Rigworld Training Center (RTC) has signed a partnership agreement with the « Ecole Supérieure Polytechnique » (ESP) of Senegal to improve the course content of the latter.
Under the partnership agreement, RTC will help raise the level of local skills of students in ESP to help them integrate well in the different industries in Senegal and across the world.
The signing of the agreement between the two educational institutions in West Africa here in Accra, the Ghanaian capital, is expected to offer African expertise to develop African competences to enable graduates take up emerging jobs in the oil and gas and mining industries.
“This model of partnership between African structures (Ghana and Senegal) comes at the right time to meet the challenge of vocational training adapted to new jobs emerging in oil & gas, mining etc.…,” a statement released by Daba DIENG, Rigworld Group West Africa Manager (French Territories) says.
Rigworld Training Center is a Ghanaian-owned, world-class, ISO 9001:2015 Oil and Gas accredited safety training center that excels in providing a range of client focused safety training services and products to the offshore and onshore oil and gas, maritime, underwater, construction, and general hazardous industries.
To extend its operations to other African countries, Rigworld Training Center recently opened a new branch in the Senegalese capital, Dakar.
The « Ecole Supérieure Polytechnique » is a public institution with a regional vocation, attached to the Cheikh Anta Diop University of Dakar, Senegal.
The ESP’s mission is to train both theoretically and practically which cover different technical and management fields.
It also offers training for people who want to improve themselves in their professional fields or learn new skills altogether.
By Roger A. Agana
Africa Gears Up For Digital Boom.
The International Confederation of Societies of Authors and Composers (CISAC) recently released its annual Global Collections Report, which detailed how digital revenues accounted for a little over 19% of all global music collections.
This translates to over €1bn ($1.1bn) in additional collections over the last four years. Chief among the reasons for this growth in collections is the formation of digital licensing hubs across multiple regions. These hubs allow for the centralising of processes and licensing activities as a direct response to the increase in digital consumption of music.
Streaming has given rise to an unprecedented amount of music consumption, which necessitates a change in how collective management organisations (CMOs) license their repertoire. Ease of access to repertoire on a multi-territorial basis is a now key requirement for many licensees. Hubs provide this much-needed convenience while also minimising the admin of duplicating licensing efforts in multiple territories thus allowing digital service providers (DSPs) the time to focus on growth.
In line with these global developments, the Composers, Authors and Publishers Association (CAPASSO) has for the past few years spearheaded the consolidation of pan-African repertoire and rights into a centralised licence. This has resulted in the formation of a unique pan-African licensing hub. The hub comprises 17 CMOs across the African continent and offers licensees repertoire on a multi-territorial basis in order to facilitate ease of access to a high-potential emerging market.
Africa’s digital collections over the past four years have seen a 32% growth. As a continent with a very young population and high smartphone penetration, the potential for even more growth cannot be overstated. In fact, one territory in the region is showing this potential with subscription streaming already accounting for 49% of all mechanical rights collections in South Africa. However, the rest of the continent has not quite taken to subscription streaming with the same vigour such that the potential for growth is immense.
“We are of the belief that Africa is on the brink of a streaming boom," CAPASSO chief operations officer Wiseman Ngubo said. "Our numbers indicate that streaming revenue across multiple territories in the region, excluding South Africa, has had an increase of over 62% year on year. This signals the readiness and the appetite for streaming, thus we as CMOs must gear up to facilitate that access. This growth is directly attributable to the consolidation of rights and repertoire via the hub. Even in South Africa where there is positive penetration, there is still huge potential for growth”
Countries that are currently participating in multi-territorial licensing hub include Algeria, Burkina Faso, Nigeria, Kenya, Ghana, Senegal, Rwanda, Cape Verde and Namibia, among others. The hub offers what is effectively the most comprehensive repertoire licence available in the region, thus making access to the region simpler.
To date, the hub has entered into multi-territorial agreements with various DSPs including the likes of Apple Music, YouTube, Facebook and Spotify. Regional DSPs such as Boomplay, Udux, Music Time, Mdundo and others have also been licensed on a multi-territorial basis via the hub.
In addition to providing an easy route to market for DSPs, the aim of the hub is to provide African songwriters with a reliable way to get fair royalties for use of their music.
Sheer Publishing founder and managing director David Alexander commended the formation of the licensing hub.
“Central to the success of the African Licensing Hub is the concept that the African CMO becomes the hero of this story," he said. "Currently the majority of African CMOs have limited success in licensing and distribution according to usage, which results in many of their economically successful members joining CMOs in Europe or the US.
"The African Licensing Hub proves that with decent repertoire data, the African CMOs can collect and distribute accurately to their own members, which starts a positive cycle of new members joining and providing their repertoire to the CMO, which results in better payments and services to local members.”
Although there is some work ahead given the continent’s challenges, the hub’s activities to date signal a clear message that Africa is indeed open for business.
CAPASSO CEO Jotam Matariro said: “Setting up the hub and putting licences in place is only but the first part of the process. We now need to encourage all our composers across the continent to provide metadata, which is key to collections. Without metadata, we will not be able to benefit from the licences that we have put in place, as collections are based on the works' information that we are able to identify from the massive reports that the DSPs provide to us on a regular basis. We therefore call upon all music authors and composers as well as publishers across the continent to notify their works so we can make this process beneficial to all.”
To paraphrase the musings of US business journalist and media publisher Susan Butler in Music Confidential, “Think regional hubs. Get connected to more established hubs already, and stop wasting money by thinking that what you have in your database is a proprietary domain of your collective that must be protected at all cost.”
The African Licensing Hub sees African CMOs move towards this collective understanding, and with discussions in progress with many more potential CMO partners on the African continent, the idea of a one-stop African digital licence for music users is no longer a dream but a reality in progress.
South Africa Music Rights Launches App To Track Songs Airplay.
The South African Music Performance Rights Association (SAMPRA) has launched a mobile app aimed at helping its members with quick access to news, updates, information, real-time support, membership applications and the registration of works.
The SAMPRA said the development of the app was driven by the desire to ensure that the association could reach its members through strong digital infrastructure. The mobile app is available for download on the App Store. A version via Google Play will be added soon.
“We want our members to know that we value them and that we will keep adding convenient platforms that they can use to access the organisation,” SAMPRA CEO Pfanani Lishivha said. “Our purpose as an organisation is very clear to all of us and over the past few years we have purposefully entrenched a culture of continuous improvement in team SAMPRA.
“We believe that technology is an enabler of change, of progress and of innovation. With this app, we want our members to get a glimpse of the Fourth Industrial Revolution through us. The SAMPRA app is Africa’s first CMO [collective management organisation] app and we are thrilled to be giving our customers our critical services in the form of an icon on their mobile devices.”
SAMPRA said the app was intended to create customer convenience so members could gain access anytime and anywhere.
“Research has shown that app use and engagement can go as high as 90% where an app user believes that the app adds value to their daily lives,” SAMPRA said. “One of the key features of the SAMPRA app is the Live Chat option, allowing members to engage directly with a SAMPRA consultant in real time.
“This means that members, especially artists, will no longer need to go to SAMPRA offices. Artists can also expect features like the ability to upload images and documents, a direct Email Us option, the ability to update their personal information, and be assisted with royalty queries.
“SAMPRA has created internal processes that will support the functionality of the app. A dedicated team has been assembled to handle all app-related queries, which will significantly shorten the time that a customer takes to perform certain tasks. This will ultimately improve our aim to increase customer-organisation engagement.”
SAMPRA is a CMO that administers neighbouring rights on behalf of recordings artists and record companies. This is done by licensing music users such as radio broadcasters, retailers, pubs, clubs, restaurants and other businesses that use music as part of their business models. The licence fees collected from these establishments are then processed and paid as music royalties by SAMPRA.
SAMPRA is a collective licensing society of copyright owners of music sound recordings. Its mandate is to collect and distribute royalties to the members of the Recording Industry of South Africa (RiSA) whenever their recordings are broadcast, diffused or communicated to the public.
SAMPRA issues licences to South African radio broadcasters who use sound recordings (records, tapes, CDs) in SAMPRA's repertoire in their transmissions. SAMPRA also licenses shops, restaurants, pubs and clubs and other music users who render sound recordings in SAMPRA's repertoire audible in public. The SAMPRA licence enables music users to play literally millions of sound recordings on their business premises.
Huawei Mate 30 Pro floors iPhone 11 Pro In New Camera Test.
Apple‘s iPhone 11 Pro is now seen as one of the very best smartphone snappers on the planet.
This device comes with a primary camera, a telephoto, and an ultra wide-angle – each with 12-megapixel sensors. Of course, the device isn’t all about the hardware, there’s a ton of software ticking along behind the scenes, too. Apple’s new flagship has three software staples: Smart HDR, Deep Fusion and Night Mode. In a nutshell, Smart HDR will make sure photos taken outdoors aren’t blown out and that shadows are brightened up and feature more detail overall.
As the name suggests, night mode is leveraged when light is scarce – it works by taking a longer exposure that gives the iPhone 11 precious time to take multiple photos at varying exposures before stitching them all together.
Although Apple has crammed the iPhone 11 Pro with new camera hardware and software, it may not match the photographic prowess of Huawei’s Mate 30 Pro, according to DxOMark.
Who are DxOMark? Well, they’re a publication based in Paris that are renowned for conducting meticulous smartphone camera tests and awarding a final numbered score based on performance.
The outlet has finally issued its verdict for Apple’s iPhone 11 Pro. The device was handed a figure of 117 – that’s a hight a score but it hasn’t beaten Huawei’s Mate 30 Pro that sits joint first in its rankings with 121.
DxOMark praised the iPhone 11 Pro for its superb still image quality and video capabilities. However, the publication insisted the device is outclassed by the Mate 30 Pro in low-light, most likely because Huawei’s device has a much larger sensor overall.
DxOMark said: “With an overall DxOMark Camera score of 117, the Apple iPhone 11 Pro Max secures itself a top 5 position in our current ranking. Its Photo score of 124 puts it among the best for still images, and it shares the top spot for Video with the Xiaomi Mi CC9 Pro Premium Edition.
“The camera performed very well in our tests in pretty much all areas, but some challenges remain. Still images generally show very good exposure. Dynamic range is very wide in bright light and under indoor conditions, but some highlight clipping is still visible in very difficult scenes.
“Overall, the iPhone is among the very best for exposure; it’s only in very low light when can’t keep up with devices with larger image sensors, such as the Huawei Mate 30 Pro. Like previous iPhone generations, the 11 Pro Max also scores very well for colour and is among the best in this category in all light conditions.
“A slightly greenish cast is visible in some indoor scenes and in our lab tests, but overall colour tends to be very pleasant: a slight yellow cast gives some scenes a warm feel and works very well for skin tones in portraits.”
Even though DxOMark claims the Mate 30 Pro has a better camera system overall, the iPhone 11 Pro remains the only phone of the two you can buy right now.
Although Huawei revealed the Mate 30 Pro at a glitzy hardware event in September, its European release remains elusive. There’s currently no word on when it’ll finally arrive.
The US’s trade ban on Huawei is the most likely to blame for the delayed-release. This prevents Google from granting the Mate 30 Pro an Android licence, therefore the device can’t come pre-installed with Google apps and services like the Play Store, Gmail, Chrome and Google Maps.
With the results of the DxOMark test in, there’s still clearly some things that Apple could improve on when it launches the iPhone 12 next year.
APPLE RECOMMENDS: Best Apps For Work And Play
Apple has held an event to crown its favorite iPhone, iPad and Mac games of the last year. If you’ve been swiping around your home screen looking for something fresh to cheer-up your gadget, this could be the perfect time to download a new application to make you more productive, or an award-winning game to help pass the time on your commute.
Apple has decided to highlight a number of different apps, from stylish games – like Sayonara Wild Hearts on iPhone – to practical workhorses – like Affinity Publisher on Mac. Although there isn’t anything controversial here, the judges’ picks should throw the spotlight on smaller developers who might not crack the Top Ten on the App Store, but that millions of iPhone, iPad and Mac owners might find useful or entertaining to use every single day.
The App Store is a serious phenomenon. The digital store, which is used to download all applications and games on iPhone and iPad hardware, has earned developers $120 billion worldwide. Although Mac users can download software from other sources, there is still a curated App Store where the applications are vetted by Apple’s famously strict rules. Apple Watch owners recently gained the ability to search their own dedicated App Store and download and install apps from their wrist following the launch of watchOS 6.
Arch-rival Google recently announced its own picks of the Best Apps of the year. Although there is a lot of crossover between the App Store and the Google Play Store (the equivalent for Android smartphones and tablets), both have a number of popular exclusives.
Apple has also published a definitive list of the most popular apps downloaded from its App Store over the last 12 months, too. This allows some of the most widely-downloaded software – like Facebook, WhatsApp, TikTok, and more – that wasn’t fortunate enough to get a spot on the podium during Apple’s awards can still get some recognition.
And speaking of awards, Apple has just hosted its first-ever Apple Music awards. The show was designed to celebrate the best musical talent that has been streamed on the music service, which directly competes with Spotify and is available on all Apple hardware as well as Android smartphones and tablets.
Here is the full list of the winners of the Best Apps Of The Year, as chosen by Apple:
iPhone App of the Year: Spectre Camera
iPad App of the Year: Flow by Moleskine
Mac App of the Year: Affinity Publisher
Apple TV App of the Year: The Explorers
iPhone Game of the Year: Sky: Children of the Light
iPad Game of the Year: Hyper Light Drifter
Mac Game of the Year: GRIS
Apple TV Game of the Year: Wonder Boy: The Dragon’s Trap
Apple Arcade Game of the Year: Sayonara Wild Hearts
Top Free iPhone Apps
YouTube: Watch, Listen, Stream
TikTok – Make Your Day
Gmail – Email by Google
Google Maps – Transit & Food
Amazon – Shopping made easy
Top Paid iPhone Apps
Dark Sky Weather
The Wonder Weeks
AutoSleep Tracker for Watch
Afterlight – Photo Editor
Toca Hair Salon 3
Top Free iPad Apps
YouTube: Watch, Listen, Stream
Amazon Prime Video
Hulu: Watch TV Shows & Movies
Gmail – Email by Google
TikTok – Make Your Day
Top Paid iPad Apps
Toca Hair Salon 3
Toca Life: Neighborhood
PDF Expert 7: PDF Editor
Top Free iPhone Games
Mario Kart Tour
Color Bump 3D
Call of Duty: Mobile
BitLife – Life Simulator
Polysphere – art of puzzle
Top Paid iPhone Games
Bloons TD 6
The Game of Life
Bloons TD 5
Grand Theft Auto: San Andreas
Speaking about the awards, Apple Senior Vice President of Worldwide Marketing, Phil Schiller said: “Developers around the world inspire us all with innovative apps that have the power to influence culture and change our lives, and this year that is as true as ever.
“The 2019 App Store Best Apps and Games winners reflect our global desire for connection, creativity and fun.
“We are excited to announce such a diverse group of 2019 App Store winners, showing that great design and creativity comes from developers large and small, and from every corner of the world. We congratulate all the winners and thank them for making 2019 the best year yet for the App Store.”
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