Broadcastpro Middle East

| www.broadcastprome.com | July 20101MANGO JAMMIN’Touring the newest audio production house in Dubai

INTERVIEWS Dr. Khalid Al Midfa, Sharjah TV Tom Jahr, Conax

VIEWPOINTAndy Palmer of MBC on managing change

Technology inTelligence for TV, film and radio

issue 24 | June 2012

PUBLICATION LICENSED BY IMPZ

MUSICEGYPT’S NILE RADIO PRODUCTIONS

GEARS UP TO REVOLUTIONISE MUSIC INDUSTRY

EXCLUSIVE

THE SOUND OF

TECH uPdATES BPM in broadcast Digitising the past

Hitachi BroadcastHitachi Kokusai Electric EuropeTel: +44 (0) 845 1212177 Email: [email protected] www.hitachi-keu.com

KSA - First Gulf company +966 1 219 0888 / Egypt - Etaco +20 2 5865270 / UAE - [email protected]

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PublisherDominic De Sousa

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Over the last few months, we have seen more end users in the region take multiplatform delivery seriously. Just last month, we witnessed the launch of sky news Arabia simultaneously across four media platforms including television, online, tablet and mobile. this is the first news network to undertake such an initiative. Pay tv network Osn has also begun the process of making select content available incrementally across different devices through its Osn Play initiative. Previously, we saw Abu Dhabi Media make this move when it won the rights to the english Premier league.

The delivery of content across multiple platforms, however, is riddled with challenges for content buyers and sellers, broadcast networks, consultants, telco operators and conditional access players among several others.

In this issue, we have several different industry specialists talking about how the multiplatform approach is changing the business rules for both manufacturers as well as end users. I recently had the pleasure of talking with Tom Jahr of Conax, who shed light on some of the digital rights management issues that have

arisen as a result of making the set-top box more feature rich and the increased risks of being hacked as it becomes exposed to the internet. UAE national and new media specialist from Visual Unity, Jamal Bnari, also talks about how telcos are best positioned to take advantage of the multi-screen movement if only they could cut the red tape and be empowered to make faster decisions.

Multi-platform is the way to go and as BroadcastPro Middle East turns two this month, we are happy to say that we took a similar approach since the time of our launch and the effort has paid off. Besides running a print issue, we have a multi-faceted online presence through our web site and social media networks such as Twitter, Facebook and LinkedIn. Multi-platform is definitely the way to go.

VIjaya Cherian, Group Editor,Broadcast Division

Editor’s Pick

tender, Oman MOiThe Ministry of Information, Oman, has issued a tender for the supply, delivery and commissioning of two OB vans with six HD cameras each for the Sultanate of Oman TV, Muscat and Salalah International. The cost to submit the tender is US $4550.

Change Management Special guest Andy Palmer, group director of technical operations, MBC Group, sums up current views on changing broadcast technology workflowsTurn to page 24

Welcome

From letf: DJ Vega, Rami Mohsen and Deeb. Seated: Hala Hegazi, MD, NRP, Egypt

Register at www.broadcastprome.com to join us for our second anniversary party.Invitation restricted to industry only. Date: June 13, 2012venue: Calabar, the Address Downtown

it’s party time!

| www.broadcastprome.com | July 20101MANGO JAMMIN’Touring the newest audio production house in Dubai

INTERVIEWS Dr. Khalid Al Midfa, Sharjah TV Tom Jahr, Conax

VIEWPOINTAndy Palmer of MBC on managing change

Technology inTelligence for TV, film and radio

issue 24 | June 2012

PUBLICATION LICENSED BY IMPZ

MUSICEGYPT’S NILE RADIO PRODUCTIONS

GEARS UP TO REVOLUTIONISE MUSIC INDUSTRY

EXCLUSIVE

THE SOUND OF

TECH uPdATES BPM in broadcast Digitising the past

Hitachi BroadcastHitachi Kokusai Electric EuropeTel: +44 (0) 845 1212177 Email: [email protected] www.hitachi-keu.com

KSA - First Gulf company +966 1 219 0888 / Egypt - Etaco +20 2 5865270 / UAE - [email protected]

SK-HD1000 family• 3G• 1000+TV Lines• 1080p/50/60• P2 Recording• Large lens adaptor or

Full studio body option.• HD Fibre Transmission• HD Digital Triax• HD Wireless

The only HD camerawith ALL the rightconnections....

....and now with3G 1080p/50

Hitachi _205 x 275:Layout 1 22/11/10 12:50 Page 1

Leave no story untold

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What you capture on set will define how your story unfolds. The cutting edge EOS C300 is born to please cinematographers. Lightweight, compact and stunningly simple to operate, it is scalable for any project and affordable even for small independent productions.

43

12 Dr. Khalid Al Midfa on projects at Sharjah TV

interviews30 The Grass Valley team38 Tom Jahr, Conax

teCH trenDs34 Digitising the Past56 BPM in Broadcast

viewPOints24 Andy Palmer of MBC on creating an ideal environment to adopt changes in workflow

56 Jamal Bnari on how traditional telco players are missing the multi-screen boat

mangO jammin’ Exclusive tour of Dubai’s newest audio production house

in this issue

JUNE 2012

PAGE 53

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43

12 Dr. Khalid Al Midfa on projects at Sharjah TV

interviews30 The Grass Valley team38 Tom Jahr, Conax

teCH trenDs34 Digitising the Past56 BPM in Broadcast

viewPOints24 Andy Palmer of MBC on creating an ideal environment to adopt changes in workflow

56 Jamal Bnari on how traditional telco players are missing the multi-screen boat

mangO jammin’ Exclusive tour of Dubai’s newest audio production house

in this issue

JUNE 2012

PAGE 53

BestBroadcastHire.com

Best Broadcast Hire | IMPZ Circular Building | O�ce No. 003 | IMPZ | Dubai, UAE | +971 443 561 10Denmark | Sweden | Greece | Germany | Ukraine | Georgia | Jordan | Qatar

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14 COver stOrY

June 2012 | www.broadcastprome.com | 5 June 2012 | www.broadcastprome.com |

Vizrt wins EMEA dEAl Vizrt Ltd. announced last month that it has signed a deal worth in excess of US $360,000 for the implementation of broadcast graphics products with a television network in the EMEA region. Inside sources close to the project confirmed to BroadcastPro ME that the end user is Al Jazeera Network although Vizrt declined to confirm this.

Additional hardware and software will be purchased to upgrade the network’s existing systems and expand its on-air capacity. Viz Content Pilot and additional Viz Engines have been purchased as part of this deal. No further details were available at the time of going to press.

Qatar tV chooses Grass Valley for McrThe Qatari Television Support and Development Committee (TVSDC) has chosen Grass Valley solutions for the master control room at Qatar TV’s new Broadcast Centre in Doha. The design for the centre focuses on adaptive and flexible workflows and has been future-proofed for emerging technologies, such as 3Gb/s 1080p. Grass Valley will undertake the systems integration, installation, and commissioning of this multi-million dollar project.

“This project is core to the development of Qatar TV, and we needed a technical partner with a track record of proven technology,” said Samer Younes, consultant engineer of Qatari TVSDC.

“We want to build a playout centre that is flexible and supports evolving requirements, uses the latest service-orientated architectures, and is enabled for future technical growth in order to provide our audience with continuous, high-quality service.”

Grass Valley system architects scoped the requirements and designed the complete system, with support from a third-party systems integrator. The project also includes training Qatar TV staff on the new technologies and workflows, and a continuing service agreement.

Grass Valley’s Trinix NXT router with integrated multiviewers is being used alongside the Maestro master control system, offering a combination of integrated features, expandability, and control options.

O3 Productions, a subsidiary of MBC Group that specialises in a variety of productions, drama acquisition and distribution services, signed a new contract with ITV Turkey to broadcast four new Turkish series during its participation at MIPTV in Cannes (France) recently.

The agreement includes acquiring: The Compromise (Araf Zamani), Listen to Your Heart (Dinle Sevgili), The Tulip Age (Lale Devri) and Love is in the Air (Yer Gok Ask).

Fadi Ismail, general manager of O3 Productions said the company was constantly “expanding its broadcasting landscape, whether it be in productions or acquisitions”.

“We are always seeking opportunities that reach out to our broad audience base, while keeping in mind their need for upbeat and new content. During MIPTV, we were able to find fresh and interesting material, as it represents one of the most fruitful markets and a prime environment to network with buyers and sellers every year.”

He further added that O3 was able to negotiate several agreements to acquire more drama series from Latin America and Turkey, as well as sell historical Arabic dramas to other countries in line with the growth of the TV market in the MENA region.

Saudi-based systems integrator First Gulf Company (FGC) has secured a deal to fit out a master control room for broadcast network MBC at its Riyadh office, BroadcastPro ME can reveal. The project was awarded in May 2012.

Naim Saidi, CEO of FGC commented that the deal reinforces the systems integrator’s position as a key player in the market.

“FGC enjoys a great reputation in Saudi Arabia and the Middle East, which allows us to expand relationships with broadcasters and production companies throughout the MENA.

We are very proud to have won this project as MBC is a leading broadcaster in the Middle East,” Saidi said.

Speaking about FGC’s work in Saudi Arabia, managing director Walid AlMoukhtar added: “Our work with the Ministry of Culture and Information (MOCI) in Saudi Arabia among others has enabled us to constantly innovate and offer more efficient solutions to our customers. We competed with international systems integrators for this project, so winning it has clearly been prestigious for us.”

FGC sECurEs MBC projECt in riyAdh

L to R: Walid AlMoukhtar and Naim Saidi of FGC, Saudi Arabia.

Screen shots from the four drama series.

pronEws

MBc’s production arM acQuires four turkish draMa series

| www.broadcastprome.com | June 20126 | www.broadcastprome.com | June 2012

PRONEWS

HaRRiS iNcREaSES fOcuS ON ERbil, iRaq As part of its Middle East roadshow, which included Dubai, Iraq, Kuwait and Oman, Harris toured Erbil as well. Harris claims to be one of the first manufacturers in the broadcast industry to take its road show to Erbil.

Speaking on the sidelines of the event in Dubai to BroadcastPro Middle East, Said Bacho, vice president of Harris Middle East and South Asia, said the manufacturer has always enjoyed a lot of success in Iraq.

“We have never hosted an event in Iraq before although we have worked on several projects there, especially for small and medium business TV stations,” stated Bacho.

Customers from across Iraq including Baghdad, central and south Iraq enrolled for the event in Erbil.

Christie moves to Dubai siliCon oasisChristie has relocated its Middle East office to Silicon Oasis in Dubai. The new purpose-built facility provides a showcase for the company’s key products while also incorporating training, demo rooms and a large warehouse.

Speaking about the move, Simon Smith, Christie EMEA senior sales director said: “After five years of successful brand development in the Middle East, it was time for Christie to move to a brand new purpose-built office. We exceeded our capacity at our former Dubai airport free zone office and are looking forward to welcoming our partners and clients to our brand new facility. They will be able to benefit from our showroom displaying Christie’s latest technologies and products, as well as staging live demos, commercial meetings, training courses and a space dedicated to technical services.”

Dubai-based distributor Advanced Media Trading hosted a workshop on the F65 camera in conjunction with Sony Professional Solutions Middle East at AM Studio last month to familiarise industry professionals with the new camera. More than 100 camera professionals attended the workshop.

UK-based Director of Photography (DoP) Alister Chapman conducted the workshop taking the attendees through the features of the camera, its 8K sensor concept, the 4K RAW

and conventional HD workflows; as well as achieving high frame rate shooting.

Speaking about the reason for hosting workshops, Kaveh Farnam, CEO of Advanced Media said: “In the last two years, we have conducted several workshops to train people on our products. We believe that the key to success in our business is training. We bring in camera experts to share their knowledge with our clients so they can make more informed decisions with regards to purchasing cameras.”

advaNcEd MEdia HOStS f65 WORkSHOP iN dubai

UK-based DoP Alister Chapman addresses the gathering at AM Studio, Dubai and right inset, Kaveh Farnam, CEO of Advanced Media.

“We are based in Saudi Arabia and produce Islamic programmes for channels. We were looking to purchase a RED camera recently. This workshop gave me the opportunity to understand the F65 before making up my mind. Now, I need to go back and review our budget”Mohammed Wafed Ahdali, TV Production division manager, Zad Group, Saudi Arabia

“This camera is designed for cinema films and drama series and it’s good. I’m a steadicam operator and have come to this workshop to understand the scope of this camera. Judging by its weight though, I don’t think it is ideal for long shoots with the steadicam”Octavi Fo Alvira, cameraman and steadicam operator, Abu Dhabi

“I had the opportunity to test this camera and was delighted with the full control and the massive colour range it offers. Such workshops help us to understand new cameras better”Marwan Faraj, cameraman, Dubai


PRONEWS

HaRRiS iNcREaSES fOcuS ON ERbil, iRaq As part of its Middle East roadshow, which included Dubai, Iraq, Kuwait and Oman, Harris toured Erbil as well. Harris claims to be one of the first manufacturers in the broadcast industry to take its road show to Erbil.

Speaking on the sidelines of the event in Dubai to BroadcastPro Middle East, Said Bacho, vice president of Harris Middle East and South Asia, said the manufacturer has always enjoyed a lot of success in Iraq.

“We have never hosted an event in Iraq before although we have worked on several projects there, especially for small and medium business TV stations,” stated Bacho.

Customers from across Iraq including Baghdad, central and south Iraq enrolled for the event in Erbil.

Christie moves to Dubai siliCon oasisChristie has relocated its Middle East office to Silicon Oasis in Dubai. The new purpose-built facility provides a showcase for the company’s key products while also incorporating training, demo rooms and a large warehouse.

Speaking about the move, Simon Smith, Christie EMEA senior sales director said: “After five years of successful brand development in the Middle East, it was time for Christie to move to a brand new purpose-built office. We exceeded our capacity at our former Dubai airport free zone office and are looking forward to welcoming our partners and clients to our brand new facility. They will be able to benefit from our showroom displaying Christie’s latest technologies and products, as well as staging live demos, commercial meetings, training courses and a space dedicated to technical services.”

Dubai-based distributor Advanced Media Trading hosted a workshop on the F65 camera in conjunction with Sony Professional Solutions Middle East at AM Studio last month to familiarise industry professionals with the new camera. More than 100 camera professionals attended the workshop.

UK-based Director of Photography (DoP) Alister Chapman conducted the workshop taking the attendees through the features of the camera, its 8K sensor concept, the 4K RAW

and conventional HD workflows; as well as achieving high frame rate shooting.

Speaking about the reason for hosting workshops, Kaveh Farnam, CEO of Advanced Media said: “In the last two years, we have conducted several workshops to train people on our products. We believe that the key to success in our business is training. We bring in camera experts to share their knowledge with our clients so they can make more informed decisions with regards to purchasing cameras.”

advaNcEd MEdia HOStS f65 WORkSHOP iN dubai

UK-based DoP Alister Chapman addresses the gathering at AM Studio, Dubai and right inset, Kaveh Farnam, CEO of Advanced Media.

“We are based in Saudi Arabia and produce Islamic programmes for channels. We were looking to purchase a RED camera recently. This workshop gave me the opportunity to understand the F65 before making up my mind. Now, I need to go back and review our budget”Mohammed Wafed Ahdali, TV Production division manager, Zad Group, Saudi Arabia

“This camera is designed for cinema films and drama series and it’s good. I’m a steadicam operator and have come to this workshop to understand the scope of this camera. Judging by its weight though, I don’t think it is ideal for long shoots with the steadicam”Octavi Fo Alvira, cameraman and steadicam operator, Abu Dhabi

“I had the opportunity to test this camera and was delighted with the full control and the massive colour range it offers. Such workshops help us to understand new cameras better”Marwan Faraj, cameraman, Dubai

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PRONEWS

Dubai cONSultaNcy bROkERS multi-PlatfORm DiStRibutiON fOR Sky NEWS aRabiaSky News Arabia announced that UAE-based strategic media consultancy and service provider ChannelSculptor was instrumental in securing comprehensive distribution for the channel’s successful multi-platform launch last month. The distribution strategy was devised and developed in conjunction with Nart Bouran, head of Sky News Arabia.

Sky News Arabia is the first regional news network to launch simultaneously across four media platforms including television, online, tablet and mobile.

Speaking about the multi-platform distribution arrangement and ChannelSculptor’s role, Bouran said: “The key differentiator of Sky News Arabia is that we deliver the news our viewers want, when they want and in the format they want, whether on a mobile device,

tablet, online or television, so maximising audience reach across those platforms was a core launch objective. ChannelSculptor’s work over the past few months has helped to maximise our potential viewership and to secure simulcrypted pay-TV carriage for our High Definition channel.”

During the build-up to launch, ChannelSculptor was an integral part

of the launch team, providing technical and market analysis, recommendations on distribution strategy and supporting the engagement of satellite, cable, IPTV, web and mobile distribution partners including Qtel, du, Etisalat, Eurostar, Abu Dhabi TV Network and OSN.

Nick Grande, managing director of ChannelSculptor said this was “the most comprehensive distribution package ever secured for a new channel launch in the MENA region”.

“We are very proud to have played a role in setting a new standard for what can be achieved in a new channel launch. Sky News Arabia is also available around the world on Livestation, the online news channel aggregator, and via apps for iPad, iPhone, BlackBerry and Android devices.”

Nick Grande, MD, ChannelSculptor.


The XT3 opens the door to Sports360. It’s the key to future-

proofi ng broadcast and media deliveries, second screen

capabilities, live and near-live production, highlights operations,

as well as archive to help maximise your content. The XT3

gives the highest speed through its robust platform with advanced

capabilities including eight recording/playback channels in a loop

mode, multi-codec native support,

and embedded high/low-res media

management for the ultimate

sports broadcast solution.

www.evs.tv

Get your pass for the future of sport

ACCRED_BROADCAST-PRO_175-110.indd 1 15/05/12 14:52

PRONEWS

Dubai cONSultaNcy bROkERS multi-PlatfORm DiStRibutiON fOR Sky NEWS aRabiaSky News Arabia announced that UAE-based strategic media consultancy and service provider ChannelSculptor was instrumental in securing comprehensive distribution for the channel’s successful multi-platform launch last month. The distribution strategy was devised and developed in conjunction with Nart Bouran, head of Sky News Arabia.

Sky News Arabia is the first regional news network to launch simultaneously across four media platforms including television, online, tablet and mobile.

Speaking about the multi-platform distribution arrangement and ChannelSculptor’s role, Bouran said: “The key differentiator of Sky News Arabia is that we deliver the news our viewers want, when they want and in the format they want, whether on a mobile device,

tablet, online or television, so maximising audience reach across those platforms was a core launch objective. ChannelSculptor’s work over the past few months has helped to maximise our potential viewership and to secure simulcrypted pay-TV carriage for our High Definition channel.”

During the build-up to launch, ChannelSculptor was an integral part

of the launch team, providing technical and market analysis, recommendations on distribution strategy and supporting the engagement of satellite, cable, IPTV, web and mobile distribution partners including Qtel, du, Etisalat, Eurostar, Abu Dhabi TV Network and OSN.

Nick Grande, managing director of ChannelSculptor said this was “the most comprehensive distribution package ever secured for a new channel launch in the MENA region”.

“We are very proud to have played a role in setting a new standard for what can be achieved in a new channel launch. Sky News Arabia is also available around the world on Livestation, the online news channel aggregator, and via apps for iPad, iPhone, BlackBerry and Android devices.”

Nick Grande, MD, ChannelSculptor.


The XT3 opens the door to Sports360. It’s the key to future-

proofi ng broadcast and media deliveries, second screen

capabilities, live and near-live production, highlights operations,

as well as archive to help maximise your content. The XT3

gives the highest speed through its robust platform with advanced

capabilities including eight recording/playback channels in a loop

mode, multi-codec native support,

and embedded high/low-res media

management for the ultimate

sports broadcast solution.

www.evs.tv

Get your pass for the future of sport

ACCRED_BROADCAST-PRO_175-110.indd 1 15/05/12 14:52


PRONEWS

Sky NEWS ARAbiA lAuNchES AcROSS thE ARAb WORld24-hour Arabic news channel, Sky News Arabia, which is joint venture between Abu Dhabi Media Investment Corporation (ADMIC) and BSkyB, was launched last month from its headquarters in Abu Dhabi. The channel is supported by an Editorial Advisory Committee – a first for the region – to ensure it delivers balanced, accurate and consistent news to the Arab world.

Promising objective and impartial news delivery, chairman of ADMIC and Sky News Arabia, Dr Sultan Ahmed Al Jaber said at the launch: “The region demanded an Arab news product which incorporates

both the technological developments and the fast changing media consumption habits that are transforming how news is gathered and disseminated.

“Our market research uncovered a strong appetite from Arab audiences for a high calibre, independent news channel that delivers news in real time and across multiple media platforms, be they high definition television sets, the internet, smart phones or tablets.

“This, coupled with the pace of change and development of the global media landscape, reaffirms the need for Sky News Arabia.”

L to R: Dr Sultan Ahmed Al Jaber, chairman of ADMIC and Sky News Arabia with Nart Bouran, head of Sky News Arabia and Andrew Griffith, chief financial officer, BSkyB and Sky News Arabia Board director.

Yahsat celebrates Y1b launch

UAE-based satellite communications company Yahsat celebrated the ILS Proton launch of its Y1B satellite on April 24 at a special celebratory event last month. Key officials from the UAE government and Armed Forces as well as Yahsat partners ILS, Thales Alenia Space and Astrium Services were part of the event.

The Y1B satellite, which weighs over six metric tons and was built on the Eurostar E3000 platform, will deliver communications in Ka-band to serve both commercial and government users. Y1B was precisely placed into geostationary orbit by the ILS Proton vehicle after a nine-hour, 12-minute, 5-burn mission from the Baikonur Cosmodrome in Kazakhstan. The satellite will provide commercial broadband links through Yahsat’s YahClick service. Military Ka-band, for the UAE Armed Forces, will be offered through a service called YahSecure. The launch completed Yahsat’s current in-orbit deployment programme and complements the Y1A satellite which carries a mixed Ku- C- and Ka-band payload. The multipurpose satellite system will provide coverage that will encompass 28 countries.* More details in SatellitePro Middle East

canon Middle east targets professional video Market

Last month, Canon Middle East hosted an event to present a range of its camcorders for the video and photography market in Dubai. Based on a review by Harvey Glen, published in BroadcastPro ME, the DoP was invited by Canon to speak about his experience with the EOS C300 at the event.

“Professional photographers, filmmakers and creative industries rely on Canon for image excellence. We are happy to show them how Canon can further enhance and materialise their creative concepts,” stated Hendrik Verbrugghe, marketing director, Canon Middle East.

Other key products showcased at the event included Canon’s DSLR EOS range and the 5D Mark III.

iranian rental firm invests in Midas pro6Iran-based rental house Ardestani Brothers has invested in a PRO6 live audio system, together with a KLARK TEKNIK DN9696 high definition audio recorder from MIDAS’ Iranian distributor Ertebat Sedaye Bartar Co.

The PRO6 was deployed at one of Tehran’s biggest and most challenging venues, Milad Hall, which is used for concerts, conventions and seminars. To date, the PRO6 has been used to enhance performances by the Azerbaijan Symphony Orchestra and traditional Iranian singer Hesmedin Seraj’s concert in Milad Hall.

“The PRO6 sounds superb and no matter how hard you push the system, there will always be more head room,” stated Hasan Ardestani, co-owner of the rental house and a well-known FOH (front of house) engineer in Iran.

The company provides sound systems for a variety of events, including concert tours by the country’s leading singers such as Mohammad Esfahani, Reza Sadeghi and Mohsen Yeganeh.

Owing to increased demand, Ardestani Brothers stated that it would add more MIDAS PRO systems to its inventory.


PRONEWS

DDMG tO bRiNG VFX tO Abu DhAbi

Abu DhAbi promises 30% rebAte on proDuctions in emirAte

DubAi Announces Film AnD tV commission

Twofour54 and Abu Dhabi Film Commission have announced a cash rebate of up to 30% of qualifying spend for producers and filmmakers undertaking shoots in Abu Dhabi for feature films, TV, documentary, advertising and music video production. The scheme will be operational from September 1, 2012.

The “qualifying spend” refers to goods and services sourced from Abu Dhabi and for relevant expenditure on location or studio filming and post-production. It will also cover costs relating to the contracting of any UAE registered crew and services for activities in Abu Dhabi. Temporary accommodation costs as well as airline tickets and freight booked on Etihad Airways, will qualify for the rebate.

Twofour54 will also make its state-of-the-art facility and crew available for such productions.

Shaikh Hamdan Bin Mohammad Bin Rashid Al Maktoum, crown prince of Dubai and chairman of the Dubai Executive Council, announced the launch of the Dubai Film and TV Commission last month. Although a press statement from WAM stated that the head of Dubai Studio City will helm the Commission, the media entity was unable to confirm any names.

A statement issued by Dubai Studio City said: “We confirm that the Dubai Film & TV Commission board is being finalised with the engagement of key industry stakeholders. The process is anticipated to be completed shortly.”

This development comes hot on the heels of Abu Dhabi’s announcement last month promising a 30% cash rebate for filming in the UAE capital. The Commission is part of Dubai’s 2015 vision to make it more attractive to international productions, and, thereby, improve both tourism and the local economy.

Digital production company Digital Domain Media Group will establish an animation, visual effects and motion capture studio as well as a media school in Twofour54, Abu Dhabi. DDMG’s collaboration with Twofour54 is aimed at supporting Abu Dhabi’s goal to become a hub for Arabic media content creation.

DDMG will begin production of visual effects and animation at its Abu Dhabi studios by early next year, with plans to recruit staff immediately from local and international talent pools.

Over time, the studio is expected to employ more than 500 people. In the meantime, DDMG will develop a purpose-built 14,000 sqm entertainment production complex, which is expected to be operational by the end of 2015.

Speaking about the deal, Noura Al Kaabi, CEO of twofour54 said: “Digital Domain represents the next great leap forward for Twofour54 and Abu Dhabi – a strong move into digital production and the development of locally created feature films and TV content. It will provide incredible opportunities for young Arabs to develop skills and careers in an area of the media industry that has never existed before in the region.”

The new Digital Domain studio will create animated feature films, produce visual and 3D effects, engage in the production of original Middle

Eastern-branded entertainment for global audiences and contribute to international productions. The studio will become part of Digital Domain’s global feature film VFX and animation pipeline, connected to its studios in the US, UK and India.

DDMG’s institute, modelled after the one in Florida, will train students in the essential skills of digital media production for entertainment, simulation and related applications. Classes at the Digital Domain Institute, Abu Dhabi are scheduled to begin in Q1 2014.

DDMG’s CEO and chairman John Textor called the initiative a “tremendous opportunity to produce original entertainment content for Middle Eastern audiences worldwide, and to bring Hollywood work and our own original productions here as well”.

Wayne Borg, COO of Twofour54 and John Textor, chairman and CEO of DDMG, seal the deal at Cannes.

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| www.broadcastprome.com | June 201212

PROINTERVIEW

We hear that Sharjah TV has undertaken several projects in the last year?Yes, we have worked on several projects in recent times. We’ve automated our FM radio station and post production facility. Sharjah TV installed two VISLINK mobile wireless systems for OB to cover the whole of Sharjah city for immediate live coverage of any event in the emirate; we have a state-of-the-art newsroom system; and our IT infrastructure was recently upgraded.

We also deployed a full backup system for FM 94.4 at our site in Sharjah; we installed two MENOS stations to uplink and receive satellite feeds from both Sharjah and Kalba for news gathering and occasional pGM; we have installed two transmission mixers for the new transmission area; and have begun pilot transmissions from Kalba.

You are building a TV station in Kalba?That’s right. Sharjah Media Corporation (SMC) plans to launch a fourth TV station focused on the emirate’s eastern zone. Presently, SMC runs three TV channels including Sharjah TV, Sharjah Sports Channel and Sharjah22 Channel. We also operate a radio station and a media training centre. Our fourth TV station will focus

on Sharjah’s tiny eastern areas including Kalba, Dibba al Hisn and Khor Fakkan. The decision to launch this satellite TV station, which will operate out of Kalba, was made last year by Dr Sheikh Sultan bin Mohammed, the ruler of Sharjah. We haven’t yet finalised the launch date. We are first looking at increasing our programming content from the east coast. The SMC brand was officially launched last year, uniting existing TV and radio operations under one group.

Are there plans to distribute your content on multiple platforms?Content delivery across multiple platforms will be key for any broadcaster looking to survive in the changing digital era and that’s important for us as well. Our future goal is to reach the viewer wherever they are, whether it is through mobile screens, computer screens or TV.

What, according to you, is the future of TV broadcasting?No doubt, the introduction of new technology has dramatically changed our TV viewing habits. The viewer now receives content in many different forms and increasingly, they make their own

Sharjah Media on the Rise: Dr. Khalid Omar Al MidfaIn the last two years, Sharjah Radio and Television has undertaken several projects to overhaul its ageing, standard definition facility. In a brief interview with BroadcastPro ME, Dr. Khalid Al Midfa, director of Sharjah Radio and Television, sheds light on some of the projects undertaken by the state broadcaster

Kalba ProjectSharjah TV is finalising the design for a new TV channel called Al Sharqia from Kalba that will be built in Kalba. The HD 1080p facility will also support 3G infrastructure. This includes a compact three-camera studio as well as an MCR and three edit suites. Abu Dhabi-based systems integrator Tek Signals is responsible for the project while Dubai-based Al Futtaim Technologies will undertake the lighting for the studio.

The studio will include 16-bit Ikegami ENG/studio cameras while Panasonic P2 cameras will be utilised for outdoor applications. The three edit suites will be equipped with Avid Media Composer systems.

The project will include a fully automated solution for playout and on-air transmission.

“We have opted for MediaGrid from Omneon, Pebble Beach Systems’ Dolphin playout server, Front Porch Digital’s DIV Archive and IBM LTO tapes,” stated Hamad Abdelrazaq, director of Engineering, Sharjah TV.

“We are gradually ensuring that our environment is completely tapeless. The last two years have been the most dynamic years in our history in terms of technical changes. All of our equipment has been changed from analogue to digital and we are upgrading everything to HD.”


PROINTERVIEW

We hear that Sharjah TV has undertaken several projects in the last year?Yes, we have worked on several projects in recent times. We’ve automated our FM radio station and post production facility. Sharjah TV installed two VISLINK mobile wireless systems for OB to cover the whole of Sharjah city for immediate live coverage of any event in the emirate; we have a state-of-the-art newsroom system; and our IT infrastructure was recently upgraded.

We also deployed a full backup system for FM 94.4 at our site in Sharjah; we installed two MENOS stations to uplink and receive satellite feeds from both Sharjah and Kalba for news gathering and occasional pGM; we have installed two transmission mixers for the new transmission area; and have begun pilot transmissions from Kalba.

You are building a TV station in Kalba?That’s right. Sharjah Media Corporation (SMC) plans to launch a fourth TV station focused on the emirate’s eastern zone. Presently, SMC runs three TV channels including Sharjah TV, Sharjah Sports Channel and Sharjah22 Channel. We also operate a radio station and a media training centre. Our fourth TV station will focus

on Sharjah’s tiny eastern areas including Kalba, Dibba al Hisn and Khor Fakkan. The decision to launch this satellite TV station, which will operate out of Kalba, was made last year by Dr Sheikh Sultan bin Mohammed, the ruler of Sharjah. We haven’t yet finalised the launch date. We are first looking at increasing our programming content from the east coast. The SMC brand was officially launched last year, uniting existing TV and radio operations under one group.

Are there plans to distribute your content on multiple platforms?Content delivery across multiple platforms will be key for any broadcaster looking to survive in the changing digital era and that’s important for us as well. Our future goal is to reach the viewer wherever they are, whether it is through mobile screens, computer screens or TV.

What, according to you, is the future of TV broadcasting?No doubt, the introduction of new technology has dramatically changed our TV viewing habits. The viewer now receives content in many different forms and increasingly, they make their own

Sharjah Media on the Rise: Dr. Khalid Omar Al MidfaIn the last two years, Sharjah Radio and Television has undertaken several projects to overhaul its ageing, standard definition facility. In a brief interview with BroadcastPro ME, Dr. Khalid Al Midfa, director of Sharjah Radio and Television, sheds light on some of the projects undertaken by the state broadcaster

Kalba ProjectSharjah TV is finalising the design for a new TV channel called Al Sharqia from Kalba that will be built in Kalba. The HD 1080p facility will also support 3G infrastructure. This includes a compact three-camera studio as well as an MCR and three edit suites. Abu Dhabi-based systems integrator Tek Signals is responsible for the project while Dubai-based Al Futtaim Technologies will undertake the lighting for the studio.

The studio will include 16-bit Ikegami ENG/studio cameras while Panasonic P2 cameras will be utilised for outdoor applications. The three edit suites will be equipped with Avid Media Composer systems.

The project will include a fully automated solution for playout and on-air transmission.

“We have opted for MediaGrid from Omneon, Pebble Beach Systems’ Dolphin playout server, Front Porch Digital’s DIV Archive and IBM LTO tapes,” stated Hamad Abdelrazaq, director of Engineering, Sharjah TV.

“We are gradually ensuring that our environment is completely tapeless. The last two years have been the most dynamic years in our history in terms of technical changes. All of our equipment has been changed from analogue to digital and we are upgrading everything to HD.”

June 2012 | www.broadcastprome.com | 13

PROINTERVIEW

schedule to watch TV by recording so that they can adopt their viewing time according to their daily schedule. In addition, the availability of Internet TV and mobile applications for TV reception have challenged traditional broadcasting methods and have compelled traditional players to rethink their investment patterns. The future lies in providing content anytime, anywhere.

Has Sharjah Media Corporation opened any new studios or facilities recently?We recently revamped one of our 850 sqm studios. It is now a full HD facility that is wired for six cameras. The studio was fully overhauled and the studio floor was re-done with a full acoustic work to the wall and the ceiling. A new lighting system has been installed in the studio.

Does SMC have any archival plans?We have deployed a completely tapeless workflow. We capture our footage with cameras equipped with solid state storage devices, where the material is edited in non linear editing suites and sent either to our transmission server or to our digital LTO-based data tape archive. But we do have plans to archive our existing footage. PRO

ProfileDr. Khalid Omar Al Midfa, director of Sharjah Radio and Television, holds a PhD in Telecommunications Engineering from the Centre of Telecommunications Research, Bristol University, United Kingdom. Al Midfa graduated in 1995 from the Telecommunications Department at the Khalifa University (previously known as Etisalat University College) with a B.Eng with Honours Degree in Electric and Electronic Engineering. Al Midfa plays an active and influential role within the local community; where he served as a member of the Sharjah Emirate Consultative Council (2003 – 2007). He is the founding member of the Sharjah Tatweer Forum and has also worked as Assistant Professor at Khalifa University from 2004 to 2008.

14 | www.broadcastprome.com | June 2012

PROEXCLUSIVE

The Sound of MusicThey rule Egypt’s air waves. Now, they plan to revolutionise the Arab world’s music industry. In an exclusive interview with Vijaya Cherian, the team at Nile Radio Productions shares their musical dream and talks about the technical facility they have put in place to achieve it

Ten years ago, a bunch of young radio jockeys hit Egypt’s airwaves from a stuffy little office in Egyptian Media City with the country’s first private radio stations, Nogoum FM 100.6 and its English counterpart Nile FM 104.2. Today, Nogoum FM rules Egypt’s airwaves with three million consecutive listeners tuning in daily, according to claims by parent company Nile Radio Productions (NRP). The radio station apparently reaches 99% of the country with the next radio station coming a poor second at 24%.

Having spent a decade igniting and shaping the radio industry in Egypt, NRP felt it was time to relocate to a plush new office in Egyptian

Media City and expand its horizons albeit against the backdrop of the political unrest in the country. The result is a brand new radio facility with state-of-the-art on-air and pre-production studios, and more importantly, two brand new recording studios that will allow Arab singing sensations to record their albums locally. UK-based studio acoustic and design consultancy White Mark undertook the project for NRP along with Langdale Technical.

“Basically, we have always been a radio-based company,” says Hala Hegazi, managing director and group COO of NRP.

“We were pioneers of the private radio concept in Egypt. Throughout the ten

15 June 2012 | www.broadcastprome.com |

From left top: DJ Vega, NRP’s production director Rami Mohsen and Deeb. Seated: Hala Hegazi, MD and group COO, NRP.

“We were pioneers of the private radio concept in Egypt. Throughout the ten years, the first encounter on any airwaves for any Egyptian star was through us”Hala Hegazi, MD and Group COO, Nile Radio Productions, Egypt

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years, the first encounter on any airwaves for any Egyptian star was through us.”

Nogoum was not just the launchpad for many Arab singers; it also created the era of the singles. Albums were expensive to produce and the prerogative of a few celebrities. Nogoum gave new voices the opportunity to play their individual numbers on its station. Well-known Arab singers such as Hamaky, Lo’ay, and Tamer Hosni are said to have received their first big break on Nogoum.

But NRP now wants to take that further and has ambitious plans to create an entire ecosystem including a production, management and publishing arm that will facilitate the launch

PROEXCLUSIVE

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PROEXCLUSIVE

of new singers under the Nogoum label. White Mark was, therefore, contracted to

design two recording studios to international standards. NRP will use it to create original music content for its radio stations while also developing local talent by making the recording facility accessible to both artists and producers in Egypt.

“This year, we realised that the radio business is becoming saturated and it was time for us to explore other aspects of the music

production business,” explains Hegazi. “Most stars in Egypt travel abroad to record

their music. By giving them a recording facility that is built to international standards, we are enabling them to produce their albums locally. They could easily save a minimum of 40% if not more if they produced their albums locally. Plus, it helps to build the local economy,” says Hegazi.

“On a parallel level, we are also headhunting talented artists through our radio stations – singers who we foresee will be stars in ten years. We plan to take them under our wing, and provide them with the entire chain right from the lyric composition to providing the orchestra for their music to offering the facility for them to produce their album. We’re creating a company called Nogoum Records with the intention of handling this talent and managing their work. Essentially, Nogoum already serves the big names. But we want to also serve the lesser known artists until they have evolved and made a name for themselves,” explains Hegazi.

The studios will also be used to create local radio documentaries, the managing director says.

“We will maximise the potential of our studios

Bottom, NRP’s HQ in Egypt and top, inside the new facility.


PROEXCLUSIVE

of new singers under the Nogoum label. White Mark was, therefore, contracted to

design two recording studios to international standards. NRP will use it to create original music content for its radio stations while also developing local talent by making the recording facility accessible to both artists and producers in Egypt.

“This year, we realised that the radio business is becoming saturated and it was time for us to explore other aspects of the music

production business,” explains Hegazi. “Most stars in Egypt travel abroad to record

their music. By giving them a recording facility that is built to international standards, we are enabling them to produce their albums locally. They could easily save a minimum of 40% if not more if they produced their albums locally. Plus, it helps to build the local economy,” says Hegazi.

“On a parallel level, we are also headhunting talented artists through our radio stations – singers who we foresee will be stars in ten years. We plan to take them under our wing, and provide them with the entire chain right from the lyric composition to providing the orchestra for their music to offering the facility for them to produce their album. We’re creating a company called Nogoum Records with the intention of handling this talent and managing their work. Essentially, Nogoum already serves the big names. But we want to also serve the lesser known artists until they have evolved and made a name for themselves,” explains Hegazi.

The studios will also be used to create local radio documentaries, the managing director says.

“We will maximise the potential of our studios

Bottom, NRP’s HQ in Egypt and top, inside the new facility.

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PROEXCLUSIVE

by using them for local productions. Previously, we used to purchase documentaries for radio. Instead of outsourcing it, we feel we now need to have our own kitchen. So our studios will serve a dual purpose – that of creating music and also creating other radio productions such as cooking shows, radio documentaries and so on.”

NRP has a couple of advantages. Having revolutionised the radio industry

in Egypt and helped shape the musical propensities of the Arab world’s largest population, Nogoum FM has become an influential partner in the music industry.

As Hegazi points out: “Our ten years of experience identifying the music, the voices and the songs that the Arab people will like, has served us well. To complement that, we now have the finest equipment and that gives us an edge over everyone else.”

“This was a major undertaking that required detailed coordination, design, build supervision and technical infrastructure from the outset. Careful consideration had to be given to the detailed supervision of the Egyptian building company which was unfamiliar with the techniques required for this specialist project work”David Bell, managing director, White Mark

David Bell, MD, White Mark.

Deeb, NRP.

Rami Mohsen, production director at work at NRP.

Hegazi is talking about the new SSL Duality that NRP has just acquired.

A 48-channel SSL Duality is the main attraction in the primary recording studio and is likely to draw the star artists in, according to Hegazi. The studio is also kitted out with Pro Tools and an extensive range of analogue and outboard equipment. A second smaller studio includes an Avid 24-channel C|24 control surface and Pro Tools system. Both rooms feature ATC and Adams monitoring and includes a generous complement of analogue outboard recording equipment.

“State-of-the-art SSL rooms are very rare in this part of the world,” explains David Bell, managing director of White Mark.

“To find one that is built and equipped to this level is unique. SSL spent the best part of a week on site going through how to use the


PROEXCLUSIVE

by using them for local productions. Previously, we used to purchase documentaries for radio. Instead of outsourcing it, we feel we now need to have our own kitchen. So our studios will serve a dual purpose – that of creating music and also creating other radio productions such as cooking shows, radio documentaries and so on.”

NRP has a couple of advantages. Having revolutionised the radio industry

in Egypt and helped shape the musical propensities of the Arab world’s largest population, Nogoum FM has become an influential partner in the music industry.

As Hegazi points out: “Our ten years of experience identifying the music, the voices and the songs that the Arab people will like, has served us well. To complement that, we now have the finest equipment and that gives us an edge over everyone else.”

“This was a major undertaking that required detailed coordination, design, build supervision and technical infrastructure from the outset. Careful consideration had to be given to the detailed supervision of the Egyptian building company which was unfamiliar with the techniques required for this specialist project work”David Bell, managing director, White Mark

David Bell, MD, White Mark.

Deeb, NRP.

Rami Mohsen, production director at work at NRP.

Hegazi is talking about the new SSL Duality that NRP has just acquired.

A 48-channel SSL Duality is the main attraction in the primary recording studio and is likely to draw the star artists in, according to Hegazi. The studio is also kitted out with Pro Tools and an extensive range of analogue and outboard equipment. A second smaller studio includes an Avid 24-channel C|24 control surface and Pro Tools system. Both rooms feature ATC and Adams monitoring and includes a generous complement of analogue outboard recording equipment.

“State-of-the-art SSL rooms are very rare in this part of the world,” explains David Bell, managing director of White Mark.

“To find one that is built and equipped to this level is unique. SSL spent the best part of a week on site going through how to use the

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desk with the local team. Langdale Technical’s staff spent time educating and explaining the technology it was installing as it went along, so that NRP staff had time to get used to the equipment from an early stage,” adds Bell.

These studios form the basis of NRP’s production hub and are, as Hegazi says, “a long-awaited dream come true”. These facilities will become the home of original music content for the radio stations and help develop local music talent.

While the recording studios are the highlight, White Mark was also called in to redevelop NRP’s radio facility, when it shifted to a new building in Egyptian Media City.

“This was a major undertaking that required detailed coordination, design, build supervision and technical infrastructure from the outset. Careful consideration had to be given to the detailed supervision of the Egyptian building company which was unfamiliar with the techniques required for this specialist project work. Scheduling also became a central issue as the two on-air stations had to continue broadcasting throughout the construction and have access to their commercials’ pre-production facilities. The new buildings are a significant improvement on the previous complex and detailed discussions were held as to the form the

new rooms should take,” explains Bell. The two radio studios of Nogoum

and Nile share common facilities with both their respective on-air rooms facing a shared “Talks” studio. Also shared are the machine room and office and reception spaces. White Mark designed a pre-production suite as well, which both the stations share.

“The existing radio studios were in a completely separate building, so all rooms are brand new. The radio studios, however, re-used their existing equipment and are pretty much self-contained,” explains Bell.

“It’s the quality of these studios that sets NRP apart from everyone else in the region. The recording studios, in particular, will allow NRP to expand their business model by providing a hub for their music production activities.”

The whole relocation, however, has not been a cakewalk owing to the political backdrop against which NRP has been planning its musical dreams. The challenges were many, not just for the radio house but for the systems integrator as well.

“Work was originally scheduled to start early last year but due to the political upheaval in Egypt, work was delayed until summer,” explains Bell.

“The initial build was for the two radio stations and this was followed by the

LISTENER HABITSDecember 2011

PROEXCLUSIVE

This chart from Pan Arab Research Centre shows the extent of Nogoum’s reach in Egypt as opposed to that of other radio channels.

6

5

4

3

2

1

0

RADIO stAtIOn ReAch AcROss egypt

Nogoum FM Radio Maser FM

Al Sharq Al Awsat

Eza at Al Aghany

Al Shabab Wal Riyadah

Mega FM Radio Sawa Radio Hits


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desk with the local team. Langdale Technical’s staff spent time educating and explaining the technology it was installing as it went along, so that NRP staff had time to get used to the equipment from an early stage,” adds Bell.

These studios form the basis of NRP’s production hub and are, as Hegazi says, “a long-awaited dream come true”. These facilities will become the home of original music content for the radio stations and help develop local music talent.

While the recording studios are the highlight, White Mark was also called in to redevelop NRP’s radio facility, when it shifted to a new building in Egyptian Media City.

“This was a major undertaking that required detailed coordination, design, build supervision and technical infrastructure from the outset. Careful consideration had to be given to the detailed supervision of the Egyptian building company which was unfamiliar with the techniques required for this specialist project work. Scheduling also became a central issue as the two on-air stations had to continue broadcasting throughout the construction and have access to their commercials’ pre-production facilities. The new buildings are a significant improvement on the previous complex and detailed discussions were held as to the form the

new rooms should take,” explains Bell. The two radio studios of Nogoum

and Nile share common facilities with both their respective on-air rooms facing a shared “Talks” studio. Also shared are the machine room and office and reception spaces. White Mark designed a pre-production suite as well, which both the stations share.

“The existing radio studios were in a completely separate building, so all rooms are brand new. The radio studios, however, re-used their existing equipment and are pretty much self-contained,” explains Bell.

“It’s the quality of these studios that sets NRP apart from everyone else in the region. The recording studios, in particular, will allow NRP to expand their business model by providing a hub for their music production activities.”

The whole relocation, however, has not been a cakewalk owing to the political backdrop against which NRP has been planning its musical dreams. The challenges were many, not just for the radio house but for the systems integrator as well.

“Work was originally scheduled to start early last year but due to the political upheaval in Egypt, work was delayed until summer,” explains Bell.

“The initial build was for the two radio stations and this was followed by the

LISTENER HABITSDecember 2011

PROEXCLUSIVE

This chart from Pan Arab Research Centre shows the extent of Nogoum’s reach in Egypt as opposed to that of other radio channels.

6

5

4

3

2

1

0

RADIO stAtIOn ReAch AcROss egypt

Nogoum FM Radio Maser FM

Al Sharq Al Awsat

Eza at Al Aghany

Al Shabab Wal Riyadah

Mega FM Radio Sawa Radio Hits


PROEXCLUSIVE

build of the two recording studio rooms. It took about a year from the White Mark design stage to complete all of the rooms. This timeframe was very much start /stop throughout the year because of the political situation in Egypt.”

This apart, White Mark had to address training and logistical issues as well.

“The local builders didn’t initially understand the standards White Mark and Langdale expected from a technical build, so they had to be instructed in how to achieve these. Secondly, Egyptian customs were not the most easy to work with when it came to importing equipment and specialist building materials. Working in a country where there was political turmoil was also a challenge but otherwise, this project was no different to any other design/build project,” explains Bell.

Langdale’s technical director Bill Ward recalls the concern with the SSL console when it eventually passed customs.

“Dealing with Egyptian customs for the import of the equipment was a challenge. We had an issue when it came to the SSL console as the desk was somewhat roughly unpacked by the local customs officials and needed replacement parts by the time it was released and finally delivered. Fortunately, we were already on site and were able to make SSL’s commissioning a lot easier by having the console assembled and powered up before their team arrived. This meant we could tell them exactly what parts were needed, which saved a lot of time,” he says.

Although the unrest brought its own set of problems, Ward says NRP’s premises were on the outskirts of

“[The SSL console} ... was somewhat roughly unpacked by the local customs officials and needed replacement parts by the time it was released and finally delivered. Fortunately, we were already on site and were able to make SSL’s commissioning a lot easier by having the console assembled and powered up before their team arrived”Bill Ward, technical director, Langdale Technical


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Cairo ensuring some distance from Tahrir Square, which was the seat of most of the disquiet in central Cairo.

“On the last trip out, there was a possibility that we might have had difficulty getting home as some of the European airlines were very quick to cancel flights. However, as we always travelled with Egypt Air, we had no problems because they were much more understanding about the situation,” he adds.

For NRP itself, the decision to invest during the political instability in Egypt, while most other businesses put their investments on hold, has not been easy. However, as a frontrunner that has previously taken risks, it is ready to take the plunge again.

“Artists are skeptical about coming here because of the ramifications of the

political upheaval in Egypt. But we are optimistic that the studios will become a milestone in our business legacy and will deliver our expectations and beyond in Egypt and the entire region,” says Hejazi.

For the team of producers at NRP, itself, there is excitement in the air.

“Our team of producers feels that this is a huge breakthrough in their working track record and career portfolios,” explains Rami Mohsen, NRP’s production director.

“To be able to work and train and manage such world class studios and the technology that comes with them is a massive addition to all of us. This could not have come at a better time in our industry’s business path as our main direction is to focus on radio production and music label releases in 2012 and beyond.” PRO

Hala Hegazi and Rami Mohsen.


As Bernard Burnes, a well-known writer on managing change noted in 2000, “the history of the past 200 years could well be characterised as successive periods of unprecedented change”.

Similarly, the technological world around broadcasting is, by general agreement, in a state of constant change and a lot of companies — broadcasters, media entities and content providers — are seeking change or have already embraced it. The model of “70% run the business” and “30% change the business” is increasingly being turned on its head.

Introducing business and workflow change into a company presents a very different set of challenges to managers than does the task of project administration or strategic planning. Often, however, the managers responsible for bringing technology and workflow changes into everyday use are much better equipped to guide the development of the new workflows than to manage their implementation.

The people in a broadcast organisation who manage business and workflow change must very

often perform two jobs, that of workflow developer and that of implementer. Whether the systems and workflows are developed in-house or bought in from a supplier, at some point, they will need to be handed over to the users, who are quite well versed with their own areas of implementation. It is, however, quite common to see that the point at which the implementer wants to hand over the project and the point at which the user is ready to accept responsibility for the new workflow does not necessarily coincide. This gives rise to the “tossed-over-the-fence” syndrome, where the end user feels that they have been left to simply get on with it.

Whoever is responsible for the implementation has the task of ensuring a seamless transfer from the workflow developers to the workflow users. This may well involve a period of parallel running so that integration between the developers’ perspective and the users’ perspective is achieved.

This is often described as a “selling job”. Getting the user to “buy into” the new workflow or system should perhaps be viewed as a “marketing job” where the needs and preferences of the user are

Andy Palmer, group director of technical operations, MBC Group, sums up current views on changing broadcast technology workflows

Change Management

PROVIEWPOINT


researched and taken into account. Quite often, new workflows demand

that the user undertake tasks in a new way or employ tools that are different to the ones they are wont to use and consider to be just as effective and efficient. The marketing of the new broadcast workflows and systems must, therefore, consider how to position the new in relation to “competitive products” already in use and consider distribution methods and channels and support mechanisms for the new workflows and systems.

By adopting a marketing approach, implementation managers can be encouraged to seek the user’s involvement at an early stage, identifying how the workflows can be enhanced to give the best fit to user requirements, thereby, speeding the shifting of ownership from workflow developers to users and operators.

It is all too easy to underestimate the importance and scope of the preparatory work that needs to be undertaken when developing and implementing new workflows and systems. Many implementation managers tend to feel that because the new workflows are superior to the old ones and the technical systems are more advanced, they will automatically be accepted and embraced by the users. “It’s new, they’ll love it” is assumed. A consequence of this is that funds and resources are targeted at development rather than implementation. Continuing the marketing theme, the implementation needs to take the form of a reiterative process.

Information gathering assessment and adaptation user trials information gatheringThe communication loop between those involved at the various stages needs to be kept as tight as possible. What information is important and which people are key will vary throughout the process but it is the implementation manager’s role to coordinate all of this.

The difficulty for those implementing

new workflows and systems is that the higher up an organisation the need for new workflows solutions can be identified and accepted, the greater the chances of success for the project. Similarly, the closer the solution is to the user’s needs, the greater the chance of a successful implementation. This can so often be a source of tension.

It is useful to see all the groups of individuals within the broadcast organisation as many internal markets, each needing its own marketing plan and carefully thought out message. The Executive level, for example, will have concerns and outcomes biased more towards the “bottom line” and return on investment, whereas users may have a perspective that is concerned with ease of use and efficiency.

One of the problems with Digital Asset Management (DAM) systems and automation workflows is that they can be difficult to justify in traditional financial terms, but are nonetheless essential to the survival of a business in the long term.

It is, therefore, important that there is a simultaneous involvement of all user groups as well as the executive and management levels, and that a sense of ownership is encouraged in these groups. There is also a need for evangelists and champions of the new processes and workflows within these groups at all levels.

It is not always possible to involve every single user within a group, so it is essential to have valid and credible representatives, especially from large user groups. Often, the transfer and handover of new practices and workflows to users is the weak link in the process but it is important that enough thought and time be given to developing appropriate mechanisms and setting realistic timescales to allow the suppliers to interact fully with the users who often understand the operations best.

Often with the introduction of new workflows in a broadcast environment, it is useful to conduct test schemes as they serve two purposes. Firstly, they

PROVIEWPOINT

Connect AVB

Intercom goes Real-Time Ethernet

Connecting intercom panels over an Ethernet-based LAN environment has been the dream of many system planers. Riedel’s AVB product line provides a communication solution fulfi lling the demands of professional intercom users. Based on offi cial IEEE next generation Ethernet standards AVB makes it possible to utilize facility and enterprise LAN data infrastructures for real-time intercom applications. This allows for new approaches in system and facility design providing signifi cant savings in infrastructure investments.



See us at

Broadcast A

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1

“Getting the user to ‘buy into’ the new workflow or system should perhaps be viewed as a ‘marketing job’ where the needs and preferences of the user are researched and taken into account”


researched and taken into account. Quite often, new workflows demand

that the user undertake tasks in a new way or employ tools that are different to the ones they are wont to use and consider to be just as effective and efficient. The marketing of the new broadcast workflows and systems must, therefore, consider how to position the new in relation to “competitive products” already in use and consider distribution methods and channels and support mechanisms for the new workflows and systems.

By adopting a marketing approach, implementation managers can be encouraged to seek the user’s involvement at an early stage, identifying how the workflows can be enhanced to give the best fit to user requirements, thereby, speeding the shifting of ownership from workflow developers to users and operators.

It is all too easy to underestimate the importance and scope of the preparatory work that needs to be undertaken when developing and implementing new workflows and systems. Many implementation managers tend to feel that because the new workflows are superior to the old ones and the technical systems are more advanced, they will automatically be accepted and embraced by the users. “It’s new, they’ll love it” is assumed. A consequence of this is that funds and resources are targeted at development rather than implementation. Continuing the marketing theme, the implementation needs to take the form of a reiterative process.

Information gathering assessment and adaptation user trials information gatheringThe communication loop between those involved at the various stages needs to be kept as tight as possible. What information is important and which people are key will vary throughout the process but it is the implementation manager’s role to coordinate all of this.

The difficulty for those implementing

new workflows and systems is that the higher up an organisation the need for new workflows solutions can be identified and accepted, the greater the chances of success for the project. Similarly, the closer the solution is to the user’s needs, the greater the chance of a successful implementation. This can so often be a source of tension.

It is useful to see all the groups of individuals within the broadcast organisation as many internal markets, each needing its own marketing plan and carefully thought out message. The Executive level, for example, will have concerns and outcomes biased more towards the “bottom line” and return on investment, whereas users may have a perspective that is concerned with ease of use and efficiency.

One of the problems with Digital Asset Management (DAM) systems and automation workflows is that they can be difficult to justify in traditional financial terms, but are nonetheless essential to the survival of a business in the long term.

It is, therefore, important that there is a simultaneous involvement of all user groups as well as the executive and management levels, and that a sense of ownership is encouraged in these groups. There is also a need for evangelists and champions of the new processes and workflows within these groups at all levels.

It is not always possible to involve every single user within a group, so it is essential to have valid and credible representatives, especially from large user groups. Often, the transfer and handover of new practices and workflows to users is the weak link in the process but it is important that enough thought and time be given to developing appropriate mechanisms and setting realistic timescales to allow the suppliers to interact fully with the users who often understand the operations best.

Often with the introduction of new workflows in a broadcast environment, it is useful to conduct test schemes as they serve two purposes. Firstly, they

PROVIEWPOINT

Connect AVB

Intercom goes Real-Time Ethernet

Connecting intercom panels over an Ethernet-based LAN environment has been the dream of many system planers. Riedel’s AVB product line provides a communication solution fulfi lling the demands of professional intercom users. Based on offi cial IEEE next generation Ethernet standards AVB makes it possible to utilize facility and enterprise LAN data infrastructures for real-time intercom applications. This allows for new approaches in system and facility design providing signifi cant savings in infrastructure investments.



See us at

Broadcast A

sia

Stand 4Q4-0

1

“Getting the user to ‘buy into’ the new workflow or system should perhaps be viewed as a ‘marketing job’ where the needs and preferences of the user are researched and taken into account”

990_Sony HDC2500_B Cast_20.7x27 cm.indd 1 5/13/12 4:51:23 PM

help prove the feasibility to the higher levels of management, and secondly, they provide a credible demonstration of the workflow model to other departments within the organisation.

The site for the tests must be carefully chosen. As the political survival of the new workflows depends to a large extent on the testing, it is tempting to choose a low risk area to conduct the tests. However, this has the disadvantage that it has no real benefit to the organisation and fails to establish the workflow’s credibility with other departments. Conversely, if the test scheme is located in one of the most capable and flexible areas then it will be seen as having been demonstrated in a non-typical departmental environment. Testing in the areas that presently have the most acute problems are not without its pitfalls. If the tests go badly, it will be difficult to distinguish issues with the workflow from possible problems in the chosen department, and if they go well, sceptics will be quick to point out that anything would have helped.

The answer lies with being clear about the nature of the workflow testing. Is it to be a demo or an experiment? Choose the testing site based on this. Presenting a workflow that is still in a formative stage and needs experiential testing as a demo risks damaging the credibility of the process. It is important to conduct the workflow demos or tests in an environment that has credible role models. They must be neither particularly adept nor poorly skilled and be seen as an “average” operator of the workflows.

Targeting decision makers who may be at first resistant and getting one or two to embrace the change can open the floodgates for the rest of the areas. It is also necessary to create new role models for the workflows. Experienced staff who possibly aspire to the expert status are often good choices, as they will be open to new ideas but nonetheless have the required internal credibility.

For any large-scale change of working practices to succeed, it will need its champions and evangelists. At the very least, this will need to take the form of a sponsor, a project manager and a systems integrator.

The sponsor must be able to bring to bear sufficient resources for the change to succeed. They must also be able to ensure that there has been commitment expressed openly by the leaders involved in the various areas or departments.

The project manager needs to be

able to organise the implementation and workflow testing in the manner described earlier. Their feedback to the sponsor on how well the new workflows are being received is crucial.

The systems integrator will need to manage the priorities, the conflicts and should, through good communication, be able to form cohesive teams amongst the system users.

All of the above champions will have to deal with the sceptics and the fence sitters — those who, in order not to be seen backing the wrong horse will commit neither one way nor another until there are clear signals which way to jump. It is the role of the champions to ensure that suitable and timely messages are delivered from the right level in the company such that the way ahead for the fence sitters is made clear as soon as is possible.

This may take the form of a policy change or a carefully timed pep talk to departments. The message needs to be clear that senior management are behind the changes no matter what. They also need to be uniform across the organisation, so that, for example, a drive for increased production of web-based content is not just targeted at one area but is seen as a company-wide initiative.

Lastly, if workflows are being changed then the performance criteria used to measure individuals and departments must be amended accordingly. It is unwise to measure new technologies using old standards. It is also worth remembering that with more automated workflows, the headcount will move

from direct involvement with the process to a more supportive role.

Changing workflows and introducing new technologies and concepts into an established organisation is never going to be a simple matter. It is no secret that it is only 20% to do with the technology and 80% to do with people, their habits, desires and aspirations.

Success is only possible if you really know your people and your organisation. It is an opportunity to move the company to the point where it becomes an organisation that learns constantly and where mistakes are used as tools to drive the process forward. Even in companies where there is no perceived “blame culture”, people will still be afraid to innovate for fear of criticism.

Understanding clearly at the outset what needs to be achieved, and how to measure that achievement; building a learning organisation, and carrying them with you based on a communicated and engaging plan, gives managers the best chance of success. PRO


Workflow demos or tests must always be conducted in an environment that has credible role models.

PROVIEWPOINT

Find out how. Visit www.avid.com/mmm/motiongraphics

Your media is your lifeblood and Avid can help you use it more effectively than ever before.

Leveraging the latest advancements in real-time 2D/3D graphics creation, Avid Motion Graphics™, a next-generation graphics platform, enables you to:

• Create stunning content that cuts through the visual clutter • Let journalists quickly integrate graphics into their stories • Get to air faster and easier

© 2011 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid, the Avid logo, and Motion Graphics are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other trademarks contained herein are the property of their respective owners.

Make the Most of Your Media with Avid Motion Graphics

Avid_MMM_MotionGraphics_Ad_BroadcastPro_MiddleEast_207x270mm.indd 1 3/20/12 5:12 PM

Andy Palmer is group director of technical operations, MBC Group.

all-in- e, all insideIntroducing the new HP Z1 Workstation. Power without the tower.Bring your imagination to life with the all-in-one HP Z1 Workstation – featuring the powerful Intel® Xeon® processor E3-1200 series, genuine Windows® 7 Professional and a stunning 68.6 cm (27") high-resolution LED-backlit display.1 Get professional-grade graphics and performance in a sleek, space-saving design that makes customisation a snap – literally. Experience the HP Z1 Workstation at hp.eu/workstations

The HP Z1 Workstation snaps open for simple, tool-free customisation2

© Copyright 2012 Hewlett-Packard Development Company, L.P. The information contained herein is subject to change without notice. Intel, the Intel logo, Intel Inside, the Intel Inside logo, Xeon and Xeon Inside are trademarks of Intel Corporation in the U.S. and other countries. Microsoft and Windows are trademarks of the Microsoft group of companies.1 Refers to diagonal measurement of display.2 All specifications represent the typical specifications provided by HP’s component manufacturers; actual performance may vary either higher or lower.

all-in- e, all insideIntroducing the new HP Z1 Workstation. Power without the tower.Bring your imagination to life with the all-in-one HP Z1 Workstation – featuring the powerful Intel® Xeon® processor E3-1200 series, genuine Windows® 7 Professional and a stunning 68.6 cm (27") high-resolution LED-backlit display.1 Get professional-grade graphics and performance in a sleek, space-saving design that makes customisation a snap – literally. Experience the HP Z1 Workstation at hp.eu/workstations

The HP Z1 Workstation snaps open for simple, tool-free customisation2

© Copyright 2012 Hewlett-Packard Development Company, L.P. The information contained herein is subject to change without notice. Intel, the Intel logo, Intel Inside, the Intel Inside logo, Xeon and Xeon Inside are trademarks of Intel Corporation in the U.S. and other countries. Microsoft and Windows are trademarks of the Microsoft group of companies.1 Refers to diagonal measurement of display.2 All specifications represent the typical specifications provided by HP’s component manufacturers; actual performance may vary either higher or lower.


In recent months, we have seen Grass Valley ramping up its efforts in the Middle East with high-profile appointments both in the UK and Dubai as well as investments in a larger facility at Dubai Media City. The new office, which will include a demo room as well as other state-of-the-art facilities, is scheduled to be operational by the end of June.

Hassan Ghoul, who was recently appointed managing director of Grass Valley’s Middle East operations, says more changes are in

the offing to ensure that the office in Dubai is better positioned to service the region.

“Presently, we are looking to consolidate our Middle East operations. Previously, we had two sub regions – the Gulf, and the Levant. Today, the idea is to bring everything together under one roof so we are better placed to offer comprehensive support and solutions to our customers,” Ghoul said, adding that the Dubai office is looking to expand its team further to include more pre-

PROEVENT

Grass Valley looks for greener pasturesSenior executives from Grass Valley headed down to Dubai last month and hosted partners and customers at a high-level gathering in conjunction with its Middle East team. In an exclusive interview with BroadcastPro Middle East, the Grass Valley team spoke about the company’s regional plans, and its technical and business strategies

Clockwise from left: Hassan Ghoul, Marcos Gonzales-Flower, Francoise Semin and Dr. Karl Schubert.


In recent months, we have seen Grass Valley ramping up its efforts in the Middle East with high-profile appointments both in the UK and Dubai as well as investments in a larger facility at Dubai Media City. The new office, which will include a demo room as well as other state-of-the-art facilities, is scheduled to be operational by the end of June.

Hassan Ghoul, who was recently appointed managing director of Grass Valley’s Middle East operations, says more changes are in

the offing to ensure that the office in Dubai is better positioned to service the region.

“Presently, we are looking to consolidate our Middle East operations. Previously, we had two sub regions – the Gulf, and the Levant. Today, the idea is to bring everything together under one roof so we are better placed to offer comprehensive support and solutions to our customers,” Ghoul said, adding that the Dubai office is looking to expand its team further to include more pre-

PROEVENT

Grass Valley looks for greener pasturesSenior executives from Grass Valley headed down to Dubai last month and hosted partners and customers at a high-level gathering in conjunction with its Middle East team. In an exclusive interview with BroadcastPro Middle East, the Grass Valley team spoke about the company’s regional plans, and its technical and business strategies

Clockwise from left: Hassan Ghoul, Marcos Gonzales-Flower, Francoise Semin and Dr. Karl Schubert.


“If I have a 4K camera filming a horse race and one horse from the back starts to move to the front and wins, I need to be able to zoom in on that horse and follow it through its course. Now, if I can find that and subset it out and broadcast it in 2K, I see the benefit of 4K”Dr. Karl Schubert, CTO, Grass Valley

sales staff and support engineers. The rest of the team including Dr.

Karl Schubert, chief technology officer of Grass Valley, who has a strong IT background; Francoise Semin, vice president of South Europe, Middle East and Africa; and Marcos Gonzales-Flower, vice president of Service EMEA were also present in Dubai to gauge the needs of the market and interact with local partners.

Schubert, who has been heading Grass Valley’s technical vision for the last year, says the company is focusing heavily on developing its solutions further for “live broadcast, news and sport”.

“The challenges I like the most are associated with the increased complexity of dealing with outdoor and live broadcast. This sector needs more cameras, faster cameras and many more connections. HD is important but 3G is also gaining traction. They are looking for us to provide infrastructure that is affordable and flexible.

“Our next generation systems will reflect the convergence of broadcast and IT. This means you will see more IT elements integrated into our existing infrastructure. This will enable more flexibility, a better cost structure and quicker response to customer needs. In fact, with the integration of IT, we will also see greater emphasis on software than hardware,” he added.

Semin, who joined Grass Valley a year ago, chips in that the company reinvests 15% of its revenue back into R&D.

“This is one of the highest in the industry,” she claimed.

“We are also taking major steps to rebuild the team in the region and reinvest here. We are recruiting and reshaping a team of pre-sales consultants, who will be able to engage with customers and talk about the solution rather than our products.”

Semin also shed light on Grass Valley’s new strategy, which aims to lay greater focus on solutions.

“It’s important to understand the business requirements, the workflow and the operational requirements of a customer and help design a suitable system for them.”

Over the last year, Grass Valley has also gradually moved away from undertaking the systems integration of large-scale studio projects and TV centres to focus more on its core competencies.

“In such projects, we are unable to add any value to certain areas that are not part of our skill set such as the building construction, the furniture, lighting and so on. We want to focus on delivering solutions that exploit our core expertise. This is why we are partnering more and more with systems integrators rather than

Francoise Semin.

Hassan Ghoul, MD, GV Middle East.

Find out how. Visit www.avid.com/mmm/motiongraphics

Your media is your lifeblood and Avid can help you use it more effectively than ever before.

Leveraging the latest advancements in real-time 2D/3D graphics creation, Avid Motion Graphics™, a next-generation graphics platform, enables you to:

• Create stunning content that cuts through the visual clutter • Let journalists quickly integrate graphics into their stories • Get to air faster and easier

© 2011 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid, the Avid logo, and Motion Graphics are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other trademarks contained herein are the property of their respective owners.

Make the Most of Your Media with Avid Motion Graphics

Avid_MMM_MotionGraphics_Ad_BroadcastPro_MiddleEast_207x270mm.indd 1 3/20/12 5:12 PM


operating as a systems integrator ourselves. Of course, there have been some exceptions especially in the Middle East where we have a very good relationship with the client. It does not make sense to compete with your best partners but it’s also finding the right balance for each customer,” she says.

As part of its efforts to revisit its business model and re-engage with its local partners, Grass Valley has begun to introduce programmes into the market. This event was part of that effort.

“We are doing this project in different regions including the Middle East, the US and Europe,” Semin pointed out.

Moving forward, Grass Valley says it is also looking to establish partners in areas where it presently does not enjoy any presence at all. Ghoul cites the example of Saudi Arabia.

“Saudi Arabia is a high potential area, where we presently do not have a presence although our products are used extensively in Saudi TV. We are now talking to systems integrators there to see how we can work more closely to strengthen our presence in this market,” Ghoul added. PRO

Watch our video interview with the team on www.broadcastprome.com/videos

Face to faceDr. Karl Schubert shares his views on 4K, cloud and other tech trends

Is 4K the future?At first, I thought 4K was going to be the next 3D. I didn’t think it was going to be all that relevant but now, I see it has a future especially for subsetting of content. For instance, if I have a 4K camera filming a horse race and one horse from the back starts to move to the front and wins, I need to be able to zoom in on that horse and follow it through its course. Now, if I can find that and subset it out and broadcast it in 2K, I see the benefit of 4K. If I have to take today’s 2K and zoom in and subset it, the image may be hugely pixilated. That kind of use for 4K cameras makes a lot of sense. I don’t see much use for 4K elsewhere because of bandwidth issues. For a home user, the bandwidth is usually pretty low. The number of bits that comes to most houses for the TV even in the US is about one-and-a-half mbps. There is not even bandwidth to make 4K useful to the home or even commercials for that matter. So, I don’t know why one would do it.

Perhaps it’s better for digital billboards?That’s a fairly small market. If you’re looking to monetise it, the question is, is the market big enough to pay the cost that will take the entire infrastructure to 4K. I’m not sure.

So what about your next generation solutions? No 4K?Our next generation products will be agnostic to frame rate and format.

Does 3D appeal to you?Actually, I thought 3D would be really cool so I bought a 3D TV a year ago for my family. It wasn’t the success one might have thought it would be. I have two teenagers at home. After watch-ing one 3D movie, one teenager said – “That’s it. I am not watching another one”. The second one said, “My head hurts”. I suppose it’s because with normal vision, if I look at a subject in front of me, the parts behind the subject go out of focus. With 3D, the subject sort of comes forward. Your eyes are telling you this is 3D and your brain is saying, I don’t think so. That internal fight needs to be fixed. Plus, for those who wear glasses, they have to wear a second pair of glass. Is that comfortable? Those who don’t wear glasses don’t like to wear them. So either way, 3D is not just there yet.

How about the cloud?Cloud is not quite ready for primetime for everybody. The security aspect is being ad-dressed. Rights management needs to be dealt with. The cost issue is also there.

Dealing with sending licensed media across geographical boundaries has not yet been addressed satisfactorily.

Is broadband the biggest deterrent for cloud?Not really. A couple of trials have been conducted in Sweden with the IP broadcast of the soccer games as well as multiple simultaneous broad-casts in HD and SD. There were no frame grabs, jitter or anything. The infrastructure in selected areas is there and has been developing over time. Ingesting is still going to be a challenge but outbound, you can use multicast until almost the last mile. Still, I think cloud is a three- to five-year thing and 4K is a two- to four-year thing.

What about GV and the cloud?Our next-generation products are being de-signed to be in the cloud especially the serv-ers and all the infrastructure elements. We were working on a consolidated storage strategy that will come out in the next six to nine months. In terms of technology, do you see any radical change in technology?One of the places where I see major changes coming is in the area of control — essentially, any surface that has buttons. There is a shift towards touch devices so you don’t need a switcher with 1000 buttons any more. If you did them as a touch screen instead, you would be able to reconfigure for the non real-time processes that you are doing and have some extra buttons. This would be more cost-effective and very efficient.

“Saudi Arabia is a high potential area, where we presently do not have a presence although our products are used extensively in Saudi TV. We are now talking to systems integrators ... to see how we can work more closely to strengthen our presence in this market”Hassan Ghoul, managing director, Grass Valley Middle East

PROEVENT


Improvements in video compression technology and storage density, along with the dropping cost of storage capacity, have made storing digital copies of content more cost-effective than paying for the physical storage of tape copies. Among the many significant benefits of adopting a digital archive is the ability to prevent further loss or degradation of valuable — sometimes, historically significant — tape-based content. For many facilities, an even more compelling benefit is the way in which a digital archive enables them not only to leverage stored content within the on-air product, but also to monetise that content across a greater number of channels and platforms.

Easy access to and inexpensive duplication of archived digital media opens the door to additional revenue opportunities. The ever-increasing demand for more content driven by additional channels, secondary channels, new distribution platforms, over-the-top video and globalisation has created a broader market for local or national content. Content from linear channels must be available in parallel for these other platforms, and vast on-demand libraries of content are now expected to be made available directly to consumers, either on a pay-as-you-play basis or delivered as “all-you-can-eat” buffets.

Once a particular series of programmes is processed, it can be sold in as many markets as possible. This model, likewise, supports the development of a clip sales business by reducing the time and resources required to sell and deliver clips to other content producers, broadcasters

and new operations. Internally, broadcasters can also mine their archive for content for their own new programme productions. With ready access to archived material and an understanding of what content is in that archive, broadcasters no longer need shoot fresh content or acquire it from external sources. This approach can help broadcasters save an extraordinary amount of money, particularly in the “need it now” world of news and current affairs.

Building the digital archiveIt is neither cost-effective nor practical for a broadcaster to create new content for today’s many media outlets and platforms when it has thousands of hours invested in content already sitting in a darkened room. Smart implementation of a digital archive can turn this content into a vehicle for revenue generation.

The keys to making the most of current digital archive solutions include implementing a flexible, scalable, and cost-effective storage infrastructure; establishing a media management layer that provides a window into the entire library of content; defining a data model that effectively describes content; and ensuring the ongoing utility and value of stored content.

Storage infraStructureMost digital archives today are built upon a hierarchical storage infrastructure that uses a combination of both spinning disk (online) and robotic data tape library (nearline) to achieve the best balance of economy and media availability.

Adopting a digital archive is no longer a luxury if end users are looking to preserve their past for the future, says Simon Eldridge

Digitising the Past

PROTECH


Improvements in video compression technology and storage density, along with the dropping cost of storage capacity, have made storing digital copies of content more cost-effective than paying for the physical storage of tape copies. Among the many significant benefits of adopting a digital archive is the ability to prevent further loss or degradation of valuable — sometimes, historically significant — tape-based content. For many facilities, an even more compelling benefit is the way in which a digital archive enables them not only to leverage stored content within the on-air product, but also to monetise that content across a greater number of channels and platforms.

Easy access to and inexpensive duplication of archived digital media opens the door to additional revenue opportunities. The ever-increasing demand for more content driven by additional channels, secondary channels, new distribution platforms, over-the-top video and globalisation has created a broader market for local or national content. Content from linear channels must be available in parallel for these other platforms, and vast on-demand libraries of content are now expected to be made available directly to consumers, either on a pay-as-you-play basis or delivered as “all-you-can-eat” buffets.

Once a particular series of programmes is processed, it can be sold in as many markets as possible. This model, likewise, supports the development of a clip sales business by reducing the time and resources required to sell and deliver clips to other content producers, broadcasters

and new operations. Internally, broadcasters can also mine their archive for content for their own new programme productions. With ready access to archived material and an understanding of what content is in that archive, broadcasters no longer need shoot fresh content or acquire it from external sources. This approach can help broadcasters save an extraordinary amount of money, particularly in the “need it now” world of news and current affairs.

Building the digital archiveIt is neither cost-effective nor practical for a broadcaster to create new content for today’s many media outlets and platforms when it has thousands of hours invested in content already sitting in a darkened room. Smart implementation of a digital archive can turn this content into a vehicle for revenue generation.

The keys to making the most of current digital archive solutions include implementing a flexible, scalable, and cost-effective storage infrastructure; establishing a media management layer that provides a window into the entire library of content; defining a data model that effectively describes content; and ensuring the ongoing utility and value of stored content.

Storage infraStructureMost digital archives today are built upon a hierarchical storage infrastructure that uses a combination of both spinning disk (online) and robotic data tape library (nearline) to achieve the best balance of economy and media availability.

Adopting a digital archive is no longer a luxury if end users are looking to preserve their past for the future, says Simon Eldridge

Digitising the Past

PROTECH


Online storage is typically where content is originated, prepared and quality controlled, and it is limited in capacity. Once the content is processed and approved, it is moved to the robotic tape library. Management software on top of this storage infrastructure virtualises the view of content across both systems and provides automated mechanisms for moving content between them based on demand or business rules.

This type of architecture has been dictated by the cost differences between disk and tape storage, and their different operational costs, including power and cooling costs. This paradigm is already changing, however, and larger online disk caches and smaller nearline libraries are becoming more common, particularly in scenarios in which the online disk cache is shared with other functions, such as production or distribution.

Media ManageMent Layer and ProxiesThe management software layer controls, describes, segments, catalogues and searches content, provides tools for defining and creating your metadata, and maintains the business rules associated with controlling how content is moved, distributed, formatted and repurposed. It can also provide the backend system and data management facilities for any public- or consumer-focused applications.

Proxies are frame-accurate low-resolution representations of high-resolution content, and they play a key role in the creation and effective use of a digital archive. With reduced bandwidth

requirements, proxy versions of content can be accessed quickly and with negligible impact on the network. In areas from production to legal and editorial review, this visual representation of the content gives users visual confirmation either through playback or a simple storyboard of still images that enables even faster browsing.

From the perspective of maintaining a catalogue, librarians can mark in and out points in a clip and then add scene-specific metadata to that section of the content, significantly improving the chances of discovery. From a content discovery perspective, users have a better chance of finding what they are looking for, as well as the ability to select the specific section of the clip that they want, and even choose the format in which it should be delivered.

MetadataMetadata is best defined as data about data, and it comes in many formats and types. The most basic type is structural metadata, which is best described as the physical properties — the format, bit-rate, aspect ratio, resolution, audio tracks, etc. — of the content. Structural metadata can be critical in providing a base level of organisation of content, and the foundation for controlling business rules about how content must be processed before being distributed to different platforms.

Descriptive metadata encompasses user-defined fields created to enable an organisation to describe its content and control how and where it is used. Descriptive metadata often includes rights information, content descriptions, scene

“In areas from production to legal and editorial review, [a] visual representation of the content gives users visual confirmation either through playback or a simple storyboard of still images that enables even faster browsing”


descriptions, production crew and details, locations, actors, and anything else that will in the future — within the broadcast facility or within an external environment such as Netflix or Amazon — help to locate the content. Descriptive metadata is also used to store data that can later be used to automate intelligent, efficient decisions about how and where the content is processed.

Speech-to-text engines, scene change detection algorithms, on-screen text character recognition systems, and caption/subtitle capture provide capabilities for generating and organising additional data that ultimately make it easier to find or process assets without human intervention.

The task of defining a descriptive metadata model ideally should be completed before the creation of the digital archive itself and designed in conjunction with all departments that have a business need for the archive.

Media ForMatThe ideal media format provides the highest quality that a facility can afford to store long-term. Lightly compressed media generally serves as the perfect mezzanine format from which all other distribution copies can be derived. Today’s transcoding systems offer

Simon Eldridge is senior manager of management applications at Harmonic Inc.

sufficient quality and performance to enable a true on-demand architecture in which content is dynamically reformatted to the required parameters based on the location of the request. By selecting an open, standard format, the broadcaster can avoid the pitfalls of proprietary formats and more or less ensure that the archive will remain useful as time passes.

In this information age, in which data searches are a part of daily life and people expect information with the click of a button or the swipe of a finger, media storage should facilitate more than passive storage of legacy content; it should make the digital archive a living, growing part of the organisation that can help grow the overall business. PRO

“The task of defining a descriptive metadata model ideally should be completed before the creation of the digital archive itself and designed in conjunction with all departments that have a business need for the archive”

PROTECH


the other issues, of course, is Digital Rights Management.

Can you elaborate on some of the complexities around Digital Rights management?Essentially, it’s about protecting the content along the entire chain as it is no longer a case of securing the content only on one device.

You have to secure the content on the box. If that content is then recorded, you have to ensure it is secure when stored. The next question is what happens if you have the option to copy it from one hard drive onto another drive? Do you have the permission to play it on that other device?

Would we need to protect that content so the user cannot transport it anywhere else?

If you have a device that is enabled to play that content, what business rules are applicable and what are the conditions under which you may play it — multiple times or do you have a 24-hour window? The whole content management and DRM part of that and how many devices can be enabled is still under discussion.

Then, there will be different mandates for different clients. One client may say the viewer is not permitted to skip commercials and, in that case, we have to manage that. If it is live TV, you may not be able to fast forward content. There are tons of business rules you have to adhere to and support.

How do you address those issues at your company?We have a roster of engineers. One

team focuses solely on content security, encryptions and codes while the other team is more focused on the solutions and business requirements.

What do you see as the roadmap for 2012?Already in 2012, the multi-screen scenario has gained significant traction. You will see that content exploration and the richness of the user interface will increase significantly. It’ll be more of a content and price issue than a technology issue.

Why have you decided to support MPEG DASH?MPEG DASH (Dynamic Adaptive Streaming over HTTP) is MPEG’s version of smooth streaming and it scales such that one single file format can adapt to multiple formats.

“Essentially, it’s about protecting content along the entire chain as it is no longer a case of securing the content only on one device”Tom Jahr, EVP Products and Partners, Conax

Manage your content with VizrtViz Media Engine offers a full end-to-end media management solution. Integrated with Vizrt`score broadcast graphics systems including Viz Trio, Viz Content Pilot and Viz Multichannel, the Viz Media Engine gives journalists and production staff com-plete control of their video content.

To find out more about VME contact us +9714 365 4650 or [email protected] - www.vizrt.com


PROINTERVIEW

As a conditional access provider, what, according to you, are some of the top challenges manufacturers are looking to address today?There are several different aspects one needs to explore with set top boxes as they become more sophisticated. We need to look at various levels of security and digital rights management.

Today, one has the ability to record onto the hard drive of the set top box.

Then, there is content exploration

and recommendations on what to watch rather than merely listing all of the available content.

Another aspect that is being looked at is what devices to record on and the nature of the recorded content. So, for instance, are you able to record and view content on tablets, smart phones, PCs and can you view it outside of your home?

Does the end user have a “Follow me” functionality? Can they begin watching a programme on one device and continue watching on another device? These are the issues we are looking to address today.

So what’s stopping manufacturers from making such devices available in the market?It’s not that easy. In some cases, manufacturers want to ensure that a device like this does not cannibalise any of their other existing products such as DVDs. Everyone’s managing their products very carefully given the number of options available to view content on multiple platforms. One of

Safe boxIn an exclusive interview with BroadcastPro Middle East, Tom Jahr, EVP Products & Partners at Conax talks about the issues related to digital rights management of content and the consequent challenges for conditional access solutions providers


the other issues, of course, is Digital Rights Management.

Can you elaborate on some of the complexities around Digital Rights management?Essentially, it’s about protecting the content along the entire chain as it is no longer a case of securing the content only on one device.

You have to secure the content on the box. If that content is then recorded, you have to ensure it is secure when stored. The next question is what happens if you have the option to copy it from one hard drive onto another drive? Do you have the permission to play it on that other device?

Would we need to protect that content so the user cannot transport it anywhere else?

If you have a device that is enabled to play that content, what business rules are applicable and what are the conditions under which you may play it — multiple times or do you have a 24-hour window? The whole content management and DRM part of that and how many devices can be enabled is still under discussion.

Then, there will be different mandates for different clients. One client may say the viewer is not permitted to skip commercials and, in that case, we have to manage that. If it is live TV, you may not be able to fast forward content. There are tons of business rules you have to adhere to and support.

How do you address those issues at your company?We have a roster of engineers. One

team focuses solely on content security, encryptions and codes while the other team is more focused on the solutions and business requirements.

What do you see as the roadmap for 2012?Already in 2012, the multi-screen scenario has gained significant traction. You will see that content exploration and the richness of the user interface will increase significantly. It’ll be more of a content and price issue than a technology issue.

Why have you decided to support MPEG DASH?MPEG DASH (Dynamic Adaptive Streaming over HTTP) is MPEG’s version of smooth streaming and it scales such that one single file format can adapt to multiple formats.

“Essentially, it’s about protecting content along the entire chain as it is no longer a case of securing the content only on one device”Tom Jahr, EVP Products and Partners, Conax

Manage your content with VizrtViz Media Engine offers a full end-to-end media management solution. Integrated with Vizrt`score broadcast graphics systems including Viz Trio, Viz Content Pilot and Viz Multichannel, the Viz Media Engine gives journalists and production staff com-plete control of their video content.

To find out more about VME contact us +9714 365 4650 or [email protected] - www.vizrt.com


PROINTERVIEW

Depending on the device, this will change bit rate and resolution.

This means you no longer have to store a movie in five different formats to support various devices and content qualities. That, is quite a revolution.

The standard is new. Microsoft has embraced this. We have investigated several other formats and have now decided to support MPEG DASH.

Why are advanced set top boxes more vulnerable to security breaches?The more advanced the set-top box, the more the number of hackers that can hack into it. The broadcast pipe, by itself, is a highly protected environment. It is a one-way communication and, therefore, it is difficult to analyse what is happening there as it is encrypted. With the DVB-standard encryption, there is no other way to connect to the box. There are no Ethernet ports or anything to tap into the hardware. Therefore, it is a lot more safer.

Now, however, the middleware is becoming more open. If it is an android device or you can have an open interface on the set-top box, you can connect it to the internet. That means there are more options for hackers to access the set-top box. A team of hundreds of hackers may try and hack into the set-top box as part of a cooperative effort. That’s how these guys usually work.

New services are being added all the time to the set-top box making it more all encompassing in terms of services. Tomorrow, if you want to download an app onto the set-top box, that download must be secure. Otherwise, there could be a virus or a malicious code trying to analyse what is happening on the set-top box and this will quickly become a challenge for the industry.

We hear you have plans to launch a partner programme at IBC?That’s right. Going with partners is a lot more beneficial than thinking we can control the business alone. A lot of

inventions are happening out there from innovative programmers and creative entrepreneurs, and we are attracting that talent because we are the biggest provider that does not just develop middleware.

A lot of companies like to work with us and create unique solutions for their market. Look at Cablemás, for instance. Cablemás is Mexico’s second largest cable operator. It can operate an advanced hybrid OTT, all singing and dancing solution on a US $60-70 per set-top box.

They take our solution, work on it and develop it further for their market. Cablemás develops a middleware that can run on a low cost set-top box. For an operator who wants to deploy a million set-top boxes, the cost of the STB becomes very important.

So suddenly, you are able to get an advanced solution with advanced next generation TV to the masses at a cost-effective price.

So, what according to you, is the new exciting feature to look for in set-top boxes?I think the network PVR is quickly

becoming a potential game changer because then, you don’t need hard discs. The fact that you can record and store everything in a network or in a cloud and then, distribute it from there to the STB by your local operator makes it appealing.

How does that work?Well, the local operator will own a PVR recording box and content will be recorded not on the local hard drive at your home but on the central hard drive. So if you want to record a series or a programme, it is stored on the central hard drive of the network operator and accessed by the home user as if it is on their local hard disc.

Doesn’t that call for good broadband access?A good broadband access, cable or IPTV network should work. If you are a DTH operator, you would need to feed it through an alternative return path.

Where, according to you, does the Middle East stand in the larger scheme of things?It may be the first phase of digitisation in the Middle East, but the first phase there is usually High Definition or MPEG 4 because they have skipped a couple of generations based on their time of adoption. I suppose they will skip another couple of generations again and head straight for the hybrid box. PRO

“If you have a device that is enabled to play that content, what business rules are applicable and what are the conditions under which you may play it — multiple times or do you have a 24-hour window?”Tom Jahr, EVP Products and Partners, Conax


PROINTERVIEW

Depending on the device, this will change bit rate and resolution.

This means you no longer have to store a movie in five different formats to support various devices and content qualities. That, is quite a revolution.

The standard is new. Microsoft has embraced this. We have investigated several other formats and have now decided to support MPEG DASH.

Why are advanced set top boxes more vulnerable to security breaches?The more advanced the set-top box, the more the number of hackers that can hack into it. The broadcast pipe, by itself, is a highly protected environment. It is a one-way communication and, therefore, it is difficult to analyse what is happening there as it is encrypted. With the DVB-standard encryption, there is no other way to connect to the box. There are no Ethernet ports or anything to tap into the hardware. Therefore, it is a lot more safer.

Now, however, the middleware is becoming more open. If it is an android device or you can have an open interface on the set-top box, you can connect it to the internet. That means there are more options for hackers to access the set-top box. A team of hundreds of hackers may try and hack into the set-top box as part of a cooperative effort. That’s how these guys usually work.

New services are being added all the time to the set-top box making it more all encompassing in terms of services. Tomorrow, if you want to download an app onto the set-top box, that download must be secure. Otherwise, there could be a virus or a malicious code trying to analyse what is happening on the set-top box and this will quickly become a challenge for the industry.

We hear you have plans to launch a partner programme at IBC?That’s right. Going with partners is a lot more beneficial than thinking we can control the business alone. A lot of

inventions are happening out there from innovative programmers and creative entrepreneurs, and we are attracting that talent because we are the biggest provider that does not just develop middleware.

A lot of companies like to work with us and create unique solutions for their market. Look at Cablemás, for instance. Cablemás is Mexico’s second largest cable operator. It can operate an advanced hybrid OTT, all singing and dancing solution on a US $60-70 per set-top box.

They take our solution, work on it and develop it further for their market. Cablemás develops a middleware that can run on a low cost set-top box. For an operator who wants to deploy a million set-top boxes, the cost of the STB becomes very important.

So suddenly, you are able to get an advanced solution with advanced next generation TV to the masses at a cost-effective price.

So, what according to you, is the new exciting feature to look for in set-top boxes?I think the network PVR is quickly

becoming a potential game changer because then, you don’t need hard discs. The fact that you can record and store everything in a network or in a cloud and then, distribute it from there to the STB by your local operator makes it appealing.

How does that work?Well, the local operator will own a PVR recording box and content will be recorded not on the local hard drive at your home but on the central hard drive. So if you want to record a series or a programme, it is stored on the central hard drive of the network operator and accessed by the home user as if it is on their local hard disc.

Doesn’t that call for good broadband access?A good broadband access, cable or IPTV network should work. If you are a DTH operator, you would need to feed it through an alternative return path.

Where, according to you, does the Middle East stand in the larger scheme of things?It may be the first phase of digitisation in the Middle East, but the first phase there is usually High Definition or MPEG 4 because they have skipped a couple of generations based on their time of adoption. I suppose they will skip another couple of generations again and head straight for the hybrid box. PRO

“If you have a device that is enabled to play that content, what business rules are applicable and what are the conditions under which you may play it — multiple times or do you have a 24-hour window?”Tom Jahr, EVP Products and Partners, Conax


PROAUDIO


PROAUDIO


PROAUDIO

Top - Wilbur D’Costa in the 5.1 purple studio and below, the Mango Jam team (l) and the acoustic fitout (r) in the studio.

Early this year, Dubai became home to yet another boutique audio house – one of the few in the emirate compared to the burgeoning number of video production houses. Mango Jam, the brainchild of ex-ad man Wilbur D’Costa, promises to bring something new to radio commercials and audio production in the region. The audio house has been designed in conjunction with Beirut-based specialist 21db Acoustic Solutions.

D’Costa’s childhood passion for radio and the need to offer an alternative to the commercials we hear on the medium today compelled him to quit advertising.

“I have always loved radio,” says the executive director, fondly recalling the little black box that dominated the entertainment

scene in India, his homeland, three decades ago. “As a child, I grew up with the little black

box. When Becker won his first Wimbledon, it was radio that brought the news to our ears. Today, the voices that dominate in radio are high-pitched and fast-paced. Our idea was to attempt something different for those who desired change,” he adds.

The result was Mango Jam. “As kids, we had fun making mango jam and

we relished the process of making it as much as we did the end product,” explains D’Costa.

“We would hunt for mangoes that had fallen down, put it all together, get a big pot ready and everyone would stand around it and stir, stir, stir … there’d be a lot of fun and laughter and talking around one big fire. And the

End User: Mango JamAcoustic Design: 21db Acoustic Solutions, Beirut, LebanonMain Supplier: MediaCast, Dubai

Mango jammin’BroadcastPro Middle East takes an exclusive tour of the hottest new audio production house in Dubai


PROAUDIO

mango jam was divine. I believe creativity is as much about the process as it is about the end product. If it’s not fun, I don’t think the end product will reflect any of those values. The creative workflow here is akin to the process of making mango jam, hence the name!”

That collaborative effort is obvious in the way D’Costa’s team of three sound engineers work on projects.

“All three are composers and sound engineers but also play an instrument. Ramy Estephan plays the guitar; Joe Najm plays the drums; and Brenton Afonso is part of a band,” says D’Costa, who also plays the guitar.

“We have an organic approach to work at Mango Jam. All of the creatives (music composers) sit in on a brain storming session, before heading off to explore their ideas. We then pick the best two to develop them further. The composers have access to each other, even if they’re not working on a project. This has helped foster a sense of ownership across the board.

“It has also helped us learn from each other, because everyone at Mango Jam brings something different to the table. Even when it comes to radio spots, several VOs are evaluated for the project and the entire session (complete with sound effects and music) is prepared beforehand. So when it comes down to the actual recording, there are no hiccups,” says D’Costa.

The team recently undertook a project for the UAE Ministry of Education, where it had the liberty of creating the sound track first. This was passed on to the film director as a reference before they shot the commercial. Contrary to popular opinion, D’Costa says creating the sound track first makes a huge difference to the final product.

“We create a reference track. That track provides the director with reference points on how to shoot. The director can then guide the shoot better and the editor can make his cuts based on the mood created in the sound track,” explains D’Costa.

The audio house has three studios, each of

Purple Studio* 5.1 surround monitoring with FOCAL CMS-50s

speakers and sub, as well as pristine stereo monitoring with FOCAL TWIN 6BE speakers.

* Protools HD9 and Logic pro 9 via the Avid HD * I/O soundcard as well as a

C24 controller desk.

Blue Studio* Stereo monitoring with FOCAL

CMS-65s speakers.* Protools 9 and Logic pro 9 via MBOX PRO

soundcard and BIG KNOB monitoring device.

Orange Studio* Stereo monitoring with FOCAL

CMS-65s speakers.

* Protools 9 and Logic pro 9 via the MBOX PRO soundcard and BIG KNOB monitoring device.

General Kit* UA 2-610 and MANLEY VOXBOX pre-amps.* NEUMANN, AKG and SHURE microphones.* M-Audio Oxygen88 Hammer Action and Axiom 49 MIDI Controller.* UAD plugins for mixing. * Native Instruments and Spectrasonics

products for composition and sound design, along with an array of loops, samples, plug-ins and virtual instruments.

* A whole range of musical instruments and accessories.

TECH SPECS

“The composers have access to each other, even if they’re not working on a project. This has helped foster a sense of ownership across the board”Wilbur D’Costa, executive producer and managing director, Mango Jam

Composer and sound engineeer Joe Najm works

on a radio commercial.

Composer and sound engineer, Brenton Afonso at work, with the acoustic

paneling fitted against the orange backdrop.


PROAUDIO

mango jam was divine. I believe creativity is as much about the process as it is about the end product. If it’s not fun, I don’t think the end product will reflect any of those values. The creative workflow here is akin to the process of making mango jam, hence the name!”

That collaborative effort is obvious in the way D’Costa’s team of three sound engineers work on projects.

“All three are composers and sound engineers but also play an instrument. Ramy Estephan plays the guitar; Joe Najm plays the drums; and Brenton Afonso is part of a band,” says D’Costa, who also plays the guitar.

“We have an organic approach to work at Mango Jam. All of the creatives (music composers) sit in on a brain storming session, before heading off to explore their ideas. We then pick the best two to develop them further. The composers have access to each other, even if they’re not working on a project. This has helped foster a sense of ownership across the board.

“It has also helped us learn from each other, because everyone at Mango Jam brings something different to the table. Even when it comes to radio spots, several VOs are evaluated for the project and the entire session (complete with sound effects and music) is prepared beforehand. So when it comes down to the actual recording, there are no hiccups,” says D’Costa.

The team recently undertook a project for the UAE Ministry of Education, where it had the liberty of creating the sound track first. This was passed on to the film director as a reference before they shot the commercial. Contrary to popular opinion, D’Costa says creating the sound track first makes a huge difference to the final product.

“We create a reference track. That track provides the director with reference points on how to shoot. The director can then guide the shoot better and the editor can make his cuts based on the mood created in the sound track,” explains D’Costa.

The audio house has three studios, each of

Purple Studio* 5.1 surround monitoring with FOCAL CMS-50s

speakers and sub, as well as pristine stereo monitoring with FOCAL TWIN 6BE speakers.

* Protools HD9 and Logic pro 9 via the Avid HD * I/O soundcard as well as a

C24 controller desk.

Blue Studio* Stereo monitoring with FOCAL

CMS-65s speakers.* Protools 9 and Logic pro 9 via MBOX PRO

soundcard and BIG KNOB monitoring device.

Orange Studio* Stereo monitoring with FOCAL

CMS-65s speakers.

* Protools 9 and Logic pro 9 via the MBOX PRO soundcard and BIG KNOB monitoring device.

General Kit* UA 2-610 and MANLEY VOXBOX pre-amps.* NEUMANN, AKG and SHURE microphones.* M-Audio Oxygen88 Hammer Action and Axiom 49 MIDI Controller.* UAD plugins for mixing. * Native Instruments and Spectrasonics

products for composition and sound design, along with an array of loops, samples, plug-ins and virtual instruments.

* A whole range of musical instruments and accessories.

TECH SPECS

“The composers have access to each other, even if they’re not working on a project. This has helped foster a sense of ownership across the board”Wilbur D’Costa, executive producer and managing director, Mango Jam

Composer and sound engineeer Joe Najm works

on a radio commercial.

Composer and sound engineer, Brenton Afonso at work, with the acoustic

paneling fitted against the orange backdrop.


PROAUDIO

which is decorated in a specific colour scheme. The primary studio supports 5.1 and has a

purple colour scheme.“This is our show studio,” says D’Costa. “We have 5.1 speakers to enable 5.1 output.

Generally, if we are working on a feature film, we may need 5.1 output. Otherwise, most of the work here is still on stereo,” D’Costa points out.

The studio is equipped for 5.1 surround monitoring with FOCAL CMS-50s speakers and sub, as well as pristine stereo monitoring with FOCAL TWIN 6BE speakers. It is also equipped with Protools HD9 and Logic pro 9 via the Avid HD I/O soundcard as well as a C24 controller desk.

A specialist acoustician was flown in from 21db in Beirut to review the design. Based on the design set by Mango Jam and input from 21db, most of the acoustic solutions were either procured from UAE-based distributor MediaCast or shipped from Europe.

Special attention has been paid to acoustic treatment at Mango Jam.

The bulk heads fitted on the studio ceiling, for instance, look like they are part the studio décor but actually help deflect sound. This is to ensure that the sound engineer in the studio only hears the audio

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Although the recording studio has a beautiful view, special acoustic curtains have to be drawn during a recording session to control external noise.


PROAUDIO

coming out of the speakers. The curtains are made of a special fabric designed to treat sound. In addition, the recording booth is fitted with a second layer of glass, which is again part of the acoustic design.

“All of our recording and control rooms are treated with VICOUSTIC acoustic material. We have a voice over (VO) booth with a beautiful view and most VO artists never fail to mention it. It’s a shame the curtains have to be drawn when work is going on to ensure there is no sound interference. We have triple glaze and vacuum created between the window pane and a second layer of glass as part of the acoustic design. This has only been installed in the recording room,” explains D’Costa.

Besides Avid solutions and Focal speakers, the audio house is kitted out with an array of musical instruments for composition including guitars and accessories. The Gibson Hummingbird; Fender Telecaster Standard American; an array of guitar effects (reverb, delay, distortion, overdrives, octave generator); a full drum kit; analogue synthesisers: Dave’s Instruments Prophet ’08, Doepfer Dark Energy and Ibanez bass guitar are some of the other toys at Mango Jam.

Fortunately, the audio production house has already begun making a name for itself in the market thanks to creating some awarding winning work that scooped two silvers at Dubai Lynx and a bronze at New York Festivals. PRO

“All of our recording and control rooms are treated with VICOUSTIC acoustic material. We have triple glaze and vacuum created between the window pane and a second layer of glass as part of the acoustic design”Wilbur D’Costa, executive producer and managing director, Mango Jam

Sound engineer Ramy Estephan at work (left) while top and bottom pics on the right show how Mango Jam has combined acoustic ele-ments such as the bulk heads and acoustic panels with interior decor to give the studios an elegant look and feel.

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Many broadcasters are implementing file-based systems in their facilities and yet, many continue to organise working practices according to the inherent limitations associated with old tape-based technology. Going tapeless is not the ultimate goal but rather the key that opens the possibilities to significantly improving productivity by organising the way that people work in a logical and efficient manner.

In today’s modern broadcast facility, new Media Asset Management (MAM) technology should be built on layered logic using three core components — HSM for the archive, the MAM itself and an EBS (Enterprise Service Bus) especially designed for the intricacies of the broadcast industry, providing a middleware platform that allows multiple heterogeneous systems to integrate and communicate among themselves.

These three layers provide a fully functional tapeless system that can then be used as a base for implementing a Business Process Manager (BPM) solution to organise workloads and workflows efficiently, which, in turn, provides an increase of production speed, reduces operational costs, preserves quality and improves the utilisation of available resources. This is what justifies the investment in such a system.

BPM is a platform that has been used in the IT world for many years. It automates and integrates business processes (or levels of automation) and optimises them through

real-time business activity monitoring. In a broadcast environment, business

processes involve people, systems and content. Only when they work together in an automated way can maximum productivity and value be realised. In other words, a BPM should ensure that all processes that can be automated are automated. This, in turn, allows operators to focus on the creative process they excel in, rather than wasting time doing mechanical and repetitive tasks.

As the content industry moves rapidly from video-specific recording and storage technologies to a file-based environment, the prospect of bringing all document formats – from text to rich media – into a single workflow can be realised. Achieving this goal requires the development of software products that bring all the processes together under common control.

Specialised workflow software needs to go beyond the simple definition of the steps that are required to complete tasks. By taking a step further, media processing tools such as transcoders, automatic media moving and HSM software can be combined to ensure that operators involved in the workflow automatically have the required clips and segments in the right format before they begin working on their tasks. Thus they don’t waste time searching for or processing media; they are free to solely focus on their creative work. This enables workflows to truly increase productivity, reducing operator time and

Deploying a Business Process Manager (BPM) solution can help streamline workflows and, in turn, increase production speed, reduce operational costs, preserve quality and improve the utilisation of available resources, says Rafael Dubois

PROTECH

BPM enhances broadcast workflows


freeing staff to carry out other activities. BPM enables the standardisation and automation of a broadcaster’s production workflows according to its quality standards, providing a complete business workflow manager fully integrated with existing multimedia information systems.

Any workflow involving media assets can be defined, executed and monitored by the BPM system. Each individual step of the productive process is systematised and automated whenever possible, and the usage of available resources and workloads are optimised accordingly. Some MAM providers offer prefabricated workflows that can be customised within limited parameters or by writing new code, whereas a well-designed BPM provides the tools to implement dozens or hundreds of workflows, each and every one designed from scratch around the customer’s requirements.

The BPM system ensures that operators interact in a coordinated way by producing work orders based on the user’s profile, specific responsibilities and by taking into account the global priorities, resources available and deadlines of the entire production chain. The system is designed to be tightly integrated with traffic in a bi-directional way. Traffic systems can drive the BPM so that most workflows and their associated work orders are launched and executed automatically. It operates as a global database, which queries and updates all third-party databases involved in the workflows

“BPM ensures that operators interact in a coordinated way by producing work orders based on the user’s profile, specific responsibilities and by taking into account the global priorities, resources available and deadlines of the entire production chain”

Rafael Dubois is sales and marketing director at Tedial.

PROTECH

ensuring that the information and metadata is consistent throughout the entire system.

From the onset, the BPM is designed to tackle the specific challenges of broadcast environments and the management of very large video files. It features special functionality such as integrated multimedia player for versioning, creating segments and validating subtitles and generates specific reports covering ingest and QC tasks. The system is designed to integrate using the best possible methods offered by the facility’s third-party systems and their databases.

What further sets this technology apart from other systems is its ability to deliver media to transmission, editing, archiving or any other area of the facility, whilst carrying out all the media processing, so that content arrives in the most efficient way in the correct format for the device that’s going to use it. This is a technology that more end users must ideally research before investing in a MAM solution. PRO


Many broadcasters are implementing file-based systems in their facilities and yet, many continue to organise working practices according to the inherent limitations associated with old tape-based technology. Going tapeless is not the ultimate goal but rather the key that opens the possibilities to significantly improving productivity by organising the way that people work in a logical and efficient manner.

In today’s modern broadcast facility, new Media Asset Management (MAM) technology should be built on layered logic using three core components — HSM for the archive, the MAM itself and an EBS (Enterprise Service Bus) especially designed for the intricacies of the broadcast industry, providing a middleware platform that allows multiple heterogeneous systems to integrate and communicate among themselves.

These three layers provide a fully functional tapeless system that can then be used as a base for implementing a Business Process Manager (BPM) solution to organise workloads and workflows efficiently, which, in turn, provides an increase of production speed, reduces operational costs, preserves quality and improves the utilisation of available resources. This is what justifies the investment in such a system.

BPM is a platform that has been used in the IT world for many years. It automates and integrates business processes (or levels of automation) and optimises them through

real-time business activity monitoring. In a broadcast environment, business

processes involve people, systems and content. Only when they work together in an automated way can maximum productivity and value be realised. In other words, a BPM should ensure that all processes that can be automated are automated. This, in turn, allows operators to focus on the creative process they excel in, rather than wasting time doing mechanical and repetitive tasks.

As the content industry moves rapidly from video-specific recording and storage technologies to a file-based environment, the prospect of bringing all document formats – from text to rich media – into a single workflow can be realised. Achieving this goal requires the development of software products that bring all the processes together under common control.

Specialised workflow software needs to go beyond the simple definition of the steps that are required to complete tasks. By taking a step further, media processing tools such as transcoders, automatic media moving and HSM software can be combined to ensure that operators involved in the workflow automatically have the required clips and segments in the right format before they begin working on their tasks. Thus they don’t waste time searching for or processing media; they are free to solely focus on their creative work. This enables workflows to truly increase productivity, reducing operator time and

Deploying a Business Process Manager (BPM) solution can help streamline workflows and, in turn, increase production speed, reduce operational costs, preserve quality and improve the utilisation of available resources, says Rafael Dubois

PROTECH

BPM enhances broadcast workflows


freeing staff to carry out other activities. BPM enables the standardisation and automation of a broadcaster’s production workflows according to its quality standards, providing a complete business workflow manager fully integrated with existing multimedia information systems.

Any workflow involving media assets can be defined, executed and monitored by the BPM system. Each individual step of the productive process is systematised and automated whenever possible, and the usage of available resources and workloads are optimised accordingly. Some MAM providers offer prefabricated workflows that can be customised within limited parameters or by writing new code, whereas a well-designed BPM provides the tools to implement dozens or hundreds of workflows, each and every one designed from scratch around the customer’s requirements.

The BPM system ensures that operators interact in a coordinated way by producing work orders based on the user’s profile, specific responsibilities and by taking into account the global priorities, resources available and deadlines of the entire production chain. The system is designed to be tightly integrated with traffic in a bi-directional way. Traffic systems can drive the BPM so that most workflows and their associated work orders are launched and executed automatically. It operates as a global database, which queries and updates all third-party databases involved in the workflows

“BPM ensures that operators interact in a coordinated way by producing work orders based on the user’s profile, specific responsibilities and by taking into account the global priorities, resources available and deadlines of the entire production chain”

Rafael Dubois is sales and marketing director at Tedial.

PROTECH

ensuring that the information and metadata is consistent throughout the entire system.

From the onset, the BPM is designed to tackle the specific challenges of broadcast environments and the management of very large video files. It features special functionality such as integrated multimedia player for versioning, creating segments and validating subtitles and generates specific reports covering ingest and QC tasks. The system is designed to integrate using the best possible methods offered by the facility’s third-party systems and their databases.

What further sets this technology apart from other systems is its ability to deliver media to transmission, editing, archiving or any other area of the facility, whilst carrying out all the media processing, so that content arrives in the most efficient way in the correct format for the device that’s going to use it. This is a technology that more end users must ideally research before investing in a MAM solution. PRO

PROPRODUCTS

Pilat Media’s iBMsAt BroadcastAsia2012, Pilat Media will highlight its Integrated Broadcast Management System (IBMS), which offers a flexible and scalable information backbone that can adapt to changing broadcast business requirements. IBMS is being enhanced with new features and functions that enable a richer, streamlined, and more automated multiplatform experience. These include automated metadata management and media preparation, customer-defined multi-dimensional rights management, and catch-up automation. Pilat Media is also announcing a new automated metadata workflow for IBMS that accelerates the process of acquiring and preparing content and building subsequent offers.

Wohler ContentProbeMaking its debut in the Asian marketplace at BroadcastAsia2012 is Wohler’s new ContentProbe compliance recorder, featuring dedicated and purpose-built hardware and software that reliably records 24 hours a day. First introduced at the 2012 NAB Show, this system offers a user-friendly GUI that enables rapid and instant access across the network to all channels.

ContentProbe provides compliance recording with FaultTracker signal fault monitoring for audio, video, captions, and loudness. With Media FingerPrinting technology for commercial content verification and best-in-class RealSync frame-accurate recording, extensive alerts and notifications can be tailored to each user’s preference.

An intuitive, feature-rich Silverlight Web interface supports frame-accurate cueing and easy export of marked clips for external users. Up to four video channels or 16 audio channels, combined with up to 720 days of RAID 5 hot-swappable storage and dual-power supplies, are contained in a single 1-RU enclosure.Other products that will be showcased at the event include Wohler’s DVM-2443 MPEG video monitor, the RMV16 multi-viewer and the AMP1-16M Dual 3G/HD/SD-SDI audio monitor.

TSL PAM2 MK2

VisliNK at Broadcastasia Following the launch of the Advent Mantis “MSAT” Man Portable Data Terminal earlier this year for the surveillance marketplace, Broadcast Asia will witness the launch of the broadcast variant. The new broadcast model has been designed to meet Ka and Ku band specifications and can be powered from either mains or 12-36VDC supply. As well as having interchangeable modem options, this system can also be configured to have an Advent DVE encoder built in.

This highly portable, tri-band satellite antenna system is specifically designed for speed, ease of use and portability. The system’s fully integrated design requires less than five minutes from arrival to satellite acquisition, making it ideal for rapid deployment field applications where there is little or no time to spare.



PROPRODUCTS

ARGOSY CABLESArgosy will team up with its joint venture partner, Argosy Broadcast Asia Sdn Bhd (ABA) and Indian agent Perlink India to showcase some of the latest additions to its infrastructure product range for the first time in the Asia Pacific region. The Argosy stand at BroadcastAsia 2012 (stand no. 4E2-08 at Suntec Singapore, 19-22 June 2012) will play host to the latest Argosy infrastructure solutions including video patch panels, rack-mounted monitors, a new Argosy Stagebox as well as a range of existing HD infrastructure products.

BroadcastAsia 2012 will see the Asia Pacific launch of Argosy’s new addition to its patch panel line up. Manufactured by BES, the high-performance 24-way panel is designed for high-quality performance even with 1080p 3Gb/s signals.

The 1U MUSA panel is built with high durability gold plated connectors, giving an insertion loss of less than 0.5dB and a true 75Ω nominal impedance.

Each panel is tested with a 1080p signal over 50m of cable before delivery to guarantee performance to SMPTE 424M. Complementary U links and patchcords, in a range of colours for coding, are also available from Argosy.

“As broadcasters across South East Asia continue to upgrade to HD, and indeed to 3DTV technology, there is now more demand for high-quality, correctly specified broadcast infrastructure materials — and Argosy Broadcast Asia is appropriately positioned with its locally supplied stock and broadcast knowledge to provide that service,” said Steve Wingrove of Argosy Broadcast Asia.

“We are returning to BroadcastAsia as we believe it continues to provide the ideal platform for us to not only showcase our latest equipment to the regional broadcast community but also engage in technology discussions to identify key trends in the region.”

SnELL in A BOxSnell will showcase its ICE Channel-in-a-Box v3.0 at the show. With a focus on incorporating more of the channel into the box, Snell’s ICE now includes powerful integrated 3D graphics and CG functionality with timeline control and the

ability to populate fields from Morpheus automation schedule events, as well as external data sources. Changes in broadcasters’ file-based workflows can introduce incompatibilities — that’s why a new content validation feature in ICE analyses source material as

soon as it’s available to prevent invalid formats or impaired content from reaching the on-air output. Integrated SAN storage brings high-performance shared storage to the platform and aids in optimising system performance and overall broadcast workflows.

Harris HView SX ProHarris will demonstrate a range of products and solutions at BroadcastAsia 2012 that will enable broadcasters to cost-effectively manage every stage of the content lifecycle and generate new revenue streams.

Showing for the first time in Asia Pacific is the Harris HView SX Pro, the broadcast industry’s most scalable, highest-density multi-display management system. The HView SX Pro extends Harris’ HView multiviewer range, delivering a compact new signal processing and monitoring option for control room environments. Its advanced design is smaller, sharper and smarter than competitive solutions — reducing space, power and complexity while offering superior picture quality and intelligent, flexible control options. Its high-density design accommodates more sources and outputs in fewer rack units to reduce system and installation costs making it perfect for live production, outside broadcast (OB) and other video/audio processing needs.

Visitors will also see the NEXIO Studio Suite that is designed to help customers easily and affordably transition to tapeless studio production and more efficient file-based workflows. NEXIO Studio Suite is aimed at live multi-camera studio productions such as news and magazine-format, entertainment and reality TV shows. It enhances the control of video servers in production studios, offering familiar video tape recorder (VTR) functionality while adding the operational benefits of multichannel, non-linear video servers.

The HView SX Pro extends Harris’ HView multiviewer range, delivering a compact new signal processing and monitoring option for control room environments.


PROPRODUCTS

FOR-A to unveil world’s first 4K super-slo mo cameraFOR-A Company Limited will soon debut the FT-ONE full 4K high resolution variable frame rate camera, the world’s first full 4K super slow motion camera this month. FOR-A originally developed, high-sensitivity CMOS colour sensor “FT1-CMOS”, the FT-ONE records and plays back full 4K (4096 x 2160) film look imagery. To achieve its full 4K super slow motion (“super slomo”) capabilities, the FT-ONE will record up to 1,000 frames per second.

Images are captured as uncompressed raw data on the system’s internal (RAM) memory, which has a recording capacity of 8.5 seconds.

This data is then stored on one of two hot-swappable SSD cartridges. Each cartridge is capable of storing 75 seconds of full 4K resolution images, enabling up to 150 seconds with a maximum of two SSD cartridges.

The FT-ONE is capable of simultaneously recording and playing back in full 4K resolution. At the user’s preference, one output channel can provide either full 4K output, or four 1080p HD-SDI outputs, while the other output channel provides down-converted HD-SDI for live viewing and the control menu.

“While digital cinematography has been widely adopted within the motion picture production and post production communities, there has been a technology gap—the ability to record super slow motion image at full 4K resolution,” said Hiro Tanoue, president for FOR-A Corporation of America.

“The new FT-ONE completes the 4K workflow by introducing this ability, with the high-level performance this application demands.

“We chose Cine Gear Expo as the venue for our breakthrough announcement since this event draws key decision makers and creatives seeking the latest solutions for high-end entertainment production. With the FT-ONE camera rolling, they

can rest assured they won’t miss that critical action shot.”

The FT-ONE camera uses a PL mount lens and the global shutter system makes the FT-ONE free from the picture distortion caused by the rolling shutter system. The FT-ONE is designed as a self-contained unit that is dependable and easy to use. It weights 7kg with dimensions of 235mm(W) x 294mm(H) x 384mm(D).

Autodesk smoke 2013 The all new Autodesk Smoke 2013 professional video editing software claims to connect editing and visual effects. By integrating familiar editing tools and node-based compositing directly into the timeline, Smoke, which is used for all-in-one video editing and effects on the Mac, is revolutionising video post-production. Autodesk Smoke 2013 video editing software for Mac claims to combine the nonlinear creative workflow of a video editor with 3D visual effects and post-production tools in a single application.

The new Ki Pro Rack from AJA Video Systems enables recording high-quality, edit-ready files for the fastest path from camera to edit in a new 1RU rack mount form factor.

Ki Pro Rack uses the same SSD or spinning disk storage modules as the Ki Pro with recording capacities scaling up to 500GB.

It simplifies the acquisition-to-edit workflow by creating high-quality Apple ProRes 422 or Avid DNxHD files, which can be used directly in most standard professional editing systems without the need to import or transcode files.

Key features of the Ki Pro Rack include the ability to switch between Apple ProRes 422 and Avid DNxHD; built-in broadcast-quality up/down/cross conversions; HD/SD SDI, HDMI, and HD/SD analogue video I/O; multi-channel AES, analogue balanced XLR, and embedded audio I/O; familiar buttons and operations that minimise the learning curve; dual media drive bays; remote configuration and control via Ethernet LAN connection; and RS-422 machine control, genlock, and LTC connections. Ki Pro Rack is available now retailing for US $3995.00 through AJA’s worldwide network of resellers.

AJA unveils Ki Pro Rack


PROPRODUCTS

ARGOSY CABLESArgosy will team up with its joint venture partner, Argosy Broadcast Asia Sdn Bhd (ABA) and Indian agent Perlink India to showcase some of the latest additions to its infrastructure product range for the first time in the Asia Pacific region. The Argosy stand at BroadcastAsia 2012 (stand no. 4E2-08 at Suntec Singapore, 19-22 June 2012) will play host to the latest Argosy infrastructure solutions including video patch panels, rack-mounted monitors, a new Argosy Stagebox as well as a range of existing HD infrastructure products.

BroadcastAsia 2012 will see the Asia Pacific launch of Argosy’s new addition to its patch panel line up. Manufactured by BES, the high-performance 24-way panel is designed for high-quality performance even with 1080p 3Gb/s signals.

The 1U MUSA panel is built with high durability gold plated connectors, giving an insertion loss of less than 0.5dB and a true 75Ω nominal impedance.

Each panel is tested with a 1080p signal over 50m of cable before delivery to guarantee performance to SMPTE 424M. Complementary U links and patchcords, in a range of colours for coding, are also available from Argosy.

“As broadcasters across South East Asia continue to upgrade to HD, and indeed to 3DTV technology, there is now more demand for high-quality, correctly specified broadcast infrastructure materials — and Argosy Broadcast Asia is appropriately positioned with its locally supplied stock and broadcast knowledge to provide that service,” said Steve Wingrove of Argosy Broadcast Asia.

“We are returning to BroadcastAsia as we believe it continues to provide the ideal platform for us to not only showcase our latest equipment to the regional broadcast community but also engage in technology discussions to identify key trends in the region.”

SnELL in A BOxSnell will showcase its ICE Channel-in-a-Box v3.0 at the show. With a focus on incorporating more of the channel into the box, Snell’s ICE now includes powerful integrated 3D graphics and CG functionality with timeline control and the

ability to populate fields from Morpheus automation schedule events, as well as external data sources. Changes in broadcasters’ file-based workflows can introduce incompatibilities — that’s why a new content validation feature in ICE analyses source material as

soon as it’s available to prevent invalid formats or impaired content from reaching the on-air output. Integrated SAN storage brings high-performance shared storage to the platform and aids in optimising system performance and overall broadcast workflows.

Harris HView SX ProHarris will demonstrate a range of products and solutions at BroadcastAsia 2012 that will enable broadcasters to cost-effectively manage every stage of the content lifecycle and generate new revenue streams.

Showing for the first time in Asia Pacific is the Harris HView SX Pro, the broadcast industry’s most scalable, highest-density multi-display management system. The HView SX Pro extends Harris’ HView multiviewer range, delivering a compact new signal processing and monitoring option for control room environments. Its advanced design is smaller, sharper and smarter than competitive solutions — reducing space, power and complexity while offering superior picture quality and intelligent, flexible control options. Its high-density design accommodates more sources and outputs in fewer rack units to reduce system and installation costs making it perfect for live production, outside broadcast (OB) and other video/audio processing needs.

Visitors will also see the NEXIO Studio Suite that is designed to help customers easily and affordably transition to tapeless studio production and more efficient file-based workflows. NEXIO Studio Suite is aimed at live multi-camera studio productions such as news and magazine-format, entertainment and reality TV shows. It enhances the control of video servers in production studios, offering familiar video tape recorder (VTR) functionality while adding the operational benefits of multichannel, non-linear video servers.

The HView SX Pro extends Harris’ HView multiviewer range, delivering a compact new signal processing and monitoring option for control room environments.


PROPRODUCTS

FOR-A to unveil world’s first 4K super-slo mo cameraFOR-A Company Limited will soon debut the FT-ONE full 4K high resolution variable frame rate camera, the world’s first full 4K super slow motion camera this month. FOR-A originally developed, high-sensitivity CMOS colour sensor “FT1-CMOS”, the FT-ONE records and plays back full 4K (4096 x 2160) film look imagery. To achieve its full 4K super slow motion (“super slomo”) capabilities, the FT-ONE will record up to 1,000 frames per second.

Images are captured as uncompressed raw data on the system’s internal (RAM) memory, which has a recording capacity of 8.5 seconds.

This data is then stored on one of two hot-swappable SSD cartridges. Each cartridge is capable of storing 75 seconds of full 4K resolution images, enabling up to 150 seconds with a maximum of two SSD cartridges.

The FT-ONE is capable of simultaneously recording and playing back in full 4K resolution. At the user’s preference, one output channel can provide either full 4K output, or four 1080p HD-SDI outputs, while the other output channel provides down-converted HD-SDI for live viewing and the control menu.

“While digital cinematography has been widely adopted within the motion picture production and post production communities, there has been a technology gap—the ability to record super slow motion image at full 4K resolution,” said Hiro Tanoue, president for FOR-A Corporation of America.

“The new FT-ONE completes the 4K workflow by introducing this ability, with the high-level performance this application demands.

“We chose Cine Gear Expo as the venue for our breakthrough announcement since this event draws key decision makers and creatives seeking the latest solutions for high-end entertainment production. With the FT-ONE camera rolling, they

can rest assured they won’t miss that critical action shot.”

The FT-ONE camera uses a PL mount lens and the global shutter system makes the FT-ONE free from the picture distortion caused by the rolling shutter system. The FT-ONE is designed as a self-contained unit that is dependable and easy to use. It weights 7kg with dimensions of 235mm(W) x 294mm(H) x 384mm(D).

Autodesk smoke 2013 The all new Autodesk Smoke 2013 professional video editing software claims to connect editing and visual effects. By integrating familiar editing tools and node-based compositing directly into the timeline, Smoke, which is used for all-in-one video editing and effects on the Mac, is revolutionising video post-production. Autodesk Smoke 2013 video editing software for Mac claims to combine the nonlinear creative workflow of a video editor with 3D visual effects and post-production tools in a single application.

The new Ki Pro Rack from AJA Video Systems enables recording high-quality, edit-ready files for the fastest path from camera to edit in a new 1RU rack mount form factor.

Ki Pro Rack uses the same SSD or spinning disk storage modules as the Ki Pro with recording capacities scaling up to 500GB.

It simplifies the acquisition-to-edit workflow by creating high-quality Apple ProRes 422 or Avid DNxHD files, which can be used directly in most standard professional editing systems without the need to import or transcode files.

Key features of the Ki Pro Rack include the ability to switch between Apple ProRes 422 and Avid DNxHD; built-in broadcast-quality up/down/cross conversions; HD/SD SDI, HDMI, and HD/SD analogue video I/O; multi-channel AES, analogue balanced XLR, and embedded audio I/O; familiar buttons and operations that minimise the learning curve; dual media drive bays; remote configuration and control via Ethernet LAN connection; and RS-422 machine control, genlock, and LTC connections. Ki Pro Rack is available now retailing for US $3995.00 through AJA’s worldwide network of resellers.

AJA unveils Ki Pro Rack


PROGUEST

The multi-screen movement is on the roll in the region today but strangely enough, traditional telcos are not leading the pack. Broadcasters and media companies are making rapid advances in this space while the telco players are carefully manoeuvering the changing landscape and playing catch-up. OSN recently launched its ‘Play’ service offering subscribers the opportunity to extend their viewing experience to the PC. MBC and Dubai Media Inc. have been delivering video online for a while. Why are the broadcasters and media companies breaking new ground that, in essence, was ripe for the operator’s taking?

It is, by no means, a lack of knowledge on the part of the operators. The culture and history of operators reveals the reasons for their apathy in the new media industry. After all, traditional telcos are very large organisations, with layers of processes, controls, and checks and balances. While perfectly suited to manage operations in the traditional arena (infrastructure, mobile services, fixed-line services, enterprise services, etc.), they are not built to make sudden moves and changes that are critical to success within the media industry.

In the current landscape, opportunities present themselves at much smaller timescales requiring quick decisions and actions. This is truly asking the impossible of a monopoly telco. Does that mean it is time to throw in the towel? If they did that, they would be turning their backs on billions in revenue, if not more.

The shocking part is that the operators have known this for several years. The multi-screen movement around content, platforms

and services has been a long time coming. Many of the major consulting organisations that serve as advisors to operators have been forecasting the events of today. Not only did they foresee what the landscape would look like, they also predicted what opportunities will exist, along with the plan to capitalise on it.

While some group operators have moved aggressively to prepare for these changes, others have adopted the ‘wait-and-see’ attitude. The operators that truly embraced the strategy to enter the digital media services space have acknowledged the limitations of their traditional structure and DNA. Only once you acknowledge the issues can you begin to work to resolve them. Operators willing to take the bull by the horns went on to form digital media services divisions within their organisation.

The approach was to aggregate content, platforms and VAS within a single unit. Leveraging the operator’s size and reach, the new teams are able to utilise the group operator’s buying power to acquire content and services at very competitive rates. Once all the acquisitions are complete, the new media division would spin off into an independent company with its own funding and governance. Equipped with content, services and an aggressive team of professionals, such an entity can provide very attractive pricing and respond to the market in ways that a traditional telco is not designed to respond.

This new digital media services company could then start to offer an attractive combination of platforms, services and content to all of the operators within the group. Once opportunities within the group

are exhausted, similar solutions could be offered to regional telcos and ISPs. This can be done either the traditional way of dropping truckloads of equipment and professional services or, by simply offering turnkey solutions as a service. Granted, sensitivities may arise when one operator offers a service to another operator. However, if the solution provider is not an operator but an independent digital media services company, one can greatly minimise the complications in that relationship. Fellow operators and ISPs are not the only potential clients. Broadcasters, media companies and enterprises also fall into that category.

The very same companies that are leading the industry movement today could have been clients and partners, leveraging the investments made by local operators in a revenue increasing manner. That being said, some operators in the region have made good progress, given the existence of Intigral (STC & ASTRO JV), and Qtel’s Media House. These frontrunners already offer or plan on offering platforms for IPTV, OTT, advertising, music and applications, in addition to the content for the respective platforms.

For operators that haven’t yet taken the plunge, the strategy is to focus on traditional business models and Content Distribution Networks (CDNs) while acquiring new platforms and services from the few successful digital media companies. PRO

Leading the multi-screen movement

While perfectly suited to manage operations in the traditional arena (infrastructure, mobile services, fixed-line services, enterprise services, etc.), [traditional telcos] are not built to make sudden ... changes that are critical to success within the media industry

Jamal Bnari is a specialist in new media technology strategy and product development, and presently heads Visual Unity’s sales and marketing operations in the Middle East and Asia.

NOW WITH UP TO184 MHz BANDWIDTH

Sennheiser Middle EastOffice # 345, Bldg. 6E/BDubai Airport Free ZoneP.O. Box 371004Dubai, UAETel: +971 4299 4004Email: [email protected]

facebook.com/sennheiserme

SKM 5200IIBroadcast Pro ME.indd 1 03/04/2012 14:32


PROGUEST

The multi-screen movement is on the roll in the region today but strangely enough, traditional telcos are not leading the pack. Broadcasters and media companies are making rapid advances in this space while the telco players are carefully manoeuvering the changing landscape and playing catch-up. OSN recently launched its ‘Play’ service offering subscribers the opportunity to extend their viewing experience to the PC. MBC and Dubai Media Inc. have been delivering video online for a while. Why are the broadcasters and media companies breaking new ground that, in essence, was ripe for the operator’s taking?

It is, by no means, a lack of knowledge on the part of the operators. The culture and history of operators reveals the reasons for their apathy in the new media industry. After all, traditional telcos are very large organisations, with layers of processes, controls, and checks and balances. While perfectly suited to manage operations in the traditional arena (infrastructure, mobile services, fixed-line services, enterprise services, etc.), they are not built to make sudden moves and changes that are critical to success within the media industry.

In the current landscape, opportunities present themselves at much smaller timescales requiring quick decisions and actions. This is truly asking the impossible of a monopoly telco. Does that mean it is time to throw in the towel? If they did that, they would be turning their backs on billions in revenue, if not more.

The shocking part is that the operators have known this for several years. The multi-screen movement around content, platforms

and services has been a long time coming. Many of the major consulting organisations that serve as advisors to operators have been forecasting the events of today. Not only did they foresee what the landscape would look like, they also predicted what opportunities will exist, along with the plan to capitalise on it.

While some group operators have moved aggressively to prepare for these changes, others have adopted the ‘wait-and-see’ attitude. The operators that truly embraced the strategy to enter the digital media services space have acknowledged the limitations of their traditional structure and DNA. Only once you acknowledge the issues can you begin to work to resolve them. Operators willing to take the bull by the horns went on to form digital media services divisions within their organisation.

The approach was to aggregate content, platforms and VAS within a single unit. Leveraging the operator’s size and reach, the new teams are able to utilise the group operator’s buying power to acquire content and services at very competitive rates. Once all the acquisitions are complete, the new media division would spin off into an independent company with its own funding and governance. Equipped with content, services and an aggressive team of professionals, such an entity can provide very attractive pricing and respond to the market in ways that a traditional telco is not designed to respond.

This new digital media services company could then start to offer an attractive combination of platforms, services and content to all of the operators within the group. Once opportunities within the group

are exhausted, similar solutions could be offered to regional telcos and ISPs. This can be done either the traditional way of dropping truckloads of equipment and professional services or, by simply offering turnkey solutions as a service. Granted, sensitivities may arise when one operator offers a service to another operator. However, if the solution provider is not an operator but an independent digital media services company, one can greatly minimise the complications in that relationship. Fellow operators and ISPs are not the only potential clients. Broadcasters, media companies and enterprises also fall into that category.

The very same companies that are leading the industry movement today could have been clients and partners, leveraging the investments made by local operators in a revenue increasing manner. That being said, some operators in the region have made good progress, given the existence of Intigral (STC & ASTRO JV), and Qtel’s Media House. These frontrunners already offer or plan on offering platforms for IPTV, OTT, advertising, music and applications, in addition to the content for the respective platforms.

For operators that haven’t yet taken the plunge, the strategy is to focus on traditional business models and Content Distribution Networks (CDNs) while acquiring new platforms and services from the few successful digital media companies. PRO

Leading the multi-screen movement

While perfectly suited to manage operations in the traditional arena (infrastructure, mobile services, fixed-line services, enterprise services, etc.), [traditional telcos] are not built to make sudden ... changes that are critical to success within the media industry

Jamal Bnari is a specialist in new media technology strategy and product development, and presently heads Visual Unity’s sales and marketing operations in the Middle East and Asia.

NOW WITH UP TO184 MHz BANDWIDTH

Sennheiser Middle EastOffice # 345, Bldg. 6E/BDubai Airport Free ZoneP.O. Box 371004Dubai, UAETel: +971 4299 4004Email: [email protected]

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SKM 5200IIBroadcast Pro ME.indd 1 03/04/2012 14:32

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