EditMate, the new solution for editing, provides project management extension to Adobe Premiere Pro CC.
Features and benefits of arvato Systems’ latest innovation will be presented at Cabsat in Dubai
Broadcasters like those attending the CABSAT 2015 in Dubai face a challenge familiar to media companies across the world: Ever-increasing demands for efficiency and quality coincide with the need to move to a new non-linear editing platform, all while allowing users to benefit from the existing MAM installation. The EditMate solution is presented at Cabsat 2015 in Dubai from 10 to 12 March 2015.
EditMate was developed to dramatically increase productivity and quality control in environments where editors share networked access to projects and media files. With an optional integration to a MAM system, additional workflow control, data sharing, access control, and other advanced functions are also available.
The new tool is an elegant editing project management solution that enables collaborative editing, project sharing and easy-to-use management of all project related files within Adobe Premiere Pro CC. arvato Systems’ newest product is fully integrated as a Premiere Pro CC plugin and is an optional component for VPMS, arvato Systems’ popular MAM solution. EditMate tracks all your editing projects and also includes features for automated metadata import, housekeeping, user rights, template management and efficient import of multiple projects.
As a plugin inside Adobe Premiere Pro CC, the intuitive EditMate user interface offers easily accessible tabs for functions like Search, Create, Save, and Check In. Based on system configuration and templates, required and optional metadata are populated either by users or automatically filled in from a connected external source, such as arvato Systems’ MAM solution, VPMS.
EditMate manages all your editing projects securely, and users from any location can access projects and their related media files. To prevent disaster scenarios, EditMate manages stored AutoSaves, and users can restore their own or other projects directly through their EditMate window in Premiere. Projects that are controlled by EditMate can be locked, and, when connected for instance to a MAM system, the related media files can be flagged to prevent deletion as long as the project is active.
Administrators have the power to configure various aspects of EditMate, including metadata definitions, searchable metadata, hold-back times, templates and standard project “collections”, presets for automatically created project titles, and more.
EditMate changes the way media companies can think about and work with editing projects: From isolated “editing bays”, to networked and collaborative environments where tasks are completed by quality-focused, collaborative teams.
arvato Systems is at CABSAT 2015 in Dubai from 10 to 12 March where the company and its partner Qvest Media showcase its innovative industry-specific solutions for managing and monetizing the digital transformation at stand E3-10.
SES has announced that Christophe De Hauwer has been appointed by the Board of Directors of SES as Chief Development Officer (CDO) and member of the company’s Executive Committee, effective 1 August 2015.
Christophe De Hauwer will succeed Gerson Souto, the company’s current CDO, who has decided to step down from his position for personal reasons and relocate to Brazil, his home country. Gerson will continue to advise SES and work with the Executive Committee on development projects in Latin America and elsewhere.
Christophe will officially take up the position of CDO on 1 August 2015. He has been with the Company for over 10 years, holding several positions of responsibility in the areas of Strategic Marketing, Strategic and Business Planning and Corporate Development. In his current role of Senior Vice President, Fleet Development and Yield Management, Christophe oversees the overall optimization of the entire SES satellite fleet and its future development.
Christophe also played an instrumental role in the acquisition of New Skies (2005), the GE share redemption (2007) and the investment in O3b Networks (2009). Since 2010, he has served as a board member of O3b Networks. Prior to joining SES, Christophe was a consultant, first at Arthur Andersen Business Consulting and later at Deloitte & Touche. Christophe is a Belgian national and holds an Engineering Degree and a PhD in Engineering from the University of Brussels in Belgium.
Gerson Souto has been with SES for more than 16 years and has been an Executive Committee member and Chief Development Officer since 2011. Previously, he was a member of the Management Committee of SES NEW SKIES and later of SES WORLD SKIES.
Karim Michel Sabbagh, President and CEO of SES, stated: “We respect and understand Gerson’s decision and are pleased that he has agreed to continue to support SES in a strategic advisory role. Gerson has been instrumental in SES’s global expansion and integration across its various business units. Under his leadership, SES has articulated a holistic and winning strategy which is now serving as a platform to focus on go-to-market and investment efforts, as well as the capabilities development agenda. We wish Gerson all the very best for the future. In appointing Christophe De Hauwer, the Board of Directors and the Executive Committee have ensured a strong succession and a flawless transition. Christophe’s deep knowledge of the industry and of SES, as well as his management skills, will help us to further deliver on our growth potential.” (Source: SES press release)
Broadcast industry conferences can fall into the trap of becoming mere forums for insiders sharing old ideas with other insiders – and at their worst, an echo chamber removed from real world concerns. One of the goals of AIB’s #iamabroadcaster Global Media Summit last month was to look outside established wisdom to the real world and real audiences the broadcast industry serves.
TIMA (The International Media Associates) partnered with AIB to provide a series of on-the-street interviews with young people in Washington DC, London, Paris, and Teheran, providing a unique insight into how the 21st century expects to consume its media.
It should surprise few that conventional, linear tv viewing was far down the list of priorities of the next generation. When asked what was their primary means of consuming news and entertainment content, most favored the computer, tablet and phone. “I watch television a little bit in the morning, but that’s all.”
“Internet. I barely use the radio and the television. I practically only use the Internet,” said one Parisian man. And in London, the responses were similar: “Online, on my phone. I really don’t watch TV at all.”
The responses were no different in Teheran: “I don’t have such a great relationship with the TV. I don’t put much time on it.”
On the face of it, this would sound like a death knell for broadcasters. And it is, if you still believe that broadcasting means linear distribution to a TV or radio. But TIMA’s vox pops revealed that the hunger for content has gone through the roof. Reliance on mobile technologies means that audiences formerly tied to viewing hours in the morning or evening can now access content any time, anywhere.
Said one Parisian “What is practical with the Internet is that you can do it whenever you want, so I do it when I want all day long.”
The trick for broadcasters – for anyone distributing content through the internet – is not the demand or lack of audience, but getting that audience to pay for the content.
When asked how willing they were to pay for content, some of the interviewed young people echoed a Parisian responder “The Internet is basically the contrary of this. We can share our information freely and as much as we want with no monitisation on it. So, no.”
Many already had subscriptions to services like Netflix and Spotify – and a few said they might be willing to pay extra for some premium content.
An American responder said, “We’re so used to having such easy and ready access to it, that for it to become a pay structure, I think that would be really upsetting. I’d find ways around paying.”
Interestingly, the young people in Teheran expressed far more willingness to pay for quality content online than their western counterparts.
The entire collection of these #iamabroadcaster Global Vox Pops can be viewed on our YouTube page:
Euronews’ Supervisory Board, which met on Tuesday in Paris, has mandated the Chairman of its Executive Board, Michael Peters, to hold exclusive negotiations on an equity-stake acquisition by one of the Sawiris’ family’s companies, headed by Naguib Sawiris. With a €35 million capital injection, the company would own 53% of the international news channel.
Established in 1993 by the European Broadcasting Union (EBU), Euronews is currently owned by 21 public television channels and 3 local authorities. Available in 13 languages, Euronews provides rolling coverage of world news produced by 600 journalists from over 30 countries. Euronews is a leading independent media hub, reaching over 420 million homes in 156 countries. It delivers a complete range of products, including websites, mobile applications, smart TV and radio.
To continue to lead in a highly competitive newsmedia environment, an ambitious strategic development plan was set up in 2014 with the unanimous support of its longstanding shareholders. The Strategic plan, based on the heritage and strong European values of the channel, focuses on four areas: content, non-linear innovation, brandvalue and diversification. The shareholders agreed to the strong growth potential presented through the plan, whose implementation requires significant additional funds. Based on this conviction, the shareholders decided to open Euronews’ capital to an independent investor. Banque Lazard has been appointed to drive the search for a new partner from within the countries affiliated with the EBU. Amongst the huge interest received, the offer made by Naguib Sawiris has been selected as best suiting the entire scope of requirements.
“Throughout the past decade, Euronews has truly become a bridge between nations. On the basis of its European perspective, the channel has attracted increasing interest from countries neighbouring the European Union. This makes Euronews unique.” commented Michael Peters. “Today we want to accelerate our growth. The arrival of Naguib Sawiris would be a tremendous asset to Euronews, as this investment would allow a quick implementation of our development plan, while maintaining our European public mission heritage.”
“The public shareholders who support Euronews since over 20 years remain strongly committed to this unique media experience in Europe”, added Paolo Garimberti, President of the Supervisory Board. “We trust that the combination of public and private shareholding will be beneficial for the future of Euronews, as it has already been in the past with Générale Occidentale and with ITN.”
“The Strategic plan for Euronews is based on a strong vision of the future of TV in the current media environment. A plan I believe in and I do fully support”, declared Naguib Sawiris. “I deeply appreciate the editorial values which are strongly attached to the Euronews brand and I will be committed to carefully respect the editorial independence and the mission of general interest of Euronews”.
This growth project fits with Euronews’ European DNA, in line with the partnership agreement signed with the European Commission.
The stake acquisition will only be approved by the Shareholders’ General Assembly after the full completion of the current exclusive negotiations. (Source: Euronews press release)
Abubakar Jijiwa, the Director General of Voice of Nigeria, the country’s official international broadcasting network, is stepping down after over two decades of service. Jijiwa has been an active participant in the AIB and a judge of the AIB awards.
The following farewell was written by his colleague Abdul-Warees Solanke head of the VON Training Centre:
In two weeks from now, the Director-General of Voice of Nigeria, Mallam Abubakar Bobboyi Jijiwa (MFR), will be exactly 22 years in the service of the Corporation, 10 years as its director general. Statutorily therefore, he will bow out from VON, an epoch deserving some sober reflection from this quintessential public manager and a rededication or commitment to work for the greater good of the country beyond life in VON.
In December last year, he similarly relinquished the chairmanship of the Broadcasting Organizations of Nigeria which he also led since 2004. His services as DG VON and Chairman BON has yielded huge dividends in the Nigerian broadcasting industry where players are more united, new grounds broken and talents nurtured due to his visionary and managerial disposition. Whenever there is an opportunity for assessment of his predecessors, Jijiwa always give them credit for providing the platform for his own achievements. All of them excelled within the circumstances they found themselves, he would always say.
Jijiwa came to VON in March 1993 from the News Agency of Nigeria where he was the Assistant General Manager (Enterprises). His sojourn in the federal government established media actually began at the Kaduna based-New Nigerian, where although he was employed as a senior accountant, he was drafted to the editorial board as a special correspondent because of his gift of the pen which he had been wielding as a regular contributor in the New Nigerian since his university days while studying accountancy at the University of Maiduguri.
Impressed by the brilliance and lucidity of his writings, the NN management felt it would be an under-utilization of talent consigning him to merely poring over cold figures instead of giving him the platform and the space on the pages to churn words and ideas to influence opinions. Since New Nigerian in 1984, Jijiwa has not looked back in providing leadership in the mass media, returning home briefly the invitation of the Gongola state government to serve as Secretary to the Fufor Local Government. After completing the Fufore assignment he returned to NN and shortly after in 1988, he picked an appointment with the News Agency of Nigeria as Ag. Chief Accountant, a position he held until 1989 when he was invited by his home government, Gongola to lead the state-owned radio station, Gongola Broadcasting Corporation.
In less than four years of heading GBC, later Adamawa Broadcasting Corporation, Jijiwa turned around the fortunes of the local radio station to an enviable one in the north east of Nigeria. ABC which had no permanent site and transmitting station, built one under Jijiwa. Then Jijiwa as the GM had been designated Director General and sole administrator of the corporation. With this feat, he was soon back at NAN as AGM enterprises in 1992 and in March 1993, he joined Voice of Nigeria as Director Finance and Supplies. But in-between his service in VON, he had the privilege of being invited home to serve as the Adamawa State commissioner for Budget, Economic Planning and Finance.
This rich experience jijiwa placed at the service of VON when he returned from his leave of absence and assumed office as Director Administration and Finance of the Corporation under Aremo Taiwo Allimi in 1999. Being the most senior director in VON when Aremo Allimi completed his single term in 2004, this rich experience also recommended him to the post of Ag. Director General. Again, this rich experience facilitated his confirmation as the substantive DG in March 2005 and secured him a reappointment in 2010.
As DG VON since the past eight years, Jijiwa has used this experience to pilot the affairs of the Broadcasting organizations of Nigeria (BON), the umbrella of all public and private broadcasting services in the country. Four of these eight years, he also used to etch Nigeria’s name on the Commonwealth Broadcasting Association hall of fame as he was elected CBA president in 2006 in the Indian capital, New Delhi for a two-year term, securing another CBA mandate in the Caribbean nation of the Bahamas in 2008.
Since relinquishing the CBA presidency in 2010, Jijiwa has dedicated himself to providing leadership in public service broadcasting globally as he is regularly invited to public service broadcasting forum worldwide as a lead speaker, authority and resource person. He has used broadcasting to confirm Nigeria’s eminence in all regions of the world: Asia and the Pacific, the Americas, Australia, Europe and here in Africa He is enriching broadcasting for Nigeria. He is mentoring a lot of leaders and managers in the Nigerian public service broadcasting firmament. He is contributing to to the growth and development of the Nigerian public information sector.
The Greatest beneficiary of course is the Voice of Nigeria which he has provided the leverage for global network and partnership, affording the staff of the corporation tremendous learning and development opportunities in countries like Germany, France, the Netherlands, the United States, Malaysia, Singapore, south Africa, Indonesia, Egypt, Angola etc. Name the country and you are likely to find one VON staff studying or working or participating in international conference, workshop or seminar on broadcasting there. Jijiwa facilitated these. This writer is a beneficiary in winning a Commonwealth Broadcasting Association Scholarship to pursue graduate studies in Public Policy and Administration at Brunei Darussalam’s premier university in Bandar Seri Begawawan.
From Jijiwa in VON in the past 22 years are so many lessons in leadership, service, comradeship, compassion and integrity. He readily gives credit to whom it is due, acknowledging every little effort of staff, colleagues and superior. Ask his predecessors in office, Mallam Yaya Abubakar and Aremo Taiwo Allimi. They are always full of superlatives in describing Jijiwa as a team player. Ayo Sulaiman, Ben Egbuna, kabir Muhammed Ahmed, Timothy Gyang, Sola Tijani, Okey Nwachukwu, Margaret Obanya, Frank Ilogu and others who worked with him on the VON Board of Management consider him a gift in leadership and Management of human resources.
Jijiwa’s uncommon leadership qualities and humility are to be traced to his humble background in rustic Fufore, via Yola Adamawa State, the grace he has enjoyed in his growing up years, the men of eminence he had served and the challenges imposed on him by his community which find him worthy of the title of Sardaunan Ribadu, a traditional title of prime ministerial status in Ribadu District of the Adamawa Emirate. But the most eminent is the national honor he was conferred with by President Goodluck Jonathan in 2010. He was honored with Member, Federal Republic (MFR). Successive Ministers of Information since 2005 found Jijiwa an asset in the information ministry under which VON falls as a parastatal. His colleagues regards him highly just as he respects all immensely.
As he bows out of VON, Jijiwa, established as a Gamji, would be leaving behind a worthy national heritage. Jijiwa continues in service of Nigeria as he returns to the to his primary constituency, Accounting. One unique feature of Sardaunan Ribadu is his limitlessly elastic patience, confounding belief in destiny and unusual spirit of sacrifice. With these, he just waits on God for direction on every step he makes. So, 22 years in the service of Voice of Nigeria, the authoritative choice, I can only wish Abubakar Bobboyi Jijiwa more of the blessings of the light of faith, wisdom, understanding, discernment, courage, fairness and justice. These are the essentials of success in public leadership. These are implied in the Nolan Principles of public life. Every leader or aspiring public office holder can also learn from Jijiwa.
Today is opening day of Broadcast Video Expo 2015 at the ExCel in London. BVE is Europe’s second largest broadcast tradeshow (first place goes to the mighty IBC in Amsterdam) and is becoming a key event, not only in the UK production calendar, but increasingly in the international one. Whereas IBC has sometimes had difficulties incorporating its seminar programme into what has traditionally been a technology show, BVE’s seminars have gone from strength to strength and are drawing increasingly bigger names – this year’s show will feature actor/director Richard Ayoade (Submarine, The IT Crowd). And the show’s focus has expanded beyond the exhibition of kit to also incorporate knowledge sharing, education and networking.
The Association for International Broadcasting is also getting involved in BVE’s seminar programme, with AIB Chief Executive Simon Spanswick and Editorial Director Neal Romanek moderating and hosting sessions this week.
AIB had the pleasure of interviewing BVE’s Event Director, Alison Willis, about London’s biggest production event, where it came from and where it’s going:
How old is BVE and how did it start?
There has been a broadcast-based exhibition in London for over 20 years, though its name and venue have changed several times (remember The Production Show at the Business Design Centre?). London – indeed the whole UK – is a major centre for the global creative industries, boasting talent and facilities that are the envy of the world. The UK content creation industry also contributes a significant amount to the economy; according to a new BFI report on media production in 2014, 222 films started principal photography in the UK in 2014 with a UK spend of £1,471m, while 87 high-end television shows began production with a UK spend of £615m.
How has BVE changed and grown over the years?
BVE and its predecessor shows have always represented an important date in the UK broadcast industry calendar as an opportunity to learn about new technology, see the latest products and network with peers. Every year we strive to reflect the state of the industry, ask the questions that people want answered, and look ahead to the next set of challenges.
BVE took place at Earl’s Court for many years. Have people warmed up to the ExCel location?
By and large, they have. It’s very well served by public transport, and we’re finding that once visitors are here they are staying much longer than before; at Earl’s Court it was easier to pop in and out, but people are now investing a day and planning their visit to catch more seminars, plan more meetings, and have time to look around properly. ExCeL is also much more accessible for international visitors with London City Airport close by – we’ve seen a rise of 12% for international visitors since the move. The new venue is also very easy for exhibitors to set up, the catering facilities and other show services are excellent, and there is plenty of space for the show to develop and grow.
How has BVE responded to changes in the broadcast industry, with digital and online content now competing with the traditional broadcast space?
The last couple of years have seen some major changes in what ‘broadcast’ means, from cinematic broadcasts of theatrical events to the growth of streaming video for corporates, and brands becoming broadcasters in their own right, not to mention multi-platform programming. BVE is putting an umbrella across the growing ‘broadcast’ sector, working in conjunction with our advisory panel to monitor broadcast trends and note who the key players are, as well as targeting experts that can make sense of the rapid rate of change. Our free seminar programme, offering over 120 hours of sessions, is more diverse than ever this year with representatives from organisations like the Victoria & Albert Museum, the Association of British Theatre Technicians, Leo Burnett and Arsenal FC TV speaking alongside traditional broadcast and production companies.
Does BVE see itself as a show for producers or for tech-heads?
Both! Producers need to be aware of technological trends and formats, for instance understanding the data storage and post-production implications of shooting in 4K; just as engineers need to have an understanding of what producers are trying to achieve. BVE offers an amazing opportunity for these seemingly disparate worlds to come together and understand that they are working towards the same goal of producing exciting, informative, creative content.
What are some of the highlights at this year’s BVE?
4K continues to be a hot topic across the industry, and BVE is delighted to present a keynote presentation from Bruno Mahe, Head of Technology at Illumination Mac Guff on ‘The future of computer-animation and the road to 4K’. Other highlights in the 4K Theatre include Minoru Yonezawa, CEO, Sky Perfect Broadcasting Co. presenting ‘How Japanese broadcasters are leading the way in 4K broadcast’ and a case study from Sky Deutschland on ‘Taking Live Music to 4K’.
The ‘connected world’ is also high on the agenda, and in the Connected Theatre visitors can learn about issues including multi-platform content, monetisation and rights. Jonas Anschütz, Business Affairs Manager, Red Arrow Media discusses his company’s experiences of working with the likes of Netflix, Amazon and Hulu on co-productions, while Kati Price, Head of Digital Media, Victoria and Albert Museum, reveals the museum’s multiplatform strategy and its use of apps to encourage interaction and engagement. The role of the second screen in maximising audience engagement is discussed by a panel including Neil Hall, Executive Product Manager for Sport, BBC Future Media and David Gibbs, Director of Digital Media, Sky Sports.
BVE 2015 is also doing its part to ensure that the UK stays at the forefront of global production, with a dedicated afternoon for the ‘Broadcasters of the Future’ taking place on Thursday 26 February. The tailored sessions across all the theatres will educate and advise students, recent graduates and young people starting out in the industry, highlighting the skills they need and how to get them. Confirmed seminars include the BBC Academy presenting File Service Delivery sessions; Bournemouth University showcasing their graduation show reel with its top students discussing the inspiration for and production of their individual pieces; and Ravensbourne facilitating a networking session with leading industry figures who can give real-world advice.
What do attendees want to see in a tradeshow? Are there too many industry tradeshows and conferences?
It’s increasingly important to have a UK event where people from all areas can converge to discuss their experiences, share their knowledge and learn from each other. The internet is great for research, but nothing beats actually meeting vendors who can explain their products in human terms or hearing industry experts sharing their experiences and being able to ask them questions. It’s also a chance to see pieces of equipment in action – we have over 260 exhibitors this year, 70 of them new to the show, and many product launches and exciting innovations.
With people pressed for time as never before, and budgets ruling out overseas travel for many, it’s essential that we as organisers ensure that BVE is relevant, informative and inspiring enough to warrant people taking the time to attend. We’re confident that our visitors will not be disappointed.
BVE is free to attend for production professionals and runs from 24-26 February. Learn more at the BVE website.
