See us at

The rise ofsocial media

Sonys landmarkOmani deal

Intercom Systems evolve to changing market needs

IABM trends surveyreflects steady recovery

DVB confirmed forSouthern Africa

Sonys landmarkOmani deal

The rise ofsocial media

Intercom Systems evolve to changing market needs

See us at

DVB confirmed forSouthern Africa

IABM trends surveyreflects steady recovery

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10 Prepare to take advantage of the new media world The last two years have proved to be very difficult for the media

industry. Some businesses failed as restructuring and

refinancing efforts failed to keep pace with the drastic fall in

revenues. However, the industry seems to be experiencing early

signs of growth after surviving one of the worst economic

downturns in history.

20 Gearhouse supplies Loeries 2010Gearhouse South Africa supplied full technical production to the

2010 Loerie Awards staged at the Good Hope Centre in Cape

Town, South Africa for the second year running.

34 Quantel 3D TV broadcasts Guangzhou Asian Games Quantel’s Enterprise sQ Stereo3D broadcast production

technology, first shown at NAB this year, made its in-service

debut at the Guangzhou 2010 Asian Games in November,

successfully providing daily Stereo3D TV programming to

China’s first 3D TV audience.

35 5 African countries represented in DIFFSeven feature; documentary and short films from across the

African continent were screened at the seventh Dubai

International Film Festival that took place during December.

AV SpecialistVolume 115

Contents

Publisher & Managing EditorKevan Joneskevan@avspecialist.tv

Feature EditorDick Hobbsdick@avspecialist.tv

Circulation Anne Ebrahimann@avspecialist.tv

Designer Rajiv Gopalanrajiv@avspecialist.tv

Advertising salesAfrica, Middle East, UK Richie Ebrahimrichie@avspecialist.tv

EuropeEmmanuel Archambeaudearchambeaud@defcommunication.com

Represented in North America by:Broadcast Media InternationalMichael Mitchell Tel: +1 631 673 3199michael@avspecialist.tv

Represented in the Middle East by:AV Specialist MENA FZ LLCPO Box 502314, DubaiUnited Arab EmiratesTel: +971 (0)4 391-4718Fax: +971 (0)4 345-2898

Represented in South Africa by:Doddington Direct ccPO Box 3939, Honeydew, 2040,South AfricaTel: +27 (0)11 083-6418Fax: +27 (0)865253852

Represented in Europe by:Def & Communication48 Bd Jean-Jaurès, 92110 Clichy, FranceTel: +33 (0)1 4730 7180Fax: +33 (0)1 4730 0189

Publisher’s Note

Trilogy's Gemini combines IPconnectivity with programmequality audio to suit applicationsranging from small single studiosto the largest multi-studio.

Ave qualified circulation(Jan - June 2010) 4514

As we come to the end of 2010, this year like the previous has seen many companiesrestructuring, closing down and remodeling their business to adapt to market changes. Thegood news according to the IABMs latest industry trend survey reflects the market in steadyrecovery. These were the sentiments of industry executives with almost 50% indicatingchanges as early as Spring.

As this issue hits the printing press we are preparing for IS EUROPE which has seenrecord numbers attending the event earlier this year, as well as CABSAT 2011 which accordingto the organizers is almost SOLD OUT.

As our industry enters another exciting period of creativity and technological advance,many of us would be heading off on vacation, to spend time away during the festive season.From the AV Specialist team let me take this opportunity to wish you and your loved ones wellover the festive season.

I look forward to meeting you on the show floors

AXONglue and beyond

Whether you’re looking for ‘glue’ or a lot more, AXON isyour partner of choice. Check out our website and see the

depth and breadth of our solutions in this demanding area ofbroadcast interoperability and compliance.

Select AXON as your technology partner and you will be in goodcompany. Many major broadcasting companies around the worldhhave made the same choice, and they also discovered that AXON

is really all about ‘glue and beyond’. www.axon.tv

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Productn e w s

Focus Enhancements adds FS-T1001 Media Recorder

Focus Enhancements have announced the FS-T1001Camera Mount Media Recorder. FS-T1001 seamlesslyintegrates with HDCAM and XDCAM HD camera systems byutilizing the host camera professional battery system andaccepting the HD-SDI output from the host camera to recordto Sony SxS solid-state media. The FS-T1001 allows HDCAMand XDCAM HD camcorder owners to take advantage ofindustry standard XDCAM EX workflow, whether it is for onlineor offline purposes. The stored content has the samerecording format and directory structure that other XDCAM EXdevices use, making the files compatible with XDCAM EXworkflow including editing software. “Focus has a long andsuccessful history in offering media recording solutions to themarket”, said Kaveh Farnam, managing director of AdvancedMedia Trading in Dubai. “Sony is very pleased to be licensingthe XDCAM EX file format to Focus Enhancements Inc,expecting the FS-T1001 to be an ideal choice of mediarecorder for HDCAM and XDCAM HD users.

UBMS have announcedthe launch of Rotolight’s multi-award winning RL48-A HDLED Ring light. Featuring soft,natural and shadow-less light,as well as an expandedoperating range of studio-accurate colour temperatures,Rotolight has proven to be ahuge hit with

cinematographers using thenext generation of HD-DSLRcameras, with over 7000 unitssold in less than six months.The capability to mount theRotolight Ring Light below amatte box, over a shotgun micor an accessory shoe, on aspare tripod or via anarticulated arm gives theDSLR user a superb lightingsolution for any shoot. Whilemany camcorder lightingsystems provide harsh lightwith highly defined shadows,Rotolight’s quality LED’sdeliver a pleasant, naturallydiffused light that isparticularly suited toportraiture, resulting in perfectskin tones without the bluishcast found when usinginexpensive consumer LED's.

Chrosziel have announced that Panasonic’s AG-3DA1Stereo 3D camera will work with the same Chrosziel LightWeight Support (LWS 401-415) as used with the PanasonicHVX-200 / 200A. The MatteBox MB 450R2 Super Wide andthe MB 456 Academy (Chrosziel’s recommendedcombination) can be used, as well as any other ChroszielMatteBox with at least 5“ filter holders. Using 5” filters theangle of rotation is fully unrestricted; at no position avignetting will be observed. Light Prevention Rings withmasks following the outer shape of the double lens aremade available for 130 mm (Super Wide and Academy)142.5 mm connection.

Chrosziel introduce super-wide matte box

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FOR-A has unveiled their new HVS-4000HS multi-formatvideo switcher. Available in 2 M/E or 2.5 M/E models, the latestHANABI Series switcher features support for HD/SD mixed inputs,as well as optional support for 3 Gbps and stereoscopic 3Dproduction. “Flexibility and functionality were two of the mostimportant considerations when we designed the new HVS-4000HS,” said Hiro Tanoue, president, FOR-A Corporation ofAmerica. “Our new switcher delivers the features that can handlethe mixed format productions of today, along with options like 3Gand 3D to make sure our customers can handle the productionneeds of tomorrow.” With its optional stereo 3D function, the HVS-4000HS can handle the left and right video from a stereo cameraas a pair, which allows the operator to switch or invert video, adddelays, execute horizontal shifts and transitions, and more. Whilethe switcher supports 1080i, 720p, NTSC, and PAL signals, itsoptional 3G-SDI input provides support for 1080p signals.

Multi-format video switcher

United Broadcast announce Rotolight

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Sonnet Technologies has introduced its SDHC Adapter forSxS Camera Slot, designed expressly for use in Sony XDCAMcamcorders, which use SxS memory cards for recording. ThisSonnet adapter enables the use of Class 10 and faster SDHCmemory cards in place of SxS memory cards, supporting theperformance required for HD recording modes while allowingusers to save hundreds of dollars on the purchase of memorycards in equivalent capacities. Sonnet's SDHC Adapter for SxSCamera Slot offers Sony XDCAM camcorder users an affordableand useful alternative to using SxS memory cards for recording.Available at the price of a single SxS card, the Sonnet adapterand several high-quality SDHC memory cards empower users toshoot longer without having to offload footage, reformat, andreuse the same SxS card. Sonnet's SDHC Adapter for SxSCamera Slot is the same size as an SxS memory card and,unlike standard memory card adapters, allows the SDHC card tofit flush inside its shell. This critical feature makes the Sonnetadapter interchangeable with SxS cards, and it ensures that thecamcorder's memory card slot door closes completely.

Adapter enables use of SDHC memory cards

In an introduction thatmakes its category-leadingperformance and unmatchedversatility accessible to a widearray of users, AKG isintroducing the Perception

Wireless System. The newwireless microphone systemcomes complete withbandwidths up to 30 MHz andexcessively low-currenttransmitters, which are uniquein its class, cementingPerception Wireless as one ofthe most comprehensivesystems in its price range. ThePerception Wireless isdesigned to accommodatemusicians and entry-levelaudio technicians, although ithas the capabilities to handleeven the most difficult audiosetups with up to 8 channelsper band. The pockettransmitter PT 45 – which is thesmallest in its class – runs on asingle AA battery, and iscompatible with all AKGMicroMics.

AKG couples High-Performancewith advanced usability

Avid has announced ProTools version 9, a groundbreakingevolution of the industry’s most popular music creation and audioproduction solution. Leveraging a next-generation architecture,version 9 of Pro Tools offers customers the unprecedented choiceto work with Avid audio interfaces, third-party audio interfaces, orno hardware at all when using the built-in audio capabilities of aMac or PC. This first-ever software-only option for Pro Toolsdelivers customers the most open, flexible and feature rich versionin history, while also providing top professional featurescustomers have requested. Also, new support for the AvidEUCON open Ethernet protocol now enables customers toexpand control surface options to include Avid’s Artist Series andPro Series audio consoles and controllers (formerly known asEuphonix consoles and controllers). Pro Tools customers—fromthe aspiring enthusiast to the professional—can now createsophisticated, great sounding mixes, whether they’re at home, onthe road, or working in a large facility using an open, flexibleworkflow for enhanced collaboration and creativity.

Avid breaks new ground in music and sound production

Harris unveils Videotek Test andMeasurement enhancements Harris has demonstrated the latest enhancements to its

Videotek test and measurement product line. Thedevelopments address the real-world challenges of today'sbroadcaster — from loudness measurement and 3D support tocompressed stream monitoring and portable troubleshooting.Their new LLM-1770 loudness logger and monitor is a compactaudio monitoring tool that makes it easy to confirm compliancewith the latest loudness requirements. Loudness and True Peakmeasurements are made to the ITU-R BS.1770 internationalloudness standard with five times oversampling. Settings areincluded that match the EBU R-128 and ATSC A/85recommendations. The LLM-1770 comes with four AES inputs,with an option for SDI embedded from SD, HD or 3 Gb/ssources.

New DeckLink HD Extreme has Dual Link 4:4:4/4:2:2 SDI, HDMI and analog connections in SD, HD and 2K!

The new DeckLink HD Extreme is the world’s most advanced capture card! With a huge range of video and audio connections plus a hardware down converter, and Dual Link 4:4:4/4:2:2 3 Gb/s SDI, advanced editing

systems for Microsoft Windows™ and Apple Mac OS X™ are now even more affordable!

Connect to any Deck, Camera or Monitor

DeckLink HD Extreme is the only capture card that features Dual Link 3 Gb/s SDI, HDMI, component analog, NTSC, PAL and S-Video for capture and playback in SD, HD or 2K. Also included is 2 ch XLR AES/EBU audio and 2 ch balanced XLR analog audio. Connect to HDCAM SR, HDCAM, Digital Betacam, Betacam SP, HDV cameras, big-screen TVs and more.

Hardware Down Conversion

If you’ve ever wanted to monitor in both HD and SD while you work, then you’ll love the built in high quality down converter. Use the Dual Link SDI outputs as a simultaneous HD and SD output, or you can switch back to Dual Link 4:4:4 when working in the highest quality RGB workfl ows. Select between letterbox, anamorphic 16:9 and even center cut 4:3 down conversion styles!

Advanced 3 Gb/s SDI Technology

With exciting new 3 Gb/s SDI connections, DeckLink HD Extreme allows twice the SDI data rate of normal HD-SDI, while also connecting to all your HD-SDI and SD-SDI equipment.

Use 3 Gb/s SDI for 2K and edit your latest feature fi lm using real time 2048 x 1556 2K resolution capture and playback!

Microsoft Windows™ or Apple Mac OS X™

DeckLink HD Extreme is fully compatible with Apple Final Cut Pro™, Adobe Premiere Pro™, Adobe After Effects™, Adobe Photoshop™, Fusion™ and any DirectShow™ or QuickTime™ based software. DeckLink HD Extreme instantly switches between feature fi lm resolution 2K, 1080HD, 720HD, NTSC and PAL for worldwide compatibility.

US$995DeckLink HD Extreme

Learn more today at www.blackmagic-design.com

THE POWERTHAT MOVES.

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UBMS have introduced Anton/Bauer’s cutting-edgeTandem 150 Modular Power System to the Middle East market.The Tandem 150 system provides ultimate flexibility for shoots inisolated areas offering two unique methods of charging. Crewsworking out of their cars during a night shoot, in an isolatedlocation, or in an area where power is not accessible can simplyuse the CA-TMCL with their dependable vehicle AC power outlet.The CA-TMCL is the smallest portable car charger on the marketand does not require an inverter. The battery simply snaps onthe QR-TM bracket and plugs into the vehicle’s power outlet. Inaddition, for productions where sunlight is available, crews cancharge any Logic Series battery with the award-winningAnton/Bauer Solar Panel.

Tandem 150 modular power system

During November Dubai-based Mediacast Systemsintroduced Blackmagic’s new DaVinci Resolve 7.0 to the MiddleEast market. DaVinci Resolve is the world’s most popular highend DI grading system with powerful features used by bothHollywood and high end post production worldwide. Now withthe new DaVinci Resolve on Mac OS X, these high end featuresare available on the platform that’s popular with creativeprofessionals. DaVinci Resolve 7.0 now includes a new userinterface which provides quick, simple and intuitive creativecontrol without clutter and bloat that make other colour gradingsystems difficult and slow to use. Only DaVinci Resolve has beendeveloped with colourists and benefits from the decades ofDaVinci colour grading experience. For production using the newgeneration of DSLR cameras such as the Canon 5D, DaVinciResolve 7.0 now supports read and write of H.264 files on Macand playback on Linux. Now colourists can grade directly fromDSLR media files in real time for professional production fromthese high quality and affordable cameras.

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Representing abreakthrough for filmmakersin terms of features,performance and price, SonyProfessional is adding to itsline-up of Super 35mm digitalmotion picture cameratechnologies. The family,which includes the legendaryF35 and the recentlyannounced SRW-9000PL, isnow joined by the all newPMW-F3 camcorder. Eachcamera in the line-up is

based on a Super 35mmsensor and PL mounttechnology, and illustratesSony’s unique ability to offerfilmmakers access to thehighest-quality imaging toolsand most complete digitalproduction workflows.

The new PMW-F3 is thelatest example of Sony’sefforts to combineperformance and price into apowerful and affordableproduction tool. Designed fortelevision, commercials,music promos and budgetfeatures, the new camcorderis offered at a price point thatwill bring Super 35mmshooting within reach of awider audience. That, and theavailability of a low-cost PLlens kit model which includes35/50/85mm T2.0 fixed focallength lenses, makes it idealfor use as a 2nd unit 35mmcamera or as a B camera tothe SRW-9000PL.

High-end performance at an indie price

LYNX Technik has released two new compact 1RU rackframes to house up to three or four Series 5000 card modules.They are ideal for applications that only require a small number ofmodules and for specialized standalone or mobile applications.The RFR 5003 1 RU rack frame holds up to three Series 5000modules. It includes a power supply with space for an optionalredundant power supply. The RFR 5003 is shipped with the LYNXTechnik Desktop Controller application and rack controller withLAN interface. The RFR 5004 1 RU rack frame holds up to fourSeries 5000 modules. It includes a power supply and an externalDC power input is provided for redundant power backup. TheRFR 5004 is also shipped with the LYNX Technik DesktopController application and rack controller with LAN interface. Both1 RU frames have a removable front cover for direct front accessto the modules and power supply for easy module removal andexchange. LYNX Technik products are distributed in SouthernAfrica by Questek Broadcast.

LYNX Technik expands rack options

Blackmagic Design ships DaVinci Resolve 7.0

Tiffen introduce Steadicam Scout

Tiffen have introducedthe new Steadicam Scoutbased on the Steadicam’sestablished award-winningtechnology but with a newdesign that offers manyinnovative features andbenefits. “Style, functionality,flexibility and affordability”are all wrapped in the new

Steadicam Scout. Acombination of innovativefeatures derived from ourpopular Pilot, Flyer, Zephyrand Archer Steadicamsystems now allows theScout to “excel in the rangeof operating possibilities,”said Frank Rush, VP, GeneralManager of Steadicam.

With a new innovativeapproach to camerastabilizer design, theSteadicam Scout has the allthe quality and featuresneeded to get the job doneat an affordable price. TheScout offers a 5lb-18lb (2.3 -8kg) camera payloadcapacity and includes a softcase, with integral customfoam for sled storage, thatprovides for the insertion of atravel cart into a rear sleevefor easy transport.

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During IBC 2010 3Dwas a key focus on theFujinon stand when theylaunched a number of newlenses that offer synchronouszoom and focus control.

Fujinon’s involvement in thegroundbreaking 3D movie‘Avatar’ has been welldocumented. It’s a film thatlaunched a new era in moviemaking. The new lenses havebeen developed for 2/3-inch3D applications. They displayextreme small centeringtolerances in the optical axisover the entire zoom andfocus range, while the zoomfunction works without anymechanical backlash. Thenew generation 3D HD lensesare controlled by theindustry’s first universal fullysynchronized 3D zoom &focus accessory-kit with serialdata port.

Wohler Technologies have announced several newenhancements to its award-winning AMP2-16V Seriesmodular audio/video processing monitor. Incorporating dual4.3-inch OLED displays, the AMP2-16V is the industry's first16-channel audio/video monitor to feature concurrentloudness monitoring and control together with completemixing and routing capabilities, along with the ability to re-embed audio into an SDI signal. The latest enhancementsmake the AMP2-16V even more configurable and easier touse, with new features for defining and managing channelclusters and presets, managing multiple input and outputformats, and accessing the system's loudness control andother audio fine-tuning features.

"We've often compared the AMP2-16V's versatility tothat of a Swiss Army Knife, and that comparison has neverbeen more apt. In advanced configurations, the system is somuch more than a monitor — it can embed audio from anyof its inputs into an SDI signal for broadcast, quickly adjustthe level of something gone wrong in one channel, or controlthe loudness of an entire program," said Kim Templeman-Holmes, Wohler EVP of global sales and marketing.

New enhancements to Wohler processing monitor

Fujinon focus on 3D

Over the past three years, Rycote, the UK microphonewindshield manufacturer, has introduced its patented Lyre — avirtually unbreakable U-shaped clip made of vibration-reducingthermoplastic — into almost all of its microphone suspensionproducts. Superseding older, less efficient elasticated 'hoop-and-rubber-band' suspension systems, the Lyre has greatlyimproved the ability of Rycote's microphone suspensions toisolate mics from unwanted vibrations, and sits at the heart ofsuccessful products like the S-series and redesigned Modularwindshields, the Universal Camera Kit, and the InVision seriesof broadcast and studio recording microphone shockmounts.This month, the Lyre makes its debut on Rycote's stereomicrophone suspensions, streamlining the range and making itmore robust, easier to set up, lighter, more efficient atexcluding unwanted vibrations and, perhaps most significantly,making it more affordable to end users.

Introducing Rycote’s new Stereo Suspensions

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While the outlook remainsuncertain, the dynamics ofconsumer andtechnological change havenever been more complex

to understand or harder to monetise. Sohow should media companies takeadvantage of the new opportunitiesarising from the recovery? Vicki Myburgh,PwC’s South African Entertainment &Media Leader says, “Media companiesshould be formulating a clear vision forthe organisation which forms thefoundation of their operating models.Opportunities are constantly evolving andsocial consumer dynamics drive thischange. A new operating model, whichunderstands consumer behaviour, isrequired to gain maximum exposure tothese new opportunities.”

PwC’s report, ‘Phoenix from theFlames: The future media organisation’,examines why it is difficult for media

companies to tap into new revenuestreams and achieve further gains fromrestructuring initiatives. According to thereport, while the crisis continued,insufficient attention was paid tooperating models that would support thegrowth agenda. “We believe that a newoperating model – the unique way inwhich a business is organised to manageand execute its operational decisions anddeliver to its strategy – should be animportant part of the response,” saysMyburgh, “but this requires an informedassessment of the opportunities on offerwithin the media landscape. Theseopportunities are evolving all of the time –and social and consumer dynamics are atthe heart of this change.”

Complex consumer behaviour Complex, and often conflicting,

forces are reshaping media consumptionhabits. The ageing population, the rise in

The last two years have proved to be very difficult for the media industry. Some businesses failed as restructuringand refinancing efforts failed to keep pace with the drastic fall in revenues. However, the industry seems to beexperiencing early signs of growth after surviving one of the worst economic downturns in history.

Prepare to take advantage of the new media world

“Media companies should be formulating aclear vision for the organisation whichforms the foundation of their operatingmodels," says Vicki Meyburgh, PwC'sEntertainment and Media Leader in SouthAfrica.

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single person households and increasingurbanisation compels media companies tochallenge the assumptions they holdabout consumer behaviour. The recentausterity measures imposed by manyGovernments across the world will havean impact too; however, how much thiswill affect the ability, and willingness, ofmany consumers to spend on mediaproducts and services is uncertain at thisstage. Having said all of this, consumersstill expect to watch, listen and use a widerange of content on multiple, connecteddevices. They also want fun, enjoyableexperiences with their friends and family -the rise of social networks, as well as thepopularity of live music events and cinemaadmissions over the past year istestament to this. Looking to the future, wethink that their choices will be influencedand polarized by a growing set of trade-offs between the availability, quality, andprice of content. ‘Free’ may mean lowerquality content (or bundled with otheroffers), while ‘paid’ may mean morepersonalised, higher quality content, ifthey pay for it all – attitudes, andresponses, to piracy will be a criticaldimension. For all of this change, weshouldn’t forget that old habits die hard, orat least die slowly – so there will still belimited opportunities for products deemedby some to be old media, includingnewspapers, books and DVDs.

The heart of changeTechnology offers new opportunities

to tap into consumer demand. Thepotential (and risk) of advances intechnology is now firmly recognised in theboardroom, often seen as the answer tothe question of how to monetise contentand inventory profitably. Newdevelopments, such as Cloud Computing,are reducing the operating and capitalcost of editing, storage, search anddistribution. As a result, activitiesconducted within media companies arebeginning to be reinvented, restructuredand/or outsourced; the flexibility expectedby consumers when they use content onmultiple devices now needs to be mirroredin the operating models adopted by mediacompanies. What will this mean for thedynamics of media markets? Expect aperiod of flux, a period of experimentation.Companies are searching for new ways ofmaking money from their content in aworld in which content (particularly online)has been provided for free, and where themetrics required to monetize the contentare underdeveloped. Myburgh continues,“The reality is that over the last two years,management has understandably beenpreoccupied with short-term measures toalleviate the existing financial pressure. Asa result, media companies are now facedwith the challenge of delivering a newoperating model that is fit for the futureand equipped to generate rising revenuesfrom a dynamic consumer environment.”

The design of new operating modelswill be driven by five strategic themes:

Anytime, anyplace, anywhere

Delivering content across multipledevices and environments seamlessly willfacilitate greater integration ofentertainment and transactions. Theboundary between creator and consumerbecomes increasingly blurred butprofessional content will dominate formatswhich require significant investment, suchas high-end video and music.

Engagement and trust underpinsuccessful business models

Trust becomes an important sourceof competitive advantage as mediacompanies recognise the power ofcollecting and using consumer’s detailswith security and integrity. In addition,Consumers measurement becomesincreasingly centred on outcomes, ratherthan outputs – reach becomes challengedas the cornerstone of audiencemeasurement.

Diversification and agility – thecornerstones of strategy

A worldwide broadcasting industrythat is in steady recovery, althoughsomewhat lagging in North America, isthe overall picture painted by the latestIndustry Trends Survey released by theIABM (International Association ofBroadcasting Manufacturers). The surveyresults reflect a North Americanbroadcast and media technology marketthat is at least six months behind the restof the world in rebounding from theglobal recession, but trends andexpectations do indicate a more rapidimprovement going forward.

Released twice a year, the IndustryTrends Survey reports the opinions ofsenior executives in IABM membercompanies. In the newest version,members were polled about their Q3performance and their outlook for theyear ahead. Undertaken six weeks afterIBC2010 in Amsterdam, the surveyresults reflect the general optimism that

permeated this year's show. Although tempered by continued

uncertainty in some regions, confidencein the industry continues to grow — asevidenced by increasing investment inresearch and development as well asheadcount. However, companiescontinue to be challenged bymanufacturing capacity and supplychain problems that frustrate orderfulfillment, and customer deferral oforders remains the largest constraint toorder growth. Respondents also cited ashortage of skilled technical resourcesas another barrier to growth and orderfulfillment. Executives do, however, feelgenerally optimistic about the monthsahead, with 46 percent stating thatmarket conditions will significantlyimprove by spring. The 'IABMConfidence Ratio' which was standing atminus 3 during the recession is at a veryrespectable plus 11 in the latest survey.

IABM's latest Industry Trends Survey reflects market in steady recovery

* Schedule of Seminars 11:00 hrs - 12:00 hrs : Thinking in 3D 13:00 hrs - 14:00 hrs : OLED - The future in display technology 15:00 hrs - 16:00 hrs : Media Backbone - Network Production Solutions

JOIN US AT OUR EXCLUSIVE

3D WORSHOP

We’ve opened our doorsto the future. Come in!Come see what the future looks like. Join us as we open our doors for you to experience tomorrow. The Sony Technology Open House. You’re invited to the future.

This event will showcase the latest products from Sony, seminars* plus a special 3D workshop.

For more information email us atmiddle.east@eu.sony.com

Date : 19th and 20th December 2010Time : 10:00 hrs to 17:00 hrsVenue : Sony offices, International Media Production Zone, Dubai

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A mixed, more balanced ecology ofsubscription, advertising, productplacement and micro payments willemerge. Media owners will need to findnew ways to monetise their advertisinginventory, with new found confidence andinnovation.

Technological developments at theheart of change to commercial andoperating models

If content is king, data becomesqueen. Powerful infrastructures willdevelop that are capable of capturing andleveraging the full picture of consumeractivity. Customer relationshipmanagement will become a critical corecompetency of every media company.

Mobile content takes off, supportedby advertising models

By its nature – given data ongeography and other features in thehome or office – mobile enables the

richest dataset possible and a trueanywhere experience, with advertisingmodels benefitting the ability to havemore active engagement withcustomers. Myburgh concludes, “Themedia industry is at a crossroads,experiencing unprecedented changeand escalating complexity. Mediacompanies that are able to diversify,increase scale and reshape theiroperating model to support tier strategywill be the ones who succeed.”

Culture – a critical factor in thecreation of such embedded barriers –has been an important dynamicthroughout corporate history. In the wordsof Goffee and Jones, ‘without culture, acompany lacks value, direction, andpurpose’ (The Character of theCorporation, 1998). Over the last coupleof years in particular, many mediaorganisations, particularly thosecharacterised as ‘traditional’ or‘incumbent’ in their sector, have becomemore ‘mercenary’ in their culture bynecessity. In practice, this has meant a

heavy focus on corporate objectives, alow focus on sociability, and a ruthlessfocus on the competitive threats to theirbusiness. This ‘corporate’ managementstyle may have been successful atavoiding financial distress. But how wellsuited is it to the task of building theloyalty, co-operation and agility needed todrive the innovation and growth agendaover the coming years?

New entrants – and indeed manyincumbents with proud traditions – havesucceeded with a more communalenvironment in which professional andpersonal lives are intertwined, investmentis focused on common goals (e.g. equityshares), and a strong sense of identity iscreated. At their best, this culture bringsthe best of the organisation and itspartners, enabling it to develop newproducts and reinvent its business modelin an open, collaborative manner. Buthow sustainable is this model wheninspirational leaders leave, or the earlygains are exhausted and the next wave ofgrowth requires a fresh approach?

Culture will be an important dynamic in the transition to the new world

14

An Ad Hoc Committee of theSADC was tasked toundertake the necessaryassessments and advise theMember States on the

viability of the different technicalstandards with the view for the region tomove towards adopting a commonstandard. The 15 Member Statesrepresented by the SADC are Angola,Botswana, Democratic Republic ofCongo, Lesotho, Madagascar, Malawi,Mauritius, Mozambique, Namibia,Seychelles, South Africa, Swaziland,Tanzania, Zambia and Zimbabwe.

The Committee’s decision thatSADC Member States should adoptDVB-T2 with MPEG4 compression asthe recommended digital terrestrialstandard for the region was announcedby the Hon. Joel Kaapanda, Minister ofCommunications & InformationTechnology of the Republic of Namibiaand Chairperson of SADC Committee ofMinisters responsible for Informationand Communication Technology, at apress conference in Lusaka, Zambia on24 November. It was noted, however,that Member States which have alreadystarted implementing the DVB-Tstandard should proceed with itsimplementation but ultimately migrate toDVB-T2. The Minister also announcedthat the Member States would switch todigital television by 31 December, 2013well ahead of the 2015 global switchoverdate in order to ensure that all relatedchallenges would be overcome in time.

Not plain sailingThe path toward the DVB standard

has not been plain sailing, with aconcerted effort being made bylobbyists from Brazil and Japan, both ofwhich wanted Southern Africa to adopt aversion of Japan’s integrated servicedigital broadcasting terrestrial (ISDB-T)standard. Despite this effort, commercialbroadcasters in South Africa had startedDVB trials in 2006 and were vehementlyopposed to any change. Even beforethe SADC announcement, eTV and M-Net had announced that a select groupof Soweto residents would be the first inthe country to experience DVB-T2. “T2”is generally accepted to be the most

efficient standard available today for thedelivery of digital-terrestrial television. Itsprimary advantage is that it is 50% moreefficient in the way it uses radiofrequency , which is a scarce andlimited resource. This means that asingle T2 multiplex can carry up to 18channels. Given the extra capacityavailable, T2 also gives the scope forhigh definition services to be providedon DTT,”

DVB-T2 trials well underwayMarcel Golding, Group CEO of e.tv

explains, “The development of T2 showsthat DVB is the right choice for South

Africa. T2 is a more efficient version ofDVB-T and is available should wechoose to use it.” M-Net CEO, PatriciaScholtemeyer, reports that the T2 trialsare progressing well. “We are aiming forthese trials to be as inclusive aspossible“, she says. “Once the selectedtrial participants have had some time tofully experience this technology, we willbe inviting the industry bodies,

academia and the media to share in thetrial experiences and results.

Most advanced TV standardPhil Laven, DVB’s Chairman,

welcomed the decision saying that “Thisrecommendation in favour of DVB-T2 willallow the SADC region to benefit fromthe world’s most advanced digitalterrestrial TV standard. By adopting acommon standard, the SADC region willachieve economies of scale, thusfacilitating a successful move into digital

terrestrial TV.” DVB-T2 is the world’smost advanced digital terrestrialtransmission system offering higherefficiency, robustness and flexibility. Itintroduces the latest modulation andcoding techniques to enable the highlyefficient use of valuable terrestrialspectrum for the delivery of audio, videoand data services to fixed, portable andmobile devices. These new techniquesgive DVB-T2 a 50% increase in efficiencyover any other DTT system in the world.

Global standardThe UK saw the launch of the first

DVB-T2 services earlier this year. Sincethen Italy has launched DVB-T2 pay TVservices followed by Sweden. Early 2011will see Finland start their DVB-T2 HDservices. Advanced trials are currentlytaking place in Austria, Denmark, theCzech Republic and Germany. With thepositive results of the UK launch, moreand more other countries areconsidering launching services usingDVB-T2 in the near future. OutsideEurope, other countries that areconsidering DVB-T2 are Australia, India,Kenya, Malaysia, Singapore, Sri Lankaand Thailand.

The South African Development Community (SADC) has announced that the region, which has a population ofover 250 million, will adopt DVB-T2, DVB’s second generation digital terrestrial television standard. The decision toadopt DVB-T2 was taken after rigorous testing and in-depth analysis of ISDB-T, DVB-T and DVB-T2.

DVB confirmed for Southern Africa

15

The Netia software will enable ShemsFM to establish efficient medialogging, management, and

production for its Internet streaming,podcasts, and on-demand services.

"Our broadcast model requires arobust and flexible solution for managingand preparing a tremendous volume ofhigh-quality content for various Internet-based services," said Fathi Bhoury, generalmanager at Shems FM. "Netia is anestablished leader in providingsophisticated media management in amultiplatform environment, and its Radio-Assist 8 software offers valuablefunctionality across our full production anddelivery workflow." Shems FM was officiallylaunched in September. The new radiostation is the fourth of its kind in Tunisia.SHEMS FM (sun in Arabic) is general-interest radio broadcasting in local dialect,

and its mission is to inform, entertain, andgrow. The station is intended to reflect theTunisian society in all fields, includingeconomy, sports, arts, and entertainment.Its programs will be available initially inGreater Tunis and along the north-eastcoast (Bizerte) and south (Sfax), beforecovering the regions further west andcenter. President Ben Ali kicked off thestation's formal launch in a message

broadcast by the government pressagency TAP, stating that he has the hopethat the station will be a new pillar ofinformation and culture. Radio-Assist isbeing installed on 16 workstations toprovide Shems FM with a complete toolsetfor streaming content using both automaticplayout and the live playout features withinthe Air-DDO broadcast module, as well asfor radio on demand and podcasting.Radio-Assist users will also perform highlyautomated logging on full-quality WAVcontent and logging of lower-qualitycontent for legal purposes as well as totrack broadcast content. "The Radio-Assist8 installation at Shems FM will streamlinedelivery of content through a number ofonline channels, in turn providingcustomers with convenient access toquality online radio services," said PascalCima, export manager at Netia.

Netia has announced that SHEMS FM, a new privately owned radio station based in Tunis, Tunisia, is beingequipped with the Radio-Assist 8 suite of digital audio automation software to support both traditional and Internetbroadcast operations using only uncompressed WAV files.

Netia Radio-Assist 8 supports flexible workflow at Shems FM in Tunisia

Be innovative.Breakthrough technology.

Displays are constructed from individual 128 x 128 pixel OLED tiles measuring 384mm square and weighing just 8kg. Because they can be fitted together seamlessly, just about any size or shape display is possible - even curves. The resulting display is much lighter and thinner than an equivalent LED screen and so can be installed in places which were previously thought impossible. Light output is far higher than LCD displays (up to 3 times), making OLED suitable for high ambient light areas such as shopping malls and passenger terminals.

Diamond Vision OLED is a truly innovative product - a completely new class of screen that opens up a world of possibilities, not just for AV and digital signage professionals but also for architects and interior designers.

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Mitsubishi Diamond Vision OLED is the world’s first and only scalable large-format OLED (Organic Light Emitting Diode) screen.

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But from my industry vantagepoint, Punxsutawney Phil isnowhere in sight. To thecontrary, each new, disruptiveinnovation is actually a sign

of health, and of sustained public desirefor the life-enhancing benefits ofpersonal computing and beingconnected online. In many ways, we'veonly just begun to experience what atruly "personal" computing experiencecan look and feel like.

Introduction of new devicesNetbooks, smartphones, tablets,

cloud computing, virtualization, mobility,new operating systems--the introductionof each has sparked and stoked this"death of the PC" debate. Yet these areall personal computing devices. Takingthe long view, the entry of these newdevices and form factors along with theirnew capabilities expands the market aseach new development extends thereach and power of personal computing.Industry veterans are not immune tosuch speculation. John Dvorak's Sept. 3piece in MarketWatch, "The hot PCmarket is gone for good," proclaimed"any [personal computer] built within thelast five years...can be kept heproclaimed in service until it literally dies... This industry is dead in the water." Interms of longevity, Dvorak is right:Computers built within the last five yearsdo last longer. But his mistakenprognosis of the market's demiseoverlooks two key facts.

Expanding marketFirst, millions of people around the

world are just now purchasing their firstPC, millions aspire to buy one, andmillions who already have a PC ormultiple personal computing deviceswould love to do more than their currentones allow. Second, we are in the midstof one of the most dramatic shifts ever inthe way people use computers. PCs, foryears mostly text-based machinesmanipulated with mice and keyboards,are rapidly becoming rich, visualmultimedia hubs controlled by users'hands and bodies for which no amountof processing power seems to beenough. This shift will soon be

introducing PC users to immersive,interactive, vivid new computingexperiences beyond their wildestimaginations, while making older orunderpowered PCs look antique.

Let's also look at the facts on theground. Despite the worst economysince the Great Depression, the PCmarket grew in 2009. This year PCmakers remain on track to sell more than360 million PCs, according to industryanalyst firm Gartner, about 1 million PCsevery day. Analyst firm IDC predicts thePC market will expand to approximately630 million units per year by 2015, anannual growth rate of more than 12%.That's real, tangible growth; growth thatwill continue because the industry isworking at the frontiers of innovation togive customers the experiences andcapabilities they demand.

Accelerated processing unitFor example, AMD's creation of the

first Accelerated Processing Unit (APU),which combines computing andgraphics processing on a single chip,represents a promising inflection point.Until now, PCs have been powered bytwo kinds of chips, central processingunits (CPUs) for everyday computingtasks, and graphics processing units forvisual and video tasks. With the adventof the APU, PC makers will expand themarket for their products by deliveringthe vivid, photorealistic, touch-based, 3-D experiences customers increasingly

demand, in sleek form factors with all-day battery life. The advent of APU-powered devices addresses a keyquestion Dvorak asked in MarketWatch,"What do we wait for to reignite [PC]buying?" I believe the answer may wellbe found in the vivid computing thatAPUs will enable, delivering the visuallycompelling, immersive, interactiveexperiences PC users want--in offices,homes, or going mobile. There isgrowing global appetite for multimediacontent created, edited and enhancedon PCs. That content is consumeddownstream by any number of devices.Video, the lingua franca of the globalvillage, will comprise 90% of all Internettraffic by 2013, according to Cisco. Rightnow, 20 hours of video are uploaded toYouTube every minute. More than 1,000pictures are uploaded to Facebook everysecond. PC users worldwide have anestimated nine billion high-definitionvideo files stored in their systems,waiting to be e-mailed through anexpanding global network of high-speedconnections. 3-D films and gaming willsoon be mainstream--a disruptiveopportunity for the PC industry.

Content becomes richerAs content becomes richer, exciting

new user interfaces such as multi-touch,gesture recognition and machine-controlling "depthcams" are coming, andcan tap into the powerful processingAPUs deliver in a way that will completelyredefine the PC experience. Imagine thepossibilities for immersive games andbody-interface multimedia when vividcomputing delivers a "personal cloud" ina wireless network to give homescomputing horsepower comparable tothat found in today's Fortune 500 datacenters.

It will not be long before APUsallow road warriors to routinely carryultrathin notebooks with supercomputerpower. As developers turn their attentionto office applications, the newly-availablecombination of 3-D, motion capture andhigh-definition video and audio willenable brilliantly visual and interactiveproductivity as well as collaboration appsthat are simply not possible or practicaltoday.

Why the PC is not deadPundits have been predicting the death of the PC for some time now. The introduction of each new excitingcomputing device or software app considered outside the narrow scope of the traditional PC triggers the same,tired PC obituary again and again to the point of a Groundhog Day experience.

16

Dirk Meyer, CEO of AMD shares hisopinion on convergence technologies andthe future of the personal computer

17

This highly contested project will seeSony PSMEA providing a future-proof 3G infrastructure that will

position Oman TV as the technologyleader within the region’s broadcastindustry. The contract includes thedelivery of fully equipped High Definitionstudios, tapeless networked production,Media Asset Management - News,transmission, Radio and other extensivefacilities to provide a truly tapelessbroadcast production environment. SonyPSMEA is also providing the latesttechnology for the refurbishment of thebroadcaster’s TV facilities in Salalah,which will be integrated with the TVcomplex in Muscat. Commenting on thecollaboration, Mohammad AL Marhouby,Chairman of the project committee and

Director General of Engineering at theMOI, said, “We are expecting SonyProfessional’s extensive experience indelivering broadcast and IT-based MediaAsset Management projects, as well asits expertise in the Middle East region tocontribute to the success of this project.We recognise that our engineers needthe necessary skills to manage the

migration from traditional broadcasting toHD technology and are expecting SonyProfessional’s training offering to help usachieve our goals”

Hideaki Nakamura, ManagingDirector of Sony Professional SolutionsMEA said; “We are privileged to beselected as partner to Oman TV as itfocuses on improving broadcast qualityfor viewers across the region andembraces international standards in HighDefinition broadcast and 3Gcompatibility. Our business has beenactive in the Middle East for more thantwo decades and we are delighted tobring our experience and advancedtechnology solutions to projects such asthis that raise standards in the region’sbroadcast industry.”

Oman TV brings High Definition broadcast to viewersSony Professional Solutions has announced that it has secured a landmark US $69 million deal with the Sultanate ofOman’s Ministry of Information to build state-of-the-art High Definition studios at Oman TV Complex in Muscat, aswell as refurbish the television broadcast facility located in Salalah. Upon completion of the project in November2011, viewers of Oman TV will be the first in the region to experience the superior quality of High Definition contentproduction and distribution.

www.electrosonic.co.za . 011-770 9800 or 031-533 0900 or e-mail sales@electrosonic.co.za

SIGNALMETAMORPHOSIS

...and, unlike the butterfly, we can reverse the process

Kramer has a full range of high quality products to distribute,

switch and transcode HD-SDI and HDMI signals whether for use in a Broadcast application,

or a Pro-AV system.

For transcoding, take a look at the Kramer FC-331 (3G HD-SDI to HDMI)

and the FC-113 (HDMI to HD-SDI), and for our other Digital products

why not check our website: www.kramerelectronics.com

© 2010 Kramer Electronics Ltd. All rights reserved

HDMI ᐸ ᐳ HD-SDI

2_0265/KRAMER HD-SDI/HALF.indd 1 2010/04/13 4:33 PM

www.christiecontrol.com/entero

How many bulbs does it take to change your mind?

when it matters.T h e e N T e R O l e d S e R i e Srear Projection modules

Until Christie’s Entero™ LED powered displays, every video wall used lamps. And we do mean used.

For over its life a wall could consume hundreds – an expense that could outstrip the initial cost. And then of course there was the downtime, the consumables, the maintenance charges.

But where conventional lamps might last 10,000 hours, our LED light source lasts 60,000. That’s almost seven years running twenty-four hours a day. It could outlive the wall itself.

So, with Christie Entero™ LED powered rear screen displays, when you buy a video wall, you buy a video wall. Not a lifetime’s commitment to never-ending expense.

Isn’t it time you changed technology – not lamps?

cc6388CD_ENTERO_ADVERT_AV_Specialist - OCT 2009.indd 1 22/10/2009 09:37

19

The intercom solution within andlinking the various studios is basedon two RTS/Telex Cronus matrices

complemented by a variety of KP-612 andKP-632 keypanels. The studio system alsoincludes four channels contributed byfloor beltpacks from the 800 series as wellas six TIF systems—all, also, fromRTS/Telex. Interconnected over fibre links,the Cronus matrices have been installedwith the intention of expanding themfurther to meet future requirements; all inall, an infrastructure that should stand M-Net in good stead and preserve itscompetitiveness for years to come.

Intuitive operation The technical design and realization

of the project was the responsibility of theBritish company C2S Systems / WTS

Broadcast. "One of the demands of theproject was to create a system that wouldallow M-Net technicians in South Africa totrain and support their colleagues inLagos in the most intuitive and efficientmanner possible," explains NatalieBainbridge, General Manager of C2SSystems. "RTS/Telex systems are knownfor their user-friendly interfaces, which are

of crucial importance in enablingengineers to familiarize themselves swiftlywith the GUI-oriented set-ups of modernsystems. Furthermore, M-Net has beenworking for years with RTS/Telex systemsand has had nothing but positiveexperiences with them."

Since its launch in 2004, the Cronusdigital matrix has defined a new standardin digital matrices. Each Cronus frameoffers 32 ports, in only two rack units. TheCronus utilises a DSP architecture whichallows up to four frames to be combinedto create a matrix capable of supporting128 users. Each frame can begeographically separated by distances ofseveral hundred metres when connectedover fibre. This feature allows the systemhubs to be located nearer to users thushelping to simplify wiring infrastructure.

M-Net Supersport Nigeria opened its new studio complex in Lagos in mid August. Divided between two largestudios, a total of eight HD cameras are now in use. At almost the same time, the studio in which the popularNigerian soap opera 'Tinsel' is produced was undergoing a lightning three-week renovation of its own, reopeningonly days later. There, too, HD cameras—four, this time—ensure top quality images.

M-Net Nigeria relies onRTS/Telex intercom systems

www.avjobsearch.net

20

The event was again produced byH-Factor, with a production andset design by H-Factor and TheLoerie Awards Committee, tocelebrate the coolest and most

innovative creative talent in advertising,communication design and experientialmedia from Africa and the Middle East.The two nights of prestigious Awardpresentations is the biggest seatedawards show in the country, and a highpressure event in terms of design andtechnical production, requiring plenty ofinvention and originality to match theoccasion. The 2010 event energised theskills and resources of Gearhouse'sSound, Lighting, AV, Media, Rigging,Structures and Power departments. Sistercompany Sets, Drapes,Screens built theset and supplied all the scenic elements,and the project was managed on site forGearhouse by Ryan Shepherd, and in theoffice by Cape Town Branch Manager andAccount Handler Charl Smit.

AV & MediaVideo is central to any Awards show

and particularly to this one, with theGearhouse Media department run by

Chris Grandin and Marcel Wijnbergerlooking after this aspect. Grandindesigned the video systems and co-ordinated the multi-layered playback andits output to screen. The set divided thestage space into 3 circular 'performance'areas - centre, left and right - and the 2large oval/cylindrical upstage projectionscreens left and right of the stage werekey to the design. These were fed withAwards content, credits, graphics andlogos for most of the evening, plus someIMAG camera images. In the middle of theset was a "floating" 14 metre wide by 7.3borderless screen which received frontprojection, and there was also a 27 panelwide by 3 panel high Lighthouse R16 LED

(1756 pixels wide by 144 high) screenrunning edge to edge of the stage.

Inbuilt into the centre of the set wasa back wall, constructed from Layherscaffolding. Rigged to this were 36 x LCDscreens, configured as two large 6 wideby 3 high blocks, used very effectively forrunning twinkly effects in the background.Two Christie HD 18 projectors fed themain centre screen. Christie RoadsterR16s were supplied for the oval screens,complete with a pair of shuttered ChristieM Series 10Ks for backup. All the contentoutput was routed and mixed through aChristie Spyder X20, configured byGrandin, programmed by him andWijnberger and run by Kevin Larsonduring the shows.

Managing awards contentThe playback material was all stored

on 4 Wings Platinum slaves controlled bya Wings Platinum master. They ran thetechnical rehearsals with two Wingsmasters in action so Wijnberger andGrandin could programme simultaneously.The Awards content for the 2 show nights- for print media on the Saturday anddigital/TV/Cinema/web based and mixed

Gearhouse South Africa supplied full technical production to the 2010 Loerie Awards staged at the Good HopeCentre in Cape Town, South Africa for the second year running.

Gearhouse supplies Loeries 2010

21

media on the Sunday - was supplied by 2different production houses - MEME andWicked Pixels respectively. This consistedof background overlays for the maincategories and a credit template of how itshould look, with the final contentcomposited on site for the screens byGearhouse Media and Andrew Shelly'steams. However, the collaborative processto facilitate all this coming together on thenight actually starts a good 8 monthsearlier, with meetings and discussionsbetween all parties as to how the screensand the content will look and function onthe event.

Planning the show contentThe show programming and editing

process was also started in advance, 3weeks ahead of the actual event days, withGrandin and Wijnberger spending 2 weeksat H-Factor's offices in Johannesburg. Intotal, about 270 Awards were involved -not all of which were presented live, but allhad graphics and associated VT materialwhich needed to be incorporated in thevideo. Cameras - directed by Warren deVos were supplied by SABC, together withone of their OB vans, and a specialprogramme on the Awards nights wasbroadcast a few days later. Four camerafeeds from the OB truck were fed into theSpyder for outputting to the productionscreens.

AudioGearhouse Audio's Jako de Wit and

Tom Gordon designed the sound system,working closely with Revil Baselga onmonitors. It was his first year mixing theevent in Cape Town, although he has doneit a few times previously when it wasstaged in Margate. He chose to run an L-Acoustics Kudo system in left-rightconfiguration for the main hangs, with 9Kudo speakers left and right angled at 45degrees, and 12 x dV-DOSC speakers forthe centre hang. Fourteen SB118 subswere ground stacked neatly behind the AVwalls, all powered by LA8 amps.

He chose a Yamaha M7 console withan Opticore fibre link for running the show,with Baselga utilising a Soundcraft MH4console onstage. Audio for all the VT play-ins and Awards stings was supplied via alink from the Media department's Wingssystem. There was a Band and DJ firstnight, DJ and dancers 2nd night withsingers and tracks. Saturday eveningkicked off with Springbok Nude Girlsbeing revealed behind one of the screens,and on Sunday it was The Front Rowentertainment dancers. For monitors theyran a combination of L-Acoustics HiQ 115wedges and Sennheiser IEMs. It was a

relatively straightforward gig for audio, themain challenge being the concave shapeof the space and the height in the middle,which makes it very reflective, throwing upa few idiosyncrasies. However, theyachieved excellent results. De Wit hasworked in the venue many times before,and has a few sonic tricks up his sleeve tomake it all come together. His mixing stylealso slightly differed across the 2 nights tomatch the contrasting atmospheres – loud,bold and in-the-face for the first night withthe band, and more subtle and refined forthe second.

Lighting Lighting was designed for the

second year by Phillip Chames fromGearhouse's Cape Town branch. The backwall that housed the 36 LCD screens wasalso rigged with lighting fixtures - 24 of thenew Robe ROBIN 300 Spots, 12 x RobeColorSpot 700E ATs, 24 Atomic strobesand 36 2-cell Moles. These were used forcreating spectacular rear lighting effectsand their positioning and layout alsoincreased the perceived depth of the stagespace. On the top edge of this wall were 3x 1.2K 'truss' follow spots.Three circulartrusses were flown above the 3 stageareas below, and each of these had 4Martin Professional MAC 2K Profile and 4MAC 2K Wash moving lights on them. Thestage areas were also lit with 9 x 5Kfresnels rigged on 3 room trusses. The 2

oval screens were each framed with 12 x i-Pix Satellite LED brick lights clamped tothe inside of the set element (verticalveins) - a bottom detail of each ovalscreen. There were 18 MAC 250 Washmoving lights on the floor behind the 3stages for low angle beam effects andeye-candy for the wide camera shots, plus8 Robe ColorWash 2500s. Eight giantcustom chandeliers were built by SDS andflown above the audience around thevenue, each of which contained an integralMAC 2K profile light and 5 short nosedPAR 64s. Two FOH follow spots werepositioned on the balcony at the back ofthe auditorium, and the show lighting wasrun by Chames using a grandMA full sizeconsole.

SuccessThe huge success of the 2010

Awards maintained the Loeries' profile asone of the liveliest and most talked-aboutevents in the southern hemisphere, whichbrings a large, vibrant vibe to the wholecity for the weekend, with numerousadditional events and parties taking placethroughout. Gearhouse's Philip Beardwoodalso presented an Award! This was BestLive Event, and was won by The VWVGroup, producers of the acclaimed 2010FIFA World Cup Closing Ceremony, a showfor which Gearhouse SA also provided alltechnical production equipment, pluslighting and sound design.

The huge success of the 2010 Awards maintained the Loeries' profile as one of the liveliest andmost talked-about events in the southern hemisphere, which brings a large, vibrant vibe to thewhole city for the weekend, with numerous additional events and parties taking placethroughout. Gearhouse's Philip Beardwood also presented an Award! This was Best Live Event,and was won by The VWV Group, producers of the acclaimed 2010 FIFA World Cup ClosingCeremony, a show for which Gearhouse SA also provided all technical production equipment,plus lighting and sound design.

22

During November they appeared atthe launch of the Armani/Pavilion— an open air event facility of The

Armani Hotel, located at the foot of TheBurj Khalifa in Dubai, the world’s tallestbuilding. This open-air terrace alsooverlooks the spectacular Dubaifountains, the world's largest waterdisplay. Eclipse Staging Services LLCwere commissioned by The Armani Hotelto provide audio-visual support for thePavilion extravaganza which was attendedby 650 guests; the event was producedby Eclipse's Richard Scott and Armani'sGeraldine Wong. Eclipse deployed arange of new additions to their inventory— not only the MicroTiles but also AllWhite Quest Audio speakers. The visualelements were supervised by Eclipse'slighting designer Frank Schotman andincluded a selection of inteliigent spotsand moving LED fixtures on truss towers,

as well as video screens, displaying theopening of the hotel, which was attendedby Giorgio Armani himself. But it was theMicroTiles that stole the show. In keepingwith the Armani minimalist design, two ofthese next-generation columns weredisplayed in a 1 x 5 tile highconfiguration, to display Armani graphics.The hardware was supervised by PaulFoschi, and content provided by RossMarshall. Said Mark Brown, Chairman ofEclipse Staging Services LLC, “We had alot of people asking us about this uniquetechnology, as it is very new to the region;

in fact we are one of the first companiesto offer MicroTiles for rental applications.”

The company, which has beentrading in the region for ten years, hadearlier placed their order for an initialbatch of 100 MicroTiles with Christie’sDubai office, also supplying a quantity toevent agency HQ Creative for use on thePrime Minister’s Office stand at the GITEXexpo. Mark Brown had based hispurchase on the uniqueness of theproduct, believing that with just a 1mmseam, the product superseded plasma asa display item, and offered a bettercontrast ratio — with the LED projectionengine providing longer life and true HD.

These were all features that madethe Pavilion launch go with a bang.Representing the Armani Hotel, GeraldineWong said “The event was a greatsuccess, and the lighting, sound, andvideo were fantastic.”

They may only have been in the marketplace for a short time, but already Christie MicroTiles have helped to adornone of the wonders of the modern world.

Eclipse’s MicroTiles aid Armani’s stunning Pavilion launch

23

Declan Randall from Congo Blueworked closely withMontecasino’s David Butcher to

come up with an appropriate lightingdesign. Montecasino is a popularTuscan/Italian styled entertainment andcasino destination in Johannesburg.Pillars with wooden beams and greeneryform part of the décor in the pit area,creating a vineyard feel, and Randallopted to illuminate the pillars with anLED solution. The brief was to create alighting scheme to enhance the areaaround Pit 1 and attract people’sattention as they walked past, withoutsimultaneously distracting theplayers.Using the existing pillars as thefocal point was an obvious choice asthey are such a strong feature. "Wewanted a lighting system that would beeye-catching, flexible, low maintenanceand - naturally - energy efficient"confirms Randall, so LED technology

ticked all the boxes in terms of the briefand requirements. They wanted eachfitting to be individually addressed forgreater control over the final effect.Thestandard 'run' setting is primarily a subtlecross-fade from colour to colour withapproximately 38 different colours

programmed, however the system iscapable of something much more“flashy” if required. The design andinstallation also allows for the lighting tobe themed – e.g. red for Valentine’s Day,green for St Patrick’s Day, etc., but inbetween any special events, the subtlecross-fading colour sequence runscontinuously. “Anolis fittings gave us theoutput that we needed in an attractive,compact fitting" says Randall. Some ofthe programming was done off-site,using offline lighting editing software,then uploaded to the control system atMontecasino, needing only a few minortweaks before the handover to the client.

DWR Distribution made up custommounting brackets for the 48 fixtures.With a very limited window of opportunityfor the installation to be completed onsite, as much pre-preparation aspossible was done, with the total installtaking about ten hours.

Anolis at the Montecasino complexAnolis ArcSource 3 RGB LED fixtures and an Anolis ArcControl 1024 have been supplied by Anolis' South AfricanDistributors DWR to Montecasino in Fourways, Johannesburg. The LED fixtures are set up in the "pit" area where thegaming tables are situated.

Discover a better way to design, install and maintain, with new AV products and solutions from over 700 exhibitors in 11 halls of the Amsterdam RAI. Make what you sell go further. Watch the video at: www.iseurope.org/movie

Europe’s No.1 show for professional AV and electronic systems integration presented by

1 - 3 February, 2011Amsterdam RAI, NL

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25

Facing the launch of a new DVD,Woord en Lewe Church inBoksburg saw the need tocomplete phases two and threeof a system upgrade that had

begun over four and a half years ago.They turned to T&A Lighting, who hadbeen involved in the original project, withthe somewhat tall order of concluding theinstallation in just three weeks.

Excellent audio qualityFortunately, the top-rate Meyer

sound system installed in the originalphase was still up to the task of providingexcellent audio quality, so lighting was themain priority. T&A Lighting’s Ian Blair,along with consultant Angus Clark, startedwork immediately on integrating a lightingupgrade. “Teams of workers werestationed in the church for 18 to 20 hoursa day, working around services that wereheld during the project,” says Blair. Thenew system includes an ETC ION Consolewith a configuration of 1024 outputchannels for effective control. One ETC2x20 Fader Wing and LCD displaysalternate mood and lighting effects. 2xUnique Haze Machines create variouslevels of haze for dramatic effect. Eighty-four channels of Zero 88 Chilli dimmingcan adjust lighting intensity from mild toextreme. This works in conjunction withETC Source 4 Par Fixtures, fully rotational575 AT Spots and Robe 575 AT Zoom

Wash fixtures to provide focused orwashed lighting anywhere on stage. ETCSource 4 Profiles 36º, with dichroicreflector, provide bright but relatively coollight on stage.

Satisfied customerDewalt Visagie, Production Manager

at the church, is delighted with the results.“The system is very effective and I amhighly impressed,” he enthuses. “T&ALighting smoothed the learning processby calling in Glenn Duncan to assist with

training and the backup is excellent.” Headds that ease-of-use is an extra benefit.“We’re able to train volunteers to use theequipment without worrying that there’ll bea problem if they change the settings,” hesays. “This installation allows broadcastproduction quality should the church needit,” concludes Blair. “However, it can alsocater for the simpler needs of gospelbands when praise and worship is takingplace.” Care was also taken to keep theinstallation flexible enough toaccommodate future upgrades.

Tight deadlines, FIFA World Cup distractions and ash clouds may deter some companies from delivering on time,but for T&A Lighting, a division of Prosound, these are simply interesting challenges.

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27

The itinerary on the SA leg of histour included 5 concerts in only7 days, so all the equipment forthe lighting design was spec’dto the same requirements.

Abbiss also carried his own Tiger Touchconsole to the shows to guarantee gettinghis control desk of choice. Weighing only27kg tucked neatly into a Peli case, it is asmall and light enough option forbaggage on any tour with this set up.

Wild Water festivalAt the Wild Water Festival in

Boksburg (South Africa) he ran all 12 datacontrol lines via Ethernet out of the desk,whilst using the touch screen to make abasic schematic of their standard rig andpatch in the fixtures from the event rig tomatch, so it worked with their drawing. Hefinds this a really helpful function, addingthat it's "really quick" to change fixturetypes.

"The touch screen manipulation isabsolutely brilliant," he states. Apart fromthat, it has the feel and hands-on usabilitythat has made Avolites his favouritelighting control brand for many years.Other features he likes include the abilityto change sequence speeds andparameters very quickly 'on-the-fly'. TheInstant Colour Mix on the touch screen isanother time saving facility. It offers a fullcolour map at the press of a button, fromwhich any colour can be swiftly selectedand added into presets.

Excellent response time"The response time is excellent and

the new Titan software environment isextremely intuitive when you are movingbetween palettes and fixtures," heexplains. The screen is fully user-configurable, and can be customised tosuit anyone's individual style ofprogramming and operation. There are 4DMX outputs and 12 DMX universes areavailable when using ArtNet. Fatboy'sstandard rig spec featured 30 MartinProfessional Atomic strobes, 34 x 1200series Spot and 44 x 1200 series washmoving lights, 5 large flower effects, 2Lightening Strikes strobes and 44 LEDbattens (PixelLine style), 34 x 4-cellmoles, 4 Studio Due CityColor wash

fixtures or an equivalent source forpowerful backlighting from the floor. Thedesign was flexible and dynamic, inkeeping with Fatboy's energy-pumpingset and very own distinctive mixology; aneclectic mix of baseline classics andcontemporary dance vibes.

Structured improvisationWhilst there are certain cues for

specific anthemic moments in the set, it'salso a show that lends itself toimprovisation on the lighting front - and

that's another reason that Avolites is anideal platform for Abbiss. He has ordereda Titan Mobile console that runs with alaptop version of the software, and aneven more lightweight and powerfulsolution for lighting control that'sabsolutely perfect for tours utilising localproductions. Titan Mobile comescomplete with live playbacks, solo flashbuttons and user programmable buttonsand attribute controllers, all of whichenable fast and accurate showprogramming.

Lighting designer Steven Abbiss has been on tour with dance guru and DJ Fatboy Slim since March this year,fulfilling a busy schedule playing international festivals and their own headliner gigs worldwide, including a visit toSouth Africa during the FIFA World Cup where he presented concerts in Johannesburg, Cape Town, Durban andPort Elizabeth.

Fatboy gets the finishing Avo Touch

Stephen Abbiss (left) and Norman Cook (Fatboy Slim) on the right, with the Avolites Tiger Touch

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Moving the Festival toStellenbosch, just outsideof Cape Town, is anexciting move. Not onlydoes it take place in

March, the best of summer weather, it isalso a popular destination for touristsand delegates alike. Wild Talk Africa,now in its fourth year, has establisheditself as a world-class event, and in thisnew location, Wild Talk Africa delegateshave the opportunity of meeting andnetworking with delegates whorepresent the major international wildlifebroadcasters,” says Sophie Vartan,Festival Director.

4-day festival programmeThe 4-day Festival programme is

packed with topical seminars,workshops, screenings of the ROSCARAward finalists, an exhibition area andfabulous evening networking events atvenues throughout Spier. The highlightof the Festival is the announcement ofthe ROSCAR Award winners, which willbe hosted by Dave Salmoni, well knownpresenter of Animal Planet’s RogueNature series and Into the Pride.

The valuable seminars includediscussion topics on: 3D, AfricanBroadcasting, Responsible Filmmaking,New Broadcasting and DistributionPlatforms, Nature and Wildlife at theCinema, Commissioner’s Panel, plusmany others. Delegates can also lookforward to attending the workshops, freeof charge, which include, amongstothers: Newcomer’s, Wildlife Presenting,Cutting HD in the Edit Suite, Red OneCamera, Shooting for 3D, Adding Value– Music, Colour and Sound, and HDDeliverables.

265 entries for ROSCAR Awards This year the ROSCAR Awards

attracted over 265 entries stretchingacross the globe from Australia to India,Taiwan to France, Kenya toCzechoslavakia, and many morecountries who are producing excitingwildlife programmes. During theFestival a selection of finalist films will

be screened and filmmakers will beavailable after the screening for a Q&Asession. The ROSCAR Award winnerswill be announced at a high profileblack-tie gala event which takes placeon 30 March 2011 at the enchantingMoyo restaurant at Spier. Delegatescan expect a showcase of Africanculture at its best, with a sumptuousbuffet and African-themedentertainment. Superb eveningnetworking events have been organisedfor delegates and include, in addition tothe prestigious ROSCAR gala event, atypical South African barbecue eveningunder Bedouin tents decorated with fairylights, and an evening in Spier Hotel’sAfrican-chic lounge, where delegatescan get to meet one another in arelaxed atmosphere.

The interactive exhibition area atthe Festival, which can accommodate16 exhibitors, attracts broadcasters,audiovisual service providers,production companies and tourismagencies, giving companies theopportunity to showcase their latestproducts and services to a uniquetargeted audience.

The next Wild Talk Africa Film Festival and Conference will run during late March at Spier, Cape Town. Spier is theideal conference venue, set in the heart of the winelands, and surrounded by the Helderberg Mountains.

Wild Talk Africa moves to Cape Town

Dave Salmoni will present the ROSCARawards programme at Wildtalk Africa.Salmoni has been critized by researchbiologists for his theatrics in an effort tomake more entertaining television at theexpense of wild lions. His antics havedrawn much concern from the scientificcommunity including the leading big catconservationists affiliated with notableorganizations like the Panthera Corp andthe Wildlife Conservation Society. There ismuch sentiment that he is impedingconservation efforts in sub-Saharan Africaand conveys the wrong message about thehuman-cat interface to viewers in regard tosafety, animal behavior and conservation.Despite this controversy he is anentertaining presenter who will enhance theevening

Located in the heart of the Cape winelands, the Spier Estate is a haven for tourists yet italso has a deep cultural and historical background dating back to 1692. It has theoldest wine cellar in South Africa.

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By bringing together a powerfulrange of market-leadingtechnologies that span content

contribution through delivery, andleveraging strong relationships withcontent producers and service providersaround the globe, Harmonic is nowuniquely positioned as a global leader invideo infrastructure for the digital mediaindustry,” said Patrick Harshman,President and CEO of Harmonic. “Incombination with Omneon, we expect todeepen our relationships with globalmedia companies, enabling them tocreate, package and deliver the nextgeneration of video-centric mediaservices.” Harmonic Inc. is redefiningvideo delivery with the industry’s most

powerful solutions for delivering live andon-demand video to TVs, PCs andmobile devices. Their technicalinnovation and market leadership enablethe company to offer a unique andcomprehensive solution portfolio—including encoding, transcoding, contentpreparation, stream processing, asset

management, edge processing, anddelivery. Omneon is a leading provider ofscalable media server and active storagesystems that optimize workflowproductivity and on-air reliability for theproduction, distribution, andmanagement of digital media. They’vebeen a pioneer in the use of advanced ITtechnologies and open systems forbroadcast applications, producing amodular and expandable video serverarchitecture in the Omneon Spectrummedia server and highly scalableproduction storage with the MediaGridactive storage system. The company hasan extensive global presence withcustomers in more than 85 countries onsix continents.

During IBC Harmonic announced that it had completed the acquisition of Omneon, a leading provider of videoproduction and playout solutions for many of the world’s premier media companies, for aggregate considerationof approximately $194 million in cash and approximately 17.1 million shares of its common stock. This representsan enterprise value of approximately $273 million.

Harmonic completes acquisition of Omneon

Though still a work in progress, itspopularity is surging as a newforum for self-expression. Frompolitics to shopping to poodle-grooming, it has created a

strong online human connection betweenlike-minded people. Social networking isthe rage among media and B2Cmarketing professionals seeking to putbrands and causes in touch with targetaudiences.

In the Middle East and Africa,adoption is growing steadily. With 60million Internet users in the Arab world,there are 17 million Facebook usersacross MENA. South Africa and Tunisiaeach have over 50% penetration onFacebook among their Internet usersrespectively. In the U.S., social networkusers are expected to grow to 164 millionby 2014, about the same amount that useemail today, according to Europe’s NewMedia TrendWatch.

Social media defined If social networking is about

connecting people over the Web, socialmedia uses the same Internet-basedprinciple to distribute interactive business,entertainment, and education content.Social media exploits the Web as avehicle for local and globalcommunications. A recent example is thissummer’s Proctor and Gamble Old SpiceTV ad campaign. The original videofeatures former football player, IsaiahMustaf, introducing a new male bodywash, then inviting the audience tocomment. It became somewhat of asensation (16,565,792 YouTube views sofar) as audience members, some of themcelebrities, received customized video

responses to their incoming tweets andemails. “Super-direct, nearly-instantaneous viral marketing that costsnext to nothing” is how Wired magazinedescribed it. One character posing in frontof a shower, some production props, andan online production crew was all thatwas needed to “record, rip, and respondto messages with a personalized video”.

Benefits and detractors As a cost-effective, cross-platform

way of reaching a global audience, socialmedia is gaining popularity in many partsof the world. But there are other benefits.

Video adds impact and nuance toanyone’s social or commercial outreach. Itcan be customized to target small or largegroups and spark follow-up, as in thecase of Old Spice. Also, its viral effect canenhance sales, build brand recognition,and create communities of interest thatcould not be achieved any other way.There’s no substitute for video blogging tobuild connections with viewers saysMichael Stelzner ofSocialMediaExaminer.com, a guide to thisnew frontier. Aggregation sites like Digg,StumbleUpon, and YouTube make it easy

to share video while encouragingcomments, votes, and ratings. Digg evenlets you proliferate your video to othersocial networks at the click of an icon.iPhones, Webcams, and inexpensive FlipCameras have all made it easy to capturevideo to enrich a web page, Blog, orsocial wall. As it becomes easier in thecoming months to put video, audio, andimages online, the trend is expected toproliferate and become the new normal.

For all the accolades, Social Mediaremains controversial. It is not a one-stopmagical solution. Detractors argue it isonly part of a communications strategy.The groundwork—identifying youraudience, creating value for them,keeping them happy—must precede anysuccessful social media venture.

Social WebTV case studiesUStream, a one-to-many live

streaming site, demonstrates the power ofsharing video. The founders’ philosophy isthat live channels are not just forwatching, they are for connecting. Theysee themselves not so much as a Webdestination as “a platform for livemoments”. With social media, the storyrevolves around the participants.Involvement creates enthusiasts that, inturn, spread the word about a company,product or service. “Simply adding inaddress book scrapers or postingupdates to walls may generate short-termresults, but it won’t deliver long termvalue.” says former UStream CEO ChrisYeh. UStream’s edge, according to Yeh, isin connecting with audiences in a deeper,more emotional way Social media mightseem intuitive, but it is new territory andbest practices are still being worked out.No longer an appointment-basedbroadcasting format, traditional televisionrules do not apply. So, keeping Internetaudiences engaged requires consistencyand frequency of exposure to create apresence says AbdelSalam Akkad, ownerand senior producer of Jordan-based“social web tv” site aramram.com.

An advantage to this medium is thatviewers no longer merely watch a debate,or hope to find their opinion portrayed bya guest. Instead they have the power toenter the debate and present themselves.

“Asking questions of relevance toJordanians also attracts attention and

30

Social networking in the form of Facebook, Twitter, and LinkedIn as well as blogs and social bookmarking siteslike Digg are connecting people in ways never previously imagined.

The rise of Social Media

31

spurs debate,” says Akkad. The producerstry to engage the audience and create abuzz by posting teaser clips prior tobroadcast. It’s important to appeal toaudiences’ personal interests, challengetheir perceptions, and make them laugh,he says, but the key is good content.You’re only as good as your lastproduction,” says Akkad. “There is asense that we can not disappoint ouraudience with bad production values.”

With only 18% Internet penetration,many Jordanians access the internet fromcafes, community centers, and from work,if the sites have not been fire-walled bytheir organization. With a scarcity ofreliable servers, low bandwidth, and a highcost to supporting high quality 7X24content, Akkad says it sometimes feels likethey are writing the “WebTV for Dummies”book as they go.

Social media technologyNew technologies are on the horizon

that enable a better Internet mediaexperience. HTML5 puts the browser incharge of video, audio or animationinteractivity—no plug-ins required. AnHTML5 canvas element now allowsdevelopers to display web page diagrams,graphics and dynamic animations inJavascript. By also supporting imagecaption, form validation, and the ability forusers to edit the web page, HTML5 is asocial media design advance.

Cloud computingOther advances affecting the future

of social media may seem embryonic, butloom ahead. For instance, CloudComputing, another flavor of the month, isalready influencing the success of socialmedia. At this month’s 7th AnnualInternational Cloud Computing Conferencein Silicon Valley, it was defined by four key

attributes. A true Cloud Computingapplication must be:

• Managed by someone else (even if it’s a private cloud)

• Available when you want it (on-demand)

• Metered • Scalable

With that in mind, a noteworthyaudio-visual social media deployment fromthe cloud this year is the OnLive gaming-on-demand platform. One of OnLive’sunique claims to fame is its mastery oflatency (the time it takes for the game torespond to the user over the Web). Bysigning 10 Gbps contracts with a numberof major providers like Internap, AT&T, andComcast instead of with a single 100Gbps provider, they are able to deliverwhat feels like real-time performance. Allthat’s needed on the PC is a onemegabyte plug-in that handlesdecompression and Internet connectioninteractivity. Now available in the U.S. it willdebut shortly in the UK and Europe as itgoes global. The user plays via keyboard,mouse or controller which talks to theserver through the Internet. The gameresponds by calculating and delivering thenext frame using proprietary algorithmsthat compress the video in a split second(one millisecond to be exact), then streamit down through the Internet to the user’sPC, Mac, or TV screen. As long as theservers are within 1000 miles of the user,this entire round trip path occurs in lessthat 80 milliseconds—the maximumthreshold of perception, according toOnlive CEO, Steve Perlman, for games toappear as if they’re running locally andhappening instantly.

Shortly before this article went topress, Perlman emailed the writer that inaddition to supporting multi-player games,OnLive’s built-in “friending” lets you go toa fellow gamer’s profile page and if theyare playing, you can watch them playinglive, message them, and regale them withcheers or mean-spirited insults. Users canalso share their own session video clipson the site’s “bragging wall”. “OnLive can

also host any app currently contemplatedfor local execution on a TV because ofcourse the app doesn't run on the TV. Itruns in the cloud.”

Social media gains momentumFor all its hype, Social Media is

gaining momentum and will profoundlyaffect audio-visual developments in thenext three years. Of course, many see it asa time-waster. One European survey of1,500 office workers recently asserted thatsites like Facebook and Twitter are costingUK businesses over a billion pounds ayear in lost productivity. But like any othernew product or tool its adoption will taketime.

The main thing is to treat socialmedia like other media. “Have a mediaplan, have action items and actionablesteps that the audience can take,” saysYeh. With the right project structure, socialmedia is very effective as a low cost wayof reaching hundreds, thousands, or evenmillions of people. “But if you view it as apixie dust that will magically grant youpowers and make your businesssuccessful then you’re going to fail,because ultimately social media is justmedia.”

Keeping Internet audiences engagedrequires consistency and frequency ofexposure to create a presence saysAbdelSalam Akkad, owner and seniorproducer of Jordan-based “social web tv”site aramram.com.

About the Author Howard Greenfield, Industry

Strategist & Columnist, President, GoAssociates. Howard Greenfield is adigital media industry strategist,columnist, and co-author of IPTV &Internet Video (Focal Press, 2ndEdition, 2009). He is principal of GoAssociates, a leading consultancy thatdevelops and implements high-techproduct marketing and global businessdevelopment strategies. Howard hasheld senior management andconsulting positions with SunMicrosystems, Informix Software,British Telecom, Apple Computer, andother world technology leaders. He isthe creator and former manager ofSun’s first Media Lab and is now afrequent contributor to industrypublications. Howard completed hisgraduate studies at Stanford University.

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Alogical place to start is ashort history of how we got towhere we are, beginning inthe 70’s and 80’s when thebroadcasting markets in the

US evolved very differently to theirEuropean counterparts. Thesefundamental differences spawnedintercom systems that were at differentends of the technology spectrum.

The US Broadcast model waspredominantly funded by advertisingand was therefore extremely costconscious, with most TV stationsadopting a studio intercom based on 2wire ‘party line’ systems, with operatorswearing headsets to communicate overlimited ‘shared’ channels. Whilst fine forsimple operations, it caused aheadache for the audio engineer inmore complex productions who had tointerconnect the various operatorstations, interface units and break-outboxes.

State funded broadcastersThe picture in Europe was different

with the majority of radio and televisionemerging from large state fundedbroadcasters like the BBC, who adoptedthird party vendors to upgrade their in-house developed talkback or intercomsystems. Operators preferred matrixbased systems with open microphonesand loudspeakers to headsets, and thatrequired careful system planning, toavoid acoustic feedback. This was howmany of today’s intercom brands cameto exist, with each system beingdeveloped to cater for their market’sspecific needs.

The early 90s saw the birth of thefirst digital matrix intercom systemsallowing TV stations to start small andscale up. Multi-core cabling wasreplaced by either Cat 5 or co-ax, whilePC configuration software gaveunprecedented functionality, withdynamic adjustment of audio levels, andalphanumeric displays on user panels.Features that were once only availableto the top Broadcasters becamecommonplace in any independentfacility.

By the year 2000, the broadcastindustry was demanding that intercomshad to be able to be networkedtogether; whether to production facilitieson the other side of the road, or otherside of the globe. This was the start of

the drive towards truly networkedsystems.

New demands for a new era:With the new decade came greater

demands for ease of maintenance andlower installation costs, as well as theability to inter-connect systems locally orover external networks. Typically, all butthe largest TV companies combined theintercom for multiple studios in a singlematrix housed in a central racks area,with cabling for cameras and studiofloor facilities running throughout thebuilding. The centralised philosophy hadthe disadvantages of having a singlepoint of failure and expensiveinstallation. This gave birth to a newapproach, which minimised the amountof cabling required by utilising smallermatrices, each serving a specificoperational area, connected togetherwith audio trunk lines and proprietarydata links. Whilst these techniques andthe increasing use of fibre optic cablingsolved many issues within a station,they were not adaptable to multi-siteapplications.

The purpose of this article is to examine the changing face of the broadcast industry and how intercom systemsare evolving to meet the needs of present day broadcasters.

Intercoms evolve to meet changing market needs

"Trilogy is a name synonymous with innovativedesign, ease of operation and reliability. Thecompany's products and systems are used inmore than seventy countries around the world,"says Barry Spencer, general manager of TrilogyBroadcast.

Over the last decade the market has seen greater demands for ease of maintenance and lowerinstallation costs, as well as the ability to inter-connect systems locally or over external networks.Typically, all but the largest TV companies combined the intercom for multiple studios in a singlematrix housed in a central racks area, with cabling for cameras and studio floor facilities runningthroughout the building.

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Low cost connectivityIt was also apparent that IP was

rapidly becoming the industry buzzword,as it provided a low-cost method forestablishing wide area connectivity anda replacement for traditional leased 4wire audio or ISDN lines. Manydismissed IP on the basis that it wasn’tsufficiently resilient, bandwidth wasexpensive, and the inherent latencywould be unacceptable. There was alsoan element of politics, as IP networkswere the IT department’s domain andthey were reluctant to allow IP intercomaccess over their internal PC networks,with the result that IP usage wasrestricted to basic linking of remote sites.

The brave new world of IP:Nowadays, network performance

has improved dramatically and the moveto digital content has forced companiesto upgrade so 100BaseT infrastructurebecame the norm and Gigabit speedsare now common place. The cost andwidespread availability of bandwidth viathe internet or satellite has revolutionisedcontent distribution and is set to have asimilar impact on audio communicationsrequiring less than 100KB/s per channel.

Other issues such as latency havealso diminished in impact with the newgeneration of IP solutions, although notcompletely disappeared. QoS is still animportant factor and any system mustbe capable of ensuring that audiocommunications are prioritised overother types of network traffic for availablebandwidth. Broadcasters are also nowwaking up to understand the advantagesof reducing the cost of installation bybeing able to utilise their existing cat 5cable infrastructure for intercom. Controlpanels can also be connected over IP,although these can be slightly moreexpensive due to the additional IPprocessing power needed, but theoption now exists to mix-and-match IPand traditionally connected panels withina single system.

The impact of live events: No discussion would be complete

without touching on live production andthe challenges of this popular broadcastmode. Unlike pre-recorded material, Liveis a one shot event, with no secondchance. Think about the embarrassmentcaused when coverage of a live sportingevent switches to a commercial breakjust as the winning goal is about to bescored. There are a lot of peopleinvolved in the production of theseprogrammes, and everyone has to beco-ordinated. A missed cue or misheard

instruction can cause confusion andlead to an unstoppable chain reaction.

So, despite the attention given tothe latest workflows and 3D technology,it is the communications system thatmakes this possible.

Giving everyone a voice: Broadcast communications are not

restricted to users requiring a fullintercom panel, many could use a phoneif they could speak to a director in astudio control room on his intercompanel. This is where the internal phonesystem using Session Initiantion Protocol(SIP) would allow the end customer tochoose whether to buy intercom panelsfor everyone or to give them phones thatcan be integrated. Since most smartphones now have a SIP client it ispossible to patch external callers orbroadcasters via IP and keep costsdown by incurring the cost of a local call,even if the caller is in a different country.

The European Broadcast Union(EBU) is advocating the move to SIP asthe standard method of getting intercomaudio over IP with an agreement in placeby the end of 2011. Once in place,attention will move to the routing of allcontrol data over IP. For intercom

manufacturers, who have embraced thismove the challenge arises of ensuringbackwards compatibility with nextgeneration systems. However, for thosethat achieve these goals the attraction ofbeing able to mix-and-match differentvendor’s solutions will shift power tocreate a more dynamic and userfocussed marketplace.

Responding to changeOver the past three decades the

changes in this market have beendramatic, with many seemingly driven bythe changes in society and consumertechnology and we must identify andrespond to those trends that drive user’sdemands. In conclusion, it is thebroadcasters that drive the developmentof intercom systems and in turn it is theconsumers that drive the broadcasters.So we should expect ever more demandfor Live coverage of election broadcasts,major international sporting andentertainment events and so on. Thiswill present numerous challenges andintercom systems will need to evolve tokeep pace. The winners will be thosethat can anticipate and fulfil this demandin the most elegant and cost effectiveway, whilst maintaining customer loyalty.

Trilogy's Gemini combines IP connectivity with programme quality audio to suit applicationsranging from small single studios to the largest multi-studio, multi-site operationsThe system incorporates an expandable structure to cope as requirements change, choice ofoperator panels to suit both application and user, simple installation over short and longdistances and absolute reliability, to deliver a unique intercom solution that combines fullprogramme quality audio with integrated IP capability.

34

This highly successful experimentand technology demonstration,hailed as ‘an important nationalpilot’ under the auspices ofSARFT (State Administration of

Radio, film and Television) and theMinistry of Science and Technology, is theresult of a strategic partnership betweenQuantel and Jetsen, which supplied thetechnical infrastructure, media assetmanagement and monitoring. SARFTDeputy Director of Science andTechnology, Sun Suchuan, reflected thesuccess of the experiment by declaringthat as a result of the Asian Gamesexperience, “3D broadcast has taken asolid step forward. By 2015 we willundoubtedly have a number of 3DTVchannels on air.” The first 3DTV channelis scheduled to be trialled in China in2011.

3D television trials in ChinaThe Enterprise sQ system deployed

at the Guangzhou Asian Games ingestedthe dual-stream HD video in realtime,giving complete flexibility to manipulateS3D after it is shot. Shot selection andediting then began immediately (within250 milliseconds of media beginning toingest), followed by craft editing asrequired. The resulting S3D programmingand highlights packages were then played

out direct to air. The system covered everyaspect of Stereo3D production fromstereo editing, vergence adjustment,repair and color correction to realtimeplayout of finished Stereo3Dprogramming, which was watched by anaudience in Guangzhou of more than300,000 people.

One year research projectThe Quantel-Jetsen solution was

chosen after an exhaustive one yearresearch and analysis processundertaken by the Chinese nationalgovernment, the Guangzhou governmentand the National AVS TV Lab. Installation,

testing and training were completed injust six weeks, leaving plenty of time forrehearsals and final preparations.

Quantel Sales & Marketing Director,Martin Mulligan, said, “We are delightedthat this challenging test for our newStereo3D broadcast workflow technologyhas been such a success and so wellreceived. With countries such as Chinaenthusiastically embracing the potential ofStereo3D, its adoption as a mainstreambroadcasting option moves ever closer.The fact that any Enterprise sQ systemcan be easily upgraded to handle S3Dalongside HD can only help speed theadoption of S3D in television.”

Quantel’s Enterprise sQ Stereo3D broadcast production technology, first shown at NAB this year, made its in-service debut at the Guangzhou 2010 Asian Games in November, successfully providing daily Stereo3D TVprogramming to China’s first 3D TV audience.

Quantel powers 3D TV broadcasts at Guangzhou Asian Games

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Three of the films were fromSouth Africa, including policeprocedural drama A SmallTown Called Descent, whichscreened in the Festival’s out-

of-competition Cinema of Asia Africashowcase; societal drama State ofViolence; and Life, Above All, a movingand powerful story of a young girl whofights the gossip and fear that poison hercommunity after the death of hernewborn baby sister. The film, directedby South African filmmaker OliverSchmitz, is the rainbow nation’s officialentry to the 2011 Academy Awards anddrew a standing ovation at the CannesFilm Festival.

State of Violence, the debut fictionfilm from South African director KhaloMatabane, opened the 31st DurbanInternational Film Festival this summer.The taut, hard-hitting suspense drama,Matabane’s follow-up to the award-winning documentary Conversations ona Sunday Afternoon, follows a SouthAfrican corporate leader whose past as aviolent revolutionary comes back tothreaten him. A Small Town CalledDescent, meanwhile, follows three eliteagents in their investigation ofxenophobic attacks in a small town. Thefilm, a darkly humorous and honest lookat South Africa’s political dynamics,boasts an all-star cast including VusiKunene, Paul Buckby, Fana Mokoenaand Hlubi Mboya.

Ghana, Cameroon, Kenya andChad were also represented in DIFF’sMuhr AsiaAfrica competition. The NineMuses from Ghana and Koundi and theNational Thursday from Cameroon werepart of the Muhr AsiaAfrica documentarycompetition; Kenya’s Pumzi competed inits short films section; and A ScreamingMan from Chad was included in itsfeatures competition. The Nine Muses, abeautifully shot, rich and moving filmfrom British director John Akomfrah,focuses on the experiences ofimmigrants from Africa, Asia and theCaribbean into the United Kingdom whilespeaking to the larger story of migrantsand migrations, memory, alienation andworking life in a Britain.

Koundi and the National Thursday,a heartfelt look at life inside a small,communal society negotiating thedemands of globalization, tracks a group

of villagers who decide to form a unionto help them use timber wealth toalleviate poverty and ensure futureautonomy. A Screaming Man, the in-competition feature film from Chadiandirector Mahamet-Saleh Haroun, is aquietly powerful and heartbreaking taleof a father and son’s soured relationshipin war-torn Chad. The father, a formerswimming champion and now poolattendant at a luxury hotel resort, isdemoted in favour of his son when newmanagement takes over. The film wonthe jury prize at the 2010 Cannes FilmFestival. Lastly, Pumzi, Kenya’s firstscience fiction film, is set in a futureKenya after water wars have torn theworld apart and East African survivorslive locked away in containedcommunities. Heralded as a standout atthis year’s Sundance Film Festival, thefilm follows a young woman scientistwho discovers a germinating seed andstruggles to bring it to Earth’s ruinedsurface.. Nashen Moodley, DIFF’sDirector AsiaAfrica, said the films in thisyear’s slate were reflective of the stories,people, languages and talent fromacross the continent. “The crop ofAfrican cinema this year has beenparticularly rich, and this year’sshowcase has proven to be very popularwith Dubai audiences,” he said. “TheseAfrican films stand alongside the best ofinternational cinema and ensured a verydiverse and close competition.”

5 African countries represented at Dubai Film FestivalSeven feature; documentary and short films from across the African continent were screened at the seventh DubaiInternational Film Festival that took place during December.

Life Above All is South Africa's official entry intothe 2011 Academy Awards anddrew a standing ovation at the CannesFilm Festival.

Spescom

Spescom Media iT(FP)-Aug10.indd 1 16/07/10 10:39:55 AM

Spescom

Spescom Media iT(FP)-Aug10.indd 1 16/07/10 10:39:55 AM

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The company’s latest projectsaw it deliver a variation of itsHaunted House concept to theCastle of Chaos in Branson,Missouri, USA – billed as the

first interactive 5D haunted experience inthe world. Here, a series of 3D HDmovies are rear-projected onto threescreens, using a pair of projectiondesignF32 DLP projectors for the largest‘landscape’ screen, andprojectiondesign F22 projectors for eachof the two ‘portrait’ screens on eitherside. The 3D movie is augmented byanimatronics and other effects toproduce the ‘5D’ experience.

Exhlirating atmosphere Building on the success of the

Haunted Hatmosouse theme to Castleof Chaos, in June 2010, a new theme"Nightmare" opened at the TusenfrydAmusement Park in Norway and isAlterface’s first interactive haunted housein Europe. Here projectiondesign F32projectors are used to display brand newvideo sequences alongside a new soundtrack plus new and spectacular pop-upeffects to emphasize the terrifying andexhilarating atmosphere of this new kindof attraction. Nightmare was opened byfamous Norwegian acting personalities,Jeppe Larsen and Jenny Skavlan.

Xavier Marichal, CTO at Alterface,comments: “As with all of our projects,the Castle of Chaos does not justpresent an audience with passive moviecontent. Using our patentedtechnologies, visitors get the chance to‘fire’ at ghosts, ghouls, zombies andother adversaries, which then react on-screen according to where and how hardthey have been hit.

“We’ve been working withprojectiondesign for a number of yearsand have found that their high-performance projector products strikethe right balance between highbrightness and strong contrast. This isimportant to us, because our interactive‘stories’ are played out in a variety ofenvironments, from the darkest ‘castles’to the bluest ‘sea’.

Cost efficient investment“Visitors to today’s attractions

expect the same HD image quality thatthey get at the best movie theatres, andprojectiondesign projectors give themthat, while being cost-efficient enough togive our customers a rapid return ontheir investment.”

Other Alterface shows, such as‘Pirate’s Plunder’ and ‘Desperados’,have also benefited fromprojectiondesign technology and image

quality. These 2D interactive theatreshave been installed in a range oflocations around the world, including two‘Pirate’s Plunder’ CinemActions in Dubaiand Jeddah (Saudi Arabia).

Quality of service “Whatever the size of venue and

the available budget, projectiondesignhas a high-performance projector thatperfectly fits our needs,” concludesMarichal. “projectiondesign is alsoalways quick to respond to our requestsand the quality of service we receivefrom their local sales manager, Gerbenvan den Berg is second to none.”

Gerben van den Berg, RegionalManager, Belgium, Netherlands,Luxembourg, Iberica and Italy atprojectiondesign, concludes: “We havean excellent working relationship withAlterface and feel that our twocompanies have a lot in common:continuing investment in technologicalinnovation, a commitment to the higheststandards of service, and a desire togive our customers the quickest andbest return on their investment. Togetherwe are pushing back the boundaries ofwhat is possible with HD, 3D and even5D imaging, in a way that offersexcitement for visitors and value for ourcustomers.”

Interactive visitor experiences inAlterface venues worldwideFamily audiences all over the world are being wowed by a variety of interactive, HD and 3D attractions, thanks to thelatest DLP video projection technology from Norway’s projectiondesign and the ingenuity of specialist show creatorAlterface.

With the aim of simplifying specification and ordering,Crestron has announced EduPacks; a range of all-in-onepresentation solutions for classrooms. Simple to install andeasy to use, EduPacks include all the components needed todeliver standardised, reliable classroom technology. EachEduPack features a basic system controller with AV switching,an audio amplifier, speakers, wall plates, mounting hardwareand cables. Just add the video projector, projection screen andAV sources, and the software wizard guides you through setupin minutes, no system design required.

"We've made EduPacks very easy to purchase, implementand use, and network support is built in to ensure efficient useof technical staff and resources," explains Steven Vacher, Headof Education at Crestron UK. "For the ultimate in simplicity,RoomView Connected projectors connect instantly and areinterchangeable, requiring minimal setup or configuration."

New LED engine makes Barco'svideo walls brightest

Barco is proud to announce a new line of LED-lit, DLP-based video walls with an improved LED engine. The new OVLrange reaches a brightness level that is 20% higher than anycompeting system, without shortening the projection system'slifetime. This makes it the most efficient LED video wallavailable today. The OVL video wall range is offered in 4:3 ratio,with screen sizes up to 80 inch. Just like Barco's 16:9 LEDvideo walls, the new OVL series has an advanced heatmanagement system based on liquid cooling technology,which brings the LED temperature down to the optimal level.This results in a significantly longer lifetime of the projectionsystem, amounting to 80,000 hours of continuous operation ineco-mode – or a 35% improvement over competing videowalls.Thanks to liquid cooling, it is possible to boost the OVL'sbrightness level up to 20% without shortening the system'slifetime. This effectively makes the OVL the brightest LED-litvideo wall on the market.

Kramer Electronics is pleased to announce theintroduction of the VP-747 In-CTRL Dual Scaler SeamlessSwitcher. The VP 747 is a true multi-standard video tographics scaler and seamless switcher with eight sets ofuniversal inputs. The universal inputs are comprised of 5BNC connectors each, two of which can also be used asHDMI/DVI inputs on DVI connectors. A key feature of the VP-747 is the incorporation of HQV (Hollywood Quality Video)processing technology for the ultimate in image quality. HQVrepresents the state-of-the-art in video processing technology.It offers the highest quality de-interlacing (with 3:2 and 2:2pull down), advanced noise reduction that reduces blockchroma and mosquito noise, and scaling performance forboth standard and high-definition signals.

All-in-one presentation solutionsfor the education environment

Kramer introduces VP-747 In-CTRL dual scaler

Chief introduces enhanced ceiling lift

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Chief is excited toannounce a new suspendedceiling lift that makes installationup to ten times faster than aconventional lift. The SL220features a quick three-stepinstallation method that vastlysimplifies adding automationinto an installation. It no longerrequires two or more people toinstall; you only need oneperson and one ladder. No floorlift is required. The lift measures600 x 600 mm (2’x2’) to snapeasily into ceiling grids and is

made of lightweight aircraft-grade aluminium for easyhandling. You can use this liftwith any of Chief’s popularprojector mounts (RPA Elite orMini Series) for the bestcompatibility in the industry,featuring micro adjustments forfast and permanent imagealignment and keyed locks forsecurity. The new lift will startshipping immediately after theISE exhibition taking place inAmsterdam from 1-3 February2011.

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As the popularity for 3D continues to grow, Christie isoffering a wide spectrum of compelling 3D and 3D-readyproducts to more markets including corporate and conferencerooms, education, large events, rental/staging and more.”Christie’s product range features 3D upgradeable projectors,giving the choice to customers to upgrade when they are readyto future proof their investment.

For customers looking to upgrade their existing ChristieM Series projectors to 3D capability, Christie offers an upgradepath for its mid- to high-end 3-chip DLP projectors with theMirage M Series advanced 3D functionality. Christie’ssuccessful Mirage Series 3D DLP projector line has thereforeexpanded with the addition of six models to bring highperformance 3D solutions to new markets. The new ChristieMirage M Series projectors offer complete compatibility withtoday’s 3D standards to support growing demands for 3Ddisplays – from home entertainment and video gaming, tomuseums, education and rental/staging.

Extron introduces 10" touchpanel

Christie unveils future-proof 3D projector line

Extron is pleased tointroduce two larger, highresolution TouchLinkTouchpanels. The TLP1000MV and TLP 1000TV arefully configurable 10"touchpanels featuring asleek, contemporary look andthin bezels to complementany decor. The larger, 1024 x600 resolution touchscreensurface provides ample roomfor sophisticated controls and

graphics. The newtouchpanels incorporate anMTP Twisted Pair receiver,which accepts either S-videoor composite video input overstandard CAT 5 type cable,enhancing connectivity andstreamlining cablemanagement. Power overEthernet PoE, allows thetouchpanels to receive powervia the Ethernet connector,eliminating the need for alocal power supply. The TLP1000MV mounts on a wall,lectern, or other flat surface,while the TLP 1000TV sits ona tabletop or on a VESAstandard mount with anoptional adapter. Both areideal for control environmentswhere a larger control surfacewithin an elegant touchpaneldesign is needed.

Delivering on its strategic relationship with Microsoft toprovide end-to-end unified communication (UC) solutions,Polycom has announced enhancements to its comprehensiveportfolio of voice and video solutions for Microsoft LyncServer 2010. The Polycom HDX series telepresence systemsand Polycom UC Intelligent Core Infrastructure are theindustry’s first telepresence solution designed to be fullyinteroperable with Microsoft Lync. Polycom telepresencesolutions lead the industry with support for standard-basedH.264 High Profile technology, which reduces bandwidthrequirements for HD video communication by up to 50percent while also working with Lync. The HDX seriestelepresence systems and RMX conference platform join a fullportfolio of Polycom UC endpoints optimised for Lync andincluding the Polycom CX500 and CX600 UC devices and thePolycom CX3000 IP conference phone, the only conferencephone optimised for Lync."In order to derive greater valuefrom UC deployments, customers are demanding proveninteroperability, a rich feature set, and simplified managementand administration capabilities," said Rich Costello, seniorresearch analyst, IDC. "The close alliance between Polycomand Microsoft helps deliver that to the desktop collaborativeexperience."

World’s first large screen OLED installation revealed

The world’s first largescreen OLED display hasbeen publicly unveiled inGermany. The 3.8m x 2.3mDiamond Vision OLED screenfrom Mitsubishi Electric wasinstalled in the reception areaof a new research facilityopened by Merck, one of theworld’s leadingpharmaceutical companies.The new screen is being usedto welcome visitors to thecentre, as a presentation aid,and as a stunning backdrop

to events hosted at theDarmstadt facility. MitsubishiElectric and Merck, a worldleader in electroluminescentmaterials, are working closelytogether to develop the nextgeneration of OLEDcompounds for use in displayproducts. Diamond VisionOLED provides the perfectillustration of the practicalapplications of that research.

Demand for digitalsignage displays in venuessuch as shopping malls,passenger terminals andpublic facilities, has created aglobal market for a versatile,high-brightness screentechnology that can adapteasily to the physicallimitations of the environmentand work effectively in highambient light conditions.Diamond Vision OLED isMitsubishi Electric’s responseto this potentially hugemarket.

First Telepresence solutioninteroperable with Lync

New Smart-e AV solutions to be launched at ISE

ISE 2011 sees Smart-e launch SmartCore2, its new rangeof space-saving, modular command and control AV solutionsfor operation centres typically used by the police, energy,telecoms, security and transport sectors. The company is alsolaunching its new digital point-to-point solution for 3D viewingat the show. Billed as the industry’s smallest CAT to CAT matrix,SmartCore2 is a multi-format video and stereo audiodistribution solution consisting of modular blocks of 16 inputsand 16 outputs, which can be upgraded on-site to reach up to256 sources and displays. The system is so compact that a 64inputs x 64 outputs version fits neatly into a single 6U 19 inchchassis, ideal where space is limited. Designed for continuousworking activity 24/7, SmartCore2 controls a wide range ofapplications where the transmission of AV signals across longdistances is required. It accommodates a variety of videoformats, providing a single solution for mixing computerimages, security cameras and TVs.

Danish Interpretation Systems is introducing a newboundary microphone to the family of their digital conferencesystem microphones. The BM 6620 boundary microphonecomes with a low-profile Omni-directional condenser and isdesigned for clear, highly intelligible sound reinforcement,professional recording and teleconferencing. It may also beused when microphones are to be visually discreet. Themicrophone offers unsurpassed resistance from radiofrequency interference (RFI) benefitting from advanced RFIshielding technology. It is protected by a rugged all-metal casewith a two-layer steel mesh grille and the microphone has a360° pickup angle. The BM6620 is easy to install into the DISDCS6000 flush mounted conference units and isolators providemechanical dampening of mounting-surface vibration. The newBoundary microphone is RoHS compliant and standardavailable color is black. Shipment of the unit will start inDecember 2010.

Analog Way unveils Smart EdgeAnalog Way is pleased to unveil Smart Edge, a High

Resolution Seamless Switcher with Dual Output EdgeBlending. Smart Edge was unveiled as a world premiere duringInfoComm Asia in Hong Kong during November and isdescribed as an Edge Blending system with Universal Analogand Digital input/output and Full High Resolution DigitalProcessing. Smart Edge offers 10 universal analog inputsincluding 2 fitted with DVI and 2 fitted with HD-SDI. With stateof the art 100% digital processing, Smart Edge outputs Digitaland Analog Signals in SDI, DVI and VGA (RGBHV). A selectionof many formats from HDTV to Computer 2K will enable you tomatch the resolution of your display device.

Smart Edge allows users to create wide blended screenseither horizontally or vertically. One unit will handle two videoprojectors. "Smart Edge was specifically designed for SoftEdge Blending applications where simplicity and affordabilityare essential", says Franck Facon, Marketing &Communications Director at Analog Way. "Smart Edge is theideal solution for large venues or events requiring a high-qualityand user-friendly system to create beautiful wide pictures forless."

DIS is introducing newconferencing microphones

Hitachi is building on its worldwide-leading marketshare in the ultra-short throw projector category with the newCP-AW250N Ultimate Short Throw projector. The CP-AW250Nsurpasses industry standards for ultra-short throw projectorsand also features networking functionality, which makesmonitoring and maintenance easier than ever before. The CP-AW250N features a throw distance of 22 inches at an 80-inchscreen when displaying content in its native WXGA resolution.

The CP-AW250N offers a high brightness of 2,500 ANSIlumens at a light weight of 8.5 pounds and also achieves ahigh contrast ratio of 2000:1. Hitachi’s new free-shaped lensand mirror improve throw ratio while also making the projectorsmaller and lighter. In addition, they improve resolutionquality, vividly displaying high-definition images. The shorterthrow distance and lighter weight allow for easier installationsin limited space and more flexible wall mounting. The CP-AW250N also offers Perfect Fit technology, which simplifiesinstallations by allowing for correction of all four corners andfour sides of the image, eliminating problems such as barrelor pincushion distortion. In addition, the CP-AW250N isavailable with an optional 6-axis wall mount.

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Hitachi Debuts Its CP-AW250NUltimate Short Throw Projector

Da-Lite Screen Company is pleased to introduce a newseries of thin flat panel wall mounts. These mounts aredesigned for easy installation and are virtually invisible onceinstalled. The TWM series is a tilting mount design and allowsfor adjustment from 0 to 15 degrees, while only protruding11/16" from the wall at 0 degrees. The TWS series is a staticmount design which only protrudes 7/16" from the wall. TheTWM and TWS series are available in two sizes. The 2000models fit most 19” to 27” diagonal flat panel monitors, whilethe 2800 models fit most 27” to 65” diagonal flat panelmonitors. Both feature a universal mount design thataccommodates most thin displays. The TWM and TWS seriesare factory pre-assembled to reduce on-site installation time.Fasteners for mounting to wood studs are included along withan assortment of metric hardware to attach the flat panelmonitor. Installation is made even easier with the addition of akickstand, which holds flat panel monitors 7-1/2” away fromwall for cabling and rear panel access. An optional wall box,the WB-200, is available for pre-installation behind a TWM orTWS series mount allowing installation of cabling and powerprior to mount installation.

Da-Lite introduces thin wallmounts for flat panels

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Epson, the worldwide leader in the projector market haslaunched the EB-1750, EB-1760W, EB-1770W and EB-1775W– a range of projectors offering a combination of bright, high-quality images with a lightweight, slimline design.

This range of projectors, the lightest and thinnest everfrom Epson, has been designed specifically for mobileprofessionals. Weighing an ultra-light 1.7kg and designed tobe extra-slim with a height of just 44mm, the projectors aresmaller than most laptops and easily slip into a laptop bag.This, combined with the fast, straightforward set-up, quick-start-up and instant-off functions, makes for a hassle-free wayto share presentations and images when away from theoffice. Using Epson’s 3LCD technology, the projectors boasttop-of-the-range brightness at up to 3,000 lumens and aColour Light Output (CLO) equally as high as the white lightoutput. This means presentations benefit from vivid yetnatural colours that will impress even when projected in fulldaylight, allowing audiences to easily take notes.

Epson launches latest ultra-portable projectors for

mobile presenters

At ISE 2011, RTI willshowcase a number ofsolutions that provide theultimate control experiencefor consumers. Highlights atthe show will include thecompany's powerful new T3-V+ and T2-C+ universalcontrollers. This nextgeneration of RTI wireless

remote controls features arevolutionary dual RF boardtechnology that gives custominstallers unprecedentedflexibility for rock-solid controlin any situation. The new T3-V+ and T2-C+ controllerssupport both 433-MHz RF forone-way control and 2.4-GHzZigBee for bidirectionalcommunication with RTIprocessors and supportedthird-party electronics likemusic servers, lighting, andeven Web-based RSS feedsfor convenient weatherupdates. While both remotecontrols continue to providedirect infrared control, the T3-V+ offers enhanced802.11b/g wireless Ethernetsupport for browsing the Webor viewing IP-addressabledevices such as securitycameras.

The use of video walls forcreating bright, high-resolutionis becoming increasinglypopular with installationsacross various sectorsincluding control rooms, sportstadiums, shopping centresand arenas. Video processingplays a major role in video wallsetup and TV Onedemonstrates how theirproducts provide various cost-effective solutions at ISE 2011.Using four standard video wallmonitors in a 2x2 arrangement,four TV One 1T-C2-750 dualDVI scalers and a 1T-DA-554

DVI Distribution Amplifier, TVOne are able to provide a cost-effective solution that includesmany extra features at no extracost. The integral CORIO2scaling engines of the four 1T-C2-750 units each zoom aquarter of a background imagefed from a single DVI sourcevia a distribution amplifier inorder to produce a larger,complete image across thefour monitors with no loss ofimage quality.

Because each of the 1T-C2-750 units possess 2 DVIinputs and advancedfunctionality, additional videosources, computer graphicsand logos could also beintroduced and keyed over thebackground image with pixellevel precision to be viewed inthe corresponding section ofthe video wall.

TV One shows cost-effectiveVideo Wall solutions New technology RTI remote control

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InfoComm CTS testing to switch from Prometric to Pearson Vue

In January 2011, InfoCommwill switch from PrometricTesting to Pearson VUE fortheir CTS exams - they'veincluded testing centres inDubai, Abu Dhabi, Riyadh,Jeddah, Cairo, Lagos,Johannesburg and manyother cities in our regionwhich are licensed toprovide this exam. Thisshould make it even moreconvenient to earn the CTScredential in the future. During the last 12 monthsboth MECIA and SACIAhave run a number of CTSPrep classes to help AVprofessionals who aregetting ready to write theirexam. While delegatesreport these have been agreat help to them, it is nota requirement that AVprofessionals attend theclass before writing the

exam. “The CTSexamination takes industryexperience and priorlearning into account,”explains SACIA directorKevan Jones. “Anybodywho feels they have theknowledge to pass thewritten exam is able toregister and have a go.They’re not obliged toattend our classes or readour manuals. If they pass,they earn exactly the sameas those who’ve sat throughthe class.” This testingpolicy is fully supported bySITA, the State IT Agency inSouth Africa. “InfoComm’sCTS programme providesus with an even playing fieldupon which we can evaluatethe skill of varioussuppliers,” explains Izak deVilliers, technologyconsultant with the agency.

IBC launches 2011 awards programme

MECIA to host Cabsat broadcast conference

Based on feedback from delegates, Cabsat’s 2011conference programme has been completely revampedand is now being jointly presented by a partnershiprepresenting the ABU, the IABM and MECIA. Chaired byMECIA's Executve Director Kevan Jones the conferencewill be a world-class event that adds real value to theCABSAT experience. The conference will comprise fourhalf-day sessions, each focussing on a particular aspectof the broadcast industry. These sessions includespecialised content on all aspects of content creation,management and delivery, as well as a bonus track that'lllook specifically at the "Best of IBC 2010" - a selection ofsome of the most popular papers presented during theIBC Broadcast conference that took place in Amsterdamduring September 2010.

IBC has issued the firstcall for entries for its 2011Innovation Awards, theunique programme whichrecognises that successcomes when vendors andusers collaborate onperfectly tuned solutions.“There are many awardsfor technology, but the IBCAwards dig much deeper,”said Michael Crimp, CEOof IBC. “To win an IBCInnovation Award youhave to demonstrate thatmanufacturers, integratorsand users workedtogether to developsomething innovative thatsolved a real challenge,whether that was creative,technical or commercial.

The whole ethos of IBC isabout getting together toshare knowledge, andwith our awardsprogramme we honourthose who really put thatinto practice.” There arethree categories in the IBCInnovation Awardsscheme: for the mostinnovative projects of theyear in content creation,content management andcontent delivery. A fourthprize is in the gift of thejudging panel, which maybe one of the categorywinners or it may beanother significantachievement during theyear which caught theirattention.

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Mediatech Africa boastedover 6,700 visitors at itsprevious show, making itAfrica's largest advancedtechnology trade exhibition.The biannual hub for allserious industry playerstakes place at the Coca-Cola dome in Northgate,Johannesburg, from 20 Julyto 22 July 2011. “Thesesectors have already seenfundamental shifts in recentyears and the future islikely to hold additionalchallenges”, says SimonRobinson, Mediatech AfricaExhibition Director. “That iswhy it is critical for seriousindustry players to remainabreast of change.Mediatech Africa enablesthem to do so, providing acentralised point to viewand experience the latestproducts andtechnologies.” Followingthe success of previousyears, the biennial tradeexhibition will againshowcase the broadcast,film and production;professional AV, sound,lighting, staging andrigging; DJ andprofessional musicequipment; systemintegration; animation, newmedia and web; satelliteand signal; computer

music and production tools;and musical instrumentsectors.In 2011 the trade exhibitionwill include a diverseprogramme including livedemonstrations, workshopsand – for the first time – abusiness matchmakingprogramme. Visitors will beable to pre-register and bematched to relevantexhibitors. Meetings willthen be facilitated betweeninterested parties, allowingexhibitors to engage withvisitors on a more personallevel. “Previous exhibitionshave illustrated thatexhibitors experienceincreased product sales asa direct result of MediatechAfrica. This year we havedecided to support thisprocess to an even greaterextent by implementing thebusiness matchmakingprogramme,” saysRobinson. Mediatech Africaallows exhibitors to reach abroad range of buyers andinterested parties, with thelast trade exhibitionattracting visitors of a highquality – over 50% of whomhad authority to purchase.In total, Mediatech Africa2009 attracted 6 779visitors, an increase of 2609 from 2007.

Digigram goes Wild in South AfricaIn a move that isconsistent with thecompany's on-goingefforts to be close to itscustomers and end-users,Digigram has just signeda distribution agreementwith renowned SouthAfrican pro audio/AVspecialists, Wild & Marr.Established back in 1944,with offices inJohannesburg, CapeTown and Durban, Wild &Marr is the leading

distributor of audioequipment in SouthernAfrica. For Joe Copans,Managing Director of Wild& Marr, "the brandsrepresented by ourcompany are universallyaccepted as leaders intheir respectivecategories. Digigram'sstate-of-the-art soundcards and IP audioequipment are therefore aperfect complement to ourcurrent brand portfolio."

IABM appoints Roger Crumpton to lead global training initiative

The IABM (InternationalAssociation ofBroadcastingManufacturers) hasannounced theappointment of RogerCrumpton as director ofeducation, employment,and training. Theappointment coincides withthe launch of the IABM's

new training academydesigned to address theworldwide shortage ofqualified broadcastengineers and technicians."Our recent industrysurveys have shown thatthe shortage of skilledtechnical staff has becomea real constraint to growthand the completion of workin progress at broadcastand media technologysuppliers. The decline intraining provision forbroadcast engineers isaffecting suppliers as wellas broadcasters who arestruggling to hire thetechnical resources theyneed to keep pace in arapidly evolving industry,"said Peter White, directorgeneral of the IABM.

Mediatech Advanced Technology Trade Expo Returns

See us at Integrated Systems Europe1-3 February 2011

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In order to reach the internet savvyGen Z in the Middle East, all layers ofthe value chain in the industry to payattention to new usage patterns needof the new generation, and how to

reach them,” said Zoran Vasiljev,Managing Director, Value Partners Dubai,“Like most other parts of the world, Gen Zin the Middle East is moving away fromother forms of video and moving towardsstreaming VOD. The on-demand modelshould soon gain more popularity in theMiddle East.”

Paying for TV content A recent survey done by Value

Partners in the UK indicated that Gen Zare fairly open to paying small amounts towatch TV content, particularly if thisenables them to avoid advertising andguarantee a good picture quality. 11 percent had paid for movies or TV contentonline in the past. Genres respondentswere willing to pay for were films (91 percent), sport (36 per cent), drama / soaps(30 per cent) and comedy (30 per cent).64 per cent cited ‘you can watch in betterquality’ and 59 per cent cited ‘you canskip ads’ as reasons for paying. ValuePartners suggests that Gen Z in the MiddleEast will be open to paying for selectedVOD content, particularly if this enablesthem to avoid advertising and guaranteesa good picture quality. Although Gen Z hasnot yet established a pay TV habit, theyare leaning towards a more self-directed,self-selecting, ‘a la carte’ approach usingmicropayments. Value Partners suggestthat the micropayments model cansucceed in becoming significant revenuestream if VOD providers can developsufficiently attractive services, in terms ofcontent, price point and functionality, toattract a paying audience.

Social media toolsThe study also shows that traditional

TV stations are beginning to use socialmedia tools to drive ratings. Audienceshave always been influenced by their peergroup about what to watch. For Gen Z,social networking sites are a natural place

for this to occur. “In the Middle East, with55 per cent of the population under theage of 25 and 70 per cent of internet userson social networks, social networking sitesare an important tool for content creatorsand broadcasters. It is a near-instantaneous audience insight channelthat opens up the opportunity to influenceprogramme popularity through engagingwith ‘opinion leaders’ and throughmaintaining compelling fan pages,” saidEmmanuel Durou, Sr. EngagementManager, Value Partners Dubai. Gen Z is

increasingly deserting linear TV, and multi-tasking their way through advertisingbreaks, making what advertising they dosee less effective. This is likely to includenew forms of advertising such as brandedentertainment, product placement,interactive campaigns and VODadvertising. VOD CPT (Cost perThousand) currently commands asignificant premium to linear CPTs, largelydue to the scarcity value. As the level ofinventory increases, providers of VOD willneed to develop improved targeting tomaintain a premium CPT.

Interactive communicationValue Partner recommends that

traditional TV stations should furthercompete for the attention of Gen Z with anincreasing range of interactivecommunication and entertainment forms,“Social networking is just the latest ofthese. Some broadcasters in the MiddleEast have jumped on the VODbandwagon, for instance, Rotana joiningforces with Yahoo! for content streamingon the online player's VOD portal. Contentcreators in the region and broadcasterswill have to innovate to maintain viewinglevels, and technology advances such as3D and virtual reality could help to hold theattention of Gen Z,” concluded Durou.

According to recent studies by Value Partners, a leading management consultancy firm in the Middle East,streaming Video on Demand (VOD) in the region is set to be the next most common mode of video consumptionfor Generation Z (Gen Z: 16 – 24 demographic) after broadcast TV, more so than using Personal Video Recorders(PVRs), watching DVDs or downloading video.

Video on demand increasingly popular for Gen Z

Instantaneous feedback from an engaged audience opens up the opportunity to influenceprogramme popularity through engaging with ‘opinion leaders’ and through maintainingcompelling fan pages,” said Emmanuel Durou, Sr. Engagement Manager, Value Partners Dubai.

“Like most other parts of the world, Gen Z inthe Middle East is moving away from otherforms of video and moving towards streamingVOD. The on-demand model should soongain more popularity in the Middle East,” saysZoran Vasiljev, Managing Director, ValuePartners Dubai

www.ibc.orgIBC 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

Enter the IBC2011 Innovation Awards

RAI Amsterdam

Conference 8-13 September : Exhibition 9-13 September

This is your opportunity to be part of one of the most prestigious ceremonies in the electronic media and technology industry. If your organisation has applied an original solution to a real-world challenge, then IBC want to hear about it.

The IBC Innovation Awards are unique in the sense that they recognise how manufacturers, vendors and end users work together to achieve a real benefit, be it technical, creative or commercial. The Awards celebrate the application of technology and the innovation that was achieved through working together.

The awards are presented in three categories – most innovative projects in:

• content creation

• content management

• content delivery

In addition to the Innovation Awards, the IBC Awards ceremony also honours those in the industry who have made an outstanding contribution to broadcasting, including the International Honour for Excellence, Judges’ Prize, Best Conference Paper and the Exhibition Stand Design Awards.

To find out more information about the IBC Innovation Awards and how to submit your entry by Friday 11 February 2011, visit:

www.ibc.org/awardsentry

Share your applications of innovation

Previous winners include: Arab States Broadcasting Union, BBC R&D, ESPN, Red Bull Air Race, RTBF, Walt Disney Pictures