, says Nass.
“The film had to be shot during weekends
prior to Ramadan, where we were busy meeting
deadlines,” says Nass, who edited all of the three
short films this year.
“But we rely on ourselves and what we have.
We try not to complicate the films too much and
produce them with the available time, equipment
and talent.”
Once again, this short film was funded by
Elements. Nass says the team is constantly on
the lookout for funding opportunities.
“Bahrain and the Gulf have just begun funding
initiatives. The future looks positive for short
films in the region.”
Nass has hopes to start production on his own
feature film later this year, enhancing his vision
for Elements to grow and produce larger scale
projects in Bahrain.
Huna London, 66.6fm, and Red Coin will be
shown at upcoming regional and international
film festivals. PRO
PRODOCUMENTARY
Abdallah El Binni, producer and
director, The Imam and the Colonel.
Animation gives life
to Lebanese mystery
Al Jazeera Documentary has produced
a new hard-hitting and innovative
production, The Imam and the
Colonel, using 2D and 3D animation.
The documentary investigates the
disappearance of charismatic Lebanese
cleric, Imam Musa al-Sadr and its possible
connection to ex-Libyan leader, Colonel
Muammar Gaddafi. BroadcastPro ME’s
Hayley Doyle catches up with the film’s
producer and director, award-winning
filmmaker and investigative journalist,
Abdallah El Binni
In the summer of 1978, the leader of Lebanon’s Shia Muslims,
Imam Musa al-Sadr, went to Libya with two companions to visit
Colonel Gaddafi. During this trip, the three men disappeared. It’s
been 30 years and no light has been shed on their whereabouts.
In October 2011, when the world witnessed Gaddafi’s downfall,
hope resurfaced for the truth to be unravelled.
Abdallah El Binni began an investigative journey involving new
witnesses and evidence.
However, only one photograph of Imam Sadr and Gaddafi
has been found, taken when they met back in 1975. Footage
from the period of 1978 is very rare, with still shots of
Imam Sadr posing with Arab leaders in Lebanon. However,
there was nothing of his trip to Libya. Yet, with exclusive
information found about what might have happened during
the Imam’s journey and his meeting with the colonel, El
Binni sets out to reconstruct scenes in this documentary.
El Binni wanted an alternative to repeating the same footage
over a 50-minute documentary.
“We wanted something to break the monotony,” he says, “and
PRODOCUMENTARY
this why we created the animated graphics.”
This is the first time that 2D and 3D
animation of this kind has been used in the
Arab region. According to Lebanese-born
El Binni, in order to make this documentary
happen, animation was a must.
“Without it, there is no spirit to the
film, and maybe no film,” he says.
Using just one small team from Al Jazeera
Network, El Binni prepared the storyboard
and sketches with his colleague from the
creative department, Ahmed Ezzat. Side
by side, they shared the roles of designer
and art director over a three-month
period. Adobe CS 5.5 was used along with
After Effects, Photoshop and Illustrator
with 90% of the scenes drawn by hand.
El Binni feels optimistic that the
images complement the content.
He explains: “The camera’s angles and
the duration of the scenes depended on
the amount of information we had. We
excluded many details in the script to be
able to deliver concrete animation scenes.”
The film makes use of a lot of still images
from Al Jazeera’s archives that are in an
older format, while the new footage was
shot using the Sony XDCAM PMW-EX3 and
also the Canon 5D Mark II in some shots.
To create a balance between the
two meant hours of colour corrections
and grading to unify the spirit of the
still images while creating a smooth
transition between the scenes.
The addition of animation was not the
only challenge faced in the making of The
Imam and the Colonel. El Binni arrived in
Libya on October 20, 2011, the day when
Colonel Gaddafi was captured and killed.
“I had to cross many risky places on
my way to Tripoli,” recalls El Binni.
“One mission was to go to the jail inside
the military council headquarters, where
one of Gadaffi’s high ranking advisors had
been arrested. He had information on the
mystery of the vanished Imam Sadr, so we
tried to film secretly inside the secured
compound corridors. Unfortunately,
a soldier recognised what we were
doing and arrested us for an hour. Our
cameras were taken away for a week
and all of the scenes were deleted.”
Still, El Binni is no stranger to
taking risks in his line of work.
His career began in 1987 as a war
zone photographer with Agence France
Press (AFP), moving on to Reuters,
covering the Lebanese Civil War and the
Israeli invasions in South Lebanon.
He also covered two Israeli wars against
Lebanon in 1993 and 1996, and won the
1997 Golden Award at Cairo TV festival for
his short film, Don’t Forget Qana, focusing
on the massacre of 100 civilians killed inside
a UN base in Qana village near Israel during
a military operation.
For Abu Dhabi TV, El Binni covered
wars in both Afghanistan and Iraq, plus
numerous events and crisis globally. In
2004, he signed a contract with Al Jazeera
Satellite Channel where he has produced,
written and directed more than 20 films.
Shooting for The Imam and the Colonel
took place in Libya, Italy, Egypt and
Lebanon. For hidden scenes and those
shot in sensitive security places, the small
Sony HDR-SR12E handycam was used.
All of the other shots including interviews
were conducted with the Sony PMW-EX3
XDCAM and the Sony PDW-700 XDCAM.
Although El Binni received help
with creating the animated graphics
and receiving logistical assistance
from Al Jazeera’s bureaux in Beirut,
Tripoli and Paris, he says that the
making of this documentary was
primarily a one-man show.
“For investigative missions,
you should be very careful and
minimise your team,” he tells us.
“I was in charge of research, field
coordination and production, interviewing
people, directing and writing the script. All
in all, I handled the main responsibilities,
but without help from the other
departments at Al Jazeera, this film could
not have been accomplished. I am especially
grateful for the help from the editing
section, the creative department and our
cameramen at Al Jazeera’s foreign bureaux.”
The documentary was first broadcast
on Al Jazeera Arabic in May 2012 and
on Al Jazeera English in July. Al Jazeera
Documentary will screen it in November.
“The response was great in Lebanon
and Libya through local newspapers
and politicians,” El Binni says.
The controversy surrounding the
mystery told in The Imam and the Colonel
sparked a debate assigning a joint judiciary
committee to re-open the files and start
DNA investigations and forensic tests on
the remains of suspected bodies found
in Libya. This joint committee will also
rely on the new witnesses revealed in
the documentary, who spoke for the first
time about their relation to this case.
El Binni admits that he is, “addicted to
investigative documentary production” and
looks forward to taking up his challenge,
which is under wraps for now. PRO
“One mission was to go to the jail inside the
military council headquarters, where one of Gadaffi’s high
ranking advisors had been arrested. He had information
on the mystery of the vanished Imam Sadr, so we tried to
film secretly inside the secured compound corridors”
Abdallah El Binni, investigative journalist, Al Jazeera Documentary Channel
Stills from the film
The Imam and the Colonel.
77
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PROTECH
The noise in the industry today is
all around the “connected TV” —
essentially a large screen with both
HDMI and Ethernet ports. But while the
industry may make noise, consumers
are running at a slower pace.
A recent survey by Kantar in the UK,
for instance, found that while one in six
owns an internet-ready television, more
than a third saw no point in going online
through a television set. Another survey, by
YouGov, found that 25% of smart TV owners
had never used the device to go online.
Why should this be? There are a number
of reasons. First – and often overlooked
– is that consumers originally invested
in large-screen high-definition television
sets because they appreciate the quality
of the pictures. There is a huge reluctance
to cover those pictures with other online
content, especially when other devices
such as smartphones and tablets are
widely available for additional content.
Second, there is a perception that onlinedelivered content is poor quality (which
does not show off the large screen to good
effect) and suffers badly from freezes
and jumps as the stream is buffered.
That is not, of course, the case in
practice, particularly as broadband becomes
widespread and video streaming technology
becomes more sophisticated. Indeed, one
of the best arguments in favour of the
connected TV is that it can deliver a simple
video-on-demand experience. Whether
you are watching a programme as it is
transmitted, time-shifted through a PVR
or time-shifted through a VoD offering, the
quality and convenience will be the same. It
is also a fact that watching a programme on
TV is a better experience than PC or tablet.
But for me, the most important reason is
the linked content and connected television
applications are just not compelling enough.
Technology fans and early adopters aside,
today’s offerings offer little more to the
casual consumer than the red button
options from a digital set-top box.
The coming of digital broadcasting was
accompanied by great claims for the red
button which, with its simple and direct
return path, would allow consumers to find
out more or express interest in a piece of
content. In reality, it offered little more
than the equivalent of a Facebook “like”.
Content creators have been slow to find
imaginative uses, and consumers have got
Engaging the
connected viewer
Connected TV may give the consumer access to content
when they want it and enable real interactivity, but in
practice it needs to provide better quality to move the
viewer away from the traditional screen
79
PROTECH
“Consumers originally invested in large-screen
high-definition television sets because they appreciate
the quality of the pictures. There is a huge reluctance
to cover those pictures with other online content”
used to the red button being the route
to alternate content, nothing more.
That is the thinking behind the
connected TV. It gives the consumer
access to content when they want it,
and it creates real interactivity. But in
practice, the interactivity needs better
application, because to add an interactive
element you have to take something
away from the main screen. So to post a
comment on the YouTube video you are
watching, or to tweet to friends about
the programme you are sharing, you
either lose part of the content you are
watching or you wait until the end.
A secondary issue with at least the
current generation of smart TVs is
that their processing power is very
limited, and that there is no dominant
operating system underlying it. That
makes it hard to add much in the way
of interaction and additional content
on top of the transmitted programme.
Some argue that this is a fatal limitation,
although it is more likely to be a spur to
innovation and creativity in the future.
Engagement
But if the connected TV has yet to take off
in the consumer’s mind, there is a product
category which has undoubtedly engaged
the consumer, and is deeply relevant to
this debate. When the iPhone was first
launched in January 2007, smartphones
immediately became the smart thing to
have. Android phones joined the Apple
trail-blazer, and Windows phones may see
a renaissance when the new version of the
operating system is released later this year.
Research from Gartner says that in
2011, 472 million smartphones were
sold worldwide which equates to 31%
of the market. Morgan Stanley predicts
that in 2012, more smartphones will
be sold than personal computers.
And IMS Research says that a billion
smartphones will be sold in 2016. Add
to that, continuing strong sales of tablet
devices dominated by the iPad.
These remarkable numbers, for two
product categories that did not really
exist little more than five years ago,
are matched by huge enthusiasm for
their use. Consumers really engage
with them – and love to use them
while they watch television. This is
not a behaviour we need to create: it
is happening everywhere, already.
So the logical conclusion is to stop
worrying about the processor limitations
of smart TVs, or the difficulties of using
a remote control for sophisticated
interaction, or the loss of screen real
estate with additional windows. Put all
of the interaction and related content
onto the smartphone or tablet which the
viewer will already have in hand, or at
least on the coffee table in front of them.
For this to be a real success, though,
broadcasters and content owners need
to tie together the core content and
the interactivity. Watching a television
show and commenting on Facebook is
fine, but interacting with a show and
commenting through that programme’s
Facebook page is much better. It
forges a bond between the viewer and
the content provider, and potentially,
it opens up new sources of revenue.
It allows the producers to know what is
popular and what is not, and to use that to
make decisions on future content. It allows
broadcasters to build their brands, and to
drive content to new audiences through
personalised recommendations: at IBC2011
Joanna Shields, EMEA CEO of Facebook, said
“we are shifting from the wisdom of crowds
to the wisdom of friends”. She said it would
lead to “better discovery, better viewing,
better marketing and better monetisation”.
It will also lead to better creativity. We are
already seeing some wonderful companion
apps which add to the enjoyment and
engagement for those viewers who want it.
Play-along apps for quiz and game shows are
fun and also serve as contestant research
for future programmes. Soap opera fans can
read the SMSs and tweets of characters as
they are sent. Slow motion replays on the
iPad add to the immersion of sports fans.
The proliferation of broadband to the
home means that sophisticated content
can be readily delivered to many users. The
technology to synchronise the television
and the companion app is proven.
The only limitation is in creativity, which is
not something our industry has ever lacked.
The power and capabilities of smartphones
and tablets, already remarkable, will continue
to advance because it is in the interest of
Apple, Samsung et al to innovate to sell more
hardware. All producers and broadcasters
have to do is to be equally innovative in
creating companion apps to run on them.
VoD is not a new pastime, it is simply
watching a programme at a time chosen
by you, not by the channel controller.
So that should be on the main television
screen, through a computer hooked up
to it, a dedicated set-top box or games
console, or a connected TV. Then use
the second screen – the smartphone,
tablet or laptop – for additional content,
interactivity and social networking through
companion apps. That works for the
technology, it works for the creativity and
it is what consumers have chosen. PRO
David Berry is vice
president of business
development at KIT digital
PINKRAIN ANIMATION STUDIO
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practice.
For more information or to contact us please visit our website
www.pinkrainvfx.com, info@pinkrainvfx.com, tel. +971 4 3244188
PROREVIEW
NewTek’s Tricaster
8000 OB truck on
a desktop?
Tech expert and 3D stereographer Clyde Desouza
gives us his take on the NewTek Tricaster 8000,
which was recently demonstrated in Dubai by
local distributor MediaCast
NewTek’s video toaster was akin to a TV production
studio in a box when it made its debut way back
in the 1990s on the Amiga computer system.
Every network TV station from MTV to news channels had
a Video Toaster system that competed with what other
multi-million dollar systems did at that time. The Toaster
outperformed many of them in features, intuitiveness of
operation and could always be counted on to deliver in 11th
hour rescue operations. In a way, I’d say the Video Toaster is
PROREVIEW
still alive in a new incarnation, and it’s
evolved to handle HD while also ready
to meet the demands and deadlines
of the real-time generation of studio
professionals. Meet NewTek’s Tricaster.
The Tricaster comes in different
flavours, to suit different needs and
budgets. We looked at the high end
version for this test: the Tricaster
8000, and along the way learnt why
it’s taking the production industry by
storm from HD through to stereoscopic
3D live content production.
It’s a sleek video processing titan. The
Tricaster can be called an OB truck on a
desktop. In the demo room, it was sitting
atop a table, alongside NewTek’s threeplay system which was also demonstrated.
Two cameras, an approximately
two-metre green screen backdrop and
three large LCD monitors completed
the production “environment” of the
simulated floor of a TV studio.
Touting the intuitiveness of the
Tricaster is not without basis. The
entire show was being driven by the TV
presenter. The demonstration was to
show how easy it is to produce HD quality,
multicam live television production. The
icing on the top was the fact that the
anchor of the TV show was seamlessly
controlling the cuts between cameras,
playing out pre-canned footage from
Tricaster’s dedicated DDRs, as well as
driving the show with hand gestures.
The heavy lifting of video content,
processing, rendering, video tracking
and subtitling was being performed
in the background in real-time
by the Tricaster hardware.
If this sounds like a fan boy review
of a tech gadget, I’m guilty as charged.
Suffice to say there is truth to the claims.
For standard information and specs
on the product, you may download a
data sheet from NewTek’s website.
Since NewTek did us the honour of
having its first showing outside of NAB in
Dubai, the rest of this review will touch
on outstanding features of the Tricaster
8000 and some food for thought that
hopefully contributes to the ongoing
evolution of this impressive video wrangler
.
New Generation Virtual Video Wrangling:
The first remarkable feature is the way
Clyde Desouza is a
Dubai-based stereographer.
83
PROREVIEW
Left: The Tricaster 8000
and below, at a demo
of the product held by
local distributor
MediaCast in Dubai.
the system handles green screen and virtual
sets. There are 24 live sets which include
virtual camera moves such as panning, pedestal
and zoom. These moves can be adjusted and
executed live. There is also a live set editor that
is optional for those who want to tweak the sets.
I asked the “anchor” who was conducting the
demo if the sets were actual 3D models. They
were not. Instead, virtual sets in the Tricaster
are layers with alpha masks. This is not so bad
as it sounds, because virtual sets should not be
all about fancy camera moves and match-moving
live talent to the virtual environment. Such a
feature will only introduce one more variable
that may go wrong in a live environment.
With the combination of camera moves
available, and the very little real estate needed
for the green screen (approx. 2 metres), the
final output was perfect. It really was like
Advanced features
During the live demo the presenter/anchor was
seamlessly lowering TV panels (computer generated)
from overhead. The audience could see short news
clips playing on the TV panels. After the clip was
completed, the anchor simply brushed the TV panels
aside with his hand, and they smoothly animated and
lifted out of view. He did this with video hotspots.
With the mouse, the anchor had previously defined
small rectangular regions on the screen. An algorithm
in the Tricaster then tracks any motion inside this
rectangle and triggers a macro to, for instance, run
such an animated effect. This makes for very interesting
and engaging watching for audiences, when they
see human acting/integration driving the show.
watching network TV. Convincing reflections,
perspective changes and the other bells and
whistles that the Tricaster threw at the final out
monitor showed that indeed, a TV news station
could be run off the space of a table top!
One small glitch that appeared was a drop
in frame rate when the demonstrator pulled
up a menu item. The porgramme out monitor
stuttered while this menu was on the preview
monitor. I was told this was a beta version
of the software and there would be no such
occurrence in a live production environment.
Mixer effects busses and virtual inputs:
If you are a professional who has worked behind
a video mixing desk, prepare to re-evaluate what
you thought was possible with a video mixer.
As a teaser, here’s what the Tricaster 8000 does:
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For more information, contact our offices at:
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+971 (2) 55 00 446
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PROReview
Colour Tracking and replace:
The anchor held up a rectangular piece of saturated orange card paper to the camera and the final out
monitor showed him “holding” a moving video mapped onto that card paper. Augmented reality? Perhaps!
It opens up interesting possibilities. I did notice that the tracking was not flawless, in part due to
the two studio lights reflecting off the card and thus throwing the color tracker algorithm off. A more
precise method in my opinion would be to use unique fiducial markers. It would be interesting if 3D
content rendered in realtime with NewTek’s ray-tracing engine Lightwave could superimpose 3D models
of anything from cars to advertising products right onto the studio floor or desk of the news reader.
In live entertainment, a concert could feature virtual props and interaction of live talent augmented
with CG rendered assets displayed on the big screens flanking such concert stages. The Tricaster is
one complex video wolf, dressed up in a sheepskin interface that feels intuitive to the touch.
In a gist
First pic: The Tricaster 8000 interface and second pic, the
Tricaster system diagram.
Pros
* All-in-one TV studio in a box
* Future proofed: Stereoscopic 3D enabled,
Social Media Platform broadcasting capable
* Wont break the bank to own
Cons
* Colour tracking feature “may” not be
fully responsive due to lighting on
studio floor. Fidicual marker tracking if
implemented could overcome this
the touch of an assignable key. While all
these impressive features were coming
out of a single Double height rack mount
unit that the Tricaster occupies, the
presenter dazzled the audience in the
room with animated transitions, courtesy
the built-in TransWarp 3D effects engine.
Yes there is a transition editor that can be
used to customise the transition effects.
The Godzilla claw transition where a
lizard like hand grabs the live video and
crumples it into a page (while the distorted
video is still playing on it) brought sweet
memories of the old NewTek Toaster.
loCal distributor: MediaCast
A toast to social media and
trans-platform television:
Multi-tasking and real time are middle
names for the Tricaster 8000. While it’s
working all its magic at HD resolution, it
can also do social media publishing. The
system allows the operator to integrate
live production into Facebook, Twitter,
Youtube, Flickr, and other social media
sites in real time. Industry standard
video streaming formats are supported.
xxxxx xxxxxxx xxxxxxx x xxxxxxx xxxxxxx xxxxxxx x xxxxxxx
xxxxxxx xxxxxxx x xxxxxxx xxxxxxx xxxxxxx x xxxxxxx xxxxxxx
xxxxxxx x xxxxxxx xxxxxxx xxxxxxx x xxx
It features eight re-entrant M/E busses.
These can be configured with up to four
live sources each including using an
M/E as a source in another M/E. There
are four down stream keys that can use
any source including M/Es in addition to
four channels of overlay on each M/E.
That’s not all. In addition to the
above, the Tricaster can record multiple
video streams with timecode to the
hard drive. It supports Quicktime.
We were shown macros that could be
programmed to do complex actions at
what about stereoscopic 3D?:
Tricaster 8000 supports stereoscopic 3D,
we are told but in parts. The demo did not
have this on show. There is presently one
version of the virtual set in stereoscopic
3D, and in essence I believe the stereo 3D
is achieved by some pre-built macros.
Final verdict?
If you are into live media production,
either for broadcast, live events,
social media or stereoscopic 3D,
the Tricaster 8000 is handy. PRO
Clyde DeSouza works behind the scenes with
leading stereographers and producers in the
film and broadcast industry
Come visit us at IBC2012
Booth 10.A21
Axon Cortex
Take control, make life easier...
In modern broadcasting, the multi-platform delivery and multi-purpose
repackaging of materials demand that you master a diversity of workflows.
AXON’s Cortex software application makes the control and monitoring
of multiple videoand audio signal paths easier, more efficient and
cost-effective than ever.
Originally designed for the complete range of Synapse products, Cortex also
provides comprehensive tools to configure, monitor and maintain products
from other manufacturers within and beyond the broadcasting industry.
The result is that multiple users can take total control over multiple
and complex routines.
www.axon.tv
Celebrating our 25th anniversary
PROINTERVIEW
Broadcasters
must change
David Gatward, MD, 3Sixty.
Channels must reflect that viewers are
more sophisticated, says Chris Forrester
Good broadcasters are already building and
planning for tomorrow. Good broadcasters
supply multiple opportunities for viewer
interactivity and feedback. Good broadcasters
see the supply of programming to tablets,
‘smart’ phones and other ‘second’ screens as
a necessary step in keeping viewers engaged.
Making these changes, and managing
them, of course, costs money and as the
world’s broadcasting experts, managers and
technicians descend on Amsterdam’s IBC
they’ll find the usual slew of suppliers, experts,
managers and – sometimes unfortunately –
more than a few sales folk to tell visitors that
their latest widget or invention is the answer
to every problem the broadcaster has.
But here’s what these true experts have to say.
Wilfred Urner, CEO at SPS, the German-based
playout, Media Asset Management and uplinker
for hundreds of TV, radio and data channels says
the consumer is changing his behaviour in terms of
content, for example, and how media is consumed.
“On the one hand, we have an increased
perception of on-demand content, and the
PROOPINION
“In Germany, we are supporting both solutions, and we see
hybrid as being the ideal way to support both sets of demand.
Hybrid gives us a back-channel hooked into the customers’
telephone line perhaps, and totally complements the linear
supply of programming. In my view, linear programming,
normally transmitted, is going to be around for a very long time”
Wilfred Urner, CEO at SPS
other is seen as the traditional linear
distribution models. On-demand might
end up being seen as the source for
movies and ‘catch-up’ programming,
while linear might be the model for big
events, sports, reality programming
and talk-shows, and such like.
“In Germany, we are supporting both
solutions, and we see hybrid as being
the ideal way to support both sets of
demand. Hybrid gives us a back-channel
hooked into the customers’ telephone
line perhaps, and totally complements the
linear supply of programming. In my view,
linear programming, normally transmitted,
is going to be around for a very long time.
“But the broadcasters also have to
change their focus in order to keep
audiences watching. It is no longer enough
to buy a nice movie and screen it during
the evening. They have to have much
more in the way of primary entertainment
to hold onto the viewer’s attention. Of
course, a good broadcaster has some
subsidiary channels where alternate
programming can also be offered. This has
proved to be a sound business model, and
if mixed with some interactivity, it helps.”
Urner has a powerful message for
broadcasters wanting to upgrade.
“In Europe, we have an excellent
position because of our broadcast
neighbourhoods but looking to the Middle
East, Asia, Latin America, or Africa,
we are just one amongst many. If you
cannot offer more to potential clients,
and we can talk about what ‘more’ is,
then we might not win the business.
‘More’ might include any number of
incentives, or capacity agreements, or
service bundles. This might include
ensuring that the client gets to market a
little sooner, or help with their business
models, or aid them with their technology
development. But what we have to
avoid is stepping into their businesses.
They are the broadcasters, not us.”
There’s another shining comment
from Urner that will reassure
today’s better broadcasters.
“As to today’s hype, and the
suggestions that everyone will move
from linear to non-linear, well I just
do not believe this will be the case.”
Let’s hope he’s right.
But SPS also has its sights set on
the Middle East, India and Asia for
new business. It is already playing out
dozens of channels from Germany direct
to pay-TV operator TopTV based in
Johannesburg, and Urner believes the
market is ready for greater competition
in playout, MAM and digital uplinking.
He admits that there are some parts
of the world that SPS cannot uplink to.
Satellite operator SES already owns
teleports in Luxembourg, Munich,
Princeton (USA) and elsewhere.
Remember, SES is responsible for the
DTH sales effort on Yahsat’s Yahlive HDTV
service, and seeks more business out of
the region. It already beams more than
600 channels into India, for example.
“At SES, we might own teleports
but perhaps we don’t have uplinks to
this or that satellite. So we have to
think about how we might upgrade the
teleports that SES owns and operates
all around the world in order to supply
much more flexibility to clients. Maybe
we have to improve the links we have
with third-party teleports to improve
connectivity for our clients.”
But back to some more expert advice,
this time from Peter Owen, the chair
of the IBC Council, and one of the
most admired figures in the industry.
He talks about the ‘old days’ when
broadcasters could look down their
noses at “the internet” and laugh at their
– then primitive — dial-up services.
“Traditional broadcasters initially
ignored this parallel business in the belief
that their audience would not accept the
quality constraints imposed by telco data
rates. To deliver good television needed
89
PROOPINION
Wilfred Urner, CEO, SPS.
Peter Owen presents James Cameron
with the top IBC Award (2011).
“Key to delivering ‘anything to anywhere’ is
useable terrestrial spectrum, of which a substantial
amount is assigned to broadcasters”
Peter Owen, chairman of the IBC Council
Chris Forrester.
3Mb/sec, an unlikely achievement in the days of
dialup and many believed that delivery via the
telephone line would not progress much further.
Internet content was also seen as being so far
removed from that of broadcast and hence, not
relevant to the broadcast audience. Broadcast
was safe … until broadband came along, when the
audience, especially the internet-literate younger
generation became truly distracted. Looking for
solutions, one broadcast conference headlined
the theme, ‘Attractions in the Age of Distraction’.
“By today, the much heralded promise of the
mid 90s cellular telephone company executives,
‘anything, anytime, anywhere’ is almost here. But
excluded from the slogan are ‘any quality’ and ‘any
audience demographic’. Adding these broadcastloaded requirements challenges the mantra
of ‘anything, anytime, anywhere’. Can today’s
technologies and content delivery business meet
all of the requirements? Such an achievement
would surely challenge the broadcaster. On
the other hand, do they need to meet all of the
requirements to attract an audience and operate a
successful media and content business,” he asks.
“From a technical point of view, the challenge
may be seen as one, the battle with bandwidth
and two, the battle for bandwidth. The former
refers to server and backbone capability while the
second refers to the battle for terrestrial spectrum.
“Developed initially for delivering low volume
data, the growth and success of video content over
the internet is a surprise that is set to challenge
the telco networks. Predictions state that without
substantial infrastructure investment, video
content could soon swamp the internet. Phrases
such as fair usage, capping and throttling suggest
both technical capacity and business challenges.
Not so, say the high tech cities of the Far East
where network pipelines deliver the equivalent of
multi-stream high definition. Even so, the server
requirements to feed ‘anything to anyone’ at
‘any quality’ demands more investment in earth
scorching server and routing hardware. Connected
TV will only further feed the battle with bandwidth.”
Owen doesn’t shirk in his message over ‘the battle
for bandwidth’.
“It’s a scene being played out on all continents,”
he argues.
“Key to delivering ‘anything to anywhere’ is
useable terrestrial spectrum, of which a substantial
amount is assigned to broadcasters. Arguably the
one-to-many transmitter mast on top of the hill is
an efficient and secure route to delivering content
to millions in high density conurbations. It is also
a low cost, wide area technology for rural regions
which when supplemented by satellite services
can deliver near 100% high quality coverage.
“Unlike contention-based telco/internet
technologies, the service is guaranteed. But
unlike the telco/internet product, its content
is limited to that chosen by the broadcasters.
Releasing broadcast spectrum and further
investing in cellular infrastructure supports the
possibility of anything to anywhere. But will it
ever reach the performance of terrestrial, or
satellite or high-capacity cable? I am sceptical.”
There’s one other message that’s usually key
to a visit to IBC — that of ‘future-proofing’ any
broadcast facility. Broadcasters have probably
had their fill of sales folk suggesting that a shift to
digital and non-linear editing and post-production
was the solution to all their headaches.
Now, just when broadcasters were wrapping
up their transitions to MPEG4 and HDTV, they
find the world talking Ultra-HDTV. Indeed,
some people have been talking U-HDTV for
a year or two but there’s now real evidence
that, at least, a handful of broadcasters will
start transmissions in the next few years.
For example, DirecTV in the USA is expected
soon to create some noise in U-HDTV. BSkyB in
the UK is making similar noises and SES is on
record as saying that it will have demonstration
channels on air “within 2 to 3 years”.
Time will tell how long this ‘new kid on the block’
takes to appear over the Middle East. But I have little
doubt that some of the region’s pay-TV broadcasters
would find a ready market for a U-HDTV channel
or two, probably featuring soccer and movies.
But that’s the wonder of IBC. There’s
always something new. PRO
Chris Forrester is editorial director of
Broadgate Publications
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PROPRODUCTS
IBC 2012 TO
INSPIRE
AN ABUNDANCE OF INNOVATION
TO BE SEEN THIS YEAR
More than 50,000 top industry specialists and investors
from over 160 countries across the media world are
expected to attend IBC this year, which will be held at the
RAI Exhibition and Congress Centre in Amsterdam from
September 6-11.
The six-day event will consist of an intensive programme
packed with speakers, masterclasses, Q & A and panel
discussions, and stimulating debates. Expect also to see
the show floor jam-packed with thousands of new products.
Influential guest speakers will include award-winning
recording artist and entrepreneur will.i.am, executive VP of
corporate strategy and business development for The Walt
Disney Company Kevin Mayer, and BBC director of sport
Barbara Slater, among others.
Some of the key topics of discussion in advancement
in technology to look out for this year will be social media
meets TV, the convergence of broadcast TV and the internet,
and mobile multimedia re-emerging. Content creating and
innovation conferences will be looking into how the second
screen is key to new relationships and how it impacts
content, the role of games in the connected TV experience
and the future of next generation TV. The recent Olympic
Games have inspired key points with a conference looking
into turning Olympic Games spectators into participants,
discussing the broadcast tools and technology used in
London 2012. Looking into the future, the road to the next
FIFA World Cup in Brazil 2014 will be talked about.
Another hot topic in the industry is workflow. The
HITACHI gETS
pROgRESSIVE
Hitachi Kokusai Electric Europe comes
to IBC 2012 with the 16-bit SK-HD1200
1080P/3G production camera. The SKHD1200 is Hitachi’s fourth generation HDTV
camera that employs progressive scan CCD
image sensors and 16-bit digital signal
processing technologies.
The camera represents multi-standard
HDTV studio and a field production camera for
regional TV systems worldwide featuring 50Hz
or 60Hz AC line power and both analogue and
digital signal outputs. Capable of simultaneous
SD and HD outputs, the SK-HD1200 supports
a range of HD signal formats, including 1080p,
1080i and 720p.
The lightweight 4.4Kg camera is a
two-piece dockable design and has 22W
camera head power consumption. With the
New matrix for G & D
integration of new 2.3 million pixel, microlens array and 1080p CCDs, these new
sensors enable the SK-HD1200 to achieve
horizontal and vertical resolution, dynamic
range response, sensitivity and ultra-low
vertical smear characteristics.
All major components of the Hitachi SKHD1200 camera system possess their own
DSP processor. Different DSP ICs are used
independently for the HDTV camera head
processing, the transmission system and the
Camera Control Unit (CCU) processing. The
new power-efficient digital signal processor
LSI’s are designed under the 40nm rule with
processing capability in excess of 38-bits
per pixel, per RGB channel.
Hitachi has brought to market the first
3Gbps, fully digital optical transmission
system in an HDTV production camera.
Guntermann & Drunck’s new KVM
matrix switch, the ControlCenterDigital, will be showcased at IBC
this year. The system’s modular
set-up means that transmission
cards can be CAT or fiber or both
and all dynamic ports can be used
as either input or output.
To operate with a mass of
equipment, new and known, the
system supports a huge diversity
of signals such as digital HD video,
USB and PS/2 keyboard and
mouse, audio, USB 2.0 transparent
and RS232 (to name a few).
Because size often does matter, the
system has up to 288 ports (160
and 80 are in preparation) that can
be cascaded in up to three levels.
This means that it can connect
with an almost infinite number of
computers and users. The complete
system architecture is laid up
modularly: the controller, switch
and the card to the power supply.
The ControlCenter-Digital
system includes an appealing
graphical user interface that
allows easy administration for
maintenance and system adaption.
Working in the background as a
‘hidden champion’, a KVM system
can easily become the mainstay
of a broadcast installation.
The system also features all
necessary safety elements such as
monitoring and SNMP. Other new
features include port grouping;
stacking and related devices for
multi-monitor work places; USB
2.0 and RS232 transmission;
enhanced compatibility with
support for AMX control and
CrossDisplay-Switching for more
intuitive operation. >> Stand 11.E30
>> Stand 4.B60
debates will continue about the nature of workflow
changing with the introduction of new technology
and what first became an issue as the industry
moved towards tapeless production chains, to now
the issue being tying the second screen content to
mainstream broadcasts. Organisations can discuss
finding ways to ensure that they future-proof their
investments so they can deal with the 4K and 8K
formats of tomorrow.
IBC will show many of the very latest production
technologies such as DSLRs, stereo 3D rigs and
camcorders, and the latest in the high-speed units
that have revolutionised sports coverage, giving
visitors hands-on experience with the new products
and innovations.
93
PROPRODUCTS
FOR-A gets spORtive
ROhde & schWARz
spyce things up
Rohde & schwarz’ central SpycerBox
storage device is available in versions
SpycerBox Flex and SpycerBox Ultra
and integrates into any storage. Where
ultra-reliable and parallel mirroring
of data is demanded, SpycerBox
provides a solution with its highavailability feature set. Its mirrored
configuration prevents total outages
and gives uninterrupted operation
while ensuring performance remains
unaffected. The integrated functionality
can be controlled by the user
automatically or manually. All data
is synchronised immediately so it is
always identical both on the primary
and the secondary SpycerBox. The
instant-failover function provides the
user with a high level of data reliability.
For IBC, SpycerBox Ultra will feature
an increased storage capacity of 96
TB. The SpycerBox can be integrated
into existing system architectures in
a NAS or SAN configuration, or in a
combination of the two.
>> Stand 7.E25
tightROpe integRAtes
zeplAy And cAROusel
Tightrope Media Systems will have
its own stand for the first time at IBC,
showcasing its Carousel digital signage
system, demonstrating close integration
between the Carousel and its ZEPLAY
instant replay servers for stadium
environments. Operators using the
integrated solution will be able to trigger
instant replays of touchdowns, home
runs and more moments from an iPad
interface for immediate translation to
Carousel-driven displays.
Following the action, operators can
press an icon to launch the iPad app.
The app triggers an XML data string,
which translates replays from the main
stadium display, such as a Jumbotron,
to one or more digital signage displays.
This is designed for fans that missed the
live action, allowing them to view replays
of big moments on menu boards at, for
example, the concession stands.
>> Stand 7.D07
FOR-A Corporation of America will unveil the DCC7000, a new real-time, multi-matrix colour corrector,
ideal for live sports and post production applications.
As the live HD/SD-SDI signal passes through
the DCC-7000, this product performs real-time
adjustment, enhancement, and colour correction of
up to 12 separate colors and hues in the video.
DCC-7000 offers 12-axis colour correction,
which includes RGB, saturation, and hue. It supports
HDTV and SDTV standards, with 10-bit, 4:2:2
digital signal processing. Standards it supports
include: 1080/59.94i, 1080/50i, 1080/24PsF,
1080/23.98PsF, 720/59.94p, 720/50p, 525/60
(NTSC), and 625/50 (PAL).
Pedro Silvestre, sales director for FOR-A America
said: “With the DCC-7000, live event producers now
have an accurate way to adjust the colours and hues
of live video from low-cost HD cameras that don’t
have internal camera control units.
The DCC-7000 can process these HD camera
signals so that they match those of higher-end
cameras.” The DCC-7000 is a standalone unit, and
it is available with the front panel control or with an
external control panel for more accurate control.
>> Stand 2.B59/2.A51
sOny
pMW-200
The Sony PMW-200 is a light and compact 1080p
video camera that features three ½-inch Exmor CMOS
sensors with full HD 4:2:2 50Mbps recording, a 3.5-inch
articulating WVGA LCD monitor and the capability of
recording to SxS media. With ½-inch sensors, the PMW200 inherits the operational versatility of the PMW-EX1R.
The PMW-200 comes with a slow and quick function that
enables it to capture at 1fps to 60fps in 720p mode
and 1fps to 30fps in 1080p mode. The PMW-200 is
designed to record on SxS cards but it also supports
SD cards, memory sticks and Sony’s new XQD cards
via adapters. High-quality MPEG HD 4:2:2 50 Mbps
recording is a capability that ensures that the PMW-200
is suitable for a range of different applications, including
newsgathering and documentary production. A Wi-Fi
remote control for the PMW-200 enhances flexibility
for both studio and location use. The product is now
available with local distributor United Broadcast and
Media Solutions (UBMS).
>> Stand 12.A10
ARgOsy AnnOunces neW lineup
A neW viBe FOR
thOMsOn videO netWORks
Showing at this year’s IBC will be the Thomson
Video Networks’ ViBE VS7000 multiscreen video
platform enhanced with new features for live and filebased IP video. The ViBE VS7000 offers support for
the MPEG-DASH format, as well as streaming formats
from Apple and Microsoft.
The ViBE allows live and file applications to run
concurrently on a single system and provides high
operational convenience through a common, intuitive
graphical interface. The video system integrates with
external platforms through a common built-in SOAP/
Web services interface. It features a built-in video
operating system providing native load balancing
and redundancy/fail-over, allied to the unit’s
compact, high-density packaging. The ViBE VS7000
supports all major packaging, including MPEG-DASH,
MPEG transport stream, Adobe Flash, Apple HTTP Live
Streaming, and Microsoft Smooth Streaming.
>> Stand 14.A10
Argosy’s new line up at IBC will include the MIL26 and MIL41 stage boxes, the studio wall box, as well as a new range of
Neutrik opticalCON Advanced tactical fibre assemblies and associated SMPTE and Triax cable assemblies.
The new range of MIL stage boxes is available in two versions — the MIL26 is used for eight-channel audio cables
while the MIL41 is used for 12 channels of audio. These can be wired as a single input in parallel or as a straight
feedthrough version. Made using Neutrik XLR’s these robust but compact units are designed to withstand harsh OB
environments where they are used for the breaking out from multi-channel audio cables on to single Mic cables.
The new Argosy wall box is designed specifically for the production environment. It features cable entry points at the
rear and base of the wall box making it suitable for studio wall. It also has a unique angled lower section on the front
panel to ease the patching of camera cables into the wall box. This provides an optimum bend radius to minimise any
strain on the cables and ensures reliable signal transmission. >> Stand 10.C51
PROPRODUCTS
Professional matrix for Gefen
Gefen will demonstrate how broadcasters and post-production professionals can
streamline equipment and tailor their system integration with custom-type modular
matrix setup. Available in 8x8, 16x16 and 32x32 enclosures, the GefenPRO
Modular Matrixes allow a mix of DVI, DisplayPort 3GSDI and HDMI inputs and
outputs in 8x increments with optional extension capability. An 8x8 Modular Matrix
could have eight DVI inputs and eight CAT-5 outputs, for example. A 16x16 Modular
Matrix could have eight DVI inputs and eight DisplayPort inputs with16 DVI outputs.
On all 8x8, 16x16 and 32x32 Modular Matrixes, Gefen offers extension to both
input and output sides using CAT-5 or fiber optic cable for both short and long-range signal extension. All eight
extension outputs include built-in sender-type modules to be combined with small receivers at the extended display
location. The 8x DVI ELR/POL uses CAT-5 cable to extend DVI or DisplayPort up to 100 meters using one cable per
display. >> Stand 7.B30
e.P.i.C. launCh for autosCriPt
The E.P.I.C. is an all-in-one prompter display and
on-air talent monitor which simplifies studio
equipment, reduces power consumption and enables
location prompting, while retaining the functions
of the Autoscript LED prompter series. The design
replaces two pieces of equipment with one and
features an integrated flip-down talent monitor which
makes it ideal for both studio and location shooting.
It reduces overall system weight compared to
separate prompter monitor configurations, increasing
compatibility with robotic/support systems; it also
streamlines cable management for video, tally
signal, and timecode display, and reduces power
consumption with the capability to run the entire
system via one power cable. Brian Larter, managing
director of Autoscript said the E.P.I.C. has received
“an incredibly enthusiastic reception”.
>> Stand 11.E55
Quantum sCales
new heiGhts
Quantum’s scalar linear tape file system features
a NAS front-end and is based on the LTFS
open-standard for content formatting. It will
work with existing applications and file system
tools allowing LTFS-based content to be easily
managed, transported and accessible for longterm data protection and archival storage.
The Scalar LTFS appliance can also be used to
import and export LTFS open-standard media
into a StorNext File System. Quantum’s latest
StorNext software enhancement, StorNext 4.3
will also be on show. Built to address demanding
requirements in managing digital media content,
it includes a new database to support up to one
billion files and many petabytes of tiered storage.
>> Stand 7.G30
Vimond announCes Video manaGement tool
The Vimond Control Center (VCC) from Vimond
Media Solutions is a new and feature-rich video
management tool that builds on the company’s
Online Video Platform (OVP), further simplifying
and accelerating the publishing workflow.
The Vimond Control Center was designed for
broadcasters and distributors that want to
monetise their content directly to end users, and
for content distributors seeking to broaden their
offering and provide catch-up services. One of those features is a self-service
component that enables OTT service providers
to attract a large pool of content contributors by
giving them restricted access to their accounts.
The content contributors log in to the provider’s
VCC installation, create their own channels, and
upload their own video to be distributed over
the provider’s Vimond platform. At that point, an
administrator on the service-provider side approves
the content before it is published. This approval
workflow gives the provider greater moneymaking
potential with little effort.
Using this feature, providers can create a single
service with a unified look and feel through which
they publish content from multiple sources; or
allow content owners to create their own branded
channels, which get published via the provider’s
Vimond platform.
VCC boasts other features including the ability
to publish compelling TV services across all
Playbox manaGes Playout
screens without the need for add-on functionality
or products, as well as tagging functionality that
simplifies the process of managing hundreds of
hours of content. Content is found through a search,
with adaptive filtering, and in as few clicks as
possible. VCC also accelerates OTT production by
breaking the various production elements down into
manageable workflows, which can be customised
depending on the need.
Finally, VCC integrates with the major encoder and
transcoder solutions, enabling automation of live and
on-demand video ingestion.
Industry-leading solutions from Digital Rapids
and Harmonic are controlled directly from the VCC
system, eliminating the need to start and stop
encoders manually. With its modular architecture,
Vimond offers many tools and controls for every
aspect of an OTT service.
>> Stand 14.B10.
PlayBox Technology will launch Multi Playout Manager, a fully assignable monitoring and control system with
rights management for multiple AirBox playout channels from one or more internet-connected PCs. Running
in a web browser, MPM is a networked workflow solution that enables multi-channel playout centres to
monitor and control all channels’ schedules, programmes, media files and more, and to make live changes to
the output if required. It can assign full or partial rights for any of the TV channels to one or more people to
remotely monitor and control the channels from any PC, tablet or smartphone.
>> Stand: 8.C30
PROPRODUCTS
Nila to light
up iBC2012
The Nila SL can illuminate
subjects up to 400’ away while
still providing an up-close soft
light source. Nila’s holographic
lenses allow the user to specify
a precise angled beam that
can help minimize the need for
diffusion material, flags and barn doors. The lenses
enable users to dial in a soft box look without the
actual box. The SL can also be rigged as a space light
and is available in a kit that includes its own diffusion
bag and rigging hardware.
The Nila SL assimilates the capability to adapt to
various lighting requirements, whether it is high
output or soft light.The Nila SL is also the first Nila
product to utilise firmware that allows for a flickerfree operation for dim levels between 0-1500 fps
and also the freedom to shoot at any speed when the
light output is set at 100%.
>> Stand 11.D78
primestream
forks out XChaNge
Primestream’s FORK Xchange Suite gives
broadcasters instant Web access to content on their
FORK Production servers from any Windows, Mac,
or iOS device. FORK Xchange Suite 1.5 includes
new capabilities for creating subclips and markers,
as well as an upload manager, extended metadata
functionality, and multitrack audio control.
In FORK Xchange Suite 1.5, subclips can now be
created directly from the Xchange Suite using the new
Assemble module, an interface for creating subclips
and markers. Users can review material and select
portions of the media to deliver to remote sites, and
create and submit markers and subclips through
Assemble from a desktop PC and/or iPad.
FORK Xchange Suite 1.5 also boasts an upload
manager and monitor, which allows users to upload
content in any of the supported formats directly from
the user’s browser, and then monitor the upload
progress of multiple files. Once the FORK Production
Server registers the file, it creates an H.264 proxy
file, which is also viewable from anywhere. Users
anywhere in the world can also download a proxy or
high-resolution media file of any clip in Xchange.
>> Stand 7.D21
CoBham’s wireless woNder
doughty has a
spriNg iN its step
Doughty Engineering’s new, lightweight
spring Pantograph, can be used for smaller
TV and photographic studios. The load
rating of 0-10kg makes it suitable for
lighter weight luminaires and it is available
in aluminium or black anodised finish and
two sizes, 2m and 3m. Complementing
Doughty’s Quick Trigger range of clamps,
the Baby Quick Trigger clamp is intended
for use on smaller truss sizes, adjustable
to diameters of 25mm up to 38mm. Made
from high tensile aluminium and with a
safe working load of 40kg, it captivates
an M8 or M10 bolt. With TUV approval
pending, the Baby Quick Trigger clamp
is available in polished aluminium or
satin black. Also for studios, Doughty has
developed a range of TV Monitor brackets
which will take up to 60” screens.
>> Stand 11.A60
Cobham will show the latest version of its Solo H.264
wireless camera system featuring the UMVL ultra
mobile video link communications protocol for stable,
very low latency transmission at IBC. The Cobham Solo
H.264 wireless camera system is designed to ensure
stable transmission of HD pictures and sound across a
broad range of applications from audience cameras at
major music festivals to on-board cameras
in high speed motor sports. Cobham’s
custom UMVL modulation
system is designed specifically
for broadcast applications,
combining high quality with an
extremely low latency of just 15ms.
>> Stand 1.F41
a timeCode revolutioN
Timecode Buddy from Timecode enables productions
to sync picture and sound across all recording
formats with simplicity, transparency and precision.
Founder of Timecode Systems, Paul Scurrell calls
the Timecode Buddy “a cost effective system that can
be used on every kind of shoot”.
“Whether it is large format TV cameras, DSLRs or
small handheld DV cameras, there’s no need to worry
about compatibility or swapping kit between jobs.”
Also showing at IBC will be Timecode Sync plugin
for logging app, Movie Slate. From creating accurate
timecode stamps to logging sound notes, the
collaboration between Timecode Buddy and Movie
Slate allows all production members to wirelessly log
and slate accurate TOD or TAPE RUN timecode.
>> Stand 9.B20
adteC digital’s ultra improvemeNt
Adtec Digital will present its EN-91P, a 1080P AVC 3D/HD/SD encoder that offers Fiber SFP video input
at this year’s IBC show. Paired with the RD-70 Integrated Receiver/Decoder, this video encoder can
deliver 1080P HD-SDI with end-to-end delays of only 1 or 3 frames using less bandwidth required for
Motion JPEG. The EN-91P, RD-60 and RD-70 are fully interoperable with leading third-party receivers and
encoders. Adtec will also make its international debut of the EN-20 as a complement to the YUV2QAM
and mediaHUB-HDPro distribution solutions. The EN-20 is positioned to deliver two broadcast quality
MPEG 2 HD or SD services with Dolby audio encode and
passthrough support. It supports all the VBI services
required for real broadcast applications.
>> Stand 1.D01
harris iN motioN
Harris Broadcast Communications will launch Invenio Motion 4 at IBC. Invenio Motion 4 integrates multiple
functions to track, manage and execute workflow activities, along with the capability to quantify the value of how
every task correlates across the workflow. It allows users to add, configure and manage devices, assign tasks to
personnel, and track projects from inception to completion. It consolidates multiple asset management tasks
within its engine, bringing together many transcoding and storage options, for example — including long-term
tape library archives. >> Stand 7.G20
Conference 6-11 September : Exhibition 7-11 September
RAI Amsterdam
RAI Amsterdam
IBC2012
IBC2012
Discover
More
Discover More
Conference
Leading the electronic media and entertainment agenda
through innovation and debate, the IBC Conference
is attended by the most influential thinkers from the
leading companies in the world.
It is split into four carefully selected
Hot topics being discussed this year
streams – Advances in Technology,
include:
Content Creation and Innovation, The
• Broadcast Delivery
Business of Broadcasting, and Added
• Cinema
Value – ensuring that all the fields
• Cloud
contributing to the future of the industry
• Connected TV
IBC is at the cutting-edge of new
technology
are represented.
Media in the
• Social
evolving electronic
media
industry. It couples
IBC is atrapidly
the cutting-edge
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in the
Sport
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covering
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The
conference
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of:
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rapidly evolving electronic media industry. It couples
• 6 day, 4 today’s
stream conference
programme
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industry with
a highly •respected
comprehensive
exhibition
covering
• a 300+
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class highthat
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conference that helps shape the way the industry
Take advantage
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a variety
of extra
special features including:
For
more
information
please
visit:
www.ibc.org/conference
will
develop
in the
Exhibition
• IBC Production Village
• Future Zone
showcasing the latest developments
presenting the latest camera
Take advantage
of a technology
variety of extra special
features
technology
in aincluding:
purpose built
in broadcast
environment
• IBC Connected World
• IBC Production Village
• Future Zone
• IBC Awards Ceremony
including demonstration area
presenting
thethose
latestwho
camera
showcasing
the
latest
developments
in Hall 14
acknowledges
have made
technology
in a purpose
built
in broadcast technology
a real contribution
to the industry
• IBC Big Screen
hosted on Sunday 9 September
environment
providing World
the perfect platform
• IBC Connected
for manufacturer demonstrations
• IBC Awards Ceremony
including demonstration
area
and the Saturday Night Movie
IBC welcomes over 50,000 attendees from over 160
countries & 1,300+ key international technology suppliers
each year. In addition, attendees can take advantage of a
variety of extra special features including:
in Hall 14
Future Zone
• IBC Big Screen
showcasing
the latest developments in
broadcast
technology
providing
the perfect platform
IBCand
Connected
World
the Saturday
Night Movie
including demonstration area in Hall 14
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providing the perfect platform
and the Saturday Night Movie
acknowledges those who have made
aIBC
real Production
contribution Village
to the industry
presenting
the latest
camera
hosted on Sunday
9 September
technology in a purpose built
environment
IBC Awards Ceremony
acknowledges those who have made
a real contribution to the industry
hosted on Sunday 9 September
For more information
please visit: www.ibc.org/exhibition
www.ibc.org
IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK
T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E info@ibc.org
www.ibc.org
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PROPRODUCTS
DVEO’s micrO multistrEamEr
3D post production tools by Mistika have been
involved in recent feature films such as The
Amazing Spider-Man, Prometheus, The Adventures
of Tintin, Flying Swords of Dragon Gate, Asterix
& Obelix: On Her Majesty’s Service, The Hobbit,
Madam Butterfly 3D and James Cameron’s
Deepsea Challenge 3D.
SGO also features its free educational training
programme, Mistika Insight at IBC, designed
specifically for students and freelancers.
DVEO will introduce the Launch Portable Live
Streaming New MultiStreamer DIG/IP Encoder
which creates simultaneous high, medium, and
low bit rate streams. The latest — and smallest
— addition to their product family of real time
streaming appliances delivers content to iPads,
laptops, OTT televisions, and mobile devices via IP.
The portable Linux based MultiStreamer DIG/IP
encoder/live streamer accepts uncompressed SDI
or HD-SDI video from cameras, editing systems,
or video servers, and supports simultaneous IP
input. The “micro” creates multiple simultaneous
high, medium, and low bitrate IP streams, sending
them to smart phones, tablets, content delivery
networks and remote video capture devices. The
IP transport streams can be provided with most
industry standard protocols, including UDP, RTP, or
IGMP, and wrappers such as HLS, RTMP, and RTSP.
The MultiStreamer DIG/IP runs on a high end
Intel I7 4 Core processor. It encodes up to one
1080i or 1080p HD stream plus one 720p HD
stream at 6 Mbps, and 2 SD streams at 2 Mbps.
Audio output is AAC, Ogg Vorbis, optional MP3,
optional MPEG-1 Layer II, or optional “SurCode for
Dolby Digital” AC-3.
This small portable box weighs 2.27
kilograms. It can be used in the field to gather
news video and stream it live to the TV station.
Another use is sending video of live events and
concerts, sporting events, corporate training, and
religious services to iPads, iPhones, and other
portable devices.
>> Stand 6.A11
>> Stand 2.A54
mistika’s mOViE winnEr fOr sgO
SGO will introduce Mistika’s Revolutionary Colour
Grading at IBC 2012. Mistika features a complete
suite of production tools including timeline-based
editing, conforming, infinite layer compositing, colour
grading, optical flow-based motion estimation and
image restoration. With the ability to provide its
creative feature-set across all resolutions and for
production and post production pipelines, Mistika
is based on non-proprietary hardware and has an
open file structure with widespread codec-support
enabling integration with other systems and any
image format.
Mistika’s Revolutionary Colour Grading has
been designed to provide control over every aspect
of the image and is ready for 2D and Stereo 3D
productions using standard or High Frame Rates
and at all resolutions. All features are accessible
directly from Tangent Elements control surfaces.
SGO has further developed Mistika’s ability to
support High Frame Rates (HFR), such as 48 and 60
Frame Per Second (fps) projects. Also showcasing at
IBC 2012 is Mistika’s Smart Collaborative Workflow
Caching– extending real time performance and
Mistika’s world-leading stereo 3D tools. Stereo
EyEhEight’s nEw lEgalisEr
Eyeheight’s LE-3G multi-rate video legaliser includes full support for 1080p50 and 1080p60 high-definition
production and transmission formats. Designed for use in television studios, broadcast ingest suites, postproduction facilities and playout centres, the LE-3G enables video legalisation parameters to be corrected
automatically, ensuring full compliance with industry-agreed regulations for broadcast signal delivery. Detailed
configuration of the legaliser can be performed via an intuitive menu system common to all products in
Eyeheight’s geNETics series. Backlit LCD pushbuttons guide the operator through the various control modes,
include RGB, YUV or composite mode selection, clipping level, soft clipping knee, luma and chroma gain, black
level, and hue rotation. Six user memories are available to store group settings.
>> Stand 8.B97
DynauDiO’s mOnitOr sOlutiOn
Dynaudio Professional will introduce single-amplifier New Main Monitor Solution – M3VE. The combination of
driver and cabinet technology comes with amplification and signal processing from Lab.gruppen and Lake.
M3VE is a monitoring upgrade from its predecessor — the M3A 3-way monitor. The speakers are powered
by a four-channel Lab.gruppen PLM10000Q amplifier, while filtering the MF/HF cross-over point.Dynaudio
ESOTAR² driver technology, 22Hz - 21kHz frequency response and beyond 133dB SPL feature within the
M3VE. Main features include accurate audio reproduction, handmade drivers, 4700 W per monitor, ESOTAR²
and Aluminum Voice Coil Technology among others. >> Stand 8.D56
We’re there for you
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07- 11 sep 2012 - aMsterdaM
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PROPRODUCTS
GoinG nativ with Mio
Nativ has announced the launch of its new
platform Mio v5.0, which it claims is the first
enterprise media asset management and workflow
solution with built-in social collaboration and
browser-based editing.
Making its debut at IBC 2012, Mio v5.0 will
enable broadcasters, production companies and
other content owners to take back control of their
assets and manage their entire content workflow,
from creation to consumption in one place. The
scalable and robust platform represents an entirely
new way of accessing content management and
production solutions and enables customers to
maximise the use of their skilled internal resources.
Mio v5.0’s special features include project workspaces
with advanced social features for ‘real-time’ global
collaboration such as remote working and increased
visibility of cost and resources on a per-project
basis. There is also a browser-based frame accurate
editing feature to eliminate the cost and complexity
of moving large assets in and out of the cloud for
simple media manipulation. In addition to all of this
is shot logging, enhanced search and deep indexing
to organise huge volumes of archived content for easy
search and access.
“By bringing editing, workflow and asset
management together in the one platform content,
owners will be able to enhance their ability to process
time-critical content accurately and cost effectively,”
said Nativ CEO Jon Folland.
Mio v5.0 will be on display at Nativ’s IBC stand.
MioEverywhere is also a finalist in the ConnectedWorld.
TV Awards “TV service delivery” category.
>> Stand 4.A61e
PlayinG out with oaSyS
Oasys will demonstrate the latest features and functions of its automated playout software at IBC. Instant
configuration changes will show OASYS switch between eight different settings to emphasise the functions
that can be performed with one software setting change. This will allow for demonstrations of simple playout,
complex branding, simulcasting, multiple channels in a box, time delay playout, multiple branded output, and
multiple live inputs.
“We offer a wide-ranging portfolio of playout configurations for different broadcast requirements, all of which
are endlessly adaptable for the individual broadcaster, and all come with solid reliability and high levels of
support,” said Mark Errington, CEO of OASYS.
OASYS will also introduce new features including subtitle setup improvements for SD and HD, and IP-based
failover routing, while new modules for media connections and file management provide for a range of new
functions including file playout from UNC paths, a wider range of IP streaming, and new file purging options.
>> Stand 8.B38C
t-viPS adaPtS
T-VIPS will launch the CP524 TS Adapter at
the IBC show 2012. This adapter supports
multi-stream, remultiplexing, and flexible format
conversion. The CP524 has been designed to
meet the requirements of operators and service
providers for flexible repacking, and delivery of
content for multiple end points. The CP524’s
filtering and remultiplexing features enable operators
to save bandwidth.
T-VIPS anticipates that the CP524 will be useful
for broadcast service providers that offer television
contribution and distribution services. It will also
service IP network operators offering managed
video services and Satellite network operators for
contribution to satellite uplink sites.
Terrestrial network operators for the primary
distribution of ATSC, DVB-T and DVB-T2 signals can
also take advantage of this new product. The CP524
offers powerful network adaption between ASI, IP,
SONET/SDH and SMPTE 310. >> Stand 1.B71
triloGy MaintainS connection
Trilogy Broadcast’s enhanced Gemini IP intercom system takes advantage of its ability to carry programme-quality audio
over its High Speed Link (HSL) and adds AES and MADI audio interfaces. The new digital audio interface handles both
MADI and AES signals in any combination making it an ideal solution for broadcast audio installations. This solution
supports transparent routing of the audio streams in addition it provides interrupt capability and stereo to mono mixing.
A key application is to be able to strip out audio channels to send to an intercom device, for instance to put a remote
commentary feed onto a studio presenter’s earpiece. The configuration includes the ability to mix the programme feed
with talkback, to duck it or to mute it. >> Stand No. 10.A29
103
PROPRODUCTS
BROADCAST SPORTS
MAKES BLUE STEEL
SOUND
Utah Scientific coloUrS
and diSplayS
solid professional tripods will soon broaden the FSB
family. The Sachtler clamping used on 100mm and
150mm tripods for quick set-up will also be available
for the first time in the 75mm range. Apart from the
presentation of new products, Sachtler will showcase
its camera support classics such as the Cine 7+7 HD
and Cine 30 HD fluid heads as well as the EB/EFP
Video 18 S1 and Video 20 S1 fluid heads.
At IBC2012, Utah Scientific will show a new
family of menu-based router control panels. The
new panels feature high-resolution, full-colour
LCD displays and buttons, offering a new level
of user-friendly operation for today’s increasingly
complex routing systems.
The UCP-LC series panels offer 16 or 32
buttons in a compact 1-RU package and an
innovative 3-RU panel with touch-screen LCD
displays. All of the new panels are based on a
completely new user-definable menu system that
provides an open platform for defining all panel
functions — from basic operation to the most
sophisticated router management functions — on
a panel-by-panel basis.
Utah Scientific will also showcase embeddedaudio signal processing for the UTAH-400 series
of digital routing switchers. The capability comes
courtesy of a new line of I/O boards that rely on
advanced field-programmable gate array (FPGA)
technology to perform signal processing. It has
built advanced signal processing into the router’s
I/O board, meaning it can deserialize and
decode a signal into its component data streams
without compromising the router’s overall
operational reliability.
>>Stand 11.E55
>>Stand 2.B20
Broadcast Sports, Inc. (BSI) will introduce its Blue Steel MIC1500 wireless microphone system to Europe at
IBC this September. The microphone operates between 1435 and1525 MHz. It features an integrated “talk
back” switch that allows the user to toggle between on air recording and off air communication with the
producer. It is designed with the internal antenna at the bottom of the shaft which prevents the presenter
from obstructing the signal while still allowing him to hold the device comfortably. The handsets are battery
powered and have an operational life of about six hours. The technology is also available in a belt pack
configuration. The microphone operates on BSI’s Intelligent Diversity Receive Infrastructure which involves
placing multiple receive sites across a wide area to ensure reliable signal transmission and reception for
multiple wireless devices. It can be deployed across a variety of venues including sports stadiums, golf
courses, marathon routes and car racing tracks. The company’s wireless cameras, including point-of-view
and on-board, and other communication devices also work on this system.
>>Stand 5.B20
Sachtler’S Seven
Sachtler will unveil a new 75mm fluid head that
broadens the selection for professional DSLR
filmmakers and videographers with camera set-ups
weighing up to six kilograms. It will be available
with three different carbon-fiber tripods; one with a
telescopic tripod, one with a mid-level spreader and
one with a ground-spreader. Additionally, four new
Smart Integrations
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22/08/2012 16:53:55
105
PROPRODUCTS
Spectrum mediadeck iS
Harmonic
Snell SHowcaSeS
cHannel-in-a-box
Snell will showcase version 3.0 of
its ICE channel in-a-box. ICE v3.0
features include integrated 3D and
2D graphics and CG functionality with
timeline editing control and the ability
to populate fields automatically with
graphics from Morpheus automation
schedule events, as well as from
external data sources such as RSS
feeds and Web-based news and
weather services.
To complement ICE’s HD and SD
simulcast capabilities, as well as
the system’s ability to provide a
clean output, Snell has added a
delay server that enables users to
record the output of a channel for
delayed playout services. Snell will be
introducing full Dolby E processing
within the system as well as mono/
stereo audio shuffling and audio clip
playout also at IBC.
Snell has also announced
integration with the Quantum
StorNext File System and StorNext
Q-series disk arrays, enabling up
to 10 ICE units to share a massive
36TB of storage. The scale-out, highperformance SAN technology allows
content ingested on any ICE to be
available for playout instantly on any
of the other ICE units.
>> Stand 8.B68
multicam…
multi-uSe
Multicam Recording from Multicam
Systems is a mono-camera capture
system designed to capture daily
lectures and powerpoint
presentations,
whereas Multicam E-Learning is a
double-camera solution ideal
to capture lectures and conferences.
For larger scale entertainment or
corporate events, Multicam Studio HD
enables one person to capture the
whole event with up to four cameras.
>> Stand 11.F61B
Harmonic’s Spectrum MediaDeck 7000 SSD integrated
media server will be showcased at this year’s IBC. This
new four-channel media server system offers low power
requirements and lower weight of solid-state disk (SSD)
storage, while providing the broadcast quality and design of
the MediaDeck 7000. Equipped with four 480-GB SSD drives, the MediaDeck
7000 SSD provides 57 hours of 50-Mbps storage capacity.
The integrated system packs up to four SD or HD video
channels and Gigabit Ethernet connectivity into its compact
1-RU chassis. The flexible server system also features
multiple-codec playback, up/down/cross-conversion, and
HD/SD simulcast capabilities. Two-channel modularity
enables even the smallest broadcast and video production
operations to implement robust server-based ingest and
playout operations — or sophisticated file-based workflows
— for a broad range of video formats. The MediaDeck 7000
SSD is deployable with over 100 third-party automation,
MAM, production, and archiving applications.
The new media server system can operate
independently or within a larger network of Spectrum
servers and Omneon MediaGrid shared storage systems
managed by the Harmonic Media Application Server.
Stand 1.B20
Vinten radamec walkS on ice
diVa on tHe Front porcH
Front Porch has announced updates to its DIVAdirector media
asset management (MAM) system. A permission-based Web
application that enables complete access to file-based content
stored by DIVArchive CSM systems, DIVAdirector V5.1 contains
new features that make it easier for users of a DIVArchive
system to manage its digital files, especially if combined with
Front Porch Digital’s new LYNX platform for moving, archiving,
and online video publishing to the cloud. “We’ve added
new features and capabilities to this version of DIVAdirector
that were absolutely critical to our new LYNX cloud-based
offering,” said Rino Petricola, senior vice president and
managing director of Front Porch Digital International. “We’ve
developed version 5.1 to address LYNX-specific workflows
and requirements such as site awareness, whereby a single
DIVAdirector system can show the enterprise content view
of assets stored in different archive systems, be they local,
networked, cloud-based or any combination, with integrated
user permissions controlling access.” DIVAdirector V5.1 is
available as a cloud service or licensed locally, and features
enhanced integration with other components in Front Porch
Digital’s DIVASolutions product line, including SAMMA for
content migration, DIVAnet for managing multiple DIVArchive
systems across a wide area network (WAN), and DIVApublish
mpx for taking media to market.
>> Stand 7.C16.
Sonnet tHunderboltS to ibc
Vinten Radamec will be showing its nextgeneration fusion robotics, incorporating
the company’s new ICE (Intelligent Control
Engineering) technology at this year’s IBC.
ICE delivers control and accuracy in a compact
form, and is incorporated into the recently
released FH-145 and FHR-145 heads. The
two next generation pan and tilt heads will be
displayed alongside Vinten Radamec’s first ever
product to incorporate the ICE platform, the FHR35. The ICE platform provides a motion control
system and drive train within the heads to deliver
both fast and slow broadcast movement. The
ICE motion control system is also able to drive a
wide range of full-servo broadcast lenses. The ICE
platform harnesses IP technology, allowing control
from either the Vinten Radamec VRC or LCS
systems over a standard Ethernet infrastructure.
Karen Walker, commercial manager at Vinten
Radamec said: “There are several very different
products in our new robotics range, from pan and
tilt heads, to a brand new positioning system for
pedestals, as well as an innovative compact and
portable control solution. Each individual product
is tailored towards specific sectors of the market,
yet they all deliver the same performances.”
Virtual Reality upgrades available for the full
range of ICE heads will also be on display on
Vinten Radamec’s stand, alongside two brand
new product launches.
>> Stand 11.E55
Sonnet Technologies will highlight its family of Thunderbolt IBC 2012. It will display its line of Thunderbolt-compatible
expansion chassis, adapters, and servers that offer exceptional I/O performance for PCIe cards, adapters, and storage
systems. Sonnet will also be previewing its latest Thunderbolt to 10 GigE and Thunderbolt to 4-Port SATA adapters.
>> Stand 7.G02
PROGUEST
Luke Williams
Consumer viewing habits have changed dramatically
in the last couple of years with viewers wanting to
watch content at their convenience on their preferred
device. Consistent, high-quality pictures and sound are
now accessible from multiple devices, on demand and
available anywhere. ‘Live’ and linear content remains
an important part of this viewing experience, often a key
driver of consumer loyalty and operators’ revenue
HEVC — THE nExT gEnEraTion
ComprEssion TECHnology
With new technologies, the required
quality of service levels necessary to
deliver video over multiple networks
to multiple devices, can be achieved.
Operators, however, need to generate
multiple thousands of versions of
streams to deliver the hundreds of
linear channels currently forming their
line-up to an ever-increasing number
of devices, over both managed and
unmanaged networks of different capacity.
This is an obvious scale problem.
Video compression plays an important
role in delivering content to consumers’
devices. Efficient video compression can help
to reduce network bandwidth and storage
requirements, therefore, shrinking operating
costs. Dense and flexible equipment reduces
ongoing investment, thus helping to increase
profit margins.
However, while MPEG-4 AVC support is
widespread in today’s video clients, adaptive
streaming delivery formats are still multiple
and proprietary. The MPEG-DASH standard
is gaining popularity and its widespread
adoption would help to avoid repackaging
streams for different devices, simplify DRM
integration and reduce service provision
costs at the headend and on the network.
But will it be enough? Current trends
already show that network traffic is on the
rise on managed, un-managed and home
networks and this is about to escalate as the
capability of connected devices increase to
support new trends such as 1080p, 3D and
4K UHDTV resolutions.
There will be an estimated 15 billion
connected devices by 2015, and demand
for higher resolutions requires a new
compression technology to keep network
bandwidth and storage costs as low as
possible for operators and service providers.
High Efficiency Video Coding (HEVC)
is the latest video coding standard effort
that is currently being developed by the
Joint Collaborative Team-Video Coding
(JCT-VC), a collaborative project between
the ITU-T Video Coding Experts Group
(VCEG) and the ISO/IECE Moving Picture
Experts Group (MPEG). This new video
compression standard aims to have the same
revolutionary impact of its predecessors,
which effectively enabled the explosion of
digital entertainment consumption. The
first major breakthrough was marked by the
arrival of the MPEG-1 video compression
standard. MPEG-1 helped to spark the
beginning of digital content delivery to
consumers, including video CDS, CD
interactive and near broadcast quality video.
In 1994, the arrival of MPEG-2 formed
the catalyst for the deployment of digital
television and digital video storage, which
enabled the biggest game-changing shift in
television since the introduction of colour.
The number of broadcast channels grew
rapidly and consumer demand for better
quality services increased. The advent of
the third generation of video compression
standards ITU-T Rec. H.264, ISO/IEC
14496-10 or MPEG-4 Advanced Video
Coding (AVC) in 2003 addressed these
issues and effectively enabled the massscale deployment of HDTV to the home
by offering a 50% increase in compression
efficiency compared to MPEG-2 Video for
consumer applications.
Further enhancements to the standard
were made over the next six years, with the
Fidelity Range Extensions (2004), Scalable
Video Coding (2007) and Multiview Video
Coding (2009) expanding its applicability.
AVC enabled very low bitrate video to be
delivered to handheld devices. HEVC will
further revolutionise the video delivery world
by improving coding efficiency over AVC by
another 50%, effectively halving the bitrate
yet again to achieve the same picture quality.
The increased toolset and algorithmic
complexity required to achieve the
higher efficiency will demand far greater
computational power from compression
equipment, with early estimations suggesting
it will be up to 10 times greater than AVC.
As operators and service providers look
to give their consumers more and better
content than ever before, the case for
introducing a new generation compression
codec is clear.
We stand at the verge of a truly converged,
multi-screen television world, with growing
demand for accessibility of enhanced services
offering real-world experiences.
HEVC’s promise of halving the bandwidth
utilisation translates into greater reach of
services over DSL, dramatically improved
peak-bandwidth utilisation for adaptive
streaming over unmanaged networks,
unlocking high-quality video delivery over
4G/LTE mobile networks, allowing for the
distribution of full-resolution 3DTV and ultra
high-definition TV (UHDTV) services costeffectively and much more. Standardisation is
underway, with January 2013 set as the date
for ratification. PRO
Luke Williams is Middle East technical
sales support engineer and Fabio Murra
is head of TV compression portfolio
marketing at Ericsson
www.fujifilm.eu/fujinon
Have you ever wished for
an affordable HD lens?
Visit us in Amsterdam,
IBC 2012, Booth 11.C20,
7 – 11 September 2012
Find out
more technical
details now
The new XA20s x 8.5BERM from Fujinon
The new XA20s x 8.5BERM makes your wish
come true. You can look forward to a sharp HD image
resolution and a long focal length range from 8.5 to 170 mm.
Thanks to the built-in 2 x extender, you can increase this
to as much as 340 mm. All built into a robust, ergonomic
housing for a surprisingly attractive price.
Fujinon. To see more is to know more.

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