theibcdaily
The Facebook revolution How the Arab Spring changed the Middle East landscape
Conference Analysis By Chris Forrester
“Since Mohamed Bouazizi set himself on fire, just under two years ago in Tunisia, governments have been overthrown in Egypt, Libya, Tunisia and Yemen, and been shaken to their foundations in most of the rest of the Arab world. Today’s civil war in Syria has further destabilising implications for the region.” So spoke Tudor Lomas, a former BBC journalist and now director of
the Jemstone Network in Jordan, who produced this IBC panel. Lomas set the scene, saying that despite the horror of Bouazizi’s death, it was the social media-inspired revolution that actually ignited the revolution in turn, because despite many Arab governments closing down websites and traffic, enough got through so that word-of-mouth spread the message like wildfire.
This was certainly helped by the fact that two-thirds of the population is under 30, and in
the Yemen it is fully three- quarters of the population. “They are young, frequently well-educated, and wanting their chance in the world but kept firmly in their place by regimes often in place for the past 40 years.”
Nart Bouran, head of Sky News Arabia, was beamed into the session via live satellite link. He told delegates the citizen revolution had forced changes upon governments beyond the obvious replacement of regimes. “They are now speedier to
respond [to problems]. But we also have to be very cautious that we, the broadcasters, are not being manipulated.
“The majority of news coming out of Syria today is generated via social media. But despite the passion, can they be
trusted? We attempt to verify every event via our own trusted sources. Nevertheless, despite all too frequently the news emerging being chaotic and obviously out of control, we remain under extreme pressure to report.”
World premiere challenge Pyramix closes Paralympics
James Cameron: “We have an appetite for innovation”
and is a 1080p/1920/24fps HD high resolution camera able to withstand pressure at 36,000 feet (almost seven miles) underwater. In total the Deep Sea
Conference Analysis By Kate Bulkley
IBC delegates applauded the world premiere of footage from James Cameron’s 3D Deepsea Challenge, made for National Geographic, including shots of touching down 11,000 metres below the sea surface in the Mariana Trench.
The footage was stunning, especially because in his introduction the Hollywood director and explorer held up the “nano camera” which is about the size of “a couple of quarters stacked together”
Challenger vehicle carried four exterior HD cameras, one interior 4K camera and two HD feeds inside the submersible itself. The cameras were designed by Cameron Pace Group. “It’s the kind of technology challenge that Vince (Pace) and I like,” he said. “We have an appetite for innovation that distinguishes us.” Cameron is a vocal advocate of 3D and he told The IBC Daily he is concerned that 3D is jockeying for position with 4K to the detriment of the former. “We have a bandwidth bottleneck and if we start going to higher spatial resolution it will be at the sacrifice of 3D rollout. So I see it as a little bit of an arms race right now.” Cameron foresees that “shadow technology” definitely has its place, but he believes that as broadcasters like ESPN build confidence, “they quickly evolve for cost reasons to a pure 3D model as the primary cameras and extract the 2D feed from that.”
Merging Technologies By David Davies
Last night’s closing show for the Paralympics completed a quartet of 2012
Olympic/Paralympic ceremony performances by Merging Technologies’ Pyramix DAW system. A participant in the management of the ceremonies since 2000, Australian events expert Norwest Productions first put Pyramix at the centre of its Olympics infrastructure at Athens in 2004. The DAW is
used to playback pre-recorded audio for the show, with the timecode output driving the broadcast and event timing. An unpredecented channel count for these events of 128 was required for the opening Olympics show, which was masterminded to acclaim by Slumdog Millionaire Director Danny Boyle. The job of specifying what was required went to Auditoria’s Scott Willsallen, who had responsibility for the total audio installation in the stadium. Sound designer for the project was Bobby Aitken.
Output from the Pyramix was fed via two MADI streams into a DiGiCo SD7 console. The timecode channel went to lighting, video playback, broadcast and pyrotechnics, as well as being used by stage managers and directors to cue talent and live events. 8.E96
Conference Highlights Today at IBC
The Loudness Breakfast 08:00 - 09:00 Emerald Room Industry Insights
Immersive Audio: The Next Dimension 09:30 - 11:00 Emerald Room Advances in Technology
Exploring 3D: The New Grammar of Stereoscopic Filmmaking
09:30 - 11:00 Auditorium Hot topic: Cinema
Why Budget Wary Producers Should Wake up to Stereoscopic 3D 11:30 - 12:30 Auditorium Hot topic: Cinema
The Digital Radio
London swings again: Audio playback for Danny Boyle’s spectacular Olympics opening ceremony was driven by Merging’s Pyramix DAW
A shining example: Litepanels’ new, top-of-the-range LED Fresnel fixtures, the daylight Sola 12 and tungsten-balanced Inca 12, are energy-saving alternatives to traditional 2kW incandescent Fresnels and “complete our LED line-up for studio applications,” said Litepanels’ President Rudy Pohlert. The wide, 12-inch/30cm, Fresnel lenses can softly wrap the light around a subject while maintaining realistic shadow rendering. The collimated beam has a focus range of 50º to 15º and smoothly dims from 100% to 0 via DMX512 or manual controls on the back of the fixture. The Sola 12 and Inca 12 each draw only 350 Watts (less than 18% of traditional 2k fixtures), require no heavy ballast, provide comfortable glove- free operation, and are flicker-free at any frame rate or shutter angle. Six Sola 12 or Inca 12 fixtures can share a single 20-amp circuit, and the minimal heat generated reduces air conditioning needs. – David Fox 11.E55
Experience: Case Studies on Going Digital
11:30 - 13:00 G102-103 Industry Insights
Does Digital Imaging Now Hold All the ACES Over Film?
13:00 - 14:30 Auditorium Hot topic: Cinema
Dangerously Boring - Why Production Should Pay Attention to the Details of Information Architecture 13:00 - 14:30 E102 Industry Insights
Start-To-End Digital Production Tools 15:00 - 16:30 Auditorium Hot topic: Cinema
The Emerging Spectrum Landscape for Broadcast and Mobile
16:00 - 17:30 Emerald Room Advances in Technology
Monday 10.09.2012
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