The congress offers reports, dossiers, analysis and interviews brought by professional experience, sucsess stories and reviews of new and basic technologies, with firsthand news.
Panorama Audiovisual is an editorial product of VP Group Integrated Communications, a company based in Alphaville (Barueri/SP, Brazil) and office in Miami (Floria, US) and Madrid (Spain). This structure allows the publishing of magazines and websites - world leaders in the segment, according to Google Analytics - covering Latin America and the Iberian Peninsula.
The president and CEO of VP Group said -- "This finding has encouraged us to expand the scope of the events we do, distributing them throughout the year."
The mission of the congress is discuss technologies and strategies that moves the Brazilian's audio and video market. Since the selection and operation of cameras and editing software to media monetization, every niche of this market will be treated in various discussion sessions, workshops and tutorials of the event this year. "In 2015, we will expand further this debate and the training and professionalisation programs", says Fernando Jay, director of the event.
"Therefore, it is fundamental an event like this, which encourages the professionalism of the entire industry and opens opportunities of updates and training for sector professionals to follow the latest trends of this innovative and dynamic market", says Victor Piiroja, President and CEO of VP Group.
The main themes of the congress, dedicated to professional development and promotion of new technologies, will be solutions for production and distribution of audio and video on TV, film, new media, advertising, animation and games.
Among the topics, the themes are:
• Migration to 4K, H.264 and HEVC;
• Cameras and Lenses for Digital Production;
• Resources for Digital Cinematography;
• Recording in Multiple Codecs and Resolutions;
• Editing and Post-Production Systems;
• Color Correction and VFX;
• Applications for HDR and HFR;
• Automated Production of Journalism and Sports;
• Coverage of Competitions and Shows;
• New Lighting Technologies;
• Generation of Graphics and Virtual Sets;
• Integration with Social Media;
• Storage and Restoration;
• Media Management and Big Data;
• Cloud Based Services;
• TV Everywhere: Multiplatform Distribution, IPTV, VOD and OTT;
• Broadband and Pay TV;
• Infrastructure and Network Planning;
• RF Transmission, Satellite and FO;
• Quality Control and Signals Monitoring;
• Infrastructure for Technical Centers;
• Processing, Conversion and Playout;
• IP Based Production;
• Dispute of the Spectrum and the future of Broadcast;
• Analog Switch-Off and Digital TV Expansion;
• Radio in a scenario of Media Convergence;
• Interference and Wireless Networks;
• Transmedia, Connected TVs, APPs and Second Screen;
• Acoustic and intelligibility;
• Capture and Multichannel Audio Mixing;
• Immersive Audio;
• Loudness Control in Broadcast Ambience;
• Digital Cinema and VPF;
• Digital Projection Technologies;
• Education and Innovation;
• TV Series, Webseries and Interactive Narratives;
• Games and Animations;
• New Sources of Revenue;
• Incentive Laws and Fundraising for Audiovisual.
The existing sectors during Panorama show 2015 will be: Open TV, Pay TV, IPTV, Wireless Media, Radio, and Internet and streaming, Telecommunications, Satellite, Broadcast-cable, Digital Cinema, IT, 3D, Digital Signage, Education and Training
You can watch some videos of what happened in the previous edition:
We would like to thank Marcel Almeida for writing for us.
More info you can find on his LinkedIn: br.linkedin.com/in/marcelmg77/en or follow him on Twitter @marcelmg77
So we hope this is, besides, fun to read, also a good help and insight information about broadcast events held in Brazil and what the future may hold.
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We all know Brazilian Carnival right?
We talked with Roeland van der Manden, one of the EVS Operators of last Carnival in Rio de Janeiro
BB: So Roeland, please tell us what is your function, and what does it include
Roeland: “EVS-operator. EVS is a system that makes live editing possible and makes replays at live events. I provide outside broadcast facilities with a premium service and it changes from a day to day basis. Some days I might be at a soccer game offering live replays to the director to then play out on live television to viewers at home, on another day I might be preparing for a live show taking all the pre-edited VT’s and feeding them into the EVS to then use as a tapeless method to play out to viewers at home”.
BB: Since when do you work as EVS operator
Roeland: “I have been working as an EVS-operator since 2008. Started in the Netherlands for Eyeworks and Endemol”.
BB: Which events did you already work on here in Brazil
Roeland: “I have worked for UFC coverages in Brazil since 2012, the Brazilian soccer championship, Libertadores Cup, world feed carnival 2014 in Rio de Janeiro and now I'm working for an American network at the IBC in Rio on the FIFA World Cup 2014”.
BB: What is the difference of the Brazilian events and events you worked on in the Netherlands
Roeland: “The difference between the events in Brazil and in the Netherlands is production and care. In the Netherlands, productions are bigger and made with more care. They do have all the equipment in Brazil to make events look really good but I think some of them maybe don't care enough to give it 100%. There's a lack of perfection at certain events. And planning is a big difference. For example, in Brazil I have never received a callsheet or any other useful info about the production. Even though many times things turn out to be fine "the Brazilian way”.
BB: How is communication with foreigners in general in your work
Roeland: “Communication has to be very good when working in EVS because a big part of the job is communication between director, producer and EVS. And most of the time communication has to be fast, because you work live”.
BB: What are the good and bad parts of Brazil as event host
Roeland: “Good part of the Brazilians is without a doubt the warmth character of the Brazilians. They are really open and enthusiast and there is always joy.
Any bad points would be the planning and the way they care about the production”.
BB: Do you notice a difference in foreign culture and your culture, in the way of working especially
Roeland: “A big difference in the two cultures is discipline and punctuality I think. Dutch people are very strict when at work. Brazilians are not. In Brazil it's very common that your colleague is a very good friend of you, in the Netherlands there's a clear difference between colleagues and friends. The majority of the cases at least”.
BB: How was it working on the last Carnival in Rio de Janeiro
Roeland: “Working at carnival was really spectacular. Like I mentioned before about the differences in size of the productions and care, you can compare the carnival for Globo with a great international event. I was very positively surprised”.
BB: Any specific technical difficulties during this event, and if so, these were due to what exactly
Roeland: “Work itself was normal at this event. We worked on the ultra slow replays which turned out to be very beautiful to show details about dancing. Very nice”.
BB: Where there foreign broadcasters involved during the transmission
Roeland: “I believe not, the TV compound was from Globo only although the compound was quite big though”.
BB: What did you work on specifically during Carnival
Roeland: “We worked with the ultra slow replays of the dancers to show details and ordinary replays of the samba schools”.
BB: Which equipment did you use
Roeland: “EVS XT3. The newest model of EVS. And I-Movix”.
BB: Do you see a rise in the amount of (english speaking) Brazilian Broadcast Technicians needed during events in Brazil, and in which specific areas
Roeland: “Not really, this year you do but that has everything to do with the World Cup which is once. So not repeatedly I think”.
BB: Any good advice for the Brazilians in this area
Roeland: “It is always useful and of course important to be able to communicate in English”.
BB: How do you see the future for Brazilian broadcast Technicians the coming years with all upcoming foreign events
Roeland: “I think the Brazilian market is not going to change that much. The reason is because there are several big companies who provide their own services. There is not much of a freelance culture as there is in the US or Europe. People here prefer to work for a company instead of having their own business I think. So the market is not that competitive. There is Globo which owns almost all the channels here and than there's a long time nothing and than the rest.
But people should give their very best to show the international media out their that they're capable of producing big events”.
BB: What is the most important for you to be able to work with foreign companies
Roeland: “Foreign companies pay way better than the Brazilian ones. That for sure is an issue, further the production level is higher which makes it easier to work with them. Brazilian production level is not poor, but it's done by way less people so the conditions are harder and you can see that in the result”.
BB: Any other interesting things you have for us related to your work at last Carnival in Rio de Janeiro
Roeland: “Carnival was hard working but very satisfying and I really enjoyed it”.
Compilation of Carnival Rio de Janeiro 2014
So we hope this is, besides, fun to read, also a good help and insight information about broadcast events held in Brazil and what the future may hold.
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FIFA worldcup 2014
Route Brazil - South Africa 1st of April 2013 - May 2nd, 2013
Assignment: a video journal of a long ocean voyage about the life and atmosphere on board for six weeks . A Dutch three-masted tallship
The Oosterschelde from 1918 on a world trip along continents and historical VOC routes, from Rotterdam to Rotterdam.
After 26 years a former classmate from the Academy of Journalism nosed out that I, as journalist-filmmaker, live in Brazil and submitted me the following challenge ...
For a 13-episode documentary series for Dutch television we are looking for an adventurous director-videographer who can film independently, interview and edit on board. “You will do it for the adventure, because budget is tight, but expenses are paid and we will feed and accommodate you onboard”.
Well... a typical once-in-a-lifetime opportunity... crossing the Atlantic on an old Dutch schooner …. ?
A quick look at my calendar for the next few months , a few phone calls to my customers with long-term film projects ... and the decision came in an instant wink .. I grab my suitcase and prepare my camera kit !
Santos (BR) - Cape Town (SA)
This ocean voyage is known as one of the longest and hardest routes that the Oosterschelde carries on this world of 1,5 years. The route takes from the subtropical waters of Santos towards South Africa’s Cape Town, around the Cape of Good Hope. During this long crossing the authentic Dutch three-master must stand various challenges, the conjunction of two trade – currents; the tropical trade wind meets cold trade from Antarctica on the 35th and 40th parallel .. and that guarantees fierce storms and high waves, and all at an ocean depth of 5 kilometres.
Total distance of up to 3,500 miles, or 6,880 kilometres. This requires a strong western wind which should bring the three-master towards its eastern destination. But to find it, one must navigate to get there.
But before Cape Town will be reached, a secure check of the list needs to be done of what to bring. For more than a month at sea with full gear , you cannot afford to forget that one charger or cable!
Check... Enough batteries, rain gear for the camera , lens cleaner for the inevitable salt deposits, sufficient terrabites on the backup disks, since I will be shooting each day and everything in full HD.
Just 50 kilometres off the coast of Santos, I already get my pick, force 9, rising to 10 Bft ... and that means storm!
Not knowing how often we were going to go through such a hell , I film just to be sure ... at least, as much as possible to maintain your standing and to avoid the big waterspouts across the deck. Filming on board a sailing ship
under those circumstances, staring through your viewfinder, provides a different perception of the reality around you. And that's tricky. Everything that is not fixed on lower and upper deck, thunders from baking to starboard.
And that goes for me as well, because ‘man overboard' really means overboard, and no one who can save you.
MOST REMOTE ISLAND IN THE WORLD
Highlight of the trip; halfway through the journey is the world's most remote island of Tristan da Cunha. With 2,265 miles on the map a stopover is scheduled here. The volcanic mountain in the middle of nowhere measures only 15 square kilometres and 2,060 meters high, counts just 260 inhabitants in almost complete isolation.
This colonial island that was discovered by the Portuguese in 1505 but eventually annexed two centuries later by the British. The island has a reputation of a ship graveyard, because the almost impassable coast and waves here over the centuries costs a lot of shipwrecks . If I succeed to go ashore, I 'm going to get a stamp in my passport first.
LAND IN SIGHT
After 15 days at open sea .. finally .. land in sight. It would be strange to feel land underneath your feet again. But unfortunately .. our party is negated by the local authorities of Tristan. The weather is not cooperating. It's too dangerous to dock at the island. So after a full day and night to float around in the hope that it would clear again around, we finally set sail for Cape Town . Disappointment among the guests and crew, but for me moments again for nice shots and quotes for the script.
Standing up editing
At the end of the day when people are asleep or on a watch, I upload my footage to the backup. My cabin is not big enough for a small editing set installation, so sometimes you stand in front of your marine cage or improvise a quiet spot below deck to spot and assemble an edit timeline.
The days that follow to Cape Town under favourable weather conditions I interviewed the 12-member guest and 6 crew. Interesting to hear from each about his or her background for this project and their passion for ocean sailing.
KILL YOUR DARLINGS
After more than a month, at a beautiful dawn we see the first outlines of the South African coast… Cape Town... we made it! The storms that would follow repeatedly during the trip, I and my gear overcome.
For the upcoming 15-minute episode I have more than enough terra bites of shots. So now up to the final montage and 'Kill your Darlings ...’
Filmmaker – director Ernst Daniel Nijboer
Visuals Studio Brazil
Foreign companies that want to film in Brazil need special documentation to do so legally. Read the article to learn what documentations are needs to be provided to act within the law when filming.
Foreigners who intend to make news reports, films, recordings or capture moving images in Brazil (with or without sound) have to previously ask for ANCINE's authorisation. ANCINE is short for Agência Nacional de Cinema, the national movies agency that is responsible for inter-mediating at the Brazilian diplomatic missions abroad, the requests for proper visa concession for technicians and artists, so they can participate in filming in the country.
How to Request Authorisation
Apart from foreign journalistic productions, all of the others have to contact a Brazilian production company that will make contact with ANCINE. First, the Brazilian company communicates with ANCINE about its interest and responsibility in making the films or recordings, through a form available in this link. It’s also necessary to present the following documentation:
• Copy of the contract between the foreign production company or person that is legally responsible for the production, and the Brazilian production company, and should indicate the mutual responsibilities, form of payment and the expiration date of the contract.
• Copy of the translated contract mentioned, if it was written in a foreign language.
• Provisional plan of filming/recording, indicating the dates and the places (Municipality/Federal Unit) in the Brazilian territory where the works will happen.
• Copy of the identification sheets of the passport of each one of the foreign workers.
The Brazilian company will be the one responsible for making the customs clearance of all the temporary material used for the production, giving full support to the foreign company.
Any alterations in the originally established conditions have to be reported to ANCINE through a form available in this link. It’s also necessary to present the following documentation:
• Change in the Brazilian diplomatic mission to which the visa request is destined.
• Inclusion or exclusion of technicians and artists.
• Deferral/alteration in the temporary stay term of the technicians and artists in the country.
• Change in the places where the filming/recording will take place.
• Cancellation of the authorised activity.
The visa is issued abroad, on the Brazilian diplomatic missions, once ANCINE approves the concession of visa and provisional stay in the country.
The validity of the visa is determined by the mission, according to the length duration of the filming/recording chronogram.
It may also be necessary to ask for an authorization from CET, the Companhia de Engenharia de Tráfego, which is the Traffic Engineering Department, in case the filming is happening in some street. There are different authorisations in this case, whose prices vary from BRL 148.95 to BRL 1,747.45. The complete table of services is available in Portuguese, here, under the title “Filmagem, fotografia, produção de audiovisuais e similares”, which is filming, photography, audiovisual production and similar.
Some cities may have specific forms which must be filled in order to provide the authorization for filming, which must be checked at the City Halls.
The production of foreign audiovisual journalistic works have to be communicated straight to the Brazilian diplomatic missions abroad, so that the proper authorisations can be issued. In these cases, the people going to Brazil to work can apply for a temporary visa as foreign newspaper, radio, television or agency correspondents. There may be internal demands, for instance, a special authorisation to film in a hospital, but these are local specifications, not migratory ones, and need to be checked in the specific places where the filming will occur.
A big thank you goes to our friends at The Brazil Business who were so kind letting us use this very informative post.
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Here some more information about the publication made by ANCINA
"ANCINE publishes rules to support the participation of films, projects and professional programs in international events in 2014.
This Program supporting festivals shall also include projects in workshops.
Aiming to encourage the promotion of Brazilian audiovisual production abroad and increase the participation of Brazilian companies abroad in the audiovisual market ANCINE renewed it's program for the year 2014, with two support programs aimed at the international area.
These programs seek to contribute and facilitate the participation of national films and projects at major festivals and workshops of the international cinema, besides also the participation of the sector in market related events and business meetings.
"We believe that the format they will implement this year, through the extension of both programs will allow a more comprehensive role in enabling the presence of Brazilian companies and professionals in major international events in the audiovisual sector. There is a complementarity between the three lines that make up the programs because they make us understand the development and presentation on one hand, and the negotiations in order to produce and make the product move in the international market, "said Rosana Alcantara, director ANCINE.
The Support Program Participation of Brazilian Movies at International Festivals, launched in 2006 by ANCINE, assists with financial services and resources, depending on the event, for the participation of short, medium and Brazilian feature films selected for festivals abroad. Starting this year, the program shall also include financial support for selected projects for international workshops
The International Advisor for ANCINE, Eduardo Valente, justifies the inclusion of laboratories/workshops in the program with the assessment that "these events today have outstanding importance in the international projection of work and increasingly curators go to these events to invest in these works. With this increase, the total number of events in the program reaches 107, throughout the year."
This way we see that the audiovisual market is not only expanding one way, which is mostly foreigners coming into Brazil, but that we can expect the coming years a rise of Brazilian products and professionals appearing in the foreign markets as well.
Great news, because this will stimulate the international market for Brazil and in the coming years prepare the Brazilian audiovisuals even better for the Olympics.
On this site you can read more about the program, it is in Portuguese but Google Translate will help out pretty well ;-)
Patrick Hendriks: "After a long trip team and equipment arrived well in Argentine, South America for the 2014 version of the Dakar rally".
It's HOT in the desert, check the airco tubes to cool all down.
"The setup is the same as last years edition, of course we did minor chances to make our setup even better. And our team grow with 100%, we are now with 2 persons on location :) " Patrick explains.
Patrick: "All teams have the possibility for the teams to rent a personal monitor. Therefor all competitors must take care of some paperwork for renting our monitors. Besides the personal monitors the teams can also get big screens with us. We have some 23inch Samsung Screens with us"
Grass Valley Indigo doing a great job in extreme conditions at Dakar 2014
Patrick: "The Grass Valley Indigo mixer we introduced last year is still in the set, doing a fine job. For now I will tell about what we have on location."