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Concilium Technologies showcases latest technology offerings at Mediatech Africa 2019

Concilium Technologies, a trusted technology supplier to the broadcast Industry – providing a full spectrum of solutions and services including sales, training, consultation and installation – will be showing the latest in broadcast technology at Mediatech Africa 2019.

Concilium Technologies’ solutions encompass the latest technology platforms for a wide range of broadcast infrastructure requirements, such as ingest, editing, live production, playout, streaming, storage, graphics, encoding, transcoding, as well as multiscreen delivery in baseband, IP, cloud or hybrid solutions and more.

Exciting products on the Concilium Technologies stand this year include the LU300 – LiveU’s compact HEVC field unit for on-the-go live streaming – and DHD.audio Mixing Consoles.

Compact HEVC Field Unit

The LU300 is a small-sized, cost-effective and reliable HEVC encoder, enabling broadcasters and other content creators to transmit high-quality video on the go.

With LiveU’s professional-grade hardware HEVC technology at its core, the LU300 combines high-quality video performance with extreme bandwidth efficiency.

Unlike software HEVC solutions, the LU300 can encode in HEVC format at all times, operating in real-time with extreme low latency. The LU300 also offers longer battery time, with a three-hour internal battery. The LU300 bonds up to six connections: two LTE-Advanced internal modems, two external modems, WiFi and LAN.

Full control at your fingertips

DHD.audio’s mixing consoles are the front-end control devices of the Series 52 products. They provide full control over your desired workflow in every situation. Products on show from DHD.audio will include:

RX2 – Versatile Mixer

A Versatile Mixing Console for radio studios and TV broadcast. Developed for the highest demands in the radio and TV broadcast environments, the RX2 is perfect for modern workflows in on-air studios, main control rooms and OB vans.

SX2 – Compact Mixer

A Compact Mixer that is pre-configured and ready to use. The SX2 is a modular mixing console for radio and other broadcast applications. The price-optimised mixer is ideal for on-air studios, audio workstations and smaller OB vans.

Visit Concilium Technologies (Pty) Ltd at Mediatech Africa 2019, taking place from 17 – 19 July at the Ticketpro Dome, Johannesburg.

Object Matrix at Mediatech Africa

Object Matrix will be demonstrating its media focused private and hybrid cloud solutions at Mediatech Africa 2019.

This includes the company’s recently launched analytics, monitoring and statistics tool, Sense. Sense enables the collection of real-time statistics of storage infrastructure usage, real-time monitoring of hardware and analytics of both usage and the types of information being stored. Sense is a framework that can also deliver monitoring, analytics and statistics to alternative dashboards or that can be used stand alone as the central place to view and analyse how assets are being used.

At Mediatech Africa 2019, Object Matrix will also be discussing how it has helped organisations such as BT, ITN, Orange, and many more, by implementing its object storage platform. Having replaced LTO libraries or aging storage silos, its customers can now monetise their archive and connect with global teams.

The company will also be presenting on how it is helping some of the world’s biggest sports brands and associations to implement private or hybrid cloud storage platforms to satisfy the constant demand from their communities for more content.

Visit Object Matrix at Mediatech Africa 2019, taking place from 17 – 19 July at the Ticketpro Dome, Johannesburg.

Visit Sony Professional Solutions at Mediatech Africa

At Mediatech Africa 2019, Sony Professional Solutions will be showing the VENICE motion picture camera system and the HDC-3500 camera system, among other exciting products and solutions…

VENICE from Sony is a cinema camera created by and for the cinematographer. It’s equipped with a newly developed full-frame image sensor meeting the needs of the film industry by pushing the boundaries of large-format image capture with exceptional picture quality. With the wide latitude and gamut recorded by the VENICE, freedom of expression is significantly expanded in grading. With a user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction, the VENICE allows you simply to concentrate on filming, and not on the camera.

Sony is upgrading its capabilities by introducing High Frame Rate (HFR) shooting, advanced remote-control functionalities and Cooke/i3 and Zeiss extended metadata support as part of its latest firmware update. The new optional High Frame Rate license allows VENICE to shoot at speeds of up to 120fps at 4K 2.39:1, and 60fps at 6K 3:2 as well as up to 110fps at 4K 17:9 and 75fps at 4K 4:3 with anamorphic lenses. The new additional frame rates are particularly well-suited for drama, movie and commercial productions in 4K and 6K, as well as productions at 50/60p in 6K and large viewing angle VR productions at 6K 3:2 in 60p.

Did you know?

James Cameron’s Lightstorm Entertainment will use Sony’s new VENICE motion picture camera system for principal photography on the upcoming Avatar sequels.

The HDC-3500 (three 2/3-inch 4K CMOS sensors) portable system camera offers high modulation of depth for HD and 4K production, as well as wider dynamic range. The system camera supports HD, HDR and 4K, as well as IP capabilities. The HDC-3500 has an exchangeable transmission side panel allowing users the flexibility to choose between triax, fibre or wireless transmission, depending on their operational needs. All can easily be switched using Sony’s unique and simple side panel interface.

Visit Sony Professional Solutions at Mediatech Africa 2019, taking place from 17 – 19 July at the Ticketpro Dome, Johannesburg.

Easyrig STABIL launch at Mediatech Africa 2019

Zimele Broadcasting Services, the authorised Easyrig agents in South Africa, have just received the first Easyrig STABIL in the country and plan to launch it at Mediatech Africa 2019.

Greatly anticipated by camera-operators world-wide, the Easyrig STABIL was recently released at NAB 2019.

The Easyrig STABIL is a stabilising arm, designed to be incorporated into the Easyrig system to make the weight distribution as even and ergonomic as possible, meaning smoother shots when walking with a camera.

The STABIL can be purchased as a spare part and be fitted onto your existing Vario 5 / Cinema 3 system. It can also be locked in a horizontal position to be used as a standard Easyrig and can support camera setups between 5-25 kg / 11-55 lbs.

Visit Zimele Broadcasting Services at Mediatech Africa 2019, taking place from 17 – 19 July at the Ticketpro Dome, Johannesburg.

Jasco Broadcast Solutions at Mediatech Africa 2019

At Mediatech Africa 2019, Jasco Broadcast Solutions will showcase the latest technology from its principal suppliers. Products and solutions on display will include:


  • Avid NEXIS | Cloudspaces

Avid’s new SaaS cloud storage solution, Avid NEXIS | Cloudspaces, brings the power of the cloud to Avid NEXIS storage systems. Avid NEXIS | Cloudspaces takes the stress out of media management and storage availability, and gives users instant access to more storage when needed.

For small- to medium-size news, sports, and post-production organisations, Avid NEXIS | Cloudspaces provides a super-simple way to park projects in the cloud, as well as synch on-site Avid NEXIS workspaces for easy off-site backup. Available as an add-on service for all Avid NEXIS systems, Cloudspaces offers greater workflow and cost efficiency in a fully integrated solution that’s easy to set up and manage, reducing costs, risk and administrative errors.


Founded in 1987 in Italy, Etere is among the worldwide leaders in media asset management, airsales, newsroom and channel-in-box software solutions for broadcasters and media enterprises. With customers all over the globe, Etere is headquartered in Singapore, with a specialised 24/7 worldwide support centre.

  • Etere Media Asset Management (MAM)

Etere MAM is a highly-effective digital content management solution that is designed to streamline the process of ingest, index, storage and retrieval of digital assets. It is an end-to-end software solution created to fully optimise the value of your assets through centralised management of digital content and associated metadata. Etere simplifies the process of content management by streamlining the digital workflow, bringing media to the market faster and in multiple formats.

  • Etere ETX

ETX is the most advanced, tightly integrated and cost-efficient video management system on the market, completely based on IT technology. It is a complete channel-in-a-box with full IP (in and out) capabilities, enabling you to drive the most popular HD/SD digital video/audio/graphics platforms without using middleware or proprietary hardware. It supports IP-in and IP-out in multiple frame rates, SDI output and multiple layers of graphics and animation.

  • Etere Nunzio

Etere Nunzio is a highly-flexible newsroom solution with fully empowered NRCS capabilities to manage the entire tapeless workflow of the newsroom environment, starting from the planning of news stories (virtual assets) to the control of on-air playback. Etere helps managers control overall daily operations, guides journalists to prepare their stories and enables editors to make changes quickly and deliver news stories as efficiently as possible.

  • Etere Ad Insertion

Etere enhances video monetisation opportunities; it effectively manages the end-to-end ad insertion and playout process, including resource management, insertion of filling events on demand, scrolling text, logo and CG insertions. Etere is designed to manage dynamic and targeted ad insertion requirements in any fast-moving environment. As a multi-channel and end-to-end software solution, Etere combines video switching, video server, advertisement and logo insertion capabilities for targeted ad insertion. From planning to billings to playout, Etere is able to manage real-time connectivity between different departments.

  • Etere Complete IP Solution

Beyond just an IP-based alternative to SDI playout, Etere features a bi-directional transmission that enables users to share multiple inputs, and which also outputs signals between devices connected to a network. It enables users to build an IP playout that does not require any SDI hardware and is less expensive than a traditional solution. It includes an IP Multiviewer that manages up to nine display monitors and 30 input sources simultaneously.


Egripment Support Systems

  • Motorized Slider System

Egripment Support Systems, manufacturer of high-end camera support systems and remote broadcast solutions for the film and broadcast industries, is introducing its new Motorized Slider System.


The Egripment Slider is a travelling dolly designed in such a way that it can be used for many different applications. You can use the Slider Dolly for live applications such as entertainment shows, music concerts, sports events and reality TV.


In other situations, the Egripment Slider will be the best remote solution for fully motorised controlled applications, allowing you to control the dolly movements repeatedly and precisely.


The Egripment Slider Dolly System consists of a high-quality small dolly base with Egripment smooth track wheels based on a narrow aluminum precision track. The low profile of the dolly accepts any type of Fluid Head (100mm, 150mm or Mitchell) and can also be used with a Dome Camera or with our smaller size 205 or 301 Remote Head. The dolly is driven by one motor, positioned on the trackwheel of the dolly.


Track sections are available in aluminum, steel, straight and curved. Besides our standard length of tracks, we also offer custom lengths and diameters of the straight and curved tracks.




Egripment Support Systems will also introduce the new ARC Compensation hardware and software tool on their latest XTREME T10 Telescoping Crane.

This new feature gives the operator a tool to automate the arm movement. There are three ways to define an automatic telescope movement, all of which are related to the pan and tilt positions. The ARC Compensation adds functionality for automated moves including vertical straight lines, as well as horizontal plane and pan compensation. This software module gives you the precision to make perfect vertical straight lines and horizontal planes, or define a square, all by the activation of just one button.

Rather than first building a crane, then deciding how to make it work for this fast-growing segment of the broadcast and film industry, we engineered the Xtreme T10 directly to be ready for the future.

Egripment strives to be at the very forefront of the industry by not only being innovative and using the latest materials, such as carbon fibre, but also by developing new software tools, making it possible to use Egripment products for AR/VR applications and automation.

However, because of the ease-of-use designed into every Egripment product, the Xtreme T10 is also completely suitable for conventional telescoping crane use, with the added benefit of its innovative ARC Compensation.

Featuring leading innovations that are paramount for live applications as well as virtual and augmented reality (VR/AR) studios, the Xtreme T10 is a multi-faceted system that will greatly benefit a variety of productions.


Clear-Com IP Solutions

At Mediatech Africa 2019, Jasco will present a range of Clear-Com’s professional IP-based communication solutions that support a wide range of production workflows.

Clear-Com is fully committed to the development of IP for intercom solutions. Having accomplished delivery of its core product offerings in native IP formats, the company’s latest solutions focus on AES67 transport protocols.

  • Eclipse HX digital matrix system

The Eclipse HX digital matrix system is an advanced, scalable system that serves as the backbone of many broadcasters’ communication infrastructures. It can handle thousands of direct (point-to-point) and one-to-many audio and data signal distributions over IP (AES67, Dante and native), redundant fibre, MADI and audio CAT5, without compromising audio quality or performance.

Clear-Com recently introduced the E-IPA card for the Eclipse HX family, offering high-density audio-and-intercom-over-IP connections. Natively AES67-compliant and SMPTE2110-30-ready, the E-IPA card provides 64 streams of low-latency and high-audio bandwidth connections for linking existing and new IP-based Clear-Com products.

These include the new IPT transceiver for the FreeSpeak II wireless intercom system. The transceiver connects to an AES67-compatible IP switch and to Clear-Com’s Eclipse HX digital matrix system via the E-IPA card, enabling FSII wireless beltpacks to be deployed across a user’s LAN. FreeSpeak II has become the de facto standard for wireless intercom operation in theatrical venues and wide-ranging live productions, thanks to its reliability, audio clarity and roaming capabilities.

The E-IPA card also connects the new V-Series Iris (intercom) Panel with the Eclipse HX. The V-Series Iris Panel can monitor and send communications over three concurrent AES67 uncompressed audio-IP streams, enabling systems to deliver high-quality audio from user to user with significantly reduced latency. The Iris Panel also offers fully colour-configurable OLED displays, delivering the user-defined label and port information.



  • CiNX

Miller Tripods is delighted to announce the arrival of the CiNX series, a set of three lightweight and durable fluid heads. Packed with features, all are designed to meet the needs of cinematographers at an affordable price. For today’s versatile shooter, the transition from larger to smaller payloads has never been easier. The side-load platform enables rapid deployment of countless sizes of camera rigs, as well as extended camera plate range of movement for balancing front-heavy setups. The Miller-patented CB Plus enables 16 positions of counter balance providing very fine, repeatable balance.

The CiNX 3 is ideal for cinematographers with lighter rigs, requiring 5+0 pan and tilt drag with a payload range from 1kg (2.2lbs) up to 19kg (41.8lbs).

The CiNX 5 is perfect for medium rigs, requiring 7+0 pan and tilt drag with a payload range from 2kg (4.4lbs) up to 21kg (46.2lbs).

The CiNX 7 is the ultimate fluid head for heavier rigs, requiring 7+0 positions of pan and tilt with a payload range from 6kg (13.2lbs) up to 25kg (55.1lbs).

  • 75 Sprinter II 2 Stage Carbon Fibre Tripod

The 1620 75 Sprinter II 2 Stage Carbon Fibre Tripod brings the stability, torsional strength and reliability of Miller’s well-proven 100mm ball levelling 100 Sprinter II tripod into a new 75mm version. The 75 Sprinter employs Miller’s patented design, which enables the leg stages to be adjusted independently or together via two adjacent leg locks. These locks are conveniently located at waist height to eliminate the need for the user to bend down or stretch up, which is crucial when speed and occupational health concerns count.

The 75 Sprinter II 2 Stage Carbon Fibre Tripod is best suited to be used in conjunction with Miller’s CompassX and the company’s range of DS Fluid Heads in ENG and EFP applications and has a payload capacity of 30kg (66lbs). Competitively priced, it has a height range of 440-1530mm (17.3-60.4”), a transport length of 700mm (27.6”) and weighs in at 3.2kg (7.0lbs).

With four spreaders to choose from, the 75 Sprinter is capable of meeting various project needs. From its standard Sprinter II ground spreader (Cat #470), which has many years of proven reliability, to its new carbon fibre (Cat #994) or alloy construction (Cat #933) mid-level spreader, which are fully adjustable, lightweight and provide maximum height range. Miller is also offering a new variant, a competitively-priced alloy construction spreader (Cat #593), which offers less functionality compared to the more expensive options available.

Visit Jasco Broadcast Solutions at Mediatech Africa 2019, taking place from 17 – 19 July at the Ticketpro Dome, Johannesburg.

Register for Mediatech Africa 2019 now

Unmatched in potential, Mediatech Africa is an experience for visitors to immerse themselves in, and leave invigorated and inspired by the possibility of opportunity and a fast-forward glimpse into the future.

Registration for Mediatech Africa 2019 is now open and delegates can sign up at no cost by completing the online registration form before 12 July. For those who miss the pre-registration cut off, there is onsite registration – an option which costs R100. Local and international industry authorities will be showcasing the tech trends driving progress in the world of media and entertainment, and the 2019 expo is the ideal platform to keep step with the changes that have transpired over the last two years.

The highly specialised biannual B2B trade show attracts buyers, top decision-makers and influential visitors, and combines the latest technology with live demonstrations, presentation zones and special events – in addition to being the ideal forum for networking. Add to this the show specials, coupled with the event’s unparalleled entertainment value, and there are more than 10 good reasons to be at the 10th edition of Mediatech Africa.

According to the organisers, the visitor count achieved two years ago exceeded 7 500 delegates – and there’s no reason to believe this year will be any different. The event will once again be at the Ticketpro Dome in Johannesburg, and will run from 17 to 19 July.

Speaking about the 2019 event, exhibition director Simon Robinson says, “The tech deployed by the media and entertainment industry is profoundly progressive with a significant aggregate of development in motion since the last Mediatech. This growth is proportional to the excellence potential of the industry. This year, visitors should be prepared for more creativity, inspiration, and innovation than ever before. Mediatech Africa will offer a glimpse into the future – where technology is driving disruption and distinction.”

Familiar show highlights returning in 2019 include the Black Box, the Drone Technology Cage and outdoor sound demonstrations, to list but a few. Showcasing all the tools of the trade (and more) is what makes Mediatech Africa such an engaging platform, and it is the reason why this high-energy tradeshow remains relevant and, indeed, the leading biennial event of its kind on the continent. Everything about the event is cutting-edge and every touchpoint is designed to enhance the visitor experience.

The show is the largest and only one of its kind on the African continent, attracting an extensive audience that covers six verticals including: Pro Audio (lighting and staging); Audio Visual Integration; Broadcast (TV and radio); Studio (recording and DJ equipment); Digital Media (VOD and OTT); and Film and Video (production).

Rates for exhibiting at Mediatech Africa are R3,475 (ex VAT) per square metre for floor space only stands; or R3,740 (ex VAT) per square metre for shell scheme package stands. Sponsorship options and pricing are available on request.

For sales queries and bookings, contact Claire Badenhorst on +27 (0) 71 688 4065, or at sales@mediatech.co.za.

Drone technology advances: An aerial view of where things stand in 2019

Drone technology has made considerable advances since the last Mediatech Africa in 2017.

According to Mediatech trade show director, Simon Robinson, drone technology is a powerful tool for many sectors of the economy but it’s undeniably disrupting and drastically altering the events, media and filmmaking industries. “Unmanned aerial geniuses – drones ignite the imaginations of people and industries the world over, and till now we have only just begun to scratch the surface of their potential,” says Robinson.

“From toys for adults to drones able to land on water and film underwater, to solar battery technology that’s allowing high-altitude drones to fly for weeks at a time without landing – drone technology is leap-frogging what was ever imagined possible.”

As drone technology evolves at blinding speed, the question to ask is what new horizons will it take the industry to? Robinson believes that one thing is certain, “Companies can design new and innovative value propositions, and fundamentally modify the way they operate thanks to drones.”

When it comes to drone technology, Mediatech exhibitor, Timeslice Cinematography, is recognised as a trailblazing company and is best known for its ability to cater for feature films and TVCs – where precision flying and heavier 4K to 8K cameras with PL mounting are required. Timeslice is a company that has celebrated many firsts in the South African market and continues to demonstrate authority in this arena – and Screen Africa spoke to SA director, Jono O’Connell, to gather insights into this accelerating technology.

Tell us about the growth of drone technology in South Africa since Mediatech in 2017

The past two years have been significant and markedly good for the drone industry both locally and internationally, with several drone technologies disrupting the drone market and much technological advancement achieved. We are now at a point where drones are faster, safer and easier to use – and far smarter.

Battery technology has also come a long way: improved flight time capabilities are a notable improvement.  From a safety perspective lithium polymer batteries are now housed in rigid casings, which makes handling and transportation of these batteries less dangerous. Today’s drones also have avoidance collision.

Drones that are really easy to fly are now on the market and they have a greater ability to fly fast and far and range has improved dramatically. Consumer drones can easily fly up to 4kms away – which allows us to get to places we were never able to reach previously.

Is there a cost benefit to using drones in filmmaking?

With the cost reduction of drones over the last two years, and the advances in technology, opportunities, accessibility and capabilities have been greatly enhanced for many through the opening of this new platform. Very little capital outlay is needed to buy into the world of drones – so whether you’re in the film industry, or just a home movie maker, drones are now widely accessible. An aspiring music video producer, or budding film maker, can purchase a drone for between R8 000 to R10 000 and shoot great quality, beautiful 4K videos – easily, smoothly and cost effectively. This has paved the way for a wave of filmmakers to start living their dreams.

Is South Africa keeping step with technology advances compared to global trends?

I believe South Africa is lagging in some verticals – this is most certainly true of the consumer market. We just don’t have the footprint of other countries and the local regulations have also stifled growth. The embryonic phases of drone technology were completely constrained and when the regulations came out in 2015, they had a very negative influence on the industry and stunted its growth for at least the first couple of years. It is regrettable, but the landscape is changing and the floodgates have opened – and I believe that, moving forward, we will catch up and keep pace with global standards.

Drone regulation in SA – how do we fare?

Make no mistake: South Africa has the strictest drone regulations in the world. On average, it takes an operator in the region of two years to get a Remote Operator Certificate (ROC). The process for approvals is protracted and expensive. This barrier to entry is prohibitive. I believe that, as an industry, we need to collectively work on the regulations and make it easier to comply. In so doing, we will nurture and promote the industry – all the while attracting a younger set of aspiring filmmakers to shoot without massive overheads and the time restrictions that come with getting a full-blown license.

On the flip side, when it comes to working on jobs abroad, the stringent confines of our regulatory environment work in our favour. When a registered South African operator works overseas, their accreditation and certification almost always validates them in that country. There’s no need for any proficiency testing; we merely provide paperwork.

Where do you see drone technology going in the next five years?

As with many accelerating technologies, it’s hard to say what the future holds: five years in this industry is an absolute lifetime, if not two. But, in general, it can be predicted that the mainstream use and demand for drones will continue to rise and seeing Unmanned Aerial Vehicles (UAVs) in the sky will become more commonplace.

As for specific projections, I believe range will be the next big thing to dominate the drone world: BVLOS – Beyond Visual Line of Sight. This speaks to the ability of drones to be flown at great distances from the operator and to fly accurately.

We already have the technology now where directors, DOPs and creatives with no training can wear goggles and move the camera around by simply moving their head or arms by holding a handle bar. This means a significant barrier has been lifted for creatives with no training, allowing them simply to point and shoot the camera.

I do believe a big issue to work on over the next five years is endurance – flight time. Drones require an enormous amount of energy to stay airborne, which means heavy batteries must power the drone and this counteracts their own endurance. In principle, most drones use half their power to carry the very batteries that power them. Fundamentally, we need a device or system that makes the aircraft more efficient in the air – better battery technology and even solar power or renewable energy would work.

I don’t think it’s unrealistic to consider that soon, a director will be able to operate a drone from a completely different city, and be able to control it automatically without even laying eyes on the bird.

In 2017 Mediatech Africa introduced a drone cage exhibition for the first time – showcasing the best cameras and drones the industry had available, while leading operators discussed functioning within the current legislation and the impact of drone usage in film and broadcasting production. A hugely popular addition to the show – drones will be a big feature at the show this year. Mediatech Africa is on between 19 and 21 July – register before the 12 July closing date to avoid paying the R100 entrance fee.

An Inspired, Immersive, Multisensory Experience at Mediatech Africa 2019

As we power into the Fourth Industrial Revolution – the development of technology is gaining increasing momentum and evolving at the speed of light.

New trends and technologies are driving innovation, disruption and opportunities for growth in the media and entertainment industry and going forward, it’s safe to expect a period of exciting change. According to Mediatech Africa exhibition director Simon Robinson, in this age of exponential technology acceleration, keeping step with how breakthrough technologies are unleashing creativity has never been more important; just one of many verifiable reasons to be at Mediatech Africa 2019.

“Those in the media and entertainment industry will benefit from the Mediatech Africa experience planned for 2019 in more ways than one,” says Robinson. “The show line up, as is customary, is cutting edge and promises to showcase the latest products and trends shaping the creative pulse of these industries. It will provide a glimpse into the future, and an unmatched view on how technology is transforming experiences. More than that, because almost every major player and brand features at Mediatech, the possibility for market intelligence to be gleaned from this event is incomparable – and this year will be no different.”

A trade show now it its 10th edition; Mediatech Africa attracts over 7 500 visitors and showcases close on 800 brands from 150 odd global and local exhibitor companies. A biennial event, the organisers have announced that the 2019 show will run from 17 – 19 July at the Ticketpro Dome in Johannesburg, South Africa.

Everything about the event is at the forefront of innovation and every touchpoint is designed to enhance the visitor experience. Live demonstrations, presentation zones, and special events are again on the programme and other familiar favourites expected in 2019, include the Black Box, the Drone Technology Cage, and the outdoor sound demos to list but a few of the returning highlights. “We also have a few surprises planned for the show this year. Visitors should expect the unexpected,” says Robinson.

Speaking about the three day event, Robinson says, “Mediatech is about giving visitors the opportunity of tapping into the possibilities that exist now and in the future using technology. The show attracts exhibitors who are leaders in their categories – shape shifters of the highest calibre and we are excited to see what tech trends they will showcase this year.”

One of the broad tech trends that is sure to find its way onto the Mediatech conference programme is Artificial Intelligence (AI). Considering that China’s state news outlet Xinhua announced (on Feb. 19) that it has, in collaboration with search engine Sogou, created the world’s first female AI news anchor, it’s obvious that AI will and already is changing the face of the broadcasting and entertainment landscape.

Another example of AI’s impact on this industry is when IBM Watson generated highlight reels of what it thought were the best shots of the 2017 Wimbledon tournament. Anyone who viewed the highlights would be none-the-wiser that there was no human input; nor would they argue with the choices.  Normally this would take a large team hundreds of hours to accomplish, yet Watson could do all of this automatically using cognitive algorithms to analyse audio and video from the footage. From there Watson was able to identify shots and points that were highlight worthy.

“The media and entertainment landscape is in flux. From creative processes to content delivery – and AI is just one disruptive technology trend having a profound impact on the industry and yet we have barely uncovered its true potential,” says Robinson. “That said, at this stage there’s still the question of the creativity conundrum. Will a computer ever be able to match the creativity of a person? Clearly there is still plenty of room for debate when it comes to where AI starts and ends and what better forum to unpack this than at an industry event like Mediatech.”

Beyond AI, there are many other trends and technology shifts that are expected to feature at the expo, including advances in projection mapping technology synchronized with dynamic soundtracks, drone technology, VR, and lighting, all of which can be used for creating compelling, immersive and memorable AV experiences.

“No one would argue that piloting the changing landscape to find success in the media and entertainment industry is often a confusing, exasperating pursuit. To capitalise on the opportunities the changes bring, rather than being disrupted by them, is to play the game and win and that’s why Mediatech offers so much value. It’s an unbeatable source of education and a destination for the industry to come together and do business,” says Robinson.

“Technology is increasingly the genesis of creative expression. Our show has become the hallmark for the expression of creativity and it’s about discovery, learning, being inspired and bringing ideas to life using the latest tech in niche verticals,” he concludes.


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