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Total number of pages 52 Vol. 10 | Issue 04 | APRIL 2018 | ` 50
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PREVIEW
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BROADCASTING YES, MAM
SCALING DIGITAL HEIGHTS THE MEDIA AND ENTERTAINMENT INDUSTRY GREW TO INR 1.5 TRILLION IN 2017, ACCORDING TO A FICCI-EY REPORT. THIS SIGNALS GREAT OPPORTUNITY FOR CONTENT CREATORS AND BROADCASTERS ALIKE
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APRIL 2018 VOLUME 10 ISSUE 04 EVENTS CALENDAR 2018 CABSAT Show
14th to 16th Jan Dubai World Trade Centre, UAE
BES Expo
26th to 28th Feb Pragati Maidan, New Delhi, India
BVE show
27th Feb to 1st March, ExCeL London, UK Convergence India 2018
7th to 9th March Pragati Maidan, New Delhi, India NAB Show
7th to 12th April Las Vegas Convention Centre, US Broadband TV Connect Asia 2018
24-25 April 2018 AVANI Riverside Hotel, Bangkok
SCALING DIGITAL HEIGHTS M&E industry grew to reach INR 1.5 trillion in 2017, 20 The according to the FICCI - EY report 2018
10 DOMESTIC NEWS 14 INTERNATIONAL NEWS 28 YES MAM
MAM solutions help broadcasters balance workflows faster with greater security and easier access
38 ON THE RADAR SCREEN
Technological developments have made production monitors more user-friendly and cost-efficient in their usage during post-production activities.
42 GREAT EXPECTATIONS
244 first-time exhibitors will join a variety of exhibitors on the nearly one million square feet of space that comprises 2018 NAB Show
4 APRIL 2018 | DIGITAL STUDIO
Broadcast Asia
26th to 28th June Suntec Singapore Convention & Exhibition Centre, Singapore BIRTV 2018 Show
22nd to 25th August Beijing, China IBC Expo
14th to 18th September Amsterdam RAI, Netherlands Broadcast India Show
25th to 27th October Bombay Exhibition Centre, Goregaon, Mumbai Digital Studio India Channel Partner Awards
26th October Hotel Sahara Star, Mumbai Inter BEE
14th to 16th November Tokyo, Japan
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VIEWPOINT Vol. 10 | Issue 4 | April 2018
The stage is set, will you be there?
VINITA BHATIA
Come March and most people in the broadcasting, media and entertainment (M&E) industry start planning their annual trip to the NAB Show in Las Vegas. And why not! Over the years, this global trade show and conference has effectively adjusted itself to keep pace with changing business demands. This year, 244 first-time exhibitors will join a wide variety of exhibiting veterans at the event, giving visitors ample opportunity to connect with manufacturers and solution providers who will showcase their latest products and services. It will also have a fresh lineup of sessions and conferences where industry leaders will talk about cutting-edge technologies and ways in which practical business solutions can innovatively create, distribute and consume content. In this edition of Digital Studio, we show what you can expect at the upcoming 2018 NAB Show, along with a snapshot of exhibitor expectations, as well as a sneak peek into the solutions that will be on display, which range from IP to smart devices to big data to VR. Our cover story this issue is on some of the findings of the FICCI-EY report titled ‘Re-imagining India’s M&E sector,’ launched at FICCI Frames 2018. A key highlight of this report was how the digital platform has given rise to a new audience segment, which is growing exponentially, probably beyond anyone’s expectations. Today, there are 16 crore TV screens, and one crore new screens are added to it annually. The breaking down of data cost barriers is steadily adding one crore new smart screens every month! Now is the time for content creators, producers and broadcasters to rethink their content creation and distribution strategies to tap this burgeoning market to engage them with stories and focus on having a two-way conversation with them. Like Sanjay Gupta, MD, Star India said during FICCI Frames 2018, this is time to set our sights high enough and take note of the opportunity in front of us to set the global standards for creativity and quality. And the time is now. Who is game?
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ADVISORY BOARD
ADVISORY BOARD DIGITAL STUDIO INDIA ADVISORY BOARD 2017 We are happy to introduce the Digital Studio India Technical Advisory Board for 2017. The board—comprising Indian television and broadcast industry veterans and thought leaders—offers insights about market happenings, ideas for features and news, thoughts on technology and trends, editorial contributions. The board also lends its knowledge and experience to help Digital Studio India continue to offer the most timely editorial features, case studies, and information relevant to the industry.
DINESH SINGH
K YEGNESHWARA IYER
Chief Technology Officer, NDTV Limited Singh has over 22 years of experience with companies like NDTV, NVL Ltd - Sony Broadcast equipments, Thomson, etc. Some of his notable projects include India’s first digital production set up with robotics camera in the Parliament, film-based project in Ramoji Film City and turnkey project of Bangladesh National Open University, Bangladesh that includes four studios with PCRs, radio audio studio, microwaves and FM transmitter.
Head Of Technology Technical & Broadcast Operations, Times Television Network Iyer has spent more than three decades setting up networks and developing business software for various broadcasting companies. A co-applicant in a patent application for real time graphics on TV, he conceptualised and delivered innovative technical processes in news broadcast television, developed mobile apps and mobile app back-end architecture.
PIYUSH GUPTA
RAJASEKHARAN HARIKRISHNAN
Group CTO, India Today With over 19 years of experience in TV and broadcast, prior to managing technology and integration within India Today Group, Gupta has been with Network 18 for almost 15 years and has headed operations and technology development for CNBC TV18, CNBC Awaaz, CNN-IBN, HomeShop18 and Colors.
VP and CTO, Viacom 18 Media Harikrishnan heads the technical operations of Viacom 18 Media since the last four years. He has a rich experience in broadcast TV industry, production and post-production environment and also in designing and systems integration. He earlier headed technology and operations at Neo Sports Broadcast and has also worked with NDTV.
AK MADHAVAN
SUBASH SAHOO
Founder and CEO, Assemblage Entertainment AK Madhavan launched his entrepreneurial venture, Assemblage Entertainment, at 55, after spending 14 years as CEO of Crest Animation Studios. Previously, he has managed senior roles with Dalal Street Journal and with DDE-Org Systems, a information technology solutions provider, where he also began his career.
VP – FWICE and General Secretary –WIMPTSEA An alumnus of FTII Pune, Sahoo has been part of Bollywood for over 22 years as sound designer. He has won the National Award twice, besides bagging several state awards. Sahoo is currently the general secretary of Western India Motion Pictures & TV Sound Engineers Association, and VP of Federation of Western India Cine Employees.
8 APRIL 2018 | DIGITAL STUDIO
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NEWS
THIS MONTH IN THE BROADCAST AND PRODUCTION INDUSTRY
AMAZON PRIME MUSIC: NOW STREAMING IN INDIA AMAZON PRIME MUSIC LAUNCHES IN INDIA WITH AD-FREE STREAMING, INNOVATIVE VOICE CONTROLS WITH ALEXA AND IN MULTIPLE LANGUAGES
Amazon Prime Music customers can find and play music by using Alexa voice controls.
Amazon.in announced the launch of Amazon Prime Music, an ad free music streaming service exclusively for Prime members offering unlimited offline downloads, voice controlled with Alexa at no additional cost to Prime membership. Amazon Prime Music includes tens of millions of songs across major international and Indian music labels in over 10 languages including English, Hindi, Tamil, Punjabi, Bengali, Kannada, Telugu and more. Amazon’s music experts have specially curated playlists and stations to give music listeners an uninterrupted music listening experience across genres, moods, artists, eras, and activities. Amazon Prime Music will be available on Android
10 APRIL 2018 | DIGITAL STUDIO
and iOS mobile phone apps, Desktop app and Web player, Amazon Fire TV sticks and Amazon Echo devices. With Alexa voice controls, Amazon Prime Music customers can find and play music by using Alexa voice controls. Commenting on the launch, Sahas Malhotra, director, Amazon Music India said, “We believe music listeners are going to love Amazon Prime Music as we bring a global service that’s been truly localised in its selection and curation. With ad-free streaming at no additional cost to Prime members, Amazon Prime Music offers a welcome break from text and voice ads that come between you and your favourite music. Moreover, voice controls makes music listening delightful, effortless and a natural experience for customers.”
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DOMESTIC NEWS
NETFLIX NAMES THREE NEW ORIGINALS FROM INDIA THE STORYTELLING SLATE RANGES FROM DRAMA TO HORROR TO MYSTERY series join a larger slate of original productions out of India including Sacred Games, Selection Day, and Bard of Blood. “We are proud to continue to invest in original content in India. These three series, from the scary to the supernatural, represent the tremendous diversity that Indian storytelling holds Upon completion, the series will debut exclusively to for a global audience. We over 117 million Netflix members in 190 countries. are thrilled to work with some of the world’s most Netflix Inc announced a slate of three new talented writers and producers to bring these Indian original series, across genres and stories to life for India and the world.” said themes. From drama to horror to mystery, Erik Barmack, VP, international original sethese broad and diverse stories, upon com- ries, at Netflix. pletion, will debut exclusively to over 117 milLeila, from writer and executive producer lion Netflix members in 190 countries. These Urmi Juvekar, based on a book by Prayaag Ak-
bar, tells the story of Shalini, a free-thinking woman in search of the daughter she lost upon her arrest 16 years earlier. Set in the near future, this inventive, boundary-breaking story centres around longing, faith and loss. Ghoul, a horror series based on Arabic folklore, is set in a covert detention centre. Nida, a newly minted interrogator who turned in her own father as an anti-government activist, arrives at the centre to discover that some of the terrorists held there are not of this world. Written and directed by Patrick Graham, and starring Radhika Apte and Manav Kaul, this unique and gripping series, with a supernatural twist, traces Nida’s battle for survival. Crocodile, written by Binky Mendez, is a young adult murder mystery thriller series set in the seaside state of Goa. When her best friend goes missing, Mira sets out on her own investigation, uncovering secrets among her friends, romantic relationships and community.
TELECOM MINISTER MANOJ SINHA INAUGURATES 26TH CONVERGENCE INDIA 2018 EXPO The 26th Convergence India 2018 Expo, co-located alongside the 2nd Internet of Things 2018 expo, had Union Minister of State for Railways and Minister of State (Independent Charge) for Communications, Manoj Sinha, as chief guest at the inaugural ceremony in Pragati Maidan, New Delhi on 7th March 2018. There is a large corporate and industry presence as businesses quickly move to implement IoT solutions to streamline processes, deliver better business outcomes, foster stronger links with the public sector, and improve the bottom line, etc. A joint initiative of the India Trade Promotion Organisation (ITPO) and Exhibitions India Group, Convergence India demonstrates convergence of technologies in telecom, IT, broadcast and digital media sectors, while Internet of Things India explores and introduces the latest innovations within the IoT ecosystem. The expo showcased latest trends and cutting-edge technologies related to telecom, broadcast, cable and satellite TV, cloud and big data, IoT, digital homes, mobile devices, film and radio, content creation, management and delivery, manufacturing, cloud, electronics, smart devices and accessories, etc. Together, the two co-located trade events attemped to have a
12 APRIL 2018 | DIGITAL STUDIO
tremendous positive impact on the overall Digital India, Make in India, Skill India, Start Up India campaigns sponsored by the Government of India. “There is no escaping the importance of digital and telecommunications technologies as digital currencies become the norm; AI transforms the nature of work in this brave new world; automation creates unprecedented efficiencies in office productivity; and AR and VR become the new interface between humans and machines. And, when the Government is making the transformation to digital, powered by new technologies like cloud computing, big data, the Internet of Things, and so on and so forth, it is important to promote Brand India globally, and that is what the Convergence India and the Internet of Things India expos are here for,” said Prem Behl, chairman of Exhibitions India Group, organiser of the event. The three-day event hosted content and discussions across three conference tracks, with decision makers in government, industry and businesses, thought leaders, etc., aiming to inspire new thinking, provoke action and equip one with the skills and knowledge needed to understand and address future challenges.
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INTERNATIONAL NEWS
TYRELL, OBJECT MATRIX DELIVER PETABYTE OF MEDIA-FOCUSED PRIVATE CLOUD STORAGE TO TV3 Object Matrix has provided TV3, Ireland’s largest independent commercial broadcaster, with MatrixStore, a media-focused private cloud platform, for its digital asset archive. Tyrell managed the implementation. As a part of the Broadcasting Association of Ireland’s funding scheme for the archiving of programme material, TV3 began the process of digitising all of its tape assets. This, coupled with a growing library that already consisted of 70,000 object files, meant it needed a unified storage solution to interface with its archive, production, and content management systems. Tyrell implemented 1 petabyte of MatrixStore object storage for TV3, providing digital content governance and instant access to all its
14 APRIL 2018 | DIGITAL STUDIO
content in the archive. An existing customer of MatrixStore, TV3 has expanding requirements. As the storage requirements increase, adding more nodes with minimal technical input and zero downtime expanded this. MatrixStore provided the broadcaster with the ability to easily search for, access, log, select and restore content to production systems, content management systems or to its online platforms with ease. It underpins the Avid MAM | Foundation and two existing Avid interplay PAM system systems with integration with the Avid Media Central UX. It has been integrated directly into the existing media asset management system to enable automated workflows and a seamless workflow. Nick Pearce, sales and marketing director,
Object Matrix, commented, “TV3 makes a valuable contribution to the preservation of Ireland’s broadcasting heritage. Being able to easily find assets, especially of key moments in Ireland’s culture history, was extremely important to the broadcaster. With a fully digital and integrated archive, that process is now simple for TV3.” Eoin Brennan, post-production manager, TV3, added, “The ease of integration with MatrixStore into our existing production environment made it the right choice for us. The fully redundant system means we now have a secure archive, whilst also having easy access to all of our assets. Thanks to this project, we are able to better manage our digital assets.”
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INTERNATIONAL NEWS
BLONDE ROBOT IS SONNET DISTRIBUTOR ACROSS SEA BLONDE ROBOT WILL EXCLUSIVELY DISTRIBUTE THE PRODUCTS IN SINGAPORE, THAILAND, VIETNAM, INDONESIA, THE PHILIPPINES, LAOS, CAMBODIA AND MYANMAR
Greg LaPorte, VP, sales and marketing, Sonnet Technologies.
Sonnet Technologies announced a new partnership with Blonde Robot, a distributor of professional video equipment and solutions in Southeast Asia. “Blonde Robot is the perfect partner to help us expand our market share and take advantage of new opportunities in the vital Southeast Asia region,” said Greg LaPorte, VP, sales and marketing, Sonnet Technologies. “Besides providing a local and readily accessible inventory of product in Southeast Asia, Blonde Robot will be an important resource for our resellers that are already active in Malaysia, Singapore, and Thailand. This partnership will be a win-win for everyone there, especially our customers.” Blonde Robot, whose Southeast Asia headquarters is in Malaysia, is an importer and distributor of products for professional video and specialty photographic retailers throughout the region. With warehouses in Hong Kong, Singapore, Australia, and New Zealand, it supplies more than 1,000 retail locations in 14 countries.
16 APRIL 2018 | DIGITAL STUDIO
GOLF CHANNEL TEES UP LAWO FOR PRODUCTION In 2016, Golf Channel reached a decision to begin implementing a transition strategy for the future. Eric Gardner, Golf Channel’s senior director, engineering and BOC explained, “When we started this project, our objective was to overhaul our entire audio infrastructure while achieving IP-transport, pooled resources, ease of operation, and improved workflows. Lawo’s portfolio of products allowed us to design and build a comprehensive system that seamlessly encompasses audio, video, intercom, and commentary into a single vendor solution.” Three 64-fader mc256 consoles were installed in Golf Channel’s primary production control rooms for live audio, with an additional three 16-fader mc236 consoles installed in hybrid live audio and post production rooms. In addition to the consoles, Lawo Commentary Units were installed in voiceover booths located throughout the Golf Channel campus. Tying everything together is a Nova 73 audio router and 11 DALLIS audio I/O frames located in Golf Channel studios, control rooms, and equipment areas. Gardner continued, “The beauty of this design is that all the messy cabling only happens near the core or at the edge. RAVENNA allows for a sprawling audio network with clean home runs around our facility utilising both fiber and copper.” For additional flexibility, Golf Channel also installed four Lawo V__pro8 audio/video processors to take the complexity out of video and audio channel mapping. “The addition of four Lawo V_pro8 units gives us the flexibility to synchronise any of the eight inputs and outputs with a MADI audio matrix. Live video
and audio monitoring is built into the HTML5 web GUI, and the flexibility to build program, auxiliary and camera paths in minutes rivals any other interface we use,” stated Bob van Deering, director, systems design and transmission, Golf Channel. The V__pro8 units are utilised as extra resources, with a dedicated unit per production control room and a fourth unit wrapped around the core video router. “One feature that our Operations Team has been very excited about is the flexibility of Lawo’s custom functions,” stated Dennis Milewski, director, systems services, Golf Channel. “Using the custom function of the mc² series consoles, the operators can program the console to do almost anything they can imagine. Currently, the custom functions are used for specialty audio monitoring situations, back-up microphone routing, and GPIO tasks like studio on-air lights, among many other uses.” Lawo and Golf Channel worked under a tight schedule to integrate all systems during a December 2017 production hiatus. Milewski continued, “Our operators found that Lawo’s trainer went above and beyond, making them feel comfortable with extensive training and on-site presence.”
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COVER STORY
SCALING DIGITAL HEIGHTS
The media and entertainment industry grew by almost 13% in 2017 to reach INR 1.5 trillion, according to the FICCI - EY report 2018 BY VINITA BHATIA
T
he Indian media and entertainment (M&E) sector reached almost INR1.5 trillion ($22.7 billion) in 2017, a growth of around 13% over 2016. With its current trajectory, it is expect to cross INR 2 trillion ($31 billion) by 2020, at a CAGR of 11.6%.
20 APRIL 2018 | DIGITAL STUDIO
The digital segment led growth, demonstrating that advertising budgets are in line with the changing content consumption patterns. The FICCI-EY report, ‘Re-imagining India’s M&E sector,’ launched at FICCI Frames 2018 in Mumbai, captured some key insights from this exciting and fast growing Indian M&E sector. One of this was that the M&E sector con-
tinues to grow at a rate faster than the GDP growth rate, reflecting the growing disposable income led by stable economic growth and changing demographics. Subscription growth outpaced advertising growth in 2017 but advertising will continue to grow till 2020 led by digital advertising. At FICCI Frames 2018, Sanjay Gupta, MD, Star India, challenged the present attendees
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COVER STORY
MOVIES STILL MAKE MOOLAH The Indian film segment grew 27% in 2017 on the back of box office growth – both domestic and international – coupled with increased revenues from sale of satellite and digital rights. All sub-segments, with the exception of home video grew and the film segment reached INR156 billion in 2017. The Hindi films comprise the majority component of the Indian film segment. They contribute almost 40% of the net domestic box office (BO) collections annually, despite comprising only 17% of the films made. Films in 29 other Indian languages account for approximately 75% of the films released but they contribute approximately 50% to the annual domestic box office collections. Hollywood and international films comprise the balance. The top 50 films contributed approximately 97.75% of the total net box office collection. Box office collections of the top 50 films grew by 11.60% in 2017. Regional movies drove the growth in number of releases in 2017. Screen count increased from 9,481 in 2016 to 9,530 in 2017. Number of Hindi movies crossing the INR1 billion mark was highest in 2017 in the past 5 years. From 31 movies in 2016, Hindi dubbed movies increased more than 3 times to 96 in 2017. Source: FICCI - EY report 2018
to lift their standards of quality, change the way they use technology and increase its investments to bring India’s stories to more consumers around the world to help the INR 1,47,000 crore M&E industry prosper. “Digital is unleashing the power of new screens. Ours is a country that has always been constrained by screens. There are only 9,000 theatres in the country. Then came TV,
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which grew phenomenally over three decades and today, there are 16 crore TV screens and we add more than one crore new screens every year. But, with the power of connectivity and low cost of data, in almost a click, over 35 crore more screens across the country have been lit up. And this journey has just begun,” he said. Network18 Digital’s CEO, Manish Maheshwari, said that the data explosion in the past two years has changed the scenario of video consumption in India. The launch of Reliance Jio a year and half ago, especially, led to widespread adoption of 4G technology. With more affordable smartphones coming to the market, Gupta stated that more than one crore new smart screens are added every month. “By the end of 2018, we would have added another 16 crore screens. This means that we will have 51 crore new screens on which us Indians will be engaging with all kinds of stories be it drama or sports, films or news. Within 24 months, we have moved up from 16 crore TV screens and 9,000 cinema halls to 67 crore screens. This is set to explode how we engage with stories – the time we spend, what we like, how deeply we follow them, and above all, how to have a two-way conversation with both stories and storytellers,” Gupta noted. Minister Irani, too, felt that there was a need to highlight local and regional movies that can swatch through audiences across the
country. “We don’t really talk about the capacity of our regional language films. How many countries can say that I have a Marathi box office hit like ‘Sairat’ or Prosenjit doing films that cut across India or we have had a legend like Sridevi who did films in 5 languages and was a superstar not only in Delhi, Mumbai but the entire nation? The more the expanse of content, the more the opportunities for local languages and local talent to come to the forefront. The beauty of our industry is that we are everywhere,” she emphasised. GROWING DIGITAL AUDIENCE The report estimates that approximately 1.5 million consumers in India today are digital only and would not normally use traditional media. It is expected that this customer base will to grow to ~4 million by 2020 generating significant digital subscription revenues of approximately 20 billion. Going forward, micropayments, enabled through the Unified Payment Interface (UPI) and Bharat Interface for Money (BHIM) platforms developed by the National Payments Corporation of India (NPCI) will further accelerate subscription revenues for entertainment content. FICCI president, Rashesh Shah said that the Indian M&E industry has been hitting new milestones and has stepped onto a matured phase at a growth rate of 11.6% CAGR. “The need is to promote India as an enter-
DIGITAL STUDIO | APRIL 2018 21
COVER STORY
tainment hub to the world, facilitate policy change for the betterment of the Indian M&E industry as well as create and encourage platform for business-to-business interface and dialogue,” he added. Farokh Balsara, partner and M&E leader, EY India, stated, “Indian M&E sector reached INR 1.5 trillion in 2017 led by digital. With digital subscribers expected to reach 20 million by 2020, has Indian M&E reached its digital tipping point? We now need to reimagine the future of Indian M&E sector.” Ashish Pherwani, Partner and M&E Advisor Leader, EY India, “Growth in 2017 was led by the digital, film and animation as well as VFX segments. We expect sectors like digital and gaming to grow between two to three times by 2020.” IDIOT BOX NO MORE As per the FICCI and EY report, the TV and broadcast industry has a lot to cheer for. The TV industry grew from INR 594 billion to INR 660 billion in 2017, a growth of 11.2% (9.8% net of taxes). Advertising grew to INR 267
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M&A IN M&E The Indian M&E sector witnessed a relatively new trend in deal activity with emerging segments such as gaming and digital gaining momentum, while the deal activity in the traditional media segments was slower. The slowdown can be partially attributed to challenges faced by the advertising segments of the industry due to demonetisation and GST. Overall, the number of transactions in the M&E sector decreased from 56 deals in 2016 to 40 deals in 2017. Further, the total deal value was also lower at $1,261 million in 2017 compared to $2,863 million in 2016.
Source: FICCI - EY report 2018
billion while distribution grew to INR 393 billion. It comprised 40% of revenues, while distribution was 60% of total revenues. At a broadcaster level, subscription revenues (including international subscription) made up approximately 28% of revenues.
Some key insights in this segment are that while advertising is 41% of the total revenues today, the report expects it to grow to 43% by 2020. There are over 30% households in India that are yet to get television screens, but being at the bottom of the pyramid, these households will tend to move towards first towards free and sachet products. At FICCI-Frames 2018, there was an interesting panel discussion on the ‘Future of TV in India’, which included Raj Nayak, COO, Viacom18; Partho Dasgupta, CEO, BARC India; Ajit Mohan, CEO, Hotstar; MK Anand, MD and CEO, Times Network; Anuj Gandhi, CEO Indiacast; Ashish Pherwani, Partner EY; media veteran, Amit Khanna with senior M&E professional, Paritosh Joshi, moderating the session. Nayak was optimistic about the medium’s future in India as the younger generation still is a TV consumer. “Cord cutting is actually a myth,” he said. “Viewers also consume the TV-type long-form content as much on larger screens as they do on digital platforms.” Giving an example about the ease of doing
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COVER STORY
“GLOBALLY, MANY INTERESTING MODELS EMERGED IN THE DIGITAL WORLD, BUT A LOT OF MEDIA ATTENTION IS ON AGGREGATORS, WHO AGGREGATE CONTENT TO BECOME THE TOP DESTINATION FOR VIEWERS. THEY HAVE TO BUY THE MOST EXPENSIVE TV CONTENT; INCLUDING THE MOST POPULAR MOVIES AND POPULAR SPORTS SHOWS.” – KARAN BAJAJ, SENIOR VP, SOUTH ASIA, DISCOVERY COMMUNICATIONS.
broadcast business in India, Anand reminisced about the time when Mirror Now was launched and how Times Network had spent only 55 percent of what a normal channel launch would cost. “That would not have been possible three years ago. The digital growth has empowered broadcast businesses today by providing quality bandwidth and better connectivity among other things,” he added. Dasgupta pointed out that a whopping 87 percent of urban Indians consume TV programming, while the number is only 57 per cent in rural parts of the country. He estimated that about 780 million people accessed TV regularly, which is set to rise. While Mohan was representing a digital platform, he felt that TV content was a lot more effective. At the same time, he felt that digital offers better reach for TV-type content on digital. “A good number of people access TV content on digital platforms. “This proves that if the content is good, people are willing to pay for it,” he stated. Talking about the distribution fraternity, Anuj Gandhi mentioned that ultimately content drives distribution and the consumer today is platform-agnostic. “Viewers will consume TV content and this consumption will grow; the pipe through which this content is distributed to them could be linear TV, digital,
Minister for Information and Broadcasting, Smriti Irani lights the traditional lamp at FICCI Frames 2018, while film producer Siddharth Roy Kapur, director-producer Karan Johar and FICCI president, Rashesh Shah look on.
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“THERE ARE 16 CRORE TV SCREENS AND WE ADD MORE THAN ONE CRORE NEW SCREENS EVERY YEAR. BUT, WITH THE POWER OF CONNECTIVITY AND LOW COST OF DATA, WITH ALMOST A CLICK, OVER 35 CRORE MORE SCREENS ACROSS THE COUNTRY HAVE BEEN LIT UP.” – SANJAY GUPTA, MD, STAR TV INDIA.
YouTube, Facebook or any other technology that might be developed later on,” he said. LET’S GO DIGITAL Digital media has grown significantly over the past few years, and continues to lead the growth charts on advertising. Subscription revenues are emerging and are expected to make their presence felt by 2020. In 2017, digital media grew 29.4% (27.8% net of the impact of GST) on the back of a 28.8% growth in advertising and a 50% growth in subscription. Subscription, which was just 3.3% of total digital revenues in 2016, is expected to grow to 9% by 2020. 250 million people viewed videos online in 2017 and expected to double to 500 million by 2020. Around 40% of total mobile traffic came from the consumption of video services in 2015. This figure is expected to touch 72% by 2020. 93% of time spent on digital videos is in Hindi and other regional languages. OTT subscription in India is expected to touch INR 20 billion by 2020. While there is frenzy around digital content creation, the question that is topmost on
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COVER STORY
Approximately 1.5 million Indian consumers today are digital only and would not normally use traditional media. It is expected that this customer base will to grow to ~4 million by 2020 generating significant digital subscription revenues of approximately 20 billion. Source: FICCI - EY report 2018
most companies’ agendas is whether there is a sustainable business model around it. The currency that is used in digital is usually subscribers, users, download, monthly average users, and this is reflected in many trends in the world. At the same time, if one were to look towards the West, 59% of the subscribers pay for the content they view, as compared to India where the number is around 3%. That again gives rise to the question is there merit in digital platforms as a business, since these calls for heavy investment. When Karan Bajaj joined Discovery Communications as senior VP, APAC, last year, he recalled how there was pressure to
launch an OTT platform. “Globally, many interesting models emerged in the digital world, but a lot of media attention is on aggregators, who aggregate content to become the top destination for viewers. They have to buy the most expensive TV content; including the most popular movies and popular sports shows,” he said. He said that Discovery decided to adopt the other model, which was of a niche destination for people who are passionate for that nature of content. “That is why we launched Veer on our digital platform in February 2018
and I am happy that few people know about it, because I want only viewers who are love military content to watch it,” Bajaj stated. New-age platforms are finding their footing in the constantly evolving media landscape, and learning to co-exist with traditional players. At the same time, as the business flourishes, it will have to contend with issues like piracy, lack of regulation, adoption of the latest deployment, etc. Different media companies are experimenting with a variety of business strategies, since a one-size-fits-all model is unlikely to work.
CONSUMER CONNECT — PRIME FOCUS TECHNOLOGIES
THINK AUTOMATION. THINK CLEAR. Automated Work Order Management is the key to drive efficiencies and reduce costs in media and entertainment Today, running a profitable media and entertainment (M&E) enterprise is more difficult than ever. The frequency and speed with which original content is being generated has been increasing at a rate never before seen in the industry, with more and more people working on content. Supply chains are sprawling, and the sheer number of touch points content passes through from start to end is spinning a web of complexity for the content creators, not to mention security concerns. What’s more, with the growing complexities of multi-platform distribution, content creators can no longer rest on existing and independently functioning systems that result in ‘Islands of Automation’. To achieve faster time-to-market with increased efficiencies, they need automation not just within their silos but across the entire content supply chain. They need an innovative technology stack that offers CLEAR solutions, CLEAR outcomes, CLEAR value and CLEAR results. In a bid to help M&E companies embrace automation, Prime Focus Technologies (PFT), the technology arm of Prime Focus, will unveil several industry-first additions to its flagship product CLEAR Media ERP at NAB 2018 - the ultimate event for the media, entertainment & technology industry. PFT is all set to showcase new, transformational solutions built on the back of CLEAR’s powerful Work Order Management, pre-integrated with its Media Asset Management (MAM), Workflow Engine and Video Tools. Here’s a glimpse: • Content Acquisition Portal: Automated Work Order to manage planning, acquiring, evaluating, cataloging and scheduling content CLEAR’s Content Acquisition Portal
26 APRIL 2018 | DIGITAL STUDIO
Work Order Dashboard
serves as a robust entry point for all media and ancillary files used in the creation of mezzanine format masters for the entire supply chain. Users can leverage it to automate content operations and securely fetch media from any geographical location, all without a VPN. With end-to-end Work Order Management, the portal enables users to assign tasks to resources/vendors, view QC reports, transcode content to create proxies, and perform a host of other critical content operations. It can seamlessly integrate with other IT systems like Rights, Ordering, MAM etc. and comes equipped with a dashboard to track the status of tasks across the supply chain conveniently. Content Acquisition Portal automates task management powered by work order to usher in operational efficiencies like never before. • OTT Distribution Cloud: Work order driven OTT Distribution – from Scheduling to Delivery OTT Distribution Cloud simplifies the complexities of OTT Distribution through automated work orders — right from Scheduling to Delivery. Its powerful features include Schedule-driven work orders, a unified dashboard for tracking task status, and seamless integration with Scheduling and Rights Management Systems. Most importantly, the solution leverages automation to detect missing inventory items and triggers the corresponding work orders. It also enables users to deliver packages in increments — e.g. delivering primary video and metadata immediately, and then the subtitle files later as they get produced. The solution facilitates quicker fulfilment, and lowers Total Cost of Operations (TCOP)
across the distribution process. • Centralization Today, running a profitable television channel is more difficult than ever and needless to say, the OTT phenomenon is keeping executives awake at night. This, coupled with the need to solve for revenue and cash flows is a major challenge. Never before has there been such a pressing need for speed and reducing operating cost across the industry. What the companies should consider is what to scale and what not to. What modern day content enterprises can possibly learn from Netflix and such platforms, is that they BUILD ONCE — One infrastructure; one platform, one process. Avoid duplication and repetition. This enables them to build a lot faster, innovate a lot faster. And that is because they innovate on ONE platform, not on multiple silo’ed platforms. The philosophy is CREATE ONCE. Localize as need be. There is a need to adopt centralization in the modern day media & entertainment businesses. Here are a few use cases to consider: • CLEAR Ingest: ONE Cloud-based software to manage end-to-end workflows for US Satellite and Terrestrial distribution CLEAR Ingest provides one software to simplify end-to-end workflows for Satellite and Terrestrial distribution. It integrates and automates ingest, prep, QC and distribution workflows, while providing real time dashboards and notification alerts to operations teams. The solution enables users to review proxies of the content moving through the system, as well as manually transfer content to local affiliates via Signiant, Aspera or similar file transfer
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CONSUMER CONNECT — PRIME FOCUS TECHNOLOGIES
utilities. Leveraging CLEAR’s built in Business Process Management (BPM) engine, it automates file processing and generates real time dashboards to drive underlying distributed workflows within a single user interface. CLEAR Ingest offers extensive interoperability and comes pre-integrated with systems like PitchBlue, CatchBlue, IDC-XD, CompuSat and Nexio. With seamless integration with other filebased transfer solutions, the solution helps broadcasters leverage their existing infrastructure and achieve lowest TCOP. It also drives faster time-to-market, and provides greater creative control with transparency for operations across the supply chain. Centralization of International Broadcast Operations: Powered by Hybrid Cloud technology, CLEAR enables broadcasters to automate their content supply chain, define standard business processes and orchestrate distributed workflows across locations, partners and roles. CLEAR provides ONE MAM across all global sites, allowing broadcasters to centralize their storage repository of source media and archival, leverage a global super-set of metadata, work with a single downstream format and create collaborative edits. Moreover, CLEAR’s Work Order Management helps them manage assets, resources and tasks across the entire global supply chain on ONE system. With native API integrations, and SOA-based architecture, the solution offers extreme supply chain flexibility to onboard any vendor, in any geography, seamlessly. Centralization has the potential to help
CLEAR Digital Lab
broadcasters reduce their TCOP by as much as 30%. Centralization of Promo Creation: By adopting centralization with CLEAR Media ERP, broadcasters can simply make ONE set of promos centrally and distribute these globally, rather than editing a fresh set of promos in each territory. These can then be localized as required. Alternately, they can consolidate promo creation in regional clusters which have similar cultural ethos. Further, different promo versions based on duration, telecast date etc. can also be created centrally and distributed worldwide. This is made possible by CLEAR’s revolutionary Promo Operations Module, which offers end-to-end business process orchestration for promo creation including versioning automation. Imagine a solution that can take in the final promo creative and versioning elements (audio, text, graphics etc.) and stitch all those together to create ready to air versions! • CLEAR Digital Lab: Your Media Universe for Production Supply Chain Powered by Microsoft Azure, CLEAR Digital Lab automates the content supply chain, connects the production ecosystem, and acts as the Media Universe for secure content operations from content acquisition through distribution and archiving. It brings together the various stakeholders and suppliers engaged in the production and post production processes with supply chain vendors for various tasks, such as editorial, VFX, post production, sound,
localization, mastering, and downstream distribution to connect the entire ecosystem. Built around CLEAR Media ERP’s Primetime Emmy® award winning DAX Production Cloud and Cloud MAM software modules, CLEAR Digital Lab is well equipped to handle scripted, unscripted, short form, and digital content genres. It has the capability to handle files of different resolutions, content types, help review and collaborate, track jobs and manage media logistics including distribution of varied content types across the production supply chain. By leveraging the cloud infrastructure and centralising the management of content including secure storage, processing and distribution, it empowers production houses and studios with greater creative control, faster decision making capabilities, more efficient workflows, supply chain freedom, and significant reductions in Total Cost of Production (TCOP). • Cloud MAM: Automation across content supply chain powered by Work Order With Work Order Automation to manage tasks efficiently across the supply chain, CLEAR Cloud MAM offers much more than a traditional MAM system. It is a single MAM with media management capabilities across global sites, that integrates production, distribution, broadcasting and OTT related business activities. Cloud MAM extends beyond the Technical Operations teams and is usable by creative, marketing, legal, operations, sales and senior executive leadership teams. It helps content enterprises digitize media management processes (Mastering, Compliance etc.), handle clip-based workflows, distribute screeners, manage & version On Air Promos and collaborate seamlessly across with multiple stakeholders. With many extreme digitization features, Cloud MAM is instrumental in not just reducing TCOP, but also increasing efficiencies and time to market. It’s no surprise that CLEAR is fast becoming the product of choice for broadcasters, studios, brands and service providers across the globe. For a hands-on demo, visit PFT at NAB booth #SL9605.
DIGITAL STUDIO | APRIL 2018 27
BROADCASTING – MAM
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usiness models for broadcasters are not what they used to be. Yesteryear’s broadcasters are today’s media companies or content owners, and their success depends on uncovering new opportunities and outlets for programming and maximising distribution. However, supporting these new outlets using technologies like media asset
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28 APRIL 2018 | DIGITAL STUDIO
management (MAM) can be labour intensive and expensive. Over the years, MAM systems witnessed a great learning curve based on key broadcast technology landmarks and customer feedback. Contrary to the one-shoe-that-fits-alltheory, the system has evolved to become customisable to suit the needs of individual users. “It is adept in resolving contemporary challenges faced by broadcasters, since at the very core, MAM offers flexibility, controlled
collaborative organisation of content along with faster, easy and accessible productive workflows that integrate with third party systems. This enables media management from one source for a distributive network of other linked platforms,” explained Kulvinder Singh, VP, sales, SAARC, Aveco. The industry, on the whole, has evolved following changes in viewership choices, preferences and viewing patterns. Today, the audience has, and demands, a multitude of
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BROADCASTING – MAM
“MAM CAN RESOLVE CONTEMPORARY CHALLENGES FACED BY BROADCASTERS, SINCE AT ITS CORE, IT OFFERS FLEXIBILITY, CONTROLLED COLLABORATIVE ORGANISATION OF CONTENT ALONG WITH FASTER, EASY AND ACCESSIBLE PRODUCTIVE WORKFLOWS.”
variety, innovation and multitude of content across platforms. Therefore, a major concern that broadcasters had was whether their MAM systems could adhere to strict security protocols, a challenge that contemporary solutions have risen to. “For decades, industry standards committees have been focused on developing a functional interoperability platform. SMPTE’s Interoperable Master Format (IMF) now provides a tried and tested
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– KULVINDER SINGH, VP, SALES,
“THE BROADCAST COMMUNITY EXPECTS AI TO BE MARRIED TO THEIR MAM TOOLS AND ARCHIVE SYSTEMS IN CLEVER WAYS TO OPTIMISE LABOUR RESOURCES, INCREASE EFFICIENCIES AND EXTEND THE VIABILITY OF THEIR PROGRAMMING INVESTMENTS GLOBALLY.”
SAARC, AVECO
– DAVID ABEL, SALES DIRECTOR, TEDIAL
media format, which allows media and entertainment companies to offer endto-end IMF workflows that leverage IMF specifications without overloading processes with internal conversions or limitations in the content management structure,” added David Abel, sales director, Tedial.
(Quality Control), Mastering and Archival are performed separately for each territory. In the absence of centralization, there is no standardisation of business processes and no transparency of operations taking place across the global supply chain. “New-age cloud solutions like media ERP address these challenges by enabling broadcasters to automate not just within silos, but across the entire content supply chain. With end-to-end Work Order Management, pre-integrated with MAM, media ERP ushers in operational efficiencies like never before. It allows users to manage assets (with associated metadata and essences), resources (including internal, freelancers and thirrd party vendors), tasks (including generation, timeline estimation, scheduling, assignment etc.) and orchestration of content workflows all on ONE system. With in-built Business Process Management (BPM), such solutions automate file
OVERCOMING HURDLES Today, running a profitable TV channel is more difficult than ever and, the OTT phenomenon is keeping executives awake at night. Never before has there been such a pressing need for speed and reducing operating cost across the industry. As the number of original hours of content increases, so have the complexities in content operations including the number of versions, vendors, departments and staff involved. Moreover, for broadcasters with a wide international footprint, operations like Content Download, Compliance Editing, QC
DIGITAL STUDIO | APRIL 2018 29
PHOTO COURTESY: PRIMESTREAM
BROADCASTING – MAM
IP streaming.
processing, and provide real time dashboards to track the status of all tasks conveniently from a single user interface,” said T Shobhana, VP, global head of marketing and communications, Prime Focus Technologies. CHANGING PERSPECTIVES MAM has moved beyond the initial database and archiving solution that it had started out as. By 2015 forward thinking broadcasters recognised that workflow automation was the only way to address ever-increasing versioning and monetisation demands, and the most reliable way to manage workflow automation is through metadata driven workflows orchestrated by a modern MAM system. “The broadcast community expects Artificial Intelligence to be married to their media management tools and archive systems in clever ways to optimise labour resources, increase efficiencies and extend the viability of their programming investments globally,” said Abel. Today’s broadcasters require speed, flexibility and ease of use from their MAM, they need it to tie together and integrate the workflow from capture to production, management, and delivery of their programming. “With the ability bridge signal-based architecture with file-based workflow, and while delivering
30 APRIL 2018 | DIGITAL STUDIO
“THE TECHNOLOGIES UTILISED TO RECEIVE, PREPARE, QC AND DISTRIBUTE CONTENT TO THOUSANDS OF LOCATIONS PRESENTS AN ADDITIONAL HURDLE TO OPERATIONAL EFFICIENCY. TO ACHIEVE FASTER TIME TO MARKET, BROADCASTERS NEED AUTOMATION NOT JUST WITHIN THEIR SILOS BUT ACROSS THE ENTIRE CONTENT SUPPLY CHAIN.” – T SHOBHANA, VP, GLOBAL HEAD OF MARKETING AND COMMUNICATIONS, PRIME FOCUS TECHNOLOGIES
powerful automation, transcoding, and editing across single and multiple sites, today’s MAM has grown past being just a database for archiving assets. Even archiving is now an integrated workflow that can often include moving assets to the cloud,” explained David Schleifer, COO, Primestream. The broadcasting industry has seen a tremendous change in media management, operational and automated workflows as well as distribution from one source to a multiplicity of screens and platforms. What one can clearly note is that in the present day the upsurge in viewership platforms is growing at accelerated pace directly proportionate to the corresponding demand of varied, quality content in line with the interplay of demographic and preferential factors that drive viewers’ content consumption. “In the framework of the said dynamics MAM serves a critical component for the broadcaster from ingest to play-out and archiving it serves as a complete management solution that enables not just viewing and archiving but a robust yet flexible media management interface per say review, search, management, archiving, automated workflow operations, review, publish, enhance productivity, content security, minimise the scope of human error by virtue of automated processes, integration with other third party systems, distribution and deployment to digital and non-digital platforms,” said Singh. Workflow Matters Naturally CIOs and CTOs at broadcasting companies are using their MAM solutions to make their workflows more efficient. While users will pick systems for ease of use, executives will focus on user group task management and orchestration, automated ingest processes and distribution systems, and dashboard and reporting systems that allow CIOs and CTOs analysis of the key performance metrics for further refinement. “Modern MAM systems are written in HTML and are browser-based and flexible tools that can be ‘skinned’ for each user group, hiding the complexity of the underlying integrated systems,” said Abel.
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BROADCASTING – MAM
INTEGRATION INITIATIVES MAM systems have evolved to integrate sophisticated search features in the newsroom, especially with the exponential growth of content. Live events, up-to-theminute news coverage and sports events require MAMs to provide multiple searches of the archive for relevant material at the same moment in time. Some have search protocols to support live event capture and live AI integration, including multicamera capture systems and 360-degree video for VR production. With the growing complexities of multi-platform distribution, broadcasters can no longer rest on existing and independently functioning systems that result in ‘Islands of Automation’. “The variety of technologies utilised to receive, prepare, QC and distribute content to thousands of locations presents an additional hurdle to operational efficiency. To achieve faster time to market with increased efficiencies, broadcasters need automation not just within their silos but across the entire content supply chain,” said Shobhana. When investigating a MAM, executives should analyse the BPM system which typically runs the human based workflows to ensure that it is not constricted by a ‘single-server’ design and scales across Contemporary MAM systems offer collaborative organisation of content along with faster, easy and accessible productive workflows that integrate with third party systems.
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“EVEN ARCHIVING IS NOW AN INTEGRATED WORKFLOW THAT CAN OFTEN INCLUDE MOVING ASSETS TO THE CLOUD.” – DAVID SCHLEIFER, COO, PRIMESTREAM.
virtual servers and software systems. Unlimited scaling removes all impediments to increasing speed and provides smoother, more reliable access to users in remote areas.
AUTO MODE As more assets of the broadcasters become increasingly cloud-based MAM solutions are now enabled to safeguard these with robust security protocols. Tedial, for instance, has deployments in public and private cloud implementations and our software leverages the cloud provider’s security as well as their own permissions and secure operations system parameters. Broadcasters are finding this of less concern as they embrace the capabilities of the cloud for fast deployment and quick directional changes. With new formats, storage and delivery methods capturing and managing media has become more complex, to address these issues, Primestream has new technology enhancements that advance today’s media landscape through solutions for IP stream ingest, integrated review and approval, 4K/UHD end-to-end workflow, plus centralised configuration and an Xchange public APIs. “On the flip side to the pros of cloud-based management there are real dangers that exist, the most widely debated of which is, security of the content, personal versus public accessibility protocols, failure of which would result in major leaks, which in turn would mean financial, economic, credibility and other business losses for the broadcaster. Another issue that lies unaddressed at large is the assurance of fair business practices, pricing, content access and recovery, legalities and other issues herein,” said Singh. There is also a lot of automation that is absolutely necessary in contemporary MAM for newsroom, where a lot of work is done remotely. An automated ingest workflow that captures incoming stories or camera card inputs, tags the media with useful metadata and automatically routes the assets to either remote locations or to user task assignment is critical for today’s operations. Newsroom setups are more complex and fast paced than those of other kinds of productions. The need for quick real time response, accuracy of processes and changing scenario makes it difficult to constrict the workflows into standard pre-defined processes, thus
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BROADCASTING – MAM
leaving no room for repetition or error for that matter. Schleifer explained, “The type of automation that is critical for MAM based solutions is often built around business rules and logical instantiation of the workflow in the installed modules, components, and integration. The power of scripting is often how the customer’s requirements are automated to deliver invisible and seamless results.” IN TUNE WITH THE TIMES Most of the MAM solutions in conventional newsrooms were deployed several years ago. Naturally, there are several reinstallation or revitalising opportunities
that lie within for solution providers. The older technology does not use AI or apply it to better storytelling and live event processing, nor does it offer a platform for that option in the future. “The older systems did not integrate with many of today’s modern third-party tools such as HDR processing and automatic ‘speech-to-text’ systems for subtitling and translations on the fly, and most important, today’s MAM software is optimised for virtual deployments, including cloud infrastructure, allowing an upgrade to reduce costs, reduce labour, increase speed and automation, and use less bandwidth for delivery,” said Abel.
The first generation MAM installations were very focused on making sure broadcasters did not lose their media assers. This new generation of solutions can enable new workflows that can make or break an installation. Whether it is multi-format publishing, enabling site to site collaboration, lifecycle management, or maximizing asset re-use, the MAM is now central to moving the business model forward.The three primary fundamental issues with traditional MAM solutions – costly infrastructure, poor automation across content supply chain and lack of enterprise-wide adoption – the future of media assets seems certainly well managed.
CONSUMER CONNECT
AVECO RELEASES AD JUGGLER AT 2018 NAB SHOW Ad Juggler is a master control automation innovation for sports play sponsorship Until now, all high-end master control automation systems used in sports, including Aveco’s, have included alternate playlists to use in case of rain-delays, schedule over-runs/under-runs and in times of rapid changes. However, none were designed to handle play-level sponsorships. Advertisers want to sponsor different types of plays. Just name the sport, and there are plenty of sponsorship opportunities. Aveco’s Ad Juggler, co-developed with one of the world’s largest media companies, is a breakthrough. Operators hit one key to execute the type of sponsorship as a video and/or graphic, based on a standing-order from traffic. This brings significant new revenue. Selling such sponsorship is easy as viewer attention is at its highest. Aveco makes this extremely easy to accomplish. Aveco’s Ad Juggler can be within a station or network master control room (MCR), a regional or national MCR centralcast room, or it can be provided as a MCR service from a teleport or networking service provider partner.
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Aveco’s Ad Juggler is part of Aveco’s ASTRA automation suite of tools.
Among other features, Ad Juggler includes Aveco’s Commercial Counter which dynamically updates minute-by-minute the total commercial duration, so networks and stations easily remain within regulatory commercial limits. Aveco’s Ad Juggler is extremely versatile. It is part of the broader award-winning ASTRA automation suite of tools that includes the industry’s most advanced master control platform, news/sports production automation, studio show automation, MAM and multi-MAM/ PAM integration. Aveco’s Ad Juggler integrates any third-
party equipment – Aveco has the TV industry’s largest library of interfaces and implemented APIs from all manufacturers, facilitating selection of the best hardware and software across the broadcast chain. Ad Juggler can also serve stand-alone, using Aveco’s Redwood Blue (powered by Harmonic), or, using commercial-off-the-shelf hardware in Aveco’s Redwood White. Ad Juggler changes the game of ad revenue optimization in sports. It’s a unique and important innovation in live sports monetization. Come see Aveco at NAB, Booth SU8516!
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26 – 28 June 2018 Level 3 – 6, Suntec Singapore www.Broadcast-Asia.com
CAPTURE THE FUTURE Imagine a future where game-changing possibilities for broadcasting are limitless. A world where innovative technologies like virtual reality and augmented reality are impacting the way you view content. Embark on a journey of discovery at BroadcastAsia2018! Discover the latest innovations that are reshaping how content is created, managed, delivered and consumed, engage in networking opportunities and exchange valuable insights from industry experts. Featured Techzones:
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36 APRIL 2018 | DIGITAL STUDIO
TECHNOLOGY – PRODUCTION MONITORS
ON THE RADAR SCREEN
The latest technology developments in production monitors are making them more user-friendly, yet cost-efficient, striking the balance to become effective in post-production activities BY BINDU GOPAL RAO
maging professionals in post-production houses involved in digital colour rendering have high expectations from the equipment they use. This is especially true when it comes to their production monitors, as these are a must to offer uncompromising colour performance and calibration tools. Over the years, this product range has seen the birth of newer technologies, which has helped improved the quality of content transmission. The latest production monitors available include several new aspects like refresh rate, viewing angle and contrast ratio. In India, ARK Infosolutions provides a range of TV Logic’s production monitors that have multiple interfaces, including 3G-SDI, HDMI, DVI, Component, CVBS, S-Video, VGA and audio. These monitors are ideal for TV-stations, ENG news crews, production studios and directors in live and postproduction applications. There are other products that directors swear by for their projects. A case in point is the 4-bay G-SPEED Shuttle with EV Series Bay adapters that have 20TB of disk storage on-board alongside the EVSeries Reader Atomos Master Caddy Edition and an EV Series bay adapters that Michael Coleman, director, Atomos used. He said, “Gone are the bottlenecks and the speed humps. There is
Professional monitors are used in every stage of the imaging chain in content creation to display.
I
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“NOW, THERE ARE 8K CAMERAS. SO, WHEN YOU SHOOT A FILM IN 8K, IDEALLY YOU SHOULD CARRY OUT POST-PRODUCTION ALSO IN 8K; IF NOT, YOUR WORK-INPROGRESS FILES THEN AT LEAST YOUR FINAL FILES SHOULD BE VIEWED IN THE FINAL OUTPUT RESOLUTION.” – MOHIT BHASIN, HEAD OF TECHNOLOGY, SUPARI STUDIOS.
flexibility now thanks to the superior drive technology. The caddy’s and drive’s speeds that I am using are amazing.” Mohit Bhasin, head of technology, Supari Studios said, “Currently, technology is really moving rapidly, especially when it
comes to the resolution films and the like. Now, there are 8K cameras. So, when you shoot a film in 8K, ideally you should carry out post-production also in 8K; if not, your work-in-progress files then at least your final files should be viewed in the final output resolution. This also means that you have to keep up to date with what new technologies are being announced and for what price point. CES 2018 just concluded a little while back and we saw a bunch of new monitors from LG, Dell, Lenovo, Asus and in fact, even Nvidia came out with a monitor.” Professional monitors are used in every stage of the imaging chain in content creation to display, which typically range from on-site shooting at the actual location to editing to image grading at the post-production facility. Apart from the application, customers usually make their choice based on screen size, type of panel and budget. MAKING THE CUT Today, production monitors offer uncompromising colour performance and calibration tools. They support colour gamut’s that conform to the ITU standard and match EBU/Rec. 709 specifications for HD broadcast video, allowing for accurate and standardised colour reproduction. “All these monitors are field upgradable using optional handheld tool that quickly and easily loads firmware updates into individual monitors. All these monitors
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ge ay.
TECHNOLOGY – PRODUCTION MONITORS
are calibrated prior to shipment with factory standards. TV Logic offers free colour calibration utility that automatically realigns monitor for accurate color reproduction. Four different measurement probes are supported that cover various requirements of sensitivity, speed and budget. TV-logic recommends the Klein K-10A probe as it offers both fast and highly accurate calibration as well as broad compatibility with the entire TV-logic line. The other supported probes include X-Rite i1 Display as well as the most advanced Konica Minolta CA-210 color analyser,” said Mohan Rawat, country manager, broadcast and post, ARK Infosolutions. When it comes to key decision-making, it is ideal to have the best hardware to help bring to life the creative teams vision. “And the quicker you realize issues with your final output the easier it will be to take your project through the defined pipeline. This would usually save a bit of back and forth on the final files especially when deliverables are nearing and you just begin to start watching
your project in high formats and resolution, as would be seen by the audiences,” opined Bhasin. The panel quality, processors and the overall electronics, which form the basic structural components, determine the performance of professional displays. Traditionally, the monitors were built with metal chasses but were heavier and were difficult to carry on location. “Sony successfully overcame this challenge by adopting PC/ABS to reduce weight while maintaining the same robustness. The advantage was lighter weight body which could be easily carried. These are also tested for vibrations for making them useful in OB vans and trucks. Professional monitors are also designed to be dependable and stable with tools to measure input video signals,” said Amitab Kumar, marketing head, media solutions, professional solution division, Sony India. He added that the company’s LMD series has the same signal-processing engine as the PVM-A series but with a reduced cost
allowing us to maintain color reproduction quality that responds to the needs of the professionals. Further colour reproduction of the LMD and PVM series is quality controlled individually at the factory. Sony professional monitors are also tested for long time aging until LCD stabilises thus ensuring reliability on field for retakes. TECHNOLOGY MATTERS New technologies are on the horizon for production displays, as well as camera and field production monitors. CRT displays have been the gold standard for precision quality control monitoring for many years, but it’s getting hard to find CRT monitors these days. “Improvements to flat panel displays combined with technology changes that reduce (but do not eliminate) the need for calibrated displays make flat panel LCD monitors the most popular choice today. Still, LCD display technology is getting more refined with each passing year. LCD displays are low-cost, lightweight and can produce excellent images,
Extend Media Beyond Broadcast Meet our solutions Media & Business Process Management, News & Live Production MCR Automation & Distribution
Visit us: Booth SL8006
More information: www.vsn-tv.com/es/nab2018
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DIGITAL STUDIO | APRIL 2018 39
TECHNOLOGY – PRODUCTION MONITORS
Today, production monitors offer uncompromising colour performance and calibration tools.
and new LCD developments such as In-Plane Switching (IPS) promise to give LCD displays much wider viewing angles and better visibility in bright light,” explained Rawat. Another improvement in LCD technology is the use of LEDs for the backlight instead of CCFLs. It’s important to understand that displays with LED backlights are not technically LED displays; rather, they are LCD displays that use an LED backlight. These LED/LCD hybrids bring big benefits: deep blacks and improved contrast, thinner cases, lighter weight and lower power consumption. A recent trend in display technology is the use of organic light-emitting diodes (OLEDs). The benefits of OLED display— including high brightness and wide viewing angles—stem from the fact that the display consists of pixel-sized LEDs; light from the LEDs does not pass through a controlling matrix such as that used in LCD/LED hybrid displays. Monitors are available for many other specialisations, such as 3D and the latest, 4K monitoring. While 4K is taking off, it is still in its early stages. There will continue to be refinement and advancement in professional video monitors, as well as continued creativity shown by manufacturers with monitors that pack in more features and capabilities. HIGH DEFINITION IMPACT High dynamic range (HDR) is a bigger breakthrough compared to 4K as the latter
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enhanced frame rate, etc. “Increased pixel count does not necessarily mean the viewing experience will be better. HDR pushes the limit of peak brightness and black level to as much as 1000 nits and 0.05 nits, respectively. This delivers extremely natural pictures,” said Rawat. 2160p (4K) video is widely being adopted by streaming services such as YouTube, Amazon, Vimeo, and Netflix. Netflix offers some blockbuster shows in 4K. But it does not necessarily enhance the viewing experience; however, HDR does. With HDR, on screen fire effects will look much warmer, and images will be lush and vibrant. It is a technology that’s arguably more noticeable than the upgrade from 1080p to 4K. Display makers are manufacturing HDR supported TVs, Consumers will opt for HDR TVs as it gains popularity. That’s when content owners will realise the shift in viewer preference and drive HDR video production.
LOOKING AHEAD Most of the production monitors in conventional post-production houses were deployed several years ago. Hence there are many reinstallation or revitalizing opportunities that lie within for solution providers. There is a huge opportunity lies “IMPROVEMENTS TO FLAT PANEL ahead with the advent of newer technologies DISPLAYS COMBINED WITH and the facilities using them, keep upgrading themselves at regular interval. Currently, the TECHNOLOGY CHANGES THAT buzzword is HDR. REDUCE (BUT DO NOT ELIMINATE) Bhasin explained, “I think we can safely THE NEED FOR CALIBRATED DISPLAYS say that it is a function of defining a workflow MAKE FLAT PANEL LCD MONITORS for your film. The decision making process THE MOST POPULAR CHOICE TODAY. starts right in the beginning and goes on till the very end, where post production STILL, LCD DISPLAY TECHNOLOGY IS lies. If the team decides that the entire GETTING MORE REFINED WITH EACH workflow needs to be done in 4K and they PASSING YEAR.” take on more work from that perspective then it would help to have a pipeline that – MOHAN RAWAT, COUNTRY MANAGER, can support it, right from the workstations BROADCAST AND POST, ARK themselves to the monitors and so on. If INFOSOLUTIONS. you do a get a 4K monitor, for example, but do not have a computer or a colour grading software that can support 4K streams then it are merely measures of resolution, which will be ineffective.” is just one of the many characteristics of a In all, it certainly seems all about high-quality display such as higher contrast building the right workflows, pipelines and ratio, smoother motion, more colors, ecosystems.
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CONSUMER CONNECT
VSN PRESENTS NEW VIDEO EDITING TOOLS FOR MEDIA ASSET MANAGEMENT AT NAB 2018 VSN is bringing an even more powerful version of its Media Asset Management (MAM) software, VSNExplorer MAM, to NAB Show 2018 (booth SL 8006) in Las Vegas, NV. VSNExplorer MAM now incorporates the 100% web-based editing tool Wedit with brand-new functionalities such as voiceover capability. Wedit’s features are also fully available in the cloud to ensure maximum flexibility for users. Launched in its first version at NAB Show 2017, Wedit is a tool developed in HTML5 that allows journalists and editors to edit videos and prepare them for broadcast from a single and unique interface, without having to switch to another non-linear editing system (NLE). Now, advanced editing and voiceover capabilities are included in the Wedit tool for the first time. That means users are able to record voiceover tracks straight to the timeline, while previewing the sequence proxy video with frame accuracy, removing the need to switch to another NLE and enabling users to complete their videos solely from the Wedit interface. Even so, the user can optionally download the EDL with the recorded voiceover track to be exported to the NLE. With this latest Wedit version, it is also possible to drag and drop any existing audio asset into the timeline and show the waveform pics of each audio track to improve the user experience. As a result, users will save time when editing their final news and videos, thereby becoming more efficient and being able to meet tight deadlines. The possibility of including voiceover and audio tracks makes this tool much more practical for editors and journalists. Nicholas Morgan, Sales Director for APAC region, said, “VSN Explorer MAM already offered all the tools necessary to manage the media of any company. It now comes turbo-charged with the Wedit tool including the new voiceover feature, with the added flexibility that is provided by cloud technology. For editors and journalists, this even more powerful solution enables them to create high-quality content and still meet even the tightest of deadlines, removing some of the stress in what is often
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Wedit, a HTML5 tool, allows journalists and editors to edit videos and prepare them for broadcast from a single and unique interface.
a high-pressure environment.” As was also revealed at IBC 2017 in Amsterdam, VSNExplorer MAM now offers its features under a pay per use model (SaaS model) in the cloud for additional speed, flexibility and costs reduction. Users can manage and control all their media files anytime, anywhere and be more efficient when cataloguing and archiving their media files effectively and securely, managing the files, searching and retrieving content, and even when delivering these files to playout, quality check or any tool for content analytics’ extraction. Moreover, VSNExplorer MAM also offers the possibility of scaling the system as much as needed to suit the company’s needs. This in turn simplifies the overall process and reduces the time it takes to access, manage and create better and higher quality content. As well as the aforementioned Wedit tool and cloud capabilities, VSNExplorer platform for Media & Business Process management includes many other functionalities such as a business intelligence layer (VSNExplorer BI) to transform any data source information of any existing broadcast system (including the MAM software) into meaningful information for business analytics. It includes a specific module for streamlining and speeding-up processes in production environments (VSNExplorer PAM), and another module for optimising workflow automation (VSNExplorer
BPM). Integration with third-party systems is very straightforward thanks to the open architecture, an adaptive player to automatically select the quality that best adapts to the available link speed, and even full quality control through the integration of the VSNQC quality check module. In addition to all these advances, VSN will be also showcasing its latest cloud-based Playout solution at NAB this year, following the implementation of four VSN systems in the cloud (VSNOneTV, VSNCreaTV, VSNExplorer and VSNWebTV). In this way the technology company allows broadcast and media companies to manage and broadcast all their content and files anywhere and anytime, just by having an Internet connection available. Users are provided with broader access to all types of daily tasks, from programming scheduling to media recovery and its automated delivery to the video servers until its broadcast through multiple screens — all in the cloud. BOOK A LIVE DEMO AT NAB SHOW 2018 Those people interested in discovering more about VSNExplorer MAM and Wedit with voiceover can visit VSN’s booth (SL 8006) at the upcoming NAB Show, which runs from 7 – 12 April 2018 at the Las Vegas Convention Center, or even book a demo in advance through www.vsn-tv.com/en/
DIGITAL STUDIO | APRIL 2018 41
EVENTS – 2018 NAB SHOW
GREAT EXPECTATIONS 244 first-time exhibitors will join a variety of exhibitors on the nearly one million square feet of space that comprises 2018 NAB Show ore than 40 British companies, five for the first time, will feature the latest the UK has to offer in broadcast and media technology and services at NAB Show 2018. This annual trade show will be held at Las Vegas Convention Center from 9th to 12th April, 2018. New to NAB this year at the British Pavilion are audio/video alignment specialists Hitomi; network storage solution provider Pixit Media; image processing experts Spectral Edge Ltd; automatic speech recognition technology providers Speechmatics; and control room solution provider Lund Halsey. Tradefair negotiates subsidies from the UK government, provides logistical support, and provides operations for the British Pavilion, which is particularly useful for many of the smaller businesses as it enables them to focus on presenting their products and services rather than stand logistics. The companies exhibiting in the UK Pavilion under the Technology is Great banner produce, manufacture, or represent a range of products and services that are among the best the UK has to offer. “NAB continues to be a core event for broadcasters, even in terms of defining exactly what ‘broadcast’ means these days,” said Tradefair MD, Mark Birchall. “The UK companies attending NAB
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Show with our support this year are key participants in that conversation.” FUTURE OF CONTENT PRODUCTION Another debut will be the Travel Video Awards (TVAs), a new awards show. Created by Citizine Networks, Inc., the awards honour innovative and inspiring travel videos released in 2017 by independent filmmakers, the travel industry, media companies and lifestyle brands. “The trillion-dollar travel industry is fueled by a consumer base that uses video over 70% of the time when making travel decisions,” said Citizine founder and CEO, Philip DeBevoise. “Travel videos are a powerful marketing tool, similar to what music videos are for the music industry– highly engaging content that leads to transactions. As MTV
created the Video Music Awards (VMAs) to honor the creative work of the music industry, the TVAs seek to do the same for the travel industry.” Coming to the knowledge series, NAB Show will feature an exclusive keynote session that provides a front-row seat to the future of content creation. The session, produced by Amazon Web Services, will explore the latest cloud-based media workflows combined with advanced machine learning to deliver next-level, immersive viewing experiences. It is divided into three acts and will take place Wednesday, April 11 at 11:00 a.m. on the NAB Show Main Stage in the North Hall of the Las Vegas Convention Center. NAB Show will also present a panel of leading women in media to discuss the impact of disruptive forces on audience, revenue
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EVENTS – 2018 NAB SHOW
and the workforce. The panel is produced in partnership with National Association of Broadcasters Education Foundation, TVNewsCheck, Alliance for Women in Media and Radio Ink. In the session titled, ‘Leading Through Disruption’, panelists Amy Emmerich from Refinery29; Muriel De Lathouwer of EVS; Ginny Morris of Hubbard Radio; and Marian Pittman of Cox Media Group will examine how to strategically position an organization to thrive in a climate of rapidfire change. Moderated by former AdWeek and Politico reporter Katy Bachman, the panel will explore the varying effects of digital transformations, consolidation and FANG (Facebook, Amazon, Netflix and Google).
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“Disruptive forces present a unique opportunity for future-focused leaders to empower competitive advantage,” said NAB executive VP of communications, Dennis Wharton. “The insights from this impressive panel of executives will address how to fully harness the power of these emerging forces to strengthen business models.” THE RISE OF DIGITAL LEADERS Digital managers-turned-senior corporate leaders from top broadcast companies will discuss the shift in corporate executive progression from digital professional to CEO in another panel discussion titled, ‘DFXtra: Digital Leaders Take Charge – President and CEO Panel’. Each panelist will discuss his or her path from digital leader to top executive
and how this shift may signal a new focus for the industry. The panel is part of the Digital Futures Exchange (DFX) powered by PILOT - an innovation initiative of the National Association of Broadcasters. Moderated by Sam Matheny, NAB’s executive VP of technology and CTO, the panel will feature Capitol Broadcasting Company’s president and COO, Jimmy Goodmon; Raycom Media’s CEO, Pat LaPlatney; ABC-owned Television Stations’ group president, Wendy McMahon; and The E.W. Scripps Company’s CEO, Adam Symson. “Experience in digital media and program development is in growing demand as broadcasters seize opportunities on platforms that transcend traditional boundaries,” said executive director of PILOT, John Clark. “As the industry continues to advance, the journey to broadcasting’s C-level positions increasingly passes through the digital department.” The NAB Show 2018 in Las Vegas is touted as the world’s largest convention encompassing The M.E.T. Effect, the convergence of media, entertainment and technology. With 1,03,000 attendees from 161 countries and over 1,800 exhibitors, it is the ideal marketplace for solutions that transcend traditional broadcasting and embrace content delivery to new screens in new ways. From creation to consumption, across multiple platforms and countless nationalities, NAB Show is where global visionaries convene to bring content to life in new and exciting ways.
DIGITAL STUDIO | APRIL 2018 43
WHAT’S IN STORE A peek at some of the products and solutions that will be on display at the NAB Show 2018
LATEST PRODUCTS
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PRIME FOCUS TECHNOLOGIES TO LAUNCH CLEAR DIGITAL LAB Prime Focus Technologies (PFT), the technology arm of Prime Focus, will launch its CLEAR Digital Lab at the NAB Show 2018. CLEAR Digital Lab automates the content supply chain, connects the production ecosystem, and acts as the Media Universe for secure content operations from content acquisition through distribution and archiving. The solution brings together various stakeholders and suppliers engaged in the production and post production processes with supply chain vendors for various tasks, such as editorial, VFX, post production, sound, localisation, mastering, and downstream distribution to connect the entire ecosystem. Built around CLEAR Media ERP’s EMMY award-winning DAX Production Cloud software and Cloud MAM software modules, CLEAR Digital Lab can handle scripted, unscripted, short form, and digital content genres. It has the capability to manage files of different resolutions, content types, help review and collaborate, track jobs and manage media logistics including distribution of varied content types across the production supply chain. By leveraging the cloud infrastructure and centralizing the management of content including secure storage, processing and distribution, CLEAR Digital Lab empowers production houses and studios with greater creative control, faster decision-making capabilities, more efficient workflows,
supply chain freedom, and significant reductions in total cost of production. PFT has partnered with Microsoft to have Azure as its preferred cloud-hosting platform. Azure’s scale and reach helps to implement Digital Lab across geographies with extreme reliability, scalability, performance, and global accessibility. Booth: SL9605
IHSE TO HIGHLIGHT DRACO ULTRA KVM EXTENDERS At the 2018 NAB Show, IHSE will highlight its new series of Draco ultra KVM extenders, based on the Lici video codec, that accommodate a full range of video standards. Developed in cooperation with the Fraunhofer Institute for Integrated Circuits, Lici provides the high efficiency in video, audio, and data transmission. Also on display will be the legacy 490 Series extender for DisplayPort 1.2 4K60, 30-bit, 4:4:4, which is planned to support future video formats up to 8K. Live demonstrations will show how these products deliver superior performance and cost-effective solutions for entertainment venues, staging presentations, graphics editing, high-security control centers, audio room mixing, and virtual reality installations. On display at the 2018 NAB Show will be IHSE’s 496 Series Draco vario SDI extender, which converts 3G-SDI signals for sharing serial digital video with IHSE’s Draco tera KVM matrix switches. IHSE Draco Ultra KVM extender
44 APRIL 2018 | DIGITAL STUDIO
Booth: SL10216
LITEPANELS FRESNELS AND PANELS ON DISPLAY At the NAB Show 2018, Litepanels will showcase the new Gemini 2x1Soft panel. Its latest firmware upgrade allows for a variety of cinematic effects such as emergency lights, fire, TV, and hue bursts that are fully customiseable and that can be easily saved to presets. Gemini eliminates the need for colour correction by offering full-spectrum white light that is perfect for lighting talent and rendering exceptional colour. Gemini’s ballast-free, lightweight design allows the light to be rigged easier, requiring less cabling because the power supply is built in. This productionfriendly soft panel delivers full-intensity, mobilepowered operation with the Anton/Bauer CINE VCLX battery. Litepanels’ next-generation Astra family of LED panels will also be exhibited. The new Astra 3X and 6X — available in both daylight or bi-colour models — feature a 50% increase in output, making them three and six times brighter than the original Astra. The Astra Soft Bi-Colour provides flattering diffused lighting for a soft, wrap-around The Gemini 2x1Soft panel light quality. The Astra Bi-Focus Daylight
is the newest addition to the popular Astra family, giving users the ability to adjust from a 48° flood to a 15° concentration of light with the turn of a dial. Also on display at the 2018 NAB Show will be Litepanels’ daylight-balanced Sola 4+ and Sola 6+ LED fresnels, combining all the benefits of today’s LED technology with the light-shaping, single-shadow properties of a traditional fresnel. The Sola 6+ was named a winner of Pro Moviemaker’s Gear of the Year Awards 2017 and is now 50 percent brighter than the previous version, while the Sola 4+ is now more than 120 percent brighter than its predecessor. Both the Astra and Sola series are ideal complements to the Gemini panels, adding functionality and versatility to an overall lighting design while maintaining exceptional colour quality. Like all of Litepanels’ LED lighting, the Sola and Astra families are flicker-free regardless of frame rate, shutter angle, or intensity level, and they offer smooth dimming from 100% intensity all the way down to zero. Improved low-end dimming enables lighting to be reduced as much as necessary for extreme low-light requirements. Booth: C6025
DIGITAL STUDIO | APRIL 2018 45
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At the 2018 NAB Show, ChyronHego will Also on display will be LyricX 3.2, the next showcase important updates to existing version of ChyronHego’s graphics creation CAMIO Universe components, as well as and playout solution. An all-new, built-in all-new solutions, which make producerHTML browser within LyricX streamlines driven workflows more flexible, and costintegration with ChyronHego’s Live effective. The centerpiece is CAMIO 4.4, Assist Panels and CAMIO, both of which with new features for publishing content are HTML-based systems. LyricX 3.2 also straight from the newsroom to Facebook, includes multiple significant upgrades to Twitter, and other social media outlets. the user interface — from performance With LUCI5, ChyronHego’s new HTML5and usability enhancements to enhanced based LUCI plug-in, producers can browse, masking and built-in timer features — LyricX 3.2 is the next version of ChyronHego’s making it even more intuitive to use. create, and order images and video assets from CAMIO without having to leave the graphics creation and playout solution. ChyronHego will feature PRIME 3.0, familiar environment of their newsroom computer systems. the newest version of the company’s 64-bit, all-software LUCI5 places content-generation tools at the producer’s graphics rendering engine, which includes tighter integration fingertips, making creation of reusable graphics, clips, and with the CAMIO Universe workflow and the ability to deliver automated cues fast and easy. While LUCI5 is based on the 10-bit hybrid log gamma (HLG) HDR output for productions. Media Object Server (MOS) Protocol’s new HTML5 plug-in Also on display will be the latest version of the Metacast specification, making it compatible with current newsroom weather graphics system. computer systems (NRCS) solutions, the interface also Booth: SL1208 supports some older NRCS via an ActiveX container.
LATEST PRODUCTS
CHYRONHEGO TO SHOW CAMIO UNIVERSE UPDATES
PEBBLE BEACH SYSTEMS TO DISPLAY VIRTUALISED IP CHANNEL SOLUTION Orca is Pebble’s virtualised IP channel solution for playout from the private or public. This software-defined channel delivery solution enables organisations to deploy channels simply and quickly. Attendees will learn how the new low-latency NDI confidence monitoring increases Orca’s suitability for live, reactive channels. Marina is Pebble’s flagship multichannel playout automation system for systems playing out one to hundreds of channels, and is in use at top tier broadcasters around the world. This automation solution with embedded Orca is Pebble’s virtualised IP channel solution for playout from the private or public. content management can evolve any playout infrastructure from legacy device control to At NAB 2018, Pebble Beach Systems will showcase its latest incorporate new and evolving technologies, with minimum range of solutions, including the deployment of multiple disruption to processes and staff. At NAB, Marina will virtualised channels in the cloud with Orca; Lighthouse, be shown with new options including enhanced channel a web-based remote management and monitoring tool redundancy options, SCTE-104 encoding and enhanced for the Marina automation system; and Beluga, a content ‘SmartPanel’ capability. management system focused on the tasks of preparing Booth: SL4528 content for playout and distribution.
LATEST PRODUCTS
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ARTEL TO SHOWCASE EXPANDING PORTFOLIO At the 2018 NAB Show, Artel VLAN tagging, and traffic management. Software-enabled, will feature three functionality of the platform can be added or upgraded integrated end-toAt the event, Artel via software download. end IP-centric demo will showcase the ARG Quarra family, which areas specifically offers accurate IEEE 1588-compliant designed to address timing and synchronisation. The customers’ growing switches support SMPTE requirements as they migrate ST 2110-10 standard toward all-IP or hybrid IP/SDI system timing and networks. Artel’s exhibit will showcase definition and ST its growing product portfolio, including 2059-2 permitting solutions for SMPTE 2110, AES67; SMPTE ST interoperable use 2022-7 hitless protection; and ARQ RIST OTT of IP-based media streaming. equipment with conventional The SMART Media Delivery Platform is a carriergenlocked SDI equipment, and they grade, software-defined platform with integrated are RAVENNA AES67-approved. ARG nonblocking Layer 2/3 switching and routing Quarra switches are designed for The ARG Quarra family offers capabilities. It features four video ports for transport audio/video broadcast, defense and accurate IEEE 1588-compliant of video, audio, and ancillary data and four GigE security, finance, utilities, telecom, and timing and synchronisation. data ports bridged to a 10G interface. Designed enterprise IT applications in which to attach seamlessly to the IP network without the need accurate timing and control are required. for external network elements, the SMART platform Booth: SU6102 supports SMPTE ST 2022: 1-7 hitless switching, QoS,
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EVENTS – 2018 NAB SHOW
INNOVATIONS, CONVERSATIONS, AND MORE What exhibitors and delegates from around the world have to say about the 2018 NAB Show
“With an industry in the middle of major transformations, demand for efficient solutions helping customers to produce more at a lower total cost of ownership is greater than ever before. We are seeing broadcast customers on all continents head down the migration path to IT-based operations powered by solutions such as the CAMIO Universe for News Production. At the NAB Show, we’re introducing new, innovative solutions for live production running on standardized IT infrastructure — either on-premises or in a remote data center — providing all the tools broadcasters need to tell a great story and share it with the widest possible audience, regardless of where and how content is being consumed.” — Marco Lopez, CEO, ChyronHego
“With the industry focus shifting to IP and the next-generation SMPTE ST 2110 standard, our customers are worried about the huge investments they’ve already made in their SDI workflows. That is why our new 400 Series hybrid router has been met with so much enthusiasm. But we are more than just routers. Visitors to NAB will see that we are multi-viewers, signal processing, full facility control, automation, servers, and more. They’ll also learn how our hybrid approach offers a future-proof and cost-effective solution for broadcasters making the switch to IP.” — Dave Burland, president and CEO, Utah Scientific
“2018 is set to be Cobalt’s biggest year ever, and I am looking forward to the excitement of the NAB Show. Our development team has been working hard to deliver the types of products that system designers need as standards and mediums evolve. Our new multi-channel 4K 12G-SDI and HEVC platforms use the latest technology and have the power to adapt to new workflows and requirements such as HDR and IP.” — Robert McAlpine, CEO, Cobalt Digital
“We are seeing a trend in the industry where progressive media and entertainment organisations want the ability to have multiple departments work within one centralised platform. The 2018 NAB Show visitors will see how we are connecting archive and monetization with flexible and scalable Wazee Digital solutions.” — Andy Hurt, SVP, marketing and business development, Wazee Digital
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DIGITAL STUDIO | APRIL 2018 49
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“This year’s NAB Show gives us an opportunity to showcase our newest lighting solutions for broadcast, live events and productions, and more. Litepanels, like all of the Vitec Group brands, EVENTS INTER BEE 2017 is committed to helping broadcasters, THE cinematographers, and photographic professionals MAKING OF TIGER ZINDA HAI capture and share exceptional images. Our all-new Gemini is the most agile light in the industry, and the lightweight design of Astra makes it the most preferred LED panel for productions around the world.” www.digitalstudioindia.com
THE BEST OF
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27th
BROADCAST INDIA SHOW • MUMBAI
— Alan Ipakchian, product marketing Manager, Litepanels E,
-AG NEW N THE QUEE AT IN THE S TH RGE AS E V LIE ME , BE L E M18 T WIL IACO TEX O, V CON P CE AND ROU KING, G , S VAT L BE SHU T WIL HAN TEN SUD CON
A N N IV E RSA RY S PEC I A L
POWER OF NINE
THEand BEST OF “We wouldn’t miss NAB — it’s the largest event for the media and entertainment industry, a perfect venue to showcase our latest innovations. This year, in addition to showcasing Brio MEET THE RISING STARS AND CINEMATOGRAPHERS OF THE YEAR WHO STOOD HEAD AND SHOULDERS ABOVE THEIR PEERS AT THE SECOND DIGITAL STUDIO INDIA CHANNEL PARTNER AWARDS 2017 12 and RP1, we’ll have a major new product unveiled to the market. Keep an eye on Calrec for updates leading up to the show!” Published by ITP Media (India)
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Total number of pages 68 Vol. 9 | Issue 8 | AUGUST 2017 | ` 50
— Dave Letson, VP, Sales, Calrec Audio www.digitalstudioindia.com
BRINGING KILLER CONTENT TO VIEWERS
WATCH THE FUTURE UNFOLD
FOR OUR NINTH ANNIVERSARY, WE PRESENT NOTEWORTHY PROJECTS THAT LEVERAGED CUTTING-EDGE TECHNOLOGIES
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Total number of pages 92 Vol. 9 | Issue 7 | JULY 2017 | ` 50
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OPINION
2017
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2017
STAR POWER
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Total number of pages 68 Vol. 9 | Issue 6 | JUNE 2017 | ` 50
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IN CONVERSATION
HOT
RAJNEESH MITTAL, CTO, ZEE ENTERTAINMENT
100
“As software solutions have come to dominate the broadcast and professional production landscape, the need for dependable, high-performance video interface devices has never been 2017 greater. Even the most powerful software applications are severely limited if users can’t easily and reliably get high-quality video signals into and out of the system. We introduced many new TOILET: EK PREM KATHA’S RUNAWAY SUCCESS HAS TAKEN MANY BY SURPRISE, INCLUDING ITS EDITOR-DIRECTOR SHREE NARAYAN SINGH RU EDIRIWIRA, VYNSLEY FERNANDES, AND JOHNJITbridge AHLUWALIA products in the past year to help customers this gap, and we look forward to unveiling even HAVE SET CASTLE MEDIA APART IN A CROWDED MARKETPLACE more innovations at this year’s NAB Show.”
LOO AND
THREE’S COMPANY
BEHOLD
HYPER CONVERGENCE
FILM DIRECTORS | CINEMATOGRAPHERS | FILM EDITORS | AUDIO EXPERTS | VFX-ANIMATION | TV BROADCASTERS | OTT | RADIO BROADCASTERS | TECHNOCRATS | SYSTEMS INTEGRATORS PRESENTED BY
THE JOURNEY SO FAR A CLOSER LOOK AT THE SUCCESS STORIES OF INDUSTRY PIONEERS
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A KEY HIGHLIGHT OF THE 2017 NAB SHOW WAS THE CONFLUENCE OF MEDIA, ENTERTAINMENT AND TECHNOLOGY, AND THE LIMITLESS OPPORTUNITIES IT PRESENTS
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