< PreviousSPOTLIGHT understand the impact of having accurate captions and they may also start following simple practices like generating captions on a dialogue only channel. Reducing the background noise will also help in providing higher captioning accuracy and a better viewer experience. By 2026, the number of SVOD subscriptions is expected to actually reach 1.64 billion globally — an increase of 491 million compared with 2021. Moreover to drive this growth, SVOD service providers such as Netfl ix and Amazon Prime Video are increasingly relying on international subscribers. Samanta highlights: “With roughly 6,500 diff erent languages spoken around the world today, it’s imperative for providers to make sure that they leverage the latest technologies involved such as AI, ML as well as cloud-based solutions.” Head of Sales at Interra Systems. ASR actually allows video service providers to instantly recognise and translate spoken language into text, helping streamline the creation of captions. Another way the industry is tackling audio dubbing challenges is through innovations in automation and AI. “Using an AI-based, automated QC solution, service providers can check the synchronisation between the dubbed track and the master track with greater effi ciency to identify mismatches in the timing between audio and video. This is crucial to ensuring that there are no syncing issues,” says Samanta. “Recent advancements in AI can also help improve the profi ciency and quality of audio dubbing, especially for language identifi cation. In recent years, the intelligence of AI/ML algorithms has improved so much that automated QC systems can now detect language in any audio track with an accuracy of more than 90%,” he adds. One of the key aspects of AI and ML is that training these models only takes a few hours. After the training is over, AI technology can predict the dialect spoken in the audio track. Following this, using the metadata, content creators can verify that the detected language in the audio track is correct. When AI and ML was fi rst used for speech to text, it was crude in its lexicon as well as raw speech to text capabilities. Over time the engines have gotten far better with training. The next challenge may be with real-time translation between languages, since the word order can vary between diff erent languages across the globe. At the moment word-for-word translation is the norm. However it should be noted that the meanings could be somewhat lost in that process. “Expect a future to include better adjustments for word order between languages, while always being cognisant in live real-time translations that it’s not always possible to wait for an entire sentence to be delivered before translations. Like all things, compromise will likely be part of future implementations,” notes Bennet. THE INTELLIGENCE OF AI/ML ALGORITHMS HAS IMPROVED SO MUCH THAT AUTOMATED QC SYSTEMS CAN NOW DETECT LANGUAGE IN ANY AUDIO TRACK WITH AN ACCURACY OF MORE THAN 90%. By 2026 the number of SVOD subscriptions is expected to reach 1.64 billion globally — an increase of 491 million compared with 2021 Furthermore, open platforms like YouTube and TikTok also rely on closed captioning but are clearly not as advanced as the ones we see on OTT platforms. Over the next few years this gap is expected to be bridged. “As ASR technology improves, we will be able to handle complex content like music and noise in a better way,” mentions Samanta. According to him, with time, content creators will come to better www.digitalstudiome.com30 / DECEMBER 2022EVENT enthusiastic fi lmmakers. The star-studded red carpet welcomed over 150 cast and crew, local fi lm directors, local celebrities, and infl uencers were other highlights from the event. The festival off ered a very high quality of content, and to me, this was perhaps the most signifi cant achievement. TAKE US THROUGH META’S ASSOCIATION WITH ADVANCED MEDIA TRADING? Advanced Media Trading was the Awards and Prize sponsor of the event. So their involvement elevated the festival by ensuring all winners walked away with a spectacular crystal trophy as well as a 1000 dollars cash prize. Kaveh Farnam, co- founder and CEO of AMT, was also involved personally in the festival as a selection committee member as well as a jury in the debut fi lm categories. AMT’s involvement, in addition to providing tangible benefi ts for the festival and its winners, helped enhance the credibility of the festival, as they are the leaders in cinematography and audio-visual equipment in the region. WHAT IS THE KIND OF FOOTFALL AND PROFILE OF ATTENDEES THAT THE META FILM FESTIVAL ATTRACTED? Overall, we had over 85 nationalities in attendance, over 3000 viewers across the 3 days, and over 300 university students from several universities and various visual communication and fi lm schools who participated in the talks and workshops held at the event. GOING FORWARD, WHAT IS YOUR GAME-PLAN FOR THE META FILM FESTIVAL? Based on the positive feedback and attendance of this year, we have already started working on expanding the scope and off ers of the festival as it continues to grow. We will work on curating outstanding content, working with government partners to expand the reach of the festival. We are committed to making this into the Middle East’s best international fi lm festival and will work each year on improvements to make this festival a global contender. A STARRY NIGHT META Film Fest, the all-new fi lm festival covering the Middle East, Asia, and Africa’s fi lm industry, recently kicked off at Vox Cinemas. Broadcast media production and distribution company, Advanced Media was proud to partake in the META Film Fest as the Awards and Prize Partner. Advanced Media along with Qval Film also produced a stellar commercial for META Film festival. As the creator of the project, for Andrey Qval Kovalev who is a director and producer himself in advertising and fi lm production, this task was evidently familiar and he was able to best channel the commercial to screen. On the sidelines of the same, Digital Studio chatted with Leila Masinaei, Festival Director and Managing Partner of Great Minds Event Management, the mind behind the powerhouse event on the highlights of the event, partnerships with the above industry leaders and more networking events, and parties hosted by the festival. A noteworthy highlight was the Middle East premiere of Emily attended by Frances O’Connor for her fi rst directorial debut after a startling career as an actress in Hollywood. Another example is the panel of experts conducted by Oscar- winning producer, Andrez Gomez, renowned English director, James Hugh, and the incredible A-list Egyptian actor Ahmed Magdy discussing and sharing their expertise with young and ELL US ABOUT THE FIRST EDITION OF THE META FILM FESTIVAL AND THE HIGHLIGHTS FROM THE EDITION? Firstly, the festival is the fi rst international fi lm festival to take place in Dubai in 5 years. The winners were decided by a jury of seven, with Nujoom Al Ghanem as the head Juror overseeing the process. The event attracted fi lm enthusiasts who attended screenings, workshops, masterclasses, T www.digitalstudiome.comDECEMBER 2022 / 31 FIFA WORLD CUP SPECIAL N WHAT WAYS HAS GRAVITY MEDIA BEEN INVOLVED WITH THIS YEAR’S FIFA WORLD CUP? Gravity Media is thrilled to be involved with this year’s World Cup which will see the Gravity Media teams from across the UK and Qatar joining forces to support both the LOC and unilateral broadcasters with a variety of broadcast equipment and crewing services across multiple locations in Doha, Qatar. Gravity Media will also be providing a large team of talented individuals to produce several studio-based shows focusing on the big stories at the tournament, as well as bringing to life the thrilling excitement of the fan park. Adding to Gravity Media’s previous World Cup pedigree, Gravity Media is proud to be a go-to media and broadcast partner having worked across the last fi ve events ensuring comprehensive broadcast solutions at the 2002, 2006, 2010, 2014, and 2018 editions. HOW IS GRAVITY MEDIA PLANNING TO ENHANCE THE AUDIENCE EXPERIENCE FOR THE FIFA WORLD CUP BROADCASTS? With the countdown offi cially on, the Gravity Media team has been busy equipping the host stadia with permanent broadcast and communications infrastructure fi t for such a large-scale high-profi le event and for numerous years to come. Gravity Media was commissioned to support the redevelopment of several brand-new stadiums including the Khalifa International Stadium in Doha, as well as the Al Bayt Stadium, Ahmed Bin Ali Stadium, and the Al-Thumama Stadium. Throughout the stadiums, the team designed, installed, and commissioned the permanent broadcast infrastructure systems to enable all camera wall-box positions. Gravity Media’s high-end experience in sports broadcast and stadium integration meant the team were able to pinpoint exactly the best angles for the greatest coverage in each venue. Gravity Media’s talented production GAME FACE ON As the momentum of the ongoing FIFA World Cup in Qatar continues to enthuse fans, keeping the industry busier than ever, Ed Tischler – Gravity Media’s Managing Director and Frank Callaghan, Director - Production & Content of the company, exclusively open up on how the global provider of live broadcast and production services will power-up the mega-event with its tech and capabilities I www.digitalstudiome.com32 / DECEMBER 2022FIFA WORLD CUP SPECIAL WHAT HAVE BEEN THE LOGISTICAL AND TECHNICAL DIFFICULTIES OF COVERING SPORTING EVENTS PREVIOUSLY THAT YOU HOPE TO AVOID THIS YEAR? The World Cup tournament has a very compressed schedule at the beginning of the event during the Group Stages which extends the working day and production plans for all involved. This reduces the rigging period available to our Gravity Media team in each stadium. There are very specifi c challenges to working in this region and that is one of the reasons our clients have come to us. Our Qatar business has been established for over 15 years which means we are best placed to anticipate any challenges of meeting local permits and regulations. Our years of experience at major football events means we have a comprehensive understanding of how best these workfl ows integrate and allow us to leverage our technical expertise to drive the best value and creative work for our clients. and content team will produce shows, bringing international viewers closer to the key exciting moments during the tournament, analysing in detail the highs and lows of each fi xture. Gravity Media will also be focusing on the colour around the fan park, which will bring together thousands of fans with their own unique stories in making it to the FIFA World Cup. CAN YOU TAKE US THROUGH THE EQUIPMENT AND TECHNOLOGY BEING LEVERAGED FOR THE EVENT? Engaging fans inside the stadium is a key element of creating the anticipated excitement around match days where Gravity Media will be at the heart of the action, installing the Infotainment Systems in all the World Cup stadiums based in Qatar. The range of solutions being provided across host and unilateral coverage is both varied in its design and hardware. Gravity Media is employing state-of-the- art IP infrastructure as well as remote solutions to help broadcasters keep costs to a minimum whilst maximising their production values. Of course, all of this can only be put in motion when you combine the very best in engineering talent. Gravity Media is lucky enough to have some of the brightest talents in the industry bringing complex network and IP solutions to life allowing production teams to focus solely on the coverage of the matches. Whether that is following the announcers and entertainers or providing the replays and clip playouts to the big screens, Gravity Media innovated the system and elevated the overall engaging fan experience. In addition, Gravity Media has a newly commissioned DSNG mobile unit, Suhail which is readily available for World Cup productions. Successfully deployed at the World Cup Draw in April to support a high-profi le rights holder, Suhail can take up to eight fi xed cameras including a combination of line and RF channels as well as comfortably seat a crew of seven. In the frame: Frank Callaghan, Director - Production & Content, Gravity Media. In the frame: Ed Tischler – Gravity Media’s Managing Director. WE ARE EMPLOYING STATE-OF-THE-ART IP INFRASTRUCTURE AS WELL AS REMOTE SOLUTIONS TO HELP BROADCASTERS KEEP COSTS TO A MINIMUM WHILST MAXIMISING THEIR PRODUCTION VALUES FOR THE WORLD CUP. www.digitalstudiome.comDECEMBER 2022 / 33 Can you briefl y take us through some of the production realities of fi lming your award-winning fi lm Al-Sit in Sudan? When we shot Al-Sit in Sudan in 2020, some cast and crew members had some fi lmmaking experience, while others didn’t. I found this mixture of talents creating a communal atmosphere in which junior cast and crew members learnt from more experienced ones on set. We had to deal with issues, like electricity cuts, which were beyond our control, we became accustomed to taking a more relaxed approach to things that can and will go wrong. As contradictory as it may sound, there was something comforting in knowing that you have to work within certain constraints and that you were limited in choices. What are some visual devices you like to use in your fi lms which helps accentuate the message you wish to put across to your audience? I always enjoy making fi lms that make me feel a story as much as I understand it intellectually, which is why I enjoy making poetry fi lms: that is, to write the script in the form of a poem and to visually represent the words on screen. I made two poetry shorts, Hind’s Dream and Virtual Voice in which the poem was written in an ad hoc manner during the production process. At times, I would record a scene around a particular stanza and at others I would build the poem based on the visuals. I enjoy this fl uid style of fi lmmaking, alternating between writing and recording, which makes the whole process playful and open ended. What is the best advice you have ever received about the industry? One of the most important pieces of advice given by my mentor, Palestinian fi lmmaker Annemarie Jacir, was that while the choices you make in terms of cast and crew are based on multiple factors (talent, availability, etc.), it is key to make sure you surround yourself with people you love to work with as that has a decisive eff ect on the outcome of the fi lm as well as your own sanity by the end of it. 5 MINUTES WITH... SUZANNAH MIRGHANI, DIRECTOR AND PRODUCER, AL-SIT W I AM A HUGE FAN OF ALICE ROHRWACHER’S STYLE, WHICH CAPTURES AVERAGE AND EVERYDAY AGRICULTURAL SETTINGS BUT ELEVATES THEM TO THE SPIRITUAL BY IMBUING SCENES WITH SOMETHING OTHER WORLDLY. hat are your visual inspirations that have infl uenced your fi lmmaking? I have a wide range of visual infl uences, but my fi rst love is any fi lm that blends reality with elements of the magical. I am a huge fan of Alice Rohrwacher’s style, which captures average and everyday agricultural settings but elevates them to the spiritual by imbuing scenes with something other worldly, almost holy, in fi lms like Happy as Lazzaro. I am also a fan of classic cinema, especially 1940s Hollywood; there’s something purely cinematic and unashamedly melodramatic in those early years of the medium. Classic Hollywood fi lms fl irt between being iconic and naïve and exist somewhere in between theater and fi lm. www.digitalstudiome.com 5 MINUTES WITH... 34 / DECEMBER 2022BACK IN ALL ITS GLORY SEE YOU IN PRINT AS WELL AS DIGITALLY ON WWW.DIGITALSTUDIOME.COM digitalstudiomiddleeast digitalstudiome digitalstudiome digitalstudiomeNext >