Al Jazeera Children’s Channel (JCC) has launched its new grid for 2009 2010. JCC is the first Pan-Arab ‘edutainment’ channel addressing an audience of 7 to 15 year olds.
The new bouquet will showcase the latest of JCC’s home grown content, and a rich variety of co-produced programs specially designed for the children and families in the Arab world and Europe.
With a diverse vivid content, JCC’s new line-up is best described as interactive; one hour daily and two full hours in the weekend of live transmission make it clear that a wider window is now available for the viewers to interact with their favorite channel.
This new schedule continues to fulfill the aims of the Channels clear programming policy, reflecting an educative and entertaining content that will ensure progressive interaction with children.
Malika Alouane, Director of Channels Programming at JCC said: Our strategy remains to keep leveraging tools to best communicate and connect with our audience through the silver screen and internet. By doing so, we serve a mission to contribute to building human capacity through the use of innovative technology, and influence children’s development in their formative years.”
“Since the first day in the age of JCC, we persisted on partnering with bodies and consortiums to approach our audience with both an innovative and appropriate content. Also, our research team ceases every opportunity to monitor our viewers’ thoughts and feedback to translate our findings into new and well tailored ideas”, concluded Alouane.
The new grid also features a rich assortment of “fresh” content in different formats varying between televised magazines, reality adventure, debate, games, news, and others…
Viewers located outside the geographic range of JCC’s coverage, in North and South America and some parts of Asia and Africa, can benefit from JCC’s state of the art website which enables outstanding interaction. The upgraded website features new multimedia tools like VoD (Video on Demand) and other interactive features linked to its live programs, like “Allo Marhaba” and “Aala Al Hawa”.
Worth mentioning is also the fact that up to 60% of the content viewed on JCC is own production; this high percentage whether of home grown or co-produced with world’s best entities in the field, is considered one of the highest in the childrens television industry worldwide.
E-Motion, the Genoa-based production and post-production company, has purchased a Stereo3D-equipped Quantel Pablo 4K color correction system. The Pablo sits at the heart of its new stereoscopic 3D production and post production workflow based around RED Cameras, prime lenses and stereo rigs. The Pablo is also equipped with Quantels highly ergonomic Neo control panel. The deal was completed by Quantels Italian reseller, Mediacom Digital Evolution srl.
E-Motion is a well-established post facility with its core level business based around advertising, high level corporate communications and events. Together with company president Nello Brancaccio and director Corrado Silveri, we were already looking towards moving more into features production and post when earlier this year it became clear to us that the rapid growth of stereoscopic 3D offered us a superb opportunity to open up another new area of business for the company E-Motions experience with RED and its film industry knowledge and credibility positions perfectly to take advantage of this opportunity, said David Bush, one of E-Motions directors and a pioneer of the digital intermediate process for feature films in Europe.
Quantels Pablo has a great advantage over other systems because Quantel recognised the huge business potential offered by Stereo3D a long time before any other companies. As a result it has a really well developed system, and is clearly committed to extensive ongoing development in Stereo3D, Bush continued. That made the choice of Pablo as the centrepiece of our Stereo3D and DI operation very straightforward.
E-Motion has undertaken extensive testing of every aspect of Stereo3D production from shooting to finishing, and has invested in special Stereo3D rigs for its RED cameras and prime lenses. The Stereo3D finishing suite which houses the Pablo is equipped with projectiondesign cineo32 projectors and surround sound audio monitoring.
Stereo3D is complex to shoot, and the editing of it also needs to be treated very differently from conventional 2D work, Bush said. Thats why we are convinced about taking the full production suite on location so that we can do the finishing alongside the shooting, starting from day one of the production.
Pablo has all the editing, effects and compositing tools we need to be able to do this, and we have committed to teaching editors how to use the extremely simple editing interface so as to offer them the ability to edit in Stereo3D from day one, while simplifying and speeding up significantly the old off-line /on line process into one thats continuous from the very start of production, Bush explained.
With the large system memory and r3d files you can have the entire film in one system right from day one, and this contributes to a much shorter time to market for the film and is a more efficient way of film-making from every point of view, Bush continued. Distinguished Italian film-makers have always referred to the process of editing as larte della ri-scrittura or the art of continuously re-writing – something that becomes possible when a system such as Pablo is capable of keeping the original native essence or shot material and allows us to continue to apply different metadata or new decisions regarding editing, color grading etc. continuously, and view them.
Off-line is already disappearing in HD television, and the complex requirements of Stereo3D production stimulate this novel, all-in-one workflow for features too. All of this means that we can now take Stereo3D to the ultimate level.
BFI (British Film Institute) are running Session 1: 360° TV & Multi-Platform Production, in London on Friday 2nd October at 18:30. The process of 360° commissioning, the impact on programme genres, and what the future holds are discussed by a panel of commissioners and producers, looking at examples like Dr Who, Psychoville, Coronation Street, Skins and Cranford.
The expert panel includes Adam Gee, New Media Commissioner, Factual, Ch4; Martin Trickey, BBC Comedy Commissioning, Multi-Platform; Gavin Collinson, Interactive Producer, Doctor Who; Andrew Hawken, Editorial Director, sky.com. Chairing the panel is Robin Parker, Deputy News Editor, Broadcast magazine.
The short-listed entries for this year’s AIBs – the international media
excellence awards – have been announced.
Well over 200 entries from broadcasters, production companies, multimedia
producers and technology companies were submitted to this year’s AIBs and the
short-listing process has picked out the very best across all the categories.
You can view the short-list by clicking here.
Now the short-listed entries have been sent to the AIB’s international panel of
judges and they are evaluating the work and submitting their results.
The winners will be presented with their awards during a glittering gala evening
in London on 4 November when the AIBs return to LSO St Luke’s for the second
year running for this remarkable international celebration of success. Last
year’s Awards evening was oversubscribed, so reserve your place today to ensure
you can meet the world’s best broadcasters, together with editors, journalists,
producers and executives from media companies the world over. Reserve your seat
online – more details
here.
The Association for International Broadcasting (AIB)
has announced the judges for the 2009 "AIBs", its International Media Excellence Awards.
The awards are renowned for their independent assessment of quality, using external and peer review by respected professionals from the broadcasting and wider media industries. The AIBs are independent of commercial interest and attract entries from throughout the world, representing the best of international radio and TV.
The fourteen different categories cover the broad spectrum from single news events to long-term investigation and from traditional terrestrial broadcasting to innovative use of multi-platform formats.
This year well in excess of 200 entries have come from more than 30 different countries and a shortlist of entries has been compiled from which the judges will make their final selections.
The judges have a vast range of experience in different aspects of broadcasting and are drawn from all over the world. The full list is: Amir Jahangir, CEO, SAMAA TV, Pakistan; Danforth Austin, Director, Voice of America and Acting Director, International Broadcasting Bureau, US; Michael Joseph, CEO, Safaricom, Kenya; Billy Wright, Global Head Media & Games Partnerships, Nokia, UK; Hanh Tran, Chief Executive, Radio Australia, Australia; Nahida Nakad, Deputy Director, Arabic Service, France 24, France; Darby Sanchez, CEO, Globecast Asia, Singapore; Matteo Berlucchi, CEO, Livestation, UK; Alla Salehian, Director, Global Media Services Associated Press Television, UK; Torsti Tenhunen, CEO, Hasan & Partners Oy, Finland; Dirk Beusch, Senior Project Manager, Deutsche Welle TV, Germany; Dr Nabil Khatib, Executive Editor, Alarabiya News Channel, UAE; Natasha Elkington, AlertNet Correspondent/Humanitarian Crisis Reporter & Online Editor, Thomson Reuters, London; Russell Grute, Director of Marketing, Pharos, UK; Marcus Metzner, Head of Marketing & Communications, S4M, Germany; William Bird, Director, Media Monitoring Africa, South Africa; Corne Bouman, Managing Director, ProSkope, The Netherlands; Lem van Eupen, Head of Strategy, Radio Nederland Wereldomroep, The Netherlands; Julian Clover, Editorial Director, Broadband TV News, UK; Samuel Attah-Mensah, General Manager, CitiFM, Ghana; Simon Spanswick, CEO, AIB, UK.
Biographies of all the judges are available on request.
The AIBs will be presented at a gala evening held on Wednesday 4th November 2009 in the stunning surroundings of LSO St Lukes
in London. Full details of the 2009 International Media Excellence Awards can be
found here.
