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An African film company is gaining global attention by producing award-winning 3D animation titles made from an African perspective.

TransTales Entertainment was started in 2005 on a budget of less than $5,000 by Segun Williams and Obinna Onwuekwe, and is the first film company to produce African themed 3D animation films to fill the void in animation with myriads of authentic African stories.

The titles produced by TransTales are widely acclaimed by industry experts and the animated series 'Mark of Uru' recently won the United Nations World Summit Award for the use of technology to promote African culture.

According to the UN World Summit Awards website, 'Mark of Uru' is an exciting web-based animation series combining digital expertise with local folk story, imagery and culture.

'Mark of Uru' is written and directed by Obinna Owuekwe and produced by Segun Williams. Owuekwe also lends his voice to two of the characters: The Warrior and Isi Agu. The costumes and makeup are authentically African and the series has a woman empowerment theme embedded in it. The voices also feature varied accents, mostly Igbo and Efik from West Africa.

According to TransTales, very few countries rival the diversity of Nigeria across the world; with 250 ethnic groups, 500 languages and a population of over 160mn.
"Such diversity brings with it unique experiences and stories that need telling. While Nigerians have explored film, music, arts and literature to tell their stories, animation has been absent; but this is about to change."

In 'Mark of Uru', Azuka is a girl born with a birthmark identical to the tattoo of a sinister sorceress Uru, who died long ago. Despite her mother's effort to conceal the birthmark, it is eventually discovered, and the annihilation of the child becomes imminent, in order to protect her people from the curse of Uru. The intervention of the earthbound elemental spirit Isi-Agu and his protégé Etido forestalls Azuka's execution. She is taken to a sacred mountain well beyond the reach family, friends and foes. The moment she grows into a woman under the protection of Isi-Agu and Etido, the news of her survival sparks a deadly manhunt initiated by people bent on her annihilation. With the assistance of a band of outcasts, she embarks on a gruelling journey, through the most treacherous terrains to unravel the mystery behind her bizarre birthmark.

IMAGE: TransTales, Animation/Mark of Uru
CAPTION: A scene from the award-winning African animation series 'Mark of Uru'

Egripment BV, a leading company in the field of Camera Support Equipment for both the Film and Television Industry have showcased a variety of new developments.

TDT Encoded System
A high quality Encoding Package that can create all kinds of Augmented Reality such
as realistic backgrounds, virtual advertisements or virtually created figures that
interact with a real person. Easy to integrate with the graphics software of leading
manufacturers of virtual studio systems and graphics systems.

- ProTraveller System
A new jib / crane system for the Prosumer type cameras and budget. No mounting is
impossible and the ProTraveller system is very easy to transport.

Focus Dolly Light + Aluminum Pack Track
Based on the proven concept of the classic Focus Dolly the new Focus Dolly Light is a
complete, lightweight, ultra-portable dolly for track use. For instance with our very
durable, lightweight and strong anodized Aluminum Track.

305 Remote Head
A compact and completely noddle Remote Head. The 305 is very fast and offers the
smooth response and reliability that Egripment heads are known for.
Besides these new developments, our extensive range of cranes, dollies, remote heads and
accessories provides an answer to every possible need.

 

Every generation of humanity since the invention of photography has experienced stereoscopic photographs and cine films, enjoying the images but then returning quite contentedly to 2D.

Why mobile TV looks set to be more successful in Africa than developed markets. In developed markets such as Europe and the US, mobile TV success stories have for some time eluded operators. Operators have offered services based on new mobile television networks, such as those enabled by DVB-H and DMB. In Europe, DVB-H was endorsed as the standard, supposedly clearing the way for mass market adoption. 

Operators have also experimented with delivery of video services over 3G, which has raised serious concerns over network scalability. Despite these efforts, mobile TV remains somewhat of a niche service in these markets.

In emerging markets, however, a very different picture is emerging. As mobile phone penetration rates accelerate in these regions, millions of low-cost, free-to-air mobile TV enabled handsets are being sold. In these competitive markets, being able to offer features such as free-to-air mobile TV helps operators to win customers and reduce churn.  Because the mobile TV is delivered by free-to-air broadcast, no investment is required in standards, infrastructure, spectrum or content. And for the consumer, the value of convergence between free-to-air broadcast TV, which for many is a primary source of information and entertainment, and a handset offering voice and data services, is high.

As TV handset penetration increases in these markets, the socio-economic implications of so many individuals gaining personal access to TV are only just being realised. 

Free-to-air TV is popular in Africa, but access to it is still limited in many areas. This is due to a low ownership rate of TV sets and unreliable power supplies in many homes. The widespread availability of free-to-air mobile TV enabled handsets addresses both of these issues however. Viewers are able to charge their phones in one location, whether at work or at a recharging station, and then watch TV later, either at home or elsewhere.

This trend has important implications for culture and education. The availability of schooling is very limited for much of the population, especially in the sub-Saharan nations. Even where it is available, it tends to only serve younger children. Conversely however, significant amounts of educational content are available on live broadcast television and free-to-air mobile TV enabled handsets provides access to this – not quite classroom tuition but an important means of education nonetheless. In addition to the dedicated educational programming, users of mobile TV are also able to access news, current affairs and weather reports. This kind of content can offer important practical advantages to viewers in Africa.

By providing many individuals with access to culture and knowledge outside of their immediate environments, TV equipped mobile handsets become more than an affordable gadget – they become an educational and enabling force.

These are the views of Diana Jovin, VP of business development and corporate marketing at Telegent Systems, the company that makes television mobile. Telegent, which sells its free-to-air TV receiver chips predominantly for mobile handsets destined for the emerging markets, has seen a significant uptake of its free-to-air analogue mobile TV products, shipping a record 90mn mobile TV receivers in the first three years following their introduction and more than a million per week since then.

BA_HDN_Chris_Jaeger

The phenomenal growth of mobile wireless broadband services will propel digital broadcasting into a new era, says network specialist Broadcast Australia. Driven largely by popular consumer devices such as the Apple iPhone, consumer expectation for next-generation services—including television—on portable and mobile devices will prompt savvy broadcasters to re-examine network design and operation.

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