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Production-Broadcast Technology Magazine Issue #3 September - October 2013
Splash shooting & lighting
Star Media:TV Project
Al Jazeeranews room and studio sets
Examining Workflow
Solutions at IBC
Production of
IBC stands at the forefront of innovation, drawing more than 50,000 creative, technical and business professionals from over 160 countries. It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected peer reviewed conference that helps to shape the way the industry will develop.
Also, take advantage of a variety of extra special features included as part of your registration at no extra cost:
IBC2013Discover More
RAI AmsterdamConference 12-17 September : Exhibition 13-17 September
IBC Third Floor 10 Fetter Lane London EC4A 1BR UKt. +44 (0) 20 7832 4100 f. +44 (0) 20 7832 4130 e. [email protected]
www.ibc.org
• IBC Connected World a special area of IBC which encapsulates the very latest developments in mobile TV, 3G and 4G services
• IBC Production Insight centred around a professional standard studio set, attendees have a host of the latest production technology to get their hands on
• IBC Workflow Solutions dedicated to file-based technologies and provides attendees with the opportunity to track the creation management journey
• IBC Big Screen providing the perfect platform for manufacturer demonstrations and ground breaking screenings
• Future Zone a tantalising glimpse into the future of tomorrow’s electronic media
• IBC Awards celebrating the personalities and the organisations best demonstrating creativity, innovation and collaboration in our industry
Register now at
www.ibc.org/register
Dubai, UAEStudio City, BS04 OFFICE 201,Tel: + 971 4 4335438 Mob:+971 55 6086948
www.starmedia.com
Beirut, LebanonBir Hassan, Quds Str, Kornich Bldg, GF
Tel: +961 1 843422Cairo, Egypt
102, Nile Street, Al Ajou2a, foor 11, opp 112Tel: + 201004604675
CONTENTCONTENT
New Technology
Production of Hareem El Sultan
Splash: Lighting and Imaging Techniques
IBC: Free Insight into Production
Go Pro Hero3
Al Jazeera Arabic: News Room &Studio Sets
TV Technology User Report
Da Vinci Resolve 10
Director Rendalah Kodeih: Quick Shots &One Camera
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PublisherMedia Street
GM/ Editor in ChiefHala El Khatib
Managing EditorFatima Kassem
Executive EditorImane Kallassy
DesignerJoumana Srouji
Legal AffairsNayla Nahleh
Bilal Harb
Consultants - Alphabetical orderAli Wazani, Bassem Christo, Hassan
Chahine, Muhammad Irfan Gondal, Nayef Krayem, Peri Cochin, Salaheddine Awad
UAE
Alaa Krayem
Tel: +971 556 086 948
Cario and Turkey
Salha Alam
Tel: +20 100 498 4849
USA
Nathalie Fares
Tel: +1 904 955 5632
France
Mayssaa Ismael
Tel: + 33695085034
Kuwait
Malak Najem
Tel: + 96555527499
Translation
Zeinab Menhem
Address:
Beirut - Lebanon
Bir Hassan - quds street - Cournish Blg.
Tel: +961 1 843 422
Mob: 961 70 929 746
www.firstframe.me
Printed by:
Arab printing press
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Production-Broadcast Technology Magazine
You can read all English Articles translated to Arabic in the website
www.firstframe.me
Lebanon, Beirut, Sanayeh, Spears Street, Union Building, Tel: +961 1 348282/3 Fax: +961 1 348686
05
It’s the third issue of First Frame magazine; the issue that joins the most important
exposition in the world “IBC” in Amsterdam; as a media partner supporting this annual
festival; a festival that witnesses the participation of 1400 companies and associations
dealing with TV, Radio and satellite broadcasts from 160 states, and more than 50000
specialists in media.
In Hall 8, stand No. 63 the First Frame’s team will be present for the distribution of its
three issues and to build closer ties with international companies exhibiting and visiting
the exhibition.
To strengthen the idea of the media outlets outspread and to keep its pace in the Arab
world, First Frame magazine was established. Today, it is working to expand the scope
of its search and content, one issue after the other to monitor the latest updates of the
Arab and regional media on techniques and production level.
In the third issue, the magazine focuses in its covers on the Turkish drama series Hareem
Al Sultan that enjoyed a share of success in the Arab countries as it was dazzling in
terms of high production, as it will be focusing also on the Kuwaiti Radio Marina FM
that’s considered antithetic in its form, content and modernity.
And as usual, the magazine does not neglect distinctive programs, their filming, their
successful directors and producers who drew their own approach in their works and left
their imprint through their efforts and innovations, in addition to focusing on the latest
imaging equipment, lighting, and other accessories of several companies.
First Frame magazine pursues its mission in publishing a bright picture about television,
film and radio productions in the Middle East in general and the Arab world in particular;
especially the usage of the latest equipments in TV channels, radio stations and processing
studios with high definition techniques. Despite the volatile political situation, the unrest
and violence in both Egypt and Syria, these two nations have managed to occupy all the
various Arab stations with their drama series in the last month of Ramadan.
In this issue, there’s a special coverage for the ways that channels follow to create their
own identity, their decors and studios, such as the Qatari channel Al-Jazeera and the
Kurdish Rudaw TV.
Hopefully, the magazine will cover the activities of the rest of the channels in future
issues; as for now, we put the third issue in your hands...
OUR FRAME
First Frame in International Broadcasting Convention (IBC)
TECH NEWS
06
Filmmaking Masterclasses in Las Vegas, Key West,
and Majorca, workshop in Istanbul, or filming a
documentary in Forchheim in Bavaria: For his numerous
and diverse projects, DP Sebastian Wiegärtner is often
on the go. As one of the most renowned German
DSLR filmmakers, he not only films but also inspires
other cinematographers at his workshops. One of his
recommendations includes bags by Petrol Bags, part
of Vitec Videocom, a Vitec Group company.
Among others, he uses the Sony PMW-F3, Canon
C300, Canon EOS 7D, Nikon D800, and RED
Epic. Recently, he has thoroughly been testing the
Blackmagic Design Cinema Camera. Wiegärtner has
also had good experiences with Petrol Bags during
his travels: Petrol Bags Digiback Jr. DSLR (PD336), its
big brother, the Digiback DSLR Backpack (PD331), Dr.
DSLR Camera Bag (PD443), and Deca Rolling U-Bag
(PC104) are all a part of his equipment. “The robust
Petrol Bags offer excellent protection for my equipment
not least because of its seven-layer protection system
made of first-class material,” he says when explaining
his choice.
GlobeCast and leading satellite operator Arabsat are
offering new solutions for broadcasters seeking to distribute
programming in North Africa. The collaboration will include
GlobeCast’s teleport facilities, playout services, network, and
rich knowledge of the broadcast market, particularly in North
Africa, and will be carried on Arabsat’s BADR satellite at 26
degrees east. The goal is to foster a robust neighborhood of
quality channels for viewers in the North African region.
The initial rollout of the new service will include Algerian
channels. Already, five channels have been launched on this
exciting new platform: Echourouk TV, Al Atlas TV, Dzair TV,
Imed TV, and Ennahar TV. The channels can be received with
the following parameters: position BADR 26 degrees east,
12303 MHz polar H SR: 27.5 Fec 3/4.
MRTV Myanmar, Myanmar’s national broadcaster, has purchased several Grass Valley solutions to
broadcast live HD coverage of the 2013 Southeast Asian (SEA) Games, which will be held in three cities
across Myanmar during December 2013. Grass Valley designed and delivered two turnkey flight packs
and a complete outdoor broadcast (OB) van to enable MRTV to deliver first-class coverage of the Games
from multiple cities, marking the first ever HD live coverage in Myanmar.
Included in MRTV’s systems purchase are a range of Grass Valley solutions including 18 units of LDX
Première software upgradable cameras and XCU eXchangeable Control Unit base stations—which will
allow the broadcaster to easily move camera chains between systems, providing a highly mobile and
cost-efficient scalable solution for live production. MRTV has also selected Grass Valley’s Kayak production
switcher, Concerto routers, four K2 Dyno Replay Systems, and various other live production solutions.
Grass Valley provided the complete design, on-site support, turnkey integration and user training.
Grass Valley in Southeast Asian Games 2013
Often on the Road with
Petrol Bags
GlobeCast Partners With Arabsat to Bring NewNeighborhood of Channels to North Africa
Grass Valley
GlobeCast
Petrol Bags
Harris Broadcast is providing a complete turnkey system for Channel 92, the first
HD news broadcaster in Pakistan. The station, owned by Galaxy Broadcasting,
is based in Lahore. The system is being implemented with the support of AA
Systems and Benchmark Systems, while Master Media will provide consultancy
and Advisory services.
Harris Broadcast Digital Signage Technology Expands ClearVision TV Network to Four Airports
ClearVision, the in-airport TV network developed by Clear Channel
Airports, a division of Clear Channel Outdoor Holdings, Inc.
(NYSE:CCO), and connectiVISION Digital Networks, is using Harris
Broadcast digital signage technology to deliver an out-of-home
broadcast experience to travelers in four airports. Powered by
Harris Broadcast InfoCaster hardware and software, ClearVision
delivers an engaging mix of network entertainment, in-house
produced content, regional news and local advertising on uniquely
branded channels for each airport.
To date, the company has launched broadcast services at major
airports in Raleigh, Dallas, New Orleans, and soon Cleveland, with
future major market launches in the works. Systems integration
firm Keycode Media handles all airport installations, including
InfoCaster media players, supporting infrastructure and screens
in all terminals. Keycode Media also built ClearVision’s Burbank,
California-based network operations center where all content is
prepared, scheduled and distributed.
07
TECH NEWS
Working with its partner Panasonic, Grass Valley announces
the newest upgrade to its K2 server products to include
powerful compression support for Panasonic’s new AVC-
LongG (Advanced Video Codec/Long Group Of Pictures)
compression type, which the company announced at NAB
2013. Grass Valley’s K2 Summit and K2 Solo are the first
broadcast servers on the market to support playout of the
AVC-LongG recording format, which is part of Panasonic’s
new AVC-ULTRA codec family of products. The new versions
of K2 Summit and K2 Solo were available August 2013, with
software upgrades available for models sold within the past
year. Older versions of K2 Summit are field-upgradable.
Grass Valley Enhances K2 Architecture to Support Panasonic’s New AVC-LongG Recording
Grass Valley has supplied Germany-based
RecordLab, experts in broadcast services,
with solutions for its first fully equipped
OB van. RecordLab will be working with
local Grass Valley partner Wellen+Nöthen
from conceptual planning to technical
systems integration for their new OB van.
Wellen+Nöthen will equip RecordLab with a
Karrera Video Production Center switcher with
a 2 M/E and 3 M/E control panel, a 3 M/E Trinix NXT Digital Video Routing Switcher in
a 256X512 chassis and a LDK 8300 Live Super SloMo Camera for live productions.
Production and routing switchers and super SloMo camera deliver high-quality
coverage
At the heart of RecordLab’s OB van is the Karrera Video Production Center with
K-Frame, which delivers a new modular approach to production switchers. With an
intuitive, easy-to-learn control panel, touchscreen side panel interface and full 3G
1080p50/60 HD support, the lightweight and upgradeable Karrera uses 50% less
power than other switchers of its kind.
Trinix NXT with multiviewer incorporates advanced circuit technology and is field-
proven in configurations of up to 2,048 inputs or outputs. The simple yet powerful
solution eliminates the need for secondary external components and connections,
providing operators with a reliable 3G multiviewer solution.
The LDK 8300 camera offers a choice of speeds and multiformat support. It
switches effortlessly between 1X, 2X, and 3X speeds as well as between 1080i and
720p formats, making it the perfect camera for live events.
Germany’s RecordLab TV & Media GmbH Selects Grass Valley Live Production Solutions to Equip First OB Van
Galaxy Broadcasting Builds First HD News Station in Pakistan with Harris Broadcast
Harris
Grass Valley
08
TECH NEWS
LAUNCHES HDTV LENS FUJINON
features optical stabilization, 55x high power zoom and high
optical performance
FUJIFILM Corporation (President: Shigehiro Nakajima) launched
FUJINON XA55×9.5 (hereinafter XA55×9.5) at the end of
August. As an addition to the lineup of HDTV lenses, this lens
offers both 55x high-power zoom and high optical performance
and is best for sports broadcasts, concerts and live productions.
Analog broadcast has ended in Japan, the US and Europe,
and HD equipment has become mainstream at TV program
production sites due to the shift to digital broadcast such as
high-definition broadcast with high image and sound quality.
Production of TV programs with high image quality has also
increased in Brazil where the upcoming World Cup and
Olympics will be held and in emerging countries where digitalization of TV broadcast is advancing, increasing the demand for HD equipment. Under
such circumstances, Fujifilm is expanding its lineup of high-performance HDTV lenses such as studio/field lenses used for shooting at studios or
sports broadcasts and portable lenses that can be easily carried around.
XA55×9.5 is an HD field lens that offers both 55x high-power zoom and high optical performance with excellent resolution, transparency and color
reproduction using the latest optical simulation technology.
XA55×9.5 features Fujifilm’s proprietary optical stabilization as a standard for the first time for 50-60x class field lenses. The lens corrects image
shaking on the screen caused by wind and poor footing, which often occurs with high-power zoom lens with focal length on the telephoto side, and
produces stable images. Since it is also compatible with focal length from 9.5mm to 525mm, it shows excellent performance in sports broadcasts,
concerts and live productions.
The lens is also installed with the 16bit encoder which outputs zoom, focus position and other lens data at high resolution. It can work with virtual
system that combines CG image with live shooting image. Since it has
a built-in lens supporter to which portable cameras can be directly
attached, the lens can be used without preparing a new lens supporter.
Fujinon lenses offered from Fujifilm are acclaimed for its high descriptive
power and contribute to the evolution of new picture expression.
Fujifilm will continue developing and providing new innovative products
using its optical technology, high-precision processing technology and
assembly technology developed over the years, to respond to the
diversifying needs of production sites.
XA55×9.5 exhibited at BIRTV2013, the largest broadcasting equipment
exhibition in Asia to be held in Beijing, China from August 21 to 24,
2013 and at the IBC 2013 from September 13 to 17 2013.
Fujinon’s optical technology is a three-time recipient of the prestigious
“Emmy Award” for outstanding technological developments. Historically
Fujinon broadcast & cine lens technology has repeatedly set the
benchmark in the evolution of optical technology.
Model XA55x9.5
Camera format 2/3”
Focal length 9.5-525mm 19.0-1050mm when using 2x extender
Zoom ratio 55x
F No 1.7(9.5mm-308mm) 2.9(525mm) 3.4(19 mm-616mm)
5.8(1050mm) when using 2x extender
Minimum object distance (M.O.D) 3.0m
Object dimension at M.O.D.
horizontal×vertical
9.5mm 2782 x 1564mm 525mm 51 x 29mm
19.0mm1406 x 790mm when using 2x extender
1050mm 26 x 15mm
Angular field of view
horizontal×vertical
9.5mm 53°34’x 31°41’ 525mm 1°03’ x 0°35
19.0mm 28°20’ x 16°09’ when using 2x extender
1050mm 0°31’ x 0°18’
Size (H×W×L) 253mm x 253mm x 876mm
Weight approx. 24.8kg
Specifications:
�
10
COVER STORY
Salha Allam-Egypt
For several months, lovers of Turkish drama series watched the historic series that is called in Arabic “Hareem Sultan”, which recounts one of the most important periods of the history of the Ottoman Empire, the most affluent with events and significant personalities who affected - positively or negatively - the Islamic history of the nation as a whole.
Many people might not be aware that the preparation phase in addition to
the historical research about the main characters of the series took one year
and half. While it took five months to prepare the clothes of the actors, during
which twenty-five designers and tailors helped in designing the clothes after
returning to the Ottoman documents, taking the opinion of a number of
historians and professors of history, and going through a huge number of
paintings portraying the real characters in the series.
The stylists and tailors needed more than 2,500 meters of cloth for garment
processing required for all the characters in the series.
Decor Setting up the decorations that were used in filming
some of the scenes outside the Ottoman palaces, took
four and a half months, where more than 120 people
built and equipped the Haramlek (Women’s palace), the
sofa of the Sultan in the garden, the kitchen and private
rooms of servants, supplies room, room of Ibrahim
Pasha, the Chamber of Sultana Khadija the sister of
Sultan Suleiman, the room of Hürrem Sultan (Huyam in
LARGEST DRAMA PRODUCTION IN THE HISTORY OF TURKEY
16 AR
COVER STORY
31
the Arabic translation), and the bathroom and private terrace of the Mother
Sultana chamber.
The construction technique applied is the same one that was used in the
construction of the real rooms in Ottoman palaces, as well as graphics
and decorations that were displayed on the walls of the palace, which
showed the extent of progress and the artistic and cultural creativity, which
distinguished that time-period of the Ottoman Empire.
During the preparation phase of the interior and exterior designs, backup
places were set to be used in time of need. The décor team
included a number of painters and sculptors who carved
a lot of sculptures and painted the walls and roofs of
the palaces, especially palaces of Sultan Suleiman and
Ibrahim Pasha.
Exercises and auditionsWhile actors needed full three months to learn how to
ride horses and play the violin, the selection process of
the servants of the palace took nearly two months where
450 girls were auditioned and only 20 of them were selected.
Most of the scenes of the series that take place inside the
Ottoman palaces were captured in Topkapı Palace and its vast
gardens in addition to other palaces that still preserve their
original condition, such as the Dolmabahçe Palace and other
true historical places. A giant theatre was built with an area
During Shooting
of 2100 square meters to capture the scenes that the team
could not film them at the real locations.
One of the biggest models, which was manufactured by
décor designers, was the Sultan dome, where a number of
professionals manufactured it in a short period that did not
exceed a week.
Decoration required around 1,500 meters of fabric, one ton
and a half of paints, 1,000 square meters of brick and tile,
1,800 square meters of marble for columns and floors, and
1,000 meters of luxurious fabric produced by one famous
Turkish company specialized in the field of fashion and
decoration, as well as using 250 meters Carpets made of
natural silk produced by a company specialized in this type
of carpet.
The Ceramic of Iznik City was used; a Turkish city most
known for manufacturing this type of tiles, where it used to
export tiles with special drawings to the Ottoman palaces at
that time, in addition to using types of Chinese ceramic, while
some of the floors were made of pure marble and others of
printed concrete made to look like marble.
The series’ plot The series which caused a big buzz during its broadcast, talks about 100
years from the history of the Ottoman Empire, and that’s why the series is
named in the Turkish language MUHTE�EM YÜZYIL, which means a 100
magnificent years; that’s when Sultan Suleiman was raised in Edirne then
moved to Topkapı Palace after the death of his father, Sultan Selim. The
series shows how he took over the power, and developments that have
accompanied that stage from the date of the empire, the tales of palaces,
lifestyle inside them, and the behavior of their inhabitants, as well as the
pattern of daily life in the Topkapı Palace, one of the largest palaces of
Ottoman Empire, which was revived, and seen by the viewers through the
series.
The series Hareem Sultan is the largest Turkish drama production, everyone
in the Arab region was talking about it and it scored the highest proportion of
views. The series presented social and historical events within a drama plot
that attracted viewers, and brought them to live in the time of the Ottoman
Empire, particularly in the palace of Sultan Suleiman known as Suleiman the
Lawgiver, who spent forty six years at the helm in the Ottoman Khalif state
that was the most powerful in the world; its authority extended to include a
lot of countries in the world three continents (Asia - Europe – Africa). Since
the series is the largest drama production in the history of Turkey, it received
the largest criticism in the history of historical drama industry in the world.
Turkish officials in Turkey received more than 75 thousand complaints
because of what was described as a “manipulation historical facts” and “an
attempt to tarnish the image of the Ottoman Empire”, and 1000 complaints
demanding to stop the series because - according to those complaints –
the series focused on the private life of Sultan Suleiman and neglected
his political accomplishments and military conquests that increased the
scope of the Ottoman Empire at that time and made it the largest empire
the world has known, not to mention his valuable contributions in the field
of development of the laws that organized the life in that empire, which
contributed to the development of social and daily life for its citizens. Sultan
Suleiman was called the “lawgiver” due to the abundance of laws enacted
in his reign
14
PROGRAM
photographer is equipped with an oxygen tank similar
to divers because of the long sojourn at the bottom
of the pool.
The remaining 13 cameras were distributed in
several directions, around the pool and the theater,
and over them. A Luma camera popped up in most
of the program scenes, for the height of the hall and
its large circular area require this type of cameras.
Techno Crane Camera was also used, which is a
crane with telescopic lens commonly used in the film
industry and varies in size depending on the length
of leverage; the ones used in Splash reached 20
LIGHTING AND SHOOTINGTECHNIQUES: KEYS OF SUCCESS
Rabih Damaj
Program director Basem Christo, who managed the direction of the
program in its first 7 episodes and the last one, says that the cost of the
program was technically very high; all types of cameras (Sony brand)
without any exception were used, as well as the lighting, no visual
effects or tricks were used. The focus was on the lighting and camera
movement, which gave the program the vital element. Basem explained
that the direction and the techniques played a major role in the success
of any program attracting a large number of viewers, even if program was
conceived ordinary.
Diversity of cameras
A number of ordinary viewers ask about the technique used to shoot
people jumping from a high place to the bottom of the pool. Technically,
one HD camera was used in Splash Program; it is a camera used for
traditional filming but was placed inside a wooden tray resistant to water,
linked to a water-proof cable that is connected to the control room, the
underwater photographer
had a special earphone to
be ready to capture his
scene after the participant
jumps.
Throughout the episode
the cameraman remained
under water geared up to
take every good snapshot,
on the signal the director.
After he receives the
signal he captures the
scene as quick as possible
and sometimes he moves
to add movement and
vitality on the scene.
It is logical that the
A large hall in the Sport club at the Lebanese University in al-Hadath area has been equipped three months before the beginning of the live imaging operations; the team work of Splash program examined the place and extended lines of electricity cables, huge special lighting cables to move the cameras amid a theatre that spanned an area of 1,200 square meters with height of 21 meters. It was surrounded with hundreds of bulbs of different shape and color, and digital loudspeakers that transferred the viewer from his home into the shooting location to let him feel as if he is sitting there next to the pool and its surroundings.
EXPERTS FROM THE NETHERLANDS WERE BROUGHT SPECIALLY TO OVERSEE THE DISTRIBUTION OF BULBS AND PROJECTORS
16 AR
PROGRAM
15
effects or synthesis and production processes,
because its technical value was concentrated in the
movement of photography and the game of lighting,
but the only shot that was prepared previously
is when the participants stands up to jump; four
windows are placed, one window focusing on him,
another on the rest of to the participants, the third
on the public and the fourth on the presenters, only
this snapshot was prepared previously with Graphics,
and when shooting live, the windows were filled with
the scenes. This is considered a very simple is not a
trick or a visual effect because it doesn’t need any
effort”
meters, with a camera head installed on the end of the lever to move in
all directions. While the broadcast and image capturing was done by a
camera operator in the control room.
The Robot Cam also entered the game of shooting in the program,
according to Christo, all the cameras were wireless, and this diversity in
cameras and movements were the basis of the success of Splash.
The program also included the slow motion shooting; this technique
has its own machines. Four devices connected to cameras transferred
and filmed the scene very slowly, and they are dedicated to scenes that
include running or jumping.
Dutch team for the installation of lighting
Due to the height of the theater and its large area, finding the appropriate
and adequate lighting was very difficult. The area of the theater is 3
times more than the area of any internal studio, as well as the high cost
of lighting installment, and that’s why experts from the Netherlands were
brought specially to oversee the distribution of bulbs and projectors in a
geometrical and harmonious way.
There were moving bulbs in the ceiling and on the sides of the theater
that shed the light on the jumping locations of the participants. This
vivacious lighting was changing colors on the face of the participant once
he arrived at the jumping place, while he’s preparing and after jumping.
The lighting on the audience was soft light and this type of lighting is
used to give a warm atmosphere.
The program was live and its director says “We did not need any visual
Ayman Kaysouni and Roula Bahnam
Splash crew
16
EXPO
EXAMINING WORKFLOWSOLUTIONS AT IBC
Probably one of the most significant movements in the electronic
media and entertainment industry over the past few years
has been the move towards file-based workflows. Many other
innovations, such as the move first to digital widescreen, then
HD and now Ultra HD, were simply incremental changes. The
workflow revolution has involved adopting a whole new paradigm
and way of working, not to mention the at times problematic
fusing of two different industries: IT and broadcast.
sports, automated QC and cloud creation for brands and
broadcasters, as well as ‘look and learn’ presentations
by current users.
Its programme runs over four days and over a dozen
sessions from Friday 13 September. Exhibitor-led sessions
from the likes of Aspera, Cinegy, Forbidden Technologies,
Quantel & Sony mix with studies presented by industry
bodies such as AMWA mix with networking drinks, and
there are some seriously interesting case studies on offer
designed to give attendees the knowledge they need to
implement tapeless workflows to their full advantage.
IBC Workflow Solutions is in Hall 9 and, as part of the
exhibition, is free to all IBC attendees.
Part of the IBC Conference, the Industry Insights stream,
is also free to attendees and provides an invaluable look
at many of the topics affecting the industry. But to access
even more of the compelling 60+ sessions that take
place at IBC every year, you will need to buy a Conference
Pass.
Luckily, there are several options that have been carefully
designed to fit both a range of timeframes and budgets
That is perhaps why, even several years in, there are still as many
complexities to digital workflows as there are opportunities, both for
creativity and for cost efficiencies. And with the ideas behind cloud-based
production rapidly gaining traction, the subject encourages as much
debate and confusion now as it probably ever has done.
This is also perhaps why the IBC Workflow Solutions area, one of several
Feature Areas throughout the Exhibition, is proving to be such a popular
innovation. It provides attendees with the opportunity to track the creation
management journey and assess the options for themselves and features
a presentation theatre housing case studies covering topics such as live
16 AR
PROJECT
17
STAR MEDIA TV PROJECTStar Media Services last TV project in Egypt delivered on May 2013. Star Media Services Integrated the whole
work flow between Cinegy GmbH, Quantum, and HP. Cinegy provided new news work flow and playout automation:
Two playout fully redundant with 3 Ingest servers and 2 Character generators plus the Archive system which was
integrated with Quantum Tape Library. All servers and switches are from HP, as you can see from the Visio Draw,
two fiber switches and 2 Core switches with specific modules plus the two racks for all servers excluding the Tape
library are from HP. KVM Switches are from ATEN.
After providing the whole solution and workflow suggested
to our customer and getting the confirmation to proceed,
Star Media Services started building this project in its
offices in Beirut, the whole system was built and integrated
in Lebanon. Technical Teams from Cinegy , Quantum, and
HP came all together to provide the best work flow for the
system, which was tested by the customer once doing
all our integrations. The customer used our offices for
few months testing the system and asking for changes
depending on their needs, during this time the Technical
team in Star Media Services was following all steps
and procedures to qualify our service and provided the
customer with all manuals and settings for the system
and backups plus a Visio Draw that presents all cabling
connections between the switches and the servers and
the tape library
Jaafar Krayem IT Manager, Star Media
18
Although the Hero 3 is lighter than the previous editions, the
height and width are unchanged to maintain compatibility
with GoPro’s line of BacPac add-on modules and rear doors
for the clear plastic shell.
The Hero 3’s shell also offers three waterproof buttons
that pass your inputs through to the power/mode select button, the
shutter release, and the new Wi-Fi button.
On the front panel, you’ll find the new f/2.8, six-element aspherical lens
that is supposed to offer twice the image sharpness and reduce the
amount of barrel distortion at the extremes of its 170-degree field of
view. The Hero3’s new shell features a new, flat lens that is supposed
to work better with the new lens’ reduced distortion and offer better
underwater image quality.
Built-in Wi-Fi
The front panel is also home to two indicator lights: one red to indicate
that the Hero is recording and one blue that blinks to indicate that Wi-Fi
is active.
You can easily access the wi-fi buttons from the right side of the camera,
to activate or deactivate the connection with any Smartphone app, or the
wi-fi remote (only available for black edition). Via wi-fi you can control the
camera and send videos and photos directly to your Smart phone.
On the left side, behind a removable plastic panel, you’ll find the Hero
3’s greatly simplified bank of connections. There’s a Micro-HDMI output,
and a micro SD card slot (supports cards up to 64gb)
Also, there is a Mini-USB port, that is used for
charging and syncing. With the aid of optional adapter
cables, this Mini-USB port can also double as a 3.5
mm microphone input or an analog video output.
However, on either side of the Hero3, you’ll find
a small pinhole microphone for audio recording
alongside your video, with an improved wind
reduction algorithm.
CAMERA
C h a n t a l
SMALLER, LIGHTERWITH BUILT-IN WI-FI
GO PRO HERO3
Perhaps the best sports camera on the market today would be the new edition of the Go Pro, Hero3. It’s small, light, and features a wi-fi built-in connectivity. It comes in 3 variations: white, silver, and black.
By: Chantal Ayoub
Professional Quality Video
The Black Edition has the newest, fastest processor of the bunch. It is
able to capture 1080p full-HD video at up to 60fps, 960p Tall HD video
(4:3 aspect ratio) at up to 100fps, 720p HD at up to 120fps, and WVGA
480p video at up to 240fps, making it good for slow-motion video.
Users wanting to capture more pixels also have the option of capturing
video at 1440p (4:3 aspect ratio) at up to 48fps, 4K Cinema at 12fps,
or 2.7K Cinema at up to 30fps.
The Black Edition can also capture still photos at up to 12MP (with
7MP and 5MP modes available) in four different modes: single-shot,
time-lapse, burst, and continuous. it also has the unique ability to
simultaneously capture still photos while it’s recording video with
intervals ranging from every 5 to 60 seconds.
The Silver Edition uses essentially the same processor as the Hero
2’s, so it lacks the Protune mode and its 4K, 2.7K, and 1440p video
resolutions. Additionally, its 1080p video caps at 30fps, 960p at 48fps,
720p at 60fps, and WVGA at 120fps. Still photos max out at 11MP with
a maximum burst rate of 10fps over 2 seconds. The Silver Edition also
lacks the ability to simultaneously capture photos while recording video.
The White Edition uses an even lower-capped processor. Its HD video
caps out at 30fps for 1080p and 960p and 60fps for 720p and WVGA.
Still photos are captured at only 5MP with a maximum burst of 3fps
over a single second
19
OB VAN
Light-Footed in Snow and Ice
During shooting, temperatures between 40 to 50 °C below zero (-40 to
-58 ºF) were the norm. And this is what the fluid heads of the Sachtler
FSB series were made for! Its metal casing makes the FSB 6 particularly
resistant and robust. Even the damping mechanism with three horizontal
and three vertical grades of drag +0 remains unfazed by the extreme
temperatures. Together with the ENG 75/2 D tripod, the fluid head weighs
in at only 5.3 kg (11.7 lbs), which makes it easy to transport through
rough terrain. With a transport length of 84 cm (33.1 in), the compact
tripod system can be comfortably carried on the shoulder.
Always the right Setting
Thanks to the sideload camera plate with the Snap & Go mechanism,
camera configurations can be prepared according to climate and project
requirements and then be set on the fluid head from the side with a
turn of the hand–even when you’re wearing thick gloves like Beltrame
at the South Pole. During the Antarctic shoot, the extreme temperatures
required frequent battery changes. For this reason, it was especially
important to Alessandro Beltrame that the counterbalance of the camera
set-up worked quickly and simply. He found support in the especially
long 120-mm sliding range of the camera plate and the 10-step
counterbalance with Speedbalance technology for set-ups from 1.5 to
8 kg (3.3 to 17.6 lbs). With the step-shifting system, the settings can be
reproduced exactly, and counterbalance is achieved instantly every time.
This way, preparations for filming don’t become a test of patience.
Bucking freezing Temperatures: Smooth movements at down to -40º C
For the Antarctica Project, Alessandro Beltrame relied on the FSB 6
by Sachtler and, with this choice, on the authentic
German art of engineering. The patented damping
system of Sachtler heads with very finely designed
step-shifting uses a special lubrication grease which
guarantees smooth tilt and pan movements, even
in extreme temperatures of -40 to +60° C (-40 to
+140° F) – without tedious warm-up panning and
time-consuming experiments with the settings
TOOLS
THE SACHTLER FSB 6 BETWEEN PENGUINS
The mainland is a white desert of snow, surrounded by a clashing cold ocean, and scarcely populated. Only the animals and few plants are accustomed to the difficult living conditions. This is the Antarctic. DP Alessandro Beltrame from Italy left his warm southern European homeland for two documentaries for The Antarctica Project, a cooperative project of the Italian government and the private broadcaster Mediaset. With scientists of the national research centers CNR, ENEA, and PNRA as well as the FSB 6/2 D tripod system by Sachtler, part of Vitec Videocom, a Vitec Group company, he spent a month at the South Pole – with merciless temperatures dropping to -50° C (58º F), a real test for the crew and the equipment.
20
DubaiBusiness Bay, Churchill BuildingOffice 209
SharjahIndustrial Area 11, 28th St.Wave Tech Building
BeirutRiad ElSulh Square,Shaker & Oweini Building, 4th floor
KSAComing Soon
[email protected]: +971 8009283
KL9108 Dual Rail LCD KVM Switch
LCD Console + KVM Switch with over IP
CL1008 8-Port LCD PS/2 KVM Switch
CL5708 8-Port LCD PS/2-USB KVM Switch
KM0932
9-Console 32-Port Matrix KVM Switch
LCD KVM Switches Matric KVM Switches
22
DESIGN
by Ali Wazani - WAZANI & ASSOCIATES
INTENT News Delivery as a Stage Show
Enable Al JAZEERA ARABIC to deliver the News
through in a multitude of formats ranging from a
simple News Summary to a Full Stage Show which
can host anything from an F1 driver and his car, to a
full football team, or a student focus group debating
the political story of the moment.
DESIGN & BUILD PROPOSALA L J A Z E E R A A R A B I C : N E W S R O O M A N D S T U D I O S E T S
16 AR
DESIGN
23
STRATEGY 2 Studio Areas + Maximum Space = Unlimited
Possibilities
It provides secure flexibility by devising the vast open space
into 2 Studio Areas which can operate together, in back up, in
parallel or back to back as required. It maximizes the camera
friendly space in each area to offer multiple positions for added
variety, rearticulate the Architecture accordingly, devoting the
Structure to make it part of the show. The architecture and
structure itself become the signature back drop for AL JAZEERA
ARABIC. These two areas and the corner extension studio make
up a total of 3 distinct studio areas.
CHARACTERISTICS
The First Area of the vast open space: the News Centre integrates a
large central studio space with 3 different themes as backdrop: a News
Environment, a Media Display and Windows on the outside for the benefits of
daylight. Adding a controlled garden would contribute to AL JAZEERA’s image
of Environmental Awareness.
The Second Area: a multipurpose open studio equipped with cutting edge
robotics with two different backdrops, the news environment and the studio
environment.
The Third Area will house a Virtual Environment studio and a dedicated
Studio set for Sports. A corner mezzanine set with Live Shot onto the city
provides a live contextual background affirming the link between Al Jazeera
and Doha.
THE OUTCOME is a unique state of the art News Production Facility with
full capabilities, ready to carry and convey a renewed image of AL JAZEERA
ARABIC
CAMERA ANGLES
DESIGN
24
26
ARTICLE
CEO, ISOL Productions
local partner Pharaon Broadcast, as we believe its
new LDX Series camera system provides the most
advanced performance available on the market today.
The cameras offer a unique software-upgradable
feature set that allows us to keep the cameras up-to-
date with the latest formats and features, irrespective
of individual client needs, while also providing a cost-
effective high-performance HD dual-format solution.
One of the key and unique features of these cameras
is the Xensium-FT CMOS imagers, which provide
high-quality images in a variety of HD resolutions,
while eliminating the rolling shutter effect that can
afflict those who typically use CMOS technology. Now,
when our cameras pan to follow moving objects, we
don’t have to worry about the quality of the images,
and that is especially important when shooting live
renders post-production editing impossible.
However, as my industry colleagues will attest, it’s
the switcher that forms the heart of an OB van. We
identified the need for a scalable, user-friendly and
TV TECHNOLOGYUSER REPORT
Issam Abbani,
The television landscape in the Middle East has evolved at an astonishing rate over the last decade, and in that time we have established ISOL as the leading news agency in Lebanon. Since 2006, we have been instrumental in producing entertainment and news material for the Middle East through innovation, technology and expertise. With offices throughout the region, we have a world class newsgathering reach, and can provide live news feeds and reports of both local and global relevance.
Outside broadcasting (OB) is one of the key services our company
provides and we are consistently at the heart of the action in
Lebanon, capturing events as they happen, be they political, social or
entertainment. We provide news coverage to our customers 24 hours a
day, seven days a week, and thanks to the availability of new consumer
devices, we must deliver this content anywhere, anytime. This brings
together its own unique challenges. There is now a far greater pressure
on service providers and broadcasters to supply higher quality news
content, while also adapting to the inherently unpredictable nature of
live broadcasting.
One of the most prominent trends in our region over the last few years
has been the growing consumer demand for high definition content,
which has meant we have had to identify new and cost-effective ways to
equip our OB vans with the very latest broadcast equipment.
As such, when it came to recently equipping our new state-of-the-
art production truck, we decided to work with Grass Valley through its
16 AR
ARTICLE
27
From our viewpoint, it’s essential we are able to
meet the production demands of live television, and
if you look across our industry, and particularly in our
region, Grass Valley’s reputation precedes itself. It’s
a worldwide leader, and its solutions offer a future-
proofed, reliable, best-in-class service. Grass Valley’s
broadcast infrastructure solutions enable us to make
our live production work what it needs to be: content
focused rather than equipment centric
flexible switcher
that our crew could
operate easily and efficiently. We
couldn’t be happier with the Kayenne 3 M/E Video Production
Center Switcher; it offers a panel and menu layout that’s functional and
simple to navigate. We have really benefitted from the additional production
power and flexibility that Kayenne brings, and it has completely transformed
our workflows.
The Trinix® NXT 128x256 routing switcher with integrated multiviewer
allows us to extend cable run performance where needed. It’s a key tool
that enables us to contend with today’s 24/7 news environment and with the
natural air-flow cooling design, combined with very low power consumption,
this technology gives us the energy efficiency and reliability we need for our
operations. The router is complemented by the Jupiter AccuSwitch, which is
perfect a fit for our OB van application. My team of engineers and operators
were won over by its unique native direct control routing switcher interface
and high-speed switching execution. With AccuSwitch, we’re ready for almost
any situation.
Thanks to Grass Valley’s GeckoFlex signal management, our OB van has a
modular platform which is capable of matching the requirements of today’s
broadcast signals. We are now able to support distribution, embedding and
de-embedding audio, as well as cross conversion. The very low power and
dense 2RU GeckoFlex chassis provides support for a broad range of signal
formats and functions, all in the same frame and at the same time.
This September, we will be providing equipment to Endemol Middle East
to shoot the next installment of Star Academy Arabia, a pan-Arab televised
talent show which is broadcast on the Lebanese TV Station LBCI. This is an
immensely popular show; it is entering its ninth season and will attract a huge
viewing audience from across the Arab-speaking world. Providing coverage
for shows like this, which are immensely popular with viewers, means it is
imperative for us to provide a faultless service and Grass Valley is an integral
part of this delivery
28
“Our intent for Resolve since we first acquired DaVinci was to create a
more open postproduction workflow for creative professionals. We know
through our experiences, that the whole postproduction process is about
having flexibility and speed in each of the areas that you want to work in.
The ability to move between systems effortlessly is essential”, said Stuart
Ashton, a director at Blackmagic Design EMEA to First Frame.
At NAB Show 2013 Resolve 10 was announced which added a number
of key features including OpenFX support, Resolve Live and an online
editing tool.
FeaturesDaVinci Resolve uses node based processing where each node can have
color correction, power windows and effects. One can get perfect looking
images with the primary color corrector for setting lift,
gamma and gain with the control of YRGB colorspace.
Primary control includes shadows, midtones and
highlight log controls with offset. DaVinci Resolve
10 targets specific colors or areas of the image with
secondary color correctors. It includes precise color
qualification that lets user target colors with clean
edges so no matter how complex he/she grades, it
blends seamlessly. DaVinci Resolve includes optical
quality sub pixel processing so when user reframes,
or even zooms into a shot, quality is retained. This
lets him/her fix shots with full quality. DaVinci Resolve
supports HDR source images with real time display,
O N E O F T H E W O R L D ’ S M O S T A D V A N C E D C O L O R C O R R E C T I O N S Y S T E M S
DaVinci in our article goes not to the polymath Leonardo da Vinci; the Italian painter, we are talking here about another painter style: it is the name behind more feature films, television commercials, documentaries, television production and music videos than any other grading system. DaVinci Resolve is one of the world’s most advanced color correction systems.
DAVINCI RESOLVE
SOFTWARE
29
SOFTWARE
blending and grading
for incredible control over
your shot. DaVinci Resolve also
supports the 16-bit floating
point ACES colorspace.
It supports RGB mixer
grading to control individual
red, green and blue gain for
each color channel, blend and mix
channels. When you’re after subtle
control, custom curves let you define a
custom gamma curve that’s applied for your
corrections. This can be ganged for all channels
or set per channel. Custom curves also support
YSFX luminance and saturation effects.
OpenFX Support“OpenFX support enables Resolve 10 to work with
hundreds of third party plug-ins, which one can buy
off the shelf from a number of plug-in developers
or you can write his/her own, in fact, a lot of
postproduction studios already do”, said Ashton
and added “Another major addition to Resolve 10
which is Resolve Live. Over the course of the last
two years we have seen a growing requirement for
onsite grading, with colorists becoming an integral
part of the acquisition and production process in
order to smooth through the production process
before the content gets into post. Users can now
take a live video feed into Resolve and grade, live.
Using an I/O device, onset colorists can view the
feed coming of the camera directly in to Resolve’s
grading window. The colorist can now work with the
DOP, lighting director, and staging and makeup artist
to ensure that every single part of the production
process is working together to achieve the final look
of the production before a single frame of content
has been captured”.
“When we talk about openness it’s not just about
the physical technology, it is about everyone
understanding the value of each other’s roles in a
production, including the color correction process.
And understanding that everyone onset is an integral
part of creating a finished look” said the director.
Online Editing ToolAshton announced the addition of an online editing tool within Resolve
10, “in a modern production it is fairly common to have multiple editors
working on a single job. Some are using Avid, some might be on FCPX.
They could be in different facilities and even perhaps in different
countries. With video content coming in from one editor, VFX shots from
another location, what was missing in Resolve was a way to accumulate
all of that content, finish it and then master it out at full resolution in a
single location”.
Resolve’s new online editor lets user do multi track video and audio
assembly in an environment that is familiar to editors and colorists. As
part of the online process we’ve also added integration with easy DCP,
so users can now assemble RAW clips into a sequence and deliver a
finished project through to DCP for distribution to digital cinema straight
from Resolve without having to export your project to another application.
“The Kings of Summers”
DaVinci Resolve was used for color correction on the coming of age
comedy “The Kings of Summer”. Distributed in the US by CBS Films, the
indie darling, which premiered to rave reviews at the 2013 Sundance
Film Festival and opened in theaters across the US on May 31, tells the
story of three teenage friends who decide to spend their summer building
a house in the woods and living off the land
ACQUIRED TO CREATE A MORE OPEN POSTPRODUCTION WORKFLOW FOR CREATIVE PROFESSIONALS
ALL TYPES OF CAMERAS (SONY) WITHOUT ANY EXCEPTION WERE USED
30
DIRECTOR
Farah Sbeity
Rendala Kodeih excels in front of the camera and behind it; the Lebanese director and actress has proven her
distinctive abilities and ideas through a series of works she carried out during her career to date; the most recent
work is “Hazzar Fazzar” Fawazir (riddles) show that was presented on the screen of the Lebanese Broadcasting
Corporation (LBC) during the last month of Ramadan, and the light Comedy series “Ghazl el Banat,” which was
produced by Online Production Company, in addition to a lot of video clips.
I PREFER QUICK SHOTSAND ONE CAMERA
DIRECTOR RENDALAH KODEIH:
16 AR
DIRECTOR
31
“Hazzar Fazzar”Kodeih favors to call it “Dramazir” because it combines riddles and drama.
“Hazzar Fazzar” swings between acting and performing scenes and can
not be included within the framework of the regular riddles shows that
the viewer was accustomed to like the riddles of Sherihan and Nelly. It is
a program of a duration ranging between ten and twelve minutes and
that is long enough for a similar program based on riddles, where acting
is the dominant in the first part of it within a Light Comedy perspective,
while the second part is dedicated to the performing scenes that highlight
the riddle of the day. Al-Fawazir show stars the Lebanese actress Nicole
Tohme, written by Laura Khabbaz and produced by Phoenix Pictures.
Each of Latifa Saade known as Teta Latifeh, actor and Mr. Lebanon
Ghassan Mawla participated in the show, in addition to the participation
of guests of honor in every episode like Magdi Mashmoushi, Joel Foron,
Vivian Anthonios, Camille Matta, and other actors .
Rendalah Kodieh assures that the method she applied to carry out her
work is similar to the way she directed her clips, relying mainly on the
lighting, decorations, performances, and dimension in the image and
fashion, “the program combines acting, riddles and music video in a
cute comedy context”. The Director indicates that what distinguishes the
work is the rapid cutting and bizarre frames, a mix between the drama
and video clips; playing with rhythm and coordinating with musical
instruments; merger between the picture and sound, the exotic costumes
and colors.
One Camera has been used in filming which is Sony F3 HD. The shooting
location took place in the studio of Tele Liban - Hazmieh, in addition to
outdoor shooting in restaurants, beachfronts and others.
The work was based on showing the dimension of the picture, not by
applying the method of Croma; the focus of the camera from the front
was to directly shoot the dance live with the sound and to focus the light
on the face “Face light”, thus showing the floor covered with sand, and
the background that was Flex, 10 meters in length and
8 or 5 meters width, which took the form of sky or
other boards, with direct lighting from the back and
the front.
No difficulties faced the team during the filming, except
for the tight timing.
What Next?Rendalah Kodeih is getting prepared to run a number
of projects, including filming a number of songs for
a group of Lebanese Arabian Gulf artists, as she will
begin filming the series “Tlat Settat Barrat el-Bayt,”
(Three Women out of the house) that is written by
Marwan Al Abed and produced by Phoenix Pictures;
a series that revolves around the lives of a number of
couples (three women and three men)
Rendalah Kodeih is a Lebanese actor and director, born in Africa and moved to France, then to Lebanon, where she graduated from the Jesuit University in 1997. She runs her own business between Lebanon and Spain. She established Wish Production Company.Her most important works: al-Arisha film, Ghazl el-Banat (Cotton Candy) series, Nadam (remorse), Domou’ el-Nadam (Tears of Remorse), Zahrat el-Kharif (Autumn Flower), Banat Amti, Benti ou Ana (My cousins, my daughter and I), in addition to a large number of music videos.
WHO?
ONE CAMERA HAS BEENUSED IN FILMING WHICH IS SONY F3 HD
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Conferences: April 5–10, 2014 | Exhibits: April 7–10 | Las Vegas Convention Center, Las Vegas, Nevada USA
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