Tuesday, 8 September 2009

http://www.installation-international.com/setting-a-green-standard/

Installation Europe
http://www.installation-international.com/setting-a-green-standard/


Pursuing green strategies can have economic as well as environmental benefits. But executive buy-in and customer demand are needed to ensure innovation in this area, writes Adrian Pennington.
On a global scale, corporations are recognising that environmental responsibility is changing from an opt-in trend to a compelling business practice. The economic crisis has given the AV and installation sector its stiffest challenge for decades, one from which no company is immune. What’s more, it has come at a time when unprecedented environmental pressures are forcing everyone to think responsibly about their energy consumption.
The understandable temptation is to negate investment in green technologies and concentrate on short-term financial survival. But arguably that’s a short-sighted approach when a more positive response to both issues recognises the impact of one on another.
"The G8 Summit committed governments to an 80% reduction in CO2 emissions by 2050," says Jaume Rey, Panasonic’s European director. "The only way to achieve that is through greater regulation which means that those who don’t have an environmental plan will pay higher taxes. This will have a huge impact on the profit and loss of all companies. For manufacturers it means re-examining the use of raw materials to produce products with longer life cycles, greater quantities of parts recycled and a return on investment absolutely justified."
The electronic media industry in all its forms is a high consumer of energy and materials. The question being posed to company chiefs is what is the cost of not being green?
"What if we do nothing," asks Rey, "what are the roadblocks to being environmentally proactive? In an industry that thrives on innovation, what can we do to ensure that design for the environment is top of the list? Perhaps most important, does helping the environment always mean spending money; or can it have its own return on investment?"
Autoscript’s worldwide MD Brian Larter thinks so. "An energy-saving strategy is not only ethical but one that can demonstrably shave zeroes from a company’s bottom line," he asserts.
There seems little doubt we are entering an era of resource constraint. "We all have to do more with less," says Julian Phillips, managing director, Impact Marcom. "For too long environmental issues have stayed in the green camp, associated more with corporate responsibility. Since we no longer have the sustainable resources to make businesses viable, economic arguments are coming to the fore and it is these that will really drive change."
Pointing to the high-profile green flag-waving of Cisco, Phillips says that such concerns are high on boardroom agendas. "The AV industry has never had a strategic direction from the top or a champion for large-scale deployment of environmental schemes," he says. "Cisco’s lead (notably its renewable building initiative Connected) has helped achieve executive buy-in and the enterprise-wide scale which green issues need in order to truly have an impact."
Putting theory into practice
What does ‘going green’ mean in practice? Midori Connolly, an InfoComm lecturer on green topics, proposes that we view ‘green AV’ as a collection of ideas in which organisations and individuals share the goal of discovering how best to use technology with minimal environmental impact. "While efforts to develop green AV are still mostly unstructured, the passion for and belief in the cause have led to a gradual collaboration and a general consensus on the environmental factors to target," she says.
Part of this momentum is the ‘green-collar effect’, the idea that as requirements for green technology, products and services increase, basic job functions will adapt to fulfil those requirements.
"Many universities and businesses have an individual whose sole task is to lower the energy costs and reduce the carbon footprint of the organisation," says Jamie Blakemore, commercial sales manager, Crestron UK. "At the time of design one of the first questions to be asked is how the systems can be used to save the organisation energy costs."
Power consumption data may not currently be part of writing a proposal or submitting a bid, but it probably will be in less than a decade.  
"AV designers may be expected to source the best alternative energy for their plans," suggests Connolly. "Clients might need their AV consultant to recommend the most responsible means of disposal for outdated gear. In other words, the scope of services offered by AV professionals will expand – and that should be seen as a bright opportunity in an otherwise dark economic forecast."
Crestron says it is educating customers on how small changes can be made to a system design to include interfaces or motion sensors to help reduce power consumption. "AV dealers maybe need to work harder to design a system with power saving in mind and end users need to stress that this is of importance to suppliers at the time of install discussion," says Blakemore.
Green AV isn’t just about energy consumption, but comprises issues of waste reduction and management, operational efficiency, and responsible manufacturing processes and materials. Although there are some calls for InfoComm, as the leading industry body, to take a more proactive stance – perhaps by setting universal green benchmarks – there are already a number of environmentally targeted standards.  
In the US these include the Green Building Council’s Leadership in Energy and Environmental Design, where different elements of a project count towards certification; and Energy Star, the international standard created in 1992 that has become so ubiquitous that there are calls for the qualification to be tightened lest it be rendered meaningless. European Union directives include WEEE (Waste Electrical and Electronic Equipment), which aims to reduce the amount of waste going to landfill, and the Restriction of Hazardous Substances, which does what its name suggests.
There’s also a series of voluntary ISO standards which task companies with placing environmental issues at the heart of their management and provide an objective basis for verifying a company’s claims about its performance. The key word, though, is ‘voluntary’.
Arguably the most ambitious environmental project in the world is the $22 billion Masdar complex in Abu Dhabi which, when it opens in 2016, is intended as the first zero-carbon, zero-waste city powered by renewable energy.
Ultimately, it is not state-sponsored projects, government mandates or industry regulations which will effect change, but market forces. "Despite the rhetoric from governments it will be at the enterprise level where real change is made," says Phillips. "If the customer isn’t willing, or can’t be made to see the benefits, inertia rules."
Awareness in the professional market is less developed than in the consumer market where ROI is the biggest driver for business customers, suggests Henrike Maschke, environmental and product compliance officer, Sony Professional. "Often this can be linked to energy savings which have an impact on the environment but this is more of a side effect."
Avoiding greenwash
Fortunately there are signs that client awareness is on the rise. "There’s increased demand from clients although the decision remains a commercial one," says John Saunders, MD, Anolis UK. "If you can get a competitive edge by claiming to be green, then you do it – everyone is guilty of that."
Saunders highlights his experience of a number of festivals at which LED lighting and overall power consumption has been cut in order to market one ‘ethical’ stage while the rest of the festival site is as high-powered as ever.
‘Greenwash’ such as this is becoming an increasing problem, meaning customers can have difficulties making an informed decision due to the amount of misinformation in the marketplace.
"It is sometimes the case that companies that are genuinely striving to make improvements to the environmental credentials of their products can still appear less ‘green’ than companies using ‘greenwash’ messages in marketing collateral and PR," says Maschke.
"Professional vendors are lagging behind in the development of more sustainable products in comparison to consumer products. The industry can do more to reduce energy consumption and change its production processes to use more recycled or re-used material/components. From this point of view there is a need for a change in business culture."
It would seem that the industry does need much more education of its constituency at all levels. Even more importantly, according to Lab.gruppen head of marketing Tim Chapman, the AV industry needs to be educating various government agencies regarding the unique nature of professional AV systems, particularly in comparison to consumer-grade systems.
Efficient practices
"A case in point is the framework now under development in the US for Energy Star certifications of professional AV equipment," he says. "It’s taken some effort to get the Department of Energy to understand that a system of power amplifiers cannot be evaluated using the same methodology as, say, a home refrigerator. The refrigerator functions as a single unit: it’s either off or on, and it has a predictable duty cycle. The same is not true of an installed system of amplifiers, as it will have widely varying duty cycles depending on specific applications, and current draw will vary among models depending on efficiency in both operating and standby modes.
"Consequently, the only meaningful methodology is total energy consumption of a complete system annually. This principle is included in the Energy Star draft specification, but realising it in practice will involve some rather complex calculations."
Energy consumption is the key criterion of the residential custom install market. CE products are responsible for more than 25% of household electricity consumption (in the US, according to an Energy Star report) – a figure that’s only expected to rise.
"We believe technologies that can reduce the extent of wiring in the home, and as a result use fewer raw materials like copper, represent the way forward," says David Rodarte, president and COO of whole-home audio specialist NuVo Technologies.
Recognising that wireless whole-home audio systems still need wires connecting the in-room amplifier to speakers and the amplifier to a power source, NuVo has spied a "big opportunity" to overcome this using existing power wiring.
"Using HomePlug technology we will soon be launching a system (Renovia) which runs audio and data over the existing electrical infrastructure within the home," says Rodarte.
Lighting and heating account for the bulk of a property’s energy consumption and can be very wasteful. CE vendors are tackling this with products designed with energy usage in mind. New ultra-thin LED backlit screens use around one-third of the power of plasma and LCD screens and draw less than 0.1W in standby.
Sony has a range of TVs that incorporate presence sensors that switch the set into standby if no one is watching it. Plug-in power consumption meters with LCD displays of volts, amperes, and watts are best sellers. Even Greenpeace espoused the performance of numerous gadgets at the Consumer Electronics Show last January.
CEDIA is playing its part by introducing an Eco CPD (continuing professional development) course to help explain to specifiers the energy-efficiency benefits that home electronic systems can provide.    
"Unfortunately in the AV industry power is important – all products that we sell require power," says Blakemore. "The key to making these greener is automated control. With a control system we can turn off any powered device and via a simple interface we can cut the power to the unit so it does not even burn power when on standby.
"If you take the prices of the interfaces used to produce the full power down of a product, or the cost of the lighting dimming system, we have been able to prove that it is possible to recoup most equipment costs over time," he adds. "You can even have a Crestron Green Light control system reporting how much energy is used or how much saved by dimming lights by 10%."
Extron’s case for its Energy Star-compliant XTRA amplifiers is that it can maintain a state of readiness for racks of AV equipment while significantly reducing the energy used until the hardware is actually needed. It claims that in a typical classroom, AV applications are under one-eighth power for 40 hours per week but a conventional amplifier will draw 345kWh per year, compared to an XTRA Series amp drawing only 55kWh. "So in this scenario, conventional amplifiers use over 500% more energy," it says.
LED lighting has the potential to become the low-energy light source of the future. This development is being spurred on by the pressing need for a tungsten/halogen replacement in the home and cold-cathode fluorescent lamps (CCFL) replacement in professional use.
According to DisplaySearch, global sales of large-area 10in-plus TFT (thin-film transistor) LCD displays reached 10.6 million in Q1 2009, up a whopping 780% year on year. Autoscript is part of that movement, vowing to replace its existing fluorescent backlit TFT range with the new technology.
"Aside from the cost of safely disposing of equipment to accord with EU regulations, equipment containing the thin glass tubes of mercury vapour required considerable operational power, generated excess heat and, being fragile, were prone to break easily," says Autoscript’s Larter.
Perhaps the product area with most green credentials is videoconferencing, where a VC facility in remote offices can cut travel time and carbon footprints. Here too, though, education is needed.
Cultural change
"Historically VC has been poorly implemented with older technology and badly integrated office environments," says Wayne Stephens, Tandberg’s VP partners & alliances. "Once people have been trained properly they like using it and will use it more often.
"While all manufacturers can and are doing more in terms of recycling or using non-hazardous materials, what is needed most is a wider change in business culture which is more accepting of changed working practices."
Stephens urges the industry to speak louder about the transformative capacity of AV. His call is echoed by Impact’s Phillips who believes the green wave will flush out many hardware vendors.
"AV is still a proprietary hardware industry with multiple standards and too many manufacturers. Too many manufacturers are building pretty much the same product and in some cases building product that shouldn’t exist.
"The whole AV industry will go through a green rationalisation. The green issue is wound up in the future of the industry and video communications in particular as a transformative solution."

Friday, 31 July 2009

All Systems Go In The Gulf

AV Magazine
http://www.avinteractive.com/news/all-systems-go-in-the-gulf-31-07-2009/
Sony’s broadcast and professional division makes $1.7bn annually, and, around this time last year, it went public with its desire to double that figure by 2011 (AV, July 2008). Given the worldwide slump, that’s an optimistic aim, but the pressure is still on to maintain a record of five years of consecutive growth. With poor revenues forecast across Europe, the division is pinning its hopes on growth hotspots in the Middle East and the CIS to keep targets on track this year.
While the region is not immune to the recession, there are substantial opportunities that are currently attracting foreign a-v firms.
Sony has had a presence in the region for more than three decades, in recent years becoming a major supplier to broadcasters with outside-broadcast trucks and delivering large system builds for upgrades to digital and HD. Among other things, the ratio of HD to SD sales from broadcast to retail is 20:80 – it’s the reverse in Western Europe – which has helped with Sony’s success in the region. But, by its own admission, the success in broadcast has meant it has failed to sufficiently address the professional market, identified as key to its profitability.
‘We expect our a-v business to be flat in Europe this year,’ says Sony marketing director EMEA David Bush. ‘Our MEA business has been growing year on year for the past decade.’ But he admits: ‘We’ve had our hands full with broadcast and haven’t been as focused as we might have been on the a-v side.’
Bush reckons the division can build on the experience of its broadcast success to capitalise on the strength the company has built elsewhere in a-v systems and installations. But there’s no question that while Sony has had its eye off the ball, rivals including Christie, Barco, Polycom and Tandberg have stolen a march; Sony is now playing catch-up.
‘One reason we’ve been a bit slow to develop our non-broadcast business is that we have found it relatively difficult to identify integrators and specialists on the ground,’ says Bush. ‘There is a need for that education and knowledge.’
Partly to address that issue, Sony last month brought its regional dealer network together for a two-day fact-finding and education session in Dubai that included demonstrations of its flagship videoconferencing and digital signage products. With local sales moving away from box items toward big-ticket projects, the emphasis was on Sony having the products, support and engineering resources to back its dealers up.
Dubai remains the region’s business hub with its comparatively liberal culture and tax incentives. But its economy has nosedived. Its oil now comprises just 3% of GDP. The ruling Al-Maktoum dynasty saw this coming and set in train the process of diversification that sparked Dubai’s emergence as a centre for tourism, air travel, commerce and financial services. Dubai swapped oil dependence for real-estate, with 40% of all economic activity related to property. The collapse of the global property market has brought those plans almost to a standstill.
Economic revision
‘The glory days of blank cheques are over,’ says Dave McMahon, head of operations with leading UAE solutions and systems integrator Almoe, which handles Extron, Epson and Crestron. ‘In the past, it was a bit of a free- for-all. There was an abundance of work, everyone was opening a-v integration firms. Now, business is more competitive, margins are squeezed and smaller players bankrupted. There are cash-flow issues, but business remains strong and we’re busy recruiting from Europe.’
Almoe recently completed an audio distribution and control network for Dubai’s Meydan Racecourse and is in talks with the developers of the S4 stadium (see box) to deliver a multi-LCD screen AV/IT solution.
‘A lot of new entrants tend to just assemble projects on site, whereas all our systems are built and factory-tested before installation,’ says McMahon. ‘That’s basic quality of service, but it’s something many suppliers here don’t do. It’s vital to increase the overall standard of quality because bad reputations begin to infect the market.’
McMahon reports an influx of a-v integrators from Europe looking to plug the gap of a lack of projects at home, but it’s not straightforward to set up shop here when the client is usually the government. ‘The criteria for winning a pitch is not necessarily quality, cost or reputation, it is often down to which minister you know and how much influence they have,’ explains one Abu Dhabi-based systems integrator.
That’s not to say the authorities are dismissive of new approaches, says Almoe business manager Vivek Anand. ‘Clients are very open to innovation,’ he says. ‘They want to work with the latest technology and if they like something it will be green-lit with little bureaucracy so development can happen extremely rapidly.’
If Dubai is fading, Abu Dhabi is primed to become the Gulf’s leading light. It wants to be a major world city by 2030 by weaning itself off oil and becoming a knowledge-based economy and the region’s cultural capital. To this end it has set up production facility and training academy Twofour54, fitted out by Sony, to cultivate an indigenous media industry.
‘We are not here to cluster real estate but to give people the means to create content in all forms of media,’ says chief executive Tony Orsten, a former head of international channels at Paramount Pictures. ‘Although Arabic speakers have a fantastic storytelling history, their production and craft skills in media are low, so it was essential to establish a training academy and bring them up to international standard.
‘But there are no media jobs so we have to stimulate the entire media ecosystem,’ he explains. ‘The quickest way to achieve that is to bring in partners, including CNN and the BBC. English is the second language and the UK the nearest talent pool.’
Positive signage
The need for quality production values extends to all aspects of digital media, and none more so than signage. Sony believes there’s huge latent demand for it in the region, held back by the lack of effective content for the hardware.
‘The market is nascent but we expect growth of more than 100%,’ says Rajiv Khurana, VP, MEA for Dentsu Marcom. ‘Outdoor digital billboards are rare but new transport infrastructure could change that (see box). Malls and hotels have started using DS solutions and try to out do each other. There’s potential for far greater promotion in store. The issue is that we need to establish good quality messaging. Far too often, signage is static, informational and unimaginative when research tells us that footfall and direct POS revenues will increase dramatically with tailored and entertaining content.
“Customers will see more digital signage but businesses aren’t using it to its advantage,’ says Khurana. ‘We need advertising skills and a creative video culture to make it more attractive and then it will explode. There are so many possibilities.’
MEDICAL AND EDUCATION
Middle Eastern governments have prioritised education as key to transforming knowledge-based economies. Demand for VC suites, interactive white boards, projectors and signage is strong.
‘In Saudi and Kuwait there are big university expansions, therefore, big opportunities for portable projectors and videoconferencing,’ says Almoe business manager Vivek Anand. ‘HD is the buzz word.’ The University of Sharjah is apparently keen on placing Sony’s Canvas in its reception.Sony MEA general manager, Takashi Miura, notes: ‘Iran is one of the biggest markets for projectors because so many of its population are going through education.’
Dubai’s Healthcare City features a Harvard medical school and copious auditoria, simulation tools, and training rooms with high end a-v installations.
DUBAI
– A 75km driverless, automated metro link opening this September with multiple enclosed OOH signage
– Dubailand. The $4bn theme park is currently on hold. California’s Thinkwell Design is well positioned to win the contract if work resumes, having created Dubai’s Ski Dome.
– A 60,000 seat sports stadium (dubbed S4) is under construction. A 10,000-seat stadium and a cricket pitch are already part of Dubai’s Sports City.
– A £60bn second major international airport at Jebel Ali is the centre piece of Dubai World, a planned residential, commercial and logistics complex scheme.
QATAR
– Education City. A 14 sqkm development on the outskirts of Doha housing outposts of leading US universities such as Cornell, Georgetown and Carnegie Mellon.
SAUDI ARABIA
– King Abdulla Economic City (KAEC). A $40bn new city intended to drive the emirate’s future economy with a 50-year timeframe. A rail link might connect it with Abu Dhabi.
ABU DHABI
– Opening soon, a £15bn cultural quarter hosting Guggenheim and Louvre museums. Four others are planned and the a-v pitches are reportedly out on all of them.
– The country’s new race circuit will premiere the climax to the 2009 F1 Grand Prix this November after which it will become a Ferrari theme park.
– A $22bn home for 50,000 people ready in 2016, Masdar is promoted as the world’s first zero-carbon, zero-waste city powered entirely by renewable energy.

Sunday, 28 September 2008

Wednesday, 20 August 2008

The Third Dimension

Digital Studio

Live and recorded 3D stereoscopic productions are on the rise fuelling consumer interest in 3D screens capable of viewing them.

http://www.digitalproductionme.com/article-674-the-third-dimension/

Sunday, 23 March 2008

Stars on the field

Digital Studio

Advances in sports production technology tend to congregate around major international events when broadcasters are prepared to pay a premium for innovations that give them an edge over the opposition.

http://www.digitalproductionme.com/article-502-stars-on-the-field/

Wednesday, 12 March 2008

Regional focus: Northern Ireland


Broadcast 

New initiatives to bring network commissions to Northern Ireland could finally help local indies fulfil their broadcasting potential.

Northern Irish indies are more ebullient now than at any time in the past decade as efforts to boost the region's share of network output appear tantalisingly close.
Armed with Ofcom figures which reveal that PSB productions from Northern Ireland in 2006 accounted for only 0.2% of programming or 14 hours, the region's producers are confident that their persistent calls for proactive investment will finally be met. By contrast, according to Ofcom in 2006, Wales landed 1.10% broadcast hours, Scotland 1.7% and London 65.10%.
“Previously all our complaints might have been assumed to be griping but Ofcom's figures have demonstrated the extent of the problem,” says David Strachan, the managing director of Tern TV, which operates production offices in Belfast and Glasgow. “For the first time we have an evidence-based argument that the way commissioning has been handled is part of the problem.”
The argument is not that commissioners are overtly prejudiced, more that the London-centric nature of the process has hindered the building of vital informal relationships with indies across the regions. “There has to be an institutional response to assist in building relationships which commissioners can be confident in,” asserts Strachan.
These feelings are unanimously and passionately held across the community in Northern Ireland.
“Living here doesn't make me any less creative but it's wrong to ignore the fact that our geographic location has affected us,” says Hot Shot Films managing director Brendan Byrne. “We lack commissions and commissioners lack confidence in us because we haven't been producing on a regular basis.”
“Northern Ireland has not been getting its fair share,” contends Wild Rover managing director Philip Morrow. “The problems run a little bit deeper than simple meritocracy. The low perception of the sector and its talent has meant that it's been allowed to dwindle. In order to get ourselves back on a level track we need serious focus.”
This is a crucial period for the region as it awaits the results of the network supply review from the BBC. And C4 director of nations and regions Stuart Cosgrove has chaired a task force inviting the input of local indies which is feeding into C4's review of its public service remit.
Handily timed to coincide with these reviews is a new political initiative in which leading NI indies are seeking to emulate the success of the Scottish Broadcasting Commission (SBC) in getting political representation for independent production in Scotland.
“Our aim is not to form a local body like the SBC but to seek a formal linkage between the SBC and the NI government so that the under-representation of the nations and regions as a whole is on the political agenda,” explains Double Band Films managing director Dermot Lavery. “The issue must be seen as one that affects the whole region not just the narrow televisual sector.”
Political pressure
Among signatories to the lobby group is Tern TV, with its Irish and Scottish bases. “SBC acts as a forum for issues to be aired in public which in turn creates political pressure,” says Strachan. “We think politics can deliver results.”
There are calls for the BBC to ringfence 3% of its commitment to spend 17% of its budget on network commissions from the nations and regions for Northern Ireland. In 2006 NI produced 0.2% of the corporation's output.
“We would expect 3%, which would completely transform the landscape,” says Morrow. Sustained investment at 3% over a few years would, it's argued, make the region “network competitive” by building the skills base and forging tight links with commissioners.
“We do have a unique problem in terms of attracting long-term talent to the region when there's so much uncertainty,” insists Byrne. “There's no way the industry can grow unless networks take their commitments seriously and home in on genres, slots and channels.”
Scale is such a key issue - without a super-indie there's a perception that the region lacks the critical mass to take on a large scale commission. “That's a pretty pointless argument,” declares Wild Rover's Morrow. “There's obviously not the infrastructure here waiting for a commission. Infrastructure follows commissions. The talent here is beyond question.”
One project that has not waited for a network commission is Lifeboat Luke, a 52 x 5-minute CG animation due for completion in April. The series was set up as a co-production between Holywood-based LTL Productions and Dublin-based Kavaleer Productions in order to access funding both north and south of the border.
LTL carried out pre and post-production while Kavaleer was responsible for animation and the series is in the process of being sold to a number of broadcasters including Irish broadcaster RTE. According to LTL Productions director Alastair McIlwain, the company has its ambitions set not just on network commissions but on projects such as Lifeboat Luke that will sell internationally.
Building trust
Elsewhere, there's no denying the track record of some of the region's producers. Waddell Media, Wild Rover and Green Inc are led by executives who have produced or commissioned at network level.
Waddell currently has development funding for a BBC network Saturday night show as well as development deals with Fremantle and Discovery US for which it's to make Future Weapons.
“Getting access to UK commissioners isn't a problem, getting them to buy into NI indies is,” believes the producer's head of programmes, Jannine Waddell. “Partly that's because most of the companies here are too small to compete nationally and commissioners like to deal with what they feel are reliable suppliers.”
Already the largest Belfast indie, Waddell Media acquired animation producer Flickerpix last month “as part of our strategy to make more of an impact”, says Waddell. “One of the ways for indies to expand is for indigenous companies to merge.”
Stephen Stewart, managing director of Green Inc, directed Chris Evans projects including Don't Forget Your Toothbrush and is awaiting a decision on a pilot Saturday night entertainment show Green Inc produced for ITV. “We want to be seen as individual companies not as one mass or treated as a special case,” he maintains. “We simply have to be better than London indies to get a commission.”
DoubleBand's Lavery agrees: “We don't want the investment to create some sort of centre of excellence because that can be a shackling process. It's important that any network targets are applied across different genres. Clearly that's achievable since indies here have expertise across genres.”
Local producers like these have the ear of BBC NI head of programmes Ailsa Orr. She is widely credited with bringing a much needed focus to the needs of the community. At her post for less than a year, Orr has slashed the number of local suppliers from over 200 to seven and created a new programme strategy which launches in April, expressly to encourage network ambitions.
“Traditionally our network target [40% of the broadcaster's output is externally sourced] has been for drama and current affairs but that doesn't take into account the diversity of talent - much of which has migrated back to Northern Ireland,” Orr says. “We wanted to expand our network remit to include a wider genre base [in factual, comedy and daytime] which would play to the strengths of our indigenous talent base and ultimately help us to reach our [anticipated new] network targets,” says Orr.
Focused investment
More money, she says, is being invested in fewer projects to fit consistent, regular programme slots.
“Positioned correctly, these programmes are designed to have maximum impact, with strong BBC branding and values and major marketing, radio and online opportunities, as well as co-production potential,” she declares.
These include a Landmark Factual slot on Monday nights for which DoubleBand and Tern are seen as key suppliers.
“These are the programmes we want to put our key investment into in terms of branding and online opportunities - so they've got to count,” she insists. “We want suppliers to raise their sights, think more broadly and increase the ambition of their programme-making.”
The 35 annual factual slots have to have both local and network resonance and are granted£80,000 to£120,000 budgets - relatively high by local standards.
Orr cites examples including a BBC NI/BBC2 factual drama about George Best, a film about the notorious Irish priest Father Cleary for BBC4/RTE, as well as a film with Darlow Smithson about suicide pacts.
Entertainment and comedy are scheduled for Fridays (Wild Rover and Waddell Media will be core suppliers) with a low budget Innovation berth available later that night where the emphasis is on risk and “trying something new”.
Orr says, “It's designed for young film-makers, self-shooters and editors who can turn stuff around really quickly and are not afraid to try out bizarre ideas. Anything that works well here could potentially migrate into a more mainstream slot.”
The unofficial ringfencing of work does not, she says, preclude pitches from outside the seven main suppliers: “This is a small place so we need to get together and co-ordinate to achieve network objectives.”
As far as drama is concerned the BBC can point to the recent presence of Fairy Tales and to the fifth series of Messiah from Great Meadow. Both were deliberately diverted to shoot in the region, thereby accessing Northern Ireland Screen funds. Orr, who produced Super Volcano and Pompeii The Last Day for the BBC, is keen to develop a slate of factual drama. “We have leaders in both drama and factual so this is exactly the strength we should be playing to,” she says.
With renewed BBC NI support and moves to put the commissioning issue on the political agenda gaining momentum, producers are optimistic that the tide is turning. Dublin's Tyrone Productions, producer of Riverdance the Show, has read the runes and is opening a Belfast office “primarily to deliver network commissions”, says chief executive John McHugh.
“We've come a long way in the past 10 years but we feel we get painted as an irritant,” says Hot Shot Films' Byrne. “We can't be relentlessly positive in the wake of all the statistics but we can at last envisage a sea change in the principles that have underpinned production in the nations and regions.”
NI's second cityDerry - the forgotten production base?If Belfast producers sometimes feel they're an afterthought for London broadcasters, spare a thought for those in Northern Ireland's second city, Derry.
Situated at the opposite end of the province with a population of 100,000, the town contains a handful of producers, among them Westway Film Production, Ambient Light, Northland and Besom Productions.
“Derry has a reputation for whining about being a hard-done-by, poor relation of Belfast and there's an element of truth in that,” admits Westway's Joe Mahon. “It's a four-hour round trip by car to Belfast which is sometimes a disadvantage when it comes to editing.”
He adds: “We've survived well enough on local commissions by making programming which has a strong affinity to the city and its rural hinterland, such as UTV's long-running current affairs series Lesser Spotted Ulster.”
Derry doesn't have the critical mass to sustain a post-production business, although multimedia training group The Nerve Centre offers offline facilities. “I don't think we struggle to get work commissioned,” says Vinny Cunningham, who runs Open Reel Productions, the production arm of crewing outfit Northland. “If an idea's good, it's good.”
Future uncertainty
Is Irish Language funding drying up?The government-backed Irish Language Broadcast Fund (ILBF) is widely credited with re-energising local production. It had£12m in guaranteed funding to allocate through Northern Ireland Screen until 2009 but concern is being raised about whether the pot will be replenished.
“It's been a big boost,” says Maeve McAdam, creative director, Ikandi. “Having a minority language helps enhance our application for EU Media funds. But the ILBF isn't infinite and we need to know what happens beyond next year.”
Intended as a one-off payment as part of the Good Friday Agreement, the fund has created a thriving new market. “I don't think anybody's clear about what, if anything, will replace it,” says Westway producer Joe Mahon. “The DCAL [Department of Culture, Arts and Leisure] isn't in a position to invest further. We should be lobbying politicians to find another source for it. Over the past four years the fund has provided training for new directors and camera crew and boosted post-production. Audience demand has been considerable. All that is now in jeopardy.”
The idea that the fund will disappear completely is not seriously entertained but there's some twitchiness while uncertainty prevails.
“The ILBF still has a year to go,” says Jannine Waddell, noting that Waddell Media opened a new Irish language development unit. “I can't believe a political commitment won't be made [to safeguard its future].”

Wednesday, 5 March 2008

Worldwide post


Broadcast 

As almost a fifth of post producers tell Broadcast they plan to outsource work abroad this year, Indian businesses are eyeing up Soho facilities to lure work back home.

A growing number of UK post producers are set to export their business models abroad in the coming year as the internationalisation of the sector gathers pace. Nearly a fifth of respondents to a Broadcast survey plan to outsource portions of work offshore, while Soho's finest are being eyed by foreign investors as they swap ownership in the manner of Premier League football teams.
Setting up shop in the US has become de rigueur among top commercials houses. The Mill led the way into New York in 2002 (it now has 100 staff and an LA arm), followed by Smoke & Mirrors and Framestore CFC. Final Cut runs NY and LA wings and Absolute opened New York suites last summer. The strong pound means Manhattan real estate is very attractive to facilities used to shelling out for W1 rents.
“We have no plan for global domin-ation,” says Absolute owner Dave Smith, who hired a Flame for ad hoc work in New York and plans to double its two Flames to take on larger projects. “It was a safe way to grow business because there were -clients asking us to be there,” he says.
For commercials houses that aim to service executives' every whim, it makes sense to locate to agency hubs. They also trade on the brand values of British talent - seen as superior to their US counterparts.
The first broadcast facility to move across the pond has done so for largely the same reasons. “A number of our clients have set up in the US [Leopard, Tiger Aspect and Lion Productions among them], either to pitch to US networks or to produce versions of their own properties,” says Evolutions managing director Simon Kanjee. “There's a hunger for British creativity and producers were telling us it would be nice to work with us over there and have the same level of service they receive from Evolutions London.”
Evolutions' Broadway office was first hired to post Tiger Aspect's Make Me a Supermodel but Kanjee says the move is permanent. “Soho offers very proactive client management, which doesn't happen to the same degree in the States,” he says. “We operate a runner system. They don't. We know all our clients' first names. They don't. There's a clock-watching mentality in some sections of US post, which isn't how we work. British operators have a reputation for craft skills, whereas US talent can be harder to find.”
The big difference between satellites servicing commercials and those catering for broadcast is in the value to be had from shuttling work between offices. Because the work requires specialist compositing or CG, commercials houses can zip mater-ial to and fro, maximise overlaps in time zones and produce round the clock. Excess work can be soaked up by other sites.
But where commercials houses can set up outposts around one suite and a star oper-ator, the economics of broadcast require a greater investment in space and kit.
“Very little editing, audio mixing or grading can be done without the client in attendance, especially on quick turn-around broadcast projects,” says Kanjee. “Moving work further afield is inappropriate when producers need to be hands-on.”
For this reason, he doubts whether there's any gain to be made from working regularly with Indian companies. “They wouldn't make any money from broadcast,” he says. Darlow Smithson head of production Ulla Streib adds: “We wouldn't outsource most post processes because it still depends on someone attending a grade or mix. But we would farm out music composition and CGI and are actively looking for facilities in Singapore [where DSP has a new office].”
The economics of taking mechanical aspects such as matting and wire removal abroad stack up. Feature film VFX and animation (and TV animation) have been outsourced to eastern Europe, Ireland and India for decades. Tiger Aspect's Robin Hood is partly posted in Romania for example. What's new is that Indian facilities wielding hefty purses are courting every facility in town with the aim of setting up London shop fronts to entice work back home, where overheads can be over 70% less.
Kanjee, who recently went on a government-organised UK trade mission to Mumbai, notes the huge market for Indian firms to tap into in the West: “Their sole objective is to get work back to India, where they can make 50% margins.”
Prime Focus London regularly farms VFX shots to India. Mumbai-based Pixion, a subsidiary of Century Communication, India's largest facility, bought VFX boutique Men from Mars with the same aim and is scouting for further acquisitions.
Skillset facilities manager Triston Wallace also went on the Mumbai trip. Blogging during the visit, he said: “Indian corporations look for ‘trophies' to demonstrate wealth and power - a Soho facility would give them the required cachet.”
The main obstacle to working with Indian facilities is a lack of project management and professional training. Smith and Shenfield have been deterred from outsourcing work to the subcon-tinent unless client confidence can be guaranteed. “There are huge quality -control issues,” says Shenfield.
Indian firms know this. A key reason for owning a London or US base is to project-manage work outsourced from there.
The US and India aren't the only outlets for UK post. Twelve respondents to Broadcast's survey plan to open overseas in 2008, in locations as diverse as Dubai, Toronto and Poland. The Mill is “in active research mode”, says Shenfield, while Smoke & Mirrors may follow Golden Square into Shanghai.
“We knew [Shanghai] would be tough, but it has been even more difficult than we thought,” says Golden Square managing director Philippa Gillies.
“The market is immature and we're mostly posting content for mobile or web. But the nearest professional post facilities are Hong Kong or Australia so the opportunity remains a good one.”