Health With Love Life, Stop Aids, the FOPH and Euro RSCG are following the natural brand evolution of "Stop Aids". "Switzerland is in the stage of a concentrated HIV epidemic", according to the World Health Organization (WHO). The Federal Office of Public Health (FOPH) makes the development clear: while the number of new AIDS cases per year declined between 1995 and 2002, the number of new diagnoses has been increasing again for the past two years. Whereas anti-
retroviral therapies have greatly reduced the mortality rate of HIV-positive people, this appears to have stagnated since 2001. The number of positive HIV tests has been rising for four years - by around 25 percent in 2002 - and stabilized again at a "high level" in 2003/04. In a European comparison, Switzerland is affected above average.
Regular, representative postal tests show that the Stop AIDS campaigns consistently have an acceptance rate of a good 70%. Recall rates have so far been better than approval rates - with 92% recall among the young segment, the yellow and black campaign set a new record for the industry. Due to the apparently renewed willingness to take risks, prevention remains an urgent priority.
Raising awareness among young peopleThe use of condoms and the Stop Aids brand are now well established thanks to the prevention efforts of the last 18 years. Nevertheless, the challenges remain great: since the virus has become treatable, HIV and AIDS have become less topical and less of a threat, but the isolation of those affected has remained. At the same time, fewer resources are available for prevention due to general cost-cutting measures. And finally, the Stop AIDS campaign must also succeed in sensitizing the younger generation to the issue. The FOPH has responded to these challenges with a new direction and - after 18 years with the agency cR DDB Basel - a new agency: Euro RSCG. The focus is on the sexual health of the population. The campaign aims to create new topicality with positive provocations, increase the involvement of the target groups and the emotionality of the messages.
For the 05/08 campaign message, those responsible chose the greatest common denominator: the timeless and universal desire for a carefree love life. The heart of the campaign, "Love Life, Stop Aids", is intended to reflect this attitude and be anchored as a symbol of positively experienced sexuality. The standard messages are intended to convey knowledge and trigger concrete action. The focus is on the broad penetration of the safer sex rules. The team of Frank Bodin, Petra Bottignole and Serge Deville implemented the messages "Always use a rubber for penetration" and "Don't put semen and blood in your mouth" with two behavioral tips.
These appeals have been integrated into most communication media. The media strategy was also adapted with the realignment. "We mainly focused on TV and cinema spots because they do justice to the emotional message and best achieve segment and reach targets," says Bodin. A national poster campaign, which kicked off with a teaser ad and introduced the focus on safer sex rules, will round off the campaign. Adapted to the specific target groups in terms of tone and approach, the campaign will be rich in facets.
What is striking about the new "Love Life, Stop Aids" campaign is the partner marketing and celebrity approach. The two Hollywood celebrities with Swiss roots, Marc Forster and Renée Zellweger, were among those recruited for the launch at the end of April. Graham Chapman - co-founder of Monthy Python, who died in 1989 - can also be counted as a major figure in this series. His "The Meaning of Life" is the source of the bizarrely amusing excerpt from the cinema spot in which "The man who always uses a condom" is pursued by a horde of half-naked, helmeted women. The TV commercial is no less taut in its surroundings: in it, women process certain foods with stern expressions - the symbolism speaks for itself. The solution: men who want to do it without a condom are not particularly popular.
A bizarrely amusing movie spot: the excerpt from Graham Chapman's (Monthy Python) legendary "The Meaning of Life".

Launch with stars: Renée Zellweger and Marc Forster were recruited for the Aids campaign.
The "Love Life, Stop Aids" campaign stands for the desire for a carefree love life.
With the Love Life, Stop Aids campaign, the FOPH and Euro RSCG want to provoke a positive response and create topicality >> page 10
Luca Aloisi

Performance The Moscow print shop Extra Print set a record of a special kind: The counter reading of its Printmaster QM 46-2 moved up to 90 million sheets.Heidelberger Druckmaschinen AG delivered a two-color and a single-color QM 46 press to Russia just under three years ago. The two presses have a total output of 130 million sheets.

Distribution battle Bank Coop had nothing to fear on May 1, writes Ruf Lanz in the WOZ. The advertisement could have been true - but fortunately, May 1st was largely calm this year. So rather than gloating over broken glass, it is simply a good idea that Ruf Lanz has used to advertise the Coop bank with a May Day theme. The positioning "a decent bank" is illustrated with two pictures of the same shop window. The first picture was taken before Labor Day. The second was taken after the day of the demonstrations that did not take place. The message is crystal clear: "Bank Coop does not ignore social and ecological values." And thus also convinces "bank-critical contemporaries". The ad appeared on May 5 in WOZ, a title that, according to CD Markus Ruf, "shines with an anti-capitalist price-performance ratio and has a readership that has money but wants to invest it sustainably." WOZ acquisition manager Kilian Gasser is also delighted: "This is the first time that an event-related single placement for a major advertising client has appeared in WOZ. It goes without saying that we would like to see more customized appearances like this. We would be predestined for this."
No problem on May 1: the advertising shows that Bank Coop also convinces critical contemporaries.
Andreas Panzeri

Pay-TV The cable network operator Cablecom is expanding its digital television offering and from May 11, the most important analog TV channels will also be transmitted digitally and can therefore be received directly via the Cablecom set-top box. At the same time, the preview of the electronic program guide will be extended from two to eight days.

Prepress Hans Feyh will take on an international management role in Global Key Account Management at the Agfa-Gevaert Group's headquarters in Mortsel/Belgium in the Graphic Systems business group at the beginning of June. At the same time, Moritz Rogger, currently Managing Director of Agfa Germany and Agfa Switzerland, will take over the management of the Graphic Systems Business Group in both countries.

Publishers After 20 Minuten, Tamedia integrates Finanz und Wirtschaft. Newspaper takeovers without at least partial incorporation into the parent publishing house are as rare as sermons without an Amen. The most acquisitive media company in German-speaking Switzerland, the only one listed on the stock exchange, is no exception. And Tamedia is acting quickly: 20 Minuten was transplanted from its little garden in Oerlikon to the glass greenhouse on Werdstrasse less than six months after the early complete takeover (see box). The integration of the back office areas of the stock market journal Finanz und Wirtschaft (FuW) is now also taking place just a few months after the final withdrawal of its longstanding publisher Gerhart Isler. In the case of FuW, its first victim is Peter Bohnenblust. According to his deputy Peter Schuppli, Switzerland's longest-serving editor-in-chief had "different ideas about the degree of autonomy" of the specialist title that he had led in a triumvirate with Isler and Schuppli since 1976.
Kall advisor at Coninx juniorSchuppli shows understanding for Bohnenblust's decision. After all, outsourcing central services to Tamedia and external companies affects two thirds of the former 25-strong publishing house. Since the beginning of 2005, the publishing house has been managed by Martin Coninx. According to FuW insiders, the son and crown prince of publisher Hans Heinrich Coninx was also not happy about a "solo consultant from Thalwil" who was commissioned by CEO Martin Kall to scrutinize the processes and protagonists at Hallwylerstrasse. "We could have done it better ourselves," Schuppli agrees.
He explains the 55-year-old's willingness to lead the editorial team on an interim basis and to play a constructive role in Bohnenblust's succession with a "sense of journalistic responsibility" and his curiosity as to whether guarantees of independence are actually practiced by the parent company. The aim is to make a new appointment this year. To this end, he is currently working with Uli Rubner,
Tamedia's head of magazines, a list of names. No wonder Schuppli would prefer an internal solution.
Rubner cites three factors to justify the change in FuW's division following the move to the parent company: firstly, the management resources in the newspaper business are heavily absorbed by the expansion of Tages-Anzeiger (keyword "regionalization") and 20 Minuten ("St. Gallen und mehr"); secondly, FuW, which is published on Wednesdays and Saturdays, fits well into the magazine portfolio due to its publication frequency and its specialist magazines; and thirdly, as a former business journalist, she feels a personal affinity with this traditional paper.
Rubner denies strategic considerations with regard to a streamlining of the magazine market in general or a possible merger with the Jean Frey magazine Bilanz in particular. The ex-Jean Frey manager also vehemently denies that she wanted to give her segment more weight and prestige within the Group. "It was Martin Kall who suggested this allocation."
Rubner has hardly any renovation plans for the product itself despite circulation losses (2004 minus 2 percent to currently 37572 copies). "Despite the market weakness, we are in an above-average position in the advertising and reader markets. Our market research shows that the quality of FuW's content is highly appreciated. There is therefore no need for action here. We are only planning a slight modernization of the reader guidance and a few layout adjustments."
The editorial regulations are also to be adapted - those of FuW as well as those of the other Tamedia titles. Since the so-called "Huber scandal" of 1992, when the then editors-in-chief of Bilanz and FuW were found to have engaged in questionable share transactions, the business editorial teams of Tages-Anzeiger, SonntagsZeitung and Facts have been strictly forbidden from writing if they themselves own shares in a company.
FuW, on the other hand, has never officially abandoned Gerhart Isler's credo, expressed in a TV discussion in 1992, according to which "only those who know the stock market business, i.e. trade shares privately, can report on it competently". According to Rubner, a guideline is to be drawn up in the next few weeks that will apply to all Group products. This is likely to represent a compromise between the two extreme positions.
FuW interim head Peter Schupp-li, who sits with Rubner, Kall and Coninx junior in the strategy group responsible for this, advocates "opening up the industry view that is obsessively fixated on share trading" and extending the discussion to car and travel editors as well as journalistic relatives on boards of directors and management boards. In principle, Schuppli is against regulations "pour la galerie" and in favor of adhering to high ethical standards on one's own responsibility.
Climate instead of costsWhen they renovated the 2nd floor of Tamedia's headquarters two months ago
the 100-strong 20-minute crew was greeted by blue and white banners. The Annabelle editorial team's banner read "Women can and want to work longer than 20 minutes". Such a collegial wink was part of a welcome that the newcomers largely found warm.
"Initial fears of paternalism and frictional losses have not been confirmed so far," says Peter Wälty, Deputy Editor-in-Chief, summing up his experiences.
It is not the operating climate, but at most the real climate in the glass house with its poor temperature control that is causing problems. No negative effects are (yet) noticeable on the cost side either. The prices per square meter, which are around three times higher than at Oerlikon, and the new overhead costs will not be felt for 20 minutes until 2006. This was agreed in the takeover contract. (oc)
Common course: The crews of 20 Minuten and Finanz und Wirtschaft will have to get used to Tamedia's culture.
Oliver Classen

Gastronomy Eating vegetarian is actually a healthy lifestyle. But sometimes not eating is even better than eating healthily. Especially when the tempting apple serves as a target for the father's crossbow and therefore can't really be big enough. The latest motif from the Wirz advertising kitchen for Hiltl is now available as a poster, advertisement and postcard.

takes maternity leave and hands over the management of the Lucerne advertising agency Fruitcake in the fall to Crisanto Farese, who is currently working for the market researcher IHA-GfK.Michèle Frey After her maternity leave, Frey wants to return to the agency as project manager....
Silvio Galbucci takes over responsibility for the two-dimensional appearance of the Globus brand as Art Director. He gives up his advertising agency Galbucci AG in Zurich.
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Raphael Wermuth takes up the newly created position of Head of Communications at Philips Switzerland. He is responsible for internal and external communications, advertising and sponsorship for the electronics group.
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Raymond Vouillamoz has resigned as program director of French-speaking Swiss television station TSR at the end of April. The 64-year-old wants to work as a filmmaker again.
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Roland Steffen will become Head of the Publishing Division at Basler Zeitung Medien. Steffen is currently Director of Publicitas Aarau/Olten Solothurn. The exact transfer date has not yet been set.
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Creative Director Sandro Giovanoli is leaving Alex Schmid Direct, but will continue to manage projects for the dialog agency depending on the order situation. Newly on board are graphic designer Matthias Kadlubsky and copywriter Martin König.
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Since the beginning of May, Almut Berger has been working as a reporter for Migros-
magazine. Over the past five years, Berger has built up the online platform Persoenlich.com. Sabine Lüthi, currently people editor at the Berner Zeitung, will also be joining Migros Magazine at the beginning of July.

Study Women over 45 who run households are particularly fond of TV advertising: they lend it their eyes and ears for up to seven hours a month. 345 minutes a month - or 5 hours and 45 minutes: that's how much time the average Swiss German aged 3 and over spent on TV advertising alone in 2004. This amounted to a good 11 minutes per day. Advertising consumption accounts for 7.7 percent of total TV usage. A breakdown by age group reveals the following situation: children aged between 3 and 14 are exposed to 174 minutes of TV advertising per month, young people aged between 15 and 24 are exposed to 246 minutes, and adults consume an above-average amount of advertising: 25 to 44-year-olds watch 349 minutes per month, while 45 to 64-year-olds watch 376 minutes. The advertising-relevant target group of 15 to 49-year-olds, on the other hand, watch TV advertising for a below-average 315 minutes.
All of these figures emerge from a Telecontrol analysis carried out by PublicaData (PDAG) for the first time last year. It not only scrutinized the Telecontrol data, but also evaluated dozens of station logs in order to determine all advertising blocks and other forms of advertising (see box on the right) to the second. The result: In total, German-speaking Switzerland was exposed to at least 28,600 hours of TV advertising in 2004. However, only just over half (54.4 percent) of the advertising identified was intended for the Swiss. The share of Swiss advertising in the total advertising consumed was just 48% on average over the year. This means that of the eleven minutes of TV advertising consumed each day, people in German-speaking Switzerland only see around five and a half minutes per day of advertising that is actually intended for them. PDAG defines "TV advertising for the Swiss" as advertising on SRG channels, Swiss private TV stations and the advertising windows on the foreign channels RTL, RTL 2, ProSieben, SAT 1, Kabel 1, Vox, SuperRTL, MTV and M6. However, advertising that was originally intended for consumers in the country of origin and was not overlaid with Swiss advertising blocks was not counted as Swiss advertising in the analysis.
Women before menAccording to another result of the analysis, women in German-speaking Switzerland were exposed to advertising much more than men. Not only did they sit in front of the TV 12.6 percent longer on average than the male part of the population in 2004, they also consumed 384 minutes of advertising per month, 26.7 percent more than men (303 minutes). Advertising consumption is even higher among the target group of householders aged between 15 and 74, who by definition are at least partly responsible for shopping: They appear to deliberately seek out advertising, such as weekly promotions, as this is the only way to explain why they consume almost one and a half hours more TV advertising than the population average at 431 minutes per month. Managers, on the other hand, consume a relatively low level of 241 minutes of TV advertising per month.
The question remains as to what time of day the most advertising is consumed. PublicaData analyzed the representative month of May 2004 specifically for this purpose. The result is hardly surprising: most advertising is consumed between 7 and 10.30 p.m., i.e. during prime time. The total population sees 47 percent or a good 5 minutes of its total advertising usage in this time period, although only 18 percent of advertising is broadcast at this time. In contrast, the use of TV advertising between midnight and 12 a.m. is below average.
Deviations in French-speaking SwitzerlandSo far, we have only talked about the figures relating to German-speaking Switzerland, but TV advertising is also consumed in French-speaking Switzerland, and as much as in German-speaking Switzerland: the French-speaking population watches an average of 337 minutes of advertising per month.
However, there are astonishing differences between the younger age segments and German-speaking Switzerland: children in French-speaking Switzerland consume almost 30 minutes more advertising per month than their German-speaking Swiss peers. However, they also spend longer in front of the television: 95 minutes per day compared to 77 minutes in German-speaking Switzerland.
However, the age groups of 15 to 24-year-olds and 25 to 44-year-olds in French-speaking Switzerland behave differently: strangely enough, they consume significantly less advertising than their peers in German-speaking Switzerland. This is particularly surprising among 25 to 44-year-olds, whose general TV usage of 162 minutes per day is still 21 minutes higher than that of their peers in German-speaking Switzerland.
Incidentally, the differences between the sexes are also greater in Suisse romande. Women watch 19 percent more TV than men and consume 34 percent more TV advertising. In absolute figures: Men watch 285 minutes per month, women 382 minutes.
Strictly speaking - and this should be noted as a qualification - the PDAG survey did not evaluate TV advertising consumption, but merely the length of time during which advertising flickered into people's homes in 2004. It is not (yet) possible to determine with Telecontrol whether anyone was actually sitting in front of the TV during this time or whether the potential advertising consumers were taking a pee break.
These forms of advertising were examinedThe information that TV stations provide about the content they broadcast varies. Nevertheless, PublicaData (PDAG) was able to filter out 540000 advertising units from the 34 station logs analyzed last year. These can be divided into three categories: Firstly, classic advertising blocks, which in May 2004, for example, accounted for 85 percent of the broadcast advertising offer in terms of time. Secondly, continuous advertising programs such as TelesCoop (May 2004: 15 percent) were included, and thirdly, sponsorship inserts such as the sponsor clock before the SF 1 news bulletin (May 2004: 0.2 percent).
Interstitial advertising is included but not shown separately; certain special forms of advertising such as billboards or product placement are not included.
PDAG assumes that it has recognized 87% of all advertising units in German-speaking Switzerland and 81% in French-speaking Switzerland. No evaluation was carried out for Ticino. (mk)
Müller's hobbyhorseMore than a written report and a few graphics on the web at www.forschungsdienst.ch is currently not available from the PDAG evaluation. "We have not analyzed the matter in depth, knowing full well that there is still a lot of potential," says PDAG Managing Director Rolf Müller. He could imagine not only making general statements on advertising consumption, but also providing more detailed information on advertising use by channel and time of day.
It is also unclear whether PDAG will also evaluate the current year. "I believe that I will continue on this path, in any case the topic has become a kind of hobbyhorse for me," says Müller, who also emphasizes that everything is still in its infancy. (mk)
5 hours and 45 minutes: That's how long the average Swiss German spent watching television advertising in 2004.
While household heads (HHF) make intensive use of TV advertising, they care relatively little for cadres. Primetime is generally strong.
Markus Knöpfli

Video production A presentation in moving images no longer requires a large budget. Thanks to digital technology, the medium of film is open to anyone who knows how to use it. Now that digital photography has long since conquered the communications and media industry, the analog age is also passé for video productions. Film projects are now digital, from recording to post-production and distribution. Image and sound are captured with a digital video camera, edited on a Mac or PC and output to DVD or DV tape, if not distributed via the Internet. Today, celluloid is only used when big cinema is involved, as digital film has not yet been able to conquer the big screen, although it is only a matter of time before analog projectors disappear from movie theatres. Last year, Zurich's Abaton cinema dared to go digital with Roland Emmerich's "The Day After Tomorrow", and other cinemas will follow suit in the next few years, despite the high investment required. Television is also about to be replaced - experts believe that the 2006 FIFA World Cup will help digital high-definition television to make its breakthrough in Europe. In Japan and the USA, TV stations have long been broadcasting programs in HDTV (High Definition TV).
Faster and also cheaper
While the impact of digitization in private households remains limited (apart from DVDs), the consequences for content providers are far-reaching. In a conventional production with 16 or 35 millimeter film, not only the consumables are expensive, but also the camera rental and film editing. Digital production incurs lower costs. As a rule, it can be realized with a smaller team and in less time.
There are massive savings to be made in post-production, i.e. in editing and post-production. There is no need for expensive special hardware for film editing, an inexpensive computer is already suitable as an editing station. And even for optimal working conditions, you don't need a high-end workstation. In addition to the processor, a fast data throughput is crucial for performance. A Sata hard disk (for Windows users) can cope with large amounts of data and the new, fast PCI Express data bus is suitable for connecting peripherals.
Keep your eyes open when buying a camera! The camera is an essential part of the required hardware: the main focus here is on the image chip. Better quality is provided by models that capture the image with a separate CCD (see box) for red, green and blue - but only if the lens is of the highest quality. Other important factors are the size of the camera and its handiness. In addition to a reliable automatic mode, it should be possible to set the aperture and shutter speed, sharpness and white balance manually. The relevant controls must be easy to reach. The fact that the camera offers image effects (black and white, sepia, strobe, etc.) is completely superfluous - these effects can be added in post-production if necessary. Much more important, however, are a high-quality microphone that does not record the camera's own noise and a connection for an external microphone. Whether a viewfinder or (fold-out) display is a question of preference. In bright sunlight, however, cameras with a viewfinder have an advantage, as it is then almost impossible to see anything on the display.
Rewarding real-time preview
In the Apple world, tools for movie editing are supplied with the operating system. Although designed for home users, iMovie offers solid basic functions and the new "HD" version can even edit high-resolution films with a maximum of 1080 image lines. The clear user interface makes it easy to get started; compared to the much more complex professional program Final Cut, iMovie is much quicker to get to grips with.
For more demanding users who also like to work with effects, Apple offers the Final Cut Express HD editing program. The real-time preview calculates transitions, image manipulation and various filters in real time.
Apple has just introduced Final Cut Studio, a complete HD video production suite for the highest demands. In addition to the most important tool Final Cut Pro in version 5, the new software package also includes the new audio editing and sound design program Soundtrack Pro as well as a revised version of the motion graphics software Motion (version 2) and the DVD authoring software DVD Studio (version 4). The suite will be available from May. Incidentally, it requires the Mac OS X 10.4 operating system, which will be released at the end of the month.
For Windows computers, Adobe Premiere is the first choice for (semi-)professional use. Premiere Pro 1.5 also allows effects and transitions to be calculated in real time.
Adobe also offers an extensive range of video tools: After Effects is designed for the production of three- or two-dimensional video compositions and, similar to Motion from Apple, allows elaborate graphic animations. Adobe Audition 1.5 is available for editing the soundtrack - this program emerged from Cool Edit Pro, which Adobe acquired through the purchase of the software company Syntrillium. And finally, Adobe also has the right software for DVD authoring: Encore DVD. The Adobe Video Collection software package also includes Premiere Pro and Photoshop CS2.
Inexpensive top software The Microsoft platform also runs a number of inexpensive software products.
tional programs with an excellent price-performance ratio. Video Deluxe from Magix is one of the cheapest and still scores top marks in the tests of the relevant trade journals. Cyberlink PowerDirector, Ulead Videostudio 8, Pinnacle Studio and Adobe's entry-level product Premiere Elements are also inexpensive.
The entry-level editing software Premiere Elements has been available since the beginning of the year. It is easy to learn thanks to its clear interface. Premiere Elements divides the work into different steps and only shows the commands required for reading in the film material, cutting, adding effects or text panels and burning DVDs. The "Procedure" window supports the work, as do the digital assistants, which help, for example, when transferring the film material. The "One Click Capture" function enables the direct design of the film sequence by automatically separating each filmed shot as a separate clip in the timeline.
Just don't embarrass yourselfAs low as the technical hurdles are now - formally, filmmaking is and remains a demanding undertaking. Consistency is not only required for every frame (individual image in the film), but also on the soundtrack, in the sequence, in the concept and in the editing. Compared to digital photography, for example, there are many more sources of error.
It's safe to dismiss it as a PR myth when software manufacturers imply that a project is created virtually by itself thanks to clever software. As a producer, you have to reckon with critical viewers. Audiences accustomed to sophisticated imagery from television and cinema will immediately notice technical flaws; a counterproductive effect is to be expected. The message in a poorly staged play will neither be believed nor appreciated.
> Matthias Schüssler is a journalist and specialist author in Winterthur.
CCD cellCCD components are usually used in digital cameras or video cameras. These charge-coupled devices are charge-sensitive components. They convert light into electrical energy, which is then available as data. George Smith and Willard Boyle (Bell Labs) invented the CCD in 1969. (jf)
Video as a form of expression for everyone? to put it bluntly, "anyone who has something to say or show" can afford a digital video production. For SMEs in particular, this opens up new fields of communication and activity.
Video can be used in a variety of ways: for advertising or PR, documentaries or presentations. The strength of moving images is their emotional impact and authenticity. Filming is often easier than describing something. This is demonstrated by the increasing popularity of multimedia instructions. Distributed inexpensively on DVD or CD-ROM, they deal with their topic not in text form, but via video, animation or screen movie. (ms)
iMovie's manageable range of functions is sufficient for most projects.
Premiere Elements from Adobe supports the master editor with advice, assistance and a useful help function.
PowerDirector from Cyberlink impresses with its working speed; DVD authoring could be improved.
An almost unmanageable arsenal of tools for image and sound editing can be found in Final Cut from Apple.
Film editing for free: Avid brings a free video editor to the next generation of Tarantinos.
Matthias Schüssler

Digital printing The new Print Protector from digital printing system provider Xeikon simplifies the processing and handling of documents, applying a water/wax/silicone oil emulsion to both sides of digitally printed materials. This emulsion forms an invisible protective layer, thanks to which all Xeikon prints can withstand the demands of everyday use. Another advantage of the protective layer is the reduced static charge.

CD copier 7/ With the new DiscPublisherPro CD/DVD production machine, all forms of data, graphics, audio and video can be automatically stored and printed on CDs/DVDs.CD copier With the new DiscPublisherPro CD/DVD production machine, all forms of data, graphics, audio and video can be automatically stored and printed on CDs/DVDs. The device, which is the size of an inkjet printer, can produce up to 100 media "en bloc". A new technology prevents duplicate media from being accidentally fed into the burner.