IBC honours wildlife programme makers and broadcasters worldwide
Date: Tue, 09/13/2011 - 18:14
The two major honours in this year’s IBC Awards were for exceptional achievements in wildlife television
The International Honour for Excellence was presented to Sir David Attenborough for almost six decades of pushing forward the boundaries of natural history programmes, and a Special Award went to Atlantic Productions for its stunning film Flying Monsters 3D.
Other awards went to broadcasters from around the world: CNN and CNBC from the USA, NHK (Japan Broadcasting Corporation) and a new entrant in terrestrial television, communications company DNA in Finland.
“It is clear that the IBC Awards have a strong and special place in the industry, because of the passion we see from even the world’s biggest broadcasters when they win,” said Michael Crimp, IBC’s ceo. “The reason they are so highly regarded, and so sought after, is because each celebrates the way that advancing technology serves the programme maker to create and deliver content to delight the viewer.”
IBC International Honour for Excellence
IBC’s most prestigious award went this year to Sir David Attenborough for his lifetime’s work. He joined the BBC as a trainee director in 1952, and since then has taken emerging technology – and sometimes driven technological change – to find ever-more immersive ways of telling the story of the natural world.
At the age of 85 he is still active, and as keen as ever to harness the latest technology. He was unable to be at the ceremony, but in a video message he told the IBC audience “Programme makers like me depend on technology, and technologists have provided us – year after year – with new opportunities, new possibilities.
“It has been up to us to make the best of these new advances, and if this award is to suggest that I have done that, well then I am very complimented. I am also very grateful because without technology – without you – we wouldn’t exist.”
The award was accepted on Sir David’s behalf by Anthony Geffen of Atlantic Productions. The two are working closely together on a series of 3D programmes. He told the audience at the IBC Awards Ceremony “Two days ago I was filming one of our latest projects – Kew Gardens 3D – and David got his hands on a robotic 3D shooting helicopter. You can imagine how much fun he had with that. I think he cleared the visitors out of the whole place, flying low and swooping across the glass house.
“I’m absolutely delighted to collect this award on his behalf,” Geffen added. “I want to thank IBC because I know it has made him extremely delighted to be given this award from the technical side of broadcasting. Thank you very much.”
IBC Special Award
In a surprise announcement at the end of the ceremony, IBC made a Special Award to Atlantic Productions for its remarkable film Flying Monsters 3D with David Attenborough. Anthony Geffen returned to the platform to accept the award, flanked by representatives from Sky which commissioned the programme and post-houses Onsight, and SGO. Onsight finished the film using SGO Mistika editing and compositing platforms, combining 4K 3D life footage with computer graphics.
Sir David Attenborough had revealed earlier in the ceremony that he chose the subject because he knew that, given the cumbersome nature of 3D camera rigs at present, starting the story with fossils was a safe option. The stunning computer graphics bring the fossils to life, to tell the story of the pterosaurs who soared above the dinosaurs. With some having wingspans of as much as 12 metres, they truly were flying monsters.
Accepting the award, Anthony Geffen said “It means a huge amount to Atlantic Productions to receive this from the technical world of broadcasting, because it’s only the collaboration of content and story-telling combined with the technology that is going to allow 3D to take off in the way it needs to.”
He added “Thank you finally to IBC for creating such an important forum for 3D. The debate and discussions that go on here are going to push us to new heights.”
IBC Innovation Awards
What makes the IBC Innovation Awards so unique, and so sought after, is that they are awarded not for pure technology but for its application. The honour goes to the broadcaster or media enterprise for a project which drives their creativity or commercial efficiency forward.
This year’s winner for innovation in content creation was CNBC, which has developed a new and effective way of getting presenters involved in business graphics. Both the presenter’s hand and the Steadicam have markers, tracked by cameras in the lighting grid. Motion Analysis and Unreel collaborated on the technology to precisely place the presenter in a three dimensional space, allowing him to pull charts – created by Brainstorm graphics – out of the air.
Three more projects were highly commended and welcomed onto the stage: Onsight and SGO for the post production on Flying Monsters 3D, RIA Novosti in Moscow for its YouReporter citizen journalism initiative, and Dorna Sports and Grass Valley for clip tracking on MotoGP.
Taking the award in content management was CNN. Its major production centres handle huge amounts of content, with as many as 90 simultaneous feeds and 20,000 new assets a week. Working with Adobe, Apple, IPV, Omneon, Sony, Vizrt, JVC and Telestream they have created a unified asset handling system.
Highly commended projects in this category were from the BBC with its Jupiter Tools for journalists in the field, Rogers Media for its use of Quantel Q Tube to share content across its Canadian production bases, and ProSieben.Sat1 Produktion for its new playout and asset management facility developed by IBM.
The third category is for content delivery, and highly commended were Warner Bros. for its DETE (digital end to end) network, developed with Accenture and AmberFin; and TV Globo, whose Metroethernet project provides fibre connectivity between its five production centres in Brazil.
The winner was Finnish communications specialist DNA, which set up a new terrestrial transmission network using DVB-T2 in a single frequency network configuration and using its existing cellular telephone transmitter sites. They worked with Ericsson, Teamcast and Plisch to roll out its HD services in a very short timescale.
At IBC2010 an Innovation Award went to the newly developed DVB-T2 standard. DNA saw that it offered the potential to realise their ambitions, and set about pushing the standard to its limits. This impressed the judging panel, and they also awarded the project their prestigious Judges’ Prize.
Pekka Väisänen of DNA told the audience in the Awards Ceremony that the project was “a wonderful example of how an international team of true technologists can, by working together, push back the boundaries of broadcasting science.”
IBC Best Conference Paper Award
From the papers which are selected for the technical part of the IBC Conference, the peer review panel choose each year the one which they think embodies not just the best science but conveys the information in the clearest and most direct manner.
The IBC2011 Best Conference Paper Award was accepted by Yukihiro Nishida on behalf of a group of his colleagues at NHK (Japan Broadcasting Corporation). The paper looked at their research into the limits of human perception, which in turn led to the parameters of the Super Hi-Vision television system.
“I am extremely honoured that this prestigious IBC award has been given to our paper,” he said. “The development of Super Hi-Vision is intended to provide a new immersive experience for viewers. Its video parameters have been designed on the basis of psychophysical studies of human vision conducted at NHK Science and Technology Research Laboratories and described in our paper.”
IBC Exhibition Design Awards
Recognising that a great exhibition is a partnership between the organisers and the exhibitors, IBC presents awards for the best stands. Every one of the 1,300+ stands in the exhibition is visited by the judges, who select the winners from those whose stands are most welcoming, accessible and clear about the products and branding.
For shell scheme stands, where exhibitors have just a few seconds to make an impression on the passing visitor, the award went to Phabrix, with commendations to Trivis and Marquis Broadcast.
Among the smaller free design stands Tangent Wave’s mock-medieval design took the award, with Thales Angenieux and PayWizard highly commended. And from the larger stands, of 100 square metres or more, while SES Astra was highly commended the award went to Christie, described by the judges as a power design with a clear message through excellent displays.