TVBE January 2015 digital edition

www.tvbeurope.com

Business, insight and intelligence for the broadcast media industry

January 2015

Mobile TV The growth in video streaming and LTE Broadcast

Robotics forum Virtualised playout Designing for augmented reality Imagine where you could take your business... if technology didn’t stand in your way.

An all-new blueprint for managing, moving and monetizing video content is here. an evolutionary path that aligns current investments with the network of the future.

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January 2015 www.tvbeurope.com

EDITORIAL Executive Editor - James McKeown jmckeown@nbmedia.com Editor - Melanie Dayasena-Lowe mdayasena-lowe@nbmedia.com Staff Writer - Holly Ashford hashford@nbmedia.com NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002 Contributors Mike Clark, Chris Forrester, David Fox, Mark Hill, Dick Hobbs, John Ive, George Jarrett, Heather McLean, Adrian Pennington, Philip Stevens, Reinhard E Wagner Head of Digital - Tim Frost Human Resources & Office Manager - Lianne Davey Head of Design - Jat Garcha Editorial Production Manager - Dawn Boultwood Senior Production Executive - Alistair Taylor Publisher - Steve Connolly sconnolly@nbmedia.com +44 207 354 6000 Sales Manager - Ben Ewles bewles@nbmedia.com +44 207 354 6000 Sales Executive - Richard Carr rcarr@nbmedia.com +44 207 354 6000 Managing Director - Mark Burton US Sales - Michael Mitchell Broadcast Media International, PO Box 44, Greenlawn, New York, NY 11740 mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales - Sho Harihara Sales & Project, Yukari Media Incorporated sho@yukarimedia.com +81 6 4790 2222 Fax: +81 6 4793 0800 Circulation NewBay Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848

Welcome

Broadcast on the move The latest from the world of mobile TV, virtual reality, and robotics obile TV; virtual reality; robotics: if it all

M

sounds a bit turn-of-the-century science fiction (probably starring Tom Cruise

and Will Smith), then it’s probably because even as recently as ten years ago, much of what we now take for granted from our mobile devices was still the stuff of theory, innovation labs, and tomorrow’s world. No more is this the case.

Much of today’s research will point to the continuing relevance of the TV set as part of the every day consumption of content, and while the age of linear TV as a social event on the family calendar has been almost entirely filtered down to live events and sport (the forthcoming UK general election, and last year’s FIFA World Cup being prime examples), the pervasiveness of smart TVs and the increasing use of games consoles as a secondary, if not primary set top box, has helped to preserve the TV set as the predominant focal point of consumption.

The continuing mobilisation of this point of

the increasing importance of LTE Broadcast in

consumption gives us some food for thought:

our feature article. We will also be monitoring

how will generations far beyond our current

this space at regular intervals in our new

field of vision be consuming the content being

TVBEverywhere section, which launches this issue.

TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London, N1 8LN, England

delivered to them? What will be the delivery

NewBay Media is a member of the Periodical Publishers Association

delivery channels erode as consumers are able

TVBEurope are looking forward to bringing you

to piece together their own viewing schedules?

the best coverage of our evolving sector

This could be deemed the science fiction of our

over the coming year.

channels? Indeed, will the requirement for

It just leaves me to wish you all a fine and prosperous start to 2015, and all of us here at

I sincerely hope you enjoy this issue, and as

© NewBay Media 2014. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free.

present, but the insights we are able to glean from the current mobile TV environment offer a

ever, if you have any feedback or suggestions,

Allow 8 weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England.

ISSN 1461-4197

glimpse of how that future could be shaped.

please feel free to contact me directly.

Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA

peering into the growth in video streaming and

We tackle the mobile landscape in this edition,

James McKeown Executive Editor

4 TVBEurope

www.tvbeurope.com January 2015

In this issue

35 Mobile TV Heather McLean looks at the growth in video streaming and the importance of LTE Broadcast for mobile TV

Feature

38

Melanie Dayasena-Lowe talks to QuickPlay Media’s Mark Hyland on the latest innovations in mobile video content, monetisation opportunities and trends in mobile content

14

12-17 TVBEverywhere

Miles Weaver, Piksel’s innovation programme strategist, takes a look back at the predictions he made for 2014, gives his verdict on their accuracy, and recaps on the industry’s important developments

6-10 Opinion & Analysis

42 Robotics Forum

Sue Thexton, senior vice president of Brightcove in EMEA, assesses the landscape for women in broadcast, and asks why there remains an imbalance in the ratio of males and females across the sector

Robotic systems have been around for some time, but the technology is ever improving as demands increase from broadcasters. Philip Stevens moderates this month’s discussion

Presenting parliamentary proceedings To commemorate 25 years of broadcasting the UK parliament, Philip Stevens traces the history and reviews the challenges

21

38 Feature

50 Data Centre

The question taxing the minds of broadcast CTOs is whether virtualised playout is as secure, as highly available, and as cost effective right now as existing hardware-based provision.

Adrian Pennington reports

Abigail Cruz of SNL Kagan puts the spotlight on Poland’s burgeoning OTT market where domestic broadcasters have started leveraging online catch-up TV services to increase and diversify viewership

6 TVBEurope

www.tvbeurope.com January 2015

Opinion and Analysis

Balanced broadcasting Why aren’t we there yet?

The equality of women in our industry is an issue I’ve been passionate about for most of my career. While, very fortunately, I have never experienced any gender discrimination – and have been given the chance of a rewarding career full of opportunity – the reality is, not all of us have. By Sue Thexton, senior vice president of Brightcove in EMEA.

computer science as a subject that is more accessible to all.It’s important for the growth of our country In fact, a recent report by O2 estimated that 745,000 additional digital workers are required by 2017 to power the UK economy.

The only way to make this work is to get more women involved, and it has to start early in the

L

ooking at the bigger picture, according

Percentage of female board members in FTSE100 companies

to statistics provided by the United Nations, the male/female ratio in the UK is edged

by women. Similarly, female graduates from the

pipeline. Even as parents, we have a responsibility to take action and not think in gender-specific ways, in order to ensure a balanced and productive future workforce and industry.

19%

Leading the change

outnumber their male counterparts; yet women

At Brightcove, we believe that if you’re not

remain starkly under-represented in the business

satisfied with the current situation, it’s important

world. Think that’s an over-statement? Think again.

to take action. As the age-old adage goes:

Source: Interbrand

majority of universities throughout the country

Worrying statistics In 2013, Interbrand released its annual list of most valuable brands and found that the average percentage of female board members in FTSE100 companies was an underwhelming 19 per cent.

Looking for a silver lining, the same study concluded that the figure rose to a cheery 22.7 per cent when

Percentage of females in senior management roles

considering the top seven FTSE100 brands.

Unsurprisingly, but no less alarming, a recent Grant Thornton International Business Report

if you’re not moving forward, you’re moving backward – and that’s something we just can’t settle for when it comes to gender equality.

That’s why we’ve created the Brightcove Women’s Initiative Program, which is designed to support the community of women at Brightcove by providing a way for its members to ask questions, get advice, share new experiences, broaden their skills and stay connected.

We do this via attendance at relevant industry

24% Source: Grant Thornton International Buusiness Report

drew similar conclusions, noting that within the

conferences and through speaker opportunities

companies researched, of those working at senior management level, only 24 per cent were women.

Worse still, experts have revealed that these statistics are unlikely to change until 2075.

Broadening the technical broadcast board Unfortunately, the broadcast industry doesn’t

and lunches with key women in leadership both inside the company, as well as out.

We’re a company that’s proud to be breaking the mould. In Europe, we’re at a 50:50 staff gender ratio and today the majority of our European board of directors are women. But we can’t change the industry alone. Long gone are the days when women in our industry were to be seen and not heard. Nowadays, we know that

exactly go against the trend. In fact, in spite

The recruitment of women to work in technical

women are as capable as men of everything from

of numerous initiatives to even the playing

roles has always been a challenge and it often

broadcasting to business; so why are we still letting

field, the male/female ratio of those working

stems back to lack of encouragement in the

the limited minds of the past define the brightness

in broadcasting has remained stagnant. And,

school system. However, it’s great to see that

of our future?

when we drill into the more technical side of our

the UK government is taking IT seriously – take

industry, things tend to get a whole lot worse.

the recent news that it is introducing coding

steps and actually implement some

In fact, during my recent visit to IBC in

to students as young as five, for example.

policies and activities that will change

Amsterdam, the ratio of women to men seemed to me to be alarmingly like 1:50.

I really do believe that the government needs to continue to do more to welcome

So, why don’t we all take a few more

the numbers around women in our fantastic industry.

8 TVBEurope

www.tvbeurope.com January 2015

Opinion and Analysis

Broadcast must meet IT for audio over IP Pieter Schillebeeckx, product director, TSL Products, outlines the considerations for broadcasters that are planning to make the move to audio over IP

to play, but the majority of the TV broadcasting infrastructure is based around video with accompanying audio.

It has taken a long time but in HD/3G-SDI we

roadcasters face a host of challenges –

need to converge in the not too distant future.

finally have a method of keeping 16 channels

and opportunities – in the move to audio

When talking about moving over to an IP-

of audio ‘perfectly’ in sync with video all in one

over IP. They have identified the benefits

based broadcast infrastructure, one of the key

signal. Broadcasters won’t want to lose that in the

that audio over IP has to offer and are now

benefits put forward is the cost reduction that

switch to IP for the sake of a new shiny format.

looking at how best to exploit them. If we look

can be achieved over the current ‘proprietary’

This means that the radical shift to IP within the

at areas where organisations have been using

infrastructure. Although this is largely true, the cost

TV broadcast infrastructure – one where IP, not

audio over IP up to now, it has largely been to

savings only really start to become significant

SDI, forms the backbone – will only occur once

replace something like MADI – a single cable or

once the broadcast infrastructure shares the

both the audio and the video are carried over IP.

single point-to-point connection. While audio

same infrastructure as the business network used

Due to the large amount of bandwidth required

over IP is useful for these situations, it is only

for tasks such as email and web browsing.

for uncompressed video, the price of the IT

B

infrastructure required will need to fall further in

scratching the surface and doesn’t take into account the real capability of the technology –

What about the pictures?

and that is largely due to infrastructure issues.

As a manufacturer of equipment for TV

order for it to become a viable alternative.

broadcasting – an industry currently built around

Broadcast-specific tools

Broadcast must meet IT

HD/3G-SDI infrastructure – it would be wrong to

Despite audio over IP being entirely IT-based

Until now the business infrastructure and the

discuss audio over IP without at least considering

in nature we still require broadcast-specific

broadcast infrastructure have been very separate

audio/video over IP (or Ethernet). Clearly, there

hardware and software for it to form a complete

worlds. While they might not necessarily end up on

are some key elements of the workflow within TV

workflow. It is imperative to consider elegant

the same network in the short term, they will

broadcasting where audio over IP has a big role

audio monitoring solutions that are designed specifically to be part of the infrastructure. These are now starting to reach the market: earlier this year we launched our first AVB audio monitors, and we are planning to launch audio monitors to support audio over IP during 2015.

Broadcasters also need to look at how to incorporate control of audio over IP networks into a wider broadcast control system. In the future, there may no longer be a traditional video or audio router to control but we will still require quick, easy ways of making virtual cross-points.

Fault-finding in an IP world also requires a different approach with tools that understand the broadcast requirement, not just IT. These tools will also help to analyse the network at an IP level and find potential bottlenecks before they occur.

The challenges of fully exploiting audio over IP are substantial, but there are also significant benefits to be had by sensibly combining IT with broadcast infrastructures. The next step is for manufacturers to offer the right tools that will ensure IP can become an integrated part of the broadcast workflow.

10 TVBEurope

www.tvbeurope.com January 2015

Opinion and Analysis

Scoring a live sports revolution

By Michelle Munson, president, CEO and co-founder of Aspera

and produce from international locations. The broadcast workflow for each match involved capturing live video feeds from up to 24 cameras, which were in turn transferred in real time using high-performance Aspera WAN transport from the

L

sports broadcast of 2014 z Germany’s win over Portugal reached 26.4 million on ARD in Germany, the largest 2014 TV sports audience recorded z The match between the USA and Ghana

ive sports events are the showcase for much

stadia to the Amazon S3 storage facility in Dublin.

was watched by 11.1 million on ESPN in the

of the broadcast production innovation we

Feeds were immediately processed into multiple

USA, setting a new record for ESPN coverage

see today. The demand for high quality,

formats and bit rates through a scale-out cloud

of a men’s FIFA World Cup match z Over 50 per cent of the global audience

low latency video content delivered instantly

video platform, creating a range of online viewing

to viewers in the stadium and around the world

formats for delivery to regional broadcasters and

watched coverage online, at home or

is changing the whole broadcast model. Aside

streaming to online viewers around the world.

on-the-go

from the live coverage, to survive and prosper,

Using this platform, the first clips were available

broadcasters now have to deliver extra content

within approximately three minutes of an event

– including highlights packages, pre-edited

taking place, and at least three angles were

Moving content at the speed of light

segments, analysis and interviews – to TVs,

provided at that time allowing more assets to

During the tournament, a staggering 27TB of

computers and mobiles.

build up later.

video data were moved in just under 14 hours.

Viewers are clearly ecstatic by this new content anywhere, anytime world. But for broadcasters, distributing all of this live content to production centres across the globe in

‘The adoption of second screen devices allows viewers to multi-task’

A winning combination This new solution illustrates the very real benefits of a cloud-based content delivery

seconds has placed a huge burden on their

workflow for live event broadcasting. For

creaking networks. Data has never been so

broadcasters and content delivery networks, it gives them the opportunity to distribute and

large, complex and challenging to transport, store and manage effectively. So broadcasters

For audiences, this was a revelation. They could

monetise their live content more efficiently

are looking carefully at their infrastructures,

enjoy live and near-live coverage from any

than ever before. The cloud has proved an

assessing alternatives to allow them to

laptop or mobile device, and from multiple

effective method for transferring varying

outsource their infrastructure and not worry

camera angles. Rather than having to settle

levels of content and facilitating multimedia

about capital expenditure, management and

for one live feed from the central production

solutions for audiences worldwide. A universally

maintenance. Cloud-based infrastructures,

site, the architecture gave large and small

accessible cloud-based platform to manage,

with their built-in flexibility, scalability and

broadcasters (with rights to the televised

transport and distribute HD video content

cost benefits, are becoming attractive and

content) access to all live camera feeds from

provides improvements across workflows,

viable propositions.

the game – and not just one live stream from the

from transport and ingest all the way through

game’s central production site.

to electronic news gathering (ENG). Cloud

Delivering the first cloud-enabled World Cup

Record-breaking audiences

sophisticated IT infrastructures and costly

By far the most watched sporting event ever,

The tournament drew far more viewers than

hardware, especially in cases of short duration

the 2014 World Cup marked a milestone in

any other sports event in history: a staggering

events and periodic spikes in activity that

live event broadcasting. For the first time,

3.2 billion people tuned in, and over 900 million

can be difficult to predict.

breakthrough cloud-based IT technologies

watched the final. In addition, over 750,000

enabled broadcasters to record, distribute and

people were watching the game during

accessing and interacting with live sports

monetise this event worldwide, and offered

a typical minute online through services

content, wherever they are, whenever they

audiences a much better viewing experience.

provided by each network.

want. There is a huge demand amongst

The stats were mind-blowing:

consumers for an integrated experience,

z 42.9 million watched Brazil and Croatia on

bringing additional content and social

Traditional methods for distributing content simply couldn’t have handled the volume of

infrastructures also eliminate the need for

For viewers, it’s opened up new ways of

content. So broadcasters and technology

Brazilian channel TV Globo, the highest sports

engagement into the programming. It’s

vendors joined forces to develop a sophisticated

broadcast of 2014

important to remember that audiences are

cloud-based content delivery workflow. This was

z England and Italy’s opener attracted

no longer passive. The adoption of second

the first ever large-scale cloud-based system

14.2 million on BBC1 in the UK and 12.8 million

screen devices allows viewers to multi-task

for high resolution end-to-end live streaming to

on RAI 1, the highest TV audiences in both

and ultimately signifies a change in live sports

second screens. The flexibility was critical to the

countries in 2014

viewing which requires broadcasters and

nature of the broadcasts, especially as bursts

z 34.1 million watched Japan play Ivory Coast

of activity can be difficult to predict, transport

on NHK, twice the size of the next biggest

technology vendors to provide more engaging content than before.

12 TVBEurope

www.tvbeurope.com January 2015

TVBEverywhere

Content Everywhere round up Melanie Dayasena-Lowe rounds up the latest Content Everywhere news, including how piracy is being fuelled by the rise in OTT delivery, and the latest research from ITU’s annual Measuring the Information Society Report

Piracy has become a massive business in its own right, fuelled by the rise in OTT delivery

industry is offering a credible legal alternative,” said O’Connor. As the industry gears up for content delivery in 4K, UHD broadcasters are required to have a watermarking strategy of content protection, as already mandated

by MovieLabs and the Hollywood majors for

port is the most valuable content that

S

the industry delivers, worth £16 billion ( 20 billion) this year, a £2 billion increase

on 2013. Coupled with the proliferation in connected devices and the exponential growth in broadband speeds, by any metric (data per second, tweets per minute, app downloads)

premium recorded content.

“If they can’t determine what is legal then the biggest issue we face as an industry is offering a credible legal alternative” Rory O’Connor, Irdeto

Over three billion people are now online Over three billion people are now online and information and communication technology (ICT) growth remains buoyant in just about every

the market for multiscreen sports is growing at a

country worldwide, according to ITU’s annual

phenomenal rate.

Measuring the Information Society Report.

Yet because of its profile as the world’s

The latest data shows that internet use

premium content, its use – or misuse – is also

continues to grow steadily, at 6.6 per cent

thrown into sharp relief. Piracy, for example,

tipping point where OTT becomes bigger

globally in 2014 (3.3 per cent in developed

has become a massive business in its own right,

than broadcast.

countries, 8.7 per cent in the developing world).

fuelled by the rise in OTT delivery.

“How do they find pirated content?”

The number of internet users in developing

At least 180 countries have bandwidth

asked O’Connor. “Through social media.

countries has doubled in five years (2009-2014),

speeds that allow them to view HD content,

We disabled Facebook pages in Australia

with two thirds of all people online now living in

including Greenland where piracy has been

promoting illegal sites to two million followers

the developing world.

detected in areas which are not served by

and another 199 streams of FIFA content

broadcast networks.

illegally streamed on YouTube.”

In North America, the Far East, and

However, consumers are confused. Many

Of the 4.3 billion people not yet using the internet, 90 per cent live in developing countries. In the world’s 42 Least Connected

Western Europe, the number of devices

cannot tell the difference between a website

Countries (LCCs), which are home to 2.5 billion

now exceeds the number of set top

offering legal streams and websites hosting

people, access to ICTs remains largely out of

boxes which, for Rory O’Connor, VP,

pirated content. “If they can’t determine what

reach, particularly for these countries’ large

services, Irdeto, means we’ve reached a

is legal then the biggest issue we face as an

rural populations. “ICTs have the potential to

TVBEurope 13

January 2015 www.tvbeurope.com

TVBEverywhere make the world a much better place – in

of Korea. The IDI top 30-ranking include

particular for those who are the poorest and

countries from Europe and high-income

the most disenfranchised, including women,

nations from other regions including

youth, and those with disabilities,” said ITU

Australia, Bahrain, Canada, Japan,

secretary-general Dr Hamadoun I. Touré.

Macao (China), New Zealand, Singapore

“This important report is a critical part of the

and the United States. Almost all

global ICT development process. Without

countries surveyed improved their IDI

measurement we cannot track progress,

ranking this year.

which is why ITU gathers ICT statistics for 200

In terms of regional comparisons,

economies across over 100 indicators.”

Europe’s average IDI value of 7.14 remains

In the mobile cellular segment, the report

well ahead of the next best-performing

estimates that by the end of 2014 there

region, the Commonwealth of Independent

will be seven billion mobile subscriptions,

States (CIS: 5.33), followed by the Americas

roughly corresponding to the total global

(4.86), Asia and the Pacific (4.57), the Arab

population. But it warns against concluding

States (4.55), and Africa at 2.31.

that everyone is connected; instead, many

By the end of this year, almost 44 per

users have multiple subscriptions, with

cent of households globally will have

global growth figures sometimes translating

internet access at home, up from 40 per

into little real improvement in the level of connectivity of those at the very bottom

cent last year and 30 per cent in 2010.

Internet use continues to grow steadily, at 6.6 per cent globally in 2014

of the pyramid. An estimated 450 million

In the developed world, 78 per cent of households now have home internet

people worldwide live in places which are still

a composite measurement that ranks 166

access, compared to 31 per cent in developing

out of reach of mobile cellular service. Denmark

countries according to their level of ICT access,

countries, and just five per cent in the 48 UN Least

ranked top in ITU’s ICT Development Index (IDI),

use and skills. It is followed by the Republic

Developed Countries.

14 TVBEurope

www.tvbeurope.com January 2015

TVBEverywhere

Peering back into the looking glass

A 2014 retrospective Earlier this year Miles Weaver, Piksel’s innovation programme strategist, penned his thoughts on what 2014 would hold for the future of TV. As we enter the early days of 2015, he takes a look back on those predictions and recaps on the industry’s important developments Prediction: Don’t expect this to be the year of 4K Verdict: Correct The expectations for the emergence of 4K as

‘There simply isn’t anywhere near enough dedicated content for the 4K format yet. That’s a major problem, because no one’s going to buy a 4K set if there isn’t anything to watch on it’

‘the next big thing’ fell resolutely flat. So flat that by the time of September’s IBC in Amsterdam, it was quite apparent that the buzz around 4K had become just another cutting-edge curiosity.

on recapturing the core gamer market, both

market (though I still think Beamly is on borrowed

My feeling is that there are two things that

machines are moving ever closer to achieving

time trying to compete as the TV’s social network),

contributed to 4K’s failure to break through into

the hallowed status they both desire.

and the smaller entities that were cluttering and

the mainstream: price and content. Even at sub-

confusing the market were snuffed out.

and the prospect of replacing your entire movie

Prediction: Second screen will finally find its footing Verdict: Wrong

Prediction: Netflix will decide net neutrality Verdict: Ongoing

collection in order to justify the purchase of such

It’s incredibly disappointing for me personally to

In January, when the DC Circuit overturned open

an expensive bit of kit isn’t one that people relish.

not see this prediction ring true. After a promising

internet rules, I wasn’t expecting the argument

Plus, there simply isn’t anywhere near enough

year in 2013, second screen seemed poised to

over net neutrality to still be running a year later,

dedicated content for the 4K format yet.

finally emerge as a mainstream television viewing

but the Federal Communications Committee

That’s a major problem, because no one’s

habit. Alas, the necessary standardisation and

(FCC) has been dragging its feet in sorting things

going to buy a 4K set if there isn’t anything to

stabilisation of a fragmented second screen

out. Shockingly, Netflix bowed to pressure from the

watch on it. And if no one’s buying 4K sets, then

market failed to materialise. There are simply too

major Telcos by paying its way to faster connection

there is no impetus to make 4K content. It’s a

many apps for too many content types, many of

speeds, but it is still leading the charge to get the

vicious circle that will remain a big issue for the

which deliver half-baked ideas and quick cash-

FCC to make clear rules protecting net neutrality.

format in the near future.

in attempts over meaningful interaction that

The fight is still ongoing, but with the amount

engages users.

of pressure coming from every major internet

$1,000, people simply aren’t spending that much on luxury goods like new TVs at the moment,

Prediction: Games consoles will get much closer to becoming set top boxes Verdict: Correct

organisation, and with a record number of replies during the FCC’s open comment period, it seems

When I made this prediction I was thinking

Prediction: Twitter will finally kill off other social TV apps Verdict: Correct

about Microsoft’s goals for Xbox One to

In the social TV realm of the second screen, there

want him to do, rather than his former employers (he

become the entertainment hub of the living

were some positive changes, and a prediction

was head lobbyist for the cable and Telco industry).

room. I wasn’t expecting Sony’s PlayStation

that was pleasingly accurate. After an extended

So that’s how my predictions panned out:

4 (PS4) to be factored so heavily into the

period of having simply too many social TV apps

3.5/5. Not too shabby I think. But there were

conversation, but its flawlessly executed strategy

for the second screen, Twitter (and Tumblr) finally

some other major developments that happened

to shift units to gamers before moving into the

got around to killing most of them off this year.

this past year that deserve mentioning as well.

general entertainment realm has seen that

Zeebox rebranded to Beamly in an attempt to

happen. While the apps themselves may still

shed its “male geeky” (their words) image and

Wearables became a thing

be trickling onto each system, both Xbox One

focus on growing its female user base, while

With 4K faltering and the mobile market looking

with its new TV tuner and PS4 with PlayStation

GetGlue changed to tvtag and Viggle refocused

surprisingly stable (the only major event of the year

TV are swiftly making moves to become the

itself to centre on marketing and rewards. These

was Apple’s iPhone 6/6 Plus unveiling), it fell to

go-to place for any kind of video content. While

were the relative successes, where the bigger ‘me

the wearables market to provide the biggest shift

things haven’t moved as quickly as I thought

too’ social TV entities rebranded to bring distinct

in how we interact with the digital world. In May,

they would, mainly due to Microsoft’s focus

features to other areas of the second screen

Google finally made its much-hyped Glass headset

that the right side will hopefully prevail. All that’s needed is for Tom Wheeler to do what the people

TVBEurope 15

January 2015 www.tvbeurope.com

TVBEverywhere

Hyper-personalisation became the next step in user engagement

available to the public. Smartwatches proved to be the major talking point from January 2013’s Consumer Electronics Show with Samsung and LG rolling out the first (poorly implemented) consumer versions, followed by Motorola’s flagship Moto 360, all supported by Android Wear – Google’s

‘Hyper-personalisation gives users the opportunity to access all their content in a manner that works for them’

The emergence of hyper-personalisation – the ability to offer extremely targeted recommendations to users that go beyond simple viewing histories, leveraging user behaviour, device, and location

push for dominance in the space. Meanwhile in

data to deliver content that is relevant to users

September, Apple unveiled the Apple Watch,

at that given time – cannot be ignored. Hyper-

successfully pushing awareness of smartwatches

personalisation gives users the opportunity to access

into the mainstream. (Much like it did with tablets,

all their content in a manner that works for them, no

smartphones and portable music players. RIP iPod

on the streaming front until recently, when

matter what they’re doing, creating a feedback

Classic.) We’re at the start of a very long journey for

HBO and CBS both announced on-demand

loop of analytics and understanding for suppliers,

wearables, but the opening steps generally seem

streaming services that would be free from any

and ease and convenience of use for users that will

to be headed in the right direction.

cable provider or network subscription. Does

remain mutually beneficial. I see this as the future of

your cable provider not offer HBO? Doesn’t

user engagement and multiscreen consumption, for

The move away from cable has finally begun

matter, you can get it on-demand. Alone, the

all content, including video.

This shift began early in the year with the WWE

to break through to the mainstream, but with

pans out for the video and media market but

Network acting as the world’s first dedicated

names like HBO and CBS – names everybody

one thing is clear: finding cost-efficient and

OTT network. This upset a lot of apple carts,

knows and that warrant mainstream coverage –

seamless new ways to bring personalised content

from pay-per-view distributors to networks

leading the pack, it won’t be long before other

to consumers will continue to influence how the

themselves. Things then went relatively quiet

networks follow suit.

industry shapes itself and evolves.

WWE Network would not be potent enough

It will certainly be interesting to see how 2015

16 TVBEurope

www.tvbeurope.com January 2015

TVBEverywhere A hybrid satellite network not only helps with the quality of delivery, but also provides media companies with more flexibility

A shift in streaming Taking linear TV over the top

By Peter Ostapiuk, vice president, media product management, Intelsat

uring what many are calling a seismic

viewers and digital advertisers. Today, the

How do you manage your distribution in an

shift in the media landscape, pay-TV

focus is mostly on the technical challenges

‘unmanaged’ IP network environment?

operator Sky Deutschland recently joined

that lie ahead.

D

the list of major players in the media industry

If these questions are left unanswered, viewers may find themselves not receiving the highquality, reliable TV viewing experience they

everywhere. Sky Deutschland revealed it is

Ensuring current technical and economic concerns do not pose a barrier to long-term growth

launching an OTT TV service that will be available

Given the behavioural patterns of millennials, this

to fully scale and capture the growth this new

to non-subscribers paying on a monthly basis

move to linear streaming was inevitable. But as

landscape presents.

without an ongoing contract. Other recent

viewers look to optimise the flexibility and cost of

announcements include HBO’s standalone

their media consumption, some significant technical

streaming service for viewers who do not

and economic questions must be addressed if

High quality, exciting and reliable content, regardless of screen

currently subscribe to pay-TV; Univision’s live and

broadcasters and programmers are to achieve a

The number of viewers watching content via

on-demand streaming; CBS’ digital subscription

multiscreen service offering that can scale, deliver

linear streaming and OTT remains relatively low

live streaming and on-demand services; and

a quality viewing experience and strong return on

compared to the number accessing content via

Turner’s expansion of its TV Everywhere offering

investment. This raises a number of questions: How

traditional linear channels, so quality and reliability

in Latin America.

fast will subscribers jump to linear streaming services?

are not a huge issue.

that have announced long-term strategies for giving viewers what they want: more content

The announcements, all within a two-

expect, digital advertisers will become disgruntled and media companies may not be in a position

Can the current infrastructure scale to meet new

However, according to research by the

week time frame, continued to build on the

bandwidth demand, or does high volume, linear

European Audiovisual Observatory, there are

momentum around the ‘age of multiscreen’.

streaming cross a network breaking point? Can

more than 3,000 on-demand audiovisual services

That said, the recent coverage did not address

quality and reliability be maintained with a large

in the European Union. And in the US, Morgan

all the technical and economic challenges that

linear streaming viewership, a particularly important

Stanley predicts OTT-only households will climb

broad adoption of OTT and linear streaming

concern for advertisers? What are distribution

from eight million in 2014 to 14 million by 2020.

may cause for broadcasters, programmers,

costs in this new business model?

With that in mind, Viacom’s ‘TV Here, There, (Not

TVBEurope 17

January 2015 www.tvbeurope.com

TVBEverywhere Quite) Everywhere’ study, cited that the some of

offer a compelling value proposition for those

media companies with more flexibility in terms of

the main barriers for consumers to adopt OTT and

broadcasters and programmers migrating to

the modes of transport with its end to end solutions,

live streaming as their main form of content viewing

linear streaming. The attributes that have allowed

and provides predictable distribution costs. For

are technical in nature, including loading/buffering,

satellite to scale in the past remain relevant today.

example, current CDN unicast focused delivery

and crashing/freezing.

For example, a hybrid satellite solution is a perfect

business models rely on bits delivered per user that

complement to fibre and cable infrastructure,

are variable attributes. Satellite distribution enables

supplementing current content distribution network

content owners to deliver linear multicast streams

From a business model perspective, this could provide a huge issue for media companies.

According to emarketer, advertisers are expected

close to last mile networks and relies on fixed

to increase their digital advertising spend as a

throughput for the broadcast.

percentage of their total advertising dollars from 28.2 per cent in 2013 to 37.2 per cent in 2018.

Mobile advertising spend will rise from 5.7 per cent in 2013 to 26.4 per cent in 2018 while traditional TV advertising spend falls from 38.1 per cent in 2013 to

‘Just as the traditional business model is changing, so must the distribution model, and today’s satellites are poised to deliver’

Lastly, outside of developed markets, the broadband infrastructure necessary to host multiscreen devices is not there. Satellite provides broadcasters and programmers an opportunity to take OTT/linear streaming to those markets given

35.7 per cent in 2018. If the quality of the content

our track record of delivering high quality, reliable

suffers, advertising revenues for media companies

content. This could be particularly interesting in Latin America, where the 2016 Olympics could test many

could be negatively impacted.

(CDN) and fibre networks limitations. Satellite also

new forms of content delivery, such as 4K UHDTV.

Satellite positioned to help broadcasters and programmers

has a long track record of delivering large scale transmissions that are high quality, reliable and

can be a growth opportunity for media companies,

Just as the traditional business model is changing,

secure. These service attributes are critical to

we believe it will be complementary to linear TV and

so must the distribution model, and today’s

advertisers that are shifting to digital and mobile

drive more eyeballs to traditional. One thing remains

satellites are poised to deliver. As rapid changes

advertising. A hybrid satellite network not only

certain – satellite will be there to ensure reliable,

continue to take hold, hybrid satellite services

helps with the quality of delivery, but also provides

secure and high quality delivery across all screens.

While linear streaming is gaining momentum and

2015

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TVBEurope 21

January 2015 www.tvbeurope.com

Workflow

Presenting parliamentary proceedings To commemorate 25 years of broadcasting the UK parliament, Philip Stevens traces the history and reviews the challenges t was way back in the 1920s that the idea of

Today, all the proceedings of the House of

broadcasting United Kingdom parliamentary

Commons are carried live by the BBC Parliament

proceedings was first put forward by the BBC.

channel, with coverage of additional aspects

I

Then, as on several other occasions over the

of the work of Westminster shown at other times

following four decades, the proposal was rejected.

on the 24-hour outlet. Additionally, Parliament

Eventually, in 1975, the first live transmission from the House of Commons was heard – on radio only. It had long been felt that the presence of

Senior director Linda Nash directing proceedings with the team in the House of Commons TV gallery

streams all the available televised coverage

director of Bow Tie Television, which first became

live via parliamentlive.tv.

involved in parliamentary broadcasting in 1990

Separate arrangements are in place which

and holds the current contract. Bow Tie Television

cameras would change the character of the

allow access to the coverage to other license-

is part of the NEP Worldwide Network, and

debating chamber for the worse – and Members

holding broadcasting, web-based and print-

alongside work at the UK parliament has similar

of Parliament, in the main, subsequently voted

based media organisations.

contracts with the National Assembly for Wales

against extending the coverage to television.

in Cardiff, and the Greater London Authority

Regulated by rules

at City Hall. The contract for audio coverage

November 1984 cameras were finally allowed in

“Those first transmissions from the House of

is separated from the visual content and the

the House of Lords. Five years later, permission

Lords involved three manned Ikegami cameras

current holder is Westminster Sound. “From the

was given for a trial period of televised

directed from a portacabin located in Black

outset, some very specific rules of coverage were

coverage in the House of Commons, with

Rod’s Garden on the south side of the Palace of

in place – primarily stating that only the person

permanent access granted in 1990.

Westminster,” explains Duncan Smith, managing

speaking would be featured, with no cutaways

However, pressure continued and in

22 TVBEurope

www.tvbeurope.com January 2015

Workflow a PC-based database that Bow Tie Television

colour balance and operation of the tape decks.

designed, installed and maintains, showing a

At present, all recording is carried out locally on

photographic portrait of the member or peer and

Betacam SX tape. Being inside the room means

the place in which they normally sit.”

that there can be no audible communication

In addition to his or her normal duties, the director or caption operator is responsible for working a live metadata enhancement system

Steven Reid using Bow Tie TV’s bespoke single operator webcast system (SOWS) used to webcast Committees

between the director and camera operator – resulting in some ingenious sign language.

“When Portcullis House was being designed,

for parliamentary signal distribution. Designed

separate control rooms were incorporated

and built by Bow Tie, it streams data to a

to allow production to be handled outside of

bank of teletext encoders via timer-controlled

earshot of the committee. Three such control

switches. The multiple outgoing feeds then

rooms are now utilised,” reports Smith.

have appropriate and synchronous metadata

One further area of coverage involves the Grand

associated with each channel, which is decoded

Committee Room where MPs debate additional

by users as required. This system operates 24/7,

issues outside of the main House of Commons

allowed except as they might pertain to

the only human interface being the director or

Chamber. Five robotic cameras are employed –

reference to another member. The only transition

assistant who calls up pre-loaded text, or adds

again with one director and a camera operator

allowed was a cut.”

information live.

covering all production activities. A duty engineer

Since then, the rules have been modified

In 2002, the original Sony BVP-7 chamber

somewhat – for example, mixes can be used on

cameras were replaced with Thomson 1657

ceremonial occasions – but the output remains

split head ‘Sportscams’, providing widescreen

closely monitored.

pictures in SD.

covers each committee shift and ensures the technical set-up of each room is achieved.

Web coverage “With full TV facilities being available to a relatively

But with limited space in the chamber it

In the summer of 2010 the robotic systems in

was obvious that, if the experiment was to be

both chambers were switched to Shotoku, while

small number of committee rooms – and the

converted into full coverage, robotic cameras

the Thomson 1657 cameras were replaced by

increasing use of the internet for online viewing

would need to replace the manned units,

Sony HDC-P1 HD models.

– it was decided in 2007 to install unattended

and it was at this stage that Bow Tie Television became involved. Once the trial in the Lords was completed and the decision taken to continue with the coverage, five robotic Sony BVP7 cameras with the triax back split were installed under the seats in the balcony above using a Radamec system. The momentum for this change came from Steve Fox, one of the founders of

“We have worked with parliament to develop a single operator system that centres on a small vision switcher and remote control panel with Panasonic dome cameras to allow one operator to control the whole set-up in some of the committee rooms” Duncan Smith, Bow Tie Television

Bow Tie Television.

Once the decision taken to continue with the coverage, the portacabin was replaced in 1992 by a control room located in a nearby

Today, the set up at Westminster probably

systems in a further ten rooms,” states Smith. The

parliament building.

constitutes the largest number of robotic cameras

unattended systems that Bow Tie installed in the

in use at one facility – a total of almost 40 channels.

period 2007 to 2009 use Sony BRC SD cameras. A

“This was something of an achievement –

system was built that interrogates the Glensound

to install cables that would control cameras between 500 and 700 metres away, but it worked

Commitment to committees

audio data and uses a set of tables to drive the

and still does,” emphasises Smith.

Alongside coverage of debates in both

cameras and shot sizes and makes a vision switch

Houses of Parliament, the work of Select and

to select the shot. So successful has the project

Standing Committees are also featured.

been that now a total of 20 of the committee

When coverage was extended to include the House of Commons, eight robotic cameras were installed. Like the House of Lords coverage, the

Initially, seven committee rooms in the Palace

rooms have the unattended systems.

So, what of the future? “We have worked with

control room was – and still is – manned with a

of Westminster were cabled to allow cameras to

director/vision mixer, two camera operators

be installed. This has since been extended to a

parliament to develop a single operator system

and an engineer.

further two rooms in the Palace and another five

that centres on a small vision switcher and remote

in Portcullis House, opened by Her Majesty the

control panel with Panasonic dome cameras to

Queen and Prince Philip in 2001.

allow one operator to control the whole set-up in

Identifying the members “One of the challenges our directors and camera

The initial installations saw production and

some of the committee rooms,” says Smith.

“This offers a service that is midway between

operators face is getting to know more than

technical control of the coverage handled from

600 MPs and hundreds of peers by sight and the

within the room itself. The director and one camera

an unattended operation and the full manned

area of the country they serve,” declares Smith.

operator sit at a specially designed trolley which

production facilities used from the start of

“In the Commons, members are referred to by

accommodates the vision mixer, racks, tape

parliamentary broadcasting. This is an exciting

their constituency. In order to help with speedy

machines and the robotic controls for the three

development that will be rolled out in the not

recognition, each control room is equipped with

cameras. The director is responsible for vision mixing,

too distant future.”

24 TVBEurope

www.tvbeurope.com January 2015

Workflow Harmonic orchestrates playout with Polaris

Automation in a

virtual environment The question taxing the minds of broadcast CTOs is whether virtualised playout is as secure, as highly available, and as cost effective right now as existing hardware-based provision. Adrian Pennington reports

T

Andy Warman: “While virtualising control is possible today, achieving a standards-based approach remains challenging”

he industry is in the early stages of its

device,” recommends Andy Warman, director

Most vendors have declared their roadmaps

transition to common off-the-shelf IP

of product management, Media Servers and

and some existing capabilities. But the question

playout automation platforms, but the vast

Storage, Harmonic.

taxing the minds of chief engineers and CTOs is

majority of systems will continue to need some form of dedicated hardware for some time.

The pressure on current approaches is

The benefits of playout in the cloud can be

whether virtualised playout is as secure, as highly

itemised as follows: Greatly reduced capital

available, and as cost effective right now as

investment; reduced operating costs in staffing

existing on-premises playout provision?

driven by increasing demand for non-linear

and distribution contracts; greater visibility of

consumption and further complicated by

assets and channel outputs; quick channel

and implementation, the security and reliability

“There is no reason why, with a good design

the need to target more and more devices.

launch to market; flexibility (such as pop-up

of a virtualised system cannot match a more

“Content creators need a simplified and unified

channels around major events); reduced

traditional hardware based installation,” says Steve

workflow for creating and publishing content

geographical constraints; and erosion of

Plunkett, CTO, Red Bee Media. “But the way you

irrespective of its distribution method or target

traditional distribution barriers.

achieve these goals are different. Virtualisation can

TVBEurope 25

January 2015 www.tvbeurope.com

Workflow lead to more efficient utilisation of the underlying

the major risks broadcasters face in moving to

Private data centres

hardware and, when combined with appropriate

virtualised playout is a skills shortage.

Security and network infrastructure constraints

management tools and procedures, can drive

“At the moment, a lot of the skills

make the public cloud a non-starter for naturally

significant savings. However, this is not necessarily

associated with broadcast are very

cautious media operations. Most broadcasters

a default outcome so the system must be

traditional, so it’s essential you have the

prefer to talk about private data centres which

dimensioned and deployed correctly.”

right talent in your engineering team,

can also be geographically independent so they

people who are comfortable with managing

have all the potential benefits of cloud without

a virtualised IT platform.”

the security drawbacks.

In many ways this is business as usual for new technology deployments. Broadcasters will evaluate and test the virtualised equipment in a setting that is representative of its particular production environment and operating models; then look for other reference implementations for assurance of the production grade readiness of the products.

There are other considerations, though, to prepare for migration. “Do you have the skills

“At the moment, a lot of the skills associated with broadcast are very traditional, so it’s essential you have the right talent in your engineering team, people who are comfortable with managing a virtualised IT platform” Maurizio Cimelli, Deluxe

in-house to manage the underlying virtualisation platform (including the hypervisors and virtual machine management)?” quizzes Plunkett. “Will your vendors support the implementation you

A lot of companies, he says, are hosting

“At present, dedicated broadcast hardware

intend to deploy? Have you agreed where the

their content and technology out of

is necessary for playout automation as existing

support boundaries sit, so that when something

office buildings or basement server rooms,

broadcast infrastructures simply can’t deal

goes wrong it is clear what your own and your

which are not designed to deliver the

with the processing demands of software-only

vendors’ responsibilities are?”

same benefits and features that data

structures and IP signal paths,” reports Karl

centres can in terms of security, availability

Mehring, head of product architecture, TV

and disaster recovery.

Everywhere at Snell.

Maurizio Cimelli, who runs Deluxe’s cloud infrastructure LeapCloud, concedes that one of

26 TVBEurope

www.tvbeurope.com January 2015

Workflow and just as that took years to happen, so will

goals,” says Warman. “While virtualising control

the move to IP. A full IP infrastructure that will

is possible today, achieving a standards-based

support virtualised playout is several years off.

approach remains challenging.”

Although you can now start investing in this new infrastructure, there’s some life left yet in

Server vendors respond

dedicated broadcast hardware.”

So standalone video servers will continue to find

Another factor that can affect the use of

facilities, but there’s no denying that the advent

delivery. Broadly speaking, it is necessary to

of remotely-located data centres that handle

deliver every frame on time, every time. However,

much of the same playout functions is slowly

IT systems such as database servers, email,

eating into sales. Server manufacturers like

and other services typically are held to lower

PlayBox, Grass Valley, Avid, Snell and Imagine

standards with respect to response time.

Communications need not fear Cisco, HP,

Meeting frame-accuracy requirement is a

“But as IP adoption continues to grow, so less

IBM and other large IT vendors as long as they

challenge but an end is in sight that could allow

are able to execute on their software-based

for a common time base in a virtual infrastructure.

product roadmaps.

The next hurdle is that of managing control itself.

Don Ash: “Cloud technology is currently treated with caution by many broadcasters, mainly because of security concerns regarding content”

a home in broadcast and content distribution

pure IT solutions is the real time nature of video

“The specialist expertise within the

Already, various de facto standard mechanisms

broadcast vendor community is unparalleled

and protocols (eg, VDCP, CII, SCTE 104/35) exist

and provides a clear competitive advantage

to solve problems of one sort or another. But

against more general vendors,” says Plunkett.

typically they do not address the needs of the on-

“However, as the industry migrates to

air chain itself and all of its sub-elements.

generic hardware and virtualised platforms,

“If a number of these needs cannot be

partnerships with such vendors might make

and less dedicated hardware is required. It’s

bundled together, then vendors create

sense to ensure the software only products

as big a shift as that from analogue to SDI,

proprietary control mechanisms to achieve their

are optimised.”

TVBEurope 27

January 2015 www.tvbeurope.com

Here’s what some vendors and playout services are up to: z Red Bee Media, an Ericsson company, has been developing its playout offering to take advantage of virtualisation and has production systems that are either partially or fully virtualised.

Those that are fully software-based today

Picture credit: Red Bee Media

Workflow

serve more basic channels, says Plunkett, but as the broader vendor community transitions to software based products, it plans to take advantage of those for a client’s benefit. z Ericsson’s Next Generation Playout offers managed or hosted playout services. It gives broadcasters access to major data centres worldwide, with signal distribution through hundreds of co-located carriers, distributors and connectivity providers. This network, coupled with a software-defined workflow, helps broadcasters to overcome the geographic dependencies that have previously limited playout.

“Over time, we expect a general decline of appliance-based video servers, as softwarebased products become more potent, and

The industry is in the early stages of its transition to common off-the-shelf IP playout automation platforms

also as IP transport moves towards software defined networking,” says Joachim Bergman, head of operations and global solutions, Ericsson Broadcast Services. “This means that the function of a traditional video server will become open and can be moved into normal IT-based hardware platforms, run on commercial off-theshelf products or even in the public cloud.” z Snell and Quantel engineers have already announced a number of new products in this

“As IP adoption continues to grow, so less and less dedicated hardware is required.

It’s as big a shift as that from analogue to SDI, and just as that took years to happen, so will the move to IP” Karl Mehring, Snell

area including ICE OD: a software-only version

while moving to the cloud at their preferred pace to match their changing business needs.” z Harmonic’s Polaris Advance is an integrated channel playout automation system, which has been designed with technology from Pebble Beach Systems, the company Harmonic owns a small stake in. “We provide serial and GPI control to provide legacy support on both the video I/O devices and on Polaris automation systems,” explains Warman. “Once the dependence of

of its Channel-in-a-Box. “ICE OD will provide all

these legacy interfaces can be removed, and

the essential broadcast channel elements such

“The virtualised route ensures we are able

pure IP control can be used, users are ready to

as video server, master control, graphics and

to have control from any secure location,

take the first logical step to virtualising playout.”

captioning in a scalable, software-only solution,

and we’ve made sure that our content and

z PlayBox Technology has for many years been

capable of running on generic servers or cloud-

technology is housed in the right environment,”

software centric and for IP playout requires no

hosted virtual machines – again, realistically, in a

explains Cimelli.

specific hardware. Its products run on COTS

private data centre,” explains Mehring.

z Imagine markets the Versio playout server,

hardware, with an interface card only required for

either standalone or as a cloud-based solution.

SDI or ASI output. It is currently testing products for

equation as far as the playout operation is

Going beyond basic server, graphic branding

virtual cloud playout that it says will bring playout

concerned, but equally important is flexibility in

and automated playout features, Versio offers

as a service to broadcasters and content owners.

terms of control,” he adds.

graphics, DVE and mix effects, combined with

Pre-introduction is scheduled for NAB 2015 with a

z Deluxe LeapCloud (rebranded from Deluxe

Imagine’s automation and server technology.

planned launch date around IBC2015.

“Virtualisation takes geography out of the

MediaCloud) is offered as a complete broadcast

“Meeting customers’ business goals for their

“The future for playout via dedicated hardware/

playout out-sourcing solution, or as a platform-as-a-

cloud and virtualisation initiatives requires

servers looks set to remain the preferred option

service and has four main elements: a virtual MCR

a solution that goes beyond simply running

for large-scale broadcasters who want to retain

to monitor, control and record contribution and/or

playout servers in the cloud,” says Stephen Smith,

tight control over their core infrastructure,” says

distribution networks within a browser environment;

Imagine’s CTO for Cloud. “The optimal solution

PlayBox’s Don Ash. “Cloud technology is at present

web-based asset management; a software-based

is a unified software and IP-based platform

treated with caution by many broadcasters, mainly

playout platform and tools for delivery.

designed specifically for the cloud and virtualised

because of security concerns regarding content.

environments. It must also integrate seamlessly

Broadcasters are also cautious about using private

broadcasting, with the potential to interface

with customers’ on-premises playout systems

cloud services. When the service is made fully

to media assets and create a television station

in hybrid architectures to enable customers to

secure and cost-efficient, then this could become

anywhere in the world,” states Deluxe.

continue to leverage their existing investments

an attractive option for content owners.”

“Together, this brings a totally new way of

28 TVBEurope

www.tvbeurope.com January 2015

Workflow

World Volleyball Championships get Global Production value Camera-wise, the truck can currently field up to 30 Grass Valley LDK 6000/8000 cameras.

Regarding on-going technical equipment upgrades to implement the company’s corporate policy for optimising production facilities, Global Production administrator Stefano Bianco explains, “We recently also replaced the van’s DiGiCo D5 audio console with an SD7 and integrated the truck’s Riedel Artist intercom system with other panels: now, every one of our production team’s 24 on-board work positions has its own Artist panel.”

The 31-strong Global Production technical team included a producer, video engineer, sound engineer, two audio assistants, 13 cameramen, a Jimmy Jib op, three camera control ops, four EVS ops, a video console operator, an audio console operator and three video assistants.

The K2 Dyno Replay’s optimised ANYSPEED technology, specific for the super slow motion 6x, enabled full use of the dynamic ranges of playback speeds

For the Milan finals, Global Production used the new GVG XtremeSpeed 6x camera, which won NewBay Media’s TV Technology Europe Best of Show award at IBC2014 after being judged by a panel of engineers and industry experts on the

Italy hosted the 17th edition of the FIVB Volleyball Women’s World Championship from 23 September to 12 October 2014. This edition of the tournament, staged since 1952, was held in the cities of Bari, Milan, Modena, Rome, Trieste and Verona. Mike Clarke reports

criteria of innovation, feature set, cost efficiency and performance in serving the industry. Only a small number of products were selected to receive a Best of Show Award from among hundreds of new products in competition.

T

urin-based Global Production, whose

positions. For the finals of the high-profile event, the

high-profile sports coverage in recent years

company’s flagship OB6 van was integrated with

has included the 2006 Winter Olympics,

Grass Valley’s award-winning LDX XtremeSpeed 6X

Beijing Olympics and the World Alpine Ski

camera system HFR camera, which took its place

Championships, covered the championships on

alongside ten Grass Valley LDX 80 Premiere HD

behalf of Infront, which was in turn engaged by

cameras, two Sony HDC 3300R HD SSM cameras,

the FIVB (Fédération Internationale de Volleyball).

three GoPro Hero 3 HD micro cameras (one

Following continental qualifications, with a record

mounted on the microphone boom, with a small

141 teams taking part, 24 teams competed for

IDX radio transmitter, to hear the trainers), four EVS

the title in Italy: four from Asia, two from Africa, ten

XT2, a Jimmy Jib and six commentary positions.

“Now, every one of our production team’s 24 on-board work positions has its own Artist panel” Stefano Bianco, Global Production Fitted with a stabilised Canon DIGI SUPER 75xs

(including the hosts) from Europe, two from South America and six from North and Central America,

World’s first

lens, the camera was installed on the right-hand

and Caribbean. The 102nd and last match of the

OB6 has four expansions (46x8.3ft closed and

side of the court behind the service line, and

tournament was the final, which took place in

49x17.5ft when fully deployed) and provides

was mounted on an Egripment Hi-Lo platform

Milan’s Mediolanum Forum, where, before a 12,600

production teams with an impressive 70sqm of

approximately two metres high.

crowd, the championship was won (for the first time)

comfortable workspace. When it took to the

by the US team, who beat China 3-1. Brazil won the

road in December 2013, it was the world’s first

used by one of our cameramen specialised in

bronze medal and Italy came in fourth.

based on the powerful 4K-ready Harris Platinum

the manning of SSM systems, Luigi Benignoi, who

IP3 576x1024 multiformat 3G matrix and, as far

said it was great to use and found it no different

heats fielded nine HD cameras, two HD micro

as scalability is concerned, had the largest

from other GVG models. The features that

cameras, four EVS XT2, and four commentary

capacity on the market when it took to the road.

convinced us to use this new model of SSM for

The Global Production trucks used to cover the

Bianco continues, “The XtremeSpeed unit was

TVBEurope 29

January 2015 www.tvbeurope.com

Workflow

Fitted with a stabilised Canon DIGI SUPER 75xs lens, the camera was installed on the right-hand side of the court behind the service line such an important sports event was the system’s ability to integrate perfectly with the other GVG equipment we already had (as well as cameras, this also includes a 96-input Kayak HD300 4.5ME vision mixer) and operate excellently, even in poor lighting conditions, ensuring top-grade video, thanks to its 6x (150 fps) speed.

“The distinguishing feature of this camera is its great ease with which it can be integrated into our production workflow,” he says. “Also, thanks to the fact that, since we already had other GV cameras, the technical production chain is already wellproven and the connections between the various systems (base station, OCP, etc) are identical.”

Maurizio Vignati, Grass Valley sales engineering SEME and North Africa, adds, “We also supplied our Grass Valley K2 Dyno Replay System, as well as assistance with the set up of the camera and the Dyno to achieve the perfect balance and the maximum yield from the product, in terms of performance and quality from the easy-to-use instant replay and highlights generation system, which is ideal for HD, SD, 3G and UHD/4K productions.”

Fast-paced action The K2 Dyno Replay’s optimised ANYSPEED technology, specific for the super slow motion 6x, enabled full use of the dynamic ranges of playback speeds: time could be virtually “compressed” by only showing the desired parts in 6x and then “ramping” up to a higher speed, including 100 per cent, ensuring the replays told an exciting story, capturing the fast-paced volleyball action and emotion with top-grade quality, high frame rates, and instant time-to-air.

Following the excellent results obtained at this high profile event, Global Production is considering the purchase of two of the new cameras and Bianco opined, “The use of a camera like the Grass Valley XtremeSpeed 6x for the coverage of sports

enables users to eliminate previous limits in the use

z As this issue went to press, Global

of high-speed coverage technology: electric and

Production announced a demo of five

mechanical connections, lens attachment, remote

Grass Valley prototype 4K cameras for the

control system, adjustment and setting. As usual,

coverage of a Serie A match at Milan’s San

price will obviously also be a decisive factor.”

Siro football stadium.

30 TVBEurope

www.tvbeurope.com January 2015

Workflow

Designing for the virtual world The blending of real and virtual objects is on the increase.

Philip Stevens looks at the design considerations when it comes to Virtual and Augmented Reality

ixing live elements such as fixtures,

the talent. Augmented Reality elements can

furniture and props within a virtual

provide programme makers with the ability to get

environment has become commonplace

information on screen instantly and allow talent

M

in many broadcast situations. And as producers

to analyse data or footage and interact with it in

seek ways to cut costs, the use of Augmented

a visually exciting way.”

Reality (AR) – including the integration of elements

So explains Mike Afford, an award-winning

like live video feeds playing in a virtual truss or in

motion graphic designer, formerly with the BBC

display-like props situated throughout the studio –

at Television Centre in London. Now based in

seems bound to increase.

Ireland and running his own company, Afford is

Alongside AR is Virtual Reality (VR), and although somewhat different in application, there is commonality in the technology. First, let’s identify terminology.

“I would define VR as any non-real elements

Fox Sports Australia is using Vizrt for live augmented 3D graphics to provide audiences with something they had never seen before

well placed to provide in depth insight about the virtual world.

So what are the design considerations

‘The challenge is blending the real and virtual elements so they look transparent and natural for the home viewer’

when it comes to making the virtual into a believable reality? After all, the challenge

or graphics that are incorporated into the studio

is blending the real and virtual elements

environment so they give the impression of being

so they look transparent and natural for

“The biggest challenge is to decide from the

picked up by the real cameras, and seen by

the home viewer.

outset whether we’re trying to create a space that could conceivably exist in the reality. Is this supposed to look like an actual TV studio, or some other ‘real’ environment – or are we trying to create something that couldn’t possibly exist in the real world?”

Afford goes on to say that he approaches the process as though he was designing a physical set. “Where are the cameras? What shots do we need? What kind of look and feel are we aiming for? Further down the line it becomes a question of fine detail and ‘polish’, and much more mundane matters, such as render settings and polygon count – where applicable.”

With that in mind, does the choice of rendering platform play a role here? “The main consideration is whether the set is being rendered in real time from true 3D geometry,

Technology from Vizrt and Stype created the VR set for the Scottish Referendum results programme from the BBC

or if it is panning, tilting and zooming around pre-rendered images. But, in both cases, it’s advisable to only put fine detail where it will actually be seen.”

TVBEurope 31

January 2015 www.tvbeurope.com

Workflow Placement considerations Sebastian Hickey, senior designer, RT Software, says that although every AR project is different, it’s possible to break down what the technology involves. “It amounts to something like this: a powerful machine, linked up to camera data, is rendering 3D assets in real time on top of a video stream. The render engine I use at work is called tOG 3D. You can also think of it like an asset and data manager, as well as an editor and a VR HUD.” The process involves creating assets, bringing them into tOG, arranging them, adding animation and dynamic events, and triggering aspects of the graphics using data.

So, are there basic guidelines on the placement and design of AR objects within real sets? “Yes,” affirms Hickey. “Treat the placement of AR objects just as seriously as if you were redesigning your own living room.

Put them where they ought to go. Don’t have things floating around when you can nail them down to the set. The beauty and wonder of AR comes from the feeling that the

32 TVBEurope

www.tvbeurope.com January 2015

Workflow impossible has become possible. It’s an illusion.

So don’t spoil it unless you really, really have to do so.”

Don’t confuse the viewer Marko NakiDž, creative director at StypeGRIP, agrees. “The graphics should be designed so they match the ambience of the real set.

Textures, lighting and shadows of the graphics should be taken into account. Graphics should be placed so that they don’t get in the way of the presenters, guests or audience. Presenting large data sets should be done in the most minimalistic way possible so as not to confuse the viewer with too much stuff going on the screen all at once.”

Occasionally, AR doesn’t quite work – maybe a presenter makes an unplanned move or is not ‘looking’ at the virtual object in question. Is there an easy answer to such ‘problems’ or is it simply a matter of correct presenting technique?

“There are many workarounds that will minimise these mistakes,” maintains NakiDž. “Placing the AR objects in such a way that the presenter

Catalonia’s TV3 has implemented Orad’s 3DPlay solution to facilitate production of on-air channel branding

can’t possibly ‘collide’ with them is one solution.

Operators can switch off the AR content, or cut

“Here we calibrate each lens individually, to get

We don’t even start making a product if we

to another camera if they see that presenter is

the best distortion model for the desired lens.”

don’t see a space for innovations in it. Right now

about to take a wrong step. In the end, presenters

we are working on a Stype kit specially tailored

should always familiarise themselves with the set

Perfect placement

for Cammate crane which we plan to show on

and rehearse before going live.”

Ofir Benovici, VP marketing at Orad, picks up on

the upcoming show.”

that point. “Accurate lens calibration is essential for

“The beauty and wonder of AR comes from the feeling that the impossible has become possible. It’s an illusion. So don’t spoil it unless you really, really have to do so” Sebastian Hickey, RT Software

been talking about using Oculus Rift or the

as part of the calibration process, it is important

Morpheus to give home sports viewers VR

to take into account the lens distortion and

representations of the pitch that they can

abrogation for precise placement. In some cases,

navigate through from their living room. “Sounds

AR elements are not placed in the studio, but

a bit farfetched, but the USA NFL is all about

for outdoor productions, such as sports. In such

farfetched. Also, there is talk about real-time

cases, precise lens calibration is of a particular

scanning of the presenters in order to find out

importance, as any inaccuracy will be noticeable.”

where they are in the studio – so they can walk

He adds that the Orad lens calibration process

around objects without operator intervention.”

takes into account all those elements for both

Keeping track That’s a view shared by Gerhard Lang, chief

RTSW’s Hickey maintains that people have

correct placement of AR elements. In particular,

Orad’s Benovici believes that what was

digital and analogue lenses, 16x9 and 4x3 aspect

considered a gimmick some time ago is now

ratio, ENG and box lens.

becoming an inherent part of the production.

For Benovici, the biggest challenge is blending

“As such, we are seeing the AR elements

engineering officer at Vizrt. “It’s just a matter of

the AR elements so they will look natural and part

becoming part of the workflow, with integration

making sure your presenters know what they

of the hard set. “From a technology standpoint,

to NRCS systems, triggered by the switcher

are working with. A short rehearsal is all that is

it would require high performance of rendering

or controlled by studio automation systems.

needed to ensure a smooth presentation.”

power and different type of shaders, such as

The continuous improvements in computing

material shaders, that will give the AR elements

technologies and camera tracking methods

the AR structure. “This will determine the flexibility

a realistic look. It is important to design the AR

will contribute to the future growth of AR usage

of your movement. Each tracking system has

elements and the hard set alongside each other.”

during production.”

dictate to a certain degree how you design

The future

portability for AR systems is next. We are starting

your AR graphics.”

With virtual set technology ever evolving, what

to see the beginnings of this now, but we will

do those involved see as the future? NakiDž says

soon see systems that can be set up in a matter

achieved through the lens calibration process

April’s NAB will provide a showcase for a new

of minutes that allow broadcasters to do AR in

within Viz Virtual Studio Set-up.

product. “At Stype, we love innovations.

any environment.”

Lang says the tracking system is a major part of

its strengths and weaknesses which will, in turn,

He adds that correct lens modelling is

And Vizrt’s Gerhard Lang predicts, “Ultra

The Official Newspaper

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Building the TV Anywhere ecosystem The company is also highlighting

acquisition of Red Bee Media, as

According to Ericsson, IBC2014 is

Bee Media.

quality and efficiency of video

the first time the industry sees the increased scope and capabilities

At its booth, Ericsson is demonstrating how it is at the

delivery through its capability to make every network video-centric

how the Mediaroom integration is allowing it to build what it says are

well as see a presentation of its Media Vision 2020. Described as

of Ericsson’s media business as the company builds on its TV and

centre of the convergence of media and telecoms, which is driving

and enable TV service providers, broadcasters and content

new and innovative technologies, which are redefining the TV

an illustration of the future of TV over the next six years, it outlines

broadcast offering with the addition of recently acquired Azuki Systems,

fundamental industry change.

Ericsson says that it will show

owners to leverage and deploy inherently flexible and intelligent

viewing experience.

Visitors to Ericsson’s stand

the necessary strategies required to achieve success in the

Microsoft Mediaroom and Red

how it is ensuring the highest

unified platforms.

can learn about the company’s

networked society.

Beach head: Ericsson technologies are ‘redefining the TV viewing experience’

Gilbert: “It is so simple to use”

(90,000 circulation)

24th February 2015

The Official Newspaper

EXA MP LE

New for BVE exhibitors and visitors in 2015, TVBEurope and TVTechnology are delighted to announce the launch of the official BVE Daily and dedicated email newsletter.

Buzz arou around social media Buzz is a new software ac accessory

Buzz is designed to make it

playout devices for Pixel Power’s playo design to allow users to scan, designed

easy to select tweets and other

moderate and broadcast social media inte interactions.

“To be b able to take what your

comments by using an integration approach and a simple user

of the Big Brother house for

Big Brother After Dark.

Added Gilbert: “(Users) can define a graphics template to

interface. Multiple social media feeds are consolidated, and

match the look of their show, and quickly and simply pick

aud audience is saying about you and put it on screen quickly and safely

users can accept, format and publish messages.

the right messages out of the incoming feeds. Most important,

is a huge advantage. Buzz puts this at anyone’s fingertips,” said Pixel

Ahead of its IBC launch, Buzz was already being used by TV

it is so simple to use that it will be hard to put the wrong

Power CEO, James Gilbert.

Guide Network during live coverage

content to air.”

(opinion piece) • Ten sends of BVE Daily newsletter

For further information, contact: UK Sales Ben Ewles Sales Manager +44 (0) 207 354 6000 bewles@nbmedia.com

Richard Carr Sales Executive +44 (0) 207 354 6000 rcarr@nbmedia.com

US Sales Michael J Mitchell +1 (631) 673 0072 mjmitchell@broadcast-media.tv WWW.BVEXPO.COM

TVBEurope 35

January 2015 www.tvbeurope.com

Feature

Heather McLean looks at the growth in video streaming and the importance of LTE Broadcast for mobile TV

Picture credit: BBC

Pick and mix mobile TV obile TV and the war of the networks

M

those services would eventually run on was a hot topic just a few short

years ago. However, by 2009 the rumour-mill had begun to run out of steam and mobile TV stopped being a hot topic.

By 2010, the major network standard of choice for the European Union, DVB-H, had faded into the background as problems piled up, including a lack of spectrum, the cost of network rollout, getting the required chips into handsets, and a lack of consumer financial motivation to pay

Tablets can now be found in 44 per cent of UK homes, according to Ofcom, and they have been outperforming PCs in terms of the programmes watched on iPlayer since February 2014, according to the BBC

for mobile TV services. Meanwhile, DVB-H’s arch enemy, technology company Qualcomm’s

EE claims its background in mobile has placed

MediaFLO standard, suffered a similar fate,

it ahead of the cable and satellite TV provider

despite Qualcomm having sunk countless

competition within the mobile space, Sylvain

dollars into building out networks and

Thevenot, EE director of TV, states: “With over

getting handsets into the North American market.

As both of those technologies disappeared, so did mumblings about the

25 million mobile customers, we have unrivalled

Video content today makes up more than 50 per cent of EE’s 4G mobile network traffic

much over-hyped mobile TV. Yet today mobile

insight into people’s changing viewing habits.

It’s helped us create a groundbreaking service that has mobile at its heart, and makes the TV experience more personal than it has ever been.

TV is having something of a resurgence, driven

Entertainment, Sky Sports Mobile TV, Netflix

Our service is very innovative and intuitive to use,

in part by the tablet and smartphone

and Spotify Premium, for mobile access to 13

because we have used a ‘Mobile-in-to-TV’ rather

phenomenon that has brought large screen,

of the UK’s top paid TV channels as well as a

than the traditional ‘TV-out-to-Mobile’ that has

highly portable devices to our pockets and

catalogue of TV box sets. Services are streamed

been the approach taken by many cable or

homes, the continued spread of Wi-Fi from

to consumers who can access content while out

satellite providers.”

settee to coffee shop to city centre, and the

and about over the 4G network, or when using

growth of 4G services.

Wi-Fi. Vodafone is also making a move into quad

we’ve gained from running [EE’s] 4G and

Thevenot adds: “Based on the experience

play in 2015. Another example of how mobile TV

home broadband network, we’ve been able

Video dominating mobile networks

is evolving as a value-add service for consumers

to develop the first truly integrated mobile and

Video is already dominating mobile networks;

comes from UK 4G mobile network operator,

home TV service. EE TV allows customers to

on the most heavily used networks it already

EE, which is offering EE TV over home Wi-Fi. The

watch their favourite programmes on up to three

constitutes 45 per cent to 55 per cent of mobile

service is also technically capable of being

smartphones or tablets simultaneously as well as

traffic, driven largely by increased usage of

linked to EE’s 4G network in the future, subject to

on their home TV. And not just live TV but also any

video streaming and improvements in the mobile

permission from TV content rights owners to make

recorded or catch-up programme.”

video experience, according to the latest edition

this possible. Video content today makes up

of the Ericsson Mobility Report. At the same time,

more than 50 per cent of EE’s 4G mobile network

Pick and mix mobile TV

the report states that growth in video streaming

traffic, the operator states, so there’s no doubt

With the dramatic growth of high performance

is being driven by access to over-the-top

that people are already consuming TV on their

mobile devices and the introduction of 4G

(OTT) services and content, such as those

mobile devices. What is more, tablets can now

over recent years, the way people watch TV is

provided by YouTube.

be found in 44 per cent of UK homes, according

changing; they use their mobile device as a tool

to Ofcom, and they have been outperforming

to watch video. Thevenot comments: “We’ve

move into the realm of TV is Vodafone UK,

PCs in terms of the programmes watched on

seen that people expect a TV experience that

with Vodafone Red 4G. It offers Now TV

iPlayer since February 2014 according to the BBC.

integrates mobile and is tailored to their personal

One mobile operator that has made the

36 TVBEurope

www.tvbeurope.com January 2015

Feature viewing tastes; they typically pick and mix what

on the importance of LTE Broadcast for mobile

they want to watch, between live TV, YouTube, or

TV: “LTE Broadcast is growing in significance.

catch-up services like iPlayer.”

Today there are more than 330 LTE commercially

On 4G services, multimedia broadcast

launched networks, and with LTE Broadcast,

multicast services (MBMS) is a point-to-

operators will be able to capitalise on their

multipoint interface specification for existing and

network investment and maximise spectrum

upcoming 3GPP mobile networks for the delivery

utilisation. We have done successful trials with

of broadcast and multicast services, both within a

Telstra, Vodafone Germany, KPN, Verizon,

cell as well as within the core network. eMBMS is the

Polkomtel, and China Mobile HK, and have

LTE version of MBMS, and is also called LTE Broadcast.

more trials being planned and ongoing to

Verizon has stated that it intends to launch

explore this new technology.”

LTE Broadcast services in 2015, as well as an others also started testing LTE Broadcast. One of

Mobile operators vote LTE Broadcast

those is Ericsson, which ran a test with Polkomtel

LTE Broadcast enables unlimited numbers of

on 30 August 2014 using LTE Broadcast to stream

users in broadcast areas to receive popular

the opening game of the 2014 World Volleyball

content simultaneously, with a high standard

Championships to visitors at the National Stadium

of consistency of service quality. Voigt notes

in Warsaw, Poland.

its flexible service dynamics also allow mobile

internet-based mobile TV service, and in 2014

Henrik Voigt, director, industry area Mediacom, Ericsson Group Function Technology, comments

operators to offer different services based on service type (live or non-real-time), location (venue-specific, local, regional, national), quality (bitrate, QoS) and time of day and duration. LTE Broadcast supports a range of use cases: live streaming of video for high demand content, such as sports and breaking news; file delivery for popular content (video, music and print);

LTE Broadcast enables unlimited numbers of users in broadcast areas to receive popular content simultaneously

software updates; emergency broadcasts and M2M use cases such as connected car

What about DVB standards?

and digital signage.

However, advocates of LTE Broadcast face

Tobias Solorz, president of the management

DVB-T2 and subset DVB-T2 Lite for mobile TV.

“We are very pleased with the outcome and

DVB-T is a digital terrestrial television (DTT) system,

this successful test opens up the possibility of

offering more robustness, flexibility and at least

providing high quality streams of sporting events

50 per cent more efficiency than any other DTT

and other programming to our subscribers, and

system. It supports SD, HD, UHD, mobile TV, radio

we hope to offer this kind of service all over

or any combination thereof.

Poland in due course.”

Henrik Voigt: “LTE Broadcast is growing in significance”

Ericsson’s Voigt says that one key LTE

Peter Siebert, executive director of the DVB consortium, comments: “Competition [for

advantage for TV and video distribution will be its

broadcast technologies] always comes from

ability to switch between unicast and broadcast.

mobile technologies. LTE Broadcast has a

He says LTE’s capability to switch between unicast

broadcast mode in it [as well as unicast], but

and broadcast will ensure optimal resource

running mobile TV over an LTE network does

utilisation and quality of experience as service

take capacity away from that network for voice

levels can be maintained even under high load.

and other data, and it requires investment in

In an LTE network dimensioned for unicast, the

the network. For some years still we will have

broadcast distribution of popular content will only

terrestrial TV in Europe, and during that time

occupy limited resources and become extremely

mobile receivers can get a free ride on the back

cost and spectrum efficient. Distributing over

of terrestrial services that are there already for

LTE allows the fast phase in of new technology

DVB-T2 and DVB-T2 Lite, as is happening now in

as well as fast phasing out of old. He states: “LTE

Germany, for instance. So mobile TV becomes an

Broadcast is filling a necessary role to handle

extra, value added, free service for end users.”

popular and valuable live content with peak

Peter Siebert: “Personally I’m not convinced people will pay for mobile TV at all”

opposition from those interested instead in

board of Polkomtel, says of the Ericsson trial:

Siebert adds that the notion of ‘free’ in relation

viewing, which otherwise would have been

to mobile TV is all-important, stating: “Personally

difficult to handle. If instead distribution can only

I’m not convinced people will pay for mobile TV

be done with broadcast, the oldest device sets

at all. It is not so much a problem of technology,

the benchmark, making distribution inefficient.”

it is a problem of the business case and if the end

TVBEurope 37

January 2015 www.tvbeurope.com

Feature

content in more places and with

“We expect video consumption on mobile devices to continue to rise, both in the home over Wi-Fi, and via mobile networks” Sylvain Thevenot, EE

zero buffering. What’s more, with the launch of 4G+ in London and trials of 400Mps speeds at Wembley, we’re ready for the growth of 4K streaming and the faster speeds that it will require.”

2020. In that year, 5G is expected to be commercially deployed, and it is predicted that it will have an even faster uptake than 4G LTE, just as 4G had a faster uptake than 3G.

Sylvain Thevenot: “Our service is very innovative and intuitive to use, because we have used a ‘Mobile-in-to-TV’ rather than the traditional ‘TV-out-to-Mobile’

Ericsson says that the difference is that in addition to new radio technologies 5G will also encompass evolved versions of existing radio access (such as 3G and 4G), cloud,

users are willing to pay a sufficient

and core technologies to cater for

amount for mobile TV services so

the thousands of new ways that

operators and content providers

mobile technology will be used, of

have enough money to fund the

which mobile TV is one.

business case.”

As for the future of mobile TV, Thevenot states: “We expect video

Looking ahead

consumption on mobile devices to

In terms of future outlook, Ericsson

continue to rise, both in the home

estimates that mobile video traffic

over Wi-Fi, and via mobile networks.

will increase tenfold by 2020,

We continue to add capacity

ultimately constituting around 55

to our mobile network, ensuring

per cent of all mobile data traffic in

that customers can watch video

38 TVBEurope

www.tvbeurope.com January 2015

Feature

The changing

landscape of pay-TV

Melanie Dayasena-Lowe talks to QuickPlay Media’s Mark Hyland on the latest innovations in mobile video content, monetisation opportunities and trends in mobile content

Mark Hyland: “With unbundling, consumers are increasingly discerning about what they want”

s viewers continue to look at alternative

A

When Hyland moved to QuickPlay Media in 2005,

Streaming content

devices to the traditional TV screen

he described mobile video as “very basic with music

So how are the latest innovations in mobile

when it comes to consuming content,

videos, news clips, etc”. Most of the mobile use was

video content and TV Everywhere technologies

QuickPlay Media’s Mark Hyland, SVP of

driven by simple SMS but already people were doing

supporting a new wave of mobile media

Global Sales, believes this creates new

simple web searches and browsing, he notes.

experiences in and out of the home?

opportunities in the areas of mobile content, OTT and multiscreen.

“Since then I’ve used my background in

“There’s a major shift because of the relative

broadcast and other types of media to bring

success of a range of technologies that are

Hyland’s background and experience lends

that perspective to the company. I’m almost

grouped under OTT/TV Everywhere. People are

itself well to connecting the worlds of broadcast

a guinea pig in terms of the users. A lot of our

accessing content in a way that is beginning

and digital. His earlier career between 1998 to

partners/customers come from the broadcast

to reshape the economics of business. Users

2005 saw him lead the online expansion of the

space such as the studio world or linear TV.”

understand that streaming is a viable way to

Canadian Broadcasting Corporation (CBC). In

He adds: “At a time when there’s significant

his role as director of business development and

technological change, it helps to have been on

new media, he was involved in making

the other side looking at digital workflows and

CBC.ca the top news site in Canada. This was

how those have changed over the years.”

followed by him being appointed to the role

“It helps to link all the different parts of an

deliver content and that is in turn creating a shift to the next generation of TV,” he says.

He notes that on the IPTV side, there have been a lot of telco players around the world that have used traditional infrastructure to

of director of broadband and digital services.

ecosystem together. We’re completely focused

“It has been a bit of a trend in my career to

on making it easy for broadcasters to get their

develop pay-TV services.

look at how media of all types is affected by

content out to whoever they need to get it to.

Netflix, which are using streaming technology,

new types of distribution, digital and by new

We’re particularly focused on pay-TV, mobile

mostly focused on VoD, although some are

devices,” he explains.

and pure OTT,” Hyland explains.

increasingly focusing on linear.

Then along come OTT players, such as

TVBEurope 39

January 2015 www.tvbeurope.com

Feature broadband infrastructure. Although

bouquet of services to be provided

they want. They’re less accepting

viewers can use their devices

rather than picking the exact

of delays, which are a result of

outside the home, a lot of usage

thing they want.”

windowing practice, territories with

has been on Wi-Fi and at home.

With more choice and more

different speeds etc. Asia might

“Over the next year or so we’ll start

competition, Hyland believes the

want the latest offering from the

to see more LTE broadcast. The

options for content will continue

UK/US immediately and there’s no

delivery for broadband video can

to expand. “The technology

technical reason why it shouldn’t

be wireless more and more.

means there is a lower barrier

be that way. Business practices

of entry for offering a pay-TV

are under increasing pressure to

pay-TV services being run directly

service and I would expect

keep up and the world gets a

over LTE broadcast in use cases

consolidation as the success of

little bit smaller in terms of TV and

where we have very popular

a brand should enable more

movie releases.”

channels. These channels can be

revenue, which will enable more

broadcast rather than taking up

and better content.”

“We’re going to start seeing full

the individual bandwidth of those

Hyland reflects on the trends he

Hyland has also noticed the differences in the way content is consumed in different markets.

unicast streams for each individual

is seeing in mobile content and

“We’ve seen markets in Asia that

user. The multicast capability

how these are going to dominate

are mobile first where people are

should really help the economics of

future content consumption. One

using the large screen Apple/

streaming live channels.

of the trends he has noticed is

Android and more phones than

that in those countries outside of

tablets. Thailand is still PC/laptop

“We’re going to need to have a “What was a mad science

lot more linear TV going OTT, not just

the more established TV markets

driven. In Eastern Europe, viewing

experiment going on in the

the VoD that we’ve seen popularised

that haven’t necessarily been seen

is on main screens but also on

basement with streaming to a

around the world,” he adds.

as typical pay-TV markets, there’s

tablets and laptops.”

range of devices [iPads and so

the potential to have a relatively

He concludes: “There’s a whole

on] is now threatening or being

Click and pay

low cost offering with VoD or a

set of opportunities for mobile

welcomed, depending on your

Monetisation is a key area of interest

bouquet of linear channels. “Those

operators in different parts of the

perspective, straight into the main

for many content providers so how

services are a continuation of

world and it points to disruption

living room, right into the main TV

can multiscreen video services be

the trend that sees a lot of

with the next generation TV. Look

infrastructure,” Hyland comments.

monetised with the most successful

internet access being rolled out

at what Swisscom has done.

business models, including dynamic

around the world on mobile first

Looking at pay-TV infrastructure

advertising insertion?

now in places like India and parts

that uses all the technologies of

of Asia and Africa.

OTT, it points to much lighter and

A lot of significant players are realising they can deliver a full pay-TV experience with OTT and TV

Hyland explains that the current

Everywhere technologies. He points

monetisation opportunities include

out that technology development

subscription-based, transaction-

has accelerated to a much faster

based, advertising supported

rate with more rapid releases. “You

and pirated. “They exist and will

can update an application as often

continue to exist. The offers are

as you like and new updates can

changing. There’s more pressure for

bring new functionalities. You get into

‘click and pay’ for channels.

this whole trend of software defined

Consumers might not realise that

networks and virtualisation of servers.

they just want a couple of channels

The hardware is getting good enough

and those will end up becoming

that you can run software to do what

quite a bit more expensive than

you need to do. The software can

they are as part of a bundle.

iterate quickly so there are fewer

Providers of these services as well

constraints with the hardware.”

as regulators will have to grapple with how far they want to go

Next generation TV The main trend for QuickPlay Media

down that road.”

In his opinion, Hyland still thinks

is next generation TV, defined as

the best model for pay-TV is a

OTT technologies from mainstream

subscription model. “The type of

right through to the living room.

recurring revenue where you have

“Although it has had a huge impact

a bundle of services I think is very

already, we think there’s a lot more

good for the provider. I also think

change to come.”

it’s pretty good for the consumer.

According to Hyland, the first

By committing to a certain bundle,

stage of OTT is mainly driven by

they’re enabling a slightly broader

“With unbundling, consumers are increasingly discerning about what

flexible pay-TV infrastructure than we’ve had in the past.”

40 TVBEurope

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Feature

Harrowing tales North Korea: Life Inside the Secret State, which won the Features category

One content trend was not being happy with exposing just the brutality and staying single theme, but desiring to show a fuller, rounder story that gets to the humanitarian and motivation aspects. In this sense – and for good editing – many of the finalists deserved to be called ‘films’.

Heading for a multimedia future Tina Carr, director of the Rory Peck Trust, pointed to a massive change of tack supported by new trust patron Lord Black of Brentwood – the conservative peer Guy Vaughan Black who is executive director of the Telegraph Media Group.

“We were known in the beginning for helping freelance camera people. They are now multiskilled and working across all platforms, and for a long time now we have been helping freelancers working in news print and online, and many photo journalists,” said Carr. “We are making moves in those areas now to get the engagement of the employers.”

Does this imply expansion in staffing? “We won’t do that because the essence of the way we work is that we are small and work with partners and contacts on the ground,” she said.

George Jarrett reflects on this year’s deserving winners of the Rory Peck Awards

T

‘Massacre, murder, cruelty, political corruption, suppression, and war zones are the diet freelance newshounds follow’

he Sony-sponsored Rory Peck Awards – this time 91 entries from 54 nations – highlighted astonishing stories and repercussions that

only writers of the calibre of Shakespeare, John

“We are 12 people part time which adds up

Webster and Charles Dickens might have penned.

to about seven full time, but we cover the

Massacre, murder, cruelty, political corruption,

world through people working in regional

suppression, and war zones are the diet

programmes,” she added. “We just need to

freelance newshounds follow. The titles of the

have enough money to give as many grants

entries confirmed that conflict and its fallouts are

as we need to give.

the number one obsessions, and that freelancers

“But demand has quadrupled in the last five

now go where staffers largely choose to avoid.

years and we never ever in any year managed

With James Foley and Steven Sotloff having

to give help to everybody who needed it. And

been murdered by ISIS – making it 70 journalists

this year we are not able to again.”

killed while covering Syria – we might have

The Rory Peck Awards and associated appeals

expected some tributes to fixers who had got a

are Carr’s bottom line effectively. How then can the

journalist to tricky locations while protecting their

trust support freelancers who cannot go home?

back, but this was the year of tenacious lone

“That is very important. We recently ran a

wolves who judged their story to be as valuable as their lives. The only fixer mentioned was Khaled Abu Ghali from Gaza, who was present to collect

workshop for Iranian exiles and we are hoping

Ben Steele shot Hunted for Blakeway Productions and C4’s Dispatches slot

the Martin Adler Award.

to increase that side of our work because in Africa there are a huge number of exiled journalists,” said Carr.

with the very excellent report Syria’s Second Front)

“I want to bring in the other sectors of the

to do one great story from within their country,

and the Saudi Arabian national Safa Al Ahmad (a

media industry, and the links are being made,”

and then cannot return. The Syrian journalist

finalist in the Sony Impact category with Saudi’s

she added. “We have been helping, speaking

Muhammad Ali (a finalist in the feature section

Secret Uprising) are two such examples.

and writing about freelancers for almost 20 years,

One disturbing new trend is that journalists get

TVBEurope 41

January 2015 www.tvbeurope.com

Feature and now it seems really strange that

attacking gay people,” said Steele.

we have had to work so hard to

“It’s all too easy to divide the world

justify how much they matter.”

up into goodies and baddies. It’s not just about the physical assault

Showing the world what was happening

where they beat people up. It

News category winner Pacôme

and outing somebody online,”

Pabandji, for Central African

he added. “Tens of thousands of

Republic: Descent into Chaos,

people in Russia log on.”

is first about the mental torture

Steele visited St Petersburg twice for

would not name the armed faction that had kidnapped and brutalised

two weeks, and found the gang he

him, looted his house, forced him to

infiltrated via social media. The starkest

move his partner and child to safety,

memory of his film is a beautiful but

and relocate dozens of time for his

chilling young woman called Katya,

own safety. He wanted to go home.

who says: “The journalist goes, and the guys stay,” just as charmingly as,

“I did my film as personal

“I’ll have a cuddle please”.

conviction. At the beginning of the (civil war) crisis there was no one to tell the different armed factions to stop what they were doing –

Central African Republic: Descent into Chaos by Pacôme Pabandji was the winner of the News category

only journalists with cameras to denounce what was going on in the CAR. That’s the reason I started, and

control of that group of men,” said Steele. “You have to wonder about

no politicians or Western type of influence,” he added. “There were

“She has got so much energy around her and she is in total

“We have been helping, speaking and writing about freelancers for almost 20 years” Tina Carr, Rory Peck Trust

people’s motivations and about why they hate so much. There is an awful lot of self-repression in Russia.”

C4 got behind this production with double-page spreads in

once it began I could not step back.

national newspapers, constant

“I worked for seven months

trails, and by painting its HQ logo in

on the story, but then my house

rainbow colours.

was looted and I lost everything –

any active team member was in

“Real life can be more incredible

camera equipment, laptops, and

keeping with the prevailing mood

than you can make up. I am

footage,” he continued.

that freelance news journalists will

interested in narrative. I did not just

it was the global number one

“It got over 40,000 tweets –

not be denied by any dictatorial

want to expose what is happening,

trend – and since then it has had

scratch, the camera kit loaned by

state, and a reminder that covert

I wanted to explore the motivation

an enormous impact around the

his commissioner AFPTV. Does war

operations as vital as this must be

and the humanity of the vigilantes

world,” said Keene.

bring out the hate of journalists?

kept totally secret.

Pabandji had to start from

“Yes. The perpetrators of different

Japanese journalist Jiro Ishimaru

types of crime are all really afraid

trains the reporting teams in China.

of having their actions shown to the

The audience saw officials picking

world,” he said.

on one woman wearing trousers and

Pabandji has a Bachelor’s

another running a bus service – with

degree in humanitarian law. Did

both shouting back as they might do

that help him? “I was able to

in any free country.

understand what was wrong on the basis of law,” he said.

A recorded Ishimaru said: “There has always been a wall between

“The reason I was doing it was

North Korea and the eyes of the world.

because I knew it would be helpful

Overcoming that wall is the ambition.”

if I was showing the world what was happening. I knew there was something I could try to stop.”

Real life can be more incredible The Sony Impact Award was won by

Behind the walls in North Korea

an astonishing story about Russian

Team Mindeulle won a very

people to humiliate them mentally,

strong Features category, for the

beat them up, and put the whole

brilliant and insanely brave covert

thing online. Ben Steele shot Hunted

production North Korea: Life Inside

for Blakeway Productions and C4’s

the Secret State. The absence of

Dispatches slot.

vigilante gangs that kidnap gay

42 TVBEurope

www.tvbeurope.com January 2015

Robotics Forum

Robotics the latest moves

The last Robotics Forum was two years ago. What has been the most significant development since that time?

Cuomo: Two trends have become visible on

In this month’s Forum Philip Stevens moderates a discussion relating to robotic camera systems

the radar – the expanded use of camera track systems inside the conventional studio application and second, deployments with multiple synchronised control locations. Examples of these applications include live national talk shows and

Robotic systems have been around for some time, but the technology is ever improving as demands increase from broadcasters. Looking at the latest issues are (in alphabetical order) Anthony Cuomo, CEO, Telemetrics; James Eddershaw, sales director, Shotoku UK; Neil Gardner, product manager, Vinten Radamec; Peter Pühringer, sales manager, Camerobot; Bruce Takasaki, marketing product manager, robotics, Ross Video.

flash news studios for emergency reporting.

Eddershaw: For Shotoku, the last two years have been very productive, both in terms of continued growth in our worldwide customer base and major new product developments. The launch of our new SmartTrack rail camera system has further expanded our range and offers customers even

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January 2015 www.tvbeurope.com

Robotics Forum the other camera robotic systems should be very flexible and the graphical user interface should have a lot of possible adjustments, allowing, for example, supervisors to define templates of camera moves and positions to exactly meet design requirements.

Takasaki: In the past our customers were essentially divided into two camps: those looking for free-roaming pedestals and pan-tilt heads primarily to improve operational efficiency, or those interested in creating unique and compelling moving shots with a track-based system. Few, if any, were looking for both. More recently, we are seeing increasing interest in combining our Furio track-based systems with Cambot free-roaming pedestals in the same studios. This has lead to the development of a converged control system that will bring together the best features of both platforms.

What questions should a customer ask of a potential robotic system supplier to ensure the right equipment is selected?

Cuomo: There are several answers to this question, but perhaps one of the most important is the issue of system scalability and the capability for future additions and equipment changes. When investing in a robotic system, users should be assured they can add to, upgrade software or change equipment within the system as required.

Eddershaw: Some obvious technical questions relate to payload capacity, support for manual more choice when it comes to designing creative studio configurations while still benefitting from the economic and production quality improvements offered by robotic camera systems.

Gardner: Several areas. The impact of software on automation systems means it’s no longer seen as an add-on but is part of the industry. Next, the increase in the ease of installation and set-up allows tools

override, system reliability and resilience, and

“When investing in a robotic system, users should be assured they can add to, upgrade software or change equipment within the system as required” Anthony Cuomo, Telemetrics

compatibility with a particular lens, old or new. Sometimes as important as the technical specifications, however, are questions about the supplier’s experience and company-wide focus on what is a very specialised market.

Gardner: With the big move within the industry towards using IP, customers need to ask if a

provided by automation suppliers to assist studios

vendor’s equipment can interface with standard

in the installation and set-up process. Thirdly, more

network equipment for connectivity, so that

advanced systems, for example, in spatial systems,

commodity items can be used off the shelf. They

like Vinten Radamec APS that deliver improved

Pühringer: The camera robotic system must

should also ask if full local service and support

location accuracy and eliminates accumulated

be more adapted to customer and studio

is available – are you dealing with a reputable,

errors. Next, faster and smoother motion has led

requirements. Customers won’t pay for features

global company? Does the supplier understand

to improved shots and wider creativity due to the

they don’t need. But customers don’t like special

the broadcast industry’s needs? With the industry

range, extent and accuracy of motion. Finally,

systems. That means the standard camera

developing so rapidly, is the automation provider

convergence of virtual reality and augmented

system has to be cascadable. Low cost version

investing in R&D with a roadmap for embracing

reality means an increase in sophisticated

for simple features, high-end version for high

future technology?

presentations and ease of control due to

demands. On the one hand, the robotic system

Pühringer: Which features, visual effects or

repeatability of shots and accuracy of positioning.

should be very easy to use for daily operators, on

design elements are needed – on-air camera

44 TVBEurope

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Robotics Forum moves, degree of automation,

from multiple locations via IP is a

integration into the studio workflow,

powerful advantage.

repeatability of camera positions,

Eddershaw: Most modern robotic

reliability of the robotic system.

camera systems are controlled via

The supplier of the camera robotic

IP and this brings many obvious

system should be involved during

benefits in terms of system flexibility

the design and planning process.

and ease of installation and re-

With the new camera robotic

configuration. As always, however,

systems it is possible to make all

there are two sides to the coin. It

camera moves in simulation mode.

is important that systems do not

Afterwards all simulated camera

lose the resilience and reliability

moves can be transferred to the

of multi-path point-to-point serial

real camera robotic system.

communications offered by

Takasaki: One of the most

previous generation systems. We

important aspects of owning a

have developed several important

robotic camera system is after-

features to ensure the IP networks

sales support. Robots are complex

offer the best of both worlds.

mechanical systems that require

Gardner: IP gives the end-user

on-going maintenance and

the ability to leverage commodity

support. So it is very important

equipment, instead of investing in

that customers ask their potential

bespoke equipment that is costly

suppliers how they are going to

and not as flexible. It also means

provide technical support on an

that studios can easily begin

on-going basis. Along the same

shifting towards wireless and adopt

lines, longevity is critical when

wireless technologies as they feel

it comes to robotics. There are

appropriate. A further advantage

numerous robotics suppliers out

is that there is the potential for

there today, but many of them

support to be provided through

are small start-ups and the industry

remote diagnostics and interactive

is littered with similar companies

questioning or even walking the

who did not survive. So I would

customer through a problem over

also ask, ‘How do I know you will

a remote session. It also becomes

be around to support me in five

easier to introduce remote studios

years? Ten years? How long has

as an extension to the main

your company been around and

studio network.

what is it doing to ensure it stays in

Pühringer: We see mainly two

business for the long run? Can you

aspects of IP. First, using IP eases

provide references? How many of

the communication between

your robotic systems are installed

the different processes involved

worldwide and who is using them?’

in the production process. The importance of hardware interfaces

IP technology is on everyone’s mind these days. What impact does IP have on robotic camera systems?

declines, whereas the importance of IP interfaces increases.

Secondly, the installation of a system has greater influences on the IT environment of the customer. The customer’s security and hardware guidelines have to be regarded on installation.

The systems must be adapted to

Cuomo: Installation and

the global scoped net addresses

maintenance is easier with IP

of the customer’s IT department

infrastructure due to simpler and

or support available surveillance

less costly cabling. Telemetrics

infrastructures, such as SNMP.

utilises normal computer network

Our robotic system uses IP-based

equipment. In addition, the

interfaces. The controllers or

ability to control equipment

computers of camera robotic

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January 2015 www.tvbeurope.com

Robotics Forum systems are integrated into the IT structure of broadcasting centres. Camera robotic systems should be equipped with modern redundant database systems. RAID systems for data saving should be a standard.

Takasaki: Ross robotics systems have been IPbased from day one, and as a result have always natively supported a distributed architecture without the limitations of serial interfaces. This greatly simplifies the installation architectures, particularly in larger facilities where the control room may be far from the actual studio, or where there are a number of robots shared between multiple control rooms. In addition, being able to deliver both robotic control and positional tracking data over the same LAN cable provides seamless integration with studio automation and virtual and augmented reality systems

Does the increasing use of 4K make any difference to robotic systems? If so, how?

James Eddershaw, Shotoku UK

Cuomo: Although not currently a factor, their growing use will eventually require robotics manufacturers to include control of these cameras and lenses in their product portfolios.

Eddershaw: 4K does not particularly affect the core requirements of a high-end robotics system.

Precision of movement, pre-set shot accuracy and a wide range of lens control options apply just the same to 4K as any other system.

Gardner: Robotics and automation effectively

Peter Pühringer, Camerobot sophisticated and more accurate processing

“Whether it’s a new, compact-sized studio or a huge concert hall, camera control systems can enhance production creativity without the associated higher costs” James Eddershaw, Shotoku UK

work with whatever cameras and broadcast

with the video signal.

Takasaki: 4K video will impact robotics in two ways. Most importantly, the higher resolution video is more sensitive to vibration, making manual operation more difficult and emphasising the need for smooth motion. This puts more stringent requirements on the ability of the robotic system to produce smooth, vibration-free, robotic movements. The second way in which robotics will be impacted is in the

equipment happen to be connected to

peripheral devices that are part of the overall

them. Where there is potential for significant

sophisticated computers they can begin to

robotic system. For example, the video

development is areas like through the camera

analyse the video and do things with it. The

thumbnail capture systems, video routers, and,

processing or video analysis. Because we’ve

benefit of 4K is that there is more detail and

of course cameras, will need to be able to

got cameras that are now connected to

resolution and therefore you can do more

handle 4K signals.

46 TVBEurope

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Robotics Forum Clearly, there are cost savings when it comes to reducing the number of camera operators, but what other economies can be achieved through a robotics system?

easier for a single operator to manage larger numbers of cameras without loss of quality or consistency. New electronic servo control systems enable even higher accuracy of camera positioning and VR tracking. We are continually refining and developing the system to meet the demands of our varied clients around the world.

So for us, whatever the next innovation will be, it will certainly be driven by our customers.

Gardner: With more PCs in the studio automation

Cuomo: Some of the most recurring feedback

environment, there will be more image processing

we get from end users is how their new

done by that automated system. This allows

Telemetrics camera control and track systems

assisted control of the shots rather than relying

open up a wider range of shot possibilities.

completely on the operator. You would see this

Whether it’s a new, compact-sized studio or

in tracking a person or object round the studio without an operator having to playout pre-set

a huge concert hall, camera control systems can enhance production creativity without the

Neil Gardner, Vinten Radamec

shots or adjust remotely with a joystick. It includes

associated higher costs.

Eddershaw: Cost saving is always a very important factor when deciding to use robotics,

“We are beginning to see the next generation of robotic control systems start to emerge” Bruce Takasaki, Ross Video

but it is increasingly not the overriding factor.

Whether it’s a new, compact-sized studio or a huge concert hall, camera control systems can enhance production creativity without the associated higher costs. Camera positions that are impossible to achieve with manned cameras are often easy with remote units, for example ceiling mounted or long, curved rail track systems.

Gardner: Other efficiencies include easier training.

features to help cameras focus more quickly

When you start to use automated robotic systems

because they are getting feedback through the

with pre-programmed shots and control systems

computer system on how good the focus is, what

taking over some of the set-up of the production,

the white and colour balance is, all these things that often take a lot of manual time within the

then it makes it easier to train new people coming into the industry. There are fewer mistakes in the

Bruce Takasaki, Ross Video

studio. There will also be more use of touchscreens and gesture control in the automation systems.

shots being replayed and fewer retakes. The repeatability is better and there is more consistency

enable virtual sets and augmented reality, which

Pühringer: We expect the machine intelligence

in the shots. There is the potential for easier and

can add stunning set designs or visual effects

to increase. The camera robotic system will

faster access to live events. One journalist with

without the cost of creating physical sets.

make automatic correction of camera positions and camera moves by itself. It will be able to

a tripod, robotic head and camera, can report on breaking news in the field. The use of remote diagnostics to solve issues instead of having someone sent to the studio. Software updates, addons and new features can be easily downloaded without replacing or installing new equipment.

What is the next innovation we can expect when it comes to robotic camera systems?

detect automatically when the current picture is different to the presets. Currently this correction is done by an operator via joystick panel.

Takasaki: We are beginning to see the next generation of robotic control systems start to emerge. These go beyond simple robotic shot

Pühringer: Robotic systems allow high precision and very fast movements, especially in complex

Cuomo: Auto tracking, which has long been

recalls and joystick movements, to combine

and huge virtual sets with interaction of camera

available in video security applications, has

control of other devices and systems into

movement and virtual elements. With the use

never been good enough for live broadcasting.

complete, integrated solutions. For example, our

of camera robotic systems, fewer people are

This feature will soon be improved and offered

Legislative Control Systems combine robotics,

necessary in the control room and/or studio.

in higher end camera control systems. The

switchers, routers, graphics and cameras, all

Using automated camera systems means the

software-based solution will keep subjects

controlled and coordinated by a single platform

show minimises stress and failures.

centred in the frame and will be ideal for use in

that provides a unified graphical user interface

Takasaki: Robotic cameras are a key enabler for

a variety of applications such as sports, teaching

to the system operator. Similar solutions have

studio automation systems, which can introduce

and entertainment.

been developed for other applications, each

greater efficiencies in the control room,

Eddershaw: Innovations in robotic control are

delivering a purpose-built, intuitive interface that

dramatically reducing the number of positions

happening all the time, such as control systems

allows a single operator to control a complex

required to produce a show. Similarly, robotics

with more automated capabilities making it

installation with ease.

48 TVBEurope

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Interview

Broadcast and production From creation to consumption require a careful balance of editorial input and sophisticated computer algorithms but the possibilities are almost endless.

What has 2014 taught us about the progression of the industry, and where it currently sits in its evolution?

With all the changes that are happening, from how content is created to how it is viewed, one constant remains: the content itself is still king. It’s a cliché but content is still what matters. Just look at the furore over inaudible dialogue in various period dramas in 2014.

The British public care deeply about TV, it is

Ahead of this year’s BVE in London on 24 to 26 February, for which TVBEurope will be publishing a brand new BVE Daily, James McKeown sat down with Alison Willis, portfolio director for i2i Events Group’s Environment and Broadcasting Division, to discuss the changing industry environment in the first of a two-part Q&A

ingrained in our culture now, and they will always want more and better content. The important thing for the industry is to keep remembering that in its quest to satisfy all the other viewer requirements. On that note, consumer habits are clearly changing and broadcasters need to continue to not just be

Much has taken place between the BVEs of

industry we are not there yet but very soon the

2014 and 2015. In terms of news, technical

established methods of cabling up studios, OBs,

developments and industry trends, what has

post houses and more could be superseded

stood out for you in particular?

by standard internet connectivity. It promises a

The last 12 months have seen remarkable

more cost-effective approach. Again, there is

changes, even by the standards of an industry

still work to be done in this area, but now that it

like broadcast that is constantly evolving. Take

is technically possible for live video and audio

for example the move from tape-based to file-

to be synchronised down computer cables, the

based programme delivery: that was described

change looks inevitable.

as the biggest change since the introduction

4K continues to generate debate, not least

of colour pictures. This shows the level of

because none of the major UK broadcasters

development we are seeing at the moment.

have yet committed to broadcasting any

As part of that shift, we have also seen the

reactive to this but also proactive.

“The move from tape-based to file-based programme delivery was described as the biggest change since the introduction of colour pictures. This shows the level of development we are seeing at the moment.”

content in a format that is four times bigger in

almost universal adoption of a common Loudness

resolution terms than HD. Many people now

According to the latest Ofcom figures, one third

standard that can be applied to all types of

shoot in 4K – and indeed 5K and 6K – but until

(32 per cent) of the online population in the UK

broadcast content. That is another key change

a broadcaster dips its toes in the 4K water, the

uses the web to watch TV at least once a week.

and one that will benefit all television viewers,

talk will continue. BVE will be a good place to

This is the highest rate of any country in Europe.

whatever device they are using. For the industry,

learn more about the 4K problems that are left to

That provides you with an idea of the shift that is

it means a slightly different way of working and a

solve. At the consumer end, having access to big

taking place. But the baby should not be thrown

need to invest in new equipment. As such, there

data is going to be huge for the broadcasters.

out with the bath water just yet as, according

are still some issues to overcome so I believe that

By gathering, analysing and cross referencing

to BARB, 98 per cent of TV viewing in the UK still

Loudness will continue to make a huge noise at

accurate viewing and user statistics, content

takes place on a TV set. At the moment this is a

BVE 2015, if you’ll excuse the pun.

providers - in their many forms – will hope to

gradual change: an evolution not a revolution.

deliver better and more personal experiences

Ask me again in 12 months time and I might say

across both TV sets and mobile devices. It will

something different, though!

Looking to the future, the impact of IP on the broadcast chain cannot be understated. As an

TVBEurope 49

January 2015 www.tvbeurope.com

Data Centre

OTT breaks through barriers

A pan-European OTT study conducted by MTM for Vindicia and Ooyala indicates a growth trajectory of 80 per cent in the next three years

Steady growth of premium OTT service is expected in all three European regions indicia, specialising in enterprise-

V

class subscription billing, and Ooyala, an innovator in video streaming,

personalisation and analytics, have unveiled the results of a qualitative pan-European study that

According to premium OTT service providers,

“Demand and innovation will go hand in hand” Jay Fulcher, Ooyala

other barriers include exclusivity of access to high-quality, high-appeal content, consumer consciousness and cultural factors. Exclusivity in particular is a primary battlefield for mass-

looks at the current premium service OTT market

market services, with content licensing costs

and its projected growth in the UK, Dutch and

inflating as large OTT businesses, including Netflix

German regions by 2017. The study revealed

and Amazon, invest in long-term, exclusive and

that, while industry leaders are aware of the

the premium OTT market expected to increase

challenges when targeting the mass market with

from €30-35 million in 2013 to €117 million in 2017.

film and TV content, premium OTT technology

Lower broadband penetration in Germany is a

daunting challenges, however with the

continues to advance in Western markets.

contributor to the region’s slower growth rate.

right approach and level of investment, the

Conducted by research and strategy

“The next three years will be a real turning

rewards will be substantial,” says Jay Fulcher,

global studio licensing deals.

“OTT providers and new entrants face

consultancy MTM, and involving 30 OTT service

point for the premium OTT market,” says Gene

president and chief executive officer of Ooyala.

providers in the UK, Dutch and German markets,

Hoffman, chief executive officer and chairman

“Technology itself is becoming less and less of

the research revealed that despite a number of

at Vindicia. “Broadband penetration levels

a barrier and as time goes on, we will start to

barriers to entry, industry participants expect to

are rising, connected devices are becoming

see providers throw large amounts of money

see steady growth of premium OTT service in all

increasingly accessible and favourable

at OTT in a bid to differentiate themselves from

three European regions. In fact, the UK market is

regulations are being introduced, which is paving

the competition. Because of this, consumers will

expected to grow from £110-130 million in 2013

the way for OTT providers. The emergence of

have higher expectations when it comes to user

to £390 million in 2017, while the Dutch market

leading players, such as Netflix, is also fuelling

experience and quality of service, which will

is expected to grow from €15-20 million in 2013

competition and investment in premium OTT

put significant pressure on providers to discover

to €190 million in 2017. Industry participants

business models, while at the same time driving

the most cutting edge technology. In effect,

expect to see slower growth in Germany, with

consumer awareness and adoption.”

demand and innovation will go hand in hand.”

50 TVBEurope

www.tvbeurope.com January 2015

Data Centre

OTT on the rise in Poland SNL Kagan’s Abigail Cruz puts the spotlight on Poland’s burgeoning OTT market

Czech Republic Hungary Poland

64.2%

Romania oland had an 88.7 per cent multichannel

P

69.2%

Russia

penetration rate at the end of 2013, the highest in the Eastern Europe region.

Poland’s broadband penetration rate was 48.5

87%

per cent, leaving a gap between multichannel and broadband penetration rates of a little

80%

more than 40 points. Despite a challenging situation for OTT growth, SNL Kagan expects the market to see significant near- to medium-term growth given the various OTT initiatives being

88.7%

implemented by online video providers.

Cyfrowy Polsat SA’s ipla maintains its dominance in the OTT aggregator universe with

Eastern Europe multichannel penetration rates

its average number of unique users reaching

Czech Republic

‘Polish broadcasters have started leveraging online catch-up TV services to increase and diversify viewership’

Hungary Poland

49.7%

Romania

48.6%

Russia approximately 4.6 million per month, as of June 2014. It has also added Toshiba smart TVs to its list of supported devices.

48.5%

New OTT players in Poland to look out for

48.9%

include Google Play, launched by Google in March 2014, and PlayPuls, launched by Telewizja Puls in August 2014. Google Play is currently available on computers, smartphones and

48.5%

tablets. As for PlayPuls, users may access over 100 programme episodes through computers.

Catch up

Eastern European broadband penetration rates

On the game console front, Sony’s PlayStation 3 and 4 users will now have free online access to

Poland’s state-owned public broadcasting

and Maxdome. As for Panasonic, it has added

broadcaster TVN’s catch-up service, Player.pl. As

company. TVP operates an ad-based catch-

Vimeo, TVN and Dailymotion.

for Microsoft’s Xbox 360, it currently offers content

up TV service with full-length shows and news

from YouTube, Crunchyroll and MLB.TV. SNL Kagan

programmes. As for TVN, it offers free ad-

internet streaming players, including Apple’s

believes that strengthening video partnerships with

supported TV shows and featured movies to users

Apple TV, Sony’s Network Media Player and

leading national broadcasters and OTT players to

in Poland for online streaming.

Western Digital’s WD TV Live, SNL Kagan

offer both free and premium content would lead to increased platform competitiveness.

As of August 2014, smart TV manufacturers

While OTT services may be quite limited for

anticipates that manufacturers will continue

Samsung Electronics, Philips and Panasonic

to enter into deals with content aggregators

grew their content slate. Some of Samsung’s

and offer better video options to the market in

online catch-up TV services to increase and

recent content partners include Cineman.pl,

the medium to long term, which should

diversify viewership. Telewizja Polska (TVP) is

Ninateka and wp.tv. Philips has added Vimeo

increase device uptake.

Polish broadcasters have started leveraging