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Cera-Jane Catton

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Cera-Jane Catton is a writer and journalist with years of experience in community newspapers, blogging and freelance journalism. She has worked in a cache of capacities, often finding herself behind or in front of the cameras, intentionally and less so. She has been a stunt double in two Bollywood movies, has worked in various capacities on a number of natural history documentaries, and other international productions shot in South Africa. Cera is a former Screen Africa journalist.

Naspers hires ex-HBO exec as ShowMax CFO

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According to Bloomberg, Naspers named Akash Bhatia chief financial officer of its Showmax video streaming business, as Africa’s biggest company by market value expands the service to 36 new countries in a challenge to Netflix, which is also growing in the region.

Bhatia has previously worked for Time Warner’s HBO and Comcast’s NBCUniversal. He is currently vice president of finance at Naspers’s classifieds business.
Africa’s largest pay-TV provider is seeking to win over streaming customers before Netflix gains more of a foothold in Africa, a region that can support more growth compared with mature and slowing markets such as North America and Europe. Showmax was made available to Naspers’s pay-TV customers last month. The service started in August and is available in 65 countries offering a Nollywood section, as well as an African Film section that pulls together classic movies from across the continent.

“What attracted me to Showmax is the growth potential and how they’re tackling expansion,” Bhatia said in an e-mail. “The approach of being locally relevant in everything from content and functionality to payments and partnerships makes a lot of sense.”

In other Nasper’s news, Tech Central reports that Naspers is seeking to further boost its international Internet business as it grapples with falling pay-television subscription numbers in sub-Saharan Africa.

The company, which usually spends half a billion dollars a year on acquisitions, is “on the lookout’ for more deals, CEO Bob Van Dijk said in a phone interview on Saturday, without giving further information on potential targets.
The company has transformed itself from a South African newspaper publisher into a continent-wide multimedia provider and backer of emerging-market Internet businesses. It now counts on Internet businesses for about 70 per cent of revenue.
Naspers has benefited from an early investment in Tencent Holdings, in which it owns a 34 per cent stake. It also owns Africa’s biggest pay-TV network, MultiChoice. The pay-TV business has been struggling, with subscription numbers falling by 288 000 in 2016.

“We have also lost a lot of subscribers in the last year in sub-Saharan Africa; people have just not been able to afford it,’ Van Dijk said. “We bill in local currencies, but our costs are in dollars. It is quite painful when the currencies are running in the wrong direction.’

The company has frozen prices and says it expects a difficult few years in sub-Saharan Africa.

Source: Bloomberg

ENENSYS at IBC 2016

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ENENSYS will be showcasing its new products at IBC 2016, taking place between 9 and 13 September in Amsterdam. ENENSYS Networks is an international designer and manufacturer of digital TV transmission systems. Its products sit between encoding/multiplexing and transmission, facilitating signal distribution over a wide variety of distribution networks. ENENSYS specialises in DVB-T/T2/ISDB-T infrastructure.

Terrestrial Broadcasting

ENENSYS is launching the new product DTTCaster, which is designed to provide highly cost-effective retransmission of DTT networks at regional/local transmitter sites where IP (microwave, fibre and so on) or satellite connectivity isn’t possible or is cost-prohibitive. In terms of the former this is usually down to either geography or cost or a combination of the two. C-band satellite reception at local transmitter sites isn’t always possible either as the dishes are very large and there’s surrounding infrastructure required too. Of course with satellite there are also capacity costs to consider.

DTTCaster allows reception of the network content using a simple antenna then re-generates that content on another frequency. The content of course remains exactly the same and is SFN-compliant. This provides low-cost, high-quality retransmission of a network. DTTCaster units are housed in ENENSYS’s HDc chassis with a maximum of six DTTCaster units in 1U enabling the reception of 24 RF signals.

•DVB-T/T2/ISDB-T/Tb rebroadcasting for DTT retransmission sites or cable headends
•Up to four RF signals from a single DTT antenna
•DVB-T2 SFN rebroadcasting

Targeted Content Insertion

Enensys will be presenting AdsEdge. AdsEdge addresses the problem of cost-effective regional content insertion in DTT and cable networks. It supports the “splicing’ of file-based content, such as advertising spots, local news and regional weather forecasts, at the final stage of signal distribution – the transmitter site in DTT’s case; local cable headends for redistribution in others. It is single frequency network-compatible for DTT, and combines the Ads Server and Splicer in a single unit, reducing cost and complexity. AdsEdge is based on industry standard SCTE signalling enabling integration with existing systems.

Advanced Switches and IP Transport

For the first time at IBC, ENENSYS will present its recently launched IPGuardV2. This is a transparent IP switch that provides network and equipment redundancy. It works across standards and formats and is vital in maintaining service. It benefits from dedicated features and switching criteria for TS (DVB-T, ATSC), BTS (ISDB-T) and T2-MI (DVB-T2).

IPGuardV2 provides smart and automatic redundancy for all IP-based appliances and networks and is designed for any customer that needs to secure IP stream transport or generation. For example, used in DTT headend it allows seamless single frequency network and T2-MI switching, preventing any loss of synchronisation between transmitters in a network and thus, avoiding a complete TV blackout. It is scalable -from one to six modules in 1 RU with daisy chaining options – and capable of managing 396 IP Streams in 1RU.

For more information visit the ENENSYS website.

PAWA to showcase at IBC 2016

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EBS connects TV content data and provides comprehensive metadata and EPG services to platforms worldwide. EBS’ flagship EPG scheduling application Pawa, coupled with its editorial expertise and in-house development team, allows the company to differentiate itself from its competitors by delivering unrivalled and unique client-focussed propositions. EBS has more than 20 years’ experience working with key players in the industry such as BBC Worldwide, BT Sport, AMC Networks, Turner Broadcasting, MultiChoice and BSkyB.

At IBC 2016, taking place in Amsterdam from 8 to 12 September, EBS.TV will showcase its new version of Pawa:

The EPG is getting smarter with increased levels of data enabling media companies to meet changing consumer viewing habits, regardless of channel, platform or device. EBS’ sophisticated Pawa EPG application allows content owners to easily adapt their EPG data requirements to meet the data workflow needs of any content distribution platform, in any country.

Pawa ensures that media companies can control brand consistency across all channels, regardless of where content is accessed. This means that viewers can rely on the channel to deliver the quality of programmes that they expect.

Pawa provides a number of key EPG data services, as a managed service handled in-house by EBS or as a “software-as-a-service’ option with full training and support:

• Deep metadata – high quality, rights approved images including multiple crop ratios and sizes per programme as well as cast, director and year of production
• Additional data sets – compliments categories such as Twitter hashtags
• Drive channels’ schedules directly from programme library – provide central, searchable store for compliance purposes
• EPG scheduling and distribution
• Validation reports – displaying missing data or incorrect fields
• TV metadata solutions – functionality to record events directly from red button/interactive service
• VOD-EPG integration
• Press schedules
• Editorial and translation services

EBS staff will be available throughout IBC 2016 to discuss all aspects of EPG data delivery.

Ekurhuleni International Film Festival and WGSA partnership

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The SABC/Ekurhuleni International Film Festival (EIFF) was officially launched at the O.R. Tambo Recreational Centre in the vibrant township of Wattville, it took place between 23 and 25 June 2016. The purpose of EIFF is to empower local and international filmmakers by providing them with vital filmmaking skills, creating networking opportunities with local and international broadcasters and promoting local businesses through the film industry and mainstream economic development across a variety of sectors in the economy.

As one of EIFF’s official partners, the Writers’ Guild of South Africa (WGSA) had a strong presence at the festival. On the first day two of the guild’s representatives, Thea Aboud and Sihle Hlophe, gave a workshop about copyright, IPO and the art of scriptwriting. The workshop was well received by all in attendance, especially emerging writers hoping to break into the industry. Aboud said, “The WGSA is excited about its newly formed relationship with the EIFF and hopes to use this partnership as a means to expand its footprint in the Ekurhuleni district and protect, empower and develop performance writers in the Ekurhuleni district.’

The EIFF was established by Make It Happen Productions, Nghalamona Entertainment and Rhythm Cycle Projects in partnership with the Ekurhuleni Metropolitan Municipality. The festival ended on a high note with an awards ceremony where filmmakers from around the world were recognised for their talent and hard work. The WGSA looks forward to working in partnership with the EIFF in the foreseeable future and encourages writers to submit their produced work for the festival’s second edition in 2017 via the EIFF website. WGSA is currently planning the World Conference of Screenwriters in Johannesburg in 2018 and intends to establish a collaboration with the EIFF for this event.

Leader Europe to show latest 4K HDR production and test tools at HPA Tech Retreat

Cera-Jane Catton
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Leader Europe will demonstrate its LV5490 4K waveform monitor and high-dynamic-range suite of production and test tools at the upcoming HPA Tech Retreat. The exhibit will form a key element of the Innovation Zone.

The event makes its UK debut at the Heythrop Park Resort in Enstone, Oxfordshire, taking place between 13 and 14 July 2016. It is organised by the Hollywood Professional Association which is based in Los Angeles.

The Heythrop auditorium is being transformed with a 26-foot RealD Ultimate Screen, Sony high brightness dual 3D projection, Dolby Atmos sound, JBL loudspeakers plus amplification from Harmon Kardon and Bell Theatre Services.

Highlights will include behind-the-scenes and knowledge dives into The Jungle Book, Finding Dory, Game of Thrones, Ex Machina and Billy Lynne’s Long Halftime Walk. In the Innovation Zone, leading companies will unveil technologies in a curated environment.

Leader was the first manufacturer to bring a 4K waveform monitor to the market, introducing the LV5490 at NAB at NAB 2013 where it promptly won two industry awards. Ongoing developments including a range of new options have secured the LV5490’s position as the logical choice for any broadcaster, production studio, outside broadcast company or post house now working in 4K or planning to do so. With the LV5480 variant, customers can start with an HD/SD/sub-SD model, adding 4K and HDR capability when they choose.

The LV5490 supports the full range of standard video production and transmission resolutions from 525 and 625 standard definition up to 3840 x 2160 and 4096 x 2160 4K ultra-high definition. It incorporates a 1920 x 1080 9 inch LCD monitor with a wide viewing angle and high quality colorimetry. This allows simultaneous analysis of up to four video channels. The instrument’s 4K capability is particularly useful to people working with latest generation cameras, whether for digital cinematography or high-end broadcast applications.

Equipped with eight input connectors, the LV5490 accepts up to two 4K signals. In the 4K video format mode, 3G-SDI dual link or quad link is supported. Up to four 3G-SDI dual link 4K video inputs or up to two 3G-SDI quad link 4K video inputs can be selected for display, or two sets of HD-SDI dual link signals. In the SDI mode, up to four signals can be displayed simultaneously. The LV5490 is also equipped to handle video signals via two-sample interleave as well as square division. Two-sample interleave is the approved standard for 4K.

The LV5490 can be operated in a very wide selection of test and measurement roles. These include waveform, vector, picture monitoring, SDI signal status (which looks for cyclic-redundancy-check errors and embedded-audio errors), an event log, data dump and four-channel timing display. Waveform, vector and picture can be viewed simultaneously on the LV5490 screen. Simultaneous display and overlay display of multiple SDI inputs is possible. Size and location of individual channel displays can be adjusted using a USB mouse. The LV5490 can also be controlled remotely using standard KVM tools.

The integral Leader CINELITE® feature allows the user to measure the luminance levels at different points in a scene (up to three points). CINEZONE® uses chroma substitution to indicate luminance levels in a scene and is particularly suited to green screen chroma-key virtual-set alignment.

In addition to its video test and measurement capabilities, the Leader LV5490 incorporates a versatile selection of audio monitoring and analysis tools, which are available with the Digital Audio option. These include 4 x 4 channels of SDI audio de-embedding, lissajous display, surround-sound display and volumetric display. Up to 16 channels of de-embedded SDI audio can be displayed on screen and output as discrete AES3 feeds.

Additional features of the LV5490 include video frame capture, instrumentation screen capture, timecode display, ID display and a 4K pattern generator with embedded audio.

Eye pattern, including jitter waveform display and Dolby decoding, can be ordered as optional facilities along with a CIE 1931/1976 chroma space chart which can display BT.709, DCI (P2) plus BT.2020 (the 4K standard’s full ITU recommended chroma space).

LV5490 operators can adjust the size of up to four displays on the screen to suit specific tasks. This allows easy magnification and inspection of detail on the instrument’s 9 inch 1920 x 1080 LCD screen instead of being limited to fixed size quadrants. The LV5490 also comes with a 1920 x 1080 HD DVI-D and HD-SDI rasterized output for display on a larger monitor.

Fully portable, the LV5490 has a footprint of just 8.77 inches wide by 14.7 inches deep and a height of 7.44 inches (223 x 360 x 189 mm). The instrument weighs only 10.4 pounds (4.72 kg). A rack mounting adapter is available.

For more information visit the Leader Europe website.

Ster-Kinekor to equip all cinemas with XL2 Acoustic Analyser

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Ster-Kinekor, South African cinema exhibitor, develops and maintains 57 high-quality cinema multiplexes throughout the country. For an optimised sound performance, its in-house service teams rely on the XL2 Acoustic Analyser.

The XL2 Analyser offers the dedicated measurement tools for cinema installations. Ster-Kinekor selected the handheld XL2 for its cinema performance tests and periodic verification’s. The acoustic frequency spectrum of each surround sound channel is measured and compared with the specified X-Curve tolerance band. The LFE-channel is tested in the same manner for sufficient performance. This confirms the cinema setup to the standard in less than an hour per cinema. The Ster-Kinekor service team also checks the sound insulation between neighbouring cinemas with the same instrument, ensuring independent movie performances.

Equipping all Service Teams with XL2 Acoustic Analyser
The head of the technical department at Ster-Kinekor, N’Re Du Toit, highlighted “We started using the NTi Audio XL2 back in 2012. At first we only bought one, as a trial, and quickly realised the extreme accuracy over our older instruments. We then bought another six, and now another three measurement kits. I’m scheduling to equip my whole team with XL2s in the next few months. We’ve managed to lift the quality of our sound using these units.’ Furthermore, the XL2 Analyser is utilised to check the polarity of all installed speakers and troubleshooting of cross-over issues. With all these possibilities, the XL2 provides an all-in-one solution for Ster-Kinekor, saving the company both on-site time and money.

XL2 offers professional Cinema Calibration Solutions
The X-Curve is defined in the standards ISO 2969 and SMPTE 202M and offered in the base package of the XL2 Acoustic Analyser. The Spectral Limits Option extends the instrument with the individual X-Curve tolerance based on the cinema size for fast pass/fail decisions. The Cinema Assistant Option completes the package to make the XL2 into a professional cinema meter for calibration and annual verification of cinema installations.

For more about the XL2 Cinema Meter visit the NTi Audio website.

Entries open for the Cape Town leg of the 48 Hour Film Project

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Registrations are now open for the 48 Hour Film Project, the world’s largest international short film festival which begins on 19 August at the Cape Audio College in Cape Town.

The winning film goes on to Los Angeles to compete in the next leg of the competition. The top ten films in LA will then be accepted for screening at the Cannes Film Festival.

According to organisers Bench Films, besides the international exposure promised by the competition, many of the short films have gone on to win at other festivals too.

“Three films from last year’s competition were accepted into the Durban International Film Festival which is fantastic considering these films were made in 48hrs,’ says producer Hisham Samie.

The challenge and exhilaration of making a short film in 48 hours is intense. “The 48HFP is an opportunity for so many filmmakers to stop talking and start making,’ says Samie. “In one weekend we have 30 plus short films made and screened. Filmmakers need to stay shoot fit and keep creating content and the competition restrictions facilitate that.’

“Aside from making the films, every year we see great comradery among cast and crew, and new working relationships have been formed.’

The competition continues to grow every year. Last year, 36 teams participated, with more than 800 cast and crew involved. This year, Bench Films is hoping to draw 44 teams.

“This year we will be giving away a two year bursary to the value of R14 0000, sponsored by City Varsity,’ he says. “This is really exciting as we have a great range of emerging filmmakers which enter every year and with a two year diploma course at City Varsity we feel that one lucky filmmaker will be able to hone their craft and take that important step into their career.’

This year also has a very interesting rule change around the drawing of the genres.

Interested filmmakers must register by 5 August. The early bird entry fee is R1000 and the early bird deadline is the 25 July. Entries thereafter will need to pay R1200 to enter.

Filming commences on 19 August at Cape Audio College and the drop off will be at Cape Audio College on 21 August. Screenings will take place at Ster-Kinekor Nouveau on 27 and 28 August.

To register and find out more visit the 48 Hour Film Project website or contact Hisham Samie at capetown@48hourfilm.com.

MPA Mix-MADI Audio Monitors used to cover Euro 2016 football tournament

Cera-Jane Catton
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TSL Products announced that eight of its MPA Mix-MADI audio monitoring units are being used by BBC Sport as part of the broadcaster’s technical set-up for coverage of the Euro 2016 football tournament. This is the first outing at a major European event for the Mix-MADI monitors. Euro 2016 takes place from 10 June to 10 July 2016 at venues across France.

The set-up for Euro 2016 includes two MPA Mix-MADI units situated in the International Broadcast Centre (IBC) in Paris, with a further five units in the studio which is situated near the Eiffel Tower, and a spare. All of the units will monitor audio output at EVS positions.

The MPA Mix-MADI units are building a solid reputation for simplicity of operation, enabling users to plug in one output to monitor and mix multiple channels rather than scrabbling around behind the desk with multiple cables. The unit produces excellent sound quality, enabling the user to create a simple monitoring mix from different sources on a single unit. The built-in web server also enables all units to be configured, monitored and controlled via an intuitive web interface. The shallow unit depth of 100mm makes it ideal for the broadcast OB environment.

“It’s quite a debut for the MPA Mix-MADI to be chosen as the monitoring solution for this prestigious event,’ said Matthew Colman, product manager at TSL Products. “It is such a simple system but makes production workflows so much more efficient and precise. It has earned the confidence of the users and we are confident it will prove its worth on this major project.’

For more information visit TSL Products website.

Filmmaking hub launched in Johannesburg

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The Johannesburg Expo Centre has teamed up with a consortium of film practitioners to launch Studio Joburg, a new filmmaking hub in the south-west of the city.

Studio Joburg is based at the Joburg Expo Centre in Nasrec, which boasts extensive indoor and outdoor exhibition facilities backed by solid infrastructure and is host to a number of major events annually, including mega consumer exhibition the Rand Show.

“We believe that this new development will provide a top-class facility for the production of content within the film industry,” JEC CEO Craig Newman said at the facility’s media launch on 6 May 2016.
“It will also be an important development for the people of Soweto and the surrounding areas,” Newman said, noting that the film value chain includes a variety of support services, such set building, painting, catering, wardrobe, design and lighting.

“Each of these support services means several job opportunities for people in the area,” explains Newman. “In other words, this venture will mean skills development, job creation and investment into the south of Johannesburg.”
The venture will be riding on the country’s, and the province’s, growing popularity as a co-production partner and a filmmaking destination, enhanced by the attractive incentives for filmmakers offered by the Department of Trade and Industry (DTI) along with the support available from the Gauteng Film Commission (GFC).

According to Newman, discussions are currently taking place with a film school and a broadcaster to become anchor tenants at Studio Joburg. Overall, the facility would be developed for filmmaking in phases, with two halls already converted and ready for shooting.

The Studio Joburg team is headed up by Newman (chairman), Eddie Mbalo (managing director), Jeremy Nathan (director: production), Clarence Hamilton (director: development) and Simon Woodland (director: finance).
Mbalo, a former CEO of the National Film and Video Foundation (NFVF), brings more than 30 years’ experience in film and television production to the venture. Speaking at the media launch, Mbalo said the Expo Centre was “the ideal location for an undertaking of this nature.”

The massive venue is no stranger to film production, have served successfully as a venue for the shooting of Neill Blomkamp’s futuristic thriller District 9, as well as TV series Rockville, a prison scene for BBC series Undercover, and a host of television commercials.
“In addition to the sheer size of the venue, it’s extremely practical,” Mbalo said. “There is an adequate power supply with access to plug points all over the venue and a sufficient water and ablution supply.”
The Expo Centre’s multipurpose facilities include more than 50 000 square metres of indoor space and double that in versatile outdoor space, as well as a multi-purpose arena with a capacity of up to 20 000.

It is accessible from all major highways, located 30 minutes from both OR Tambo International Airport and Lanseria Airport, and 15 minutes from a number hotels.
“We believe that Studio Joburg will become an important content and entertainment hub for Gauteng province,” Mbalo said.

For more information, visit the Studio Joburg website.

Source: Gauteng Film Commission.

Rogers Media streams high-quality live video to Facebook with Dejero

Cera-Jane Catton
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Dejero, an innovator in cloud-managed solutions that simplify the transport of live video and real-time data across remote or mobile IP networks, announced on 27 June 2016, the ability to stream from Dejero mobile transmitters and apps to
Facebook Live. Dejero’s solution provides broadcasters, such as Rogers Media, a simple way to stream high quality live video to their Facebook audience.

Cloud-based technology enables broadcasters to reach new audiences that tend to view content away from traditional broadcast channels with original and supplemental content. It also enables broadcasters to more easily interact with and respond to their live viewers.

According to David Boorne, manager of Broadcast Operations, Rogers Media, “Dejero’s virtual cloud server is an easy-to-use system that enables us to quickly and efficiently stream high-quality live content to our audiences, using RTMP to social media platforms such as Facebook Live. Dejero’s ability to reliably deliver exceptional picture quality as part of the package is an added bonus.’

From virtually any location, broadcasters can route live content through Dejero’s LIVE+ Cloud Server, which is managed via the LIVE+ Control cloud-based management system. The server sends an RTMP stream directly to the broadcaster’s Facebook page, and the content is simultaneously pushed to its Facebook followers’ newsfeed as a high-quality live video stream. If followers miss the live broadcast, they can view the video on the broadcaster’s page at a later time. The video remains available for as long as the broadcaster desires.

“We are very conscious that more and more viewers are sourcing content from non-traditional broadcast channels and that broadcasters need to be able to use these social video platforms further and engage with these type of viewers using live content,’ said Brian Cram, Dejero’s CEO.

“With Dejero’s network bonding technology providing connectivity virtually anywhere, broadcasters can go live from remote locations, even while on the move. With Facebook Live, broadcasters can use their existing Dejero technology, including the professional transmitter equipment and mobile apps to broadcast high-quality live content to their Facebook audiences.’

Output to Facebook Live is managed using Dejero’s LIVE+ Control management system, which simplifies the workflow of going live from remote locations over bonded IP networks including cellular, Wi-Fi, Ethernet or satellite. The simple web interface allows operators to quickly identify, geolocate, and remotely control transmitters, configure on-premises and cloud servers, monitor both the mix and the health of the IP network connections in real time, and route content to SDI or online playout workflows.

For more information visit the Dejero website.

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