www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
April 2017
Acquisition feature and NAB preview
ALSO IN THIS ISSUE
Perspectives on UHD | Mobile World Congress | News infrastructure
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TVBEurope
April 2017 www.tvbeurope.com
3
Welcome EDITORIAL Content Director: James McKeown jmckeown@nbmedia.com
Welcome to tomorrow
Editor: Jenny Priestley jpriestley@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Contributors: George Jarrett, Neal Romanek, Philip Stevens
If NAB and IBC stand as the industry’s totemic vantage points from where we gauge industry progress, then MediaTech 360 is the bridge that knits together the underlying discussion
Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Senior Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000 Digital Director: Diane Oliver Human Resources and Office Manager: Lianne Davey Head of Production: Alistair Taylor Managing Director: Mark Burton Designer: Kelly Sambridge kelly@excitingcreative.com
W
e are particularly fond of buzzwords
seeks to address those business challenges by
in this industry. No doubt, we will hear
looking at the existing pain points while identifying
plenty of them in and around the
the opportunities presented by the evolving
Las Vegas Convention Center during NAB. Their
marketplace. Disruption, transformation, and
application can take many forms; some to offer a
evolution will be prevalent themes throughout.
token of accuracy as to the current shape of our
The centrepiece two-day summit takes place
business, others to present grander impressions –
at London’s Millennium Mayfair on 7th and 8th
US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072
the bigger picture; tomorrow’s world, and so forth.
June, and we invite all industry stakeholders to
Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222 PRINT SUBSCRIPTIONS NewBay Subscriptions: The Emerson Building, 4-8 Emerson Street London - SE1 9DU
include disruption, transformation, and evolution
Email subscriptions@TVBE.co.uk
Three of the more ‘leaned upon’ themes – individually and collectively relevant to the state
future of our sector. This April issue sees me officially hand over the
of our current market, and the path to its future
reins of this publication to our new editor, Jenny
bearing. Indeed, they are themes common to
Priestley. Henceforth, the words in this preamble
entities that touch any part of the media and
will belong to Jenny’s refreshing perspective on
entertainment spectrum – good old trade press
our business. It’s certainly an exciting time to be
like us included.
joining this marketplace as a journalistic type,
Ours is an industry in the grip of profound
TVBEurope is published 12 times a year by by NewBay Media Europe Ltd, The Emerson Building, 4th Floor, 4-8 Emerson Street, London SE1 9DU
come and be a part of the discussion on the
and it’s with some excitement that we both look
change, whether on an infrastructural,
forward to bringing you the best coverage of our
operational, or strategic level, and the
dynamic sector. n
manifold. Our MediaTech 360 event in June NewBay is a member of the Periodical Publishers Association
James McKeown
complexities inherent in that change are
Content Director, NewBay
SECTION EDITORS
© Copyright NewBay Media Europe Ltd 2017 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. The contents of TVBE are subject to reproduction in information storage and retrieval systems. Allow eight weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
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Philip Stevens Production and Post editor
Neal Romanek Technology editor
George Jarrett Business editor
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4
TVBEurope
www.tvbeurope.com April 2017
In this issue
6
Opinion and Analysis
Production and Post
20
Philip Stevens takes a look at TRT World, Turkey’s international news channel
Niall Duffy, CMO at Vurtual AI and MediaTech 360 chairman, shares his views from TVBEurope’s cloud storage session at BVE. Quantum’s Christo Conidaris and Hackthorn Innovation’s Steve Sharman also weigh in on the debate
10 Feature
We ask five industry figures whether 2017 could finally be ‘The year of UHD’
Technology
28
Business
42
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April 2017
TVBEurope Advertorial
Supplements
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George Jarrett speaks to Roger Morris, Elstree Studios managing director, about a raft of industry issues in the production sector
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6
TVBEurope
www.tvbeurope.com April 2017
Opinion and Analysis
To cloud or not to cloud?
This year’s BVE was a hugely successful event, with an impressive array of keynote speakers and conference sessions populating the week. NewBay’s partnership with BVE meant that the TVBEurope and TV Tech Global brands were highly visible during the week through the production of the BVE Show News, moderation of the Screen @ BVE on day two, and producing a cloud storage session in the Post and Workflow theatre. Here, we get the views of the speakers from that session, moderated by MediaTech 360 chairman, Niall Duffy, who gets us started…
T
he ‘Future of
limitations, it was an easy format to store, handle
and secondly that the key to keeping storage
Storage’ debate
and archive and had an expected lifespan
simple was more intelligence in the software
at BVE highlighted
considerably longer than today’s spinning disk
layers. The reality is that despite the hype
a paradox of modern
formats. And as Quantum’s Christo Conidaris
around cloud storage, the choice of any
technology: storage
quipped “there are three certainties in life:
storage infrastructure is dependent on the
ought to be very simple;
death, taxes and you will lose data.”
workflow driving it.
simple to access, simple
From a moderator’s perspective, this was one
If we don’t understand our workflow, then
to manage, and simple
of the more lively sessions I have had to manage
we are liable to make the wrong decisions
to decide on which
and one where I had to do the least work! From
with storage. More intelligent media
media to use. But it
Hackthorn AI’s Steve Sharman’s opening gambit
management software can help in this, as
turns out that doing ‘simple’ well can be very
of “storage is boring”; to Christo Conidaris’ view
we can increasingly utilise cost-driven rules to
complex. Changes in technology have brought
that storage was the most exciting infrastructure
optimise the cost of that infrastructure.
more choice and, in theory, the opportunity to
component because our valuable content
financially optimise the cost of storage platforms.
depended on it; there was a very diverse set of
MediaTech 360
But we now face bewildering choices of different
perspectives. ITV’s Richard Sendall presented
The culmination of the constant change in
storage types: various categories of performance
a view of the modern broadcaster’s approach
technology in broadcast has finally made
disc, SAN and NAS systems, MAID archives, data
that emphasised the need for governance
us realise that we need a much broader
tape systems such as LTO and Enterprise Tape,
and robust processes to avoid a ‘data swamp’.
perspective on our industry; this is not just IT in
a variety of different cloud storage platforms,
Magenta’s Tim Burton offered some very
broadcasting, it is digital disruption in media
optical disc and now solid state storage. Modern
practical real world approaches to hybrid
production and distribution. The MediaTech 360
storage strategies need to consider all of these
storage platforms utilising cloud.
event reflects this change and emphasises the
technologies and crucially needs to be updated
For all of the diversity, the panellists all
need to move from a narrowcast view
coalesced around two key concepts: the most
of broadcast to a 360 view of media
critical aspect of any storage infrastructure
management, and it’s a great honour to be
are higher, as while videotape had many
strategy is not the technology but the workflow,
involved in this inaugural event. n
Christo Conidaris, sales director, EMEA, Quantum
commoditised, this will become the norm. Two
option and budget for cloud storage. But more
clear use cases seem to be dominating cloud
importantly we can help customers move and
consideration: archive storage and offsite
manage the content to and in the cloud itself.
A
leveraging the cloud makes the most sense for a
must consider five key factors in selecting and
t Quantum, we
couple of reasons: one, data is stored in a data
migrating data. These are:
understand
centre that is geographically separated from
l Ongoing data transfer volume
that all forms
customers’ datacentres, so data is protected
l Expected frequency of ongoing data usage
of storage bring
against local disasters, and two, archive and DR
l Data recall performance requirements
benefits to different
data is rarely accessed. In general, customers
l Application integration
parts of the business. This is normally driven by
need a better understanding of what the cloud
l Ongoing management
cost and performance criteria. With respect
will really cost and make 100 per cent sure that
to the cloud we view this as just another tier of
they are not paying too much for the application
The cloud is an optional tier that may – or
storage. One with pros and cons, and one that
they intend to use cloud storage for, we have
may not – make sense in the context of
has great benefits for certain use cases and
seen pricing models vary considerably between
your performance and cost – and security –
workflows. But as we embrace the cloud, there is
the large public cloud providers and this can
objectives. If on-premise disk or tape makes more
clear and resounding feedback from customers
make or break the overall cost of ownership
sense for you, it’s ok to ignore the cloud (at least
that being cloud-agnostic is just as important as
model. Quantum can help to estimate what
for now). But if you find the economics of the
being application-agnostic for a storage provider
cloud storage costs will be by month and by year,
cloud cannot be ignored, then it’s time to add it
like Quantum. As cloud storage becomes more
helping our customers explore the cloud as an
to your storage tiering options. n
to reflect differences in price and performance. With the demise of videotape, the stakes
6 7 TVBE Apr17 Cloud Opinion_v2 JGJMcK_final.indd 10
storage for DR. These are the use cases where
Customers planning to move to the cloud
20/03/2017 15:44
TVBEurope
April 2017 www.tvbeurope.com
7
Opinion and Analysis Steve Sharman, director, Hackthorn Innovation
I
started my part of our BVE panel discussion with
There is evidence of consensus about what
Finally – and as always in our business –
perhaps prudent rather than cutting-edge looks
workflow remains king. Investment in any
like for now – say UHD rushes on-premises, VoD
form of infrastructure has to meet our
assets shared in the cloud - giving us models to
needs and keep pace with change, so
build on. Early adopters are already all-in on the
having media management and workflow
public cloud, giving much to observe and learn.
systems directly interacting with storage
We’ve still got challenges, of course. As
platforms via APIs is key to moving from
suppliers and consultants, we’ve got to get so
dumb buckets to flexible and cost-effective
a slightly tongue in
much better at explaining the value of different
business systems.
cheek observation of
storage approaches, and how best to assemble
the overwhelming dullness of storage as a topic,
them – customers find us confusing and too
governance’ where we have a holistic
only to be sorry 30 minutes later that we hadn’t
focussed on widgets. We need to be able to
view of what we own, where it is, and how
had a lot longer! Rather than the usual focus
model cloud OPEX as well as we can price tin.
much it will cost us to process and distribute
on technology, it’s clear that the panellists are
We’ve got to get as good at putting together the
it, will be a crucial differentiator in a world
now all involved in a very different conversation
right commercial and operational model as we
where we’re looking to wring the last drop
with their bosses, suppliers and customers: what
are at building the tech – any solution can fail
of value from content, and squeeze operating
are the objectives of our business in the short,
hard if not architected correctly. Finding the right
models for efficiencies until the pips squeak.
medium and long-term, and what’s the right
people to keep things running and evolving is
Again, the skills to define and optimise workflows
blend of solutions to meet those objectives? To
hard, especially given a climate of industry IT skills
are in short supply, and the market looks to
hear rational discussion of public cloud versus on-
shortages. We can scale those scarce skills when
be wide open for AI-based solutions to step in
premise solution as a value-based proposition –
we have storage solutions taking advantage
and fill that gap.
“we’ll select the best for the job based on the use
of growing investments in AI, by putting the
case and commercials” – rather than a narrow-
complexities of configuration, tuning and
storage – a vital component of our businesses –
minded boxes-or-clouds slanging match, marks
management into the ‘hands’ of machines – the
is fundamentally changing for the better.
a critical shift in our relationship with the business.
true promise of ‘software-defined’ storage.
Not dull. At all. n
This transformation to ‘digital content
The way we’re thinking and talking about
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8 TVBEurope
www.tvbeurope.com April 2017
Opinion and Analysis
Monetising the Six Nations with dynamic ad insertion Paul Davies, communications and marketing, Yospace, explains how the advent of dynamic ad insertion (DAI) for both VoD and linear TV means broadcasters can target advertising to specific demographics
T
age, that sort of thing, and we can crossreference that with the socio-demographic categories. Then there’s also location – we’ve got different streams for Aberdeen, Dundee, Glasgow and Edinburgh, and that means that
he way we watch TV is changing. More of
Brunier, business owner for the STV Player, which
we can target young students in Aberdeen,
us are realising the opportunity to stream
delivers STV’s live streaming. “But for when we
for example, or we could target affluent
our favourite sporting events on our laptops,
have live sports events going on, that audience
males in Glasgow.”
tablets and smartphones. Take Six Nations rugby fans, for instance. They no longer need to be at home or in the
becomes more male, and in the case of the Six Nations, more affluent.” DAI also helps broadcasters achieve
If this is the level of effectiveness that STV with DAI can achieve during the Six Nations, you can imagine how beneficial it could be
pub to watch a live game, and cheer their
multiplatform reach. By stitching in advertising
on a wider scale. Whether it’s a Premier League
respective countries on. Instead, they can
on the server side, the solution reduces the
game or the Olympics, DAI allows broadcasters
simply live-stream it from wherever they are.
amount of work required in the player on the
and advertisers to pinpoint the specific
All of the major broadcasters in the UK now
user’s device, which in turn reduces the amount
demographics that tune into each event,
live-stream their channels online, giving viewers
of app/player management by the broadcaster.
and deliver relevant advertising.
an unprecedented level of freedom to watch
STV Player with DAI has been steadily rolled
whenever and wherever.
out across a wide range of platforms/devices,
and the adverts more effective, DAI can
including most recently on Amazon Fire – so no
ultimately lead to even higher CPM [cost per
matter what device viewers are watching from,
thousand] rates for ad spots in live compared
Meanwhile, broadcasters have successfully found a way to effectively monetise their channels when viewed online, and in the last 18 months or so, all the major providers in the UK have launched dynamic ad insertion (DAI) for live streaming. Unlike previous client-side ad insertion solutions, which have become notorious
As the targeting becomes more accurate
to VoD. This equals a big win both for
‘DAI ensures a long-term business case for live TV’
for their clunkiness, server-side DAI inserts the
broadcasters – they’re able to successfully monetise their live channels online – and advertisers – they reap the rewards of having their products seen by an engaged and interested audience.
adverts into the stream before it’s delivered to
“We’ve definitely seen an increase in value
the player, which results in a single, seamless
through targeted advertising,” Brunier says.
stream that plays out without any of the usual
STV can be confident that it’s delivering the right
“Although I think that we still need to educate
buffering or delays. Add to that close integrations
adverts to the right people.
the market on booking targeted inventory,
with the broadcaster’s playout systems to
With DAI, the broadcaster is able to efficiently
there’s been a significant increase in our CPM.
ensure frame-accuracy, and viewers are often
capitalise on scenarios such as the one
If you sell targeted inventory around something
completely unaware that any change has taken
Brunier explains above, where they see a high
like the Six Nations, for example, you have a very
place. In other words: it is broadcast TV, and not
concentration of a certain demographic tuning
captive audience and the targeting becomes
just another video.
in to an event like the Six Nations.
very beneficial. I’m not sure if we would be
With an excellent user experience ensured,
Once it has identified that demographic
live-streaming at all if we didn’t have DAI as a
broadcasters are able to capitalise on the many
by utilising the customer data, STV is able to
benefits of online advertising, such as catering to
deliver adverts that are more targeted to that
the demographics of the audience tuning in to
audience, and therefore of more interest to
streaming the Six Nations and other sporting
the Six Nations by delivering targeted advertising
the viewer. If they’re noticing a more affluent
events, it’s up to broadcasters to seize the
that is much more likely to be of interest to that
audience tuning in for the Six Nations, for
opportunities available to them. Thanks to DAI,
segment of viewers.
instance, they can choose to include more
the likes of STV can deliver the right advertising
adverts for cars or watches.
to the right audience while providing a seamless
“If you look at the traditional audience of the ITV/STV network, it’s more skewed towards females and an older audience,” says Remi
08 TVBE Apr17 YoSpace Opinion_v2 JGJMcK_final.indd 10
“Because viewers need to sign up to use the STV Player, we have access to their gender,
solution for monetisation.” As more viewers move towards live
user experience, ensuring a long-term business case for live TV. n
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10 TVBEurope
www.tvbeurope.com April 2017
Feature
UHD Ultra-high demand? Ultra-high definition (UHD) has been around for a number of years. But with UHD TV set prices on the downward spiral, and an increasing number of broadcasters committing to UHD content, could 2017 finally be the year of UHD? TVBEurope asked five industry figures for their take on the state of the market... By Thierry Fautier, vice president of video strategy, Harmonic, and president-chair, Ultra HD Forum
A
from HDR (HDR10/HLG) to NGA (MPEG-H/DTS-X/
diversity in HDR choice. HDR content that
ATMOS) and HFR (non-backward compatible
was previously only available on-demand will
or temporal scalable). We expect the ATSC3.0
become more widely available in 2017 for live
will provide a standard at NAB 2017 with similar
broadcast and unicast delivery to connected
technology directions.
TVs. This should lead to a broader adoption of
The next step involves testing whether these
HDR TVs by consumers.
recent survey of global video service
specifications are compatible with UHD HDR
providers by SNL Kagan and Irdeto
sets. In 2016, the UHD Forum performed several
multiple infrastructure changes before they
revealed that the pay-TV industry is
Content providers will be required to make
HDR interoperability plugfests on its Guidelines
can start delivering UHD with HDR. The most
fully committed to delivering 4K UHD content
for Phase A, including a trial with DTG and a
obvious modification involves upgrading
and services. Some 96 per cent of respondents
German TV platform in December 2016. This
cameras, grading and playout servers to
believe that a majority of consumers and video
was the first time a large-scale HDR test was
support HDR. On the audio side, content
service providers will adopt 4K UHD TV by 2020,
performed successfully.
providers will need to invest in immersive
with 88 per cent saying they will launch 4K UHD content by 2020 and 78 per cent by 2018. In Europe, there was an increase in SDR UHD
Next, content providers will begin producing
audio technology.
HDR content. HLG seems to be the chosen HDR path for broadcast applications
services launched last year, especially after
addressing legacy UHD STBs and TVs, while
the conclusion of UEFA Euro 2016. UHD services
HDR10 is preferred for non-backward
were introduced by KNP in the Netherlands, Sky
compatible applications where either the STB
in the UK, and PT and Vodafone in Portugal.
is capable of downconverting to SDR or a
‘The second phase of UHD will provide consumers with a much more immersive video and audio experience’
unicast scheme is used.
UHD, HDR and consumer device compatibility
demonstrate real-world use cases with
Many video content and service providers
additional complicated workflows, including
Contribution and primary distribution systems
believe that HDR will drive mass deployments
backward compatibility with HLG, SDR/HDR and
that support NGA audio and UHD HDR using
of UHD. Backward compatibility will be key
HDR/SDR conversion in the headend and STB/
the HEVC Main 10 422 standard will also
to the success of UHD HDR. On the set-top
TV, 1080p vs UHD, and UHD adaptive streaming
be needed. Additionally, the UHD Forum is
box (STB) side, all DVB Phase 1 STBs should be
with HDR to connected TVs amongst others.
recommending that service providers start
At NAB 2017, the UHD Forum will
able to be upgraded via software to support
deploying UHD Phase 2 STBs.
models need a software upgrade path to
Content production progress and requirements for UHD/HDR
Conclusion
support these specifications.
Looking at UHD content production, live
The second phase of UHD, with HDR
processing has become more streamlined
and NGA, will provide consumers with a
these issues in collaboration with content
over the last year, despite still being in SDR.
much more immersive video and audio
and technology providers. The UHD Forum
Many content providers are starting to use
experience, driving the global adoption of
developed a series of Guidelines, published
IP technologies to gain operational and
Ultra HD. As industry groups like the UHD Forum,
at NAB 2016 for HDR (HDR10/HLG) and Next
cost efficiencies. For OTT delivery of VoD
DVB and ATSC continue to make progress
Generation Audio (NGA). The DVB also
applications, there appears to be a split
on defining specifications for UHD production,
released an UHD-1 Phase 2 specification in
between using HDR10 and Dolby Vision.
delivery and consumer device compatibility,
November of last year, which defines all of the
This could be extended to live use cases
they will help to bring a superior television
important parameters of UHD service delivery,
where unicast is being used, allowing more
experience to viewers. n
HDR10 and HLG. Likewise, 2016 HDR TV
Industry groups are working hard to resolve
10 TVBE Apr17 Feature Harmonic_v2 JGJMcK_final.indd 10
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TVBEurope
www.tvbeurope.com April 2017
Feature
TV is the tip of the iceberg in UHD By Steve Plunkett, CTO, broadcast and media services, Ericsson
The challenges are various. With 4K it’s largely
maintain artistic intent. Rendering on the display
about sheer size – bitrates range up to 12Gbps
device requires additional information to be
in its baseband form, such as that used in a
presented, and multiple techniques are available
T
broadcast facility, down to about 25Mbps for
such as PQ and HLG. This presents compatibility
V, and the TV industry, has changed a lot
an individual compressed stream to a consumer
challenges to the CE manufacturers, who
in recent years. We watch an increasing
device. That’s a great deal of bandwidth to deal
must be able to accommodate the different
amount of content on smaller screens, such
with as a stream or to store as a file.
approaches and standards based on vendor
as mobiles, tablets and laptops, including over
Across the industry, facilities have had to be
one billion hours per day on YouTube – mostly
upgraded, capacity increased. This comes at a
additional complexity to broadcasters who need
created by non-traditional producers. In a world
crucial time, when the migration from SDI to IP is
to incorporate these new formats alongside their
with more small screens, more personalised
still a work in progress and difficult decisions need
existing HD and SD outputs.
viewing, how does the big screen in the living
to be made as to whether to push forward with
room compete?
high bitrate IP links, or be conservative and use
questions to one side – does the viewer care
quad 3G-SDI infrastructure.
about the quality and presentation of their
It needs to up its game, present sharper, more beautiful pictures in a larger format and with great sound. Much like cinema has competed with TV, by creating more of a spectacle. This is where UHD fits in; the premium experience. And with a lot at stake across the industry on its success, it has made steady progress over the
‘There are still a number of technical, creative and financial hurdles to overcome to make UHD the next standard definition’
past couple of years.
specific implementations. It also creates
However, if we put these behind-the-scenes
content? Consumer research suggests that we like better pictures – it drove the migration to HD and seems likely to do the same for UHD. That is why the new entrants, such as Netflix and Amazon, are commissioning all new material as UHD native. The transition from SD to HD is likely to be longer than that from HD to UHD. The
The initial focus on increased spatial resolution,
cost premium of UHD TVs is dropping fast, and
4K, has been augmented by HFR, HDR, WCG
In the file domain, choices also need to be
buyers will be looking for UHD material where it is
and NGA. Standardisation has followed suit, with
made with regards to codecs and bitrates. UHD
available, putting pressure on content producers
the DVB’s UHD-1 Phase 1 specification being
material can range from 150Mbps to 500Mbps
and broadcasters to respond.
extended to include HFR, HDR and NGA in the
– large files, with all the storage, processing and
recently published UHD-1 Phase 2 version. The
data transfer overheads associated.
UHD Alliance produced the UltraHD Premium
But 4K is just one aspect of UHD and many
It is over ten years since Sky launched their HD services in the UK. During that time, HD has become the standard, rather than the premium
brand to help consumers buy new TV sets with
believe that HDR, in particular, brings greater
product. It is not unreasonable to assume the
confidence, and without having to rattle off the
visual impact. The increased range between
same transition for UHD. There are other, more
many acronyms of UHD to a sales assistant in
dark and light provides a new palate to work
recent, considerations too. VR places our screens
their local retailer.
with. Combined with the wider colour gamut
millimetres rather than metres from our retinas.
of UHD, standardised in BT.2020, this is less of an
HD looks rather poor at that distance, just as
bringing UHD content into the sort of mainstream
infrastructure challenge than a creative one.
SD does now on our 60“ TVs. If that format is
position that HD holds today. Everything from
How can artists best exploit this format to deliver
successful, then 4K is a basic requirement.
the cameras, distribution links, production tools,
a richer experience to the audience?
codecs, storage and graphics systems – along
This requires new craft skills, from set lighting to
creative and financial hurdles to overcome
with the creative and engineering skills that go
colour grading in post production.
to make UHD the next standard definition,
But the TV itself is only the tip of the iceberg in
with them – are having to evolve to feed those screens with worthy content.
12 TVBE Apr17 Ericsson feature_v3 JGJMcK_final.indd 10
From a technical perspective, there are considerations in the compression process to
There are still a number of technical,
but we seem to be making reasonable progress to achieve that goal. n
17/03/2017 15:41
䈀爀漀愀搀挀愀猀琀 圀愀瘀攀昀漀爀洀 刀愀猀琀攀爀猀椀稀攀爀 昀爀漀洀 伀洀渀椀琀攀欀
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13/03/2017 14:12 13:19 21/03/2017
TVBEurope
April 2017 www.tvbeurope.com
15
Feature
How close are we to a widespread UK rollout of UHD channels? By Nick Moreno, head of strategy, satellite and media, Arqiva
consumers will have to interpret the difference
pay for that upgraded viewing experience?
between 4K, UHD and HDR sets themselves – a
The main barrier to mass linear channel UHD
near impossible task.
rollout, therefore, comes down to broadcasters’ current inability to make a positive business case –
Penetration
the fundamentals of which are unlikely to change
ust a few years ago, some analysts
The next challenge is penetration. The good
any time soon for the majority of broadcasters.
predicted the widespread roll-out of UHD
news is that today, virtually all TV sets on sale in
channels as early as 2016. Now in 2017, it
J
the UK are UHD-, 4K- or HDR-capable, so once
UHD success
is clear that simply hasn’t happened, despite the
we get rid of older sets (in the usual five to seven-
Having said all this, there are areas where a
industry having seen strong traction of UHD in a
year refresh cycle) we will approach very high
positive business case for UHD already exists:
few key genres.
levels of UHD set penetration.
However, before we assess the progress that
Certain programmatic genres, such as natural history and high-end drama, are already
has been made, we need an honest assessment
Channels
expensive to film and have long shelf-lives, making
of why relatively few UHD channels are being
Reaching 100 per cent penetration of UHD-
investment in UHD shooting a more feasible
broadcast anywhere, let alone in the UK, and we
capable TV sets means nothing unless consumers
option, given the opportunity for content to earn
as an industry must be realistic about the barriers
have UHD channels to watch. The majority
revenue over a long period of time. Whether
standing in UHD’s way.
of channels – regardless of platform – are still
there’s enough content to sustain entire genre
broadcast in SD, with a minority being in HD and
UHD channels remains to be seen, but individual
Discernibility
a tiny handful of UHD channels. But channel
UHD programmes or series can be distributed on
The initial challenge UHD faced was how to
count is merely a symptom of the greatest
a VoD basis, with monetisation via the usual
generate demand, considering many viewers
challenge that widespread UHD adoption
SVoD or AVoD models.
were unable to see a difference between HD
faces – the business case.
and the first generation of UHD sets that hit the
Sport is the one area we have seen significant linear UHD traction, and there are two main
market a few years ago. With the average size of
Cost versus revenue
reasons for this. Firstly, the majority of sports are
UK TV screens still relatively small, discernibility was
Broadcasters incur a series of costs across
watched on a big screen (either at home or in
practically impossible unless viewers were sitting
the entire media management, playout and
venues such as pubs) where the jump in visual
incredibly close to their sets.
distribution value chain when upgrading
quality is readily apparent and the sporting
broadcast standards. Compressed files are
viewing experience is significantly better in
generation UHD TVs is a lot better than those early
typically three to four times larger for UHD than
UHD than HD. Secondly, many viewers are
models, with far brighter and sharper picture
HD. While new compression techniques will
already happy to pay to watch top-tier sports,
quality even on smaller screen sizes. Discernibility
reduce this ratio, the post production phase, for
so monetising a UHD sports channel isn’t much
will continue to improve and so this issue will
example, will require between ten to 35 times
of a stretch. At Arqiva we’ve already seen a lot
eventually become redundant.
more storage for uncompressed UHD files than HD.
of interest from sport clients for UHD distribution,
Thankfully, discernibility on current third
When upgrading from HD to UHD, broadcasters
and 2017 could certainly mark a significant step
Standardisation
therefore need to make substantial investment
Related to this issue is the TV industry’s ability
in updating legacy infrastructure and adding
to agree on UHD standardisation. The UK has
new capacity. For commercial broadcasters,
Conclusion
only just started to reach some level of
this increased cost has to be offset by additional
Though positive developments continue to push
understanding on this, thanks to the tireless work
revenue, and it’s this that many struggle to find.
UHD’s progress, the main barrier to widespread
of bodies such as the DTG and DPP. However,
Some platforms may be able to bring in
forward in this regard.
adoption of UHD linear channels remains the
there is still a lot more work to do, and there are
revenue by adding UHD channels to their highest
absence of a positive business case – and this
major debates going on as to what qualities –
subscription tiers, but how much of that will trickle
won’t change in the short-term. The industry
pixels, frame rates, colour gamut etcetera – count
across to broadcasters through carriage fees?
must be honest about this ‘elephant in the room’
more than others.
Will advertisers pay more for putting an advert
and instead focus on the areas where there has
on a UHD channel (which initially may have low
been substantial traction so far, striving to deliver
wants the purchase decision to be as easy as
viewing figures)? Will an average viewer ever
a superb UHD experience to viewers in these
possible. If we can’t get industry consensus
value watching their favourite soap on a UHD
areas and so building up an underlying consumer
on standards and what products to ship, then
channel (versus HD/SD) enough that they will
appreciation for what UHD can truly offer. n
Nailing this is crucial, as the average consumer
15 TVBE Apr17 Arqiva feature_v3 JGJMcK_final.indd 8
17/03/2017 15:44
16
TVBEurope
www.tvbeurope.com April 2017
Feature
Compressing UHD to reach a broader audience By Fabio Murra, senior vice president, marketing, V-Nova
However, there is still a fundamental problem:
speed is around 6Mbps. Even in mature markets
bandwidth. Many major operators have already
such as the US and most of Western Europe,
recognised this issue within contribution networks.
this still only rises to around 15Mbps, according
Broadcasters and satellite operators including
to Akamai. Considering that Netflix, the most
HD TV has gone from the wish list to
Eutelsat, RAI and Sky (with particular focus
prevalent UHD service, recommends speeds
the company roadmap for a large
on sporting events and UHD channels) have
of at least 16Mbps to reliably stream its UHD/4K
swathe of the TV industry. The consumer
already utilised newer compression technologies
content, it’s clear that the situation for UHD
spending cycle, which now has UHD TV – at
in an effort to squeeze UHD format content down
at present is untenable. Even as broadband
least in developed markets – as the standard
networks designed for HD.
networks ultimately get faster with more fibre, the
U
new living room purchase, is slowly creating a
Yet, contribution networks that are in the
majority of homes with UHD-capable devices.
control of operators are a relatively easy first
intersection of two other trends: more capacity
Alongside this, cable and satellite operators such
step in solving the bandwidth issues that a true
will fuel higher demand for better services that
as Europe’s Sky with its Q set-top box (STB), and
end-to-end UHD content flow generates. More
are themselves ever increasing in richness.
Comcast with its almost launched Xfinity UHD
problematic is the last mile. With fibre to the
capable STB, are setting up the conditions for
home still less than one per cent of the global
gamut (WCG) will further improve the life-like
wider adoption from subscribers.
broadband market, the global average internet
quality of services.
NAB2017_TVBE ad_UMS and 6 media service apps@15MARCH2017_FINAL.pdf 1 15/03/2017 12:22:53
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High dynamic rage (HDR) and wide colour
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16 17 TVBE Apr17 V-Nova Opinion_v3 JGJMcK_final.indd 10
20/03/2017 15:46
TVBEurope
April 2017 www.tvbeurope.com
17
Feature However, the data requirements for adding
encodes lower levels of detail of a given subject,
Although still early in the cycle, the lack of
HDR alone adds about 20 per cent to the
progressively adding greater detail within the
dominant standards and technologies gives
bandwidth overhead of a HEVC encoded
same file or stream, as required.
pioneers in this space an opportunity
stream. Netflix, which has also pioneered HDR
The additional benefit of this approach is
to explore new ways of generating and
content, suggests that 25Mbps is now a minimum
that there is no bandwidth overhead when
distributing content that does not rely on
requirement for its HDR service.
implementing HDR. It can also be deployed for
legacy compression technologies.
The triple challenges of moving to UHD, HDR
both contribution and distribution, preventing
For UHD to truly go from early adopter to
– and to a lesser extent WCG – goes beyond
the operator from being forced to implement an
mass market, content owners and TV and
bandwidth, but extend across the workflow.
artificial conversion, which introduces complexity.
VoD service providers need to make the
From content creation, through distribution and finally to the STB: each layer adds complexity, especially as encoding may change across the different steps. This complexity is at odds with an industry that is beginning to coalesce around the
transition easy for consumers and provide a
‘The early adopters that start to build an end-to-end ecosystem will stand to gain the biggest share of the market’
notion of workflow interoperability. Instead
quality of service that matches the current expectation. A subscription-based service that is unable to adapt to the available bandwidth constraints of the customer, but instead expects the consumer to carry the burden of upgrading broadband connectivity
of the traditional silos that are built around
or purchasing specialist third party devices
a particular codec, architecturally the
Yet the UHD and HDR transition that is currently
for UHD content access, is not building a long
media content industry is gravitating towards
impacting the market could be a relatively
term and viable business model.
software-centric solutions that can flexibly
simple hurdle compared to what’s coming
scale from HD to UHD/4K and throughout
further down the road. The interest showed in
technologies are the critical element in the
contribution and distribution to connected
high definition virtual reality and
journey towards a richer and more engaging
devices and STBs. This shift sits well with the value
other 360-degree technologies potentially
UHD and HDR future. The early adopters that start
offered by compression technologies that move
impacts devices, bandwidth, and content
to build an end-to-end ecosystem will stand to
to a hierarchical model – meaning that it first
production workflows.
gain the biggest share of the market. n
It’s clear that next-generation compression
www.asperasoft.com moving the world’s data at maximum speed
16 17 TVBE Apr17 V-Nova Opinion_v3 JGJMcK_final.indd 11
20/03/2017 15:46
18
TVBEurope
www.tvbeurope.com April 2017
Feature
Bringing UHD to life: A case study By Ian Trow, senior director, emerging technologies and strategy, Harmonic
T
consumers with a wide array of linear 2160p60
Ultimately, Harmonic and NASA were able
video content on various TV and internet-
to recompress the agency’s two NASA TV
connected devices, capturing the breathtaking
channels, and free up a substantial amount
beauty of the space programme.
of bandwidth in order to deliver NASA TV UHD on the same satellite segment. The UHD
he global market for UHD TVs is projected
Deployment challenges
channel is delivered at 13.5Mbps compared
to reach 102.8 million units by 2020, and
A major challenge that NASA and Harmonic
with other UHD demo channels that have
the United States is ranked as the fastest
encountered during this project was how to
been demonstrated in the industry, which
growing market, with a projected CAGR of
deliver two existing HD channels alongside the
required 50-100Mbps.
61.9 per cent over the analysis period, per
new UHD channel, utilising the space agency’s
Global Industry Analysts.
existing bandwidth.
To meet the growing demand for UHD TV,
Prior to the deployment of this new TV
The workflow Delivering NASA TV UHD has been a collective
NASA and Harmonic recently embarked on a
channel, a lab was set up for complex
effort. NASA provides all raw video footage
historic journey that ended with launching the
bandwidth and reallocation testing. In the
and imagery for the channel, and Harmonic
NASA TV UHD experimental channel, the first
lab, Harmonic and NASA determined that
provides the end-to-end UHD video delivery
consumer UHD channel in the US. Powered by
they could reduce the bandwidth and the
system, post production services and manages
an end-to-end UHD delivery system from
settings for each channel up to a certain
the playlist, which then plays out from NASA’s
Harmonic, NASA’s video channel provides
point without degrading the video quality.
contracted hub for NASA TV provided by
18 19 TVBE Apr17 NASA Feature_v3 JGJMcK_final.indd 8
20/03/2017 16:00
TVBEurope
April 2017 www.tvbeurope.com
19
Feature Encompass in Atlanta. In addition to supporting
have been launched; however, many of
remembered forever for solving the
the development and testing, Encompass
these are limited rollout or proof of concept.
bandwidth issues involved with UHD
handled managing NASA TV’s teleport
The introduction of HDR is expected to
delivery and bringing unbelievable,
equipment, provisioning satellite capacity, and
be the big impetus to drive widespread
never-before-seen footage of space
providing 24/7 uplink and monitoring.
adoption of UHD. NASA TV UHD will be
to homes in crystal-clear quality. n
Working together, Harmonic and NASA were able to launch the channel quickly. The entire process from proposal to signal on-air only took a few short months.
The solution NASA TV UHD is powered by an end-to-end HD and UHD video delivery system from Harmonic that includes Harmonic’s Ellipse 3000 contribution encoders, ProView 7100 integrated receiver-decoders, MediaGrid shared storage systems, Polaris playout management, Spectrum X advanced media server systems, Electra X3 advanced media processors, ProMedia Origin packager and streaming video servers and the NSG Exo distributed CCAP system.
‘NASA TV UHD will be remembered forever for solving the bandwidth issues involved with UHD delivery’
THIS IS
NOT
STATE-OF-THE-ART WIRELESS COMMUNICATION SEE RIEDEL‘S NEXT STEP AT
At the heart of the solution is Harmonic’s Electra X3 advanced media processor, the industry’s first converged media processor for UHD content with live, full-frame, full-GOP UHD encoding. By supporting resolutions of up to 2160p60 (HEVC Main 10) for broadcast and OTT multiscreen delivery, the Electra X3 enables NASA to deliver superior video quality at minimum bandwidth.
Conclusion Until NASA TV UHD launched, little content had been produced and delivered in UHD. Pay-TV operators faced a handful of issues, from finding an end-to-end UHD delivery system to maximising bandwidth efficiency. Moreover, traditional service providers faced stringent content licensing requirements. NASA is fortunate that content delivered on NASA TV UHD is license-free. Collaborating together, Harmonic and NASA have provided the broadcast industry with a real-world success story for delivering 2160p60 video in the most bandwidthefficient manner possible. Since NASA TV UHD was created, over 50 UHD channels
18 19 TVBE Apr17 NASA Feature_v3 JGJMcK_final.indd 9
www.riedel.net
20/03/2017 16:00
20
TVBEurope
www.tvbeurope.com April 2017
Production and Post
TRT takes on the World Philip Stevens looks behind the scenes at Turkey’s news channel
T
TRT World broadcasts in the English language to provide Turkey’s view and interpretation on current issues
Further outreach
Alongside satellite transmissions, TRT World is
To help achieve that goal to an even wider
also available via DTH, cable, fibre, IPTV, OTT
audience, TRT announced in January that it
platforms and web streaming.
had signed a new agreement that put TRT
Eren continues, “This will mean that TRT World
World on ten additional satellites. This multi-year
can be viewed all over the world in a total of
urkey’s national public broadcaster TRT
agreement was signed with Globecast and
190 territories via Turksat, with additional major
(Turkish Radio and Television Corporation)
Turksat, Turkey’s first and only satellite operator.
broadcast satellites operating across Europe,
traces its history back to May 1964. Three
According to Turksat’s general director
Middle East, Asia Pacific, Africa, Australia and
and a half years later, on 31 January 1968, its
Cenk en, the satellite operator has been
the US. This expanded reach has already begun,
first TV transmission was aired. Today, TRT has
working extensively with Globecast to provide
and will be completed in the coming months.”
evolved into a network of 14 TV channels,
the technical broadcast solutions needed to
16 radio stations, and various web platforms
achieve this expanded global delivery.
transmitted in 38 languages worldwide. Its most recent channel, TRT World, was launched in 2015 to provide what it describes as ‘new perspectives on world events’ to a global audience. “Throughout history, Turkey has hosted the collaboration of many civilisations, and has long been a hub where
“We aim at to inspire and contribute to making a difference to the world in which we live” Ibrahim Eren, TRT
The news channel, which broadcasts in full HD, operates out of a studio within TRT’s headquarters in Istanbul. In addition, there are international studios in London, Washington DC and Singapore. “We currently have over 700 employees representing more than 30 nationalities dedicated to content and news reporting,” Eren adds.
ideas, information and trade intersect,” explains Ibrahim Eren, TRT’s deputy director general, and
“Globecast is providing worldwide connectivity
The facilities
TRT World’s chairman. “TRT World broadcasts
and uplink distribution services using its unique
Mohammed Akhlaq, director of technical
in English, and our news platform allows us to
reach to access the ten satellites,” says Sen.
operations at TRT World, provides more details
offer Turkey’s view and interpretation on current
“As Turkey’s first and only international satellite
of the production facilities. “In the studio, we
issues with an important contribution to showing
operator, Turksat is playing an important role in
use manually operated Sony HDC-1700 and
the human perspective on international news.
TRT World’s satellite agreements with Globecast.
HDC-1400 cameras. Sony was also our choice
We aim at to inspire and contribute to making a
With this agreement, TRT World will strengthen its
when it came to selected a vision switcher –
difference to the world in which we live.”
position across the globe.”
a 3 ME Sony MVS-8000.”
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21
Production and Post “Other equipment in use within our galleries
The Avid system is also capable of acting as
include a Lawo MC266 audio mixer, Clearcom
a disaster recovery back up, should the main
Eclipse HX for comms, and Vizrt for graphics.”
production system fail.
He continues, “We looked at several newsroom systems before deciding on iNews.
Upcoming expansion
In our view, it is one of the market leaders
Eren says that TRT World’s expansion plans do
in news production systems. iNews is well
not end with extra satellite capacity. “We are
supported and has been in the market for
expanding our operations and are planning
a number of years, and for that reason a
to build full broadcast centres in London,
large number of journalists are familiar with it
Washington DC and Singapore. These centres
functionality. In addition, it uses plugins to allow
will have fully integrated production systems
for full integration within Vizrt. The journalist can
with desktop and social media functionality,
now write his or her script and create lower
along with multiple studios in London.”
thirds, full frames graphics as well as video
He adds, “TRT World is a multimedia channel
wall images which are templates within the
which will be transmitting via traditional
system. This leaves our dedicated graphics
methods, as well as the web. Online, there
department to focus on creating bespoke –
Kamali Melbourne is one of TRT’s presenters
are articles and vodcasts, which means our
packages and programmes. We also have a
the go. Digital media and social media are
Avid systems are in place within TRT World’s edit
number of Avid Media Composers for breaking
key areas which TRT World are embracing to
suites. “Grass Valley Stratus and Edius edit suites
news, packages requiring special treatment
allow our audiences to access our content
allow us to carry out full desktop editing and is a
and for craft editing on high end programming
and digest our news when, where and how
scalable system to provide us with future growth
where the original rough cut may have been
they want to view that material whether via
potential. We use desktop editing for all news
completed by the producer.”
TV, mobile or tablet.” n
and stunning – visuals.” Akhlaq reveals that both Grass Valley and
audience can take the news with them on
NAB C6015
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TVBEurope
www.tvbeurope.com April 2017
Production and Post
Firefly Cinema enables on-set to edit suite colour workflow
Director of Photography Laurent Dailland working on A History of Love
As broadcast and OTT TV continues to move toward UHD and HDR, colour workflows are becoming increasingly important considerations. Philippe Reinaudo, CEO of Firefly Cinema, looks back at its work on A History of Love
F
irefly Cinema was used in the production
Arterton, Elliott Gould, and Sophie Nelisse.
of Radu Mihaileanu’s latest feature film,
Throughout the production, a system running
A History of Love (L’Histoire de l’Amour),
Firefly’s FireDay digital dailies colouring tool
to manage the digital cinema colour
was set-up close to the camera to provide a
workflow, from on-set dailies through to the
live grading preview on a reference monitor
finishing suite, ensuring a consistent colour
in the video village.
process throughout the production and post
Director of Photography (DoP) Laurent
“Just a few years ago, there wasn’t really
Dailland explains: “The fact that FireFly
a great solution for an end-to-end colour
Cinema offers a complete suite of products
workflow. But now, it’s really unacceptable
French theatres on 9 November 2016, is
is very unique. It ensured that decisions we
to start a film project without having one in
an internationally co-produced romantic
made about the look whilst on set were
place. It’s the only way for both the DoP and
drama film directed by Radu Mihaileanu (The
carried all the way through the post and
the director to be sure that the creative
Concert), starring Derek Jacobi, Gemma
finishing processes.
decisions they make on set are faithfully
production of the movie.
The History of Love, which opened in
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23
Production and Post the finishing process. Once they received the RAW files and metadata from Éclair Group – the lab that worked on A History of Love – and the EDLs from the film editor, the team at IKE NO KOI used FirePost to conform the edit decisions against the original RAW files from Eclair. Throughout the conform process, they also applied the dailies’ colour grading using the settings from the shared database. Using FirePost, the colourists were able to view the edit suite files side-by-side with the RAW files and ensure a good match to the look from post. By doing this at the start of the finishing process, IKE NO KOI was able to ensure visual continuity for the director and the DoP: the look they saw on the first day of finishing was the same look that they saw carried through to the final film.” Using FirePlay,
Dailland to playback and tweak settings on
in the edit suite. In fact, except for any
Firefly’s on-set playback and colour tool,
his own laptop in RAW format, using a copy of
changes during the post finishing process,
Dailland was able to check the colour grading
FirePlay Free. This way, he was able to make
it was the look that the director and the
even when he was not on set. The data
adjustments and save his new colour grading
DoP established and approved on set. This
wranglers simply exported a few stills from the
decisions back to the project database.
approach provided the team at IKE NO KOI
RAW video clips along with the colour grading data on a USB drive every evening, to allow
22 23 TVBE Apr17 Firefly Prod_Post_v3 JGJMcK_final.indd 55
IKE NO KOI, a Paris-based DI & VFX studio for feature film, TV and commercials, handled
with the ideal starting point to the artistic process of finishing. n
20/03/2017 15:50
24
TVBEurope
www.tvbeurope.com April 2017 Image courtesy of Tom Chandler
Production and Post
Fourth year in a row Philip Stevens finds out what is required to produce the Boat Race OB
T
he contract to technically produce the
The pursuit vessels provide superb action pictures of the race
positions and specifications change each
Using IP
season, but on the whole, the main cohort of
All cameras are controlled over IP at one central
35-40 cameras remains intact. The big story
location at the OB hub in Putney. The robotic
of 2015 was the addition for the very first time of
on-board cameras are also wholly controlled
the live women’s race on the same tideway
and shaded from the same hub. The same is
course as the men.”
true for the aviation and flotilla mounted
Varsity Boat Race between Oxford and
gyro stabilised Cineflex cameras, provided
Dramatic coverage
and operated by CTV’s flown camera experts
Outside Broadcasts in 2014. According to Bill Morris,
Additional on-board technology was mounted on
Aerial Camera Systems.
international business director, it had long been an
the women’s boats and the mesh re-configured
ambition to provide the facilities for this historically
to take this expansion. In 2016, the women’s race
in Putney, the other beyond the finish at Mortlake.
important and much-loved part of the British
brought high drama as the Cambridge women’s
The show is produced in the Putney OB with the
calendar. “The contract had been won primarily
boat gradually sank in the turbulent water but the
finish content being collated in the Mortlake OB.
based upon – at the time – the ground-breaking
crew continued to maintain their stroke, eventually
A number of remote IP inject points along the
use of IP to seamlessly gather the huge amounts
crossing the finish line, an incredible achievement.
course form the network nodes from which data
Cambridge for the BBC was awarded to CTV
of data from along the four-mile river course. CTV,
Morris continues, “The water-based competition
There are two main OB locations, one at the start
and RF is both gathered and transmitted. The BBC
in partnership with their broadcast technology
boats – and the flotilla cameras with their related
also produces an international broadcast from a
colleagues at Presteigne, had designed an RF
audio and communication requirements – remain
separate production area, catering for the vast
and data mesh that would allow unbroken, full
the largest challenge of the OB operation, with
number of international territories that broadcast
telemetry coverage at ground level, giving the
much planning and effort going into the detailed
the event in their own countries.
production team continuity of signals from all
execution of these most immediate of shots.
cameras for the first time in the history of the race.”
The real story is, of course, the crews themselves,
the race, in conjunction with Pinpoint to illustrate
Morris says the system worked very well in the first
Delte Tre provide the main graphic content for
and our ability to bring back the vivid images
real time data from the competition boats. Avid
year, and from that foundation, the operation has
and the visceral sound of this most combative
Edits are networked with EVS to provide a freely
been refined year-on-year to become the well-
of competitions is core to the success of the
accessible resource of content that is shared to
tailored, bespoke operation of today. “Camera
BBC’s coverage.”
create the emerging stories from the race.
xxxxx xxxxx
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25
Production and Post “IP was the big story at the start of the new era of
He goes on, “Having said that, you never know
Mix of equipment
the BBC Boat Race production, and it has rightly
what can happen in a live OB environment. For
He continues, “We use Domo RF equipment for
remained high on the priority scale for both this
instance, there is a limit to what can be done on
nearly all of the RF facilities based on the water,
event and many more strands that are serviced by
competition boats once they hit the water. We
including 16 NetNode mesh units and 32 ProRXB
CTV Outside Broadcasts,� states Morris. “All new OB
mitigate this by using high-quality components that
receivers. In addition, we use Vislink for most of
builds now have IP at their core, and despite some
are proven to be as reliable as possible.�
the radio cameras on the shoreline.�
inevitable first generation technology teething
Presteigne provides special cameras to secure
There is a mixture of Tait base stations and
pains born from establishing a new workflow, within
RF connectivity, but the one annual challenge
Motorola Handhelds for RF production talkback,
a few years it is likely that we will all look back
tends to be the shortage of RF bandwidth.
and IP trunked Hytera systems for engineering
with rose tinted spectacles to the days when we
However, that challenge is overcome with early
communications. BT provides Gigabit IP
transported video signals around on copper.�
planning and close liaison with Ofcom and other
connectivity between river nodes and to the
regulatory bodies.
BBC Network, with the mesh equipment providing
Providing IP
Ransome says that the most innovative
wireless connectivity between sites, in case any
Mike Ransome, CEO, Presteigne Hire, takes up
development has been the move from
the story. “This will be the fourth consecutive year
analogue to digital provision – and the ability to
problems should occur.
Presteigne has provided the wireless solution for
automatically switch between sites. “We will be
iconic 19-minute race that has a unique character,
the Boat Race for CTV. We also provide technical
using again a multiple node system, both for the
in many ways perfectly suited to both CTV and
assistance for CTV with the IP connectivity required
water-borne broadcast sources, mesh control, and
Presteigne in terms of production and technology.
from their inter-site IP suppliers. It’s a big job, one
a miscellaneous facilities layer. The nature of having
Our solution offers multiple levels of redundancy
of the biggest of any year, but CTV has done a
cameras, sound, and presenters working up and
using reliable, trusted equipment from a variety
brilliant job for several years now. Any challenges
down a river over a large non-cabled area means
of manufacturers, which we combine to provide
they have had, or that we have helped to work
the use of RF is essential and has always been used
a seamless production package – at least
through, are typically long-gone, or certainly
for any source that can’t be cabled practically or
that’s what CTV has said to us. I expect to
nothing we can’t remedy very quickly, having
safely – such as, for example, RF cameras being
keep this particular partnership afloat for
been there before.�
required to work safely in the riverside crowds.�
many years to come.� n
Ransome concludes, “The Boat Race is an
5.5 & 7 inch FULL HD Waveform LCD Monitor
SINCE 1996
Your best camera mate
xxxxx xxxxx
5 SWIT Electronics Co., Ltd.
7
DPOUBDU!TXJU DD
24 25 TVBE Apr17 BoatRace Prod_Post_v3 JGJMcK_final.indd 55
XXX TXJU DD
Las Vegas, Booth No. C9908
Singapore, Booth No. 6R3-01
20/03/2017 15:52
26
TVBEurope
www.tvbeurope.com April 2017
Production and Post
Artistically challenging A
Philip Stevens takes a close look at Sky’s highly successful painting challenge series
Landscape artists use weatherproof pods for their work
sections,” states Morris. “In addition, there is one further floating camera, a Steadicam and a jib which provide additional footage. And above each easel, we attached a camera which
s a programme, the concept is simple.
captures the time lapse content that helps us
Bring together a number of professional
show the development of each work as the
and amateur artists in a competition with
artists’ progress.”
a significant commission as a prize for the winner. Yet the production of Sky Art’s Portrait Artist of
Monitoring each camera
this is shot in 4K – on Portrait, which is shot in HD, we
the Year and Landscape Artist of the Year is far
Output from each manned Sony PDW-F800
only produce around 2.2TB per programme.”
from straightforward.
camera is fed back via a radio link to what
“We came up with the format some time
Lighting for a programme involving artists and
Morris calls “the video village”. This is a control
sitters is a challenge, says Morris. “Artists want
ago and this year we are making series four of
centre located within the building where, as
the light source to be from one side and for it
Portrait Artist and the third series of Landscape
series director, he can monitor what his teams
to be fairly harsh. In the first series, we tried to
Artist,” explains Southan Morris, series director for
are capturing. Morris will also direct the
accommodate that requirement, but found
production company Storyvault Films. “Although
introduction, links and conclusion with presenters
shooting difficult. If the sitter is too harshly lit, then
the aim of both series is the same – to find the best
Joan Bakewell and Frank Skinner, discussions
everything in the background is blown out.”
artists in the opinion of our three judges, Tai Shan
between judges and other highlight sections
Schierenberg, Kathleen Soriano and Kate Bryan
of the programme.
– the nature of portrait painting and landscape
There is also a problem with ambient light coming from windows in the roof of the building.
Unit manager Alison Brodie adds: “The
Problems posed by this aspect of the lighting
painting are different, and require specific
output from the time lapse cameras cannot be
have been overcome by changing the time of
production techniques.”
monitored, but we need to check them every
the year when shooting takes place to when the
20 minutes or so to ensure that the artist has not
sun is not so high.
Morris and his team work closely with the Wallace Collection in London, and that has now
moved the easel, or that any obstruction has
become the venue for the Portrait Artist series.
appeared. We use Canon 5D cameras because
have come up with some compromises that
Here, a specially constructed circular set that
they have proved to provide the best quality
create a much better solution. But the results
incorporates three different areas is used to
for this type of work. We did try another camera
show that our work has been well worth the effort,”
accommodate three ‘sitters’ – an array of actors,
system, but there were problems with lenses
emphasises Morris.
musicians, authors and TV personalities – whose
and iris control. We record raw footage from
portraits will be painted by the nine artists that
these cameras.”
have been selected to take part in each heat.
“As the programmes have progressed, we
He goes on to say that the other major challenge in shooting an ‘as live’ programme with
She says that cards from all cameras are sent
artists and sitters in a relatively confined space is
Viewed from above, the set looks like a round
to the video village for ingesting during the day.
sight lines. “We spent a lot of time getting the set
cake divided into three segments.
“On Landscape, we have four laptops connected
right for all concerned, but with sitters looking out
into the drives with at least two layers of backup to
of the set, and the artists looking in and judges
and we assign a producer/director, camera
ensure nothing is lost. In all, around five terabytes
coming by and commenting, eye lines have to
operator and sound recordist to each of these
of content are ingested for each programme as
be considered very carefully. Where the judges or
“Three artists work in each of the three areas,
xxxxx xxxxx
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27
Production and Post the overall timetable for editing is six weeks for
Morris concludes, “They’ve been wonderful
each programme. We stagger the start of each
projects to work on. Theres a fantastic atmosphere
programme so that the series editor is not running
with the presenters, judges and crew working
between suites overseeing several programmes at
extremely well together. it’s a well-oiled machine
one time,” says Brodie.
with a team of truly professional people.” n
NAB 2017 | N2927 presenters are involved, I sometimes shoot certain sequences twice to ensure that the finished result always looks polished.”
Looking at the landscape That consideration is less of a problem on the sister series Landscape Artist of the Year, where the locations offer far more space in which to work. These programmes are an evolution from the Portrait Artist of the Year series and not only involve a number of artists selected by the judges, but also ‘wildcard’ entrants. These are members of the public who attend the shooting days at the various locations around the country in the hope of catching the judges’ eyes and being invited to take part in future heats. “For Landscape, we have eight artists working from specially constructed pods,” explains Brodie. “The wildcard participants work in a different area, but still within the selected locations. Obviously, there is more space in which to shoot the programmes, but it also means we have to bring in all the support; generators, catering trucks, marquees. It’s a sizeable operation.” Brodie says that a typical schedule involves a Sunday. The next day is taken with camera blocking, shooting GVs and footage obtained from a drone. “Because these venues are open to the general public we cannot do any aerial shooting until after 6pm, when the visitors have left to ensure that this is carried out safely.” Tuesday sees production on one programme, while a second at the same venue, but with a different backdrop, takes place the following day after an overnight relocation and re-rig of the pods and technical areas. Brodie states, “We start at 7am and, although
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we do have a few breaks, we go on until 7pm. Of course, weather comes into play with Landscape – and although we have needed to cope with wind and rain, we have never lost a programme.” Editing for both series takes place at Sky’s facility in west London. “We have three Avid suites, and
26 27 TVBE Apr17 Prod_Post LandscapeArt_v2 JGJMcK_final.indd 55
www.phabrix.com
20/03/2017 17:29
28
TVBEurope
www.tvbeurope.com April 2017
Technology
In association with
4 by IV Leading our acquisition feature this issue is Christina Fox, who takes a look at the Canon 5D Mark IV
T
he new Canon 5D Mark IV is the latest update to this influential DSLR. It was the 5D Mark II that gave us a high quality
stills camera that could also do HD video. Videographers who couldn’t afford a full-frame sensor camera (with interchangeable lenses) suddenly had the chance to make the video they had dreamed of, with the shallowest depth of field possible. So, is the Mark IV still the dream camera? Well, there are quite a few improvements, but there are still a few things missing. The full-frame sensor has 30 megapixels Off the Mark: Canon’s upgraded 5D Mark IV
and offers 4K video recording at 24p, 25p and 29.97p using Motion JPEG. While at Full HD (1920x1080) 24p, 25p 29.97p, 50p and 59.94p
noticeable. Using a tripod is recommended.”
dual pixel data and make micro-adjustment
are all available, and recorded using ALL-I or IPB
In photo mode, the camera can record three
of the focus using the depth information
compression. Those MJPG files are big (almost
raw and eight JPEG quality settings, which can
contained within the file. It effectively allows
500Mbps) filling a 32Gb card with eight minutes
be recorded on one or both cards separately or
you to slightly shift the focus on a still image.
of video. The camera can also do high frame
simultaneously. In photo mode it can shoot 7fps,
I’m sure this will help a few desperate
rates of 100 frames per second and 120fps, but
which should cover most action shots except for
photographers salvage an almost-there
at 720p. Colour sampling at 4K is YCbCr 4:2:2
the faster sports.
image that would have been unusable.
(eight-bit) and HD is YCbCr 4:2:0 (eight-bit).
The camera takes CF CompactFlash and SD/SDHC/SDXC cards and thankfully the same
Keep in touch
pixel region of the sensor, which is about the
batteries as its predecessor - but if you need
The touch-sensitive live view screen gives an
size of an APS-C or Super 35mm sensor. The
more shooting time the camera can be used
alternative way to move around the menu
result is a crop factor of 1.64x; so choose your
with Canon’s BG-E20 battery grip.
and other onscreen options. It was also nice
The camera’s 4K capture uses a 4096x2160
to be able to swipe and pinch your way
lenses carefully.
Focus overload
through recorded images and video just
in 25p or 29.97p (IPB) HD recording. However, this
There are a bewildering number of ways to
like on a smartphone.
is not the usual flavour of HDR with log gammas
configure the autofocus. In fact, AF takes up
and flat images requiring work in post.
59 pages in the manual. The camera has iTR AF
Q button), together with the touch screen, made
The camera does offer HDR recording, but only
The quick control menu (accessible via the
(intelligent tracking and information Auto Focus),
changing settings simple. I could quickly change
videos, one optimised for highlights and the other
which makes following faces and getting them in
frame rates, white balance, audio volume, swap
for shadows. Then, similar to how HDR is achieved
focus nice and easy. Not only does it look at the
cards and focusing modes.
in stills photography, the images are combined,
face it looks at its colour too, using both to hold
in camera, to give the best of both. For those
focus, so you can keep your shallow depth of
IV is on its compatibility list. It is possible to
who can’t afford to grade, this is an interesting
field while following a moving face. Plus, there is
simultaneously see the camera’s output on a
way to get HDR.
touch screen focusing – making focus pulling as
monitor (via HDMI) and the camera’s screen
simple as pointing.
(which wasn’t possible with older models). The
It does this by recording two interleaved
However, the manual warns that: “Since multiple frames are merged to create an HDR
One novel feature is the Dual Pixel Raw photo
Atomos fans will be pleased to see the Mark
camera’s screen will show recording settings,
movie, certain parts of the movie may look
shooting. If you shoot in the highest quality
while your monitor will only show a clean image,
distorted. During handheld shooting, camera
Raw setting and use Canon’s Digital Photo
perfect for recording to a remote drive. However,
shake may make the distortion look more
Professional EOS software, you can access the
do note that 4K images are not available via
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29
Technology
In association with
HDMI. So 4K recording will be on the internal
There is also FTP/FTPS support and GPS for
The 4K pictures look great and the 30 megapixels
cards only. And, there is no doubt that if you are
geotagging your shots.
will keep photographers happy too. But, if
using this camera primarily for video you will still
The camera’s start/stop recording can be
you are starting from scratch it is an expensive
want to use a monitor. Canon still has not given
synced with an external recorder using the HDMI
option for a low-budget videographer at £2,915
us peaking to help with focusing or zebras to
and enabling in the menus.
excluding VAT. The lack of zebras or waveforms
help with exposure.
There is now an in-built intervalometer for
Also, an articulated screen would have been helpful for those low/high angle shots. However, I gather this could have made the
and no log gamma profiles is an oversight not
timelapse fans, and it is good to see that rec run
made by its rivals. The crop factor in 4K shooting
and free run timecodes are available.
will cause some frustration. If video is your primary
The ISO has a good range from 100-25,600, but
reason for buying a new camera then the Sony
camera less weatherproof. Canon does boast
going into the menus you can extend the range
A7S is smaller, lighter and great for low light
it has a tough magnesium alloy body and
to 102,400 or you can limit the auto ISO to keep
shooting (£2,207 ex VAT) while the new Panasonic
improved weatherproofing. The downside is
within your preferred quality threshold.
GH5 (with XLR audio adapter) should also be
that it is a heavy camera (only 75g lighter than
There’s not much to say about the audio
its predecessors), but it will survive physical and
features of the camera. It does have a 3.5mm
the GH5 does have a smaller (Micro Four Thirds
environmental abuse. However, internal heat
microphone socket for recording scratch audio,
sensor – 2x crop).
from processing overload can cause these
plus a headphone socket. But, anyone doing
cameras to overheat and stop recording.
any serious shooting with this camera will, I hope,
created the whole low-cost market for high-
be using a separate audio recorder.
quality video shooting using a DSLR. However,
Stay connected
on your watch list (£1,695 ex VAT) – although
The 5D Mark II could be said to have
rivals have now caught up, and in some respects
It has built-in Wi-Fi and NFC to connect to your
Conclusion
exceed the Mark IV. However, if photography
smartphone or laptop. With Canon’s app you
There is no doubting that the Canon 5D
is your primary need for the camera, and video
could remotely control the camera’s features
Mark IV is a great camera and if you already
secondary, you should take it for a test drive
and controls, including focus, using a touch
have invested in Canon lenses, batteries and
and experiment with grabbing stills from the
screen phone or tablet. For those that prefer
accessories it may be a no brainer if you
4K video, and you may find that this could be
to be wired, there is a USB 3.0 socket.
are looking to upgrade.
the camera for you. n
Smooth
Operator
The new Telemetrics PT-HP-S5 robotic pan tilt head lets a single operator produce high quality content with lower production expense and limited space. This 5th generation robotic camera system offers a wide range of super high dynamic speeds, and a load capacity of up to 40 pounds. The PT-HP-S5 design also features advanced servo technology for ultra-smooth motion and silent operation. It’s perfect for box-style cameras that effortlessly glide through every production.
Lower Cost Operations and Smooth, Reliable Performance … That’s Telemetrics. 201.848.9818 • sales@telemetricsinc.com • telemetricsinc.com PTHPS5_TVBE_HalfHoriz_0317.indd 1 28 29 TVBE camera review Technology_v3 JGJMcK_final.indd 55
That’s What You Need. 3/2/17 8:00 AM 20/03/2017 15:57
THE ULTIMATE PRO AUDIO GEAR EXHIBITION AND TECHNICAL SUMMIT
AES MARITIM HOTEL BERLIN, GERMANY
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2017 EXHIBITION: MAY 20 – 22 PROGRAM: MAY 20 – 23
The Latest Hardware and Software Cutting-Edge Technical Presentations Audio Networking Pavilion and Sessions Pro Sound Expo Stage - Open To All Demo Rooms and Tours
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new tvbe template remade.indd 1 AES_142nd_TVBEurope-FP.indd 1
21/03/2017 14:13 3/3/17 4:21 PM
TVBEurope
April 2017 www.tvbeurope.com
31
Technology
In association with
Tailoring to unique needs Our acquisition and NAB feature incoporates the news and views of a variety of manufacturers who will be showcasing their wares in Las Vegas. Here, James Eddershaw, managing director, Shotoku UK, talks to TVBEurope about the ever-changing trends, challenges of the broadcast industry
How much of your business is non-broadcast? Are you seeing a growing demand for your expertise from different industries? The definition of ‘broadcast’ and ‘nonbroadcast’ has shifted significantly. For example, a global corporation may build and operate
What are the greatest technological
a broadcast facility today with equipment so
challenges in your area of the market?
sophisticated it would be on par with national
Providing high-performance (precise, smooth
stations of just a few years ago.
on-air motion in seven axes), easy-to-use and
A large segment of our business has always
exceptionally reliable 24/7 camera support at a
been in government TV services for televising
price that makes the return on investment quick.
of parliaments and legislatures, which have the same demands for quality and reliability, but are
How are your customers’ demands changing,
not traditional broadcasters in themselves.
and how much of that feedback informs your product development and R&D activity?
What are you showcasing at NAB?
Our R&D activity is very closely driven by
We always have three key areas of focus at
customer demands, as with any successful
the show: robotics, manual camera support
company. Every customer is different with unique
and VR/AR tracking. For robotics we will be
needs, while the core applications are generally
in the long term. These demands have been
bringing SmartPed, the very latest fully robotic
very similar. The trick is to develop features and
consistent over many years, but recently, the
studio pedestal, following an amazingly
functionality that closely match a particular
pressures of competition from the numerous
successful debut year with large high-profile
customer’s needs, but at the same time will
disruptive entrants into traditional national news
installations including facilities in Canada, UK and
provide benefits for a wider audience, making
broadcast markets has relentlessly increased
Europe. We’ll also have plenty of exciting new
the product better for all users.
demand for quality content, while costs have to
announcements at the show regarding tracking
be significantly reduced.
solutions for manually operated cameras.
What changes/trends/developments in the
Robotic camera systems have been used
industry are having the most dramatic impact
in news productions for decades, so it is not a
What is your business focus for the
on your business?
radical shift in the production process, but the
remainder of the year?
Generally speaking, our customers have
need for more automation, more advanced
Simply to continue doing what we do best
two simple goals: to generate high-quality,
features for complex live on-air productions, and
– enabling our clients to produce great
informative and compelling programmes, and
near-perfect reliability in 24/7 operations result in
programming through advanced camera
manage costs so that their business (whether
systems that are far more advanced, yet simple
support product developments and strong
publically or commercially funded) is sustainable
and reliable in operation.
technical support. n
COLBALT A multitude of product debuts COBALT will be introducing a vast array of
encoding capacity supports four audio PIDs
12G-SDI and/or add four HDMI 2.0 inputs. The
new products at NAB. It will demonstrate
– up to four stereo or eight mono channels. It is
multiviewer modules are cascadable, meaning
FAST-Stream, which combines FAST (frame-
designed to make the 9223-A8 a cost-effective
users can expand the system as 4K production
accurate SCTE 104 trigger) insertion with
solution for broadcast-contribution scenarios.
and broadcast becomes widely adopted.
enhanced HLS SCTE 35 streaming on a single
Another brand new product being
Last but not least, visitors can see the new
platform. According to the company, the
demonstrated will be the 9971-MV-4K-SH
9904-UDX-4K-12G UHD 12G/3G/HD/SD-SDI up/
system is a comprehensive solution for providing
UHD Hybrid HDMI 2.0 and 12G-SDI input and
down/cross converter. The 9904 can up-convert
HLS streams with frame-accurate boundary
output multiviewer. The multiviewer’s UHD
3G/HD/SD-SDI to UHD, providing either quad
points complete with the SCTE 35 metadata
output is available via 12G-SDI and HDMI 2.0
3G-SDI-based square division or two-sample
contained in the associated manifest file.
concurrently, designed to make it a cost-
interleave formats or optional ST 2082 12G-SDI.
effective means of leveraging consumer-
The unit can also perform the reverse in down-
H.264 3G/HD/SD-SDI/CVBS video and eight-
grade 4K monitors. The input stage accepts six
converter mode and has two HDMI 2.0 outputs
channel audio encoder. The enhanced audio
3G-SDI signals, with an option to upgrade to
for monitoring. n
Also on show will be Cobalt’s new 9223-A8
31 32 33 TVBE NAB news Technology_v2 JGJMcK_final.indd 54
20/03/2017 16:06
32 TVBEurope
www.tvbeurope.com April 2017
Technology
In association with
QUANTUM Maximising efficiency FOLLOWING exhaustive real-world 4K testing,
large- and small-form-factor disk drives,
Next up, Quantum will showcase new
Quantum will unveil new 4K reference
as well as a variety of array configurations
capabilities that allow multiple StorNext-
architectures, scaled for facilities small to
and a full complement of compressed and
powered collaborative workflows located
large. In the testing, say Quantum, all Xcellis
uncompressed 4K formats. The resulting
anywhere around the world to access the same
solutions “easily handled” intense 4K workloads.
reference architectures have been tuned to
archive target. As a result, say Quantum, any
The testing included characterisation of
deliver predictable stream count workloads for
user within a StorNext environment can access,
the full range of 4K formats.
browse and pull files from the shared archive.
Quantum will also demonstrate how Xcellis
The company will highlight its newly released
leverages the power of StorNext and the
FlexTier cloud access feature, designed to make
performance of all-flash arrays to get the most
it easy to integrate existing public cloud storage
out of both technologies.
accounts and third-party object storage
The company says that Xcellis maximises
(private cloud) into a StorNext environment and
efficiency when it comes to the most
into familiar media workflows. FlexTier currently
demanding of workflows, with use cases such as
supports Amazon Web Services, Microsoft Azure,
color correction or high-end compositing and
Google Cloud, NetApp StorageGRID, IBM
finishing deriving the greatest benefit.
Cleversafe and Scality RING as archive tiers. n
TELESTREAM Capitalising on Facebook Live TELESTREAM will be demonstrating how the
while Lightspeed Live Capture can
professionals to easily posts video, text and
Vantage Media Processing Platform has
independently ingest multiple channels
images to multiple social media destinations
been designed to streamline operations and
of SD or HD or a single channel of UHD.
including YouTube, Twitter, LinkedIn, Google+,
create new revenue streams by orchestrating
Streaming live content via Facebook has
discrete tasks. Vantage allows users to ingest,
become a critical method connecting with
Media Solution, say Telestream, helps bridge
edit, transcode, QC, package, monetise, and
viewers. Telestream says that it addresses that
the gap between social media and traditional
distribute their media. It currently supports HDR,
need with Wirecast Gear, its new turnkey
broadcast departments, allowing both groups
UltraHD and 4K and IMF.
system optimised to run the company’s
to maximise efficiency. n
A particular focus for Telestream at NAB
popular Wirecast live streaming production
will be live video streaming. The company
software. Featuring Facebook Live as a
plans to show how to achieve enterprise-
streaming destination, Wirecast has also
class live capture and content streaming
been designed to allow users to create and
with its Lightspeed Live Stream and Lightspeed
stream high-production value broadcasts from
Live Capture applications. Lightspeed Live
their computers to their Facebook timelines
Stream is designed to solve the problem of
with a few clicks.
preparing real time content for adaptive bitrate live event and live linear streaming,
Vimeo, Facebook and Brightcove. Social
The company will also showcase its Social Media Solution, which enables marketing
TMD Enhancing asset management TMD will bring three new software ‘bolt-ons’ to
Media Misr provides integration with third-party
which the company says provides tools for
its MAM systems to NAB. These enhancements
scheduling systems, automatically generates
managing the production supply chain
can be added to any of TMD’s media service
workflows based on those schedules, reports on
from commissioning and ordering through
applications – including Media Packages,
missing content, and manages cache storage
programme delivery. TMD’s Mediaflex-UMS
Media Misr and Media Lines – to expand
for transmission-ready content for playout
Analytics, which are fast reporting, workflow-
their functionality.
systems. Media Lines provides management of
data dashboards with real-time analytics to
scheduled recordings of live feeds.
monitor operational efficiency and quickly
Media Packages provides workflow management for the creation and delivery of packages to non-linear, OTT platforms.
31 32 33 TVBE NAB news Technology_v2 JGJMcK_final.indd 55
TMD also plans to demonstrate a new media service application for media logistics,
identify bottlenecks, is also expected to be on show. n
20/03/2017 16:06
TVBEurope
April 2017 www.tvbeurope.com
33
Technology
In association with
TOOLS ON AIR This just:in IN RESPONSE to the rapidly increasing
available for Mac. Linux systems also are
importance of Linux systems and 4K video in
very cost-effective.” ToolsOnAir’s new system
broadcasting, ToolsOnAir has unveiled just:in
employs a single-rackspace appliance that
linux, a hardware/software solution for Linux
can ingest up to eight channels of HD or two
that can ingest multiple 4K video streams, as
channels of 4K video. The computer sports two
well as HD streams. As with the Mac version,
10Gb (RJ45) network connections; two PCIe
just:in linux can automatically divide ingested
slots for video cards, fibre channel cards, a GPU,
video into multiple files, including timecode
a RAID with replaceable hard drives; and
and file-naming, and settings can be saved as
a redundant power supply. An optional
presets. Supported codecs in version 1.0 include
NVidia graphics-processing unit is available
ProRes, XDCAM HD422, AVC-I, and h.264.
for generating the h.264 preview on the
“Just:in linux isn’t a port of just:in for Mac but
graphics card.
a new product, created from the ground up,”
engine, ToolsOnAir’s just:connect, a
Mattia Varriale.
scheduling application, and the user
“The two versions have the same user
The latest just:in linux is “a new product, built from the ground up”
31 32 33 TVBE NAB news Technology_v2 JGJMcK_final.indd 56
Software modules include the Linux
says ToolsOnAir head of sales and marketing
interface. In just:connect, users can set up
interface and can work in tandem but just:in
the video device properties, save capture
linux offers more capabilities in a smaller
and destination presets and use them on
form factor because we can provide more
all channels, and create file-naming
powerful hardware for the Linux platform than is
conventions. n
20/03/2017 16:06
5th – 9th June 2017, Central London, UK
DISRUPTION | TRANSFORMATION | EVOLUTION
A WEEK OF STRATEGIC EVENTS EXPLORING THE FUTURE OF MEDIA AND ENTERTAINMENT
EARLY BIRD DISCOUNT ENDS SOON! DON’T MISS YOUR CHANCE TO SAVE: www.media-tech360.com
MediaTech 360 is a week of live events that brings the industry together to unearth the opportunities presented by our evolving marketplace. Comprised of the centrepiece two-day summit; a series of affiliated webinars, roundtables, and briefings; the 2017 TVB Awards; and our broadcast pro audio evening, PSNPresents, MediaTech 360 offers an exclusive thought leadership programme that explores the brave new world of media and entertainment.
WHAT’S ON AT MEDIATECH 360? MONDAY 5TH JUNE
TUESDAY 6TH JUNE
WEDNESDAY 7TH JUNE
THURSDAY 8TH JUNE
FRIDAY 9TH JUNE
MediaTech 360 Kick Off Webinar
Roundtable
OTT Breakfast Briefing
Closing Webinar
PSN Presents & Opening Drinks Reception
MediaTech 360 Summit Day 1
MediaTech 360 Summit Day 2
TVBAwards
Brought to you by:
Sponsored by: International TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL
International
TECHNOLOGY AND TRENDS FOR THE PRO-AUDIO PROFESSIONAL
#mediatech360 MediaTech360 DPS.indd 1
@MediaTech360
www.media-tech360.com 20/03/2017 09:04
DAY 1 – 7TH JUNE 2017
Day 2 – 8TH JUNE 2017
THE IP ROADMAP
BUSINESS TRANSFORMATION
10:00
Opening Address: Market Analysis – Facts And Figures
10:30
Morning Keynote: State Of The Market - Industry Outlook Beyond 2020
10:20
Keynote Panel Discussion: The State Of The Market
11:00
Panel Discussion: Hot Or Not – Top Tech Trends Through To 2020
11:35
IP Interoperability Update – A Common Roadmap
11:45
Panel Discussion: What Does AI Mean For Broadcast?
12:05
Panel Discussion: IP, Standards, Industry Collaboration
13:30
Keynote Panel Discussion: TV Is Not Dead; It Is Reborn
14:20
Live IP A Case Study
14:15
Keynote Panel Discussion: Beyond Broadcast – What Are The Strategies?
15:10
Panel Discussion: E-Sports and Broadcasting - The New Frontier?
15:15
Closing C-Level Panel Discussion: Operational Challenges In The Market
15:55
Panel Discussion: Managing The Impact Of Disruptive Technology - AR, VR, UHD, IP, Cloud
HERE ARE JUST A FEW OF OUR CONFIRMED SUMMIT SPEAKERS:
Keith Underwood Director Of Strategy And Technology Channel 4
Daniel Toole Executive Partner - Media And Entertainment Industry Leader Europe IBM
Jamie Hindhaugh Chief Operating Officer BT Sport
Steve Plunkett Chief Technology Officer – Broadcast And Media Ericsson
Michel De Wolf Director Dwesam Engineering Bvba
Mark Harrison Managing Director Digital Production Partnership
Niall Duffy Chief Marketing Officer Virtual Ai
Jon Watts Managing Partner And Co-Founder MTM
For Speaking Opportunities: Hannah Tovey +44 (0)20 3889 4920 htovey@nbmedia.com
For Sponsorship Opportunities: Pete McCarthy +44 (0)20 7354 6025 pmccarthy@nbmedia.com
View the full agenda online at: www.media-tech360.com MediaTech360 DPS.indd 2
20/03/2017 09:05
36
TVBEurope
www.tvbeurope.com April 2017
Technology
In association with
Talking heads David Workman, director of sales, Telemetrics, looks at the evolution of robotic camera heads ahead of this year’s NAB What are the greatest technological
cameras, lenses, teleprompters, and other
to large national assemblies with hundreds of
challenges in your area of the market?
peripherals. One major feature that has come
cameras. The Telemetrics Legislative package
All vendors in the ‘broadcast equipment’
of all this feedback is the unique ‘dual cradle’
has interfaces to gated microphone systems
market are highly influenced by continually
configuration of the PT-LP-S5, which provides
to automatically select camera positions
changing standards and new technologies.
mechanical isolation between the camera and
based on the speaker, and we’ll also trigger
At first glance, it might not be obvious that the
teleprompter; this keeps ‘teleprompter wobble’
the graphics systems to bring up a lower
transition to 4K or IP-based video would affect
from shaking the image. Customers also said
third with the speaker’s name. Also included
a robotic camera head, but we still need to
they wanted easier set-up, so we’ve added
is comprehensive switcher control via an
pass the signal through the head, whether
features that help balance the head easily
automation interface, so a separate switcher
it is SDI, fibre, or IP, and having a stable and
and quickly, and indicator lights have been
operator isn’t needed.
precise robotic platform becomes even more
added to provide feedback if the load is out of
important with higher resolutions. In addition,
balance during operation.
we’ve made updates to our control system to
‘Camera robotics improve the quality and consistency of a production, and reduce operational costs as well’
provide intuitive user interfaces for new camera
What changes/trends/developments in
features such as HDR, HFR, etcetera. This has
the industry are having the most dramatic
required significant engineering resources
impact on your business?
and a high level of co-operation with other
The market opportunity for robotic camera
manufacturers; we all need to share protocols
heads is tied directly to the customers’ need
What do you believe will be the main talking
and work together to ensure the interoperability
for new cameras. As new standards evolve,
points emanating from NAB?
of products.
broadcasters need new cameras – and
The big issues right now are ATSC3, channel
they usually look for ways to improve other
repacking, and the results of the spectrum
How are the demands from your customers
facets of their production and workflow at
auction. On the production side, we expect
changing, and how much of that feedback
the same time; camera robotics are a natural
to see continual advancements in virtual
informs your product development and
extension of that. Camera robotics improve the
set technologies. Virtual sets and virtual
R&D activity?
quality and consistency of a production, and
enhancements on physical sets have gone
Broadcasters are producing more news and
reduce operational costs as well. In addition,
from being a niche technology to a must-have
sports programming; this is what generates
broadcasters are always looking for ways
tool for many broadcasters. As the virtual set
the largest amount of revenue for local
to differentiate themselves – and by using
platforms have improved, it has mandated
stations. This is important to Telemetrics, as
keyframe-based motion control, they can
improvements in the robotics as well. This is a
our products are primarily designed for live
create ultra-smooth camera moves for a more
challenging production environment where
‘on-air’ productions such as news and sports.
dramatic feel. This need that broadcasters
Telemetrics excels, as we have a significant
The design of the S5 product line, the newest
have for unique, complex, and ultra-smooth
lead on the mechanical precision and camera
generation of Telemetrics camera robotics,
on-air camera moves has helped us achieve
stability needed for 4K virtual production.
was highly influenced by feedback we
record sales this past year. What are you showcasing at NAB?
received from customers.
‘It might not be obvious that the transition would affect a robotic camera head, but we still need to pass the signal through it’
How much of your business is
Telemetrics will be showing two new additions
non-broadcast? Are you seeing a
to the S5 family of products, and some very
growing demand for your expertise
exciting new robotic control options.
from different industries? Although broadcast remains our primary
What is your business focus for the
market segment, Telemetrics has seen steady
remainder of the year?
growth in the government, military, corporate,
The focus this year is to continue our push into
education, medical, stadium, and HOW sectors.
APAC, Latin America, and the Middle East. The
High-end robotic Pan/Tilt camera heads need
The Telemetrics Legislative software package in
interest in these regions has been very high for
to have ultra-smooth motion, while at the same
particular has been very popular. This product
the past few years, but economic conditions
time be fast, precise, quiet, and cost-effective.
allows a single operator to run the video
and budget constraints have delayed many
Additional feedback from our customers
production for government meetings of all sizes
projects. We are finally seeing some of these
has led to better integration and control for
– from local city councils and state legislatures
projects come to fruition. n
36 TVBE NAB news Technology_v3 JGJMcK_final.indd 54
20/03/2017 17:04
www.tvbeurope.com
TVBEurope Advertorial Supplements
April 2017
Agile field-to-audience news infrastructure How to retain (or even re-acquire) news audiences of today‌ and tomorrow In association with
s Sony Supplement_Apr17_v2 JGJMcK_final.indd 30
21/03/2017 11:04
ii TVBEurope
www.tvbeurope.com April 2017
Advertorial
In association with
The search for the lost audience
Why unified content platforms are providing a helping hand
I
f you work in TV news, you will be aware
operandi, refreshing newsroom systems and
allow its regional teams to tailor it for their
of an indisputable trend, one that threatens
investing in dedicated online and social media
audience, across all platforms, evolving the
your very livelihood: your audience is
teams and tools in order to get news out quicker
story whilst it develops. And this includes mobile
and onto more platforms.
journalists, out in the field, who can collaborate
declining. Regardless of the great work you do, times have changed. The way we consume news has evolved.
While this has plugged the gap it has also resulted in an inefficient news operation that
with the rest of the team using the same resources and tools.
Where the nightly television bulletin or the
works in silos. Different teams using different
hourly radio report would traditionally provide
systems and different resources, producing
Hive is a network production system that is
the most complete – and often the only –
variations of the same content for different
built on a future-ready UCP. Customisable,
source of current affairs, information is now
outlets. This results in work and technology
cloud-native and scalable, it can be
available almost every second of the day
being unnecessarily duplicated. It is not just
deployed on-premise, in the cloud or in a
from thousands of sources across a myriad
inefficient. It is also very expensive.
combination of the two.
of platforms and devices. From live streamed video reports and tweets to
Faced with all these hurdles, broadcasters
At Sony, that UCP is Media Backbone Hive.
Featuring a host of built-in tools and
usually have two options: continue to lose
compatible with third-party ones, it allows
constantly updated live text reports, it is possible
their audience or spend more money trying
journalists, producers and editors to collaborate
to find out what is happening from Aberdeen
to keep them.
from wherever they are in the world, ensuring
to Zambia at the touch of a mobile, tablet
Fortunately, there is another way. It is
that they are first with the story across online, TV
or smart TV. And more often than not, it is the
possible to entice back that lost audience
and radio. No more silos. No more duplication.
online world that gets the story first with television
and have a lower cost base and fewer silos. It
And a lot more flexibility. In today’s fast
broadcasters then providing context, detail and,
requires a unified content platform (UCP) that
turnaround world, this agile, efficient and
it must be pointed out, accuracy.
links everything and everyone within a news
adaptable approach to news production could
organisation together.
be the difference between locating that lost
The millennial generation, in particular, look to the Internet and apps first. According to Ofcom,
Imagine this. A TV station needs to cover a
audience and losing it forever. n
the UK’s communications regulator, more than 60
fast-breaking story throughout Europe. Without a
per cent of 16-24 year-olds get their main daily
UCP, with news teams and journalists working in
Your Journalists can grow your brand and
news fix that way.
isolation, it would be complex, time-consuming
increase audience share by simply having
But this is not a big lift and shift away from TV and radio to online. Nearly 90 per cent of British
and costly. With a UCP, however, the TV
access to the right tools.
station can share content and stories and
Find out more: pro.sony.eu/news
people aged 55 and over still get their news from the TV, for example. Instead, it is a general dispersion of the audience across the different platforms. Ofcom suggests that the average consumer now uses 3.5 different sources for their news. This democratisation of news provision might be great for those of us keen to know what is happening in the world – and for those viewers looking for alternative points-of-view – but for broadcasters it has become a real headache. Not only are they competing with each other they are also competing with these new and often quicker sources of news. It has led to a general reduction in viewership. Those viewers that have moved away are now considered ‘the lost audience.’ In an attempt to entice them back, broadcasters have changed their modus
Sony Supplement_Apr17_v2 JGJMcK_final.indd 31
21/03/2017 11:04
Building successful collaborations to tell your story first Mobile Journalism (Mojo) empowers news journalists; giving them the tools and technology to record, edit, transfer or broadcast live from wherever they are and under any conditions. But even with improved network connectivity, collaboration between Mojos and the newsroom has always been limited. Until now. Using the remote toolsets within Sony’s Media Backbone Hive, and embracing cloud computing, journalists can collaborate with each other, and the newsroom, sharing and using centralised footage, graphics and more, from wherever the story breaks.
Media Backbone Hive
Contact us today to find out more pro.sony.eu/news
WINNER Sony Supplement_Apr17_v2 JGJMcK_final.indd 32
21/03/2017 11:04
iv TVBEurope
www.tvbeurope.com April 2017
Advertorial
In association with
Agile, flexible and cost-effective: why Hive is ideal for modern day news production In the ongoing search for TV news’ lost audience, a unified content platform could be the answer. Here are five reasons why you should choose Sony’s Media Backbone Hive. 1. Hive will make you more productive
Making use of hyper converged node technology
broadcast production system for news and sport. Built on the latest data centre class technologies,
Adopting Media Backbone Hive will improve
via customisable dashboards at the front, Hive
and capable of embracing the benefits of cloud
business operations in a myriad of ways. It will
streamlines, and provides control of, the news
computing, it includes a rich toolset, open APIs
make it possible to deliver more content, in the
production operation. It integrates with third-party
and various customisation capabilities.
correct format, to more destinations with fewer
tools, provides flexible file management capabilities
resources. It will make it possible to attract new
and offers built-in applications of its own.
Sony’s Media Backbone Hive is a highly scalable
When injected into the heart of a production
in the back-end, and providing operations analysis
ecosystem, it offers flexible and powerful workflow
audiences and retain current ones while enticing
and content management capabilities and the
back those lost viewers. It will even allow breaking
newsroom computer system (NRCS), across import,
ability to streamline a news operation, removing
stories to be published when the content supplier is
production, publishing, planning, archive and
silos and eradicating duplication.
a member of the public.
playout. By combining NRCS control with networked
Importantly, it makes it quicker and easier for
Hive oversees all the elements that connect to a
Crucially, because it is entirely software-based,
news production capabilities, it simplifies the task
journalists, editors and producers to collaborate,
it also allows users to respond rapidly to changes in
of getting news out quickly to multiple people, on
regardless of where they are in the world, allowing
business demand and to optimise costs and avoid
multiple devices, from anywhere in the world.
them to be the first to tell their stories using social
inflexible capex investments.
media as well as TV and radio.
Journalists can read the wires, pull video, edit it, collaborate with remote correspondents and other
Hyper converged nodes provide extreme
2. Hive will remove your silos and streamline your workflows
resiliency and make it possible to dynamically
In an era when the public can get their news
scale storage and processing, whether on-premise
from many different sources, the fact that Hive’s
work that’s increasingly the norm such as creating
or in the cloud. And, because it is all software-
publishing capabilities serves both traditional TV
different versions for different media. And they can
based, Hive provides the chance to reduce
playout as well as social media, web and mobile,
do it without the need to waste time jumping from
upfront costs and adopt an opex model instead.
is absolutely vital.
one system to another.
Hive is also reliable, flexible and cost-effective.
Sony Supplement_Apr17_v2 JGJMcK_final.indd 33
journalists – just like a traditional NRCS operation – but now they can take it much further. They can also do all the additional production
21/03/2017 11:04
TVBEurope v
April 2017 www.tvbeurope.com
Supplement 3. Hive will help you to make the most of the cloud (and you can do it your way)
on stories. Users ingest footage once and
Hive is a scalable journalist-centric software
and reporters in the field, both locally and
layer that can be deployed on-premise or
around the world.
it isthen simultaneously available to all relevant journalists including mobile journalists
in the cloud: or straddle a hybrid of both. architecture, different elements can be
5. Hive will allow you to adopt an ‘expand or kill’ strategy
deployed in different locations, as appropriate.
Because Hive makes use of the inherent
Because it is built around a distributed services
In some cases, it may be that a broadcaster
scalability and flexible economics of cloud
is willing to jump straight to the public or private
computing, once the platform is in place,
cloud, but that may not be practical or cost-
users can add temporary applications for
effective. In that case, a hybrid approach, with
specific events such as a sports tournament
some elements on premise, some in the cloud,
or a political event.
might be more appropriate.
A type of agile prototyping, this allows
This allows users to benefit from the same
a news organisation to try something new,
technology that the cloud uses, giving them
measure its success and then either expand it
the same levels of flexibility and platform
or kill it, depending on how well it is received.
functionality, but have it hosted on premise or
All without spending huge sums of money.
in the hybrid configuration of their choosing.
Traditional newsroom systems cannot do this.
The important thing is that the broadcaster
Agile, flexible and cost-effective, Hive is
can pick an approach is best for them, taking
much more than just an enhancement to the
into account the key cost: bandwidth.
newsroom. It’s a fundamental change in news
This flexibility is absolutely ideal for modern
production architecture. Hive will improve your business by
news production.
streamlining your workflows, bringing your news
4. Hive will make it easier for you to collaborate
teams and journalists closer together and
By adopting a unified content platform, online,
kill strategies. With a hybrid cloud approach,
TV and radio news teams can work together
you can realise cost benefits too.
making you agile enough to adopt expand or
under a single umbrella system, allowing them
To find out how Sony’s Media Backbone
content. This not only reduces duplication
Hive can help you to streamline your
and negates the need for separate systems
news production operation, go to
and technology, it allows greater collaboration
sony.pro.eu/news
e Agil
Isolat ed
d
d pee ry s live de
Re Op mo tim te ise l
In cr e ed as
d cte e n on
borative Colla
y
C
to search, access and make use of the same
Audience Reach
Increasingly, success is far more about intelligent platforms and business agility than about managing and delivering media assets. The winners are those businesses that can combine increased content collaboration (across teams and remotely) with greater flexibility to quickly adapt to new trends with an open infrastructure
Sony Supplement_Apr17_v2 JGJMcK_final.indd 34
Hive: how does it work? • Integrated assignment and planning tools within Hive automatically send assignments directly to the news crew or a mobile journalist’s camera, linking and structuring key assets • Web-based dashboards provide operational insight, real-time business intelligence and remote monitoring and support • With its multiple ingest capabilities, Hive intelligently routes video inputs to the right places, making a proxy instantly available to all users • Hive automatically updates newsroom systems with new content, linking key metadata to news content • Full integration with wireless cameras enables journalists to begin editing with proxy footage as soon as it’s shot. Packages can then be switched to using high res files once they’re available • Because Hive is file agnostic it will handle any file type, format or resolution, whether it is video, audio or other types of data • Hive offers simple and advanced logging options to allow users to add markers in real time, building metadata that’s immediately usable • Journalists can quickly search the entire newsroom system to find what they need – whether current or archived content, or material arriving in the moment • Stories can be created wherever they are needed, in a web-based environment, or remotely in the field
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vi TVBEurope
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Advertorial
In association with
Tech innovation: CCTV case study
China’s CCTV is leading the way in news production modernisation, making use of the public and private cloud and a unified content platform to create a global collaboration network for its journalists When it comes to innovation within news
overseas in English, French, Spanish,
success criteria – making best use of the
broadcasting and production, China is
Russian and Arabic. Offering news,
benefits of both technologies whilst avoiding
currently ahead of the game. In a market
documentary, comedy, entertainment
the inherent limitations – utilising a software
where the lines between linear TV and the web
and drama programming, it has a
platform that is easily deployable in both
are at their most blurred, the broadcasters and
combined audience of more than one
environments.
service providers are constantly seeking out
billion viewers.
new ways to efficiently and cost-effectively
CCTV’s news operation consists of 31
Liu Wanming, technical director of news at CCTV says, “The globalisation of news requires
attract and retain an audience.
Chinese journalist stations, two overseas
a global perspective delivered with local
This is epitomised by the national
branch stations, five overseas central journalist
understanding. Our goal is to give immediate
broadcaster China Central Television
stations and 63 overseas journalist offices.
access to content from across all of our regions, from a wide range of creative toolsets,
“Providing the easiest access to content securely requires a single platform capable of running in private environments and public cloud natively. Our ability to reduce costs while ensuring scalability and flexibility is absolutely critical to the success of this project” Shi Qiang, CCTV
to enable this localisation of stories for the audience and their devices.”
What is the solution? Partering with Sobey for the HQ system in Beijing, CCTV has opted for Hive, the unified
(CCTV). CCTV has a vision for a new global
What is the challenge?
news production operation that is a step
CCTV plans to adopt a global collaboration
ahead of anything else in the broadcast
platform that allows it to produce TV and
technology in the back-end, and providing
market, using both public and private
new media content at the same time across
operations analysis via customisable
cloud to create a worldwide collaboration
its global output. The requirement is for a
dashboards at the front, Hive streamlines and
platform for its journalists and bureaus
collaborative network that is accessible by
controls a news production operation.
across the world.
all of its offices and locations, and allows
content platform. By making use of distributed micro-service
Through the use of published APIs many
them to share and exchange content and
different types of creative and authoring tools
Who is CCTV?
access scheduling and planning functions.
are integrated onto the Hive back-end. For the
The Beijing-based public national broadcaster
High availability is key. The effective adoption
first time journalists from different groups and
CCTV operates 43 TV channels including five
of both private and public cloud is a critical
experiences can access the same content, at
Sony Supplement_Apr17_v2 JGJMcK_final.indd 35
21/03/2017 11:04
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April 2017 www.tvbeurope.com
vii
Supplement the same time using their toolsets to craft their
training and support cost with this single overall
The journalist-centric network production
story, tailoring it to their particular audience
architecture and yet ensuring the scalability
system, built on a unified content platform and
or device. Each journalist will have a number
and flexibility to decide where to place the
utilising hyper-converged node technology,
of different toolsets available to him or her,
platforms and which partners to work with is
is suitable for any broadcaster or other media
including Web Editing; WeChat Authoring;
absolutely critical to the success of this project.”
organisation looking to improve the way they
Craft Editing; an Omni-Media Web Portal;
work and attract new audiences.
Image Authoring; H5 Mobile Authoring; SNS
When is it happening?
Authoring (Weibo/Twitter/Facebook/Youtube);
By the time you read this, CCTV Beijing
and APP Authoring.
will be operational. The network will be
With the private cloud, operating as a data centre on-premise, managing metadata and both proxy files and high-resolution footage,
implemented in a phased fashion, in two stages. Phase1 will include the construction of
facilitating content sharing and new media
CCTV’s headquarters in China complete with
production. The public cloud will then contain
private cloud and public cloud capabilities.
a synchronised version of the private cloud that
This will initially support new media production
has mirrored metadata, the proxy files and on-
only with TV news being produced using a
demand high res.
legacy system.
Using public cloud service in China the public
“Hive marries the technology of the internet economy, cost effective speed and flexibility, to the quality, governance and collaboration of broadcasters systems” Richard Scott, Sony
Richard Scott, head of Sony Media Solutions
Phase 2 will see an enhancement and
said, “The issues being addressed by CCTV are
cloud repository will allow journalists to access
scaling of the headquarters so that it can
uppermost in the minds of all of our customers;
content, handle User Generated material and
support both TV production and new media
collaboration, governance, the ability to tailor
produce new media output locally, and then
production simultaneously.
the stories to the local audience and get those
distribute it across social media. Irrespective of where the journalist is based, they will be able to build an Edit Decision List
The first CCTV China elements are due to
stories to that audience on their preferred
go live in February 2017. The American and
device. The commercial reality of multiple
European region will follow up later this year.
teams working on or across different systems and waiting for content to be copied cannot
(EDL) and create a news story package using footage and data gathered from anywhere
Bringing Hive to Europe
around the world. The initial work will be done
Although China is a very different market,
using proxies that are then published back into
with different considerations and priorities,
economy, cost effective speed and flexibility,
the main system and re-linked to the high-res
Europe can potentially glean a lot from
to the quality, governance and collaboration
footage. Journalists could also be download
CCTV’s experience.
of broadcaster’s systems.”
clips and control and manipulate them locally. CCTV project manager, Shi Qiang stated
carry on indefinitely. “Hive marries the technology of the internet
The adoption of a global collaboration network could bring huge efficiencies and
To find out how Sony’s Media Backbone Hive
that: “Providing the easiest access to content,
streamline workflows for news production. These
could help your broadcast news operation
securely, from literally anywhere, requires a
are benefits that all broadcasters crave.
visit sony.pro.eu/news
single platform capable of running in private
That is why Sony is bringing the same
environments and public cloud natively. Our
innovative back-end architecture to Europe
ability to reduce engineering, integration,
in the form of Media Backbone Hive.
CCTV HQ (Beijing) Private Cloud
Public Cloud
Europe Region Public Cloud
America Region Public Cloud
Private Cloud
Beijing
Private Cloud
Asia Pacific Region
Public Cloud
Sony Supplement_Apr17_v2 JGJMcK_final.indd 36
21/03/2017 11:05
pro.sony.eu/news Sony Supplement_Apr17_v2 JGJMcK_final.indd 29
21/03/2017 11:04
TVBEurope
April 2017 www.tvbeurope.com
37
Technology
In association with
DEJERO The latest in IP connectivity DEJERO is attending NAB 2017 to showcase
network of multiple IP connections with
Dejero will also showcase the recent
its latest developments in the field of IP
the necessary bandwidth and reliability
enhancements to its LIVE+ Multipoint cloud
connectivity for electronic newsgathering
to enable bi-directional data transfers
service. Broadcasters and media organisations,
(ENG) and remote broadcasting.
from newsroom and production systems.
say Dejero, can now share live HD content
The solution includes in-vehicle equipment,
simultaneously across multiple locations and
Gateway solution enables news crews
cellular connectivity services, cloud
between different entities anywhere in the
to access media assets, research stories,
management, and support.
world. New capabilities include multichannel
Debuting at NAB, Dejero’s new LIVE+
and transfer large files by providing fast,
New capabilities of Dejero’s LIVE+ EnGo
reliable, and secure access to the public
mobile transmitter will also be showcased at
audio and closed captioning. Group and single event point-to-multipoint packages are now
internet and private networks in the field.
NAB. Key features include a user-accessible
available in addition to a fully customised,
Leveraging patented network bonding
SIM module, global roaming packages, and
unlimited use package for multipoint-to-
technologies, the solution creates a virtual
the ability to transmit multichannel audio.
multipoint content sharing scenarios. n
CHIMERA Broadening support BUILDING on the Chimera Lightbanks for the
Universal Mounting Brackets. Like the rest
Sized to slide into the ARRI SkyPanel S120-C
ARRI SkyPanel S30 and S60 Tech Lightbanks,
of the models in the Chimera Tech Lightbank
accessory slot, the system comes with Lightbank
Chimera has broadened support for ARRI’s
series, the Chimera Tech Lightbank for the
body and mounting frame, full diffusion front
professional SkyPanel LED lighting systems to
ARRI Sky Panel S120 is constructed from
screen, 1/2 and 1/4 grid front screens, 1/8 grid
the largest available model in the line, the
durable, secure and long-lasting fabrics
inner baffle for extra diffusion, and a storage
ARRI Sky Panel S120 Tech Lightbank, and the
and materials.
sack to safely port the whole kit. n
37 38 39 TVBE NAB News Technology_v2JMcK_final.indd 54
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38
TVBEurope
www.tvbeurope.com April 2017
Technology
In association with
LAWO Virtualising radio studios LAWO will present a white paper at NAB entitled ‘Virtualising Radio Studios: Broadcasting + IT = AoIP 2.0’, co-authored by Michael Dosch (pictured right) director of virtual projects, and Stephan Türkay (pictured far right), senior product manager, Radio On-Air. Türkay said, “It’s only natural that radio wants to take advantage of today’s PC platforms. We eliminated tape machines and carts 20 years ago in favor of PCs, and PC power has doubled many times over since then, but we still use it in the studio just for playout! There’s a lot we can do with that power.” “Virtualisation has been a dominant trend in IT over the past years,” notes Dosch. “IT has found that moving processes to Virtual Machines results in more scalable systems, more
“That’s why we refer to virtualisation as ‘AoIP
discuss the computing power now available
reliable infrastructure, and systems that can be
2.0’”, Dosch says. “The first wave of AoIP united
to broadcasters, examine already-existing
quickly diagnosed and administered remotely.
physical devices – the mixing console and
software tools that can be used to shift studio
Moving audio mixing, codecs, phones, audio
audio peripherals – via Ethernet. The second
infrastructure from racks to the cloud, and give
processing and other tools out of hardware,
wave will take the software apps that replace
real-world examples of what such convergence
and into the virtual domain along with playout,
those physical devices and unite them, using
looks like in modern broadcast plants.
will help broadcast studios to become more
IP inside a virtual machine environment.”
reliable, serviceable, and scalable too.”
In their white paper, Dosch and Türkay will
The paper will be presented during the ‘Radio Technology’ session at on 23rd April. n
TELEMETRICS The fifth generation of robotic camera heads TELEMETRICS is introducing its new PT-HP-S5
operation for broadcast quality on-screen
three network ports; and a web application
robotic pan tilt head as the latest addition to
results. The camera includes variable speeds
for simple control for configuration and health
its highly successful S5 robotically controlled
(up to 100 degrees/sec for both pan and tilt);
monitoring. An additional feature warns
camera series.
LED status indicators for system power and
operators if load balancing and power issues
The PT-HP-S5 camera head is suited for
health; fully featured internal servo with support
are detected – preventing costly down time.
daily use in studio applications where mid-
for key-frame motion and on the fly motion time
to-heavy weight payloads of up to 40lbs are
changers; dedicated push buttons to drive on
robotic camera systems from Telemetrics, which
required. It includes Telemetrics advanced
any axis and set soft-limits; embedded red and
has more than 100 years combined experience
servo technology that supports quiet on-air
green tally; embedded network switch with
serving the broadcast industry. n
The PT-HP-S5 represents the fifth generation of
IMAGINE COMMUNICATIONS Enabling evolution IMAGINE Communications will showcase its
Versio and Zenium, that are designed to
all media and business operations. The Imagine
latest product and solution innovations aimed
enable media companies to construct and
Communications booth will also be the venue
at helping broadcasters and other media
evolve their workflows at their own pace and
for ImagineLIVE Power Sessions, with topics
companies advance to or accelerate the
in step with market demands. The company
ranging from ground-breaking implementations
adoption phase of the modernisation of their
will also demonstrate the comprehensiveness
of next-gen technologies to new product
production, playout and distribution facilities
of its end-to-end portfolio, which spans ad
introductions.
at NAB 2017.
management, linear and nonlinear, broadcast
Imagine will shine a spotlight on its modulebased platforms, such as Selenio One, xG,
37 38 39 TVBE NAB News Technology_v2JMcK_final.indd 55
Imagine Communications will also host a
and OTT – including ATSC 3.0 – and enables
webinar entitled ‘What are Microservices – and
integration capabilities across workflows and
Why do they Matter?’ on 16th March. n
20/03/2017 16:05
TVBEurope
April 2017 www.tvbeurope.com
39
Technology
In association with
ERICSSON
investment in critical areas such as
Key spokespeople will present how
advertising, immersive technologies
the company is helping customers to reduce
Transforming television
and 5G, offers all industry players the
complexity, significantly drive down cost and
opportunity to differentiate, compete
respond to the rapid rate of change across
and realise their potential.”
TV and media. n
ERICSSON will illustrate how it is “transforming television and empowering the next generation of TV providers” through its portfolio, service expertise and unique position at the intersection of software, cloud and IP, data and analytics, and 5G and mobile. Throughout the show, Ericsson will demonstrate how it believes it is maximising the value of programming and enabling innovative technologies (such as AR, VR and HDR) to enhance features and create content-rich, discoverable and immersive viewing experiences.
“TV and media is undergoing an unprecedented transformation” Stella Medlicott, Ericsson It will show how it is enabling rich TV Anywhere and OTT services by delivering all business processes, content rights, consumer authentication and advanced analytics. The company will also highlight how its deep expertise in pure software-based and dedicated ultra-high performance hardware compression can offer industry leading, end-to-end solutions to drive video delivery performance and efficiency. Stella Medlicott, vice president, marketing and communications, media at Ericsson, said, “TV and media is undergoing an unprecedented transformation, driven by the cloud, the shift to mobility and global connectivity. The growth of virtualisation has helped the industry to move towards the adoption of an agile core, through software-centric and globally available media, while data-driven, personalised and targeted smart media is enhancing content discovery. The combination of our global business platform, our transformation expertise and ongoing
37 38 39 TVBE NAB News Technology_v2JMcK_final.indd 56
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40 TVBEurope
www.tvbeurope.com April 2017
TVBEverywhere
Redefining mobile TV Meanwhile, Julia Lamaison, research and
Evolving ecosystem
insight director at Gfk, says: “It’s not just about
Mobile TV, over the last 12 months, has become
TV any more, it’s about video content, some of
part of the whole evolving ecosystem of video
which is what we consider to be traditional ‘TV’
content distribution, continues Lamaison. She says:
content, but most of which is short form content,
“Our ability to view mobile video is now less limited
obile World Congress has once again
more suited to a mobile experience. There is
by our location or device access, and more by
been and gone in sunny Barcelona.
an explosion of video content being made
the time available to view. That’s why viewing clips
This year, mobile TV was a topic that was
available for and consumed on mobile devices,
and short form video lends itself so well to mobile
notable at the show for its absence; almost. It is still
whether that is live breaking news clips, viewing
as it fills those times when previously we might
important, but it is now becoming part of a larger
of yesterday’s goal of the day, or clips uploaded
have read a paper or even talked to someone!”
ecosystem, rather than a topic on its own.
to the variety of sites and apps from YouTube to
Heather McLean reports from MWC 2017 on the state of mobile video
M
On whether the term ‘mobile TV’ is still applicable today, Chem Assayag, executive vice
Facebook, Snapchat and Twitter.” Mobile TV used to be defined by the technology
Things have been evolving over the past 12 months, says Plunkett: “In addition to increased viewing hours, we have seen the emergence
president of marketing and sales at Viaccess-
used to deliver it, with operators and broadcasters
of high resolution, high frame rate screens as
Orca, tells TVBEurope: “Mobile TV as a dedicated
investing in dedicated technologies and
VR-capable devices. Google’s Daydream VR
set of broadcast technologies like DVB-H or
standards, says Jack Kent, director at IHS Markit’s
platform is the most recent example of this. Many
MediaFLO is dead. It’s important to remember
technology team. He adds: “Globally, broadcast
had scoffed at the benefits of higher pixel density
that with mobile TV, it’s all about delivering video
mobile TV never really took hold because of the
on small screens, pointing out the practical limits of
on any type of device, including smart phones
different local standards, dedicated handset
the human visual system and diminishing returns for
and tablets. A better term to describe today’s
technology needed to receive the signal, and
increased pixels per square inch. However, mobile
environment might be TV Everywhere, with mobile
the challenge for service providers of how to
VR has highlighted the quality limits of resolutions
TV falling into that category.”
monetise the proposition.
such as 1080p when a display is placed millimetres
While the average viewing time on fixed screens
“The alternative was for mobile operators to
from our retinas and magnified.”
has dropped some 2.5 hours per week in the past
launch linear unicast services using 3G (and
four years, the average viewing time on mobile
then 4G) networks using customers’ mobile
Assayag also points to VR: “There’s been an
devices is up by four hours a week, equalling a
data,” Kent continues. “Here, the challenge
acceleration of 360-degree VR videos available
total net increase of 1.5 hours per week [Ericsson
for operators was around content and
on mobile devices. We can expect that to grow
ConsumerLab TV & Media Report 2016].
monetisation, rather than just technology.
as the technology matures and high speed mobile
Mobile operators that didn’t have their own
networks become commonly available.”
On trends over the past year in mobile TV,
Changing terminology
access to premium content struggled to provide
Steve Plunkett, CTO, broadcast and media
a compelling catalogue to consumers; the rise
tablets and smart phones is growing, Assayag
services, Ericsson, states: “Mobile viewing is now
of TV everywhere pay-TV services and cross-
observes: “In January, Gartner said it expects
part of a more diverse audience behaviour, where
platform online subscriptions also limited the
shipments of tablets to only register 0.34 per cent
content availability across a range of devices has
opportunity to charge customers extra for
annualised growth, going from 196 million in
become the norm. The term mobile TV means
mobile access. For this reason, there isn’t
2015 to 198 million in 2018. As the tablet market
something very different today, and TV on mobile
really much ‘mobile’ TV any more, it is all
begins to slow down, the main driver for mobile TV
devices is a much better definition.”
part of a wider cross-platform proposition.”
consumption will be smartphones.”
Also, the split between video consumption on
From left to right; Steve Plunkett, Ericsson; Chem Assayag, Viaccess-Orca; Jack Kent, IHS Markit; and Sebastian-Justus Schmidt, SPB TV
40 41 TVBE Apr17 TVBEverywhere_v4 JGJMcK_final.indd 32
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April 2017 www.tvbeurope.com
41
TVBEverywhere Battle stations
We’ve seen a number of examples of untariffed
more classic broadcasters are under pressure.
As to how the battle between mobile operators,
bundled access to operator content on mobile
OTT providers themselves are under pressure as
OTT content providers and broadcasters is
networks recently, so the mobile operators may
content from broadcasters and content creators
shaping up in the mobile TV space, Kent says
hold a stronger hand than previously thought.”
are the largest cost factor in any OTT service, while
these strategies are very dependent on the type
Assayag comments: “Broadcast operators see
mobile operators also want to have a share of the
of operator. “Multiplay operators with their own
mobile as an evolution of their traditional offering
premium pay-TV proposition will likely focus on how
on the main TV screen, whereas mobile operators
to deliver that content to their mobile customers.
see TV on mobile as the natural way to compete
What’s coming?
Mobile-only operators, or those without a strong
in the content space. According to a 2015 study
On what she expects to see happening over
premium TV proposition, often choose to partner
from IAB, video is on the rise with 35 per cent of
the next 12 months, Lamaison says: “Mobile
with OTT services to provide premium content
respondents viewing content on mobile devices.
viewing will continue to expand, but it will live
bundles to drive customer retention or push
Consumption is even higher in the UK at about 40
alongside traditional forms of viewing content. We
people on to higher tier plans.”
per cent. Winning the smart phone screen battle
would thus expect to see the mobile operators
may shape the entire video industry in the future.”
expanding into areas that offer more flexibility to
Plunkett comments: “Mobile is now a core part of any content provider’s offering. Most mobile
Sebastian-Justus Schmidt, co-founder and
business,” added Schmidt.
move content between devices and to provide
operators are becoming content providers,
head of corporate development at SPB TV,
consumers with ever more flexibility and choice.
some are even becoming broadcasters; and
adds: “Between mobile operators, who build
Social TV will also expand as the plethora of
broadcasters are seeing rapid growth in OTT
the connective infrastructure, and broadcasters
choice overwhelms us.
based content delivery. The real driver today is
who sit on content creation and traditional
the consumer, who expects access to all content
ways to reach the customers, the OTT providers
had content delivered via easy to find channels
via their mobile devices. But while content is
shorten the connection towards the user and
at set dates and times, so content providers will
increasingly being ‘freed’ from broadcast delivery
new business models.
also have to find apps and navigational devices
networks, mobile network bandwidth is most definitely not free, either to provide or consume.
“The way users interact with and consume content has already changed and more and
“Viewers are essentially lazy; we’ve traditionally
that make it easy for us to remain lazy, yet find the content we like,” Lamaison concludes. n
EDITORIAL FEATURE THEMES 2017 2017 will see an even greater commitment from TVBEurope to cover more of the pressing areas of concern, challenge, and opportunity within our burgeoning marketplace. Our dedicated team of writers and contributing editors will continue their exclusive coverage of the shifting media and broadcast sector and will this year be bolstered by a new Technology section, run in association with our sister brand, TV Tech Global. More content, more insight, more ways to reach our loyal audience.
EDITORIAL PLANNER 2017 MAY
JUNE
JULY
• TVBEurope Strategy Week preview • NAB review • Live production: Cricket: The Ashes
• TVBEurope Strategy Week preview • Live production: Rugby: the Lions tour of New Zealand • Lightweight cameras for location work
• Live production: Athletics: The World Championships • Specialist camera systems for sports coverage • Virtualisation and playout
AUGUST
SEPTEMBER
OCTOBER
• IBC thought leadership insight • Virtual sets • Test and measurement
• IBC show issue: thought leadership insight and product showcase • OTT insight • IP: the latest perspective
• Broadcast audio: IBC review • Best of Show winners from IBC2017 • Remote production
For all advertising and sponsorship opportunities, contact the sales team: Europe Peter McCarthy: +44 (0)20 7354 6025 pmccarthy@nbmedia.com
TVBE Editorial Planner March 2017 half page.indd 1
40 41 TVBE Apr17 TVBEverywhere_v4 JGJMcK_final.indd 33
Richard Carr: +44 (0)20 7354 6027 rcarr@nbmedia.com
USA Mike Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv
17/03/2017 13:18
20/03/2017 16:15
42 TVBEurope
www.tvbeurope.com April 2017
Business Pic © BBC
A small industry at the top end George Jarrett talks to Roger Morris, MD at Elstree Studios, about a raft of production industry issues, the biggest of which is the need for industry apprenticeships
R
He is trying to build a creative hub much in the way that Pinewood’s production village works. Elstree also runs an incubator system to enable small production companies to grow. Back on his business tactics, Morris says: “We
oger Morris, managing director of Elstree
TV Centre have been very impactful on the TV
have been very opportunistic. Elstree is not the
Studios, works on the front line of television
business. In film, Warner Brothers’ opening of
biggest set of stages in the UK, so we target certain
and movie production day in and day out.
Leavesden has had an amazing impact, because
types of production. We use both the George
He is in his tenth year at a facility that film historians
it gives a great deal of confidence to the shooting
Lucas stages for film and drama. The Crown is there
and Strictly Come Dancing fans have good
of movies,” he adds.
at the moment, and in the other stage we will have
reason to revere. Morris started his long media career running the
He has heard and read tons about cyber security, and says: “You can be cracked internally.
Strictly Come Dancing.” He continues:“We realised that the smaller
Notting Hill Herald free newspaper with a cousin
There are people called data wranglers, who are
stages are ideal for films, what people call
and graphic designer (and future actor) Alan
often badly paid juniors, and they are handling
middle ranking at £3 million-£100 million. We did
Rickman, and after his tenure at The London Film
amazingly valuable rushes, data and information. I
Paddington, which was not a huge budget film,
School he made a lot of music films for Top of The
am sure it is another weak spot in post houses and
plus The Danish Girl, and we had Last Days on Mars.
Pops, The Old Grey Whistle Test, and Virgin. Then,
VFX houses.”
Commercials historically slot into the little holes in
commissioned personally by Jeremy Isaacs, Morris directed the very first programme broadcast on Channel 4 – Max Wall at The Garrick Theatre.
Security, rather than cyber attack, is the name of the game at the studios.
the schedule, but we have so much regular work now it is hard to fit commercials in.”
“The paparazzi is always trying to get in, as are members of the public,” says Morris. “I knew one
Crafting talent
the Power Station music channel, which eventually
producer/director who was so paranoid that when
The creation of the Elstree UTC suggests
shut when Sky and BSB merged.
artists came into read a script they would go into
Morris believes the industry has a shortage of
a locked room, read, put the script down and lock
craft/skill talent.
He garnered studio experience when he started
Asked what changes had caused the biggest impacts over the past few years, Morris says: “From
the door as they left.”
a technical aspect it has been the changeover
“The problem is that there are no major training schemes from the broadcasters or the major post
from film to electronic cameras, and also the
Hard to fit commercials in
houses. There should be apprenticeships, but the
speed with which films are released. The editing
The mix of work in terms of genres is always going
problem with feature films or TV series is that the
and special effects processes are much quicker
to vary in the life of a bunch of stages. What has
companies will be set up as a special purpose
now. Another big technology change has been
Morris wanted to achieve?
vehicle,” says Morris. “To take someone for that
the introduction of LED lighting. “On the production side, I would say that the outsourcing of big shows and the closure of BBC
42 43 TVBE Apr17 Business_elstree_v3 JGJMcK_final.indd 54
“I have tried to make sure we are a multimedia
period does not fulfil the apprenticeship criteria.
site in that we do features, commercials, TV shows
You almost need something like a McDonald’s
light entertainment, and drama.”
star system, where you do three months with one
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TVBEurope
April 2017 www.tvbeurope.com
43
Business
Roger Morris, managing director, Elstree Studios company, then three months with another. You
stuff you realise that they have cut a few corners,
Big Brother). It is a collaborative thing and we know
finally graduate as a star apprentice and you have
and that it was not done that efficiently. With any
our place in the structure,” he says.
worked with many experienced people.”
film you could save yourself money.
He adds, “We are trying to combine
“It is very interesting that the dubbing sheet
After so many productions have come and gone, which did he love the most? He says: “The
conventional education with internships within the
comes as a horizontal document, whereas the
Voice. It was brilliant. The team that produces an
industry. It is all behind the camera; technical skills
budget tends to be a vertical piece of paper. And
LE show is one of the things I always tick a box for:
in sound, cameras and lighting. We also cover
the trouble with the budget is that post is at the
the team that produce Strictly is fabulously well
theatre with set design, make-up and wardrobe.”
bottom, and titling and sound at the very bottom,”
organised and really great to work with, and the
he adds. “You tend to scrimp on those things
team that produced The Voice (prior to it moving
and Ravensbourne, but worries for The London
having overspent on earlier things: I have always
to ITV) were just the same.”
Film School because it has been so dependent on
said the budget should be a horizontal document
international student income. Apprised of the new
because all the stages are important. Sound can
Beware politicians making decisions
NFTS Production Technology MA course conceived
very often make or break a production.”
What trading or political impacts does Morris
Morris is full of praise for the National Film School
by John Maxwell Hobbs, he says: “Fantastic. We really need that. We are now a hi-tech digital industry but there is not enough training for engineers. Things still need tweaking, unravelling and unblocking. There are so many elements
“British film production has been slowing down, and it is purely to do with international economies”
have a political element to it, unless it is openly political programmes or current affairs. Politicians he says. ”Unfortunately sometimes they do not
their programmes. Morris has the huge privilege of standing at the
proper units, and you see the same faces every
back of the studio during rehearsals – be it for Let It
time. It is actually quite a small industry at the top
Shine, The Crown, The Chase, or Pointless.
end, and as far as the skills are involved,” he adds.
“Production is associated with earning money, and communicating with audiences. It does not
latch onto our industry because it is high profile,”
where people are taking risky short cuts to make “We tend to be working with people who are
expect to come into play?
“They are all fantastic shows, slick and
understand the impact of their decisions. “One has to try and look ahead because we have to invest over long periods of time. We are low technology, and if you build a stage you are
“You see the same lighting cameramen, lighting
professional, and the one everybody forgets is Big
directors, and editors being used; they are at
Brother. That is a really sophisticated bit of 24/7
the top of the game, but there should be some
production work,” he says. “Regarding training,
that his new tax relief for films was being abused,
incentive to lock into apprenticeships to bring new,
Endemol Shine has brought more people into
so he changed it. It meant that instead of 150
younger people up through the ranks.”
the industry than any other company. It always
films on the slate, there were suddenly only 50,”
employs young people because a lot of the jobs
says Morris. “It was such an impact on the industry,
around Big Brother are quite regimented.
and similarly, the industry is cranked up at the
The budget should be horizontal A lot has changed and people have to
“I have met so many people over the years of
understand that in order to produce movies and
that show who have come out into the industry.
top TV shows efficiently, there is a strict discipline
Endemol Shine has been a great place to learn
to every stage.
your trade,” he adds.
“The clients we tend to have are all top-end and
How does Morris define what he offers? “We are
expecting it to last 30 years.” He continues: “In 2004, Gordon Brown decided
moment to do a lot of films that come in through US investment. “British film production has been slowing down, and it is purely to do with international economies,” he adds. “There is a certain size of production
very disciplined. They have the right people on
a studio facility provider. We have our relationship
where they sell the international rights, and make
board: big units, big crews and everything else,”
with BBC Studioworks for providing the TV
money. Anything lower than that, and the risk of
says Morris. “When I see some of the low budget
technology, or with an OB company like Visions (for
not making money increases significantly.” n
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Audio
The Turning Forest began as a BBC R&D research test material
Venturing into VR T
Chris Pine, senior scientist for audio, BBC R&D, looks back at the company’s first public VR project
Listener Experience at Home, an EPSRC-funded
A small team of researchers from BBC R&D and
collaboration with three UK universities as part
the S3A project supported producer and sound
of the BBC Audio Research Partnership. Three
designer Eloise Whitmore to create the mixes.
short spatial audio dramas were commissioned
These are now publicly available as the S3A
as test material for research experiments and
Object-Based Audio Drama dataset for research
also to demonstrate the compelling immersive
purposes, stored using the Audio Definition
he Turning Forest is an enchanting fantasy
experiences that this technology can achieve.
Model standard.
story created using cutting-edge objectbased spatial audio technology. It began
The aim was to think about spatial audio from
The principle of object-based media was
the very beginning of the production, rather than
applied in the project. This involves representing
as research test material, but went on to become
simply to remix an existing programme. Writer
your content as a set of separate assets with
the BBC’s first publicly-available VR experience.
Shelly Silas was given the task of creating short
rich metadata that describes how they are
BBC R&D won the Achievement in Sound award
stories that would make full use of the creative
composed to deliver the content experience.
at the TVBAwards 2016 for the production. I was
potential of the technology.
This has the advantage that the composition or
the director of sound on the project. The initial production was part of a project called S3A: Future Spatial Audio for an Immersive
44 45 TVBE Apr17 BBC Audio_v3 JGJMcK_final.indd 54
The dramas were mixed using a custom
rendering of the content can adapt to needs
object-based spatial audio system and
and desires of the user and the resources and
monitored on a full 3D system of 34 loudspeakers.
conditions in their environment. Much as HTML
20/03/2017 16:23
TVBEurope
April 2017 www.tvbeurope.com
45
Audio and CSS allow for responsive page layouts
At the time, BBC R&D were leading a series of
production workflow is a better fit. The major
in a web browser. With object-based spatial
VR productions to help us to understand the
workflow challenge was how to create and edit
audio, the idea is that the 3D scene can be
technical and editorial challenges involved.
the spatial audio scene within a conventional
described in metadata and then rendered to
The use of spatial audio within commercial VR
audio workstation and then bring this into the
the desired reproduction system. The advantage
was still in its early stages and good content
game engine. We had to create a number of
is that the content is produced and delivered in
examples were rare. Although our audio
production tools to achieve this.
a single format, rather than requiring a separate
research team had already done some
mix to be created for each system, from stereo
production prototypes with live music and
the spatial audio for headphones in real-time.
up to 22.2. The Audio Definition Model is a recent standard published by the ITU, which allows for representation of advanced audio formats
We used our custom binaural engine to render
360-degree video, we decided that The Turning
This was built into the audio workstation and also
Forest was great material to demonstrate the
the game engine as a plug-in. This renderer has
power of spatial audio in VR storytelling.
also been used in linear broadcast productions
We began to work with the Melbourne-based
to create a spatial headphone mix, such as BBC
including object-based spatial audio. This can be
agency VRTOV to turn The Turning Forest into a VR
Radio 4’s Fright Night Hallowe’en dramas and the
stored within standard Broadcast Wave Format
experience. Director Oscar Raby and his team
BBC Proms concert series.
files and provides a means for archive and
did a wonderful job of bringing this fantasy world
exchange in broadcast production. BBC R&D
to life with computer graphics in a game engine.
synchronised to the workstation. It sent the head-
maintains an open-source software library for
But we had the challenge of integrating the
mounted display orientation to the binaural
handling of ADM BWF files.
spatial audio into this experience
engine and displayed the sound source positions
The recording involved both studio and location work. While some of the recording techniques were quite conventional, such as for the dialogue and foley, we also took a trip to Cheshire to capture an authentic surrounding
‘The Turning Forest was great material to demonstrate the power of spatial audio in VR storytelling’
We also built a VR video player, which was
on top of the video. Whilst refining the sound mix in the workstation we rendered a spherical video of the graphics to monitor against. The transfer of the object-based scene from the workstation to the game engine was achieved using the Audio Definition Model. The audio
forest ambience. We rigged a 20-microphone array to get a recording in full surround with
In VR, sound is presented over headphones
and metadata was exported to a single BWF
height. Several different 3D mic arrays were
and the sense of space must be realistic and in
file and we built a plug-in for the game engine,
actually compared to find the technique that
correspondence with the visual scene so as not
which could import the sound objects and their
gave the best results.
to destroy the illusion. We use binaural techniques
animation data from such a file.
We were thrilled with the results of these
to simulate a virtual acoustic environment,
Our custom-built tools allowed us to achieve
productions, but particularly The Turning Forest,
mimicking the auditory cues present in natural
an efficient workflow for creating cinematic
which takes the listener on a magical journey
hearing. Real-time digital signal processing
VR with complex and immersive object-based
with a young child who encounters a mysterious
creates a headphone signal from the source
spatial audio. Since we began The Turning
creature in the woods.
audio and the spatial scene data. To allow the
Forest production, tools for creating VR audio
listener to explore the virtual world, their position
have emerged on the market with some of the
performance of actor Graeme Hawley,
and orientation, provided by the VR headset,
same features described here. However, they still
Eloise’s fantastic sound design, and a beautiful
also need to be taken into account and the
don’t support object-based audio, mostly using
original score by composer Jon Nicholls
processing needs to respond rapidly to changes.
ambisonics, which means that the listener cannot
The charming story, the captivating
all combined with the spatial audio to
For fully-interactive VR games, the audio
freely move within the sound scene. Perhaps
create something quite special. It felt a
production workflow is similar to conventional
in the future if audio workstations and game
shame for it only to be used for research
computer games. The Turning Forest is a
engines support the Audio Definition Model, then
and internal demonstrations.
narrative-led story and so a cinematic post
this will become standard practice. n
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44 45 TVBE Apr17 BBC Audio_v3 JGJMcK_final.indd 55
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46
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Audio
Quality never goes out of style The new CEO of DPA Microphones, Kalle Hvidt Nielsen, is devoted to continuing DPA’s mission of providing the highest quality mics in the business. The former CEO of Bang & Olufsen talks with Neal Romanek about striking a balance between reliability and innovation
than willing to pay a very high price for the product. Everyone in the industry knows that the microphone is a key factor in the final sound quality. If we continue to create good products, we can still stay where we are in providing for the top end.
In September 2016, you took over from interim
We are putting more focus on installation now
CEO Thorsten Reuber, who had filled the gap
too. In December we brought out some table-
going to expand there even further. Over
after Christian Poulsen’s departure in January.
based stands and ceiling mountings for different
the next two years, we expect to double our
How have your first nine months been?
installation applications.
expenditure on R&D. Part of that is to develop
Prior to taking over at DPA, I was in a semi
But I think there is already plenty of room in
We spend quite a lot on R&D. And we are
new technologies to ensure we can make more
conductor business called Topsil, but before then
these segments. I don’t think we need to extend
consistent, higher quality and more reliable
I was CEO at Bang & Olufsen, and I spent ten
into new ones. We can grow deeper into these.
products; even more than we do today.
Kjær, who were the mother of DPA. So there are
What are some of the big issues for you
not only internally, but also in cooperation with
several things in this business that I find familiar.
years at sound measurement company Brüel &
And we have a number of projects running, in broadcast?
universities and research institutes to develop
Obviously the striving for optimal quality is
There’s a lot of change going on now. There
new technologies and methods.
there, both from my time at Bang & Olufsen and
was a guy from a news station who showed
at Brüel & Kjær, both in the quality of the surface
me a clip he had recorded of the refugees
DPA has always pushed for education in
construction and in the features.
travelling through Europe on the motorways. He
the industry, with its “Mic University” on
compared it with a clip of another journalist who
the DPA website, for example. Do you see
Will things continue as they were at DPA? Or
had been standing right beside him, who had
that effort continuing?
are you looking at radical changes?
done her report using only an iPhone. Once it
I think that’s important. It’s not that we
The overall direction and positioning will be the
was broadcast, you could barely tell that her
should take it on our shoulders to educate
same. I’ve had an extremely positive experience
report wasn’t filmed on a professional camera.
the whole world, but many people, if they
when I’ve gone out and visited users and dealers and the market in general. There’s a high degree of appreciation of the products. We are considered a high-end brand with high value and that’s something we will continue with. Microphones will continue to be our focus
“When they switched to DPA microphones, at first they thought there was a failure in the connection, because there was no hum whatsoever”
area. But we are looking at bringing out
Fairly soon, we will bring out a new
look at two microphones and think they’re the same. And if they don’t understand the differences, they will inevitably end up with complaints from their customers. We hope to make people understand what is important in a product, enabling them to choose the right
something more solution-based where the microphone is a part of the solution.
don’t understand acoustics and sound, will
microphone solution. What he pointed out is that picture isn’t the
With our education programme, the aim is
biggest concern any more, it’s sound. He said
not to sell DPA products as such. It’s to make
product which will be a connectivity product
at his station, when they have complaints about
sure people have a better understanding of
for microphones. We think it’s something that
technical issues, 90 per cent of them relate to
their requirements for a microphone. In some
could open new market opportunities and
sound, and of that 90 per cent, most relate to
instances, maybe this educates a customer
also increase the value of our microphones
speech recognisability. Sound levels are another
that they can could use another product than a
for customers.
big factor. We think our technology is in a very
DPA, but that’s not the big deal; we want to
good position to assist in both those areas,
make sure our customers are knowledgeable
through an analogue wire. We think there are
especially as people get more and more
enough that they can choose the right
some other opportunities to expand that in this
mobile in their work.
microphone for their need.
The quality of lower-end microphones is
Are there any other new additions to the
getting better and better. Are you feeling any
DPA team?
Are you looking at expanding into
pressure with that lower end rising? How do
We just brought on a great new guy for
any new markets?
you keep ahead of that cheaper competition?
technology and R&D, Michael Langager
We see ourselves as being in several segments.
We are well aware that you need to provide
Jensen. He used to be the head of product
Live broadcast and studio are the main areas.
value. But we feel that our customers are more
management and R&D at Bang & Olufsen.
Right now, DPA microphones are connected
new digital age, with more flexible and higher quality connections.
46 47 TVBE Apr17 DPA CEO Audio_v2 JGJMcK_final.indd 54
20/03/2017 16:27
www.tvbeurope.com
TVBEurope Supplements
April 2017
SMART HOME SMART SOLUTIONS
The latest in set-top box, IPTV, OTT, hybrid DVB and smart home solutions
In association with
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ii TVBEurope
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Supplement
In association with
Thinking
outside the box
The changing demands in user behaviour and content consumption have brought a diversity to the modern day media landscape that requires a more holistic solution than the traditional STB alone, writes Oliver Soellner, member of the management board at ABOX42
T
he continuing rise of IPTV is transforming
video services in mature markets. In developing
what was a purely linear product into a
countries, adaptive streaming technologies
complete TV experience, which includes
and highly efficient video codecs will help to
live TV, on-demand services and third-party
deliver compelling TV services to new markets
content. This new world of connecting the
and regions.
TV to the internet means opportunities as
Given these trends, companies already need
well as challenges for operators, developers
to be thinking about upcoming hardware and
and integrators.
solutions that will allow them to deliver more
No one needs to be reminded that there are
innovative and feature-rich products, and their
a lot of changes going on in the content delivery
outlook needs to be global and adaptable. In the
sector. But a careful analysis is essential in building
Asia Pacific region, for example, you see some
a roadmap for the future. Right now, there are
operator requirements for Android, for defined
three main players who are looking to change
application support, which you might not see as
their game and take advantage of all that
much of in other regions.
IPTV has to offer. First of all, cable operators want to upgrade
Operators also need to be ready for UHD
‘Emerging markets bring new opportunities. Though there are challenges of infrastructure in some cases, many new markets aren’t encumbered by legacy systems and broadcast chains’
content, which may not be available in bulk now,
their TV service offering to a more modern and
but is just around the corner. Within a year or so,
rich service, featuring live TV (DVB) enriched
4K content will be made more widely available
and options across to all operators. In the last
with IPTV or OTT channels, nPVR and VoD for a
by broadcasters and content providers. New
fifteen years, traditional TV products showed very
complete first-screen offering. These operators are
STB’s will need to be adapted for the HEVC/H.265
few real innovations. In the last two to three years,
looking for an upgrade from a legacy system to a
streaming format for highly efficient video
this has changed dramatically. Now operators
modern interactive TV solution.
decoding (a new standard which reduces the
need to think about how their product offerings
required bandwidth by 40 per cent).
and TV services will continuously evolve over the
There are also IPTV operators who need to
Ultimately, the end user wants a feature-rich
next five years and decide on a solution which is
solutions to a modern solution with interactive TV
product that offers a range of services and just
not closed, but allows them to follow technology
features, a modern UI for a top user experience
one set-top box in the living room, and this is
innovations, without having to reinvent a solution
and a rich feature set, including HbbTV, nPVR,
what we have to provide, no matter where the
over and over again.
nTimeshift, VoD, third-party services such as
customer is.
switch from first or second- generation IPTV
The software solution is key to this strategy, and platforms need to be flexible enough
YouTube and Smart TV applications).
Software
to accommodate varying global operator
operators, for example – who are looking to enrich
The days of hardware-centric set-top box
demands. Momentum is shifting from project-
their service offering with a TV proposition. These
solutions are long gone. What’s required now is a
based proprietary software to a cross-platform
are looking for innovative solutions, even fully
sophisticated software concept which can deliver
software concept. This can be helpful to operators
hosted and managed.
operator-grade products with a Linux operating
in replacing existing first or second-generation
system for a fully controlled environment, and also
IPTV solutions, or by helping a customer to
Technology
operator-grade Android for certain markets and
provide compelling solutions in mixed network
From a technology perspective, it seems clear
market segments where Android is of relevance.
environments (cable, DSL, fibre) with a unified user
that the growth in bandwidth will drive high quality
It is still a challenge to deliver all new technologies
experience and product approach.
And there are the new OTT players – mobile
i - viii TVBE Abox Supplement Apr17_v1.indd 30
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TVBEurope iii
April 2017 www.tvbeurope.com
Supplement ‘Companies already need to be thinking about upcoming hardware and solutions that will allow them to deliver more innovative and feature-rich products, and their outlook needs to be global and adaptable’ could roll out a customised IPTV service within a quarter, with the essential ingredients operated by the set-top box company and its partner. There’s no hardware investment for the IPTV solution itself, no maintenance and no major development needed from the operator side. The only thing required of the customer is to roll out the set-top box hardware and do the marketing for the service and the billing. Whether it’s telcos, new entrants such as FTTH operators, DVB-C customers who want to upgrade their networks to more interactive features or pure OTT customers who do not own the networks and want to start a TV proposition on top of an existing infrastructure, the transport infrastructure is ultimately not important. Customers have the ability to offer the same TV packages independent of the network infrastructure that they use.
Emerging opportunities Developing markets bring a host of new opportunities. Though there are challenges of infrastructure in some cases, many new markets aren’t encumbered by legacy systems and Set-top box companies can no longer be hardware providers; they need to be total set-top box solutions companies, which encompasses hardware, software and services. New partnerships are key as well, allowing sharing of skills and services, eliminating the burden of a single company trying to do everything itself. A combination of hardware platforms, software and solutions will offer extra flexibility and ultimately a
broadcast chains. There is the potential for huge
‘Set-top box companies can no longer be hardware providers; they need to be total set-top box solutions companies, which encompasses hardware, software and services’
comprehensive set-top box solution to customers.
growth in Asia, Africa and South America. There are a couple of countries in Africa that are especially of interest and there are an increasing number of requests for both Hybrid and IPTV solutions. There is an upcoming programme in three African countries where a mobile provider is aiming to provide TV services over mobile networks with an LTE/4G router providing Wi-Fi in the end users’ homes, since broadband internet with landlines is not
Fast and flexible deployment
widely deployed.
This new cross-platform approach allows for fast
DRM, playout to set-top boxes. It ended up
and flexible deployment via IPTV and can open
being a complex project with twelve months’
customers around the world means not just an
up new opportunities for customers. It becomes
development time or more, and a lot of cost
improvement in business. It also sets the stage
simpler to augment services or quickly add types
and frustration.
for an incredible new flexibility in how TV is
of services for existing customers. In the past when most operators moved
With a more flexible software-based system
Our ability to provide new services to
distributed and watched. New types of channels
and intelligent partnerships with existing platforms,
will begin popping up, which could never exist
into IPTV, there were normally a few different
a kind of ‘one-stop-shop’ for operators can be
in the old model, with regionalised or specialty
stakeholders involved: providers for the
provided, which eliminates those complicated
content finding audiences who have yet to
middleware, the head-end system, transcoding,
moving parts in the delivery chain. The customer
be properly served. n
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box platform. From a product perspective, we
and multi-service bundles. This new service allows
cloud enable communication with the
successfully introduced our new advanced IPTV
any operator to generate additional revenue
ABOX42 H38 Smart Home Gateway in order
and Hybrid UHD line M50 as well as our new IPTV
streams within the customer base, acquire new
to collect sensor data and user activity from
and Hybrid HD line Z38 with best in class price-
subscribers and reduce churn. All ABOX42 dotIO
ABOX42 dotIO mobile applications. ABOX42
performance ratio.
services and components are fully integrated
dotIO Cockpit acts as the data storage
and can be easily deployed without project
back-end by aggregating and securely storing
Set-top box solutions
risk, all within a short timeline as another turnkey
this information flood.
The TV market was once a straightforward
solution. Components of the solution include:
landscape, but the recent growth of new internet technologies has seen the internet and TV rapidly converging. ABOX42 recognises that this convergence is
ABOX42 dotIO Smart Home Gateway
ABOX42 dotIO real-time Cockpit The dotIO is the state-of-art cloud front-end to the ABOX42 dotIO BigData cloud. The Cockpit
The ABOX42 H38 Smart Home Gateway is the
offers full transparency of the system status, all
opening up many opportunities for established
Central Device of the Solution and processes all
Gateway and sensor data for customer care and
operators as well as for new market players. In
Information that is provided by the connected
provides a real-time of the SLA of the end-to-end
the IPTV segment, there is a large demand for
devices (Sensors). With a powerful core ARM
system for operators’ product management.
upgrading from existing solutions to modern,
processor with 1GB RAM, the ABOX42, this
latest generation IPTV solutions, which require
new platform interacts with all the latest
set-top box platforms with the latest technologies
communication standards connects with various
ABOX42 dotIO mobile applications
and the most advanced features.
sensors in the household for a complete new
The Smart Home solution is designed as a
set of services. H38 supports Thread, RF4CE,
service for end users, operated simply with
technologies, ABOX42 has established itself as a
Bluetooth 4.0/BLE, Wi-Fi extensions and the
a fingertip via mobile devices. The end user
leading player of next generation IPTV, OTT and
latest ZigBee 3.0 standard.
gets to use the ABOX42 dotIO Smart Home
In this changing world of TV and new Internet
Hybrid-DVB set-top box solutions, which include:
Service via mobile apps for iPhone and Android smartphones which allows the user
• Set-top box devices
ABOX42 dotIO Smart Home Sensors
• Software stack/SDK
The data gathered by the ABOX42 H38 Smart
installation and configuration. With a strong
• Total lifecycle management
Home Gateway platform is delivered by different
background in user interfaces and behaviour,
• Services
sensors which provide data for essential Smart
ABOX42 provides a hands-on experience for
• Solutions
Home services. Sensors for door/window open
maximum customer satisfaction. n
i - viii TVBE Abox Supplement Apr17_v1.indd 32
to interact and entirely manage his service
24/03/2017 13:01
www.ABOX42.com
ABOX42 dotIO Operator Smart Home Solution
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vi TVBEurope
www.tvbeurope.com April 2017
Supplement
In association with
Executive perspective TVBEurope speaks to ABOX42 CEO, Matthias Greve, about the challenges common to media companies seeking to integrate multiscreen OTT services as part of their offering How do you reflect on 2016 as a period for the
the set-top box industry also has to change to
traditional broadcast media industry? Was it a
a modern platform approach, to allow itself to
period of growth, challenge, stagnation?
deliver a diverse product with multiple services.
2016 showed that the change in the TV industry is continuing and accelerating. What we see
Are operators more educated about OTT/IPTV
is a clear shift to IPTV and multiscreen services.
service offerings, or is there still an education
Non-linear watching of TV content is exceeding
process to go through? Do they understand
live TV viewing as soon as the rights for nPVR and
what they need, and the benefits?
catch-up TV are available. Furthermore, OTT
It depends on the region and market. For
services are getting more and more popular,
example, in mature markets where TV/pay-TV
so people are no longer satisfied with live TV,
has played an important role for decades,
but increasingly are looking for OTT content
operators are quite experienced. Nevertheless,
(TVoD and SVoD).
it is quite hard for them to move from a legacy solution to a modern TV proposition. Competition
What are the most commonly asked
from multinational telcos forced national and
questions from operators when discussing the
regional operators to think about differentiation
migration of their services to a multiscreen/
and changes, but it often takes quite some
hybrid TV model?
time until decisions are made, since these often
We see two main directions:
mean a technology change. In emerging
A) Operators who traditionally are on cable or
markets, the knowledge about modern OTT/IPTV
”We believe that in a few years, people will focus even more on ‘content of interest’; independent from the source, time, and place”
terrestrial have to introduce interactive feature
solutions is not always very high. For operators,
(hybrid and multiscreen) to stay competitive
this bares the risk that if they are not well guided
with modern IPTV services. It is obvious that a
by potential suppliers, they are not fully aware
pure live TV proposition without interactivity and
of what they require, and what they need to
on-demand services are not working any longer
be careful about. We try to aid this process
to keep customers satisfied. Multiscreen comes
by informing the operator how a modern TV
along with the new viewing behaviour, where
solution should look, and what the essential
security solution (CAS/DRM, software-based
users do not want to be limited in what, when
ingredients are.
versus card-based, upgrade possibilities). When
and where to watch.
it comes to operators looking for UHD content What are the key challenges in this
and services, it can still be a challenge to get
IPTV solution need to upgrade to a modern and
space that are adding to the complexity
clarity regarding the security requirements that
more advanced solution, allowing the operator
of multi-service propositions, particularly
need to be followed, and if their target solution is
to introduce new services like catch-up TV,
during the transition phase?
future proof. Since UHD content is still very rarely
nPVR, nTimeshift, restart TV, VoD and famous OTT
In many cases, the transition from traditional
available, there is not yet a very clear picture,
services like YouTube and Netflix. We hardly see
DVB (where CAS was mainly card-based and
but on the other hand, operators are looking for
any new project where these new features and
security was hard to maintain and upgrade) to
a future proof set-top box platform and security
services are not required. As a consequence,
IP (IPTV) means a re-evaluation of the content
solution, which can work for them long term.
B) IPTV operators who are running a legacy
i - viii TVBE Abox Supplement Apr17_v1.indd 34
24/03/2017 13:01
TVBEurope vii
April 2017 www.tvbeurope.com
Supplement operators that we hear more and more is to “keep the customer on HDMI 1” – this means it is a threat if customers use OTT services and get dragged away from the operator TV solution. As a consequence, the operator has to offer a feature-rich solution providing access to live and non-live broadcaster services, as well as third-party OTT services. As a company providing smart home solutions, what are your thoughts on how connected world technology will impact the broadcast space? On a consumer level, it’s far easier to estimate, but will there be a material effect on how broadcasters and content providers approach their business propositions? From a user perspective, it’s pretty clear what will happen; end users are open to new services that offer real value to them. Smart home services are a new field, but are obviously gaining more and more interest. It is not about complex products and geeks, but about clear benefits for end users, which they are willing to pay for. From an operator and broadcaster point of view, it is important to look at these new services, since they can help to increase customer loyalty, reduce churn and offer additional revenue possibilities. From our perspective, Smart Home services are very complementary to TV and broadcast services aiming to get a bigger footprint in the end user’s home. Finally, the wider media and entertainment industries are in the grip of real change and advance: what do you believe will be From ABOX42’s perspective, how much
rich, evolving software stack – which is cross-
the biggest talking points between now
of your innovation and R&D processes
platform compatible – offering all main features
and the year 2020? And secondary to that,
are informed by the demands of
consistently throughout its range of products
how different will our industries look in five to
customers, and how hard is it to keep
and generations. Together with ABOX42’s total
ten years’ time?
yourselves at the pioneering edge of
lifecycle management solution, operators are
If you look back ten years from now, TV was
technological advancement?
provided with a solid foundation for a future
quite simple and purely linear. The change has
For more than eight years, ABOX42 has been
proof, secure and upgradable TV service.
happened so fast that no operator nowadays
a pioneer and front-runner in the industry,
can ignore the need for multiscreen and non-
developing and introducing new technologies
From the customer’s perspective, the move
linear services. We believe that in a few years,
and solutions. It is in our DNA to keep innovating,
to (or addition of) OTT/IPTV solutions is fast
people will focus even more on ‘content of
and we believe there are still many changes
becoming a critical business strategy, but
interest’; independent from the source, time,
ahead in this fast-moving TV market. If we look
how and where will operators see the ROI?
and place. The more content is made available,
at TV solutions five years ago and compare
There is no other way than to follow the market
the more important content discovery and
them to what is required today, it is very obvious
trends. It is obvious that the way to consume
accessibility functionalities become. The TV
that this industry has changed a lot, and still will
content has changed a lot, and there are
world will not be the same in 2020, and viewing
change a lot in coming years. Right from the
many new players entering the content/service
behaviour will continue changing towards
start, we focused on a platforms and products,
business. Customers want to enjoy these new
completely personal content consumption.
instead of a project approach. This means
services, so as an operator, you can decide
Nevertheless, there will still be iconic events
ABOX42 is driving the development roadmap of
either to accept this and follow the customers’
(for example, in sports), which people will
its products and has achieved a very feature-
requests, or try to stay out. One request from
continue to watch live. n
i - viii TVBE Abox Supplement Apr17_v1.indd 35
24/03/2017 13:01
www.ABOX42.com
ABOX42
ABOX42´s All-In-One Smart Set-Top Box Solutions for IPTV / OTT, Hybrid-DVB & Operator Smart Home Solutions us Meet r Hall Uppe 821 h t u o S #SU9 Stand
Why choose us?
German Engineering & Quality Management
Flexible Customization of Hardware
ABOX42 is providing latest technology
Manufacturing Excellence
Project based Enhancements and custom development support
Short Lead-Times
Full Warranty management
Set-Top-Box products and compelling solutions, suitable for any operator, city carrier or ISP project requiring a modern, future proof and high quality solution from a mature supplier.
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Fully managed Lifecycle end to end
Complete Product approach incl. Hardware, Software, Licenses, Certifications & Services
24/03/2017 24.03.17 10:21 14:13
TVBEurope
April 2017 www.tvbeurope.com
47
Audio
e
We’re also bringing on a number of technical experts for supporting sales and for R&D. We’re increasing the team there quite a bit. What are you hearing from customers right now? What do they want most? One thing I hear a lot is reliability. If you have the product it should work and it should work every time and it should be consistent. And speech recognisability through the microphone, especially in broadcasting, is very important. I heard a fantastic story from a West End theatre in London about their switch to DPA microphones. There were two things: before they switched, when they wanted to hear whether the microphone connection was working with one of the artists, they just turned up the mixer and they could hear the hum. When they switched to DPA microphone, at first they thought there was a failure in the connection, because there was no noise whatsoever.
“Over the next two years, we expect to double our expenditure on R&D”
The other part was that with the microphones they had used before, if they had one artist wired up with a microphone, they could work fine with the mixer and making adjustments, but if the microphone went sour and they had to replace it, they would have to recalibrate. But with DPA, every microphone sounds the same. That’s something we put a lot of effort into, and it’s one reason our cost may be slightly higher than our competitors. We do immense testing, and we scrap a lot of our capsules because they have to be exactly inside the specs and those specs are very tight. Are there any plans for changes or expansion at the DPA factory in Asnæs, Denmark? We have scaled up quite a bit, so we have had to streamline the manufacturing and rearrange things inside the buildings. But we have not yet moved outside Asnæs. So how does it look for the future? There will be some significant products coming out over the next year, and products of a slightly wider variety, things that go beyond the typical analogue connections for our microphones. And, of course, we’ll continue a full focus on the segments we’re already in today and we’ll be loyal to our traditional brand promise of very high quality, very high reliability, and very high sound quality. n
46 47 TVBE Apr17 DPA CEO Audio_v2 JGJMcK_final.indd 55
20/03/2017 16:27
Wednesday 7th June 2017 I Millennium Mayfair Hotel, London
CELBRATING THOSE PUSHING THE BOUNDARIES IN THE PRODUCTION, MANAGEMENT, AND DELIVERY OF TODAY’S MEDIA CONTENT
The TVBAwards are back!
S E I R T EN ! N E P Onter) e NOW ree to
OUR Y T I SUBM TODAY Y -awards.com R T N E www.tvb (F
This year’s ceremony takes place at the Millennium Mayfair Hotel, London on Wednesday 7th June 2017 as part of MediaTech 360. Do you know any individuals or companies pushing the boundaries in the production, management, and delivery of today’s media content? Enter them for a TVBAward 2017!
at
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2017 CATEGORIES: Lifetime Achievement 5th – 9th June 2017, Central London, UK
Innovation and R&D Rising Star Achievement in Live Production Overall Broadcast Production Achievement in Post Production
DISRUPTION | TRANSFORMATION | EVOLUTION A WEEK OF STRATEGIC EVENTS EXPLORING THE FUTURE OF MEDIA AND ENTERTAINMENT
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TVBEurope
April 2017 www.tvbeurope.com
49
Data Centre
What’s the future for mobile video consumption? By Jean-Marc Racine, senior vice president, Cartesian
What are the top three barriers to watching on-demand TV shows and movies on a smartphone when on the move? Audio or video experience
W
Availability of content
e partnered with Mobile World Live to survey players across the ecosystem to
Battery life
better understand mobile video trends
and determine the priorities for the various players involved. While nobody would dispute the claim
Device storage limits Preference for watching video as a family/group
that mobile video has the potential to grow,
Mobile data charges
the study makes it clear that the path is fraught with obstacles, including handset limitations, infrastructure challenges and costs.
Network performance Uncomfortable to hold for a long time 0
There is clearly an appetite for increasing the role that smart phones play in consuming video,
50
100
150
200
250
300
350
Source: ‘The future of Mobile Video’, Cartesian and Mobile World Live
both inside and outside the home. Across the
lead and also launch services with zero-rated
professionals cited battery life ahead of mobile
entire ecosystem, players are looking to operators
video streaming. Beware – this whole space
data charges and network performance. When
to take the lead in growing this opportunity, with
has a big caution sign hanging over it, due to
it comes to watching linear broadcast TV, 71 per
61 per cent of survey respondents claiming that
net neutrality regulation and the end of EU
cent say data charges are the biggest barrier, just
operators are best placed to drive development
roaming charges.
ahead of battery life and network performance.
over the next five years – far ahead of video
With regards to the actual content viewed on
The key factors that will drive video consumption
service providers (24 per cent) and mobile device
mobile devices, 41 per cent of our respondents
outside the home were found to be improved
manufacturers (seven per cent).
believe that on-demand TV shows and films,
mobile infrastructure, 5G and cheaper data plans
offered by the likes of Netflix and Amazon, will
including zero-rated video.
Looking across the pond at developments in the US market, operators have invested
see the most growth in mobile audiences over
extensively in video convergence through
the next five years.
acquisition – for example, AT&T purchased DirecTV in 2015 and Verizon bought AOL in the same year – which shows that while convergence did not deliver in its first attempt in the year 2000, it may well be on the horizon again.
Across all countries, 82 per cent of respondents agree that content viewed on smart phones in the home will increase over the next five years.
‘The path to mobile video is fraught with obstacles, including handset limitations, infrastructure challenges and costs’
The reinvigorated LTE-Broadcast standard
However, opinions differ in ranking devices used to watch video. As expected, the majority of respondents in developed countries cited TV as the number one device for video in the home, with other devices well behind. However,
will also play an important role in driving mobile
respondents in developing countries viewed the
video over the next five years, according to over
At Mobile Word Congress 2017, Netflix CEO Reed
market differently – smartphones were ranked as
a quarter of respondents, who view it as more
Hastings stated that the firm is well prepared
the number one device in the home for watching
important than faster speeds and availability.
for this surge, due to its ongoing investment in
video followed closely by TV.
Since LTE-Broadcast is best suited for live and
the latest codex technology, as well as its video
linear broadcast, viewers will likely require large
distribution platform, which will deliver optimum
top three barriers to watching video on mobile,
data allowances.
video quality even at times of low internet
63 per cent of respondents highlighted the audio
connection speed. Linear broadcast content, by
and video experience on phones. Surprisingly,
content (where video consumption is excluded
contrast, is considered least likely to undergo the
given the availability of Wi-Fi in the home, nearly
from the monthly data allowance) is widely
most growth in mobile viewership.
a third of respondents place mobile data charges
Consequently, zero-rating of data charges for
believed to be a critical service development
While video accounts for the largest share
For in-home viewing, when asked about the
in the top three. Battery life is also a challenge,
that will drive mobile video, winning 47 per cent
of traffic on today’s mobile and Wi-Fi networks,
but only a smaller number say storage limits are a
of our research respondents’ votes. These services
the survey unearthed several obstacles to more
barrier, reflecting the trend towards streaming.
are being closely monitored given the popularity
widespread use of phones for watching video
of T-Mobile’s Binge On service in the US. It is
content. When asked about the top three barriers
bright future for mobile video, but one that will
possible that European operators will follow their
to consuming video on the move, industry
require ongoing effort to secure. n
49 TVBE Apr17 Cartesian Data Centre_v2 JGJMcK_final.indd 46
The findings of the study point to a potentially
20/03/2017 16:30
50
TVBEurope
www.tvbeurope.com April 2017
Data Centre
The state of SVoD By Jim O’Neill, principal analyst and strategic media consultant, Ooyala
As the SVoD market grows and matures, so do
And make it easy to unsubscribe. Do this without
customer expectations. Customers expect an
bombarding them with multiple screens asking
experience that offers more than the traditional
for their details.
lean-back TV experience. Personalisation, easy
Users expect a range of features and
discovery, the ability to navigate on a TV via a
functionalities from online video, so putting
ot long ago, online videos were limited
single source without having to change inputs,
them front and centre at all times is crucial
to 480p windows on computers,
and access to a huge amount of premium
for the success.
and content was largely short clips
content on multiple devices are the least
N
of dancing dogs, or cats on skateboards. Videos that collected several thousand views
that is expected.
Defending an old business model
Ironically, to keep up with the high demand
SVoD services launched by TV platforms or
were considered successful, yet they were
and new trends, traditional TV is now adopting
broadcasters can struggle, due to the fact
not monetised and had a shelf life of mere
the very technology it is being replaced by.
that they often are beholden to old business
weeks. Even when streaming premium content
More of today’s TV viewers can watch on-
became more common practice in households,
demand content on multiple devices when
it was still seen as complementary to traditional
and where they want to, and even catch their
pay-TV services.
favourite shows offline on mobile devices.
Today, consumers are embracing premium, long-form online video - especially via
For new providers in the market, we suggest avoiding the following common mistakes:
‘By keeping the wishes of the customer in mind, many common SVoD pitfalls can be avoided’
subscription video-on-demand (SVoD) services - as their new source of video entertainment. However, despite a couple of global players
‘As the SVoD market grows and matures, so do customer expectations’
Unrealistic expectation of rapid subscriber growth New SVoD providers often enter the market
models, technologies and processes that never
with unrealistic expectations of rapid subscriber
truly allow the new service to evolve. Avoid
growth. What they don’t realise is how long it
getting stuck in this net by embracing the
takes to build a loyal, engaged and sizeable
economics of SVoD and taking advantage of
audience. Avoid setting unrealistic expectations
new technologies.
by having achievable goals instead and define currently owning most subscribers, more content
as looking at metrics like engagement and
Reluctance to experiment and pivot
providers are making their assets available
subscriber satisfaction instead of subscriber
New devices demand new business models
online, and the SVoD sector is seeing dramatic
and revenue growth in the early stages of
that may have different economics and
audience growth, aside from that shown by
your service.
measures of success. SVoD services need to
success beyond subscriber numbers – such
keep in mind that they are dealing with the
major players such as Netflix and Amazon Prime.
Trying to be like Netflix
digital distribution of content to new mobile
50 per cent growth in revenues by 2026 due to
Once local and targeted SVoD services reach
devices, and they are very different than
growing calls for high-quality VoD. In emerging
a stage where subscriber numbers become
traditional TVs. To avoid this mistake, conduct
markets, the rate of adoption is expected to be
significant, they sometimes attempt to emulate
tests, monitor data and experiment with every
even greater. In Asia-Pacific, for example, the
dominant players by building a large, non-
aspect possible of your SVoD service, and go
number of SVoD subscribers grew by 34 million in
differentiated content library with no specific
with what works.
2016; Digital TV Research expects this number to
target audience. For most viewers, it’s a strategy
double in the next five years. In Latin America,
that doesn’t connect; they have Netflix, they
success of SVoD services by considering what
subscriber growth between 2015 and 2021 is
don’t require a clone company. SVoD services
made pay-TV services prosper. They offered
The industry is expecting to see more than a
forecast to be at least 160 per cent. While many new subscribers will initially sign with established services, an increasing
xxxxx should identify the specific niche they want to xxxxx
Perhaps it’s good to think about the
audiences unique, differentiated content and a
grow in and size their audience on national,
technologically superior experience. They didn’t
regional and global levels.
rely on existing business rules, and they placed a lot of emphasis on the customer experience. This
number will look to a wider range of offerings. For example, while Netflix had increased its
Annoying your customers
approach is still relevant today and can prove
subscribers by 327 per cent by the end of 2016,
Consumers value the ability to add and drop
successful for new SVoD services. By keeping the
Digital TV Research reported a growth of 1,187
services at ease. Make it as easy as possible for
wishes of the customer in mind, many common
per cent of subscribers to other services.
them to register, pay, and consume content.
SVoD pitfalls can be avoided. n
50 TVBE Apr17 Ooyala Data Centre_v2 JG_final.indd 46
20/03/2017 16:35
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