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issue 15 | sePTemBer 2011
Technology inTelligence for TV, film and radio
EXCLUSIVE INTERVIEW
ARAB
TELEVISIONARY
Al Jazeera’s CTO Saeed Bawazir on leading the broadcast revolution in Qatar
PERSIAN PERSPECTIVE
Production notes on Cannes
winner Rasoulof’s movie
CASE STUDIES
From Saudi Arabia,
Egypt and Bahrain
REVIEWS CALLING THE SHOTS
September 2011 | www.broadcastprome.com | 1
Sony 3D camera
and Flame 2012
BBG goes wild in
the Arabian desert
PUBLICATION
LICENSED BY IMPZ

2 | www.broadcastprome.com | September 2011
As I walked through the corridors of Al
Jazeera in Doha last month for an interview
with Saeed Othman Bawazir, the CTO of Al
Jazeera, I was both elated and humbled.
In my years of reporting on the
broadcast industry in the Arab world, I
have had the privilege of touring many
broadcast stations but very few can
justifiably claim to have revolutionised
the newsgathering business in the Arab
world like the Qatar-based broadcaster.
The secret to Al Jazeera’s success is not
hard to discern. Time and time again, it has
empowered its journalists with the freedom
to report and more importantly, provided its
staff with state-of-the-art tools across the value
chain, from producing content to taking it to air.
When the HD revolution began, Al
Jazeera took the lead in deploying both
HD and 3G technologies. Today, it has at
least ten multi-million dollar projects taking
place simultaneously and Bawazir heads
the network’s technical operations.
In a candid interview, the CTO broke his
Publisher
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Summit and Awards 2011 will
be hosted on November 23 at
Jumeirah Beach Hotel
VISIT
Welcome
ISSUE 15 | SEP 2011
TECHNOLOGY INTELLIGENCE FOR TV, FILM AND RADIO
EXCLUSIVE INTERVIEW
ARAB
TELEVISIONARY
Al Jazeera’s CTO Saeed Bawazir on leading the broadcast revolution in Qatar
PERSIAN PERSPECTIVE CASE STUDIES REVIEWS CALLING THE SHOTS
Production notes on Cannes From Saudi Arabia, Sony September 3D camera 2011 | www.broadcastprome.com BBC goes wild in | 1
winner Rasoulof’s movie Egypt and Bahrain and Flame 2012 the Arabian desert
PUBLICATION
LICENSED BY IMPZ
Cover
Saeed Othman Bawazir,
CTO, Al Jazeera
www.broadcastprome.com/
summitandawards2011 to participate
Senior Editor
Vijaya Cherian
vijaya@cpidubai.com
+971 (0) 50 768 3435
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Anuradha Mojumdar
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+971 (0) 55 607 8103
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silence on the controversy surrounding the
jamming of Al Jazeera’s World Cup broadcast
signals last year while also shedding light on the
broadband and fibre optic initiatives in Qatar.
When we see the magnitude of the
number of projects he is overseeing
simultaneously, it is not difficult to understand
when he says that each day “brings new
challenges and new opportunities”.
On a much smaller scale, life at
BroadcastPro ME has also been full of
new challenges and opportunities.
It’s been a little over a year since we
launched BroadcastPro ME, and now,
we have introduced SatellitePro ME, a
special bi-monthly supplement aimed
at the satellite market. Next month, we
will also launch AVPro Middle East.
While we are constantly looking at how
we can bring inspiring stories to our readers
from across the Arab world, we have also been
looking at opportunities to provide industry
peers with a platform to discuss, debate and
upgrade their own technical knowledge.
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The industry has taken notice of our
commitment and the greatest testimony to
that fact is our recent partnership with the
Arab States Broadcasting Union (ASBU), who
chose to work with us to launch an annual
conference and awards event for the industry.
The inaugural ASBU BroadcastPro Middle
East Summit and Awards will be held at
Jumeirah Beach Hotel on November 23, 2011.
Details about the event are available at www.
broadcastprome.com/summitandawards2011.
We also hear that Dr. Riyadh Najm,
deputy minister of engineering at Saudi
MOCI and ASBU president has been made
a member of the IBC Council for the next
three years. Congratulations Dr. Najm.
As further evidence of our commitment
to the industry, four members of the
BroadcastPro ME team will be at
IBC2011. See you at the show.
Subscribe now
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© Copyright 2011 CPI. All rights reserved. While the publishers have made every effort to ensure the accuracy of all information in this magazine, they will not be held responsible for any errors therein.
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4 | www.broadcastprome.com | September 2011
72 IRAN
16
QATAR
16 CANDID INTERVIEW WITH SAEED
OTHMAN BAWAZIR, CTO OF AL JAZEERA
PRODUCTION NOTES
58 BBC Wild Arabia producer on
filming in the Middle East
72 Iranian DoP on filming Cannes winner
Mohammad Rasoulof’s movie Goodbye
28 EGYPT
36 SAUDI ARABIA
CASE STUDIES
28 ERTU upgrades
36 Saudi TV shifts into full gear
40 Bahrain tackles HD
TECH STORIES
42 The power of DVB-T/T2
78 Broadcasters going global
84 IP-based content insertion
maintains local presence
REVIEWS
52 SONY HXR-NX3D1U cam
66 FLAME 2012
in this issue
SEPTEMBER 2011
40 BAHRAIN
58
88
48 JORDAN
58 ABU DHABI
INTERVIEWS
48 Radi AlKhas, CEO, JMC
82 Alan Constant, CTO, IMediaCo

PRONEWS
TEk SIGNALS SECURES AL JAzEERA 3G PROJECT
Qatar-based broadcaster Al
Jazeera Network has awarded a
US $20 million contract to Abu
Dhabi based systems integrator
Tek Signals to put in place a
complete 3G infrastructure for
five studios at its sports complex.
The order, which was finalised in
July, will see Tek Signals deliver
two studios by mid September,
two in November and the last by
December 2011.
Thirty four Ikegami “unicam”
systems that were first
launched at NAB this year
will be deployed at the five
studios as part of this project.
Speaking about the choice of
camera, Tariq Raja, managing
partner, Tek Signals said: “This
is the only 16-bit camera in
the world. This camera is very
flexible and can support different
types of operational control
panels, whether through LAN
or cable connections. It is also
fully ready to capture footage
in both 720p and 1080i.”
Four brand new camera
studios of 25x25 sqm will be
fitted with three wall boxes
each so that all cameras
can be accessed from any
point on the studio floor.
The wiring will allow
each studio, which will
have approximately seven
cameras, to accommodate
another six more if the
need arises in the future.
A fifth 40x30 sqm
studio will be completely
refurbished and kitted out
with 3G infrastructure.
This studio is scheduled for
completion in December.
Key equipment chosen for
this project include cameras
from Ikegami; Grassvalley
servers; Tektronix test and
measurement systems;
Snell vision mixers and
Yamaha audio mixers; Trilogy
Talkback systems; Sennheiser
microphones; precision monitors
from Ikegami and Kroma;
high-end Vinten pedestals;
Egripment Scanner Elite cranes;
Autoscript Teleprompters with
built-in on-air talent monitors;
multi-viewers; Vizrt on-air
graphics and TSL and Wohler
audio monitoring systems.
Joseph Varghese, division
manager, Broadcast &
Professional Systems, Tek Signals
adds that the entire fitout caters
to Al Jazeera’s mandate for a
complete 3G infrastructure.
dutch firM secures distribution riGhts for iMaGenation’s filMs
Imagenation Abu Dhabi has signed a global
distribution agreement with Netherlands-based
Fortissimo Films for the first slate of the producer’s
Arabic language film projects.
The multi-year, multi-picture agreement will begin
with the international distribution of Imagenation Abu
Dhabi’s first two Emirati productions — Sea Shadow
by Emirati director Nawaf Al-Janahi and the Arabian
supernatural thriller Djinn by Tobe Hooper.
Speaking about the deal, Michael Garin, CEO of
Imagenation Abu Dhabi, said: “With their extensive
industry knowledge, Fortissimo will not only be an
important partner in the distribution of our films
internationally, but also in the development of our
future film projects. They will provide us with real time
data on our existing projects while also helping us
to determine the type of films we will develop going
forward, all with increased market awareness.”
“The entire setup is in 3G. In
addition, we are also deploying
the Tektronix 3G Waveform
monitor and 3G rasterizer with
advanced Gamut Monitoring
Package to conform to 3G quality
and maintain strict quality
control. Our design also ensures
a fully redundant workflow.”
Globecast purchases
Jordan Media city
BroadcastPro Middle East can reveal
that Jordan Media City, a part of Arab
Media Corporation (AMC) has been
sold to Globecast. Although neither
party was willing to comment
on the deal at the time of going
to press, it is widely known that
AMC has gradually been selling
its assets in the region. Last year,
ART’s valuable sports rights were
sold to Al Jazeera Network for an
estimated US $1.5 billion. We hear
Pehla, Arab Digital Distribution’s
Indian bouquet of channels is also
up for sale. ADD is the distribution
arm of AMC.
ASbU PARTNERS WITH
BROADCASTPRO ME FOR
CONFERENCE AND AWARDS
BroadcastPro Middle East magazine has
partnered with IBC award winner Arab
States Broadcasting Union (ASBU) to
launch an annual Summit and Awards in
Dubai. The inaugural event will be hosted
at Jumeirah Beach Hotel in Dubai on
November 23, 2011.
The aim of the Summit is to encourage
players in the Arab world to network
and participate in a day of debates and
discussions on some of the key trends
in the industry along with regional
and international frontrunners. The
conference will close in the evening
with a gala awards night aimed at
recognising the innovative efforts
of individuals and corporate teams
across the Arab world that have
helped take the industry forward.
Speaking about the reason for
partnering with BroadcastPro, ASBU
president Dr. Riyadh Najm, who is
also Deputy Minister of Engineering at
Saudi Ministry of Culture & Information
(MOCI) and a member of the IBC
Council stated: “We chose to partner
rob sherMan
returns to dubai
Regional director Hideaki
Nakamura is leaving Sony
Middle East and Africa to head
the company’s operations in
Latin America, BroadcastPro
Middle East has learnt.
Rob Sherman will be
back in Dubai as director of
Sony PSMEA to handle the
company’s Middle East and
Africa operations in addition
to supporting Russia and CIS
countries. Sony Professional
Solutions and Middle East
declined comment.
with an awards event that is
new in the region so that we
could be a part of it right from
the beginning and ensure
that the awards would be
conducted in agreement with
our own objective of promoting
and encouraging both local
production as well as the
innovative implementation of
broadcast technologies. We also
wanted greater transparency
with regards to the criteria for
choosing award winners and
wanted to ensure that these would be
given strictly on professional grounds
without seeking to promote any specific
manufacturer or corporate entity. By
doing this, the industry and those
who work in it will be encouraged
to innovate and work better.”
As the regional broadcasting union
in the Arab region, ASBU’s members
include all of the public broadcasters
in the region as well as a good
number of private broadcasters.
Tropfest Arabia has announced
that filmmaker, Nayla Al Khaja,
will represent the UAE on its
judging panel. Actor Ahmed
Helmy, will support Tropfest
founder, John Polson, as codirector.
Al Khaja will be joined
by actors, filmmakers and
directors from across the Middle
East, including Saudi filmmaker
Ahd Kamel and the director
Mamdouh Salem; Lebanese
filmmaker Nadine Labaki;
co-founder and director of
Lebanese web series Shankaboot
Amin Dora; Egyptian producer
and scriptwriter Mohammed
Hefzy and Tropfest Australia
2011 winner Damon Gameau.
The inaugural Tropfest Arabia
film festival, will be staged in
front of a live audience in Abu
Dhabi onNovember 4, 2011.
One important element that
the jury will be looking for in
each of the submitted films is
the Tropfest Signature Item
(TSI) which for the opening
year is ‘STAR’. The TSI was
introduced to test the creativity
PRONEWS
Dr. Riyadh Najm,
deputy Minister of
Engineering at Saudi
Ministry of Culture &
Information (MOCI)
and president of
the Arab States
Broadcasting Union
(ASBU) was recently
appointed a member
of the IBC Council.
Dr. Najm will be
part of the Council
for the next three
years. IBC Council
Members share
their knowledge of business and technical issues in
a closed forum to ensure that the IBC exhibition and
conference remain relevant to its exhibitors and visitors.
One of the organisation’s top priorities is
training and ASBU owns a training centre in
Damascus, Syria to conduct courses in technology
and programming for both radio and TV.
“ASBU is an active participant in regional
and international forums. However, we now
feel the need to interact even more closely with
public and private broadcasters in the Arab
world. Partnering in the Summit and Awards
event in Dubai will enable us to be closer to
the regional professional community while also
encouraging greater innovation,” he added.
tropfest arabia co-director and JudGinG panel naMed
of filmmakers by challenging
them to reference it in their film,
encouraging creativity and to
also ensure that films are created
specifically for Tropfest Arabia.
Ahmed Helmy will take the role of co-director.
4 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 5

PRONEWS
world preMiere
of MI4 at diff
The world premiere of Mission
Impossible 4 is likely to take
place at Dubai International
Film Festival, BroadcastPro
Middle East has learnt.
Sources claim the deal
has already been signed
between Paramount and local
authorities. Also known as
Mission Impossible – Ghost
Protocol, the film’s trailer
features lead actor Tom Cruise
scaling the Burj Khalifa.
Parts of the film were shot
in different locations around
Dubai last year including
the International Media
Production Zone (IMPZ).
DIFF managing director
Shivani Pandya told
BroadcastPro ME it was too
early to confirm the news.
“The DIFF2011 line-up is
at a very early stage; we are
still open for entries until the
end of August. The unveiling
of our programme will begin
in October; until that time,
we cannot confirm the
involvement of any film. DIFF
has an eight-year tradition of
premiering the world’s best
and brightest films – we will
continue to do that this year.
“To have a film of such
magnitude as MI:4 - Ghost
Protocol linked to the UAE is
a wonderful opportunity for
Dubai, the UAE and the Arab
world as a whole. Dubai and
the UAE are the ‘Mission:
Possible’ of the Arab world,
so it’s particularly fitting
that the Mission Impossible
franchise is linked to it.”
new hd bollywood
channel for uae
Etisalat and UTV are gearing
up for the launch of a new
HD channel called UTV Stars
in the UAE. Etisalat is the
first operator in the region
to offer UTV Stars to its
customers. Etisalat already
shows UTV Bindass and UTV
Movies in the region. UTV
Stars will be the first Indian
TV channel to be launched
simultaneously in India as well
as the UAE.
Dubai Media Incorporated
(DMI) has installed an
Omneon MediaGrid active
storage system from Harmonic
to serve as central storage
for the company’s first
phase archive project.
“We needed a reliable
nearline storage system capable
of providing sustainable
bandwidth that will best
support our present and future
media flow,” said Hassan
Chahine, corporate technology
and engineering advisor at DMI.
“This was an important
decision for us, and we
considered several possible
solutions before deciding
to invest in the Omneon
MediaGrid system.”
DMI broadcasts three
general Arabic and foreign
entertainment channels and
three sports channels. Within
the company’s broadcast
star Moves
playout of two
channels to
twofour54
DmI DEPLOYS OmNEON STORAGE
Star has moved the playout of
two of its channels from Hong
Kong to twofour54, Abu Dhabi’s
content generation zone.
Since the launch of its playout
centre last year, twofour54
has gradually been playing out
several channels including Fox
Movies in both HD and one
SD; FX, an action channel from
Fox targeting male viewers and
Poet TV, a local channel run by
Pyramedia in Abu Dhabi.
Star is a recent addition.
Presently, Star World is being
played out from twofour54 and
at the time of going to press,
BroadcastPro ME learnt that Star
Movies will also be played out
from AbuDhabi shortly.
twofour54 has the capacity to
play out 20 plus channels from its
Abu Dhabi facility.
operations, all content to
be transmitted on air will
be ingested and stored on
the Omneon MediaGrid
before being moved to
the transmission servers
and stored in the archive
library. The central storage
system will provide DMI staff
with fast access to archive
content — whenever and
wherever it’s needed — for
rebroadcast or repurposing.
doha filM institute to host screenwritinG worKshop in Qatar
Doha Film Institute will host a lab for
resident screenwriters from September
15-22. The lab will be conducted in
English by mentors from Maisha, a
non-profit training initiative for emerging
filmmakers which is based in Uganda.
Speaking about the workshop,
Scandar Copti , head of education
at DFI told BPME: “Our partnership
with Maisha Labs last year paved the
way for future collaborations aimed at
enhancing filmmaking skills in students
from emerging and developing territories.
These workshops offer Qatari students
a unique learning opportunity in an
environment that encourages innovation
and creative risk taking. It also provides a
platform for cross-cultural exchange with
filmmakers and students from East Africa
and South Asia.”
The workshop is meant for writers over the
age of 18 who already have a script of seven
to ten pages and want to build on it further.
They have the opportunity to develop their
work under the guidance of the Maisha
mentors during the full day labs which will
include one on one sessions as well as
group training. Film screenings followed by
discussions in the evenings have also been
planned for the workshop.
news froM satellitepro
Me, our sister title
ARAbSAT GEARS UP FOR
SEPTEmbER LAUNCH
Arabsat is preparing for the launch of its 5C satellite
from French Guiana in September 2011. Astrium
and Thales Alenia Space are jointly responsible
for building the satellite and delivering it in orbit.
Astrium, assembled and tested the spacecraft. Thales
Alenia Space designed and built the communications
payload featuring 26 active channels in C-band and
wide band transponders over 10 spots in Ka-band.
Arabsat 5C has a launch mass of 4630 kg and a spacecraft
power of 10kW at the end of its 15-year designed lifetime. The
multi-mission satellite will provide satellite capacity in both
C- and Ka-band frequencies at the Arabsat position 20 degrees
East for a wide range of satellite communications services.
Arabsat President and CEO Khalid Balkheyour, declared
that with a design life exceeding 15 years, these two
communications satellites will provide telecommunications
and television broadcast services in the Middle East,
Africa continent, Europe and the Indian subcontinent.
tra Grants
broadcastinG licence
to yahlive
The UAE Telecommunications
Regulatory Authority (TRA)
awarded Yahlive, also known as Al
Maisan Satellite Communications
Company, a ten-year satellite
services licence for Broadcasting
Satellite Transmission of Services.
This license enables YahLive to
transmit DTH satellite television
services from the UAE to freeto-air
and pay-TV broadcasters
in this region. YahLive’s services
will be available throughout
the Middle East, North Africa,
Southwest Asia and Europe.
YahLive’s dedicated European
uK-based post
production house
opens dubai office
UK-based media post production
house Mere Mortals has expanded
its operations to the Middle East
with the launch of Spitfire, its new
sister company in Dubai.
Heading up the Dubai operation
will be company directors Andrew
Durning and former Dubai-based
Optix Digital Pictures’ client
manager, Brian Shepherd.
David Jeffries, Managing Director of
the company stated that the post
production house has “high hopes
for Dubai”.
“The UAE is fast pulling out of
recession. Dubai is in a different
alan constant and
hassan Merei leave
aMc, Jordan
Arab Media Corporation’s CTO Alan
Constant and director of broadcast
PRONEWS
coverage will provide regional and
local channels to Arab Audiences
in Europe. The signing ceremony
was held in TRA’s head office in
Abu Dhabi.
The Yahsat 1A spacecraft,
procured by YahLive from a
consortium of EADS Astrium
and Thales Alenia Space, was
successfully launched on April 23rd,
2011. YahLive will commercialize
23 Ku-Band BSS-transponders on
the Yahsat 1A spacecraft. Yahsat 1A
is located at the 52.5 degrees East
orbital position. Yahsat1B, a second
satellite from the company, will
launch later this year or early 2012.
Read our full interview with Yahlive
CEO in SatellitePro Middle East.
economic cycle to Europe and
America and we believe there are
fantastic opportunities available
to us. Initially, we shall be running
Nuke, FCP and the usual host of
Adobe products with a view to
building a 3D team over a period
of time.”
technology Hassan Merei have
both left the organisation to join
their former colleagues Steve
Bjuvgard, Chris Pollard and Henk
Bos at IMediaCo, a newly formed
consultancy company, BroadcastPro
Middle East has learnt.
Based in Jordan with offices in
the UK and the Far East, IMediaCo
says its team has extensive
experience in broadcast and media
technology, security, IT, project
management, financial forecasting
and strategy consulting.
6 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 7

PRONEWS
sennheiser supplies
adn systeMs to ese
saudi arabia
Sennheiser Middle East has
recently supplied 16 ADN
systems to Saudi Arabian AV
systems integrator Electronic
Special Equipment (ESE) for a
single governmental project in
Riyadh, KSA.
Speaking about their choice,
ESE’s sales manager, Khaled
Makki stated: “We chose ADN
for our client because we knew
it would provide a true audio
conference experience in a
reliable system.”
The project marks the
largest single sale of the
German manufacturer’s flagship
conference system and also
makes Saudi Arabia the country
with the most ADN systems in
the world.
The system comprises a total
of 240 delegate units and 16
chairman units.
ADN CU-1 comes with free
software that is continually
updated, with the next version
due in September this year.
“The new update will allow
users to connect a hard drive
to one of the USB ports on
the central unit and use it
as a hard disc recorder for
recording the proceedings of a
meeting or conference,” stated
Mig Cardamone, business
area manager for Sennheiser
Middle East.
ATTENDEES FLEx SkILLS AT WORkSHOP
Dubai-based distributor
United Broadcast and Media
Solutions (UBMS) and
SAE Institute partnered to
present a workshop on the
Phantom Flex camera in
the emirate this summer.
The workshop, which was
conducted by Phiroze Dalal,
an application specialist from
Vision Research, offered
attendees a crash course on
how to use the Phantom Flex.
“The Phantom Flex is
our newest generation high
speed camera and it has been
gaining a lot of popularity
around the world,” Dalal
told BroadcastPro ME.
“With our partners in
the UAE, we wanted to
educate the market about
this new technology.”
The high-speed Phantom
Flex is aimed at high-end
TV commercials and cinema
and not live broadcasts. The
camera operates at 2500 fps
at full HD resolution and
at 720 or 10,000 fps at SD.
It is the next step after the
Phantom HD Gold, which
according to Dalal, was the
top performer in its category.
Dalal added that the
Phantom Flex is well suited
for filming in extreme
temperatures like that
in the Middle East.
“Cameras are tested
very rigorously from 0 to
40 degrees but we have
customers from all over the
world using them in all sorts of
environments,” he pointed out.
The Phantom Flex offers
two user-selectable shooting
modes, each adapted
to a particular shooting
environment. In standard
mode, the Phantom Flex is
just like any other Phantom
digital high-speed camera,
where you can shoot at
resolutions up to 2560x1600
pixels at anywhere from 10
frames-per-second up to
1,455 frames-per-second
(fps). Maximum speed
increases as the resolution
decreases are up to 2,570
fps at 1920x1080, 5,350
fps at 1280x720, and
10,750 fps at 640x480.
The Phantom Flex accepts
a wide range of industry
standard lenses. 35mm
(PL, Canon EOS, Nikon F
Panavision), Super16m and
“We started planning for this workshop around post NAB. We are the
exclusive representatives for Vision Research in the region. Our key goal
with such workshops is to educate the industry on the camera and
its applications. The response on both days has been humbling. The
purpose of the workshop is for people to have hands on experience.
They can touch it shoot with it, play with it, understand what the
settings mean and learn how to use it.”
Peter Kyriakos, head of marketing, UBMS
2/3” lenses are all compatible.
“Typically, people will
use a PL mount lens and it
is what has been used for
the last 50 years for cinema
cameras,” added Dalal.
Speaking about the camera,
Hasan Aslan, film supervisor
at the SAE Institute added:
“If you use the Phantom as
a normal camera, it is much
more sensitive than a lot of
cameras on the market. You
can technically use it within
low lighting set ups, more
than any other camera. But
if you want to use it up to
10,000 frames and 5,000
frames, then you need a lot
of lighting. Here we used a 2k
and 1k lighting and it worked
well, that is what we usually
do for the old cameras so
technically the development
in the Phantom is really high.”
Peter Kyriakos, head of marketing, UBMS
saMir abdulhadi
heads panther Media
Samir Abdulhadi, president
and CEO of Orbit Group, has
been appointed chairman of
Panther Media Group Limited
(the owning company of Orbit
Showtime Network) for a
period of two years. Abdulhadi
took over from Faisal Al Ayyar
from August 10, 2011. Samir
Abdulhadi is president and
CEO of Orbit Group. He is also
a member of the Executive and
Compensation Committees
and serves as chairman of
the Board of Meed Holding
and chairman of the Board of
Noorsat WLL.
MAXIMISE
broADcASt INFrAStructurE
SErVINg tHE broADcASt INDuStry
CABLES CONNECTORS PATCH PANELS MDUs RACK SYSTEMS FIBRE/HYBRID CABLES ROUTERS VIDEO ACCESSORIES
Argosy products are available from stocks at locations in the UK, UAE, India and Malaysia
Mains Distribution
Argosy is a leading international supplier of HD
broadcast cables and studio infrastructure products. Its
established portfolio of products include a complete
range of video, audio and power cables, connectors,
fibre optic solutions, routing
switchers, rack systems, KVM
switches and the Sonarae
NLE audio monitoring
system as well as an array
of video accessories.
8 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 9
Skeleton Cable
Drums
Patch Panels
Video and
Audio Cable
Rack Systems
Connectors and
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PRONEWS
EGYPT’S CbC NETWORk GOES ON AIR
Egypt’s newest commercial
broadcaster, CBC Network, has
gone on air with two Dolphin
integrated channel devices
from Pebble Beach Systems.
The devices are controlled
by Marina automation.
CBC will broadcast three
24-hour, free-to-air channels
via satellite, and the first of
these -CBC Drama went on air
at the start of August to carry
relevant drama content for
the duration of Ramadan.
Samir Isbaih, Pebble
Beach’s regional manager
for the Middle East said the
installation was a milestone
for Pebble Beach Systems,
“showcasing the tight integration
of Marina and our Dolphin
integrated channel device”.
“Together with local partner,
New Vision, we have helped
launch this new Cairo-based
operation in an exceptionally
short timeframe.”
Marina is the latest offering
in Pebble Beach Systems’ suite
of automation products. It
exploits 64-bit processing and
development tools to deliver
multiple language support,
dynamic allocation of devices
across the system, and a
single centralised database.
Dolphin operates under
Marina control as an SD/HD
video server, master control
switcher, character generator
and channel branding solution,
combining channel density
with low power consumption.
In order to meet CBC’s
ingest, playout and redundancy
requirements, Pebble Beach
Systems delivered two Dolphin44
units, one main and one for
backup, along with the Marina
automation system. Each RU
Dolphin frame is configured with
four inputs, two of which are
used for VTR ingest and two for
recording live feeds. Similarly,
each Dolphin has four outputs,
three of which are assigned
to the playout of the channels
and their backups, with the
fourth acting as a review port.
CBC’s two additional channels,
which make up the main
programming for the broadcaster,
feature a high proportion of
live content and will place
complex graphics demands on
the Dolphins, including logos,
prayer straps, and now/next/later
graphics which are populated
directly via the Marina playlist.
Ingest is either from tape or
from a live feed, and media is
stored locally on the Dolphins.
Once material is ingested into
Dolphin, Marina’s integrated
markup tools enable clips to
be marked up into segments
for playout. All functions are
available via a common user
interface which accesses a
single system-wide database,
making operation of the system
simple and straightforward,
and avoiding the risk of
operational silos being created.
Argosy Broadcast Pro ME 175 x 110 with flash.indd 1 28/06/2011 16:43

PRONEWS
al Jazeera
enGlish’s niGerian
connection
The Nigerian Connection, a
two-part investigation for Al
Jazeera English’s programme
People & Power investigates the
growing phenomenon of Nigerian
organised crime in Europe with
a focus on the trafficking of
women for sex.
The two films are a joint
production between Pear
Productions and Grain Media and
were broadcast on August 10 and
August 17 respectively.
Al Jazeera’s reporter Juliana
Ruhfus exposes the criminal links
that increasingly bind the two
countries. The first film was shot
in Castel Volturno, Italy, a town
which is the Nigerian mafia’s
European headquarters.
Anti-mafia police, used
to dealing with the infamous
Camorra mafia, now find
themselves up against an influx
of organised criminals from West
Africa, smuggling cocaine and
trafficking women.
The team meets trafficked
Nigerian prostitutes subjected
to Juju rite ceremonies, which
the women believe entrap them
in a bond of slavery with mafia
traffickers and will mean death to
themselves and their families, if
they escape.
The second film was shot in
Nigeria where the team discovers
how extreme poverty leads the
women to be trafficked. The two
films explore the shadowy world
of human trafficking in both
Nigeria and Italy, and shed light
on the murky issue.
INFOCOmm mEA DEbUT EVENT bRINGS
PRO AV TECHNOLOGIES TO mEA
InfoComm MEA, the
international trade
exhibition and summit
on pro Audio Visual and
systems integration, will
make its debut at the Dubai
World Trade Centre with 70
exhibiting companies from
18 countries. InfoComm
MEA 2011 is co-located with
GITEX Technology Week, an
important ICT event that has
been taking place for 30 years.
InfoComm MEA will add a
new dimension to the visitor
experience at the GITEX
Technology Week with a focus
on pro AV and information
communication systems.
Several leaders in the
pro AV industry including
AMX, Crestron, Cayin, Elite
Screens, Extron, Hitachi,
Jupiter, Mitsubishi, NEC,
projectiondesign, RGB,
Sharp, WolfVision, APart
Audio, Emmy Mount, Oasis
Enterprise and VenueTech will
exhibit at InfoComm MEA.
Among the plethora of
AV products showcased at
InfoComm MEA 2011 will be
digital signage and display
systems, including large
format video walls, widely
used in retail and hospitality,
banking, transportation
transit points, healthcare
sectors; projection,
audio and conferencing
technologies for corporate,
training, education, medical
and MICE applications;
3D, multimedia, lighting
automation and control
software and hardware for
entertainment events - fixed
and installed; and connectivity
solutions like matrix
switchers, scalers, routers
and distribution devices for
military, emergency and
industrial or commercial
network operating centres.
A related event is the
InfoComm MEA 2011
Summit. This includes
educational seminars on
AV installation and design
best practices, new and
upcoming standards in AV,
video signals and video format
conversion, 3D projection
technology, specifying AV
systems, acoustic as well as
vision fundamentals for AV
design, green AV, and project
management for AV projects.
Other conferences will be
hosted for IT, hospitality,
education and healthcare.
Technical site visits will
also be organised to provide
delegates with scenarios of
actual AV installations and
a deeper understanding
of AV technologies.
InfoComm MEA will see the launch of AVPro Middle East, a specialist technology
magazine from Dubai-based publishing house, CPI, which presently runs BroadcastPro
Middle East and SatellitePro magazines. The magazine will set the platform for new
product launches and industry announcements as global companies set up in the region
in response to growing demand for AV solutions across the MENA.
dubai studio opts
for priMacoustics
Dubai-based Ecstatic Music
Art Studios has invested in
an acoustic solution from
Primacoustics distributor
Melody House.
Although the music recording
and production facility will be
used primarily by professionals,
it also caters to up and coming
artists and services will include
both mixing and mastering. The
studio has purchased two sets of
the London 12 kits.
The London 12 room kit
is a studio-in-a-box that
helps convert a regular room
into a functional recording
environment. Designed for rooms
that measure between 100 to
200 square-feet (10 to 20m2),
the London 12 employs a variant
of the popular live-end, deadend
LEDE concept whereby the
source end of the room is fitted
with increased absorption while
the receive end of the room is
left more lively to retain a sense
of air and space.
Simon Short, acoustics
specialist at Melody House called
the London 12s “an ideal kit for
smaller rooms with two bass traps
and near reflection absorbers”.
eGripMent Grips
turKish elections
Egripment’s new encoded
package for cranes was used
for the TV broadcasting of the
Turkish elections in June 2011
on TRT. The TDT6 crane package
and the 306 remote head
were both equipped with high
resolution encoders.
All pan and tilt data from the
TDT6 crane armand from the 306
remote head were transferred to
the TDT tracking interface and
combined with the lens data, to
enable all data to be used for the
virtual functions of the broadcast.
Augmented reality functions
require much higher resolution of
the encoder than with standard
virtual use. The data was then
transferred per UDP to the
rendering machine. The TV set/
studio was a combination of
a classic virtual studio and
augmented reality.
SINGAPORE GEARS UP FOR
PUbLIC bROADCASTERS
INTERNATIONAL CONFERENCE
Singapore-based
media company
MediaCorp is set
to host the 20th
Public Broadcasters
International (PBI)
2011 conference,
which will be held
at Resorts World
Sentosa in Singapore
from October 26-
29. BroadcastPro
Middle East is a media partner
with the organisation.
PBI was established in 1990
as a gathering of broadcasters to
collectively share experiences,
solutions and best practices
in the wake of the challenges
faced by the industry.
For the past 20 years, PBI
has been an annual conference,
actively attended by the world’s
public broadcasters. Participants
include BBC, NHK, KBS, SVT,
DR, NRK, SABC, RTE, and
Middle east’s first 3d
lab launched
Twofour54 intaj has launched the
Middle East and North Africa (MENA)
region’s first stereoscopic 3D lab.
Besides providing 3D production and
post production facilities including
cameras, rigs, specialist AVID edit
suites, and Baselight colour grading,
the lab will also carry out research
and development activities.
The 3D Lab will work with selected
projects testing Beta versions of
editing systems.
The centre will also offer
Stereo QC (quality control)
to 3D film productions,
broadcast 3DTV programmes
and advice to 3D hardware and
software manufacturers.
The lab will also provide students
and production professionals with
training solutions in conjunction with
media training academy twofour54
France Télévision among others.
Paula A. Kerger, president and
chief executive officer of Public
Broadcast Service (U.S.) will
deliver the keynote address.
In a statement published on
PBI’s website, Teo Ming Kian,
chairman commented: “The
ever-changing media landscape
calls for greater dexterity and
agility, and there is no better
way to learn than to share and
exchange experiences and
ideas with colleagues from
all over the world. This year’s
tadreeb. Companies seeking to
understand business opportunities
will also be able to gain from the
training facilities.
Twofour54 intaj will offer a range
of S3D equipment and services. Sony
PRONEWS
Grass valley
appoints alan
wriGht to lead
eMea reGion
Grass Valley has announced
that Alan Wright will lead
the Europe, Middle East,
and Africa (EMEA) region
as senior vice president. He
will be based in the UK and
report directly to Jeff Rosica,
executive vice president, who
announced his appointment.
Wright has a background
in the media and technology
segments. He will design
and execute new strategies
at Grass Valley that will
help customers migrate to
file-based environments with
Grass Valley’s software and
hardware and products, as
well as its integration and
24/7 managed services.
conference will cover funding
issues, strategies to navigate
the digital age, the impact of
new media and the role of
public broadcasters in extreme
situations such as earthquakes
and other natural disasters.”
HD cameras, Panasonic AG-3DA1E
twin-lens camera system, Edit suites
(including AVID), grading suites,
GoPro Hero 3D System and JVC and
TVlogic 3D monitors will be among
what will be on offer.
10 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 11

NETIA Content Management System
12 | www.broadcastprome.com | June 2011
AD
Manage increasing volumes
of digital and media assets
Empower media delivery to multiple
platforms, in multiple content formats
Increase ROI by optimizing operational
costs and monitoring
Visit us at IBC2011
Sept. 9-13 / stand 1.A29
Amsterdam's RAI
Convention Center
Media storage demand driven
by local control
According to the latest findings seen in
Media Storage World 2011, the appetite for
media storage capacity continues virtually
undiminished. And, the growth this year is
specifically depicted as nearly 7%, on a global
basis. That number is an average cutting across
all regions and amongst all user segments is
obviously higher in some areas such as Asia and
the Americas, but consistently strong, despite
a sluggish and sometimes jagged economy, and
competition in the form of off-site storage such
as that of the Cloud. Much has been said of the
tendency of broadcasters and other media pros
to keep their storage in-house and the unspoken
nervousness they harbour about trusting
outside storage facilities with their materials.
That mental state has, alone, fuelled quite a
cottage industry for encryption and tagging to
protect the rights of original master owners.
Media Storage World 2011 ©2011 D.I.S. Consulting Corporation--All Rights Reserved
How much of your Media Storage is stored locally? (Not shared by any other users)
MEA
61%-80%
16%
21%-40%
16%
0%-20%
12%
41%-60%
28%
81%-100%
28%
Such practical issues are acting as potent market
drivers. Professionals are both responding to the
drive to archive older analogue and early digital
tape stored programmes, retire ageing mechanical
retrieval systems and more importantly, make
programmes and news materials easy to access. At
the same time, the desire to make less demanding
use of shrinking physical space at facilities and
stations is on the rise. That said, most growth is
seen triggered, internally at facilities of all kinds
55 Harden Road, Ferndale, NY 12734 Ph: 212-213-6872 e-mail: dougsheer@gmail.com
PROTRENDS
as they respond to the urgent requirement to
protect ageing media assets and at the same time,
streamline their operations. For whatever the
reason, professionals, globally, and in the Middle
East prefer to control their own archives in-house.
This report is conducted annually for the
last five years and has seen a huge build up
in local storage, a modest recovery of shared
storage and a swing towards mass/clustered
infrastructure, all enlivened by a migration towards
IT-centricity, since the inception of the study.
The new study, which was conducted this
past spring, looks at owned, bought and planned
storage units as well as forecasting out years
and the brand shares of major players.
Regarding important technology trends in
storage, MSW 2011 sees a move towards further
internalisation of archives as illustrated in the
accompanying charts. Whether for security reasons
or ease of access, broadcasters and institutions
seem to prefer keeping things at arms length.
The report charts show that, particularly on a
global scale, and closely similar in the Middle East/
Africa too, much of the media stored today is stored
locally and not externalised either among outside
facilities or in the Cloud. On a global basis, 28% of
respondents said they stored between 81% and 100%
of their media internally. And, 20% stated they stored
41% to 60% of their media that way. In the Middle
East and Africa, similarly, an equal 20% reported
storing either 81-100% inside or 41% to 60% inside,
respectively. Either way, M-E/Africa professionals
are protective of their stored rich media files.
The marketplace has been altered by a
growing number of mergers and acquisitions
as the field of storage vendors has diminished
and – with average unit prices dropping – profits
narrowed, so that more money is now being
spent amongst far fewer manufacturers. PRO
Douglas I. Sheer is CEO & chief
analyst of D. I. S. Consulting
September 2011 | www.broadcastprome.com | 13

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PROQATAR PROQATAR
Arab Televisionary
In an exclusive interview with Vijaya Cherian, Al Jazeera’s CTO Saeed Othman
bawazir unfolds his plans for the network, the challenges that lie ahead
and the broadcast revolution in Qatar
Al Jazeera English Channel.
Walking into Al Jazeera’s headquarters
in Doha was a dream come true for
BroadcastPro Middle East. As a statebacked
broadcaster, Al Jazeera has
accomplished a feat that no other
media entity in the Arab world has ever
achieved or dared to undertake.
It changed the world’s perception of
the Arab world, and gave this region an
international voice and an honourable
place on the world map with its dynamic
reportage and by being a frontrunner in the
implementation of broadcast technology.
We had the privilege of visiting Doha and
conducting an exclusive interview with
Saeed Othman Bawazir, Al Jazeera’s Chief
Technology Officer and the man behind the
network’s technical revolution since 2009.
Tell us a bit about yourself.
I graduated from the United States as
an Aviation Electronics Engineer and
worked in the Civil Aviation industry for
17 years. I set up the IT infrastructure
for the Civil Aviation Authority in Qatar
before I joined Al Jazeera as CTO.
When did you join Al Jazeera?
In late 2008.
What’s the journey been like from
aviation to broadcast? Was the
transition not challenging?
Sure, one way or another, it was
challenging. But there are many similarities
between both industries in terms of
the environment and the technologies
used. Being in charge of the radar and
navigation systems as part of my aviation
engineering background familiarised
me with audio and video technologies.
At the same time, the operations in
both industries are mission critical.
In that sense, I felt there are a lot of
16 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 17

PROQATAR
similarities, while, of course, there are
several elements that are unique to each
industry. With the introduction of BIT
(Broadcast Information Technology),
I feel that even those who have been
in this industry for a long time have
had to learn several new things.
Can you elaborate on Broadcast IT?
From direct attached storage (DAS)
and network attached storage (NAS)
to storage area networks (SANs) and
beyond, broadcasters have a variety
of choices for IT plant infrastructure.
Each approach has its advantages and
disadvantages, but each solution must
handle large files with low latency.
Everything is moving to a file-based
infrastructure. Server-based solutions
are the future or at least, this is where
the industry seems to be heading.
File-based workflows that begin
with acquisition and continue through
distribution are becoming the norm.
When it comes to designing a Broadcast
IT project, it’s about creating a workflow
first, and then developing an IT system that
18 | www.broadcastprome.com | September 2011
“We had six months to deliver premium sports
content to our audiences with several projects and
sub projects under way at that time. In six months, we
had to build .... everything from scratch to get those
channels on air. We created a record of sorts”
Saeed Othman Bawazir, CTO, Al Jazeera
will accommodate that workflow. Before you
start building a digital pipeline, you need to
know what you’re going to do with it. What
will the file format be? What compression
will you use? Will collaborative storage for
active projects be separate from play-toair
servers? How will you archive content?
Who will need to access that archive?
Once you’ve established an operational
plan for how you will use and manage the
data, then an assessment of the necessary
bandwidth needs to be done. All this put
together and more is the new trend towards
an IT-based infrastructure for broadcast.
What does your role as CTO entail?
I’m responsible for setting the technical
Saeed Bawazir at one of the network’s new studios in Qatar.
strategies and goals for Al Jazeera’s network;
revising our technical operations to suit
new demands, and providing adequate
services to ensure we continue to remain
one of the top news broadcasting networks.
That’s a hot seat and it’s not easy
especially if you come from a
completely different industry.
It was a challenge but the good thing
about this industry is that it’s becoming
more and more IT based and that’s an area
that I am very comfortable with. In fact,
my IT background was to my advantage
as Al Jazeera was moving towards a
file-based system when I joined.
While I was in aviation, I had a huge
KH 120
Studio Monitor KH 120
The first member of
the Neumann KH Line
Distributed in the Middle East by:
Sennheiser Middle East
Office 550, Building 5E/B, Dubai Airport Free Zone,
Dubai, U.A.E PO Box 371004
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Studio Monitor Systems www.neumann.com

PROQATAR PROQATAR
interest in IT solutions, security networks
and software applications. As I mentioned
before, I set up the entire IT infrastructure
for the Civil Aviation Authority in Qatar.
There are so many similarities between
the aviation and the broadcasting industries
as both emerge from standard conventional
and classical equipment. For example,
we started off with unique PPI radar
displays driven by mainframes, but now,
industry standard displays with high-end
graphic cards such as those from Barco are
being utilised. The same Barco displays
are used extensively in broadcast too.
In aviation, we began utilising open
source software such as Linux to operate
and maintain our operations — I saw
similar changes taking place in broadcast.
In essence, it didn’t feel very
different. In both aviation and
broadcast, the jump from traditional
to new technology was very similar.
Would it be correct to say you brought
about the IT revolution in broadcast at
Al Jazeera?
Al Jazeera has always been a pioneer in
implementing new technology. I have kept
the trend going. I brought my experience
in leading some very complicated projects
that I think added value to Al Jazeera.
Tell us about some of those projects.
The biggest challenge was, perhaps,
upgrading Al Jazeera Sports from a six
channel infrastructure to a completely
file-based, 10-channel infrastructure. Today,
we have twenty channels for sport and we
are designing a state-of-the art production
and playout infrastructure to support
between 20 and 40 sports channels. This
was a huge technological challenge at the
time because Al Jazeera had commitments
to fulfill and we were asked to accomplish
this on an extremely tight deadline.
We worked with our business partners
and managed to launch these channels
within three months, building not
only the broadcasting infrastructure
but preparing the physical site for the
operations as well. We managed to
deliver this project on target at the right
time and it was a great achievement.
My second big challenge was in the
Staff at work at the broadcaster’s facility in Doha.
middle of 2010 when Al Jazeera secured
the sports rights from ART. We had six
months to deliver premium sports content
to our audiences with several projects
and sub projects under way at that time.
In six months, we had to build dedicated
studios, complete the setup design and
do everything from scratch to get those
channels on air. We created a record of sorts.
We had another significant challenge
to address last year because of the
interference we faced on our broadcast
satellite signals during the World Cup.
This incident was unprecedented in the
industry of broadcasting. It was the first
time someone’s frequency was jammed
in this manner but we rose above the
situation with a strategy that was set
prior to the World Cup to counter any
interference to our signals. The essence of
the matter was that we were prepared for
any technical challenges to the extent that
I recall telling my team in one of the follow
up meetings, “The question is not what
we will do if we are subjected to satellite
interference but what we have already put
in place to ensure that we can immediately
counter it if the situation arises”.
In short, I had anticipated the interference
and put in place extensive contingency
measures. We can proudly say that our
strategy was widely appreciated and I
thank my excellent team who worked with
me in these challenging circumstances.
Does that mean that if you had not
anticipated the satellite interference
and put a strategy in place prior to the
World Cup, you would have experienced
a complete blackout?
Yes, there’s no doubt about that.
What caused this interference?
I can’t go into details. All I can say is that
the satellite industry is very fragile. The
important thing is that we had a strategy
in place to counter the interference.
What was the strategy?
In a very short time, we moved from being
on three transponders to 16 so if one signal
was jammed, there were several alternatives.
We had our content on different
satellites and sometimes, on the same
satellite on more than one bouquet.
Initially, we were on three channels. A
couple of weeks prior to the World Cup,
we did two things. We increased our
presence with two additional transponders
as part of our contingency measures. In
addition, we planned in advance to deliver
our content by various means to many
teleport uplinking earth stations around
the globe. They were geared up and had
their earth stations pointed at the satellites
ready to shoot as soon as we requested
the service. These were measures we
put in place prior to the World Cup.
Once the interference was confirmed,
we managed to double our presence in
no time from five to 10 transponders.
And in the next 24 hours, we went
from 10 to 16 transponders.
We have found ourselves in similar
situations lately. Al Jazeera’s mission as
being the voice of the voiceless alongside
our compelling and distinguished content
is not welcome by everyone, especially by
those entities that do not appreciate our
vision, our mission, and our human-centered
focus. These include voices from around
Streamline…
20 | www.broadcastprome.com | August 2011 September 2011 | www.broadcastprome.com | 21
www.riedel.net

PROQATAR
the globe as well as those in the Middle
East. Our dedication to highlighting the
struggle of the people of the Arab world in
the recent Arab Spring is just one example.
Moving from three to sixteen
transponders in under 48 hours must
have been a Herculean task not to
mention the investment?
We had already put in place the
infrastructure anticipating interference. We
just had to turn it on if it really did happen,
and it happened, and we were ready for it.
The expansion to 16 transponders in
case of an emergency and ensuring the
delivery of our content through various
technical means including fibre optics,
satellite and microwave links to various
teleports in Spain, Cyprus, Italy and
Doha to name a few across the globe
made it possible for us to stay on air.
We also worked very closely with
some satellite operators as partners.
The satellite operators lent us a hand
and gave us their confidence and
highest priority by not exposing the
frequencies among other things.
After personally speaking to some
of the CEOs of the satellite operator
companies, they echoed our sentiments
that this kind of deliberate disruption
is a direct threat to the industry.
There were, certainly, a lot of lessons
learnt during the World Cup.
Which satellite operator helped you the
most during this period?
All were very supportive; in particular,
Arabsat’s support was really appreciated.
I especially thank Mr. Khalid Balkheyour,
CEO of Arabsat for his support.
22 | www.broadcastprome.com | September 2011
My understanding is that you manage
the entire operations – both global and
international at Al Jazeera?
Presently, yes. I manage all of the
technical-related operations at Al
Jazeera’s Arabic, Sports, Documentary,
Mubasher, and English channels along
with its Global Broadcast Centres. We
have plans to launch more multilingual
channels, which will be managed locally.
Could you elaborate on some of the
new launches?
We have plans to launch several new
channels in the near future. There is an Al
Jazeera channel for the Balkans, where we
“Al Jazeera is more focused on ... developing
requirements, and balancing the “must-haves” versus
the “nice-to-haves”, and does not pay attention to all
the bells and whistles offered by vendors”
Saeed Othman Bawazir, CTO, Al Jazeera
are expecting close to 30 million viewers.
This is planned for launch in November
2011. Al Jazeera Turk is scheduled for launch
for the Turkish speaking audience early next
year. We also have plans to launch in Nairobi
and the rest of Africa in Swahili, where
we expect more than 50 million viewers.
This channel will be called Al Jazeera
Kiswahili. We are helping the channels
in setting the standards and strategies in
the initial stages and once processes are
established, they can operate independently.
We help to kickstart each channel
especially at the beginning when staff is
still being recruited. As a network, we
will provide complete assistance in terms
of editorial, operational and technical
training, using our existing technology
and resources to set things up for them,
and they will eventually be able to
operate the channel independently.
Will these be in High Definition?
All our future endeavours will be in HD, but
we may not transmit in HD as this requires
additional satellite capacity and the cost
cannot be justified unless there are enough
viewers out there with HD receivers. If
we are targeting sports viewers, surely,
we will broadcast in HD. But the entire
infrastructure in these new installations
will be HD. We are also amongst the first
networks around the globe to introduce
HD and file-based infrastructure.
Can you chart your journey at Al
Jazeera?
The journey of a thousand leagues begins
with a single step and my journey is no
different. It has been full of challenges.
Besides the sports challenges in 2009 and
2010, and the new launches we are working
on for Turkey, the Balkans and Africa, we
have an ambitious plan to standardise the
technology across the whole network.
There are so many projects under
way simultaneously as we speak. We
are upgrading the infrastructure for
our English channel and unifying the
Newsroom Computer System (NRCS)
across the network and replacing the whole
infrastructure of our Arabic channel as well.
We also stepped into Egypt at the
right time with the launch of Al-Jazeera
Mubasher and Al Jazeera Misr two months
ago to cover the events in Cairo.
What is Al Jazeera Misr?
This channel, dedicated to Egypt, was
launched two months ago just after the
events in Cairo took place. The channel is on
air with a temporary infrastructure but we
are working on providing a permanent setup.
How are Mubasher and Misr different?
Mubasher offers a global perspective
while Misr focuses on the internal news
and the events taking place in Egypt.
You might see more similar localised
channels like this, in the future.
What kind of investment are we talking
about for these launches?
It’s a multi-million dollar project.
What’s your big challenge now?
We are working with our business partners
to standardise the technology solutions
on a single platform across all channels
across the network. We also have plans
to standardise the newsrooms across
our channels to the Avid platform.
Al Jazeera has grown rapidly over the
years with several individual channels
being launched using their own specific
infrastructure but it is time to standardise
our operations to ensure greater
collaboration between all channels.
For example, the English and the Arabic
channels presently work on two different
NRCS, so we will introduce a common NRCS
for these channels, which, in turn, will allow
better sharing of content and archiving
of resources between the channels.
A common NRCS and a standard platform
is the need of the hour at Al Jazeera and will
be a huge plus when completed. Besides, we
also have plans to open ten super bureaux.
What are super bureaux?
Super Bureaux are centres across the
globe that house journalists, producers
and other news and production staff who
will provide strong regional coverage
to the network. They will have facilities
for news and programme production.
What is the time frame to achieve this?
A couple of years is my estimate, as we are
working on several projects simultaneously.
www.riedel.net
PROQATAR
your
infrastructure
September 2011 | www.broadcastprome.com | 23

PROQATAR PROQATAR
A session in progress at Al Jazeera Arabic’s newsroom.
How many technical staff does Al
Jazeera employ across the network?
We have more than 200 technical staff across
Doha, Kuala Lumpur, Washington DC and
London, and our four broadcast centres.
We have around 80 bureaux now. As we
have a large number of journalists around
the globe, we can better optimise the
resources by offering new channels where
we can provide more compelling content.
You mentioned a new playout
infrastructure for your sports channels.
When will you issue the tender?
We are taking a different approach
this time, where we will procure the
equipment directly from the vendor.
Why are you following this strategy?
Although it’s not the practice in the Middle
East, it’s what most broadcasters do across
the globe. We are working with consultants
on purchasing the right solutions and
undertaking the integration. We will buy
the equipment and control the process. As
the project is very large, we cannot make
one systems integrator responsible for the
entire project. It’s better to standardise our
requirements before we begin integration.
How do you manage these projects?
We have a team of project managers
who handle different projects. We
have also allocated committees to
support each of these projects.
What new trends do you see in this
industry?
New media platforms are taking the
lead. We also see greater interest in
IPTV and video-on-demand right now.
Is Al Jazeera looking at distributing
content across multiple platforms?
This is one of the ambitious plans Al
Jazeera has. But to make this possible,
we need to have a suitable media
asset management solution in place.
Presently, there is no MAM solution in the
industry that fulfils our vision of linking
different channels across the globe.
What is your vision of a MAM solution?
Since every organisation’s needs, business
processes, and workflow are different,
it is not possible to select an out-of-thebox
system. A good metadata model that
conforms to a commonly understood
vocabulary is required, and the video logging
staff should be trained to do this efficiently.
A sophisticated MAM requires a nontrivial
amount of support from our IT
department to manage multiple servers
(database, app server, Web server, indexing
engines, speech-to-text systems, etc.).
We want the MAM project to be a
success, so we are not only concerned
with the cost of the initial investment
but also about keeping the system
operational, valuable, and usable.
Al Jazeera is more focused in planning
for the system, developing requirements,
and balancing the “must-haves” versus
the “nice-to-haves” and does not pay
attention to all the bells and whistles
offered by vendors such as different file
formats and so on. We want to make sure
that our staff, who will run the system,
understand the entire workflow.
After all, any Media Asset Management
solution is only as good as the information
it contains. Our main criteria for selecting
the MAM will be an intuitive graphical
user interface (GUI); well defined User
Rights Policies; proxy viewing; rich
time-code-based metadata capabilities;
a robust search engine; support for all
media file types; a strong organisational
structure and good industry support.
In essence, we are looking for a solution
that can repurpose our content for different
media platforms, and can keep track of
each and every asset in the network.
We are speaking with our business
partners to provide us with a virtual MAM
solution that can work across the network,
and handle metadata in multiple languages.
We understand that the requirement
is complicated but I believe that such
a solution will be the future of the
industry as most players want a solution
that can link all platforms together.
How has the role of systems
integration changed in this region?
The era of the box shifter is over.
Systems integrators who are innovative
with their solutions and have a high
level of competency in bringing new
technologies together and know how
to integrate them have a future.
So, no box shifters?
I have advocated against this since I came
to Al Jazeera. There are some projects
for which the work of box shifters can
be appreciated and they can participate
in such projects. But when it comes
to highly sophisticated equipment,
we need good systems integrators.
After all, you are not really buying
equipment; you are buying an
entire solution. Unfortunately, we
do not have as many competent
players in this part of the world.
We are currently seeing alliances
between regional systems integrators
and international players to provide
high integrity solutions.
What new trends do you see in
newsgathering in broadcasting?
Mobility, I believe, is the key. At Al Jazeera,
we work very hard to equip our journalists
with gadgets that are light, compact,
mobile and support HD. We are already
working quite closely with vendors who
are developing gadgets that leverage our
extensive newsgathering capabilities.
Al Jazeera is the only channel that I know
of that is utilising some of these tools. When
we were prevented from broadcasting in
Egypt, we managed to take these mobile
units to the right places at the right time and
managed to deliver the content. Although
these mobile units do not meet broadcast
standards, the flexibility these gadgets offer
to broadcast cannot be overemphasised.
How would you get by customs?
Whenever there is a voice that needs to
be heard by the world, we have our means
to ensure it is heard. Sometimes, we get
to know that something is building up
somewhere and immediately make an
arrangement. For instance, we used 3G
video in Cairo. There are 3G setups now
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24 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 25
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available from several companies. They
provide backpack solutions. Our journalists
went to Egypt with these units. They
captured the video in 3G and put it on air.
When the 3G network was blocked, we used
mini satellite modems to go on air. Mobility
has become key to newsgathering.
What, according to you, is the future of
TV broadcasting?
Unless there is some spectacular
breakthrough in satellite technology, I
believe the future lies in automated content
repurposing and multi-distribution systems.
IPTV and fibre optic technologies are some
of them. Eventually, we have to overcome
the uplinking cost of the satellites.
What’s Qatar’s broadband status?
Qatar has a reasonable broadband
infrastructure and has dedicated committees
to further enhance the power of broadband
here in Qatar. It will be setting the standards
in the near future for broadband. I believe
the price of fibre optics will go down. The
biggest challenge has been the monopoly
exercised by some players in the GCC
region but Qatar is looking to break it and
has taken the lead in this. There will be
fibre optic cables running from Qatar to
Europe, and to Asia via India. These are
direct cables and this project will, hopefully,
be completed before the end of this year.
Who is undertaking this initiative?
I believe it is Gulf Bridge International.
Are there plans to launch a satellite in
Qatar soon?
Yes; Qatar will have a national satellite,
and it is expected to be launched soon.
Does Al Jazeera have a 3D strategy?
Actually, we did have some 3D
coverage for the World Cup. But I
think 3D needs more development.
Our infrastructure is already based on 3D.
Everything we have right now is capable
of broadcasting in 3D. But the problem
is the number of viewers. Only that can
justify investing further in this technology.
With Qatar being the host country
for the World Cup 2022, what can we
expect from Al Jazeera?
It’s too early to tell. We will be preparing
in different ways but frankly speaking,
we are talking about ten years from
now and whatever you deploy now
will be outdated. We are constantly
upgrading to better infrastructures and
we will extend this for the event.
As CTO, how do you keep abreast of
what’s happening all the time?
At Al Jazeera, with so many things
happening, one naturally has to be
tuned in. Learning is a lifelong process
and we have to encourage people
to adapt and keep on evolving.
What, according to you, is Qatar’s vision
for the broadcast industry?
The Qatari government has invested hugely
in the country and its people. It has set
the right infrastructure in all aspects of life
in Qatar. We are investing in laying fibre
optic cables; we are investing in satellite
and more channels. Ultimately, we want
to bring excitement and knowledge to the
many different areas of broadcasting.
Is Al Jazeera responsible for the fibre
optic initiative in Qatar?
It is a Qatar Foundation initiative. They have
already started laying the cables down.
I’m assuming you need landing rights?
Yes, of course. The cost in this region
is very high though. The cost of laying
a fibre optic cable from Doha to
Fujairah is almost half the cost when
doing the same around the world.
Why is that?
Monopoly, and this is what we
are trying to overcome.
Do you have any training initiatives?
We now have a brand new training centre
aimed at training external people as well
as our own staff. Training for Qataris in
the field of journalism and photography
is free-of-charge at our training centre,
and is open commercially to everyone.
We have also signed MoUs with some
Qatari and international universities to
provide internships at Al Jazeera.
Are you going to IBC this year?
Yes, indeed. Amongst other things, I will be
looking for a good Media Asset Management
system. It will be an opportunity to meet
with major solution providers and look at
what’s new in the market. Since our core
business is newsgathering, we will also look
at the best mobile and yet flexible news
gathering means and tools for our staff.
3G equipment is also on top of our list. PRO
Some of the key projects
in progress at Al Jazeera
* Al Jazeera is upgrading its Vizrt system to the
latest 3.0 version at the cost of US$7 million.
* A sports newsroom for a brand new channel
called Al Jazeera Sports News is scheduled to be
launched in November. The newsroom project was
awarded to Dubai SI Qvest Media.
* Al Jazeera is working with Ericsson to upgrade
its existing compression system. This will be up
and running by the end of 2011.
* With the increasing political unrest in the Arab
world, Al Jazeera is equipping its journalists with
12 SNG flyaways. The flyaways will be provided by
Qatar-based systems integrator Salam MediaCast.
The SI has also recently been awarded an IPTV
project that includes monitoring and logging for Al
Jazeera’s sports channel.
* Abu Dhabi based SI Tek Signals has been
contracted to build five brand new studios for
Al Jazeera Sports. The $20 million project is
scheduled for completion in December 2011.
*Al Jazeera and Sony will partner to upgrade all
of the network’s bureaux to HD and as part of that
effort, 46 HD cameras will be installed in some of
its 80 bureaux. The US $3million project is part of
the network’s migration to HD.
September 2011 | www.broadcastprome.com | 27

PROEGYPT PROEGYPT
ERTU upgrades
Project Focus
client: Egyptian Radio and TV Union
Key newsroom suppliers: Aveco and Quantel
studio production suppliers: Sony HD
cameras, Eyevis video walls, Lawo audio mixers,
Miranda graphics
playout suppliers: Aveco and EVS.
Egyptian Radio and TV Union (ERTU)
recently undertook a major project
aimed at upgrading its Studio 5 and
supplying news feeds to its eight
newsroom studios to provide live news
bulletins and live shows.
This ambitious multi-million dollar
project included equipping a brand new
studio and deploying new IT and TV
technologies to enable ERTU’s migration
to a file-based digital workflow.
Studio 5, which was used for ERTU’s
news channel titled NileNews, ran for
many years on traditional technology.
The investment for Studio 5, therefore,
included one Production Control Room
(PCR), one Master Control Room (MCR)
now, and one MCR for a second TV
channel in the future.
The other part of this project involved
sending news feeds to a newsroom. This
includes eight PCRs to produce news
and live shows for all of ERTU’s TV
channels. This supports both IMX 50 and
AVCI 50 formats.
The newsroom includes Quantel video
servers and editing solutions, the ENPS
28 | www.broadcastprome.com | September 2011
NRCS system, Sony VTRs, and Miranda
NVision router and multiviewer.
One common element in both the
studio and the newsroom is the use of the
ASTRA suite of tools from Prague-based
automation solutions provider Aveco.
Studio 5 uses Aveco’s ASTRA Ingest
to ingest video and other media files.
ASTRA MCR and ASTRA News are used
to playout Nile News, ERTU’s 24 hour
news channel, from EVS video servers.
Production is done on a number of Apple
Final Cut Pro systems using placeholders
from ASTRA News.
Likewise, the newsroom is ERTU’s
main production facility and is based on
Quantel production and playout servers.
A distributed ASTRA Orbiter system
manages more than 80 Quantel channels
in eight production control rooms
to develop content for playout and
distribution. ASTRA also provides a
media asset management layer above
Quantel for ingest, redundant playout,
file import/ export, transcoding, archive
control, and media exchange.
Tight integration of content and
metadata between ASTRA and Quantel
has been achieved through a native
Quantel CORBA interface enabling
metadata exchange between ASTRA
and Quantel databases as well as the
importing of clips from agencies such
as Reuters, EBU, and APTN with full
metadata preservation. ASTRA News
receives the rundown from ENPS to
automate the playout of content to
multiple sites such as Nile International,
Nile News, and Nile TV.
One common element in both ERTU’s studio and its newsroom is the use of the ASTRA
suite of tools from Prague-based automation solutions provider Aveco.
September 2011 | www.broadcastprome.com | 29

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“Aveco developed direct access to Quantel’s
database using their API ... [which was] used to read,
update, and create new assets ... ASTRA is a MAM
layer above Quantel providing ERTU [with] a central
view of all its Quantel assets as well as ... the assets of
the two sites”
Roger Crooks, VP of sales and marketing, AVECO
What’s interesting in this project is the
integration Aveco undertook with Quantel
solutions, explains Roger Crooks, VP of
sales and marketing at Aveco.
“Aveco developed direct access to
Quantel’s database using their API. Their
API was used to read, update, and create
new assets. Quantel PowerPortals are
used to import and export clips. What is
key here is that ASTRA is a MAM layer
above Quantel providing ERTU a central
view of all its Quantel assets as well as all
the assets of the two sites,” says Crooks.
PROEGYPT
ASTRA also provides ingest and
playout control of the Quantel systems.
For file ingest, ASTRA loads all file
metadata from various services via an
xml file thus retaining all the descriptive
metadata for the clip. Clips are first
transcoded using Carbon Coder integrated
with ASTRA to ERTU’s house formats.
Both sites are integrated with ASTRA
components and are able to exchange
media as well as control commands via a
high-speed internet connection.
A key element in this project is also
the ASTRA Content Management System
(CMS), which moves clips between
Quantel production systems and EVS
playout video servers, automatically
transcoding the Quantel AVCi 50 format
into Apple Pro-Res format for playout
on their EVS systems. Each site has
full redundancy with mirrored ASTRA
servers. Additional layers of redundancy
are achieved via mirrored playout
channels with automatic failover.
In addition, the headquarters can import
clips from all of the regional studios (as
The multi-million dollar project included equipping a brand new studio and deploying
new IT and TV technologies to enable ERTU’s migration to a file-based digital workflow.
September 2011 | www.broadcastprome.com | 31

PROEGYPT
32 | | www.broadcastprome.com | | September 2011
well as from agencies) under ASTRA CMS
control and has the ability to share clips
with other regions if needed.
ASTRA’s Content Management System
(CMS) provides a high level MAM
over both facilities. The architecture
and workflow have been designed to
eventually include a digital archive
system which will also be controlled by
ASTRA CMS, according to Crooks.
ERTU was looking for an automation
system that is extremely reliable and
Tech Specs for Studio 5
15 Sony HD cameras
Eyevis video walls
Lawo audio mixers
Miranda graphic systems.
Playout area:
EVS video servers
Miranda NVision master control switchers
Vertigo CG, X-3D
Kaleido multi-viewers
Apple FCP editing suites
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PROEGYPT
Key steps in news playout
This installation follows a traditional file-based
workflow for News and playout but with tight
integration with Quantel and Final Cut Pro
production systems.
• The system accommodates various ingest
sources including live feeds from news agencies
and services, cameras (digital and analogue)
from reporters and the other regions around
Egypt. The material can be files or SDI and is
recorded onto a videoserver.
• QA is the next step where the material is
checked for quality and edited if needed.
Metadata is checked and descriptive metadata
is entered. If the content needs to be transcoded,
it is done after ingest and either before QA or as
part of QA.
• What is new technology for ERTU is that the
Quantel system is used for ingest and editing.
ASTRA is tightly integrated with Quantel in such
a way that ingest and file transfers are controlled
by ASTRA.
• For news, the journalists develop their stories in
the NRCS system where they generate the text,
trim the video to fit and put it all together is what
is called a storyboard format.
• The storyboards are downloaded into the ASTRA
News system and a rundown is of the schedule of
stories to be played on air is generated.
highly customisable for customer
specfic needs, says Aveco’s Egyptian
representative Systems Design.
“ERTU wanted a supplier that could
provide a highly reliable system with
seamless failover operation,” explains
Ahmed Gamal, managing director of
Systems Design. “After much research
and talking with the customer, we felt
that Aveco was the obvious choice and
a presentation to ERTU confirmed
that. Throughout the project planning
phase, many other vendors were under
consideration,” he adds.
Aveco, according to Gamal, brings a lot of
advantages. For example, its solutions were
highly customisable to suit the customer’s
requirements. Secondly, it works on a more
robust platform that does not crash often
and is a lot more secure than other operating
systems. These are the key reasons ERTU
chose Aveco over other players.
“Aveco worked closely with us and the
customer to ensure the workflow design
was optimal for ERTU’s needs and the
installation was clean and complete,”
adds Gamal.
Once the project was completed,
training was provided to the end user on
site and also at Aveco’s Prague office.
The Aveco ASTRA system architecture
is extremely scalable without a redesign,
At ERTU’s new facility.
explains Crooks. “Additional channels,
functionality and new devices can easily
be added. Expansion to more than 100
channels is not a problem,” he claims.
The supplier worked closely with
system engineers, Systems Design staff,
ERTU personnel as well as vendors
such as Quantel, EVS and Miranda to
complete this project.
“The Aveco installers needed
experience in ASTRA, TV technologies
and workflows and its software engineers
had to learn Quantel’s CORBA API for
the integration,” explains Crooks.
Development of the software took
approximately one month including
special integration work with Quantel.
Another three months were spent on
specification, installation, fine tuning,
testing, and training.
“This new operation is an excellent
model for going forward and expanding,”
explains Gamal of Systems Design.
“Its new digital workflow provides an
efficient and cost effective operation.”
As with most broadcast sites, ASTRA
News has been designed for easy
expansion of additional studios and/or
broadcast channels.
ERTU also has plans to include a
digital archive and new MCR channels in
the near future. PRO
34 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 35

PROkSA
Saudi TV shifts
into full gear
Project Focus
client: Saudi TV
systems integrator: First Gulf Company,
Saudi Arabia
Key suppliers: Harris, Avid, Hitachi, Advent, EVS,
Snell, Studer, Tamuz, Wohler and Leader
Saudi TV recently took delivery of three Ob
vans including a 16 camera Ob truck and
two hybrid five-camera HD DSNG/Ob vans.
The two smaller vans are designed to
cover small live events for the broadcaster
while the 16-camera Ob van will be used
extensively for sports production including
the coverage of the Saudi football league
matches, for which Saudi TV was granted
the broadcast rights. The Ob project was
contracted to Saudi-based systems
integrator First Gulf Company, which
undertook the integration in partnership
with French company Preview Gm.
BroadcastPro Middle East brings you an
exclusive report from Saudi Arabia
FGC recently delivered three OB vans to Saudi TV.
The 16-camera OB van has an expandable
side that allows at least 16 production
staff and engineering crew to work
conveniently without encroaching into
each other’s work spaces. Besides
complying with standard engineering
rules, the OB van includes special
production and audio areas. An
integrated editing room in the coach also
accommodates two editing suites.
Key equipment in the vans include
the Hitachi SK-HD1000 portable studio
cameras as well as the SK-HD2000 largebody
studio camera along with hybrid
fiber connections.
Speaking about the choice of camera,
Orlando Castro, broadcast systems
manager at First Gulf Company says:
“Selecting an appropriate camera was
key to meeting the client’s requirements
for a flexible design. The Hitachi SK-
HD1000, with its dockable architecture,
can easily morph from an OB camera
system to an ENG camera or to a
wireless camera system.
“We have also chosen system
components that can be used in different
types of live production environments.
Other criteria in selecting the systems were
based more on the ability of the equipment
to give us greater design flexibility.”
The large OB van includes one wireless
camera system.
“We selected the Hitachi SK-HD1000
camera head with wireless adapter and
Linksys HD camera mount wireless
system to ensure complete control of
HD Production Equipment
The 16-camera OB van will be used extensively by
Saudi TV to cover the Saudi football league matches
that are due to begin in September 2011.
HD Multicamera Flypacks
HD Sony HXC-100 Portable HD/SD cameras
HD Camcorders
HD Remote cameras
HD Lenses from Wide to 100X Auto focus
HD Link
Tech Specs
16-camera OB van
36 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 37
PROkSA
4 3xM/E Kahuna Vision Mixer
4 Studer On-Air 3000 fixed frame version
4 Hitachi SK-HD1000 and 2000
4 Wirelss camera - Hitachi SK-HD1000
and Linksys HD TX/Rx
4 Wohler monitors (rackmounted)
4 Tamuz 24” LCD monitors
4 2 x EVS XT2 HD six-channel slow-mo
cameras
4 Harris Nexio server (for playout)
4 Harris Inscriber G5 character generator
4 Panasonic AJ-HPS2500 P2 deck recorder
4 2xAvid NLEs (Media Composer Nitris DX)
4 64 ports Clearcom Intercom system
4 Harris 96x96 3G/HD/SD Platinum
routing matrix
4 Harris 64x64 mixed format Platinum audio
routing matrix
4 Leader SPG
4 Harris glue and HD converters
4 60 KVA 3 Phase backup generator
with ATS system
4 UPS System
4 Schill motorised cable drums
4 7 x A/C compessors and 16 x Air
Handling Unit
The other 2 x 5 CAM DSNG vans have
almost the same equipment on board but
with smaller size.
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PROkSART
If the main intercom system fails, the end user will be able to utilise the
features of the Studer On-Air 3000 audio mixer talkback system.
the camera adjustment through the
wireless interface.
Linksys also upgraded its wireless
interface so we could use the normal
Hitachi OCP for remotely adjusting the
camera settings.”
All three vans are capable of working in
multiple formats including full HD, mixed
HD and SD or full SD.
The 16-camera OB van does not include
an uplink facility although the other two
smaller vans have a redundant uplink
system from Advent and supports any
combination of DVB-S or DVB-S2 with
MPEG-2 or MPEG-4 compression.
“What makes these vans unique is
the sophisticated HD equipment we
have used in broadcast, collaboratively
designed and integrated by FGC and
Preview GM of France. More importantly,
FGC has kept in mind system redundancy
rather than component redundancy.
“Although the main equipment has
redundant components, what if the main
component redundancy fails or if the
redundant component is not the cause
for the failure of the equipment? To avoid
a single point of failure in the video and
audio chain, we have anticipated various
scenarios and put contingency measures
in place within the design.”
Castro cites the example of the
intercom systems used in the van.
“Besides the usual video and audio
emergency changeover system, FGC has
also enhanced the design of the intercom
system by utilising the features of the
Studer On-Air 3000 audio mixer talkback
system. This will take over should the
main intercom system break down,”
explains Castro.
The 16-camera OB van has also been
fitted with two on-board Avid NLEs that
can provide last minute edited clips
during live events. The NLEs are fully
integrated with EVS and Harris servers.
The OB vans were delivered recently to
Saudi TV. PRO
Walid AlMoukhtar,
general manager,
First Gulf Company
Saudi Ministry of
Culture and
Information has
constantly been
involved over the
years in introducing
progressive and
innovative
technology at its
broadcast facilities,
whether it is the
introduction of High
Definition, the MENOS network or Digital
Terrestrial Television. As a systems integrator
based in the Kingdom, we have been
privileged to be a part this progression
because it has given us the opportunity to
continuously innovate and stay ahead in our
understanding and deployment of
state-of-the-art technologies.
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38 | www.broadcastprome.com | September 2011 InGame are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. All other September trademarks contained 2011 herein | www.broadcastprome.com are the property of their respective owners.
| 39

PRObAHRAIN PROBAHRAIN
PRObAHRAIN
Bahrain takes
HD measures
Project Focus
client: Bahrain TV
systems integrator: Salam MediaCast, Dubai
suppliers: Axon, Evertz, Harris, & Ericsson
bahrain TV recently invested in a brand
new, state-of-the-art master Control
Room (mCR) and upgraded its existing
uplink facility to support its HD
transmissions. With the upgrade,
Bahrain TV can now add HD channels to
its uplink bouquet.
The US $1.2 million HD project, which
was undertaken with the intention of
launching an HD channel in time for
Formula One, was completed by Salam
MediaCast in early summer.
Although Formula One was cancelled
in early summer due to the unrest in the
country, the state-backed broadcaster is
now fully geared to run a HD channel in
the country.
At the core of the new HD MCR facility
is an Evertz EMC master control switcher.
The 3025EMC platform helps end users
migrate their facilities cost-effectively to
an SD, HD and 3Gb/s infrastructure. A
Xenon router along with an X-Link multiviewer
was used as an up-stream router
for the EMC master control switcher.
A video server from Harris records and
“We addressed this by first installing a replacement to
the present SD system. We then carried out the upgrade
to the older system. After completing the commissioning,
we tested the new upgraded satellite bouquet on air
before removing the temporary solution.”
Muhammad Saleem Afzal, technical manager, Salam MediaCast
plays back the HD transmission content.
Separate clients have been provided for
ingest and playout.
Axon Synapse HD modules were used
as glue and the foundation to interconnect
several components while the present
SD satellite platform from Ericsson was
upgraded to facilitate HD transmission.
The new MCR has been fully integrated
with the old system, thereby, enabling
Bahrain TV to broadcast its sports
channels in both HD and SD. Viewers can
view their channel in SD or HD depending
on the receivers they have in their homes.
Bahrain TV also has a full-fledged HD
virtual studio that was built late last year
by Salam MediaCast. The virtual studio
will be utilised to produce programmes
and talk shows for the HD sports channel.
Salam also upgraded Bahrain TV’s
satellite uplink facility as part of this
project. The uplinking facility previously
supported only SD transmissions. Now,
the received HD feeds from the satellite
are fed to the HD virtual studios and the
The Central Apparatus Room at Bahrain TV.
HD MCR. A test HD transmission was
conducted in early summer.
The MCR has been installed alongside
Bahrain TV’s existing playout facility for
its sports channels while the upgrade
for the uplink was undertaken at its
satellite area.
As with most projects in the Arab
world, Salam MediaCast worked towards
a tight deadline. In addition, upgrading
Bahrain TV’s present SD satellite bouquet
platform to accommodate HD channels
without disrupting the current satellite
transmission setup was a challenge, the
SI claims.
“We addressed this by first installing a
replacement to the present SD system,”
explains Muhammad Saleem Afzal,
technical manager, Salam MediaCast.
“We then carried out the upgrade
to the older system. After completing
the commissioning, we tested the new
upgraded satellite bouquet on air before
removing the temporary solution.”
Bahrain TV is also looking to upgrade
Above is a photo of the HD MCR and
the wiring for the same below.
its entire sports infrastructure to HD.
Salam MediaCast also provided
training for the Evertz MCR, the Harris
Server and the IVSM graphics package to
the end user. PRO
Key steps in the playout
of HD news VIRTUAL STUDIO
Late last year, Salam MediaCast also set
up an HD virtual studio for Bahrain TV. The
system includes a tracking system from
IVSM and is equipped with three Sony
HD cameras. Key equipment at the studio
include the Chroma Box for keying and cool
lights from ARRI. The control room includes
a multi-format 2ME KAHUNA vision mixer
from Snell and a digital audio console from
Yamaha. This studio was used during the
Asian Soccer World Cup in Qatar 2011.
However, as Bahrain TV did not have an HD
transmission facility, it transmitted in SD.
40 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com |
41

PRODVb-T PRODVB-T
PRODVb-T
DVB-T/T2 Strategy- The
Future of Broadcasting
Vincent Paul Tep explains why DVB-T/T2 transmissions are the way forward for national
broadcasters looking to migrate from analogue to digital broadcasting
Terrestrial broadcasting continues to be
the most effective means of
communication in a large number of
international regions. National
broadcasters in Europe, the Middle East,
Africa and elsewhere still rely on over-theair
television and radio as the best way to
DVB - T/T2 Infrastructure (Fig. 1)
National VHE
IP Distribution or Satellite
National VHE
Build Transport Stream
communicate to their populations.
For some populations, radio and/
or print are the only means of
receiving communication from national
broadcasters. Television, however,
provides more credibility to the population
as they can view the message as it is
DVB-T/T2 adaptation —
The Link to the Transmitter
DVB-T/T2 Infrastructure
Local VHE
Local
IP/Microwave
Networks
IRD+PID remap
IRD+PID remap
Region 1: City
Transmitter/Antenna
Bring Transport Stream to Home
conveyed, rather than relying solely on
audio or the printed word.
As these national broadcasters
gradually migrate from analogue to
digital broadcasting, it’s important to
have a well-planned infrastructure
to support a quick rollout. This
Region 2
IRD+PID remap
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42 | www.broadcastprome.com | September 2011
September 2011 | www.broadcastprome.com | 43

PRODVb-T PRODVb-T
“DVB-T is considered
the most widely deployed
digital terrestrial system
on a global basis. More
than 119 countries
have thus far adopted
or deployed the DVB-T
standard, using mainly
UHF or VHF spectrum”
Vincent Paul Tep, Harris Broadcast Communications.
National VHE Workflow (Fig. 2)
SDI Sources
ENCODE VHE
ROUTER
BLOCK
National VHE Workflow
ENCODER
BLOCK
chain, as interoperability with the selected
transmitter is not always guaranteed.
Figure 2 shows the National VHE
workflow for DVB-T/T2.
Most sources are delivered in SDI
at premium quality, with the national
broadcaster providing SDI sources direct
from the studio. This makes the National
VHE an encoding platform for premium
DVB-T/T2 services.
New infrastructure and networking
equipment exists in today’s market to help
national broadcasters build National and
Local VHEs in an efficient manner. Like
cable and satellite, five distinct “blocks,” or
workflow functions, define the terrestrial
National VHE:
• Router Block: Video sources come from
studios or from contribution via satellite,
but are decoded and delivered to the VHE
in SDI format. The router block directs the
sources to the correct encoder. Routing is
also necessary for encoder redundancy.
• Encoders Block: This supports H.264
or MPEG-2 source encoding, depending
on the choice of the DVB-T/T2
deployment, and is mostly accomplished
MUX
BLOCK
DVB-T/T2
ADAPTATION
BLOCK
MODULATOR
BLOCK
within statistical multiplexing for
bandwidth optimisation.
• MUX Block: The MUX builds the
final transport stream for viewers. This
process combines all incoming signals
from the encoder block in the form
of statistical multiplexing, while also
inserting DVB signalisation.
• DVB-T/T2 Adaptation Block:
This warrants adaptation if it is an
SFN deployment, via insertion of
synchronization data using GPS technology.
DVB-T2 will further require adaption of the
multiplexer output in T2 framing (PLP and
encapsulation to the T2 frame).
• Modulation Block: This depends on the
way the final stream is carried over the air.
Satellite is used for the most part, but the
transport stream may also be carried via IP,
cable or microwave. Strategic and financial
considerations factor into this decision.
national vhe & dvb-t/t2 adaptation
A DVB-T/T2 VHE uses the same process
as any other VHE, but needs a specific
complex adaptation strategy to support
processes like SFN adaptation and T2
SAT
Terrestrial
frame encapsulation. DVB-T/T2 adaptation
is the key component that links the National
VHE to the entire DVB-T/T2 transmitter
infrastructure. It won’t work without proper
implementation, and broadcasters need to
look at the VHE as a complete picture to
understand its significance in the chain.
There are two ways to implement
the DVB-T/T2 VHE. One is the discrete
approach, the long-favoured method that
employs a specialised method where
each box serves a single function. This is
a reliable method due to the redundant
nature of the hardware installation (a
monitored network with backup encoders),
but there are a number of weaknesses
(single point of failure in the network
management system, high number of
connectivity points).
The better strategy is the “platform
approach,” which vastly simplifies the
implementation. Rather than thinking
“box,” the platform approach envisions
the VHE workflow as a single, unified
function — including DVB-T/T2 adaptation.
Reduced power consumption, fewer
The First Gulf Company For Supplies &
Contracting LTD (FGC) was established
in 2001. The company has diversified
into many industries such as Electronics,
General Contracting and Trading. Over
the past years, the company has built
a good reputation supported by highly
qualified professionals.
The Company was formed to create its
business with a commitment to quality
connectivity points and optimised
redundancy are the chief benefits.
Recent industry trends point to the
validity of the platform approach. The
consolidation, or “vertical integration,” of
more encoders into a single box was an
initial step. The subsequent integration
of more functionality into the same
units, including SFN adaptation, video
scrambling, multiplexing and sometimes
modulation, proved the benefits of what we
call “horizontal integration.”
The overall concept of the platform
approach is to integrate the entire block at
once, creating a “VHE in a Box” scenario
without losing the benefits of a discrete
design — while simultaneously resolving
its weaknesses. Additional takeaways from
this approach include a granularity of one
(compared to having four encoders in 1RU
fail simultaneously, i.e., a granularity of four,
cards can operate in clusters and backup
cards can operate independent of chassis
location). Other takeaways include built-in
connectivity with no single point of failure,
and preservation of the VHE network
in order to provide the ideal solutions for
each project. The staff of well qualified
and trained engineers and technicians
come together to produce significant and
high quality engineering work.
Today, FGC dominates the broadcast
Systems Integration business in Saudi
Arabia, and is rapidly growing in its other
business of General Contracting and
Telecom Value Added Services (VAS).
aspect for high reliability. Cable and rackspace
requirements are vastly reduced; in
fact, cables are required strictly for sources
and output connections from the transport
stream. This amounts to an approximate
93% reduction in cable. The comprehensive
benefit to the industry is that the platform
approach focuses on the application instead
of the “box,” making DVB-T/T2 accessible
to any broadcaster interested in these
standards. Services can be added without
hassle, maintenance is simplified and costper-local
VHE is reduced.
Taking the entire concept into
consideration versus the traditional discrete
approach, the newer platform approach
provides a complete and simple solution
for DVB-T/T2 rollouts — allowing national
broadcasters to roll out digital TV services
in the short term without requiring an
immense investment in resources. PRO
Vincent Paul Tep is product marketing
manager, Contribution and Distribution,
Harris broadcast Communications.
Tel: +966 1 219 0888 Fax: +966 1 219 1888 P.O.Box 25560, Riyadh 11476, Kingdom of Saudi Arabia
44 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 45

SUMMIT
Discuss. Debate. Disseminate
BroadcastPro Middle East’s inaugural Summit and Awards will
be hosted on November 23, 2011 in association with the
Arab States Broadcasting Union (ASBU), an IBC award winner,
and the most innovative and dynamic pan-Arab organisation
involved in establishing and maintaining best practices in the
field of broadcasting.
The Summit is a reflection of the commitment we first espoused
at the launch of BroadcastPro Middle East – to bring together
industry peers regularly through workshops and conferences
to share technology intelligence, debate best practices and
standards in the industry, discuss international and regional case
studies, and take home a wealth of knowledge that will enable
FOR SPONSORSHIP AND TABLE BOOKINGS, PLEASE CONTACT:
Raz Islam
Sales Director
Tel: +971 4 440 9129
E-mail: raz@cpidubai.com
Sandip Virk
Group Sales Manager
Tel: +971 4 440 9130
E-mail: sandip@cpidubai.com
us to make more informed decisions at our work places.
BroadcastPro Middle East is working alongside ASBU and a board of
technical advisors to ensure that we offer a comprehensive one-day
learning experience for the industry at the Summit. This conference
is an extension of the WorkshopPro series we launched last year.
The inaugural workshop was conducted in Dubai along with Dolby
and partners, Axon, Tektronix and Thomson.
The Summit will be designed by professionals for professionals.
We will wrap up the event with a gala awards ceremony designed
to recognise and acknowledge excellence in the industry.
www.broadcastprome.com/summitandawards2011
FOR NOMINATION ENQUIRIES, CONTACT
Vijaya Cherian
Senior Editor, BroadcastPro Middle East
Tel: +9714 440 9113
E-mail: vijaya@cpidubai.com
AWARDS
Recognise. Reward. Reinvigorate
Innovation and excellence must be acknowledged and rewarded to
encourage further innovation and excellence. The ASBU BroadcastPro
Middle East Awards have been designed to reward excellence
among individuals and end user companies who have deployed
winning or innovative technologies or made significant contributions
to the local broadcast industry.
We will have several award categories that include contributions
in fields across the broadcast workflow, from production and post
production to traditional broadcast and new media platforms.
Although most of our awards will seek to acknowledge technical
excellence, we will also provide one award for commercial innovation
in the region.
OPEN FOR NOMINATIONS
Visit www.broadcastprome.com/summitandawards2011
ASBU
Encouraging Arab innovation
ASBU, the most reputed and innovative non-profit
broadcast organisation in the pan Arab world and an IBC
award winner, joined hands with BroadcastPro Middle East as
part of its efforts to tie with a partner that understands
the market but also respects the need for integrity and
credibility in choosing winners.
What we will, therefore, put together is a panel of judges
with skills in different areas so it is fully competent to judge
the nominations. Our partnership with ASBU is designed to
encourage greater participation from across the pan Arab
market and to ensure that the choice of winners is a more
transparent, yet competent process.

PROJORDAN
Jordan leads the way
In an exclusive interview with BroadcastPro Middle East, Jordan Media City’s CEO
Radi Alkhas talks about the media zone’s unique offerings and its recent projects
Tell us a bit Jordan Media City?
JMC is a private company founded as a result
of an agreement between the Jordanian
government and Dallah Production
Company. It was set up with a capital of US
$14 million.
Our aim is to be the leading media hub in
the region with the ability to play out and
uplink television channels to cover the
globe with state-of-the-art studios and
production facilities.
We serve as a global satellite and fibre
content distribution service provider and
offer uplink to satellites covering the Arab
World, Europe, Asia, Australia and Africa;
downlink and turnaround services; playout
of television content services; satellite news
gathering (SNG), and sports and other feed
services. We also offer fibre optic capacity for
global distribution; production facilities and
support as well as training courses.
What facilities do you have presently?
Our main complex boasts two production
studios of 600m2 in net floor area, along
with control rooms and artists’ areas. The
studios are used for the production of
television series and talk shows. Also, two
studios of 70m² are used for interviews and
news feeds.
We have twenty post production editing
suites furnished with the latest equipment.
JMC has a nine-camera OB van equipped
for sport and large events coverage, and a
four-camera unit equipped with mixing,
recording and editing facilities.
We have a 1.9m flyaway SNG in both C and
Ku bands.
Our playout system is very sophisticated.
JMC operates state-of-the-art ingest
servers, archive systems and playout
services for 70 channels.
We also have a teleport located on a
40,000sqm land area.
“In addition to satellite
and fibre options, there
are ... different ways
to deliver content.For
instance, we are looking at
a potential Content Bank
... to distribute content to
broadcasters instead of
delivering it on tapes”
Radi Alkhas, CEO, Jordan Media City
JMC has a number of earth stations for
reception and retransmission from Asian and
European satellites to Nilesat 101, 102, 104
and Arabsat 2B, Badr-4, Badr-6, Eutelsat
(Hotbird 8) and Asiasat 5. In addition to this,
we also have a fibre link connected to
Globecast’s global network.
How many people work at JMC?
We have a full time staff of 170 individuals
who have extensive experience in the
production and engineering fields and are
considered to be among the best in Jordan
and the region.
Jordan Media City is located next to Jordan Radio and Television station.
Bosch Communications Systems
UAE: Robert Bosch Middle East FZE, Phone: +971 42123-363
PROJORDAN
Can you explain the nature of your
partnership with Arabsat and what joint
offerings you provide clients?
Yes, JMC and Arabsat have a successful
partnership. We have a joint venture for a
32-channel playout centre. Essentially, JMC
provides Arabsat clients playout and uplink
facilities to any Arabsat satellite.
Do you have a contract with Yahlive?
Yes. We have completed our negotiations
with Yahlive in the UAE and are looking to
sign the contract.
Is there any special advantage in going
with Yahsat?
All the channels from Yahlive are to be
transmitted in HD. The European beam is
less expensive than Hotbird but the orbit
position is 52.5E°.
Are you building a new earth station?
Yes. Once the contract is signed by Yahlive,
JMC will build an earth station to uplink
to the Yahlive satellite, which is looking to
transmit channels only in HD.
Big intercom
in a sma mall pac ac acka kage ge
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Toggle other devices with relays
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for easy linking to other devices
such as lighting and paging amps.
www.rtsintercoms.com/zeus3
Innovating the future
of global communications
48 | www.broadcastprome.com www.broadcastprome.com | September September 2011 2011
September 2011 | www.broadcastprome.com | 49
See us in
Hall 10, Stand D20
ZeusIII_BroadcastPro_ME_175x110_insetIBC2011.indd 1 12.08.11 13:46

PROJORDAN
“Once the contract is
signed by Yahlive, Jordan
Media City will build an
earth station to uplink to
the Yahlive satellite”
Radi Alkhas, CEO, Jordan Media City
Which supplier are you looking to
partner with for the earth station?
The supplier for the earth station will be ND
SatCom. For the HD compression equipment,
we are looking at three companies primarily
Ericsson, Harmonic and Thomson.
What’s the budget for this?
US $1.5 million is the proposed budget.
What’s your opinion about Ka-band?
We are still negotiating with data companies
about Ka-band. Ka satellite technology could
be useful in the Middle East and North
Africa because of the low rate of rain fall.
We hear you have plans to build a new
Technology Monitoring Centre?
Yes, we are studying the feasibility of
offering content monitoring services for TV
channels covering the Middle East and
North Africa.
How much capital would be necessary
to launch such a facility?
This type of project will grow in time. We
will start with 20 channels and gradually
grow to 300 channels. The investment
depends on the demand. In the final stages,
it could go up to US $500,000. The
investment will also depend on how
elaborate the monitoring system is.
Are you the only free zone in Jordan?
No, Saudi Jordanian Media City also
operates out of Jordan.
JMC’s teleport.
What are the challenges you face now?
We have to be able to forecast what the
market needs and be one of the
frontrunners in providing that solution. In
addition to satellite and fibre options, there
are so many different ways to deliver
content.For instance, we are looking at a
potential Content Bank or as some like to
call it, a Content Mall. This is to distribute
content to broadcasters instead of
delivering it on tapes. We are also looking
at the ability to deliver to mobile providers,
IPTV and telcos.
Are you doing anything on this front?
We are talking to partners in these markets
and are looking at potential joint ventures.
Moving forward, what are JMC’s plans?
We need to have more links with Europe and
Asia; more content storage and distribution
to different platforms; more high-quality
Arabic production; and more local, more
inclusive and more interactive media. PRO
50 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 51

PROREVIEW
Prosumer
stereoscopic
3D in the
palm of your
hand
UAE-based stereographer Clyde DeSouza
puts the Sony HXR-NX3D1U through its paces
Last month, I got my hands on the
soon-to-be-released 3D camera from
Sony; the HXR-NX3D1U. Broadcast Pro
Middle East called me and asked if I
would like to test this camera and
report my experience.
Being one of the few stereographers in
the region, and rarely getting gear to play
around with, I jumped at the opportunity.
On getting delivery of the box from the
Sony rep, I quickly scrambled to open the
packaging, much like a child opening his
birthday present.
The box contained a surprising number
of welcome accessories. A shotgun mic
was included along with a unit that
accepts XLR audio inputs and hooks into
the top shoe on the camera. With the
audio unit snapped in place, and the
shotgun mic inserted into its clamp, you
get a nice handle and the camera unit
suddenly morphs from camcorder to a
camera that will, no doubt, attract the
interest of security personnel at malls. At
least, this was my experience, where I
was stopped from shooting with it, as they
said it looked like a professional camera,
and I’d need a permit to shoot with it.
The dual barrel 3D lens and lens hood
looking back at the security guard gave
him enough reason to believe that I was
not the average tourist! With the audio
unit removed and the lens hood detached,
the camera passes of for a typical
camcorder. Something I am very excited
about. Why? Because it then becomes
unobtrusive enough for me to take on
stereo 3D previz assignments.
I won’t go into the “brochure”
explanation of the camera, because that’s
what brochures and Google are for.
Just the basics. The camera is
lightweight and feels like an average
camcorder would feel in your hand.
It has a built in HDD (hard disk drive)
for recording, but there is also a multicard
slot that accepts a memory stick and
SD cards, so you’re well covered in case
at any one time you fill up more than
seven hours – the T for which camera can
record in 3D at one go.
The camera is compact and contains
two of Sony’s Exmor R imaging sensors
with double Sony G lenses. The NX3D1U
“The NX3D1U records in AVCHD MVC (multi-view
coding). MVC may just become the standard for 3D
transmission and broadcasts, as it allows for backward
compatibility (i.e. 2D viewing) and 3D, with suitable
set top boxes and/or TVs.”
Clyde DeSouza, stereographer
records in AVCHD MVC (multi-view
coding). MVC may just become the
standard for 3D transmission and
broadcasts, as it would allow for backward
compatibility (i.e. 2D viewing) and 3D,
with suitable set top boxes and/or TVs.
In fact, when you first move or copy
your 3D recordings from the HDD via the
USB port of the camera or from the
memory sticks to your PC and open it in a
media player, you only see a 2D video. You
don’t see the familiar side by side video,
also known as frame-compatible 3D video.
In order to edit video or extract the
distinct left and right eye views of the 3D
clip, Sony has included a CD ROM with a
software dubbed Content Management
Utility (Ver 2.). However, I did not have
the CD in the box, as this was a preproduction
model, so I had to resort to a
little investigation on the internet to find a
suitable work-flow. I’ll get to that in a bit.
So what does this camera do to help
create “good” stereoscopic 3D content?
We all know that 3D in its current
incarnation, is new and even Hollywood
still has “L” plates on its 3D camera rigs.
Sony has been at the forefront in
spreading awareness and best practices
for undertaking 3D projects properly with
its much-acclaimed workshops for
Hollywood movie professionals.
Some of the knowledge thus trickles
down to its prosumer 3D gear as well and
that, according to me, is a good thing.
This camera has a 3.5” auto-
PROREVIEW
stereoscopic 3D LCD viewfinder.
Auto-stereoscopic is the correct term to
use when describing viewing of stereo 3D
without the need for any special viewing
aid such as 3D glasses.
All of us have seen auto-stereoscopic 3D
at some point or the other in our lives. The
classic example is those little flip rulers or
postcards where the view changes as we
turn them between our fingers.
The LCD is selectable between 2D
image, (left / right) also a 2D mix of the
left and right, sometimes called 50-50
overlay by stereographers and finally, an
autostereo 3D version.
The quality of the autostereo mode is very
good, but with some caveats in my opinion.
Here are some advantages and some
suggestions on how the camera can be a
better 3D solution.
Let’s start with what was it like to go
outside and shoot with this camera?
Last month in the UAE, we had weather
that even the most expensive colour
grading suites in the world would not be
able to clean up. Unsaturated grey skies
were the order of the day along with dust
in general. I did manage some indoor
shots, and finally decided to put the
camera through its paces at the new 3D
lab at twoFour54, the media zone
authority of Abu Dhabi (UAE).
twofour54 was kind enough to allow me
to use the studio and 3D preview
equipment at the lab.
One of the first “professional” tests I
did was check how perfect the zoom was
with this camera.
What makes this camera appealing as a
3D camera is that there is no need for a
semi silvered mirror, also called a
beam-splitter 3D rig.
In the NX3D1, the interaxial, or
distance between the mid points of the
lenses is approximately 1¼ inches apart,
less than the average human eye spacing
(interocular). This allows for some
well-rounded 3D in most situations. Of
course, you can’t expect to take this
camera to the top of Jebel Hafeet
mountain in Al Ain, UAE and aim it below
and get a nice 3D view of the city and
valley below. That would need two
52 | www.broadcastprome.com | September 2011
September 2011 | www.broadcastprome.com | 53

PROREVIEW
The Sony HXR-NX3D1U being tested at twofour54’s 3D facility.
identically lensed and genlocked
cameras placed up to two metres apart
to give you any sense of 3D.
So with the NX3D1 camera, what you
do get is great all round 3D for typical
scenarios such as the run-and-gun style
documentary footage, stereoscopic 3D
previz for movies, 3D interviews, B-roll
camera takes and, of course, 3D home
videos (if you’re rich, I hear the
approximate street price is around
USD $3000).
There is a steady shot function that
worked surprisingly well, even on
hand-held shoots that I did, though to
be honest I did not put this “stabilised”
3D footage through tracking software
such as Adobe After Effects and so on,
to check if stabilisation was applied
equally to both left and right eyes.
What I did do was set up a camera
54 | www.broadcastprome.com | September 2011
test chart at twofour54 3D lab, and do
a zoom in. The results were fantastic,
with no perceptible shift of lens
optical centre noticeable while
performing the zoom.
Now we never really zoom in 3D
anyway, at least in movie making,
because the act of zooming (telephoto)
compresses depth in an image and can
make the 3D look like cardboard
cutouts, much like the flat layers of 3D
one sees when looking through a pair
of binoculars.
One of the best practices for good
“rounded” 3D is to Dolly-in or physically
move in closer with the camera rather
than to zoom in.
For 3D sports capture, however,
there is no option at times, but to use
zoom lenses.
The perfect 3D previz camera:
The NX3D1 previz advantage:
Due to its compact size, this camera is ideal for
location scouting in 3D, where 3D rigs and other
side-by-side 3D cameras would be too
cumbersome to manoeuvre and or attract
unnecessary attention.
The Steady Shot feature in 3D allows
simulation of what a steadicam shot would look
like in 3D (invaluable for 3D movie makers)
Zoom in 3D, should the director and or
documentary or sports camera person need,
would show approximately how good the
resulting 3D would be (composition, possible
effect of card-boarding on scene etc).
These are only some of the scenarios where
this camera can help out professionals involved
in both broadcast 3DTV and 3D filmmaking.
Either way, what really impresses me
about this camera is that it makes for the
perfect 3D previz system. Pre-visualisation is
used by movie makers who care.
It is the art of visualising a scene or parts
of the movie and how the scenes will all fit
in, prior to actual filming the shots on
location. Location Scouting is part of previz.
Would footage shot with this camera make
its way onto broadcast 3DTV is a question to
be reckoned with. If the bit-rate for
recording can be improved or with a
NanoFlash device attached, strictly for 3DTV
broadcast, a side-by-side image would pass
the QC at the broadcaster’s facility. Today,
3DTV is in frame compatible mode anyway,
and no one is yet transmitting a full HD3D
TV signal.
Sony should also ideally include a sync
port or Master/slave port on such cameras.
The reason being they could actually sell
two such cameras, because if placed side by
side, we then have a choice of multi
interaxials. We could use left eye of camera
1 and right eye of camera 2 as a stereo pair,
or right eye of one camera and the left eye of
the other for really close interaxials.
By placing the cameras one metre apart
(and limited only by cable length), we could
get great hyper stereo shots. Something to
think about for all manufacturers of fixed
interaxial cameras out there!
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PROREVIEW
PROS:
n Compact 3D camera that records in 3D
at 24p, 50i and 60i in HD.
n Records in 2D mode (with more
control over certain camera features)
and 3D mode.
n 3D viewfinder, auto-stereoscopic, good
for some, not so for others.
n Professional audio inputs.
n Multitude of media options for
recording (HD, Memory Stick, SD card).
n Convergence control.
n HDMI output as side by side in addition
to frame packed mode, allows monitoring,
recording or live viewing.
CONS AND WISHLIST
n Bitrate of 28mbps for 3D is not
impressive.
n 3D LCD is good for beginners shooting
in 3D, but the autostereo 3D screen is
prone to pseudo stereo (inverted 3D)
depending on the angle of view. The
correct angle or sweet-spot is hard to
maintain if you’re trying to follow action
and look at the monitor at the same
time. This renders it pretty much
useless as a live 3D viewfinder. In
playback mode, it’s a good feature.
n MVC format means that editing the
video is not as straightforward as very
few video edit software support MVC
natively. Sony Vegas Pro does, but once
you import the clip in 3D on the Vegas
Pro (ver 10e) timeline, I couldn’t view it
in 3D, just a 2D view was possible.
For best results, you need to extract the
left and right views from the MVC file
using the included Sony conversion
utility prior to doing anything useful with
the footage.
n HDMI outputs video in user selectable
format of frame packed and Frame
compatible (side by side). But this does
mean that one can’t simply connect a
Target audience
At a rumoured USD 3000/- street price, where
exactly does the NX3D1 fit? I don’t quite know if
someone would be willing to spend the money
for such a camera simply to document their
child’s first birthday, but I do get a feeling that as
the workflow gets easier with MVC editing, that
this camcorder will be a hit with teachers who
are beginning to use stereoscopic 3D in the
classrooms to keep students interested.
Ad agency creative departments, movie
location scouting and previz departments in film
production studios would definitely benefit from
owning a few NX3D1s.
As a behind-the-scenes and B-roll camera,
there is a big opportunity to create BluRay
“extras” for bundling with 3D Bluray discs or
3D DVDs.
high end recorder such as a Nano Flash
and record full HD 3D at higher bit rate.
The process would involve recording
either a side-by-side version at a high bit
rate (better than simply the inbuilt
28mbps) or actually putting in some
additional gear to demux the frame
packed (full HD3D) signal into separate
left and right streams and then feed these
into a NanoFlash 3D recording unit.
n Unlike the Panasonic AG3DA1 that has
dual HDSDI output so that a high bit rate
external recorder can be used, the NX3D1
only has a mini HDMI port and one would
have to use a procedure as listed in the
previous point above.
However, something overlooked in the
Panasonic AG3DAI is a simple side-byside
output over HDMI for previewing on
professional 3D monitors that do not
accept frame packed 3D, and in this
regard, the NX3D1 triumphs.
n It’s not completely fair to compare the
Panasonic AG3DA1 (an approx US
$21,000 list price) camera to the NX3D1,
but there’s no denying that a comparison
in people’s minds will pop up, depending
on the context that different people have
in mind for these compact fixed interaxial
3D cameras. PRO
Clyde DeSouza is a stereographer and
technology advisor at Real Vision FZ LLC,
a creative technology firm that uses
stereoscopic 3D and augmented reality in
visual communications.
MediaCast
#1406, Al Thuraya Tower 1, Dubai Media City, UAE
& presents:
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56 | www.broadcastprome.com | September 2011
+9714 368 1623 | info@mediacastsys.com | www.mediacastsys.com September 2011 | www.broadcastprome.com | 57

PROUAE PROUAE
Wild Arabian
Adventures
bbC’s Wild Arabia team was in Abu Dhabi recently to
shoot its first major TV series on wildlife in the Arab world.
Producer Chadden Hunter shares exclusive production
notes with Anuradha Mojumdar
The Arabian Peninsula is a stage for
breathtaking and beautiful landscapes,
elaborate eco-systems and rich natural
and cultural history. For a TV series to
attempt to capture this is a riveting
prospect for audiences as well as the
producers of such a programme.
Whether it is the falconry festival and the
camel beauty pageant or desert foxes and
exotic aquatic life, the potential for new
stories is huge.
As viewers, we have come to expect a
certain standard, especially when it comes to
programmes about wildlife thanks to the
documentaries shown on Nat Geo Wild,
Animal Planet and so on.
The fact remains, however, that behind
the breathtaking images on screen, lies a
harsh and punishing terrain whether it is the
Amazonian forests or the heat of the Arabian
desert, that the team has to endure before it
can produce works of art. In the Arab world,
the team shot in the peak of summer, when
temperatures soar to between 40 and 50
degrees Celsius.
BBC Wild Arabia, which is in production,
will be the first major television series to
showcase the extraordinary wildlife,
landscapes and culture of Arabia and will be
shot in High Definition. Wild Arabia will
consist of three episodes each lasting an hour.
The series will cover the Arabian Peninsula
and the main locations will be UAE, Oman,
Saudi Arabia and Yemen. The entire shoot is
being conducted with the support of the
Western Regions Development Council
(WRDC) in Abu Dhabi.
The BBC decided to take on Wild Arabia
as a publicly funded series in early 2010 and
partnered with Animal Planet to bring in
extra funding for the project. In return, the
58 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 59

PROUAE
series will also be aired on Animal Planet.
“The idea of coming to this area of the
world to do a natural history series has been
kicking around for a while,” says the show’s
producer Chadden Hunter.
“For quite a few years, there has been an
interest in a series about Arabia, knowing
there are very rich oceans and some
surprising stories that haven’t been covered.”
The series will showcase the diverse
terrestrial and aquatic life including a look at
the oryx and the Arabian leopard. It will also
cover the Bedouin culture, its camel and
falconry festivals while also attempting to
unravel the mysteries of the Empty Quarter.
Hunter is particularly interested in filming
dugongs in Butina Island and is in talks with
Environmental Agency-Abu Dhabi (EAD) to
shoot its annual project to place trackers on
dugongs’ tails.
“That is a really great story about Abu
Dhabi’s conservation efforts; it has a human
side to it. Conservation in the Gulf has had a
challenged history if you want to put it that
way. It is the stories of people who are
passionate about protecting wild life and
60 | www.broadcastprome.com | September 2011
“If it’s wildlife, having it in slow motion just adds
a bit of gravitas to the scene. Also, time lapses are
important for this series because we talk about the
passage of time, and the series starts from ancient
backgrounds in Arabia and go into modern times”
Chadden Hunter, producer, BBC Wild Arabia
nature in the area that we are looking for.
When we involve humans in the story, it is
great and has an exciting conservation
angle,” he adds.
Hunter recently completed shooting the
date festival with a single camera person and
will return in October to resume filming.
Shooting in summer posed some unique
challenges, a major one being air quality,
according to the producer.
“It (air quality) is a real challenge because
viewers love seeing things in beautiful light
and they will generally see beautiful desert
scenery with crisp shadows. We were trying
to do time lapses of a full moon and also tried
to capture moon shadows over the dunes but
the desert haze really softens the shadows,
so it is hard to get really punchy visual
images in the desert,” explains Hunter.
Storms also made filming difficult and
special care had to be taken to protect the
equipment. “Storms are a real challenge on
the cameras because the sand is like dust
and is very fine. I expected sand storms to be
big walls of yellow grains that you can feel on
your face but that really fine Shamal dust
just gets in the cameras entirely and also
gets in the lenses,” says the producer.
Hunter and his DoP were constantly
cleaning the cameras and even used rain
covers to keep sand and dust out. The
scorching temperatures also threatened to
take a toll on the equipment but innovative
methods were used to combat this.
Hunter says “cameras are so electronic
now they have little chips inside and are
almost computers”.
“If you have them out in the sun, for
example, doing a time lapse during the
middle of the day, the actual black camera
body is just melting. Therefore, we were
wrapping white pillow cases from the hotel
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PROUAE
around the cameras just to keep the sun out.
Like a Bedouin head dress.”
Since the entire series is shot in HD, a
range of cameras are being used to film it
including a Panasonic Varicam that is ideal
for slow motion shots, according to Hunter.
“We like to shoot what we call off speed,
which is either speeding things up or
slowing things down, just to add a little
more style to the sequence. If it’s wildlife,
having it in slow motion just adds a bit of
gravitas to the scene. Also, time lapses are
important for this series because we talk
about the passage of time, and the series
starts from ancient backgrounds in Arabia
and go into modern times.”
For time lapses, Hunter’s team uses Digital
SLR cameras such as a Canon or Nikon. The
team has placed Cannon 550s in Southern
Oman, where the team is filming the Arabian
leopard. The cameras are placed in boxes
connected to solar panels hidden deep in the
mountains on tracks that are used by the
leopards and will run for a year. Infrared
beams help to locate the animals and a field
assistant downloads the memory cards once
every month.
“Normally, we have little camera traps that
have an infrared beam and low resolution
and like security cams, we often use those to
just scout a location to see if there is
anything around. The ones we have now are
DSLR camera traps shooting in HD and, as
far as we know, it is the first HD footage of
wild Arabian leopards.”
Major parts of the series will be shot in
Abu Dhabi, Hunter adds.
“Before coming down, you don’t realise
the size of Abu Dhabi and the range of
habitat that it has. The marine environments
especially were a real surprise to me. We’re
doing quite a number of marine stories. You
have many underwater stories here, whether
it is dugongs or sea snakes or the protected
marine life and that is great. On the coast,
you have fantastic bird nesting colonies for
flamingos and others.”
62 | www.broadcastprome.com | September 2011
“[The air quality] is a real challenge because viewers
love seeing ... beautiful desert scenery with crisp
shadows. We were trying to do time lapses of a full
moon and ... tried to capture moon shadows over the
dunes but the desert haze really softens the shadows,
so it is hard to get punchy visual images in the desert”
Chadden Hunter, producer, BBC Wild Arabia
Hunter points out that there is much to
film inland as well.
“You have got beautiful sections of the
Empty Quarter desert; you have a genuine
ancient oasis that has huge historical
importance to the people and their families,
and you still have traditional Bedouins with
their camels and their dates living in the
desert who might not be as nomadic as
before. But there is a wide range of stories
and wonderful people stories including camel
racing that is so traditional and yet, modern.”
The Abu Dhabi Film Commission (ADFC)
will be working with Hunter’s team to help
facilitate production. Hunter mentions that
the level of cooperation and interest in the
project and the number of people that are
excited about sharing the stories in Abu
Dhabi has been immense.
Even though BBC Natural History is a
production company in itself and a great deal
of kit is already available, the team is looking
to hire equipment locally and is being
assisted by ADFC.
“We have been talking via the Film
Commission to twofour54 (Abu Dhabi’s
content generation zone) about the
resources that are available here such as
certain kit that they have, whether it is
cranes whereby we can get certain different
angles or whether it is potential help to
access with helicopter operators and filming
of aerial photography.”
Speaking about the project, David
Shepherd, Film Commissioner of Abu Dhabi
says: “As the story builds and the filming
requirements change, we will bring in
support from the government and the
different agencies apart from what Hunter’s
team has already managed to establish. Our

PROUAE
“As the story builds and
the filming requirements
change, we will bring
in support from the
government and the
different agencies apart
from what Hunter’s team
has already managed to
establish.”
David Shepheard, Abu Dhabi Film Commissioner
Photos of the Wild Arabia Team on location, courtesy Chadden Hunter and Abdullah Shuhi.
64 | www.broadcastprome.com | September 2011
role is to bring in support as a government
agency to make the film happen as easily as
possible. Much of it is helping connect with
the people who will assist the team with
what they need. Once we understand the kit
requirements, we will connect them with
people in Dubai and Abu Dhabi and see if we
have the kit available here.”
The team will talk to ADFC before filming
aerial shots to understand which areas are
best suited for the same. Hunter is keen to
shoot the camel races using a Cineflex
aerial camera, which he is also looking to
source locally.
“We first used the super-stabilised aerial
cameras on Planet Earth and now they
have become almost standard. You can’t
film aerials without being rock steady
because the viewer’s bar just gets raised so
quickly. They expect rock solid steady
aerials because that is what they have
seen,” says Hunter.
The producer also wants to use the RED
Epic which can film at 320 fps and is suited
for slow motion as well as normal sequences.
“We are all biting our nails off to get our
hands on the Epic. In the past, to shoot slow
motion, we had to take out the very special
high-speed Phantom camera and that has
been the one the BBC has generally used but
it has got cables coming off it as well as
laptop attachments. It also costs a lot more
money and needs its own operator.”
The EPIC, according to Hunter, is
“user-friendly” and will also be used for
shooting underwater time lapse sequences.
“You will see all these sea creatures that
look sedentary like sea cucumbers
hovering at the bottom of the ocean. In
slow motion, you will get a much more
stylised view of say, waves crashing or a
big animal moving so being able to take
those technologies underwater is key,”
states the producer.
Other cameras being used are macros
and the Starlight HD camera, which is
suited to film at night because of its light
sensitivity. Speaking about shooting on the
Starlight, Hunter says: “You can see a
desert landscape and a fox running
through it but also see a sky full of stars.
We have never been able to do that in HD
much and it is an exciting step forward.”
The reason that the team employs a
variety of cameras, according to Hunter, is
because the BBC is now much more open to
shooting on varied formats.
“Traditionally, BBC has been fairly old
fashioned about rules concerning HD — that
it has to match a certain criteria, so we had a
few cameras to choose from. We are now
much better at pulling in different formats so
we can shoot on various cameras such as
DSLRs and RED cameras.”
What may be of special interest to
broadcasters in the region is that the rights
to the series have not been sold here yet.
“We have held on to the Middle East
rights so far. One of the reasons we have
been talking to ADFC is to find a partner in
the Middle East who will come on board and
air the film on TV here,” adds Hunter. PRO

PROREVIEW
Fanning
the
Flames of
creativity
Alistair Rankine gives us his
take on Autodesk’s 2012
Flame Premium release
In April this year, Autodesk released its
annual update for Flame and Smoke
with the introduction of its 2012
release. This release applies to Flame
Premium, Smoke Advanced and Smoke on Mac.
As a Flame and Smoke user and
instructor, I had been eagerly awaiting this
release, as the rumours circulating around
the industry were that this would be the
most significant release of the past few
years. I was looking forward to seeing what
changes had been made.
For the purpose of the review, I am going
to concentrate mainly on Flame Premium
2012 although many of the tools added to
Flame Premium exist in Flame, Smoke
Advanced and Smoke on Mac.
For those of you unfamiliar with Flame
Premium, this package was released towards
the end of 2010. It consists of Flame, Smoke
Advanced and Autodesk’s high-end colour
grading suite, Lustre. Autodesk made a bold
decision to combine all three platforms into
one box at a hugely discounted price in
order to keep them at the forefront of
the market.
Flame Premium allows Flame, Smoke and
Lustre projects to be archived as one
individual project which can be shared
between systems. This has huge implications
in terms of workflow. It means everything
can be kept in one box making it far easier
for artists and operators, and helping to
prevent the time consuming import and
export of files between systems and
minimising the need to worry about which
system understands which file format.
In short, Flame Premium provides tools
for 3D visual effects and compositing, real
PROREVIEW
time colour grading and a full timeline
finishing workflow.
AT A GLANCE
So what has changed in 2012? There have
been a few visual changes to the software,
more so, on the Smoke side of things but
after a few minutes, you will manage to find
the buttons that you are looking for. They
are still there to be found; they have just
been moved to a more ergonomic location.
The most interesting changes that have
come about in the 2012 release from an end
user point of view are inside the Action and
the Flame FX module.
ACTION
When you first jump into Action on 2012,
you will get a surprise as some of the
interface has been re-designed. At first, it
seems a bit daunting, but if you know your
system you will pick it up quickly.
The reason Action has been redesigned
is to make way for all of the new Relighting
and 3D texturing nodes. These tools give
the artist total control over the look of
their final composite.
Here are some of the new features:
* Ultra Realistic Volumetric Lighting which
interacts with 3D objects and media layers
* Point, Spot, Area and Ambient lights that
can cast true shadows within a 3D scene
* Image-based lighting to simulate
environmental lighting on surfaces and
3D geometries
In end-user terms, this means you have
total control over all lighting possibilities
within a 3D environment such as lighting
intensity, light colour, 3D lens flares, 3D light
rays, lighting occlusion, stereoscopic 3D
lighting and 3D shadow casting.
After playing with the new lighting tools
for a while, it is easy to see how powerful
they are. A whole new world has been
opened up in terms of creating realistic
lighting scenarios within a 3D environment.
It also opens up a multitude of
66 | www.broadcastprome.com | September 2011
September 2011 | www.broadcastprome.com |
67

PROREVIEW
possibilities in terms of creating motion
graphics. 3D Lense Flares, 3D Rays, and 3D
Shadows can all be used in conjunction with
3D Text and Geometries in order to create
complex graphics and textures. All of the
new tools are node based which gives the
artist total control over how they incorporate
the new tools into a scene.
The system also comes with a selection of
preset 3D Lens Flares. These can be used
as they are or can also be manipulated to
suit the user. They are extremely useful to
help you understand how the new relighting
tools function. By dissecting them,
one can learn how to build one’s own
custom presets.
flaMe effects
Another new toolset that has appeared
inside the Flame and Smoke family in the
2012 release is the Flame FX toolset. It is
available either as a desktop toolset (which
means it is also incorporated into Smoke
OSX) or as nodes inside the Batch modules
on both Flame and Smoke Advanced.
Flame FX first appeared in the 2011
release of the product range. At that
time there were only a couple of new
tools available.
“When you first jump into Action on 2012, you will
get a surprise as some of the interface has been redesigned.
At first, it seems a bit daunting, but if you
know your system you will pick it up quickly”
Alistair Rankine, Flame user and instructor
What is Flame FX? Basically it is a
collection of built-in plug-ins/sparks
incorporating tools such as Auto Stabilise,
2D Transforms, Gradient, Glows, Blurs,
Damage and Deform among others. The
names of some of these built-in plug-ins may
not be as familiar as those that come with
packages such as Sapphire, but after
spending a few hours playing with them, it
easy to see that they are extremely
powerful. In fact, the names can be a bit
misleading as once you start combing some
of these effects, it is possible to achieve
many things that third-party plug-ins won’t
replicate. These will be particularly
desirable to Smoke OSX (MAC) users who
may not want to pay the $8000 price tag
that Gen Arts are asking for, for the Mac
version of Sapphire plug-ins.
I hope Autodesk pushes this even more
on the 2013 release. It will eventually curb
the need to spend any extra money on
plug-ins and may entice more customers to
move over to Autodesk.
stereoscopic
The Stereoscopic 3D workflow on Flame
Premium has also benefited from some
changes including a true S3D workflow
inside Action using the FBX 2012 asset
exchange technology camera and integration
with Autodesk Maya 2012 software via
Autodesk FBX asset exchange technology
and multi-channel render pass workflow.
Autodesk has also introduced the
following into the stereoscopic workflow:
* A multi-layer stereoscopic 3D timeline
for interaction between Lustre and Flame/
SynCross
Modular routing unlike anything before
68 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 69
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PROREVIEW
Smoke. New relighting tools integrated into
the Stereoscopic 3D workflow to allow for
easier management of lighting artifacts
within stereoscopic scenes.
accessibility
One of my favorite things about Flame
Premium is the inclusion of all the additional
nodes Flame has inside Action into Smoke.
This means that Smoke artists now have
access to tools such as a Camera Tracker and
Particles and many more. You may wonder
what difference this will make. If the end user
already works in Flame, it is simple. Not
everyone knows the Flame interface and it
means that Smoke users can easily pick it up.
Where I think this is useful is when a company
is using freelancers. If they can’t find a Flame
artist, they can hire a Smoke artist instead and
they will have access to all of Flame’s toolset
within the Smoke interface.
I think the biggest learning curve on the
system will be if a Flame or Smoke Artist is
expected to know Lustre as well. The
interface is different enough to create initial
problems for the user. Of course, that depends
The Competition
It is very hard to compare Flame Premium with any
other individual software package out there. Much of
the decision will lie in what market you are in, what your
budget is and what your future protections are in terms
of the direction you see your company moving in. It’s
not that other systems can’t do what Flame can do. It’s
just that they can’t do it all on the same system.
The most serious contender in terms of a onestop
shop editorial, visual effects, compositor and
colour grader is the sGo Mistika system.
Mistika has been around for a few years now
but has remained relatively unknown. One of the
reasons for this has been the user interface. Earlier
versions of Mistika were extremely difficult to use.
This made it very hard for post houses and studios
to find staff and freelancers to work on the system.
In 2001, the interface changed and now, Mistika is
becoming more and more popular. In terms of toolset,
it is said to have the most advanced stereoscopic 3D
on the market and is incredibly fast.
It is now being used all over the world. It is also
being used extensively on the new Peter Jackson film
The Hobbit. As the user base grows, I can see Mistika
claiming a large chunk of the market in the future.
70 | www.broadcastprome.com | September 2011
on whether the Flame/Smoke artist is
expected to work on colour grading as well.
conclusion
Flame Premium offers a one-stop shop in
terms of visual effects, real time high-end
colour grading, editorial finishing and
compositing. It allows the possibility of one
artist finishing all on one system or a system
which many artists can share. It enables the
use of one timeline that can be used
throughout the complete finishing across all
three platforms and allows everything to be
Next in line in terms of a one-stop shop should be
Quantel iQ/eQ. It has excellent editorial and colour
grading tools along with superb stereoscopic 3D
capabilities. However, it falls flat when it comes to 3D
compositing, lighting, and motion tracking. If Quantel
managed to sort out the systems’ visual effects
capabilities, it would be a serious contender for Flame
Premium but as it stands, it is nowhere near it.
After that we would have to look at individual
software packages. In terms of compositing and
visual effects, Flame’s main contender is nuke. I
can’t fault Nuke in any way. I am also a Nuke user
and soon to be Nuke trainer. In terms of effects’
work, Nuke can do everything you need it to do. It is
an incredibly powerful piece of software.
Again, it all boils down to what market you are
in. If you are working in a client-driven session, then
Nuke may not be for you.
Nuke is still considered more of a back room tool
and used extensively in the movie industry whereas
Flame and Smoke still allow for more client interactivity.
The only real issue with Nuke is the lack of a proper
timeline and grader which means you still have to jump
between products to achieve the final goal.
stored in one archive.
The 2012 release has many other new
features in relation to its handling of 3D
objects and the workflows between Flame/
Smoke and Autodesk Max and Maya are
well integrated.
Alistair Rankine is a Dubai-based post
production specialist. He is also an
affiliate of VFX Consulting International
and is now training to be a Nuke
instructor as well. PRO
Project Focus
in a nutshell
pros: Probably the most powerful, versatile
and intuitive fully integrated one-stop VFX,
grading and editorial system available
cons: If you are a Flame/Smoke user, you
will probably want to go on a Lustre training
course. Not too bad really!
Price is also a deterrent. But if you have the
right kind of work then the machine will pay
for itself.
Nuke, of course, is a lot cheaper and you could
easily combine it with FCP and DaVinci Resolve to
achieve a one-stop shop. The only thing is you will
have to learn a lot more software and won’t have
such a good workflow. Still achievable though.
The other option is adobe creative suite cs5.
Again, I can’t fault this product in terms of what
can be achieved on it. It incorporates Premiere,
Photoshop and After Effects and is a first class tool
in terms of visual effects.
With regards to the toolset, the one thing it has
missing is a good colour grader. It is not impossible
to grade on it and I am sure some of the smaller
boutique style post houses may argue that plug-ins
such as Magic Bullet help to handle these things.
In all honesty, if you are going to work like this
you should probably add a grader like davinci
resolve to your arsenal as well. Again, CS5 isn’t
really a tool that can handle a client-driven session
in the way that Flame Premium can and its lack of
node compositing limits the speed at which some
of the work can be done. It is, however, extremely
powerful, undeniably affordable and has access to
more plug-ins than you can shake a stick at.
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PROIRAN PROIRAN
The team on location with Mohammad Rasoulof (extreme left) directing the shot.
Persian Iranian Dreams Perspective
Iranian filmmaker Mohammad mohammad Rasoulof rose to fame when he won the award for Best best
Director in the Un Certain Regard category at Cannes this year for his controversial film
Good Bye. In an exclusive interview with Anuradha Mojumdar, Good Bye’s DoP Arastoo Givi
talks about the continuous technical improvisations the team had to undertake to rise
above the political and technical challenges of filming in Iran
Iran has a rich tradition tradition of
filmmaking, whether whether it is commercial
commercial
films films or art cinema; cinema; and Iranian films
are appreciated by critics all over the
the world. world. It is It the is home the home of renowned of
renowned filmmakers filmmakers like Abbas like Kiarostami, Abbas
Kiarostami, Majid Majidi, Majid and Mohsen Majidi, and and Samira
Mohsen Makhmalbaf. and Samira Makhmalbaf.
In the current political landscape,
however, filmmaking and storytelling in the
country have suffered and their creators
have often been subject to harsh forms of
punishment for their creative expressions.
Worse, some of them have been denied the
right to continue working as filmmakers and
often, their films are denied public
screening. It is not uncommon, therefore,
for such films and the creatives minds
behind them to be dogged by controversy.
Iranian filmmaker Mohammad Rasoulof
is one among them. He made headlines
at Cannes this year when his film Good
Bye won the award for Best Director in
the Un Certain Regard (meaning A
Particular Outlook in French) selection.
More importantly, the director was
banned from travelling outside Iran at
the time his film was being screened at
Cannes. But his film has received much
applause for both its content and the
way it was filmed.
Good Bye follows the story of a young
Iranian lawyer Noura who has been
disbarred for anti-government activism,
as she attempts to emigrate from the
country. Her husband, a political
journalist, has fled to the south to escape
the authorities and Noura is left behind to
live out her solitary existence. She is
pregnant and decides to use that fact as a
means to leave Iran and begins to create a
strategy around it but her attempts are
met with massive road blocks at every
turn. As Noura’s dark tale of struggle is
unveiled, a parallel subterranean plot
about repression in Iran also unfolds.
Cinematography is a huge part of
telling any story and this film is testimony
to that fact.
Director of Photography (DoP) Arastoo
Givi says several innovative filming
techniques were used to shoot this film in
addition to choosing a special camera for
the project.
Givi has an MFA degree in photography
from the Art University in Tehran and has
been a cinematographer for the last 26
“We decided to use the Sony NEX VG 10E as it
could help us shoot in small and real locations. Making
a film in such locations require compact equipment”
Arastoo Givi, DoP, Good Bye, Iran.
years. He worked with the Islamic Republic
of Iran’s Broadcasting (IRIB) for 20 years.
His body of work includes documentary
films, TV dramas, TV commercials and
concerts. He also specialises in lighting and
photography, and teaches at various art
universities in Iran.
Good Bye was shot on low budget in
real locations and small spaces around
Tehran. Givi, therefore, had to adapt his
filming techniques to the locations and
the space. The locations included
restrictive settings such as a lift, a small
apartment, taxis, a bus and a train.
“We decided to use the Sony NEX VG
10E as it could help us shoot in small and
real locations. Making a film in such
locations require compact equipment,”
says Givi, adding that the entire film was
shot with this camera.
“I believe that this kind of camera for
such a feature film is an unusual
innovation. We had to change focus with
unusual still lenses. I checked three
brands of follow focus tools. The focus
pulling was unsteady; it was shaking
when rotating the focus ring on the lens.
Finally, my first assistant Pouyan Kafili
manually adjusted the focus and it
turned out much better than using follow
focus tools.”
The lenses also played an important
role in adding character to the film,
according to Givi.
“I imagined the film shot by shot and
selected high speed lenses. Although the
camera is compatible with Sony’s DSLR
E-mount lenses, I didn’t find them
suitable for this film.”
Most of the scenes were filmed in a
small apartment that measured 38
square-metres and since Sony’s E-mount
lenses are not very sensitive in low light
conditions, the team used another set of
lenses. These included the Nikon Nikkor
14, 20, 28, 35, 50 and Macro 60,
Good Bye was shot on the Sony NEX VG 10E as the team required a small
camera to shoot in compact settings such as tiny room, a lift and so on.
85,135,180m lenses, as well as a 120mm
micro lens used in the medical field.
A limited number of angles were used
to shoot the film to give it a realistic look
and feel, Givi adds.
“We used only the eye-level angles for
imaging; this angle was dramatically
based on the scenario.”
There were some challenges with the
mounts. The team initially chose the
Nikon SLR adaptor mount but it turned
out to be shaky. Unfortunately, its
replacement did not serve its purpose
either. Director Rasoulof got involved at
this point to resolve the issue, says Givi.
“Eventually, we had to shoot as soon
as the (second) adaptor mount arrived,
so we tested fitting the mount to the
body. Rasoulof cut a thick plastic CD
pocket and mounted it between the
adaptor mount and the camera body. I
checked the back focus and the problem
was solved.”
The challenges, however, continued.
As soon as the adaptor mount was fixed
and the camera was placed on the tripod,
the team faced their next technical
challenge, according to Givi.
“When I changed focus, there was
another shake on the camera base. The
screw fitting in the camera base on the
tripod wasn’t good enough, so my first
72 | www.broadcastprome.com | September 2011
September 2011 | www.broadcastprome.com | 73

PROIRAN
assistant refitted it using a ribbon.”
Other minor setbacks included
focus pulling, mounting the camera
onto the tripod, as well as features
such as aliasing and moire pattern.
“The last two features are familiar
in all HDSLRs. Companies such as
Sony and Panasonic have modified
these features in their newer
models,” explains Givi.
The DoP’s preferred style of
filming is realism and a large body
of his work consists of
documentaries. He has worked on
projects such as Daryaye Pars
(Persian Gulf), Zagross, Alborz,
Bulaghlaar and Life in Eclipse,
which won the award for best
cinematography at the Iranian
Documentary Film Festival. His
style is also reflected in his choice
of equipment and lighting.
“I like my lighting style to
reproduce realism. Selecting
suitable lenses and camera
movements and lighting for the
purpose are of high importance to
me,” explains Givi.
For Good Bye, the
cinematographer shot all indoor and
outdoor scenes in low key and
filmed the interiors of a car using a
simple car mount.
Most of the sequences were
captured using normal and
telephoto lenses.
“We had hard travelling (tracking)
shots by 180mm and 135mm lenses
for following the actress Leila Zarea,
and my first assistant pulled focus
accurately on a variety of Nikon still
lenses,” Givi adds.
Although at the time of shooting,
the challenges were many, Iranian
filmmakers rarely let such issues get
in the way of making a film. For
them, the right to film is in itself a
great privilege and we see that
passion reflected in Good Bye,
which was made well, despite
working with a small crew and a
very limited budget.
In fact, the launch of digital
technologies has given independent
filmmaking a huge boost. In countries
where filmmaking is restricted, small,
compact digital cameras have come
to the aid of filmmakers.
“Due to new digital equipment,
most independent filmmakers prefer
to make their films with small crews.
On the other hand, usually most
feature 35-mm films are being made
with government support,” says Givi.
The DoP says he was not
surprised that the film made it to
the festival.
“I think that any film with a
good structure and different
themes will have an appeal at
festivals,” adds Givi.
But an award has not had the
filmmakers sit back. Givi is
already busy working on several
other projects including a
folkloric documentary film and a
feature film. PRO
Mohammad Rasoulof
won best director in
the Un Certain Regard
category at Cannes 2011
for his film Good Bye.
However, the director could not make it to
the awards ceremony. In December 2010,
Rasoulof was sentenced to six years in
prison by the government of Iran on charges
of “assembly, collusion, and propagandising
against the regime”.
Rasoulof had spoken out against the Iranian
government’s regulation of movie making
and had publicly expressed support for the
opposition to the regime during the previous
national elections.
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September 2011 | www.broadcastprome.com | 75

76 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com |
77

PROVIEWPOINT
From the Middle East to
the world: challenges
faced by broadcasters
going global
In the scramble for audience share in an increasingly competitive market, or to present
a national voice to an international audience, global reach is a powerful asset for any
broadcaster, says Giorgio Giacomini
Global reach is a major priority for
most national broadcasters to
ensure that their channels are
available to emigrant communities.
It can seem quite a challenge for a
broadcaster in the Middle East to reach
an audience outside the region, but the
infrastructure to make it possible has
been in place for some years now, and
the technical challenges, at least, are not
difficult. What’s more important for the
broadcaster is a clear understanding of
aims, and of the best way to reach their
target audiences. This is often quite
specialised knowledge, and in most cases
Middle East broadcasters need the help
of an outside provider with on-theground
expertise in order to make an
effective global outreach.
In some respects, the Middle East is
unlike other broadcasting regions, and
the business models of its channels are
typically different from those of Asian or
European broadcasters.
There is not always the focus on
maximising revenue from the new
markets that characterises much of the
global expansion we are seeing today.
Instead, the priority for a large number of
the broadcasters in the region is simply to
make their channels available outside the
region, as a means to assert a national or
political presence, for example.
For national public broadcasters in
particular, an obligation to do this is often
the driver for any move to expand
globally. This is not to say that there are
no broadcasters in the region with a
strong commercial focus. Lebanese
stations, for example, tend to be revenuedriven
– and there are also the pan-Arab
broadcasters such as Al Jazeera and MBC,
which have their own particular aims in
the international market.
Therefore, one of the first important
questions a broadcaster from the Middle
East should answer is: what are we
aiming to achieve? Is it important to
make our content available to audiences
around the world to discharge an
PROVIEWPOINT
“The priority for
a large number of
... broadcasters in
the region is ... to
make their channels
available outside the
region, as a means to
assert a national or
political presence”
Giorgio Giacomini, account manager, Globecast ME
78 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com |
79

PROVIEWPOINT
obligation, but without placing too much importance
on revenue in return? Or is our aim to generate new
income streams from the target audience?
The answer determines the extent of the
investment each broadcaster will need to make.
It is relatively straightforward and inexpensive for
a public broadcaster to make its content available
around the world free-to-air to viewers who can
download it with a satellite dish. However, things
become a little more complex if the demographic of
the target audience rules out the widespread use of
dishes (if, for example, the communities tend to be in
dense urban areas), and more complex still if the
broadcaster is seeking revenue streams from the new
audiences. But broadcasters from the region are
doing all of these things very successfully.
The key to successful audience penetration is a
good understanding of the way the target
communities watch television, which can vary
country by country. It’s here that working with a
partner with specific expertise in the local markets is
a big asset to many of the region’s broadcasters, who
may not have this knowledge.
A good service provider can provide regional DTH
platforms on all continents, providing a ready-made
infrastructure for global reach. Broadcasters should
also look for the built-in advantage of satellite positions
developed in a way that makes them particularly
valuable for providers of international content.
In the past few years, the growth of international
broadcasting from the Middle East has been
exponential. Public broadcasters in Abu Dhabi, Syria,
and Saudi Arabia were at the forefront, and in 2004,
Arabsat and ASBU were partners in the launch of a
standardised package for international distribution.
To date, around 18 broadcasters in the region have
taken advantage of this package, with most of them
distributing worldwide on four platforms in the US on
Galaxy 19, in Asia on AsiaSat 5, in Africa on NSS7,
and Hispasat in South America.
The standardised package is ideal for many
broadcasters, but some need to do more to reach
their audience. In France, for example, much of the
Arab audience lives outside the big cities, so viewing
channels on a dish pointed to Hotbird, Nilesat or
eventually, on Arabsat is feasible. But Lebanese
broadcasters face a different audience demographic
targeting mostly urban communities.
Lebanese broadcasters also tend to seek revenue
and a return on their investment, so for them,
distribution via an IPTV bouquet is the best way of
80 | www.broadcastprome.com | September 2011
“The key to successful
audience penetration is a good
understanding of the way the
target communities watch
television, which can vary country
by country”
Giorgio Giacomini, account manager, Globecast ME
reaching the audience and achieving an ROI.
Understanding this kind of country-specific and
community-specific variation is the key to successful
international outreach.
The broadcasters on the Lebanese bouquet in
France (LBC, MTV and Al Jadid to name a few) have
very particular requirements, which are quite
different to those of a broadcaster such as Bahrain TV,
for which the standardised package is ideal. Where
the package is not tailored enough, a customised
solution can be built, with distribution using the best
combination of satellites and networks, IPTV
bouquets and hotel distribution.
The standardised package usually allows a
broadcaster to instantly reach a global free–to-air
audience. For more specific arrangements, the
negotiation of terrestrial distribution contracts
(involving cable or IPTV for example) takes longer.
Once a framework agreement has been signed, the
provider can negotiate with distributors on the
broadcaster’s behalf. The service provider should be
able to offer the broadcaster the advantages of
existing relationships in each market, but with
negotiations very much on a case by case basis,
taking into account the aims of the broadcaster, the
strength of the content, and the demographic of the
intended audience.
With the right partner, a content owner in the
Middle East can now reach audiences around the
world, on the platform that the audience wants, and
with the appropriate scale of investment to match the
broadcaster’s aims and ambitions. PRO
Giorgio Giacomini is account manager at
Globecast Near & Middle-East

PROINTERVIEW
Operators should compete
on content, not technology:
Alan Constant
In an exclusive interview with BroadcastPro Middle East, former CTO of Arab Media media Corporation
Alan Constant talks about his move to IMediaCo ImediaCo and some of the key trends in broadcast
We hear you have moved from AMC to
Imediaco? What is iMediaCo?
Yes, IMediaCo was an idea that a few
colleagues and I had nearly two years ago.
The idea was to offer a security and
Intellectual Property (IP) consultancy. The
company was incorporated in late 2010 and
expanded to cover all areas of broadcast
technology, and IT systems.
Will IMediaCo you be operating be operating out of out the of Middle the
Middle East? East?
IMediaCo is an international company with
its head office in Amman, Jordan. We have
offices in the UK and the Far East. We
have five principle and two associate
consultants. The average time in the
industry is 35 years per person. All have
held senior managerial positions.
Do you already have a roster of clients?
Our policy is not to name our clients but
we do have some in the USA, Germany,
Saudi Arabia, China and Korea.
“Connected “ Connected TV is is about
to explode in the US and
the UK. If the current
operators do not address
this, then they will be
overrun as their market
will disappear overnight”
Alan Constant, CTO, IMediaCo
“We would like to look at a way where the
operators can talk and agree on a common way
forward. This does not mean consolidation but rather a
desire to help the operator and user get the best value
for money. I do not see them being addressed unless
the operators have a change of mind”
Alan Constant, CTO, IMediaCo
What are some of your key offerings?
Apart from our knowledge of engineering,
we provide commercial propositions that
are very unique and include the possibility
to finance. We can help our clients fund
projects as we have access to substantial
funding for the right project.
I believe you have worked in the Middle
East for more than 15 years?
I have had a long association with the Middle
East as my wife is from the region. I have
worked eight years for Showtime in London
broadcasting in to the Middle East and six
years for AMC in Jordan.
What, according to you, are some of
the major changes you have witnessed
in broadcast over the last many years
in the Middle East?
When we launched Showtime, we had
four channels. At the time, that was
considered big. Now, 50 channels is not
uncommon. Also, the number of
platforms has grown with the barrier to
entry being lowered financially.
You have specifically worked in pay
TV. What are some of the biggest
challenges in the pay TV market in the
Middle East?
It has to be the lack of cooperation
between the operators. Each operator
wants its unique CA – STB system. The
subscriber is the loser. After all, who
wants two or three STBs?
In the mid 1990s, ART and Showtime
followed a one STB policy where a
subscriber could use either of their boxes
and use the card from the other network.
It is a shame that it was not adopted by the
other operators. Operators should
compete on content, not technology.
The advance of broadband viewing is
also key today. In the UK, the iPlayer and
similar technologies account for a large
percentage of household viewing. My kids,
who live in the UK, do not watch
traditional TV any more.
Why hasn’t it been so successful in this
market so far?
Fragmentation is the simple answer;
operators are reluctant to talk to each other.
How can some of these challenges be
addressed in the market?
We would like to look at a way where the
operators can talk and agree on a common
way forward. This does not mean
consolidation but rather a desire to help the
operator and user get the best value for
money. I do not see them being addressed
unless the operators have a change of mind.
You once said that satellite TV is on its
way to the grave. Do you still believe
that is true?
I have not changed my mind. Just look at
Europe where broadband speeds are high
and costs are low. Streaming, VOD and
catch up TV are available. In Oct 2008, the
BBC iPlayer supplied 70 million downloads.
Look at the growth of IPTV in the USA.
Connected TV is about to explode in the US
and the UK. If the current operators do not
address this, then they will be overrun as
their market will disappear overnight.
Will the role of broadband networks for
sharing file-based video improve over
the years?
Yes, the Middle East will follow Europe in
having high speed broadband. 40Mb is now
common in the UK.
What, according to you, is the future of
Television?
Television is becoming a multi-display
medium. Viewers want to watch content
on many different devices including TV,
connected TV, phones and tablets.
PROINTERVIEW
Satellite broadcasting cannot reach a lot
of these devices.
Can this really be addressed with the
pairing technology between the STB
and the card as it is used now? Has this
already been compromised? Please
shed more light on this issue?
Piracy. All systems can be hacked; it’s just a
matter of time. There is a fundamental flaw
in card pairing so it is not as secure as the
system engineers thought it would be. I am
sure it will be hacked.
Which countries do you see as holding
the key to the future of TV in the
Middle East?
I believe that will be Dubai and Saudi Arabia.
Where do you see the likelihood of a
lot of growth in the industry?
The big growth area will be Over The Top
(OTT) television. As the bandwidth
increases, OTT will become practical. AMC
had designed and built an OTT platform but
as they pulled out of pay TV, it was
never deployed.
What will be some of the bigger
industry trends in the coming years?
Watch out for multi-screens and
connected TV.
What do you expect to be the biggest
challenges for broadcasters?
Piracy will continue to be a big issue.
The next biggest form of piracy will be
pirates trying to stream video content.
Sites like YouTube and Justin TV are
only the beginning.
What do you also expect manufacturers
to look at in the coming years?
TV anywhere is becoming increasingly
significant and this is the way the market
will go.
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83

PRORADIO
PRORADIO
IP-based content
insertion maintains
local presence
Johannes Johannes G. G. Rietschel Rietschel advocates the rising significance of audio
over IP as a reliable, cost-effective and diverse transport method for
broadcast radio
Programme syndication has long been
an attractive service for radio
stations in search of unique or
different content. Whether designed
to attract new listeners, advertisers
or simply strengthen a schedule,
syndication is an ideal way for a
radio station to deliver important
and/or entertaining programming to
its regional audience.
The delivery of syndicated
programming has migrated from hard
copy (tapes, CDs) to satellite and
internet-based distribution, with the
latter allowing radio broadcasters to
migrate to a file-based workflow.
The
rise The of rise the internet of the internet for programme for
programme distribution distribution has been especially has been
especially valuable for valuable radio networks for radio from networks a cost
from perspective, a cost perspective, allowing networks allowing to
networks distribute to programmes distribute programmes to affiliates as to
affiliates MP3 files as via MP3 FTP files transfer. via FTP transfer.
The radio radio station/affiliate station/affiliate at the
receiving end may find that while a
syndicated programme programme is pertinent to
its specific region, the region, issue the of issue local of advertising local
advertising during the programme during the programme presents a
presents challenge. a challenge. Networks or contributors
delivering Networks live or feeds contributors via satellite, delivering ISDN
live or other feeds means via satellite, must also ISDN transmit or other
means triggers must or contact also transmit closures triggers that allow or
Johannes G. Rietschel, CEO and founder of Barix.
contact local stations closures to cut-in that allow and local interrupt stations the
to stream cut-in in and favour interrupt of local the ads, stream IDs or in
favour programming of local such ads, IDs as news, or programming traffic and
such weather. as news, This traffic is also and true weather. of live
programming, This is also true such of as live coverage programming, of a big
such cricket as match, coverage that of is a big delivered cricket to match, many
that stations is delivered in different to many regions stations and in
different countries. regions and countries.
Contact closures essentially are data
signals that automatically switch a service
on or off. In syndicated radio, the
transmission of contact closures are what
often enable local stations to maintain a
local feel and presence in the form of
station identifications, public service
announcements, advertisements and
perhaps, news or other programming.
The challenge of distributing contact
closures via satellite or another
transport service is related to capacity,
control and reliability. In terms of
capacity and control, the number of
contact closures that can be transmitted
to a given station is dependent on what
the receiving station can handle.
Typically, an affiliate would use a
switching system or other physical
interface that can accept a limited
number of incoming closures for local
cut-ins. Operator intervention is often
required, and there is little room for
fine-tuning on the fly. Reliability is dependent on the quality of
the connection, and this is more of a concern from the
contributing side. Satellite delivery is a proven method but not
without its deficiencies. Dropouts can occur, particularly when
weather-related, but the bigger issue with satellite is cost.
The cost of satellite delivery becomes less of a burden as the
number of affiliates rise. But for example, satellite distribution
is simply cost-prohibitive for a network or contributing service
transmitting to say ten radio stations.
A radio station could opt to deliver programming via ISDN to
combat cost, but the trade-off is inferior signal quality and high
cost for the leased lines. And then, there is the issue of how to
reliably transmit triggers or contact closures over a less reliable
transport medium, and the cost of the equipment and operator
intervention required to accomplish the task.
The reputation of audio over IP as a reliable, cost-effective and
diverse transport method for broadcast radio has risen in recent
years. Radio stations around the world have incorporated audio
over IP for a variety of applications including studio-to-transmitter
delivery, remote programme pick-up, confidence monitoring and
internet programme distribution.
Localised content insertion is made stronger in audio over IP
when coupled with bandwidth-rich content delivery network
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“Localised content insertion is made
stronger in audio over IP when coupled
with bandwidth-rich content delivery
network services, and intelligent
software that can trigger local content
based on assignment.”
Johannes G. Rietschel, founder, Barix.
services, and intelligent software that can trigger local content
based on assignment.
At its core, a solution such as this employs a hosted, serverbased
architecture that both contributing services and receiving
stations can use to upload local content for playout at very specific
times within local content windows. The use of an intuitive
interface to upload files (ads, stations IDs, weather info) and
assign those files for playout at the appropriate locations is key to
success, with content assigned to IP-addressable destinations to
eliminate error. In-stream triggers (closure-like) or a browser-
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September 2011 | www.broadcastprome.com | 85

PROVIEWPOINT
based interface can be used to trigger the replacement of
the stream content with local content, either. The
software reacts on the commands for local content and
inserts the files relevant for that specific ad window on a
per-location basis.
IP-addressable audio decoders are best suited to receive
the signals at the destinations location to decode the
finished, localised stream – no local copy of content, ads,
station IDs or the like is required. A professional decoder
should still offer redundancy in the event of temporary
network failure, with the ability to trigger a local backup
feed or playout backup content stored on a USB flash
drive or MicroSD card.
There are a number of technical advantages to this service
for both the contributing service and the station affiliates.
The need to deploy and setup the server architecture is
eliminated by the content delivery network, which is capable
of integrating the software and hosting the service. Those
using the system strictly need to familiarise themselves with
the front end GUI, which provides a series of buttons and
menus to set up receiving locations; and to upload and
schedule ads, IDs and other files.
Reliability in playback is another merit. The set up
process for this architecture creates a unique address for
each receiving location, ensuring that the triggering
software is exclusively assigned to a decoder at each
destination. This ensures that the right ads or local
content always play back at the right affiliates at the right
times. With proper device identification, the stream can
only be received by legal, contracted affiliates.
Signal latency is also minimised in comparison to
satellite and other delivery methods. The Source->
Server->Decoder in this architecture can achieve signal
delay and can be as low as 200-500 milliseconds,
depending on the network connections. This extremely
low-latency is ideal for broadcast radio, and an attractive
benefit for both management and engineering.
Capacity is also unlimited in terms of the amount of
browser triggers or contact closures that can be distributed
to any one location. The server, which realistically can be
located anywhere on the planet, eliminates the legacy
switching device required for delivering contact closures
over other distribution platforms, as well as the local
playback device.
This provides far more flexibility in scheduling and
fine-tuning then being forced to work with just a handful
of contact closures in a limited window of time. No
content needs to be sent or uploaded to the affiliates/
playout stations. Whatever limitations were a reality with
a legacy system no longer exist in the IP environment.
The reduction in equipment costs and footprint at the
receiving end — just a single compact, low-cost, low power
decoder is required — also essentially eliminates the need
for a live operator at the receiving end. In essence, the
entire feed can be scheduled well ahead of the programme.
This is especially pertinent if the decoder is located at the
transmitter site instead of the studio. However, a live
operator at the studio also gives the affiliate more freedom
to fine-tune or make changes to the locally scheduled
content, leading up to or even during the programme.
The role of the contributing network or service is important
from a control and monitoring standpoint. The triggering
software provides clear information on which streams are
playing where and at what time. This means that a single
operator can control and monitor the entire ad insertion
network if desired, in addition to regular status checks.
Although in its infancy in broadcast, the Audio over IP
content insertion concept for localised messaging is taking
off in the retail world. Two examples are Coop, a Swiss retail
chain that is currently using a similar system to deliver
different content for in-store messaging to approximately
1200 locations; and REWE in Austria, also employing more
than 1000 devices. Radio broadcasters can apply this same
concept to programme syndication, ensuring that the ads
and local content their listeners rely on are reliably
delivered alongside the syndicated and live programming.
Johannes G. Rietschel is CEO and founder of Barix AG.
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PROPRODUCTS
cartoni MaxiMa
The new MAXIMA Head from
Cartoni is designed for 35mm &
digital film. Owing to the evolution
of the patented Cartoni cable
counterbalance system, the
MAXIMA has features both in
counterbalance and fluid drag.
The MAXIMA is machined
out of aerospace alloys and
stainless steel and holds up
to 85 lbs (39kg).
stand no 11.c30
dataMiner 7.0
The new DataMiner 7.0 from
Skyline Communications is the
latest version of its multi-vendor
network management platform.
DataMiner 7.0 brings a
new user-centric metro-style
UI and a new inventory and
asset management solution
called DataMiner Maps for
interaction with third-party
map solutions such as Google
Maps, new mobile clients
for smartphones and a new
open-architecture scheduling
solution. It enables operators
around the globe to manage
their operational ecosystem
end-to-end across vendor and
technology boundaries.
The solution is currently
integrated with more than 2000
devices and systems from more
than 350 industry suppliers,
and has the ability to interface
with any product.
DataMiner provides a single
interface to manage complex
studio systems, digital
video headends, regional
headends, distribution and
transmission networks.
stand no 1.a21
Avid workflows
Avid will demonstrate its workflow solutions that feature
innovations in media asset management, storage, graphics, news
production, video editing and audio technology.
The newest developments in Avid’s graphics solutions, providing
broadcasters with brand-enhancing, cost-saving, powerful graphics
workflows for on-air graphics production will be on display.
Also featured will be Avid Interplay Central, Avid Interplay
Production, and Interplay MAM solutions that allow broadcasters,
post production houses, content owners, and creators to maximise
the value of their media assets, claims Avid.
The Avid ISIS 7000 v2.4 will also debut at IBC, expanding the
industry’s reference standard real-time shared storage system.
stand 7.J20
enseMble’s briGht eye
Ensemble Designs is now shipping three new scan converters;
BrightEye Mitto Fiber, BrightEye Mitto HD and BrightEye Mitto Pro.
The new products are part of Ensemble’s BrightEye family of signal
processing equipment. The scan converters address a wide range of
video applications including high-end military, medical, classroom,
broadcast, church and corporate.
Mitto Pro, Mitto HD and Mitto Fiber take video from a computer,
such as Skype, YouTube, maps and medical video, and convert the
material to SD, HD or 3 Gb/s serial digital video. All Mitto units accept
VGA, DVI and HDMI input signals from PC and Mac computers.
stand no 8.b91
phonaK is proMpt
Phonak Communications’ invisity
prompt receiver, the world’s
smallest invisible in-ear radio
receiver has been re-engineered
with the aim of more closely
meeting the needs of actors,
presenters and other performers.
Its new features include increased
in-ear volume, highly ruggedised
battery compartment and the
new v.1.3 invisity IPU software.
By boosting invisity’s in-ear
volume, Phonak claims speech
intelligibility is improved.
This is particularly designed
for challenging sound situations
such as TV recordings with
large audiences and filming on
location. In addition, the new
stronger battery compartment
potential breakages are
minimised. The compartment’s
colour has also been changed,
from green to beige, allowing
sound professionals to
differentiate between the old
and new models.
This new software version
allows invisity FLEX users to
reprogramme the earpiece’s
volume for the first time (the
same volume functionality as
invisity FOUR).
Invisity IPU software is used
in combination with the Invisity
Programming Unit (IPU) and is
available to download.
stand no. 8.e95
Gefen connects
Gefen’s 32x32 DVI Matrix is a
cross-point matrix that allows
any type of switching between
32 computers and 32 displays.
Any one-to-one or one-to-many
distribution can be controlled by
front-panel selector, RS-232, IR
remote or any web browser. The
front panel LCD offers status and
switching information.
stand no 7.b30
DaVinci goes Lite
Blackmagic Design has announced the introduction of DaVinci Resolve
Lite, a new reduced feature version of DaVinci.
Resolve Lite includes colour correction features in a downloadable
software package and is available free of charge.
The software based on DaVinci Resolve 8, is suited for the latest
model iMac, 17inch MacBook Pro and Mac Pro computers.
Resolve Lite has the same quality of processing as the full
DaVinci Resolve but limits projects to SD and HD resolutions,
only two colour correction nodes, a single processing GPU and a
single RED Rocket card.
Stereoscopic 3D features, noise reduction, power mastering, remote
grading and sharing projects with an external database server are
features only available in the full DaVinci Resolve.
The free software can, however, still accept high resolution source
footage in 2K and 4K from the latest digital RED and ARRI digital
cameras. It includes high quality optical resizing, curve grading, XML
import and export, 32 bit float processing, YRGB image processing,
multi layer timelines, stabilisation, window tracking, primary and
secondary colour correction, real time processing, capture and
playback with deck control as well as compatibility with third-party
control panels.
stand no 7.h20
P+S TECHNIK PSCAM
The PS-Cam X35 is the first film-style digital cinematography camera made
for the daily use of various kinds of special speed and motion effects (slow
motion, fast motion, ramped motion and time lapse motion).
Its features make motion effects easy to produce, claims the company.
It is a combination of a sync sound and motion effects camera
providing additional frame rates all of the way up to 450 fps – a 2 in
1 camera. The PS-Cam X35 is an all-purpose sync sound camera with
a 35mm-sized CMOS imager and
a global shutter.
It could be an alternative for
crews and producers who want
to switch from film to digital
while having motion effects
capability with their main camera
package easily accessible.
stands 7.d07 and 11.e28
PROPRODUCTS
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4K and 3D products
from JVC
JVC’s range of professional camcorders and monitors with new
advances in 3D and 4K technology will be at IBC.
The company’s prototype 4K camera uses a large-scale
integration (LSI) chip for high-speed processing of high
definition video.
Also on the JVC stand will be its first professional 3D camcorder
called the GY-HMZ1. This features an integrated 3D twin lens
design, enabling simultaneous recording of left and right images
in full 1920 x 1080 resolution.
Other features are a new 32” 3D display for medical and
broadcast use, a 24” 3D production monitor and an upgraded IF-
2D3D1 image processor, now with the ability to control positive
and negative parallax.
There are also additions to the DT-V range of professional
production monitors, with two new 17” and two new 21” monitors.
JVC’s ProHD tapeless camcorder range will also be showcased.
It includes the shoulder-mount GY-HM750, with simultaneous
recording to two SDHC cards for an instant backup or client copy,
and the GY-HM790 camera. The GY-HM790 will also be shown
with the FS-790 optical fibre solution, suitable for broadcast, OB
and live events.
Other new additions to the JVC range will be announced at the
start of the show.
stand no 10.d41
novel idea froM novelsat
Satellite bandwidth optimisation company, NovelSat, has launched
NS3 technology which it claims will boost satellite capacity by 20%
to 55% respectively over current DVB-S and DVB-S2 and up to
78% capacity increase for 72 MHz transponders.
NovelSat has developed a solution that can increase bandwidth
without using compression technology. It can transmit more traffic
over existing transponders, reduce bandwidth for content owners
and improve revenues for teleports or availability by increasing the
fade margin and reducing the antenna size by 25%.
stand no 3.a38
PROPRODUCTS
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PROPRODUCTS
oconnor’s
ultiMate fluid heads
An updated replacement of the
Ultimate 1030HD and HDs,
the new line offers a sporty
industrial design and features
that have been borrowed from
the larger OConnors, to let
cinematographers transition
from heavier to lighter payload
camera setups. These include
the stepless, ultra-smooth pan
and tilt fluid drag specifically
enhanced to provide ultimate
control and stability for digital
cinematography shooting.
The patented OConnor
Sinusoidal Counterbalance
system provides accurate
balance at any point in
the tilt range. The system
counterbalances down to zero
which is suited for lighter
weight cameras.
The 1030 D series features
the new ergonomic crank-style
counterbalance control that
pulls out of the rear of the
head. The Action Brakes for
pan and tilt unlock through a
single-handed squeeze.
The OConnor 1030 D supports
a payload up 13.6 kg at a 6”
centre of gravity and a +/-
90° tilt range. The 1030 Ds
supports up to 18.6 kg at 6”
COG with a +/- 60° tilt range.
The 1030D and Ds have
interchangeable bases (e.g.
150mm or Mitchel for the
1030), accept the same front
box mount as larger heads
and offer full compatibility
with other OConnor 1030
accessories. OConnor’s new
30L carbon fibre tripod
system offers an expanded
payload range in a lighter
weight package which makes
it suitable for the 1030D
and 1030Ds.
stand no 11.d61
NewTek
ready to play
NewTek will begin shipping 3Play 820, a 10-channel (eight-in, twoout)
slow motion system that supports the simultaneous display,
recording, and instant replay of up to eight video streams, each with
up to quad-channel audio.
The system utilises NewTek IsoCorder technology and
gives sports broadcasters, leagues, teams and schools
the option to deliver instant replay and slow motion for
broadcast, webcast and arena scoreboard displays.
The system includes an intuitive control surface, giving replay
operators hands-on control of every input and the ability to connect
to any switcher provides flexibility for all production environments.
NewTek 3Play 820 includes a 10-channel slow motion instant
replay server that supports simultaneous, continuous recording
from up to eight sources, with two independent playout
channels. Another impressive feature is an interpolated slow
motion designed to deliver smooth playback, and ensure still
frames are free of ghosting or blurring. This solution supports
a vast range of video formats and frame rates. A second display
that may be used as an ISO monitor bridge includes Heads Up
Display (HUD). Other features includes easy import and export
of a wide variety of standard media file types; multiple playlists
including transitions and sound tracks; linear timecode (LTC)
support for synchronised capture of live action and efficient
post production as well as compact 4U rack mount design.
stand no 7.K11
The TSL Mix
TSL Professional Products Group will launch AVM-T-MIX, the world’s
first rack mount Touchscreen controlled audio mixer/monitor at IBC.
The Touch-Mix system delivers a combination of audio monitoring
and channel mixing capabilities designed to simplify operations and
workflow throughout the television broadcast environment.
In live operations, the end user can instantly see channel
activity, recognise the source that has been named via the
QWERTY keyboard menu and listen to the resulting audio from
individual, grouped or mixed channels. Surround sound audio can
be down-mixed instantly at the touch of a button for compliance
checking or for confidence monitoring and multiple language, or
international mixes defined in seconds for instant recall.
stand no 10.b41
nativ’s
Mioeverywhere
Content services company Nativ
will be showcasing the latest
release of MioEverywhere at IBC.
It is a total video logistics solution
to help broadcasters and content
owners organise digital assets to
quickly reach audiences on all
platforms and devices
By deploying MioEverywhere,
Nativ claims broadcasters and
content owners can reach any
audience with high quality audiovisual
experiences on platforms
including the web, mobile, tablet,
IPTV or connected TV.
The end-to-end media
management solution removes
silos and provides remote ingest,
asset management, reporting,
workflow automation, transcoding,
QC, task management, storage,
distribution, playout and player
management in one platform.
In addition, Nativ will be
launching a major new upgrade to
the Mio series for non-linear TV.
stand no 4.a61e
observer Mobile
Volicon will demo Observer
Mobile, a newly streamlined
web-based interface that
supports H.264 on Apple iOS
devices using the Safari web
browser with native support
for iPad, iPhone, and other
mobile devices. Observer Mobile
provides flexibility, portability,
and access to live Observer
streaming along with back
navigation of previously recorded
content from both local and
remote locations. The ability to
play, pause, search, and create
logged content on demand
using smart devices will provide
broadcasters with quick access
to the final broadcast product to
ensure communication within the
media enterprise.
stand no 7.J16
92 | www.broadcastprome.com | September 2011 September 2011 | www.broadcastprome.com | 93

PROPRODUCTS
arGosy enhances
portfolio
Argosy will introduce the latest
additions to its fibre optic
portfolio, the Fibre Optic Cleaning
Tool set at IBC 2011.
Designed to clean SMPTE
and traditional Telco fibre optic
connectors on cables and those
located in panel adaptors, the
new tool uses a dry cleaning
strand that wipes and lifts any
dirt or residue away without the
need for solvents.
Suited for an engineer’s toolkit,
it allows a full cleaning to be
performed in a single operation
where an audible clink indicates
the process has been completed.
Each tool offers a minimum of
525 cleans.
The SMPTE camera cable
tool also delivers the benefit
of allowing users to clean
connectors without the
need to remove alignment
ferrules, negating the need for
additional tools.
stand no 10.d55
xendata servers
XenData, provider of digital video
archive solutions will be unveiling
XenData6 Server, a new major
release of the company’s LTO
archive management software at
IBC. XenData6 Server manages
LTO tape libraries and RAID on a
Windows 2008 Server platform,
creating a scalable archive
storage solution for professional
video applications.
As the newest addition to
the XenData Archive Series
software, XenData6 Server will
replace, and is compatible with,
the X32 and X64 editions of
XenData’s Version 5 software.
The XenData6 Server will be
available as a production
release in Q4 2011 and existing
customers will be able to
upgrade to XenData6 on existing
Windows 2003 platforms.
stand no 7.h47
94 | www.broadcastprome.com | September 2011
IDX AND Dejero
go mobile
IDX Technology will present its
line-up of portable ENDURA
V-Mount Lithium Ion batteries,
chargers and power adaptors,
and introduce new mounting
accessories at IBC 2011. As the
exclusive EMEA distributor for
Dejero Labs Inc, IDX will also
demonstrate the Dejero LIVE
Platform 2.0, the mobile ENG
solution that transmits SD or
HD video over multiple 3G and 4G wireless cellular networks.
The new A-E2KPm, a custom V-Mount sleeve to house and mount
the AJA Ki Pro Mini recorder directly to the rear of V-Mount cameras
will also be on display. By incorporating a P-V plate into the housing,
IDX ENDURA batteries can be attached to power both the Ki Pro
Mini and camera. The new VL-PVC1 is a lightweight 1-channel
travel charger for ENDURA V-Mount batteries that can be easily
stored in the side pocket of a camera bag for true field portability.
IDX’s flagship power products include the high capacity,
dual power cartridge ENDURA ELITE (136Wh) and high
load ENDURA-HL9 (88Wh) with PowerLink for live docking
to double capacity, multi-channel fast chargers, the versatile
Shoulder Stabilisation System for handheld camcorders and the
CW-5HD wireless HD-video transmission system , a wireless
tool ideal for video assist and production monitoring.
stand 11.c21.
Linear acoustic
pumps up volume
Linear acoustic’s LQ-1000 Loudness Quality Monitor provides
loudness and peak level metering of 5.1- surround and/or stereo
AES or SDI audio per industry-standard ITU-R BS.1770-2, a
requirement for mixing and transmitting in compliance with
international standards.
New this year is the addition of award-winning Dolby Dialogue
Intelligence for accurate and simple loudness estimation.
Loudness information is presented in a simple, colourful, and
easy-to-interpret manner: LKFS current loudness, target loudness,
and current true peak level are clearly indicated with both large
numbers and a dual bar graph display. A histogram shows loudness
over the duration of the programme or segment.
Colour is used to display the loudness comfort zone: green if in
target, blue if too quiet, yellow if getting loud, and red if too loud.
VGA output is provided for external displays and multi-viewers,
and HD/SD-SDI I/O is standard. Options include internal Dolby E/
Dolby Digital/Dolby Digital Plus decoding and dual power supplies.
stand no 8.d29
binoriG briGade
Teletest’s fully motorised S3D
mirror and parallel camera rig, the
BINORIG, will be launched at IBC.
The BINORIG is lightweight and
can be shoulder mounted and
is strong enough to support any
broadcast camera without flexing
the rig’s frame, claim its makers.
Designed for one-man
operations, the interaxial and
convergence settings on the
BINORIG are servo controlled,
eliminating the need for a
convergence puller.
The BINORIG is also steadicam
ready. As the interaxial distance
is altered, the cameras move
simultaneously to balance
the rig. When the convergence
angle changes, the rig’s internal
accelerometer acts as a
gyroscope, providing constant
feedback whilst maintaining a
precise balance.
Using an optional adapter,
the BINORIG can be converted
into a motorised S3D parallel
rig for giving distance shots a
stereoscopic effect.
stand no 11.d80
aMberfin’s
icr version 7.3
AmberFin will showcase the latest
developments in its iCR file-based
content ingest and transcoding
system at IBC. The iCR version 7.3
integrates Unified Quality Control
(UQC) across its content ingest
and transcoding operations.
UQC enables easier decision
making through a single timeline
approach. It combines an
automated process with a human
touch for the file creation and
distribution processes.
UQC uses automated and
operator-controlled features
for baseband and file quality
control (QC) within the same user
environment, leading to increased
productivity and a reduction in the
time and costs associated with
re-works, claims the company.
stand no 7.J15c

RAI Amsterdam
Conference 8-13 September : Exhibition 9-13 September
Creation,
Management
and Delivery
Each September, the leading brands, finest minds
and wisest investors come to IBC – the premier
annual event for professionals engaged in the creation,
management and delivery of entertainment and news
content worldwide.
Why come to IBC?
• over 48,000 visitors - making
IBC easily one of the most important
dates on the calendar for the global
electronic media industry
• from over 140 countries –
making IBC unrivalled in networking,
sales leads and business
development opportunities
• 1,300+ key international suppliers
IBC is one of the most effective
places to launch new products,
raise corporate profiles, generate
sales leads and develop distribution
channels in the industry
Scan for more
information
www.ibc.org
• 300+ high profile conference
speakers – IBC is the premier
location worldwide for debate and
analysis of the current and future
state of the industry
• a wide variety of special features
including the Future Zone, IBC
Connected World, Production
Village and the prestigious IBC
Awards Ceremony
• IBC Certified Training Programme
offering hands on training in Avid,
Adobe and Apple for production and
post production professionals
IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK
T +44 (0) 20 7832 4100 F +44 (0) 20 7832 4130 E info@ibc.org
Register now at
www.ibc.org/register
nevion Goes
coMpact
Nevion’s new FCS250-PLUS
is a compact, cost-effective
monitoring system designed to
ensure that services achieve
target quality standards.
With a built-in Web interface
for local monitoring and
configuration with SNMP and
XML for remote access, the
FCS250-PLUS monitors and
assesses the integrity of up to
four DVB-ASI or HD/SD-SDI
signals or 256 video-over-IP
streams, making it suitable for
all video monitoring needs.
The solution features
automated SLA compliance
monitoring and monitoring of
DVB-ASI signals according to
TR 101290, SD-SDI signals
according to SMPTE-259 and
HD-SDI signals according to
SMPTE-292 standards.
Another new offering, the
FCS250-IP, offers high capacity
video-over-IP monitoring with
remote diagnostics. Designed to
monitor and assess the integrity
of professional digital video
broadcast transmissions over IP
networks, a single FCS250-IP unit
can simultaneously monitor up to
256 transport streams at Gigabit
Ethernet wire-speed.
stand no 8.b70
Harmonic
Promedia family
Harmonic Inc has announced the ProMedia family of software
solutions that optimise live and file-based multiscreen video
production and processing for content and service providers.
The ProMedia family performs various functions,
including transcoding, packaging, and origination to enable
high-quality video creation and delivery of live streaming,
live-to-VOD, and VOD services to TVs, PCs, tablets,
smartphones, and other IP-connected devices. ProMedia is
also suited for content creation in file-based workflows
such as tapeless production environments.
The ProMedia family is integrated with leading digital rights
management systems, asset management systems, and content
distribution networks, in addition to other Harmonic products
including encoders, receivers, playout servers and storage.
The ProMedia family has four software products which
includes the ProMedia Live, a real-time video processing and
transcoding system with enhanced H.264 video codec technology
developed by Harmonic and optimised for creating high-quality
internet video streams.
ProMedia Package is a carrier-grade adaptive streaming
preparation system for secure internet video services. ProMedia
Package supports various HTTP streaming protocol standards
and is capable of packaging in multiple output formats from a
single video source.
ProMedia Origin is an HTTP and RTMP streaming video server
ideal for originating a broad range of multiscreen services.
Leveraging protocols from Adobe, Apple, and Microsoft to
maximise device interoperability, ProMedia Origin enables
services such as live streaming, VOD, catch-up TV, start-over TV,
and network DVR to connected devices.
stand no 1.b20
Neutrik
opticamSWITCH
Neutrik will launch its new fibre optic camera
routing system at IBC 2011.
The opticamSWITCH is a solution for fibre
optic camera routing within broadcast studios.
The device allows switching of unlimited
camera positions between several studios and
control rooms, eliminating the need for matrix
patch fields using SMPTE patch cables.
The device works on silica-based planar lightwave circuits (PLC) equipped with thermooptic (TO)
switches. The patent pending design guarantees rugged and safe non-blocking fibre plus camera
power switching without any moving parts, claims the company. The LAN-based remote control
software shows switching and camera status, and enables broadcast production automation.
stand no 8.c94
PROPRODUCTS
oxyGen dct evolves
Oxygen DCT’s Evolution P3
range of monitors will be
showcased at IBC 2011.
The monitors have an onboard
HD recorder, as well as various
camera set-up facilities.
Available in 7” and 17”, the
Evolution P3 have on-board
recording and other features
including on-board HDMI to HD-
SDI conversion, which negates
the need for external conversion
boxes when shooting with DSLR
cameras such as Canon 5D and
7D. The monitors incorporate
a histogram display, a
waveform monitor and a vector
display. The SDI video input
automatically accepts 3G (level
A & B), HD-SDI and SDI formats
up to 2048x1080/24p.
stand no 10.b44
newtec at ibc
At IBC2011, Newtec will
present a set of broadcast
solutions that allow an
easy migration from tapebased
workflows to IP-based
workflows, but also fully
converged broadcast solutions.
It will elaborate on the
benefits of converged broadcast
solutions including ensuring
signal availability to guarantee
customer satisfaction; using
satellite capacity more
efficiently; optimising the power
of the broadcasted signal;
supporting technological
evolution towards IP and
creating new revenue streams.
stand no 1.a49
September 2011 | www.broadcastprome.com | 97

PROPRODUCTS
cooKe in focus
Cooke Optics will unveil
135mm lenses for its 5/i
Prime and Panchro lens sets
at IBC.
The 135mm for the 5/i
set has T1.4 speed and the
5/i’s signature focus ring that
illuminates when required,
eliminating the need for
external lights.
The Panchro 135mm joins
the smaller, lighter weight
set at T2.8. Both lenses
are colour-matched and
calibrated to all existing Cooke
lenses and feature built-in /i
Technology, which provides
cinematographers, camera
operators and post teams with
vital metadata including lens
setting, focusing distance,
aperture and depth-of-field,
hyperfocal distance and focal
length in both metric and
imperial measurements.
stand no 11.d10
Grass valley
Goes 3G
Grass Valley will showcase
several new products and
technologies for sports,
entertainment and production,
news, playout, and delivery
at IBC.
One of its highlights will be
its 3G Transmission, which
eliminates the triax/fiber
cable challenge of outside
broadcasts. Grass Valley
3G Triax and 3G Fibre now
combine without converters
in the new 3G Transmission
camera system introduced at
NAB. 3G Transmission is set to
transform the outside broadcast
business by allowing production
companies to use fiber or triax,
whichever is convenient for
them, without compromising
quality or functionality.
stand no 1.d11.
DPA
d|FINEs mics
98 | www.broadcastprome.com | September 2011
DPA Microphones will launch its new d|FINE headset
range at IBC. The new headsets update the design of
DPA’s 4066 and 4088 models used by the international
theatre, broadcast and conference markets.
DPA will also be showing its Reference Standard mics,
including the Reference Standard 4000 Series, which
builds and improves on DPA’s Standard and Compact
4006, 4011, 4015, and 4017 mics, and the new Twin
Diaphragm Capsules which form the 2000 Series.
stand no 8.d70
cabletiMe evolves
Cabletime, developer of the MediaStar range of IPTV distribution
solutions will showcase new enhancements to its MediaStar
Evolution range of MPEG encoders, LAN-Casters, Digital Media
Decoders (DMD’s) and Media Manager software at IBC this year.
Among the products featured will be the Consumer Electronics
Control, the industry-standard protocol which is now fully
supported on all MediaStar Evolution 780 DMD’s.
Support for direct IR / IP / IR Routing from screen to headend
Signals from any IR remote control can now be received by
a MediaStar Evolution 780 DMD at the screen location and then
routed back through the IP network to drive the encoder’s IR
blaster function.
Users can control remotely located source devices such as
DVD players, satellite receivers and cameras, as well as enabling
red button functionality at the screen. Routing capability can be
restricted to single or multiple screens and can route to either a
single encoder on a fixed address or, in follow channel mode, to
the encoder streaming the user’s currently selected channel.
Media Manager Software offers ACD, stream failover mode and
IP Jump commands. The Evolution Media Manager enterprise
software gives drag-and-drop control of all Evolution IPTV system
hardware and screens, as well as enabling system managers to
configure and schedule play-out of their digital media, video and
signage assets.
stand no 13.373
conax
secures ott
Conax will launch a new
security solution for Over-the-
Top content (OTT) distribution
at IBC. Based on the Conax
Contego content protection
platform, Conax will provide
digital TV service providers
with a unified and flexible
platform for eliminating
revenue threats for all
distribution models and all
video services.
The enhanced solution
will further strengthen
the technology provider’s
commitment to excellence in
providing pay-tv operators and
other distributors of digital
pay-content with future-proof,
open standards solutions for
securing premium content.
stand no 1.d69.
wtvision Gets real
wTVision will feature iPad
integration as a Human
Interaction Technology and User
Interface (HITUI) to remotely
control broadcast graphics, a
3D stereoscopic showreel, and
sports turnkey products such as
football, surf and motorsports.
wTVision’s booth will have
several stations where the
company’s sports, elections,
studio programmes and playout
automation solutions will be
displayed. The elections station
will provide special insight about
new interactive technologies
integrated by wTVision such as
iPads serving as a mobile device
to control on-air graphics.
stand no 7.b30

PROGUEST
Give your bread to the
baker to bake
Regional broadcasters are facing
increasing challenges to maintain their
competitiveness and flexibility in a
period of rapid change. The media
industry is forcing broadcasters to
develop new business models, deliver
to multiple platforms and produce
content more efficiently, while
maintaining a low cost base. Rather
than looking inwards to make these
required changes, working with
specialised suppliers and service
providers offers an efficient alternative.
It has been common practice across a
wide-range of different industries such as
IT and telecoms, to outsource, but as yet
hasn’t been embraced seriously by regional
broadcasters on a large scale.
The broadcasting industry has been
more resistant to the concept of
outsourcing, with expertise traditionally
kept in-house across the production-todelivery
value chain. This model is
inherited from the days when there was
typically just one state broadcaster in each
market and so naturally, all the key
functions tended to fall under one roof.
Outsourcing non-core functions and
activities is an effective way to make
transformational changes and deliver
significant cost savings. This gives the
broadcaster flexibility to respond to
market needs with a smaller, leaner
organisational structure without worrying
about a large in-house workforce.
Broadcasters are able to concentrate on
their core business and competitive
strengths, while benefiting from better
service levels and enjoying easier
financing. Specialist service providers
should possess the necessary expertise
required for quality of delivery, with SLAs
(Service Level Agreements) established to
govern the relation between the two
parties. By moving a service outside of its
own organisation, it’s often easier for a
broadcaster to measure the performance
of a certain activity compared to having it
in-house with less efficient mechanisms of
accountability and incentives in place.
Broadcasters’ core business is
aggregation and publishing of content.
Their job is to invest in programme making
and acquisition of content attractive to
their audiences. Both producing and
distributing content is becoming more
complex and the types of outsourcing
options available to broadcasters are
tremendously varied. Studios, play-out,
and delivery (satellite, terrestrial, IPTV,
etc) facilities and services are the most
straightforward to outsource to service
providers. Underlying functions such as
technology and support, if outsourced,
may also be effective.
Generally speaking, it is not necessary
for broadcasters to own their studios
except in certain instances, such as with
news studios which are usually integrated
with core functions such as the newsroom
and editorial control.
The seasonal nature of television
production and broadcasting keeps studios
idle for long periods at a time. This means
that better efficiency can be gained by
‘usage optimisation’ and facilities can be
shared by multiple production companies
and broadcasters.
Playout service providers manage large
numbers of TV channels and have the
resources in place to deploy the latest
broadcast equipment and techniques for
multiple clients, saving everyone money.
In this digital age, where many channels
can be played out from a single room, why
would broadcasters build their own
playout centres and hire the operational
and technical support staff when this can
be provided by someone else at a lower
cost? In the analogue age, it made sense
for the broadcaster to playout its own
channel(s) when there was a linear
relation between the number of channels
and the cost of running them and there
was no great economy in running multiple
broadcast suites over running one.
Economies of scale in the digital age
today offer much greater efficiencies and
better savings.
There is also the resourcing side to
consider. Working with freelancers is
another efficient form of outsourcing.
Broadcasters can reduce their overheads
significantly by keeping full-time
employee numbers low and acquiring the
services of creative and technical
professional freelancers.
Currently, content development and
creative functions remain largely in-house
with only larger regional broadcasters
choosing to outsource – many of these
companies have been outsourcing channel
branding and programme formats
development to specialised companies for
some time.
With animated programmes becoming
increasingly popular in the region, the role
of service providers offering the right
skilled talent pool and capabilities across
the Middle East and globally are playing an
increasingly vital role in the industry.
An old Arabic proverb says: “Give your
bread to the baker to bake, even if he eats
half of it”. You may argue about the
second part, but the first part is definitely
worth considering.
Hasan R. Sayed Hasan is head of twofour54
intaj and writes a quarterly guest column
for BroadcastPro ME. He has also recently
agreed to be part of the magazine’s
Technical Board of Advisors.
Conax Contego TM
Conax Contego TM
The ultimate solution
for content security
securing the future_
Conax ContegoTM Conax Contego features next-generation security
for pay-TV operators, providing maximum security on
all levels. Across all platforms and client devices, and in
system performance and operation, operators are
ensured that valuable content revenues are protected.
In addition, freedom of choice is secured through
seamless integration with 3rd party technology
products.
TM features next-generation security
for pay-TV operators, providing maximum security on
all levels. Across all platforms and client devices, and in
system performance and operation, operators are
ensured that valuable content revenues are protected.
In addition, freedom of choice is secured through
seamless integration with 3rd party technology
products.
Commitment to innovation:
With a continual commitment to innovation and R&D,
Conax sets the market standard for others to follow.
Security is our business:
Conax focuses on security so you can focus on your
core business in complete confidence.
Visit Conax at: IBC, Stand # 1.D69
Securing your revenues - today and tomorrow
100 | www.broadcastprome.com | September 2011
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