making waves in jeddah

Transcription

Issue 20 |FEBRUARY 2012
Technology intelligence for TV, film and radio
MAKING WAVES
IN JEDDAH
New state-of-the-art facility to shake up radio programming
and broadcasting in Saudi Arabia
VISUAL APPEAL
Lebanese broadcaster gets
facelift with Brainstorm
FINE TOONING
Emirati filmmaker creates stir
in UAE animation landscape
TECH UPDATES
Mobile videos, social media
and multi-screen broadcast
PUBLICATION
LICENSED BY IMPZ
CABSAT PREVIEW
We bring you some exclusive
news from the organiser as
well as a sneak preview from
some of the exhibitors
Turn to page 63
Welcome
As CABSAT draws near, I am impressed
by the number of new exhibitors who are
coming to the show this year. The national
pavilions will have swelled this year judging
by what the organisers claim. We hear
there are more than 150 new exhibitors
coming to the show. That is a remarkable
number of newcomers or companies who
felt the need to come back to the show.
In this issue, we have tried to cover some
of the newcomers as part of our efforts
to bring fresh news to our readership.
This is one of the key reasons why we
shall also bring out our March edition in
time for CABSAT. The first viewing of the
show issue will take place at CABSAT.
Also, just as the manufacturers have
something new to announce at the show,
we have some good news as well.
BroadcastPro’s sister publication
SatellitePro Middle East will go monthly
from CABSAT onwards. At the show, you
shall see a new avatar of the magazine
in A4 size. This is, of course, because
we see a huge demand in the market for
this title, which was initially launched at
IBC 2011 as a bi-monthly supplement.
SatellitePro has focused on the entire
satellite value chain, from operating
satellites to the delivery of services, the
hardware and software, with product
news, technology updates, interviews
with leading players, case studies of
regional satellite deployment and its
impact on various vertical markets.
Since its launch, the magazine has
reported about the phenomenal growth
of HDTV driven by regional satellite
operators, the growing VSAT sector
in the upstream oil and gas industry
and the rapid deployment of mobile
satellite services in areas ranging
from the marine sector to in-flight
connectivity, among other topical issues.
Today, our readership includes satellite
vendors and leasers, teleport operators,
content providers, cable TV operators,
set top box manufacturers, security
vendors, governments and governmental
agencies, and the oil and gas sector.
With so much activity, we believe
SatellitePro is now ready to operate
as an independent title.
VIjaya Cherian, Group Editor,
Broadcast Division
issue 20 |feBruary 2012
Technology inTelligence for T V, film and radio
MAKING WAVES
IN JEDDAH
New state-of-the-art facility to shake up radio programmiNg
aNd broadcastiNg iN saudi arabia
VISUAL APPEAL
Lebanese broadcaster gets
facelift with Brainstorm
FINE TOONING
Emirati filmmaker creates stir
in UAE animation landscape
Publisher
Dominic De Sousa
TECH UPDATES
Mobile videos, social media
and multi-screen broadcast
PUBLICATION
LICENSED BY IMPZ
On the cover: Dr. Riyadh
Najm, Deputy Minister of
Information Affairs,
Saudi Ministry of
Culture & Information.
Group COO
Nadeem Hood
Advertising
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+971 4 440 9129
Managing Director
Richard Judd
[email protected]
+971 (0) 4 440 9126
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Sandip Virk
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+971 (0) 50 459 2653
Subscribe now
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[email protected]
+971 (0) 50 768 3435
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Rajeesh M
[email protected]
+971 (0) 4 440 9147
DIGITAL SERVICES
Digital Services
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Tristan Troy P Maagma
Published by
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in this issue
FEBRUARY 2012
PAGE 63
37
46
16
5
16
24
TECH UPDATES
30
Social Media
40
Multi-screen strategy
56
IP-over-Satellite
37
PRODUCTION - UAE
Dr. Riyadh Najm on the Kingdom’s
Jeddah Radio Complex
51
VIEWPOINT
CASE STUDY - LEBANON
63
CABSAT PREVIEW
NEWS
Canford to launch Dubai office; Qvest
Media and Teracue AG sign exclusive
distribution deal
COVER STORY - SAUDI ARABIA
Al Jadeed improves image with
Brainstorm graphics
Director David Zennie on location
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PRONEWS
Canford announces Dubai office
Broadcast infrastructure and
equipment manufacturer Canford
will open a sales office in Dubai
shortly. The new operation,
which will officially be launched
at CABSAT, is part of Canford’s
strategy to provide close support
to key players in the regional
industry with whom it is already
working. It will also offer a
platform to service some of the
AM
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RT
FE
O
rapidly emerging East and North
African markets.
The sales operations will be run
by Jonathan Keith who comes to
Canford after several successful
years in other businesses
operating in the Gulf region.
“Canford has been operating
within the region very
successfully for more than 20
years now. As a result, most of
Qvest Media ties with
Teracue AG
Dubai-based distributor and
systems integrator Qvest Media
will exclusively distribute IPTV
solutions for Teracue AG in the
Middle East.
The high-end IPTV solutions of
the German manufacturer enable
encoding, decoding, transcoding,
DVB-to-IP and high quality SD/
HD streaming across LAN and
internet networks. Software apps
for technology administration
and management complete the
Teracue product range.
Teracue’s solutions are used
primarily in live video transmission
like training and e-learning, and in
tele-medicine, video monitoring,
corporate TV and digital signage.
Speaking about the partnership,
Mohamad Othman, product
sales specialist at Qvest Media,
said: “Teracue offers the chance
to expand our range of offers
even further. We have used
some of Teracue’s products in
various installations including
the Al Jazeera Training Centre in
Qatar. They proved to work very
well during operation, which
made the decision to further this
cooperation an easy one.”
Othman will be responsible for
the sales of Teracue solutions at
Qvest Media. Teracue will be at the
Qvest Media booth at CABSAT.
our top ten export markets are
in the Middle East,” explained
Canford CEO Leif Friestad.
“Our products already form
the core infrastructure of some of
the region’s major projects such
as Education City in Doha and
the television centre in Riyadh.
Opening this office reflects our
continued commitment to our
partners in the region and enables
Qatar announces
satellite channel
Qatar is to launch a second state
satellite television channel, according
to local media reports.
“Final touches to update the
programmes of Qatar TV are going
on while the new programmes are
expected to start from April 2012,”
said Mubarak bin Jaham Al Kuwari,
CEO of Qatar Foundation for Media.
A number of morning and evening
shows have been added to the mix,
as well as news bulletins, he said,
adding that the committee is also
working on special programmes for
the holy month of Ramadan.
Alarab to be
based in Bahrain
Saudi Prince Alwaleed bin Talal’s
Alarab TV news station will be
based in Bahrain, Sheikh Fawaz bin
us to react even more quickly to
their needs. It also gets around
practical issues like the time
difference; we can respond there
and then.”
Canford anticipates the new
office will become crucial to its
global operation and potentially
a stepping stone to other
emerging markets such as the
Indian subcontinent.
Mohammed Al Khalifa, president of
Bahrain’s Information Affairs Authority
confirmed to the press.
Alarab is set to launch in
December 2012. The station is
being launched in conjunction
with Bloomberg News, which will
support the channel’s business
news broadcasting.
It is expected to employ around
300 staff by the start-up date
with potential expansion on the
cards. Bloomberg will provide five
hours of business news daily to
the channel.
On another note, Bahrain is
also reportedly in the final stages
of launching its first media city.
The IAA president confirmed
this news stating that it was
“finalising laws to govern such an
establishment in Bahrain”.
Bahrain is reportedly positioning
itself to rival Dubai as a Middle East
media hub.
NT twofour54 chiefs step down
PR
S
N
FE
Following the resignation
of Hasan Sayed Hasan, head
of twofour54 intaj early last
month, Tony Orsten, CEO of
twofour54 also announced that
he was stepping down.
Orsten will continue as CEO
of Abu Dhabi’s media free zone
until April 2012 after which his
role will be taken over by Noura
Al Kaabi, head of the media
zone’s human development
arm tawasol and a member of
the Federal National Council
(FNC). It is widely believed that
Al Kaabi was being groomed for
the post for more than a year.
Orsten will continue as a board
member at twofour54.
Hasan Sayed Hasan, on
the other hand, will establish
his own consultancy firm
Noura Al Kaabi will replace Tony Orsten as
CEO of twofour54 from April 2012.
at twofour54. Hasan will be
succeeded by Paul Baker, who
previously worked at Pinewood
Shepperton, UK as sales director.
Hasan will continue to
work with twofour54 but only
as a consultant. He will also
assist with integrating the
Baynounah facility with the
Abu Dhabi media free zone’s
existing operations.
February 2012 | www.broadcastprome.com | 5
PRONEWS
MCC and Jordan’s Arab
Telemedia in distribution deal
Mobile Channels Company
(MCC), a major player
in mobile applications
development, signed a
strategic partnership with
Arab Telemedia Group (ATG) in
Jordan for the distribution of
its drama series via all mobile
operators in the region.
Signed by Talal Awamleh,
ATG’s CEO and MCC’s business
development and marketing
manager Anas Hijjawi, the
agreement authorises MCC to
distribute and broadcast the
group’s productions such as
Ras Ghlais, Nimer Bin Odwan,
Ors al Saqer, Al Ijtiah, Wadha
and Bin Ajlan, among other
drama series.
“This agreement aims at
providing the most popular
drama clips which are still in
high demand by a large Arab
audience, even after being
re-broadcast by the most
prominent satellite channels.
We expect that they will receive
the same demand on mobile
devices,” said Awamleh.
Salem Al Enzi, CEO of MCC
added: “We welcome ATG to
our list of clients in the content
manufacturing industry, and we
value their trust in us; allowing
this partnership to broadcast
more than 5000 hours of
drama productions via all Arab
telecommunication companies.”
As per the agreement, MCC
will provide content via portals
including: WAP, IVR, RBT, and
WEB to the audience.
In addition, MCC will
provide the audience with the
possibility of downloading and
installing a mobile application
that will include all categories
and services that end-users
can view or download on their
mobile devices.
Turner’s Spanish chief to head
EMEA content operations
Turner’s General Manager in
Spain Domingo Corral will also
head the broadcaster’s general
entertainment content for
Europe, Middle East and Africa.
Corral will take on the role of
Entertainment Content Chief for
the EMEA region in addition to
serving as SVP and GM of Turner’s
operations in Spain.
The appointment is part of
Turner’s ambition to move into
the general entertainment arena
– an increasingly important
market for the company and one
in which significant progress
has already been made through
channel launches such as TNT,
TCM, Silver and glitz and content
initiatives such as truTV, TNT
Mystery Movies and Falling Skies
which is currently airing on Orbit
Showtime Network (OSN) in the
Middle East.
Corral, who is based in
Madrid, will work closely with
his counterparts in Turner’s
Asia Pacific and Latin America
businesses and with Turner US
in developing original content,
acquiring programming on an
EMEA level and developing and
producing/co-producing original
series and programming for
all of the company’s general
entertainment channels.
“Turner has a wide range
of programming assets that
go far beyond our traditional
strengths in EMEA in news
and kids,” said Turner EMEA
president Jeff Kupsky.
“Domingo’s role will be to
develop and harness these assets
around our region, drawing
upon our existing structure and
expertise to give them a much
sharper, more strategic focus.”
6 | www.broadcastprome.com | February 2012
Viacom 18
expands to Dubai
Indian broadcaster Viacom 18,
which is a joint venture between
Viacom from the US and Indian
media conglomorate Network 18,
will open a sales office in Dubai
to increase its viewer base in
the region. Viacom 18 operates
the Hindi general entertainment
channel Colors, as well as MTV,
VH1 and Nick in India.
“The entertainment industry in
the Middle East holds remarkably
high potential for South Asian
channels,” said Gaurav Gandhi,
head of international business
and chief operating officer,
Sun18 North.
“With the increasing demand
for Indian content and Colors’
rising popularity in the region,
we have decided to set up our
regional Middle East operations.”
The new office will be overseen
by Sachin Gokhale, director,
business operations – Middle East
and Africa.
News Corp
acquires stake
in Moby Group
Domingo Corral will take on the role of
Entertainment Content Chief for EMEA.
Corral stated that he looked
forward to “continuing our close
partnership with colleagues in
the US and building on the recent
success of Falling Skies.”
“Ongoing expansion and
consolidation through investment
in original series will be key to our
entertainment strategy.”
News Corporation is now a
minority investor in Dubai-based
media house Moby Group
thanks to a deal between the
two companies. According to the
deal, News Corp will give up its
50% shareholding in Broadcast
Middle East (BME), a joint
venture between Moby Group
and News Corp, for a minor
share in Moby, which is owned
by an Afghani family. As per the
agreement, News Corp will also
provide the capital required for
Moby to expand further.
Saad Mohseni will continue to
be chairman of Moby while Zaid
Mohseni will serve as CEO of BME.
News Corp will have
representation on Moby’s Board
of Directors.
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PRONEWS
New channel to launch from Abu Dhabi
Fox announces
Qatar expansion
Digital Media company EMM will launch
and operate a 24/7, general entertainment
TV channel from twofour54 Abu Dhabi. The
channel, whose name is yet to be made
public, will be distributed via satellite with a
dedicated online channel and is slated to go
live by the end of 2012.
With an expected output of 650 hours
of original multi-genre programming every
year, the channel will contribute to the TV
production value chain in Abu Dhabi. The
channel will also provide career and talent
development opportunities for Arabs looking
to enter the media industry.
“EMM’s existing digital audience will be
drawn to the original offering from the new TV
channel when we transmit across the Middle
East and North Africa. Editorially, operationally
and technically, our TV programming will be
distinctive, innovative, empowering and with
high production values,” stated EMM’s CEO,
Nicholas Claxton.
The new channel will create a number of
Fox International Channels
(FIC) will expand its operations
in Qatar. FIC is looking to the
nationwide fibre-to-the-home
project initiated by Qatar
Telecom (Qtel), to deliver high
definition (HD) content, as the
broadcaster records a 20% rise
in its Qatar-based audience.
The move is part of a strategy
to reach out to wider audiences
in Qatar.
“Currently, Qatar is airing
nine channels. Qtel carries six
of them but many are not in HD,”
stated Rohit D’Silva, senior vice
president for Fox MENA.
“Our priority is to convert
them into HD. Qatar’s ultrafast internet facility would help
transform this.”
The network is also mulling
the launch of a 3D channel,
D’Silva added.
new jobs for the industry, initially with 20
technical and operational staff and as many
as 30 creative production personnel. These
numbers are expected to grow as output
increases over the first five years.
The facilities will also be used to offer
internships to young graduates and masterclasses for the growing number of Emirati
media students.
“twofour54’s commitment to make Abu
Dhabi a regional media hub for the Arabic
media industry has been a major factor in our
choice of deciding on Abu Dhabi as the home
for our new TV channel,” stated Claxton.
“Furthermore, Abu Dhabi is increasingly
being seen as a creative production base
and as we share in their vision to make this
a reality, it made sense to establish our
operations there.”
EMM’s new TV satellite channel will be led
by EMM’s CEO, Nicholas Claxton, who will
spearhead the business as a whole, its strategy
and its expansion plans.
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CC_BROADCAST_175-110.indd 1
20/01/12 11:49
PRONEWS
Filmworks to facilitate production of
Chinese action flick in Dubai
Dwelling In The Fuchun
Mountains, a Chinese action
film, directed by Sun Jianjun
and Robert Francis, and starring
Andy Lau, Chiling Lin and
newcomer Jingchu Zhang, will
be shot partly in Dubai. The US
$20 million budget film is the
first major Chinese production
to be shot outside China.
Dubai-based production
house Filmworks, which helped
facilitate productions such
as Syriana and more recently,
Mission Impossible: Ghost
Protocol will be responsible for
providing crew and offering all
relevant production support for
the film. Rental house Filmquip
will be responsible for providing
all equipment necessary for
the production. Dwelling In The
Fuchun Mountains will be shot
in HD.
“This is perhaps the first
time we will see all three of
Dubai’s landmarks including
Burj Khalifa, Burj Al Arab, and
Atlantis, The Palm in one film,”
commented Tim Smythe, CEO
of Filmworks.
There will be two
production units working
simultaneously in Dubai. The
American director Robert Francis (l) and Chinese director Sun Jianjun at the press conference.
international crew will work
under American director
Robert Francis while the
Chinese crew will be working
with director Sun Jianjun.
Smythe reckons that there
will be around 300 people
working on location in Dubai
including the crew and the
teams that offer support,
logistics and so on. Around
89% of the people who work
on the production in Dubai
will be from the local market
while some of the key skill
sets may be outsourced to
international experts.
Dwelling In The Fuchun
Mountains will be filmed
across four countries and
six cities including Dubai,
Hangzhou, Fuyang, Taipei,
Tokyo and Milan.
Speaking about the
production, director Sun Jianjun
said: “I hope this production
will refresh visual senses of
Chinese movies. A movie is a
space for dreams, and it should
allow people to go beyond
the experience of their daily
life. China’s ancient costume
movies, though popular
internationally, have difficulty
in breaking through visually.”
Although Dwelling in the
Fuchun Mountains is being
created by an elite Hollywood
team, it will not portray Dubai
from a Hollywood adventure
perspective.
“In my movie, Dubai is as
beautiful as heaven and as
precious as a pearl. We will
not describe this country with
the sand, camels and dust as
in Mission Impossible: Ghost
Protocol,” added Jianjun.
Dubai is said to have
provided some soft incentives
for the production although
the authorities were reluctant
to elaborate.
Filmworks CEO Anthony Smythe said at least
89% of the crew will be sourced locally.
Government-owned FM radio stations highest in Algeria
A new report from the Arab
Advisors Group reveals that 210
local government-owned FM
radio stations broadcast from
14 Arab countries by December
2011, compared to 72 private
radio stations. The report also
analysed seven regional radio
stations that broadcast on FM
frequencies in multiple countries.
These regional stations raise the
total number of FM radio stations
to 289 in 14 Arab countries by the
end of 2011.
Liberalisation in several Arab
countries was a key factor for
the growth in private FM radio
stations. Still, out of the 19
countries covered in the report,
three do not allow private radio
stations, namely: Qatar, UAE,
and Yemen. Mauritania and
Algeria allowed the licensing
of private radio stations in
2011, however, by end of 2011,
there were still no private
radio stations broadcasting
in these countries. In addition
to the liberalisation of the
sector, the need to broadcast
in multiple languages to cater
to expatriates enhances the
number of FM radio stations
even in countries where private
FM radio stations do not exist.
The UAE is a clear example of
this as it hosts FM radio stations
that broadcast in Arabic,
English, Malayalam, Hindi, Urdu,
Tamil and Persian.
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Dubai, UAE
Stand# S2-E21
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PROTRENDS
The ME Generation
With the recent growth spurt seen in
production switchers and signal routers,
the emphasis has increasingly shifted to
their mix effects (M/E) capabilities, and a
similar emphasis on the ins and outs (I/Os) of
routing systems. In Master Control switchers
MEs, coupled with expanding channel
capacity, are maintaining modest interest,
but sales are flat. This change, particularly
in production switchers/vision mixers, has
led to a new opportunity for end-users who
prefer and are purchasing more portable and
affordable smaller systems which utilise less
M/Es and also have a significantly smaller
footprint. These trends were published in
the latest global tracking report from D.
I. S. Consulting Corporation called Video
Switchers World 2011.
Makers of production switchers have
already understood that professional endusers desire to have portable switchers
as fully featured as possible but available
at modest prices. Those single ME and
sometime two-ME designs are becoming
readily available in the marketplace. Many
of them are coming from the Asian market
and, in particular, from China.
That said, these smaller, battery
operable, switchers are very robust and
contain the capacity to handle more
cameras and inputs than before as well
as, in some cases, even are switchable
between analog, digital (HD) and 3D. So,
among other trends, we see one towards
more switcher/router makers entering
the market, and offering more small form
factor choices for professionals and lower
price options available to economically
challenged buyers.
This is especially interesting with
regards to what we have previously
identified as a precipitous rise in the
number of freelance independent
producers and addresses their need for
economical switching solutions. A typical
freelance producer is likely to tie multiple
camcorders into his portable switcher,
patch through multiple microphones,
run signals through editing or graphics
software on his tethered laptop and even
stream them to a central location, like a
station, from the field.
Manufacturers must really like the idea
of marketing tiers of product based on
their MEs because a veritable ‘gold rush’
is underway to provide scalable yet lower
cost ME and smaller (less) ME models to
that increasingly freelance and small
operation-oriented marketplace. And,
that ‘rush’ has attracted a considerable
number of new brands, particularly from
Asian countries.
The new entries seem mainly focused
on providing more single or double
ME boards, many of which are highly
portable and may be operated on DC/
battery power. Needless to say, they also
tend to carry rather lower price points,
which users are finding quite appealing.
Among the things driving this change
are the desire of freelancers and small
crews to do some or all of the normally
post-production steps in the field, such as
editing and to centralise such workflows
through a laptop. The workflow has
become much more oriented around that
production and post-production design.
Similarly, however, high-end facilities
are still quite supportive of a new
generation of 4M/E (and similar) switcher
desks and larger, more I/O-capable routers.
A number of international brands offered
new editions of large desks this past year
and those were hungrily taken up by the
high-end facilities, broadcasters and OB
truck companies. A major emphasis on
3Gig and in some cases 3D have been
important market drivers in 2011.
This latest switcher/router study was
conducted late last year and published
in December and gathered 1,212 global
responses from broadcasters and other
professional end-users, worldwide.
That data is organized in five regions
and in seven segments that include:
Broadcast/Cable, Production/Post,
Mobile/OB, Event Video, Independent
Video & Film, Institutional Video and
Rental Houses.
In addition to the core brand shares
in Owned/Bought & Planned product
data and a five-year forecast, there are
PROTRENDS
breakouts by price, application and type
– Production Switchers, Master Control
and Routing Systems. Responses were
gathered both on-line and via computeraided telephone interviews. Many of the
major switcher manufacturers supported
the study.
Other important industry currents in
the worldwide switcher market include: a
continued transition to full HD capability,
a growth in the number of 3G (supporting
full 1080p HD signals)-capable models
and substantial growth in 3D-capability,
albeit often optional in nature, as most
switcher makers offer re-purposing
HD for 3D use as a solution. In routing
specifically, the same features are drivers,
but also a trend towards fiber and larger
quantities of I/Os are appearing more
frequently. Big desks were also seeing
a good deal of growth in those circles
where the recession had repressed growth
in 2009 and 2011, mobile/OB and big
studios. In those segments as well as in
the Americas and Asia, larger models
also are seeing respectable demand. This
demand has favoured a small number of
manufacturers who occupy that space.
And, there, a trend towards providing
scalable and modular expansion has
become popular among users.
Middle East buyers are responding
quite similarly to that of the rest of the
global market, in terms of buying plans
for switchers by MEs, and routers by I/
Os. But, if anything, there is a somewhat
stronger tendency towards larger
switchers – ‘big desks’ -- with greater M/
Es and larger I/Os router systems in the
region, due to the greater number of sites
that are government run and thereby
more centralised. For the most part,
Middle East markets never saw significant
declines in their switcher/router
buying, as did Europe, but regionally,
they are experiencing a similar surge in
enthusiasm for these products. The Middle
East purchasing chart that accompanies
this article illustrates plans to buy by type
of M/E. Middle East facilities have been
expanding, new OB trucks being built
and a small – by Western standards
– freelance or boutique facilities
phenomenon is emerging, supportive
of the smaller, more portable, lessor
M/E solutions.
Understandably, the general trend,
globally, towards smaller footprints and
fewer MEs and increased competition
from new brands, has led to a lowering
of switching/routing prices, generally,
and thereby created a buyer’s market for
an increasingly freelance, highly mobile,
expanding marketplace of media
professionals.
This phenomenon has been truly
universal, transcending borders
and crossing and changing vertical
segments. And, additionally, the study
has identified the bounce-back of the
market for switching as a result of a
more confident customer base, busy
catching up with previously halted
expansion plans. This is mainly strongest
in Asia and the Americas, but helping
the category almost everywhere. While
a small impact is being felt as the result
of the U. S. presidential election in 2012,
and the London Olympics, it is the broader
— and more globalised —infrastructure
upgrades that can be attributed to the
demand. As a result, 2012 is beginning
to look like it will be a very good year
for production switching and routing
systems product manufacturers and their
customers alike. PRO
Douglas I. Sheer
is CEO and Chief
Analyst of D. I. S.
Consulting.
PROCOVER
Making waves in Jeddah
While most of the Middle East focuses on the launch
of new TV channels, Saudi Arabia now boasts a
sophisticated network of radio complexes across
the Kingdom. The most recent one to be unveiled
is Jeddah Radio Complex, a 19-studio radio facility
that is both state-of-the-art and completely digital.
Vijaya Cherian brings you an exclusive report
Saudi Ministry of Culture and Information
(MOCI) recently took delivery of a state-ofthe-art digital radio complex in Jeddah. The
radio part of the multi-million dollar project
was undertaken by Saudi MOCI in conjunction
with local systems integrator Delta and
German systems integrator BFE.
Saudi Radio was originally established in
Jeddah about 70 years ago, recalls Dr. Riyadh
Najm, deputy minister of information affairs,
Saudi Ministry of Culture and Information.
“The old Jeddah studios were built
PROCOVER
“The old Jeddah studios were built in 1966 and needed to
be renovated in terms of the building as well as the studio
equipment. In fact, more radio programmes are originating from
Jeddah so it was time to rebuild the facility”
Dr. Riyadh Najm, deputy minister of Information Affairs, Saudi Ministry of Culture & Information
Dr. Riyadh Najm, deputy minister of Information Affairs,
Saudi MOCI.
One of the studios
at the facility.
in 1966 and needed to be renovated in
terms of the building as well as the studio
equipment. In fact, more radio programmes
are originating from Jeddah so it was time to
rebuild the facility.” The Jeddah Radio Complex covers an area
of 14,000sqm. The radio part of the facility
includes 19 studios and 21 control rooms
in addition to the central control rooms, a
MENOS exchange system room, a satellite
receiver, a central archive, a library as well as
several other amenities. This building has
also been designed to link directly with Saudi
MOCI’s radio facility in Riyadh.
Although all 19 studios are not
operational yet, Dr. Najm says they will be
fully operational in the future. Already, two
24-hour radio programmes including Nida
AlIslam originate from Jeddah in addition to
foreign radio programmes that are available in
eight different languages. Irrespective of the
origin of the content, all radio programmes are
sent to Riyadh, from where it is dispatched to
all the transmitting sites in the Kingdom and to
the outside world.
“Three permanent 24-hour programmes
are run from Riyadh including general
programming, the Quran and foreign local
programming. Two of these are based
in Jeddah along with foreign language
programmes that are directed to listeners
outside the Kingdom,” explains Dr. Najm.
A unique aspect of this facility is the
adoption of a box-in-box concept to ensure
that all issues related to sound are addressed.
“The use of the box-in-box concept isolates
the studio from vibration and sounds in the
surrounding environment,” explains Dr. Najm.
The concept involves constructing double
walls for the buildings. Double walls have
been used when separating the studio from
other halls or rooms to prevent sound and
vibrations. In some cases, triple walls have
been used to separate the control room from
the middle wall. The use of elements such as
rubber, screed and anti-static carpets within
the studios have helped to further address
audio issues.
With 19 studios that include seven recording
studios, nine broadcasting studios, four editing
suites and two mini-news booths, Jeddah
Radio Complex is the largest radio facility
presently available in the Kingdom or perhaps,
even across the GCC.
“This complex in Jeddah is the largest,”
endorses Dr. Najm.
“The Riyadh complex was overhauled and
converted to a fully digital, tapeless facility
three years ago, and it presently has 14 studios.
In addition, we have built radio studios in
Dammam, Madinah, Qasim, Abha and Jazan.
We have also recently completed three radio
and TV production centres in Tabuk, Hail and
Jazan and each of these centres have two
digital radio studios but Jeddah is the largest.”
The new complex includes several unique
features. For one, all of the broadcasting
routes are secured with alternative routes
should there be any interruption to the
transmission or possible technical failures.
This is a fully digital radio system, thereby,
helping to streamline the workflow and
delivering operational features that will
increase the professional quality, productivity
and speed of performance, connectivity and
content archival.
“The key advantages of having a fully digital
radio facility is the flexibility in the workflow,
the speed with which you can move material
around and being able to edit it by multiple
users at the same time,” explains Dr. Najm.
“The elimination of tapes adds more flexibility
and reduces both cost and pollution. In
addition, the consumer enjoys a much higher
sound quality.”
PROCOVER
Studio above and Jeddah
Radio Complex below.
Tech Specs:
4 24 Lawo Zirkon Broadcast-mixing consoles
4 10 Lawo Z4 mixing consoles
4 2 Lawo Nova73 MK2 audio routers
4 Lawo Nowa17 audio router for metering and
monitoring
4 The control of the broadcast infrastructure
is handled by the BFE KSC Commander and 35
control panels that are integrated in the control
rooms
4 NETIA Radio-Assist digital audio software with
130 HP clients
4 The NETIA server — and storage — system are
installed on HP servers (DL380) and HP storage
(MSA). NETIA Systems inside the studios are
configured as (3+1) for optimum service stability
with in-track and Hot-Box facility.
4 The complete network is realised with D-Link
Gigabit-components.
4 Riedel intercom with 63 control panels
4 Alpermann + Velte centralised clock system
for 118 clocks
4 Minor devices include the 60 BFE Sym amps and 160 BFE headphone - amps
4 Studio furniture and racks made by BFE
according to the MOCI’s specifications
The telephone systems deployed at this
facility can take up to three calls at the same
time on air, thereby, enabling the broadcaster
to speak offline with a guest on the phone,
even during the broadcast of a programme.
It supports VOIP and will eventually be
integrated with the system at the Ministry and
a central antenna system that provides the
ground and satellite channels to the offices
and technical rooms.
The studios are kitted out with all of the
traditional broadcasting systems such as
a CD and tape players along with a digital
system that is designed to switch to a backup
in the event of a potential interruption to the
broadcast. In addition, the end user can control
the timings of the programmes for news break
inserts and prayer announcements.
In addition, a facility to allow the
broadcast of breaking news without any reprogramming has been incorporated into the
design. Text can be supplied inside the system
to be electronically available to the presenter.
Saudi Press Agency is also fed into the same
digital audio workstations. The studios are
equipped with eight news stations and six
aggregating stations.
Other elements of the facility include an IT
PROCOVER
network and radio broadcast infrastructure
with sufficient backup servers to ensure zero
interruption in transmission.
The complex includes a sophisticated
archive library with a storage capacity of 36,000
hours as well as a central control room and an
exchange system via satellite.
“All of the electronic equipment in the
studios is fully integrated into one digital
network allowing simple and easy flow of the
radio materials in file format around each part
of the complex with use of any tapes or disks,”
explains Dr. Najm.
In addition, Jeddah Radio Complex is linked
to Riyadh with multiple lines in both directions
because all radio programmes are dispatched
centrally from Riyadh to all the transmitting
sites in the Kingdom and to the outside world,
adds Dr. Najm.
“We also need contribution circuits between
Riyadh and Jeddah as they are the two main
radio centres in the country,” he explains. In addition, the facility also makes use of
the award-winning MENOS infrastructure,
which was put in place by Saudi-based systems
integrator First Gulf Company (FGC).
“We use MENOS for two main purposes,
which is primarily to send and receive radio
programmes within the sites inside Saudi
Arabia, and also to connect with all other Arab
broadcasters,” explains Dr. Najm.
Benefits of this
system:
4 Six parallel broadcasts can be conducted
4 Regionalisation of the broadcasts
4 Tapeless radio production
4 Digital archiving with connection to other
archives in the Kingdom
4 Connection to the Saudi Ministry of Culture
and Information network via high-speed fibre
connection and the MENOS satellite system that
can be used to exchange the contents as well as
to monitor the services
4 Provide remote technical support from
manufacturers via the internet
4 Provide advance training to Saudi engineers
and technicians to operate the facility
MediorNet
Compact
50G Real-Time Media Network
The present staff at the Jeddah Radio
Complex is being trained to operate this
new facility.
“This is not easy as staff are resistant to
changes in the workflow. This is why we are
operating the complex in stages. There are
presently about 40 technical staff in Jeddah
Radio and we may employ more in the future,”
adds Dr. Najm.
Jeddah Radio Complex was built according
to the MOCI’s specification which was made in
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• Synchronized 50G real-time network
for 3G/HD/SD-SDI video, audio, data
& intercom at the price of multiplexing
point-to-point fiber products
• Flexible signal routing incl. point-tomultipoint
• Integrated Frame Store Synchronizer,
Embedder/De-Embedder, Test Pattern
Generator, On-Screen Display &
Timecode Insertion at every port
Above: Issam Al Abbasi,
Department head for Telecom
and Broadcast Projects, Delta
• Fully compatible with Artist, RockNet
and other MediorNet systems
www.riedel.net
Middle East
Sales: + 971 4 4338250
Service: +971 4 4338260
PROCOVER
RiLink
Global Fiber Service
“All of the electronics equipment in the studios is fully
integrated into one digital network allowing simple and easy flow of
the radio materials in file format around each part of the complex”
s at
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Dr. Riyadh Najm, deputy minister of Information Affairs, Saudi Ministry of Culture & Information
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compliance with the BBC’s standards, according
to Issam Al Abbasi, Department head for
Telecom and Broadcast Projects, Delta Co. Ltd.
“This project was awarded to Osais
Establishment, which undertook the civil
works including the box-in-box studios. Delta
Company Ltd. was contracted to undertake
all studio and electronic works in the project,
which was, in turn, completed under the
supervision of consultant D.T. Engineering,”
explains Al Abbasi.
Besides supplying kit for this project,
Delta also delivered a Medium Wave Radio
broadcasting station in K29 in Jeddah and
completed 30 FM Radio broadcast stations in
30 cities, each transmitting five programmes
via the Ministry of Culture and Information for
the first private broadcasters in Saudi Arabia.
“These projects use the MENOS satellite
system,” explains Al Abbasi.
Saudi MOCI and Delta worked with German
systems integrator BFE on the radio project. BFE
was responsible for the realisation of the entire
broadcasting and information technology
within the new broadcasting centre in Jeddah.
Within a period of 18 months, BFE put together
18 radio control rooms, 16 studios, 20 audio
editing suites and two control rooms.
“In addition to the planning, delivery,
installation, integration and commissioning
of the complete technical equipment, BFE
was responsible for the equipment as well as
the studio furniture, which was made in BFE’s
in-house workshops according to the design
requirements of the Ministry of Culture and
Information,” explains Al Abbasi.
Clearly, a well networked tapeless radio
facility was part of the mandate. However,
further enhancements are likely to enable
cross-linking with the radio station in Riyadh.
The central component of the entire project
is an integrated transmission and archiving
system from NETIA that is based on clients,
servers and a storage solution from HP. Further
components include two Nova73 MK2 Lawo
routers and 34 Lawo Zircon and Z4 consoles
in the main control rooms. The control of the
broadcast infrastructure is handled by the BFE
KSC Commander, a part of the KSC product line.
From the new radio station in Jeddah, Saudi
Ministry of Culture and Information broadcasts
six radio channels and with this, guarantees
further dissemination of the radio programme
offering in Saudi Arabia. PRO
The alternative to satellite uplinks:
RiLink is the new way to broadcast live
signals from remote event locations
or foreign studios to the home facility.
Bi-directional, unaffected by weather
conditions and with significantly
shorter latency. Based on Riedel’s
own global backbone, the RiLink
Global Fiber Service transports not
only HD/SD-SDI video signals but
provides additional features like
integrated intercom and telephone
communication, secure connections
to corporate networks or access to
digital archives. RiLink is charged at
a flat rate allowing for precise budget
planning and more live pre and postevent features or news reports at no
extra costs.
www.riedel.net
PROLEBANON
Al jadeed gallery, Lebanon.
Al Jadeed boosts visual experience
Lebanese TV
station Al Jadeed
recently underwent
a facelift with
Brainstorm solutions.
BroadcastPro Middle
East brings you an
exclusive report
Beirut-based Al Jadeed, a 24-hour
pan Arab station that offers generalinterest programming in Arabic, recently
upgraded its graphics with solutions from
Madrid-based Brainstorm Multimedia
to provide a more visually compelling
experience to its viewers. The new
solution enhances Al Jadeed’s look and
feel while also streamlining its workflow
and internal operations.
The channel, which was launched in
2001 in the Arab world, ranks among the
top stations in Lebanon. In 2005, Al Jadeed
was introduced into the Americas and
the Pacific region to reach Arab-speaking
emigrants in the United States, South
America and Australia. Most recently, the
channel decided to upgrade and refurbish
its graphics package and associated
workflows to take advantage of the
economies of scale that could be achieved
as well as improve its on-air graphics
capabilities. That’s when Al Jadeed turned
to Madrid-based Brainstorm Multimedia.
Brainstorm’s core eStudio software
drives BrainNews, a template-based
news graphics system that Al Jadeed’s
news department will use to integrate
Brainstorm’s real-time 3D graphics into its
workflow without the need for constant
input from designers.
“BrainNews can interface with our
existing Avid iNEWS Newsroom Computer
System (NRCS) to export consistent,
PROLEBANON
“BrainNews can interface with our existing Avid iNEWS
Newsroom Computer System (NRCS) to export consistent,
professional, pre-designed graphics templates directly from the
likes of Autodesk 3D Max and Maya 3D”
Eng. Louis Riachi, technical director, Al Jadeed
professional, pre-designed graphics
templates directly from the likes of Autodesk
3D Max and Maya 3D,” says Al Jadeed’s
technical director Eng. Louis Riachi.
“Our reporters and any other users
can easily find pre-designed templates
stored on a central server and add them to
rundowns on the way to iNEWS, which can
be used across all of our installations. The
flexibility provided by Brainstorm also gives
us the advantage of being able to create
and implement far more complex graphics
than had been possible before.”
The Brainstorm system replaced
Avid Deko 1000 and Avid Dekocast
systems, which would appear to be an
appropriate solution in light of the fact
that Brainstorm’s eStudio is the real-time
3D rendering technology used by the
Avid Motion Graphics platform that was
launched at IBC 2011.
Implementation of the new system was
jointly achieved by Brainstorm technicians
in tandem with technical operations
staff at Al Jadeed and Brainstorm’s dealer
in Lebanon, Pharoan Broadcast. Initial
introductions and familiarity tours were
also conducted during installation.
“The Brainstorm package is designed
to be implemented by those with no prior
knowledge of graphics systems although
training was provided to our staff,” explains
Al Jadeed’s Riachi.
In the three-to-four month time
frame from Al Jadeed’s initial request for
specifications from Brainstorm to eventual
implementation, the process was smooth.
Brainstorm personnel performed a remote
installation and full testing of its software
before their initial trip to Beirut, where they
integrated their software with Al Jadeed’s
existing technology and began training and
Connect
AVB
Intercom goes Real-Time IP
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Connecting intercom panels over an
IP-based LAN environment has been
the dream of many system planers.
Riedel’s AVB product line provides a
communication solution fulfilling the
demands of professional intercom
users. Based on official IEEE next
generation
Ethernet
standards
AVB makes it possible to utilize
facility and enterprise LAN data
infrastructures for real-time intercom
applications. This allows for new
approaches in system and facility
design providing significant savings in
infrastructure investments.
The Brainstorm system installed in Al Jadeed’s rack room.
www.riedel.net
PROLEBANON
The Brainstorm system gateway above and the entire system on the left.
“This system has helped
us boost our image externally
while also vastly simplifying and
automating time-consuming
and, therefore, expensive
internal work practices”
Eng. Louis Riachi, technical director, Al Jadeed
testing to validate the entire workflow.
“The installation was done in just two
visits,” explains Riachi.
“The first visit was hardware installation
and basic settings installation and the
second visit was for full technical and design
training. The cooperation of Brainstorm’s
installation and support teams was
outstanding. We were entirely comfortable
with the process and completely satisfied
with the results. They were able to answer
our questions and ease us into the new
workflow, which is exactly what you want
from a vendor.”
The new installation enables every
journalist at Al Jadeed to use existing
graphics and share them with all those
involved in the news environment thereby
providing a far more agile and costeffective workflow.
“This system has given a fresh and
contemporary look to the station, which
benefits our viewers. This has helped us
boost our image externally while also
vastly simplifying and automating timeconsuming and, therefore, expensive
internal work practices.”
Al Jadeed is presently looking at
investing in new control rooms, for which
Brainstorm’s virtual eStudio technology is
also a serious contender.
“Our existing installation consists of an
Avid iNEWS environment, which BrainNews
supports to automate the graphics
playback. Our primary objective has always
been to upgrade an ageing system while
simultaneously taking advantage of the
ability to seamlessly integrate that which
we wish to keep.
“Although template-based systems such
as Brainstorm’s are what pretty much
all on-air graphics solution providers are
offering these days, this vendor brings
something extra to the table that we have
found to be compelling and practical, both
in terms of the options the equipment
offers and the price-to-benefits ratio. It
is a total package that is powerful yet
affordable,” adds Riachi.
Al Jadeed expects to see a return on its
investment within two or three years as
a result of the enhancement of the visual
impact of its programming content, including
election coverage and analysis. PRO
Leave no story untold
What you capture on set will define how your story
unfolds. The cutting edge EOS C300 is born to please
cinematographers. Lightweight, compact and stunningly
simple to operate, it is scalable for any project and
affordable even for small independent productions.
cpn.canon-europe.com
Be the first to experience the new EOS C300 at
Cabsat Stand S3-17, February 28th - March 1st 2012
PROVIEWPOINT
Social Connections
Social media is seen as
a revolution all over the
world – figuratively and
literally. In western culture,
the revolution comes from
the fact that social media
is fundamentally changing
how we communicate with
our friends, families and
acquaintances. Here, we
look at how social media
has radically changed the
broadcast landscape
In Middle East cultures, the term
“revolution” refers to serious matters
such as human rights, democracy and
equality, and clearly, social media has
played a major role in recent movements
toward all three. The West and the Middle
East present an interesting contrast
between the cultural uses of social media
and its use as an agent of change.
News organisations, journalists
and broadcasters play a crucial role
in the development and adoption
of social media in every culture, but
especially in the Middle East. People
now have a voice they never had before.
The amount of editorial content and
breaking news items in social media is
plentiful. Broadcast newsrooms have an
opportunity to increase the amount of
available content during breaking news
events and cover stories from a new,
personal perspective.
The increasing presence of social
media has been the catalyst for changes
in communication in the Middle East.
People whose voices previously went
unheard are now communicating in
revolutionary ways through the use
of social media, resulting in greater
awareness of issues such as democracy
and equality.
Since the end of 2010, our television
screens were plastered with coverage
of the Arab Spring uprisings in Tunisia
and Egypt, and several more countries
since then. Images of thousands of
people protesting for change were
broadcast all around the world as a
result of using social media to facilitate
communication and, ultimately, change.
PROVIEWPOINT
In countries where internet is censored,
and government broadcasters and media
outlets omit information on certain
topics, social media has become the
alternate news source and medium for
communication. Even when certain social
media web sites are blocked, the techsavvy generation of today is finding ways
around it. Social media is being used as
a way for people with similar ideologies
to come together to share information,
organise events and connect with
people all around the world. People are
instigating the revolution; social media is
the tool to facilitate this.
People are using their phones and
cameras to post videos, photos and
textual content via social network
websites like Facebook, Twitter and
YouTube, and are giving broadcasters
an abundance of content. People are
recording footage of protests and taking
photos of events they feel the world needs
to see. Broadcasters are using this content
An image from Al Jazeera
with a tweet from a viewer.
in their news stories, providing a personal
look at the events that are unfolding.
Stories can further evolve in social
media as more people share their own
images and stories, evoking exponential
awareness and participation. This effect
is evident in the development of further
uprisings after Tunisia, including other
countries such as Egypt, Libya, Bahrain,
Syria and Yemen.
The use of Facebook in the Middle East
continues to increase. The number of
Facebook users in Egypt stands at more
than nine million, a growth of 21% over
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PROVIEWPOINT
“The number of Facebook
users in Egypt stands at
more than nine million, a
growth of 21% over the
past six months. Iraq and
Libya have also had large
increases of 59% and 67%,
respectively”
James Neufeld, never.no
the past six months. Iraq and Libya have
also had large increases of 59% and 67%,
respectively. These figures show that
social networks are being used more and
more in daily life in the Middle East, as
well as in Western societies. Broadcasters
now have an opportunity to capture their
audiences’ attention in new ways.
Before social media, to get insight
into the life of people in the Middle East,
we relied mainly on journalists. Often
journalists’ depictions did not offer a true
representation of issues, and news and
information could be biased or governmentcontrolled. Social media allows the flow
of information to come directly from the
source — the people themselves. Citizens
now have the technology that allows their
voices to be heard.
Broadcasters now have a different role
in the process of covering news and events.
Instead of purely relaying information, they
are now directly, or indirectly, influencing
audience participation.
In a discussion of “Public Diplomacy
and International Broadcasting in the
New Media Era,” Rebecca McMenamin,
new media director at the International
Broadcasting Bureau, explained the impact
broadcasters have on social media. She
believes international broadcasting helps
facilitate and seed the conversations.
“We can also provide the information
that spurs the discussion and gives people
a place to openly debate issues. I mean we
– as the journalist, you can provide lots of
good information, but then you’ve opened
up this space to let people engage and you
can moderate that discussion,” she says.
“The journalist can step in, provide the
moderation, inject the facts, throw out
the trash and help foster a vibrant, civic
proactive discussion.”
Furthermore, broadcasters are able
to source their content through their
own social media pages. They are able to
publish Facebook and Twitter comments
on air, providing a personal touch to the
broadcast. Chats and polls can be set up,
enabling viewers to interact with each
other as well as the broadcaster, while
the broadcaster moderates the content.
If broadcasters take advantage of these
opportunities, they can create a dynamic
PROVIEWPOINT
and interactive viewing experience. Social
media is a predominant communication
channel in which people express their
opinions on important issues, so it makes
sense (and good TV) that broadcasters in
the Middle East are incorporating social
media elements into their broadcasts.
As a result, viewers participate in
discussions via Facebook and Twitter, or
they might actually take part in public
events. As social awareness builds, people
are continuing to take a stand against
repression and internet censorship, as well
as other major social, political, economic
and cultural issues. The power of the
masses has been so strong that several
governments in the Middle East have been
overturned as a result.
Mohamed al-Yahyai, host of Alhurra
Television’s programme Eye on Democracy,
spoke with several Tunisian bloggers
and internet activists in Tunis. They
told him the revolution would not be
possible without Facebook. Even as people
gathered in groups in the city centre, it
was just as important for others to be at
home on their computers, posting footage
and information on social media networks.
During the Egyptian revolution, Alhurra
provided extensive broadcasts of the event
in a factual and objective way.
News was broadcast live from Cairo
square, while online social media
interaction was encouraged and viewers
shared their reaction to the coverage.
In fact, Alhurra won the People’s Choice
award in the Association for International
Broadcasting’s 2011 International Media
Awards for the personal perspective it
brought to the coverage. As that award
was decided by online voters, it is evident
that people like their broadcasts to be an
interactive, social experience.
As much as social media is fuelling
change in the lines of communication,
broadcast television still remains a strong,
“Broadcasters now have a
different role in the process
of covering news and events.
Instead of purely relaying
information, they are now
directly, or indirectly, influencing
audience participation”
James Neufeld, never.no
consistent voice around the world. Now,
because social media is closing gaps in
communication barriers, broadcasters and
media outlets are much more accessible
to the public. With this shift comes
the opportunity for anyone – not just
journalists — to tell news stories. PRO
James Neufeld is Director of Marketing at
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PROPRODUCTION
David Zennie at Sofia Marikh’s music video shoot.
Lights! Camera! Action!
Last month, Dubai-based Mirror Image
Pictures wrapped up a music video shoot for
Moroccan singer Sofia Marikh starring the
artist along with a 12-year-old child actor.
The video features a fun and light-hearted
story line that director David Zennie claims
will genuinely entertain audiences.
“With all the right components in place,
this video is sure to be something special for
the music video market,” says the AmericanLebanese director, who directed the video
and heads Mirror Image Pictures.
More than 15 crew members gathered
at Pullman Hotel for the shoot last month,
where Director of Photography Samir Karam
from High End Films shot the whole film
with an ARRI Alexa camera.
“The Alexa has been rented from High
End Films as well. I have known Samir for
about four years now and do most of our
shoots together. We understand each other
very well and sort of instinctively know what
each one wants on a shoot.”
Zennie claims that the ARRI Alexa was
chosen because of the flexibility it provides
in post to control the colours and images.
“It is the project that dictates which
camera one should use. There are many
factors that I personally look at when
deciding on my camera of choice and there
are many great options in the market at
this time. In this instance, the ARRI Alexa
worked best. It is an outstanding camera
that is able to capture stunning images
while giving you the most in workflow and
colour control during post. This is the third
project we have shot on the Alexa and I
keep finding new ways to push this camera
to its limits,” says Zennie.
When budget is a constraint and costs
need to be kept down, Zenny’s favourite
options are Canon’s 5D and 7D cameras.
Although the production ran
uneventfully, the presence of child artists
always makes a production a bit more of a
challenge, says Zennie.
“Child artists are the same everywhere.
They have a lot of energy but no
nervousness and it’s just a matter of keeping
them entertained. But if there is a chemistry
between them and the adult artist as there
was in this case, the shoot becomes a lot
more easier. Sofia Marikh is also a fantastic
artist with a lot of charisma, which is great
PROPRODUCTION
David Zennie with The ARRI Alexa (above),
directing the artists (right) and looking at
the images on the monitor (below).
“Having shot in the US,
London, and China, I soon learnt
that each region in the world has
its own set of challenges”
David Zennie, director, Mirror Image Pictures
because it shows on screen. It creates an
overall better performance,” he adds.
The music video will eventually be edited
on Adobe Premiere at Mirror Image and
is scheduled to be ready late February or
March 2012.
Zennie, who previously lived in the U.S.,
has been professionally directing since the
young age of 14, recalls his first big break.
“I got a really big break shooting a
Wrigley’s TVC when I was 14 and it was
professionally done with Impact BBDO
Chicago. My 15-second TV commercial
was selected and played nationally on
Comedy Central and Fox among others for
nine months and that charged me up as a
director to do what I love in a professional
manner. But I have evolved as a director and
have come a long way in the nine years after
I directed my first TV commercial. I find that
demand for my services as a director has
increased and I see a much higher calibre of
projects each month. At the end of the day,
if what I film triggers an emotional response
with the audience then I have succeeded in
doing my job as a director,” he says.
Like many other directors who have seen
opportunity in the Arab world and come
here, Zennie also sees great potential to
offer a more creative directorial touch to
the Middle East market, which is what
brought him to Dubai four years ago, when
he founded Mirror Image Pictures.
“This market is growing and there’s a lot
of demand for local talent that is able to
bring international quality and creativity to
the region. I carry those principles with me
during pre-production and on set for all of
my projects ensuring a final product that is
creative, professional, and unique offering
the audience an exciting and enjoyable
viewing experience.
“Of course, having shot in the US, London,
and China, I soon learnt that each region
in the world has its own set of challenges.
The idea is to adapt and overcome through
creative perseverance. In Dubai, we have
received a great deal of support from the
hospitality industry having shot at Pullman
Dubai, Shangri-La, and the Four Points
Sheraton for some of our projects. More
support is always welcomed as sourcing
locations in the UAE can be challenging at
times,” adds Zennie. PRO
PROTECH
Deploying a Smart Broadcast
Multiscreen Strategy
Multiscreen broadcast is
one of the most important
issues facing today’s TV
companies. Tomas Petru,
president of multiscreen
integrator Visual Unity
explores why multiscreen
broadcast should matter to
today’s TV companies and
details how to effectively
deliver such a strategy with
minimal risk and maximum
return on investment With the focus on the rollout of HD and 3D
services, the broadcast industry has been
taken unawares by the extraordinary pace of
the multiscreen movement. While the TV’s
position in the household remains strong, its
dominance is diminishing as audiences turn
to connected consumer electronic devices
such as tablets, games consoles and, of
course, mobile phones for entertainment.
A recent report by market research firm
iSuppli indicates that in 2013, the shipment
of internet-enabled devices, particularly
smartphones and Smart TVs, will, for the
first time, overtake those of the PC. This
trend is set to grow at a phenomenal rate
— as is the growth of mobile penetration.
All these numbers added together mean
that traditional broadcast where the focus
is on a living room TV screen and passive
viewership, is shrinking rapidly and at a
speed simply not anticipated four years ago.
Many broadcasters are now struggling
to realign business and operational
strategies, as well as resources, to meet
these new demands and secure audience
share and revenue per user. Those who fail
to successfully implement a multiscreen
strategy will miss out on 78% of today’s
potential audience — a demographic
representing a valuable income stream that
cannot be ignored.
Facing the Multiscreen Challenge
An effective multiscreen strategy calls
for more than simply delivering online
services to enhance one’s brand offering.
The global proliferation of mobile devices
(as high as 70% in emerging markets alone)
is changing the very nature of content
consumption – the viewer is demanding
more and dictating how they wish to enjoy
content as well as engage with it.
PROTECH
This movement is forcing broadcasters
to develop innovative strategies to attract
users, maintain existing subscribers and
secure new revenue streams to deliver
their digital dividend – from social media
engagement to the development of apps
for a diverse range of mobile devices. This
must all be considered against a backdrop of
existing investment in traditional broadcast
equipment and how this can be integrated
into the new workflows.
From operational and delivery
perspectives, there are undoubtedly
challenges to overcome in reaching
audiences across a range of screens. In
regions where broadcasters face a lack of
bandwidth access, the need for Content
Deliver Networks (CDN) that support local
streaming is critical. This is particularly the
case in the Middle East where cloud-based
services are not an option.
Other challenges to be considered
include operational fragmentation, where
multiscreen content publication occurs
outside the broadcast workflow, and a
reliance on manual processes to assign
metadata and reformat content for various
mobile devices. All of these issues can hinder
broadcasters by preventing them from
being agile enough to respond to the ever
increasing demand for speed to market and
a greater viewing experience.
Given that viewers have the option of
tapping into expanding services provided by
infrastructure operators, one might ask why
they should choose a traditional broadcaster
at all? Traditional broadcasters still have a
great deal to offer, most notably in terms of
the quality and desirability of their content,
which will enable them to claw back their
rightful place in the connected era. After
all, TV is not just about technology, but the
entire entertainment experience.
Today’s broadcasters need to provide
a viewing experience that bridges both
leading content and leading technology.
“The global proliferation of
mobile devices (as high as 70%
in emerging markets alone)
is changing the very nature
of content consumption – the
viewer is demanding more and
dictating how they wish to enjoy
content as well as engage with it”
Tomas Petru, president, Visual Unity
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PROTECH
The good news is that it is possible. Many
organisations already have the potential to
deliver this digital dividend and simply need
to learn how to exploit what they already
have in-house. With minimal investment,
they can integrate into platforms that have
already been developed and financed by
other players in the market.
Generating Multiscreen Revenue
Broadcasters are well positioned to
generate revenue from multiscreen
based on their current operations and
understanding of their viewers. However,
they will need to extend their subscription
and ad business models by combining
platforms in Hybrid solutions and digital
marketing (especially for mobile devices).
While some costs can be significantly
reduced by going multiscreen, it is still
key for a broadcaster or content owner to
realise the value of their content and the
various ways in which it can be consumed.
It is increasingly common for consumers
to interact with multiple devices
PROTECH
simultaneously. Viewers often use their
smart phones or tablet computer while
they relax on the sofa for an evening
of TV. Currently these activities are not
formally integrated and so miss out
on opportunities for recommendation,
education and monetisation.
Hybrid TV solutions are ideal for bringing
viewers to your content via social networks,
hence the common Social TV tag. With Hybrid
TV, integration with Facebook, Twitter and
other social networks becomes a natural part
of the programme creation and the viewer’s
community engagement.
These social networks provide unlimited
room for broadcasters and advertisers to
work with niche groups without geographic
limitations. The only limits are set by the
content owner and related rights, but
based on recent media developments these
limitations will probably disappear in the
future. From additional product information
to support a commercial, statistics related to a
live sports event or purchasing products in live
home shopping shows via QR codes, Hybrid TV
solutions mean that monetisation is enabled
and the viewer experience is enhanced.
The Need For Multiscreen Systems
Integration
Broadcasters and content owners
who want to embrace the multiscreen
challenge must integrate a wide range
of technologies and platforms to bring
content to market, effectively monetise it
and engage viewers in order to grow and
maintain audience share. Clearly, successful
delivery of multiscreen strategies rests on
true integration of web and mobile into the
broadcast workflow, whether in the Cloud or
via CDN systems.
However, in this environment where
the key players are software developers
not broadcast engineers, few traditional
Systems Integrators have the expertise or
indeed the credibility to win over the stake
holders. This is where Multiscreen Systems
Integrators (MSIs) add real value.
Blending an inherent understanding of
traditional broadcast operations with IT
and streaming expertise, this new breed of
solution providers supports broadcasters
to optimise their existing workflows and
effectively deliver monetised content –
from the point of planning and creation, to
delivery and audience engagement.
It is clear that competition in mounting
for traditional broadcasters in the
multiscreen arena. There are new entrants
into the content distribution business on a
daily basis.
Advances in technology bring both
new opportunities and challenges each
day. Consumers are getting smarter
and more selective about their options
for entertainment in general and video
consumption in particular.
Despite all the complexity and constant
change, there are routes to success that
can be taken and an option that end users
are increasingly looking at is moving
moving away from the traditional systems
integrator to an MSI to explore the potential
of their existing workflow and operations to
deliver multiscreen success. PRO
Visual Unity’s complete white paper A Smart
Guide to a Multiscreen Strategy can be
downloaded from www.visualunity.com/en/
whitepaper-download
PROANIMATION
Shots planned for Daddy’s ABC by
Emirati filmmaker Hamad Mansoor Alawar
Fine tooning
Emirati filmmaker
Hamad Mansoor
Alawar on his new
project Daddy’s
ABC, his work and
life as an
animation artist
Hamad Mansoor Alawar is no stranger
to the Emirati animation scene. His first
animated shorts Once Upon a Seed in
2005 and Hammer and Nails in 2008
were screened at Dubai International Film
Festival (DIFF) and Gulf Film Festival (GFF)
and the former won awards as well.
Most recently, Alawar, who is also a writer,
animator, director and photographer, and
pursuing a PhD in visual communication
from the UK, received a grant of US $27,000
from Abu Dhabi Film Commission as part
of its Aflaam Qaseera Production Fund
to produce his animation Daddy’s ABC.
The Commission has also been proactive
in ensuring that the fund is rightly used
and has helped seek the best production
companies and producers to support the
production of the project.
Daddy’s ABC is still in pre-production but
the story was scripted back in 2009 when
Alawar’s daughter was born.
“I am a huge believer that both parents
should be involved in their children’s lives
but this story revolves around a father who
tries to avoid taking care of his newborn
baby, until one day, his wife leaves him with
the baby for an hour. It’s the perfect recipe
PROANIMATION
“It’s hard to balance quality, budget, and time. There is a
common rule that says you can only have two out of those three
... if you want quality and want it ... done quickly, it’ll be very
expensive. If you want quality, but have a low budget, it will
require time. If you have a low budget, but [want it] done quickly,
you’ll have to sacrifice quality. The real challenge is to balance this
triangle efficiently”
Hamad Mansoor Alawar, Emirati animation artist and filmmaker
for baby-father disaster, but creates a new
bond and appreciation in this small family,”
explains Alawar.
“The concept was first aimed at being
an introductory course to all new fathers, in
how to care for their new born babies: from
feeding all the way to diaper change but it
eventually evolved to become a story about
a husband and wife embarking on a new
life with the new baby, and how they would
have to adapt to it.”
Alawar has a Master’s degree in
computer animation from Miami
International University of Art and Design,
and has professional training in various
arts ranging from illustration and sculpting
to photography.
Since then, the filmmaker’s work has
primarily revolved around animation,
“whether it was using 3D computer
animation in the Forensics department of
criminal investigations for Dubai Police, or
producing my short films,” explains Alawar.
“Every area of computer animation
interests me, whether it is modeling,
animating, or rendering. But I’ve always
had a passion for lighting and rendering,”
he adds.
While his first two films were solo efforts,
Daddy’s ABC will be a more professional
attempt with different teams taking over
different stages of the project.
“Although the concept for the story was
mine, I was worked with two script writers
to evolve the plot. For the illustrations, I
worked closely with Xavier, whom I consider
to be a great artist. We worked closely for
over a month trying to create the look and
feel for the animation. And once production
begins, it will include a full team of 3D
artists who are both passionate about what
they do and have the skill to bring this story
to life,” says Al Awar.
Although the film itself will be under six
minutes, the filmmaker claims that any
animation is “labour intensive” and this
project will be in production for “more than
five months”. The meagre US $27,000 fund
means the team has had to constantly
“revise the script to cut down on shots and
time” so that they stay within budget.
Funding is always an issue for several
reasons, points out Alawar.
“It’s hard to balance quality, budget, and
time. There is a common rule that says
you can only have two out of those three.
So if you want quality and want it to be
done quickly, it’ll be very expensive. If you
want quality, but have a low budget, it will
require time. If you have a low budget, but
require for it to be done quickly, you’ll have
to sacrifice quality. The real challenge is to
balance this triangle efficiently.”
Having had a solid background in
PROANIMATION
Animation in the making for Daddy’s ABC.
animation and having pursued it for his
bachelors and Masters, Alawar is well
versed on a wide variety of software and
hardware, ranging from motion capture
systems, all the way to 3D Laser scanners.
Although it is too early to talk about the
tools that will be used in this project as
the team is still in the early stages of
production, Alawar says that Autodesk
Maya has been the main and backbone
software for the production pipeline in
most of the projects he has worked. “I, however, do not believe that the tool of
choice is as important as the artist behind
it,” he points out.
“I am also of the belief that animations,
whether short or feature-length, should
always be created the traditional way using
key frame animations, and not motion
capture. This is of course debatable but
that’s my opinion.”
Alawar is presently pursuing a Phd
in Visual Computing. His focus is on
3D visualisation tools used in areas of
criminal investigation and surveillance,
especially gait recognition.
“My research revolves around recognising
people through their walk. This research
overlaps with a lot of areas in the field
of computer animation, from the usage
of motion capture, and the automatic
recreation of 3D models from regular 2D
cameras. I’ve always loved one aspect of
the Italian Renaissance artists, which is
the interconnectivity of the arts and the
sciences, and that is the path I am following.
I love to see how art can help science, and
how science can continue to push the
boundaries of art.” PRO
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PROTECH
Cashing in on mobile video
Mobile video is hot and it’s happening now. With smart moves to enhance the
customer experience, Communications Service Providers (CSPs) are in the
best possible position to monetise this opportunity
The numbers tell the story about mobile
video. YouTube usage on mobile devices
increased by 123% in the first half of
2010 and accounted for 13% of all global
mobile streaming video. By 2011, this
figure had jumped to 45% (Allott, 2011).
By 2015, Cisco expects streaming video
to account for 66% of mobile data traffic.
And if you need more proof, the service
‘HBO Go’ reached 1 million downloads
during its first week of availability on
iPhone and Android smartphones. (www.
multichannel.com, May 2011).
So, rather than step changes, these are
sea changes. In the same way that Zynga’s
new game Cityville went from 0 to 70
million users in three weeks (statistics.
allfacebook.com, 2010), mobile video
is taking off. Users are bringing their
experience and expectations from the
fixed world to mobile. They are an eager
audience, ready to embrace mobile video.
Opportunity knocking for CSPs
The dramatic shift in mobile video
consumption is raising new issues and
opportunities for the communications
industry. First, and obviously, video is a
must to compete effectively. Ten years ago
the big question about mobile video was:
‘When will it happen?’ Today the question
is: ‘Can the network cope?’ And even more
crucially: ‘Can CSPs move up in the media
value chain?’
The answer here is clearly ‘Yes’.
Compared with content owners, device
vendors and Internet players, CSPs already
have many basics in place. They have
the network infrastructure, the billing
relationships and, of course, the mobile
device customers. In many cases, they also
have the TV-based service and multiscreen
content rights.
“Even better news is that LTE, or 4G, is
made for video,” says Sandro Tavares, head
of BSO business intelligence and analyst
relations at Nokia Siemens Networks.
“It provides the speed and capacity for
excellent mobile video, on a par with the
fixed box experience. And with solutions
like network optimisation, policy control,
PROTECH
“Compared with content
owners, device vendors and
Internet players, CSPs already
have many basics in place. They
have the network infrastructure,
the billing relationships and,
of course, the mobile device
customers. In many cases, they
also have the TV-based service
and multiscreen content rights”
Marc Veleenturf, head of BSO, Nokia Siemens Networks, MEA
WiFi offloading, QoS differentiation and
Smart WLAN, networks can be tuned
to provide the best possible quality for
mobile video, which has become one of
the key measures of customer satisfaction.
“CSPs are also in the best possible
position to make sure mobile video works.
They have an advantage over aggregators
who only provide the content. By enabling
and maintaining the delivery stream, they
are the intelligence behind the scenes
and can use this intelligence to optimize
the experience, keep their customers
happy, and establish a strong role as the
preferred broker for mobile video.”
Today’s applications Fanhattan and
Clicker provide an example of how CSPs
can become an effective OTT video
broker. By showing users which OTT
providers are offering the film they want
to see and how much it will cost with
each service, the apps take control of
content distribution. For subscribers,
the apps make it possible to compare
sources and prices of films, rate their
favorites and make recommendations.
Get the pricing right
The first experiences with mobile video
have provided some good lessons in how
to prevent roadblocks to streaming video.
In their concern about overloading the
network, some providers have introduced
pricing plans that effectively discourage
users from using streaming video. As Light
Reading reported in 2010, “In a PC Magazine
test, watching Netflix in standard definition
with a 1,500Kbit/s stream burnt through
the entire monthly 5GB allotment in less
than 7.5 hours. A movie at 3800Kbit/s took
under three hours. That’s a hefty bill for a
little mobile movie magic.”
The blogosphere has erupted
accordingly: “What’s the point of 4G if you
limit usage?” and “5 GB 4G data limit on
4G crushed in 32 minutes!”
A far more effective approach would
be to use the insight that CSPs can
generate from their operations – from
their networks, services, devices, usage,
perception and subscribers – to manage
traffic and shape customer behavior by
giving subscribers options.
Tiered pricing, which links prices to
data volumes, is one possible option, so
subscribers know what they are paying
for and what they get in return. Providing
free-of-charge streaming over WiFi to
reduce network load is another.
Get the quality right
Quality is another factor in the equation.
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PROTECH
Many customers are dissatisfied with the
quality of their mobile video streaming.
Drop-outs, stuttering or delays significantly
degrade the perceived customer experience.
To help drill down to the root cause, CSPs
can ask customers to rate their video quality,
following the example of Skype, and match
this with the actual experience based on the
KPIs from reporting and analytics tools. This
gives them much more accurate insights
into the real issues causing the problem,
which they can act on immediately. In
return, customers are more likely to stay
with them.
Nudge!
An even more sophisticated approach to
managing video traffic is to encourage
downloading rather than streaming. One
example would be to notify subscribers that
streaming a video right now will use 36 MB
of their monthly quota, while downloading
overnight will use 0 MB, so nothing at all.
Downloads are the default in the Android
Marketplace, which offers 30-day, one-view
movie rentals, which users download to
their phones and have 24 hours to watch
once they start the movie.
Being able to nudge customers in the
right direction requires deep insight
into their behavior, an understanding of
which customers are willing to change
their behavior and a clear business
case to make the change. With this
information, CSPs can determine which
customers are flexible, or price elastic,
and which customers are price sensitive,
and unwilling to pay more. Reporting
and analytics tools, for example, gather
insight on customer response to campaign
offers and give CSPs concrete information
about which customers are most likely to
accept targeted offers of new, and more
appropriate, data plans.
Network and service assurance tools
combined with network and resource
management tools can be used to monitor
data usage and send alerts before SLA
quotas are breached, helping to ensure
uninterrupted mobile video performance.
Reporting and analytics combined with
showed that many people used their phones
to watch the wedding from work or from
other locations without TV access.
Wimbledon provides another example.
As the Times reported on June 24, data
traffic over 3’s network shot up by 90%
when Andy Murray, the British #1, started
his first round match. In addition to people
outside the gates, spectators in the stands
watched the live stream on their phones
so they could hear the shot-by-shot
commentary. And on Twitter, the same
match inspired a 200% surge in Twitter
usage on the network.
The surge in traffic from both
Wimbledon and the royal wedding was
a predictable event, and the networks
were tuned beforehand to cope with it.
But the level of interest in Murray’s match
“To help drill down to the root cause of [drop-outs and
stuttering or delays in video streaming], CSPs can ask customers
to rate their video quality, following the example of Skype, and
match this with the actual experience based on the KPIs from
reporting and analytics tools”
Marc Veleenturf, head of BSO, Nokia Siemens Networks, MEA
Quality of Service and Policy control enable
premium quality services for high-value
customers who are ready to pay for them.
Up 1400% and counting
Understanding, nudging and adapting
to customer behavior is one of the key
advantages of a personalised, proactive
and automated customer experience
management solution. But it is not the
only advantage. The ability to use insight
to predict or respond in real-time to
market developments is as crucial, if not
more crucial, to ensure a positive mobile
video experience.
Recent events provide good examples. On
April 30, BBC Mobile iPlayer traffic peaked
at 1400% above normal during the British
royal wedding (Sandvine, 2011). The analysis
was unexpected. In this case, having
the insight to react immediately and
adapt in real time was crucial to ensure a
consistent high-level service experience.
So, predictive analysis and planning based
on customer behavior and service usage
during mass events, as well as real-time
response to unexpected changes in
demand, are crucial capabilities that a
holistic customer experience management
solution provides. PRO
Marc Veleenturf is
head of BSO, Middle
East & Africa, Nokia
Siemens Networks.
PROIPTV
Reaching beyond cable
infrastructure with IP over satellite
IP-over-satellite is increasingly becoming an important option in the Middle East
to deliver real-time linear broadcasting, on-demand content and OTT services via
satellite as an alternative to delivery over wired broadband, says Simen Frostad
Delivering connectivity — internet
access, voice-over-IP, streaming video,
and so on – over a satellite link to homes
and small businesses might be thought
of as a solution more appropriate for
developing regions than countries with
mature telecommunications networks
and cable infrastructure. In fact, many
countries in Europe and elsewhere have
large areas where populations are thinly
spread or beyond the reach of traditional
cable-based broadband for some other
reason. Often, these communities make
a significant economic contribution in
terms of agriculture and light industry,
and governments generally want to keep
these communities viable and avoid
letting them fall behind the metropolitan
population through lack of access to
connected services.
Countries like Spain, Greece and
Portugal are examples: with a substantial
proportion of the population living
in rural areas that are not served by
broadband-over-cable, connectivity by
satellite is an attractive solution. Some
government and regional initiatives are
underway to promote the penetration of
internet access into remote communities,
both in Europe and Africa, with initiatives
such as ‘internet kiosks’ that offer access
to the web as a community resource. In
Greece, hill villages are equipped with a
PROIPTV
“Cable-based infrastructure
may not have been developed
to the same degree, but
widespread mobile phone
ownership has leapfrogged the
fixed-line telecommunications
market. Mobile access to the
internet would be the obvious
next step in connecting remoter
communities, but for the full
broadband experience, this is
still some way off”
Simen Frostad, chairman of Bridge Technologies
satellite access point feeding a local wifi
hotspot so that villagers can use their
own computers online.
In the Middle East and North Africa,
there are both concentrated centres of
population and regions of relatively low
density, so in many respects the situation
is not that different from some parts of
Europe. Cable-based infrastructure may
not have been developed to the same
degree, but widespread mobile phone
ownership has leapfrogged the fixedline telecommunications market. Mobile
access to the internet would be the
obvious next step in connecting remoter
communities, but for the full broadband
experience, this is still some way off.
IP connectivity by satellite is a good
solution in the meanwhile. IP-over-satellite
throws open most of the potential of two
way communication, making it possible
to deliver real-time linear broadcasting,
on-demand content and OTT services
via satellite. The technology creates an
opportunity for satellite providers to use
their capacity to deliver a user experience
that is comparable to what’s available via
wired broadband.
Throughout the Middle East, there is
a widespread familiarity with satellite
as a means of receiving television, and
satellite equipment companies are
now packaging offerings for consumers
and small businesses that are easy to
install and calibrate without expert
help. These are often provided to the
end-user as part of a service provider’s
deal for access, and in some parts of
the region, service providers work in
conjunction with government agencies
promoting the growth of internet use.
These providers segment their customer
base carefully, offering services closely
tailored to the requirements of each
sector: users include not just consumers
wanting internet access, email,
video streaming and so on, but many
specialised industrial, educational and
administrative customers.
At the consumer level, streaming
media consumption now adds up to the
majority of the total web traffic, and of
PROIPTV
course this is forecast to rise sharply.
With the best streaming media services,
high quality images can be delivered
even over a relatively slow link, meaning
that users can receive broadcast quality
video on their computers. The availability
of high-quality video with interactive
access to it on demand, together with
voice over internet, email and full access
to the web, adds up to a compelling
product for consumers, as the growth of
these services has shown. For the satellite
service operators, this is an additional
market that offers relatively untapped
potential, and the most innovative
operators may develop better business
models than those offered by the cablebased media suppliers.
In industrial applications, both
manufacturers in rural locations and
agricultural businesses need high-quality
connections to the global marketplace,
and there is a fast-growing sector of
business in mobile access, both consumer
and professional. Sectors of industry such
as mining and exploration, renewable
power generation and transport can all
benefit from being connected to the
net in order to exchange data from any
location or while on the move. Employers
keen to retain valued employees working
in remote locations also want to provide
access to entertainment for them in their
leisure time, as well as a connection to
friends and family back home.
The mobile hospitality industry too is
under pressure to match the facilities
its customers enjoy at home, giving
cruise and airline passengers more of a
connected and interactive experience.
These are areas where satellite providers
are looking for growth, to complement
revenue from their core services.
Data on the Mobile Satellite Services
(MSS) sector shows it emerging from
the recession faster than the rest of the
satellite market, according to NSR (www.
shipping needs internet access and media
services. The airlines, outdoor consumer
and professional markets are the other
main growth areas, in addition to the
base of military and governmental users.
But to ensure growth in any connectivity
services, operators have to deliver a quality
of service and experience that meets
customer expectations, and these are
rising all the time. And since one of the
main characteristics of IP-over-satellite is
that the service is usually provided to end
users who are remote from population
centres, it follows that maintenance and
support for these customers is likely to be
much more costly for operators. Failure
to provide high levels of availability and
service quality – especially for industrial
users – would be fatal to growth. Operators
intending to expand in these sectors
should consider an advanced end-to-end
digital monitoring system that equips
operators to monitor the entire delivery
chain, even into the subscriber’s premises,
with the ability to analyse every packet
delivered to the customer. 24/7 real time
access gives complete information on every
factor influencing service quality, and is
much more cost-effective than sending
an engineer to resolve the issue on site.
Service providers must, therefore, look at
IP-over-satellite market as an attractive
target for growth. PRO
“Data on the Mobile Satellite
Services (MSS) sector shows
it emerging from the recession
faster than the rest of the
satellite market”
Simen Frostad, chairman of Bridge Technologies
nsr.com), which predicts that the global
MSS market will grow to $10.2 billion
in 2020, more than doubling from its
current volume.
MSS operators have grown more
than 8% in the past year while FSS VSAT
operators have seen their share of the
satellite mobility revenues top the 20%
mark. MSS targets include the maritime
market, where both industrial and leisure
Simen Frostad
is chairman
of Bridge
Technologies
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PROPREVIEW
National pavilions swell at CABSAT
CABSAT this year will have 14 national
pavilions or groups comprising more than
200 companies altogether. The show,
which will be its biggest ever this year,
has seen significant growth in its UK,
German, North American, French, Spanish,
Chinese and Australian contingents. In
fact, CABSAT will also feature its first
direct exhibitor from Japan this year.
IKEGAMI will have its first showing as an
independent exhibitor at CABSAT.
“We have always had a very strong
presence from Europe, Germany and the UK
in particular,” claims David Roberts, Industry
Group Manager, CABSAT.
“Both have exceeded expectations once
again, but Australia, Spain, China and France
also deserve a mention, as they have either
brought along impressive numbers of
exhibitors this year or increased the size of
the space booked considerably.”
At the time of going to press, CABSAT
claimed a 5% increase in pavilion space
although that is likely to go up further closer
to the show.
The event claims to have at least 150 new
exhibitors from all over the world with some
companies returning after a long absence.
Humax, EADS Astrium, Paksat, Dynavision,
Masstech, Somita and SVS Satellite Systems
are examples of companies that have come
in with huge stands.
“This says a lot about the stature of the
show these days – taking part for the first
time is no longer just a ‘let’s dip a toe in the
water’ exercise. They want to make a big
first-impression.
I think that the overall message is that
the Middle East, Africa and Southern
Asian region is being perceived as an area
of positive growth and opportunity by
international manufacturers, and that
CABSAT is not just a platform to access
it, but also a major business driver for it,”
adds Roberts.
Five weeks into the show, many of the
“Australia, Spain, China and
France deserve a mention,
as they have either brought
along impressive numbers of
exhibitors this year or increased
the size of the space booked
considerably”
David Roberts, Industry Group Manager, CABSAT
stands are also beginning to take shape, the
organiser says.
“We are now beginning to see what a lot
of the stands will actually look like. To use a
broadcasting analogy, the event is moving
from 2D into 3D, and as an organiser you
have to applaud the effort and innovation
that many of our exhibitors have put into
PROPREVIEW
“We are now beginning to
see what a lot of the stands
will actually look like. To use
a broadcasting analogy, the
event is moving from 2D into
3D, and as an organiser you
have to applaud the effort and
innovation that many of our
exhibitors have put into their
stands this year”
David Roberts, Industry Group Manager, CABSAT
their stands this year”.
In the meantime, a look from the
other side of the coin shows the growing
importance of the Arab world in production
and broadcasting.
Results of the global transition are evident
through films produced in the region which
have achieved worldwide recognition;
Mahmoud Kaabour’s film Teta, Alf Marra won
awards in London and New York, and has been
acclaimed by audiences as far apart as Buenos
Aires and Mumbai.
Australian short film festival Tropfest
recently expanded into the Middle East during
which Jassem al Jabbouri from Baghdad won
first prize for Flock of Stars. The television
output from the region is also viewed on a
global platform, not least in sports where a
number of outside broadcast fleets are on the
road to get the best from the action in worldclass cricket, rugby, golf, horse racing, motor
sports and more.
With an expected launch in spring 2012,
Sky News Arabia will be debuting at this year’s
show with an aim to provide an advanced
technology platform and high editorial
standards and Prince Alwaleed’s team has
nailed down the spot from where his company
will launch Alarab news channel, which is also
aimed at competing with Sky News Arabia, Al
Jazeera and Al Arabiya.
Sky News Arabia will hire and develop local
talent to deliver a distinctly regional flavour to
news coverage and will run its own training
and internship scheme which aims to recruit
most of its 370 staff from the region.
CABSAT will also be partnering with
twofour54 tadreeb who recently acquired
SAE Dubai, a leading higher education
institution for broadcasting, film and
interactive media to deliver specialist
training, workshops and immersive
experiences. This will enable students to
review latest products from all the top
manufacturers, and talk to application
experts at the show. The event will serve
as a platform to encourage the brightest
students in the region to seek careers in the
growing media. PRO
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PROPRODUCTS
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PROPREVIEW
Masstech steps up digital archiving
Digital archiving specialist Masstech will
demonstrate the capabilities of TOPAZ+XT
version 7.5.1 and Emerald version 7.5LE for
broadcast, news, sports, post production
and digital archiving workflows, and its
complete integration with AP’s ENPS and
Avid’s iNEWS systems at CABSAT.
It will also showcase a wider range of
streamlined Media Asset Management
(MAM) products and HQS technology
(high quality & speed) at the show.
Masstech is promoting its expanded range
of products at the exhibition on the back
of its rapid growth and success in the
Middle East.
Emerald v7.5LE makes LTO tape archiving,
HQS transcoding and content management
more widely accessible to the Middle
East broadcast market. Emerald digitally
preserves precious footage using efficient
file based archiving where scaling is not
required. Integrating to various end-points
including video servers and NLEs, Emerald
digitally preserve valuable stories and
content with all-compassing features such
as broadcast HSM for LTO tape archiving,
‘MOS’ interface to iNEWS and AP-ENPS,
unlimited storage with no licence fees for
tape or disk and built-in interfaces for Avid
Interplay and Apple FCP. TOPAZ+XT v7.5.1 is
a major media asset management system
that consolidates preparation, production
and playout operations. TOPAZ starts as a
streamlined entry-level solution and scales
to fully redundant enterprise systems
with rich features such as site licensed
XT extended tools for ingest and virtual
editing, built-in interfaces for Avid Interplay
and Apple FCP, a media framework with
over 150 interfaces, and built-in broadcast
HSM and HQS transcode engine with
complete blade library for interoperability.
Masstech claims its advanced digital
archiving systems are the industry’s first and
only solution that support MOS protocol by
fully integrating AP’s ENPS and Avid’s iNEWS
system with workflow automation.
Both Emerald and TOPAZ integrate
tightly into popular newsroom computer
systems via MOS protocol. Using the
iNEWS and AP-ENPS interfaces, newsroom
staff can research archived content, search
slugs linked to video archives, browse
archived content, and quickly make
shot selections for production purposes
without moving from their desk.
Brad Redwood, Vice President of
International Sales and Marketing at
Masstech said: “According to Asia Today,
demand for Arabic content is on the rise,
and content production is fuelling the
need for workflow solutions in the Middle
East. When more content is produced,
it needs to be managed and stored. The
Middle East is now home to more than
500 free-to-air television channels. There
are more than 14,000 hours of Arabic
television programming every day.
“We’re committed to helping
companies and media entities in the
Middle East region accelerate their
migration from tape to digital archiving.
Masstech’s affordable file-based
workflow offers a scalable open platform
MAM with interfaces to multiple
broadcast components that can also
support future growth and expansion in
their broadcast infrastructure.”
Vision247 at CABSAT
UK-based broadcast technology company
Vision247 will be at CABSAT to demonstrate
its full range of broadcast solutions from
online video streaming, content distribution
network, web TV portals to solutions for IP
and Over-the-Top (OTT) Television.
Key elements that will be demonstrated
include Vision247’s Content Distribution
Network, its playout solution, portal
services, apps and studios. Vision247 has
its own broadcast-optimised content
distribution network and hosts video files
and streams within its own data centre
facilities using the latest generation of
high-end multi-core servers equipped
with SSD Flash drives that are directly
connected to the tier 1 internet backbone
via multiple providers. Vision247 operates
its own BGP4 routing and creates and
delivers customised television or video
channel. It offers 24/7 monitoring in its
broadcast Master Control Room (MCR).
Vision247’s online streaming platform
can power thousands of separate web TV
portals that can be customised. Content
can be delivered as a scheduled TV channel,
a live video or a digital video download and
be monetised with flexible billing engine
solutions and video commercials. Vision247
will showcase each of these solutions at the
show.
PROPREVIEW
IMT wireless camera apps
Integrated Microwave Technologies (IMT),
a business unit within the Vitec Group’s
Videocom Division, and a major player in
advanced digital microwave systems serving
the Broadcast, Sports & Entertainment and
MAG (Military, Aerospace & Government)
markets, will highlight its Nucomm CamPac2
HD/SD COFDM Wireless Camera System at
CABSAT.
Consisting of the CamPac2 cameramounted transmitter and Newscaster DR2
diversity receiver, the system is designed for
wireless camera apps, including electronic
news gathering (ENG), entertainment,
reality shows and sports coverage.
Available in popular bands between 2GHz
and 7.5GHz, the CamPac2 offers MPEG-4
encoding/decoding, HD and low power
consumption. The CamPac2’s stylish and
rugged machined housing provides durability
and thermal characteristics for operation in
the harshest of conditions. By utilising MPEG4, the CamPac2 system allows more video
paths in the same amount of bandwidth,
attractive to stations in markets with high
amounts of RF congestion.
“The CamPac2 wireless camera system
was designed with the user in mind,” says
Integrated Microwave Technologies President
Stephen Shpock.
“In today’s fast-paced broadcast world,
there is a need for innovative wireless
cameras, especially in light of more and more
ENG and sports coverage being produced
every day. Nucomm adheres to that need.
When we designed this system, we knew it
needed to be compact and simple for ease
NETIA manages content
of use yet sophisticated enough to handle
a wide range of applications, including
ENG, portable camera mounting for sports
production, helicopter and UAV links as well
as portable, mobile video and data links.”
Its variable bandwidth modulator
(between 5 MHz and 16 MHz) allows high
data rates in excess of 30 Mbps using
robust QPSK or 16QAM formats. To ensure
compatibility with any DVB-T standard
system, its 6/7/8 MHz bandwidth modes are
DVB-T compliant. In addition, the CamPac2
accepts various video formats from SDI and
HD-SDI, both component and composite, to
DVB-ASI for repeating applications.
Outfitted with dual audio inputs
that can be arranged for microphone,
line level or AES/EBU digital sound, the
CamPac2’s audio can be easily set using the
programmable gain. Its digital VU meters
are illustrated on the color TFT display.
Built with a wheel that senses the position
of one’s fingertips, the CamPac2’s control
panel offers easy navigation through a
simplified menu system.
Autocue workflow
Autocue will showcase its complete and
affordable end-to-end broadcast and
production workflows including newsroom,
automation, media management, video
servers and teleprompters through its
distributor UBMS.
Autocue’s video servers will feature
a further extension of its functionality
including new graphics handling to display
logos, tickers, captions and clock. The
company will also display a full range of
best-in-class teleprompters from its LEDbacklit Master Series to entry-level Starter
Series, including iPad prompters.
NETIA will highlight the ability of broadcasters
to ingest content, manage their media
and associated metadata, and deliver
content to any region of the world using the
company’s Content Management System
(CMS). NETIA’s CMS allows customers to
streamline all of their production processes
through simple, easy-to-manage workflow
and task automation. The software suite also
allows users to connect all of their partners
and vendors within a single production
ecosystem, simplifying the sharing and
managing of media assets. Users can
now manage all of the processes within
the production environment from editing
through post-production and distribution
to any multimedia platform — with one
unique and easy-to-use interface.
NETIA will showcase its Radio-Assist 8
range of digital audio automation software at
CABSAT. Equipped with a broad range of tools
for end-to-end multimedia workflows, NETIA’s
software suite extends beyond traditional
broadcasting, allowing users to prepare
publication at an early stage of the workflow.
egripment supports
Egripment BV will showcase a variety of
camera support equipment such as its
GenieJib, Protraveller System, 305 Remote
Head, Matador Dolly and Focus Dolly Light
at CABSAT. Latest developments include
its TDT Encoded System, a high-quality
Encoding Package that can create all kinds
of augmented reality such as realistic
backgrounds, virtual advertisements or
virtually created figures that interact with a
real person; a generic track system; wireless
kit for HotShots and 305/306 remote heads;
a ProTraveller system; Focus Dolly Light +
Aluminum Pack Track as well as side boards
and rear boards for Matador Dolly.
The demand for content anytime, anywhere has set in motion a kaleidoscope of infinite
consumption options that are enabling unlimited paradigms for success. From rethinking
the creative process to revolutionizing delivery — and, ultimately, redefining the viewer
and user experience — no aspect of the content lifecycle has been left untouched.
Broader-casting® professionals are leading the evolution by responding to shifts and
shaping expectations.
NAB Show,® the world’s largest media and entertainment event, delivers a fresh perspective
of a rapidly expanding environment, and the innovations fueling growth today and
tomorrow. Only here can you design a business model that harnesses the power of a new
group of players, emerging technologies and game-changing strategies. Turn shift in your
favor and evolve in a marketplace that moves forward with or without you. Register now!
FREE
Exhibits-only Pass
Use code PA04
CONFERENCES April 14–19, 2012 EXHIBITS April 16 –19
Las Vegas Convention Center, Las Vegas, Nevada USA
www.nabshow.com
PROPREVIEW
Superior Electric powers up
Superior Electric, which has been
manufacturing its STABILINE Power
Quality equipment for more than
70 years with several installations
throughout the Middle East, is
exhibiting for the first time at CABSAT.
Its STABILINE Family includes Automatic
Voltage Regulators, Surge Protective
Devices, Uninterruptible Powers
Supplies and Power Conditioners. The
STA ILINE WHR Series of Automatic
Voltage Regulators are available in
single and three phase configurations
for AC systems from 120 VAC to 600
VAC. Their wide input correction range
and high overload capability make them
the preferred choice of both radio and
television transmitter manufacturers
when placing their products in harsh
electrical environments.
The STABILINE Surge Protective
Devices are available in both parallel
and series configurations. They
provide all mode surge current
capability and are offered with kA
ratings of 25kA to 300kA per mode.
They are intended for installation
at the service entrance and/or
distribution panels for full facility
transient voltage surge protection.
STABILINE Uninterruptible Power
Supplies are available in three
technologies, standby, line-interactive
and double conversion. Units are
available in both rack mount and floor
mount cabinets and are ideal for the
protection of sophisticated broadcast
electronic equipment.
The STABILINE products are
utilised worldwide for the
protection of radio and television
transmitters, studio equipment,
production facilities and mobile
production vehicles.
Sony studio at CABSAT
For the first time at CABSAT, Sony
Professional Solutions MEA will work closely
with several key vendors to integrate a fully
operational file-based news solution and live
production studio.
Speaking about the studio, Awad
Mousa, head of product marketing, Sony
Professional Solutions MEA FZ LLC said:
“Sony Professional Solutions has unrivalled
experience in developing fully customised
solutions to meet the most demanding
business requirements. Technology and
expertise is our core strength and we invite
you to experience it at CABSAT.”
Sony Professional’s news and live
programme production studio at CABSAT
includes its flagship HDC-2500 studio
camera, which began shipping in January
2012. This high-performance camera
delivers all of the state-of-the-art features
demanded by today’s show production,
including 3G fibre transmission as a
standard, 16-bit A/D converter and
double-speed acquisition for high-quality
slow-motion picture.
Sony Professional will showcase the HDC2500 as well as HXC-100 and PMW-500 in
ENG/Studio configurations. In addition,
the studio will be equipped with Sonaps
news production system, its OLED family of
monitors, MVS-7000X 3G switcher, XDCAM
Archive and its XDS-PD2000 XDCAM station
among others.
Sony Professional’s line-up will also
include the SRMASTER family of products,
a new breed of storage products that
are based on state of the art solid state
recording technology and high speed file
based network connectivity.
The F65 camera, Sony’s top end motion
picture camera featuring true step-change
in sensor technology using a 20 Mega pixel
8K CMOS sensor will also be on display. It
runs up to 120Fps, creates HD/2K or genuine
4K resolution images with a huge colour
gamut, outstanding dynamic range and
high sensitivity. Sony Professional’s business
partners in the UAE — AMT and UBMS will
be showcasing a range of Sony products
such as the F65 to PMW-F3, NEX-FS100,
MCS-8M entry level switcher, PMW-TD300
3D shoulder camcorder, HXR-NX3D1
compact 3D camcorder and several other
NXCAM, XDCAM products.
PROGUEST
Collaboration is key
to progress
During the ASBU BroadcastPro Summit last
November, the topic of collaboration and
adaptation of common standards within
the regional broadcast media industry was
touched upon in the panel discussions. The
general consensus was that an improved,
cooperative environment among the various
building blocks of the industry was essential
to its continuous development.
The importance of standards in
the industry continues to grow, yet
simultaneously the technological
developments and convergence
of technologies and businesses
impose new demands on standardsmaking processes. Standards act
as an instrument for enabling the
development of a harmonised, stable and
globally recognised framework for the
dissemination and use of technologies,
best practices and agreements, which in
turn support the overall growth of the
broadcasting industry.
The success of adopting any new
technology is based on common
standards and requires a non-fragmented
market place to succeed. The Arab world
comprises twenty two countries and each
has its own set of rules and regulations
despite the fact that the broadcast market
across the Arab world is essentially one.
Hundreds of satellite TV channels can be
received anywhere across the Arab world
and it is important that the viewers have
a uniform entertainment experience with
consistent services and common reception
equipment; but this is not always the
case. The issue of non-standardised
implementations of broadcasting systems
is apparent on the delivery side of the
broadcasting chain due to a lack of
standardised regulation across the region.
The Arab States Broadcasting Union’s
(ASBU) Technical Committees and
Working Groups have played an important
role in strengthening ties and promoting
cooperation among broadcasters in the
Arab States for better production and
content development. Despite this push,
their influence is still limited to state
broadcasters. Such entities comprise a
relatively small percentage of the overall
regional broadcasting scee, thus limiting
the impact of ASBU efforts.
Out of approximately 700 TV channels
currently broadcasting in the Arab world,
only 15 % are run by state broadcasters.
The rest are privately owned TV channels
including TV networks such as OSN, ADD,
MBC, Al-Jazeera, and Rotana.
It is increasingly difficult to agree on
common standards today because research
and development is often conducted by
the commercial industries that often have
different objectives from the public bodies.
Furthermore, the selection of a specific
technology is closely interlinked with
commercial and political issues.
That being said, every entity, whether
private or public can participate in
standards development and exert
their influence by participating in and
establishing general Collaboration Forums
in broadcasting. This would promote
the adoption and implementation
of consensus-based standards
throughout the region and to produce
recommendations that can eventually
be implemented as de-facto standards
among the participating members. The
objective of such forums would be to
encourage sharing of ideas in certain
fields without pushing to develop
regulations in the sense of mandatory
rules but rather adopting noncompulsory
accepted technical standards. In order
to adopt such standards, it is imperative
to draw on contributions from various
industry sectors and encourage private
broadcasters to become active members
of these collaboration forums.
The Arab HDTV Group is a productive
collaboration forum that works under
the ASBU umbrella and is open to all
TV broadcasters in the Arab world,
broadcasting unions, Arab satellite
operators and equipment and receiver
manufacturers. This group has made
recommendations on the adoption
of various technologies on both the
production and transmission standards of
HDTV. The group’s next meeting later this
year welcomes all the relevant private and
public entities to register as members and
participate in its activities.
It is an ideal time for all parties
to participate in developing
recommendations and maintaining
standards for the regional industry
to create a lasting foundation for the
broadcasting technologies and services.
The relationship between the technical
heads and regional broadcasters remains
cooperative with information sharing
in regards to experiences with different
systems and technologies.
We can take this further and translate
it into a more formal industry-wide
collaboration or standardisation forum. It
is vital that we seek to achieve consensus
to reinforce any specification to support
not only the anticipated services but
future services as well.
If we are to develop a broadcasting
ecosystem that meets the needs of both
users and providers, we must encourage
further collaboration. The region has
a powerful and dynamic mix of skills,
resources and ambitions which can
bring about the use of the very best
technologies, practices, and services in
the marketplace. PRO
Hasan R. Sayed Hasan is Managing
Director of Master Media and Vice Chair of
ASBU’s Arab HDTV group
Tomaz Lovsin,
Managing Director, STN
iTX delivers the scalability,
resilience and agility we need
As a playout service provider for more than 300 television channels,
STN requires highly scalable and resilient operations, with a low cost of
ownership. That’s why it relies on iTX, the world’s most advanced IT-based
automation and playout platform.
By tightly integrating iTX with Miranda’s infrastructure and monitoring
solutions, STN has streamlined its content delivery workflows, all the way
from ingest to transmission. The result is a highly agile media business,
which responds rapidly to new opportunities.
WatchourSTNfacilitytour:www.miranda.com/STN
LET’S GO THERE.

making waves in jeddah

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