www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
August 2016
IBC2016 Preview Analysts look ahead to Amsterdam
TVBEurope 2020 conference report Post production on The Island Amazon’s play for TV Stagebox
Control Room
Studio B
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TVBEurope 3
August 2016 www.tvbeurope.com
Welcome
EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Deputy Editor: Holly Ashford hashford@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Group Managing Editor: Joanne Ruddock jruddock@nbmedia.com Contributors: Michael Burns, David Davies, George Jarrett, Adrian Pennington, Philip Stevens, Catherine Wright Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000
Uniting for a common cause I
’m not going to get into the politics of it all, but who saw that coming, eh? And no, I’m not referring to England’s untimely exit from
European competition at the hands of Iceland (where mums go, apparently), but the UK public’s decision to ‘go it alone’; ‘take back the country’;
Digital Director: Diane Oliver
and leave the EU. I doubt that many of us waking
Human Resources and Office Manager: Lianne Davey
on June 24th expected David Dimbleby to be
Head of Design, Hertford: Kelly Sambridge
reflecting on a victory for the Leave campaign, and
and John Whittingdale. The former accused the
Senior Production Executive: Alistair Taylor
curating a very new and material discussion on the
Corporation of being ‘too imperial in its ambitions’,
Sales Director: Mark Rankine
implications for matters of governance, financial
while the latter spearheaded the now infamous
Managing Director: Mark Burton
stability, and trade. How it affects businesses in our
charter review, likening licence fee to poll tax. It
US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072
industry is yet to be fully understood, but we took
will be interesting to see just what relationship the
some time at the recent TVBEurope 2020 event to
BBC and the wider broadcasting community will
at least start the conversation on the likely impacts.
have with the new leadership, with Karen Bradley
One striking fallout has been the departure of
replacing Whittingdale at the DCMS. In this issue,
David Cameron from number 10, falling on his
we look back on our discussions at TVBEurope 2020
sword in the knowledge that Britain outside of the
with the first of a two-part review of all sessions from
EU would require new stewardship, and a different
the conference. It was an absolute privilege to host
sort of leader. Theresa May has risen to that office
such a quality line up of speakers, and I’d just like to
between now and the next General Election, and
thank everyone who participated in the day, and
has been ruthlessly stripping away the old Cabinet.
those in attendance, for creating such a engaging
Part of the reshuffle has seen two of the BBC’s
and informative event. n
Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222 Circulation Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
TVBEurope is published 12 times a year by The Emerson Building, 4-8 Emerson street, London, SE1 9DU England +44 207 354 6002
James McKeown, Editor-in-Chief
biggest critics fall from power: George Osborne,
SECTION EDITORS
NewBay is a member of the Periodical Publishers Association © NewBay 2016. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free. 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
Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA
Untitled-1 1
03 TVBE Aug16 Welcome_final.indd 1
Philip Stevens Production editor
Michael Burns Post production editor
George Jarrett Business editor
David Davies Audio editor
13/06/2016 10:48
20/07/2016 16:21
4 TVBEurope
www.tvbeurope.com August 2016
In this issue
6
Opinion
8
Production
Gibraltar: In the first of a mini-series, Philip Stevens looks at how broadcasters working in a limited geographical area handle their output
Wazee Digital’s Harris Morris on how various parts of the broadcast chain are preparing for a summer of sports
19
IBC preview
IBC is coming! A number of analysts share their thoughts and predictions ahead of the show next month
04 TVBE Aug16 Contents_final HA.indd 1
34
Feature Now in its second year, the TVBEurope 2020 summit returned to London, offering a platform for discussion around the current and future state of the industry
50 Post production
Working on location has its challenges: the post team onThe Island with Bear Grylls tell all
52 Data centre
Phil Stokes of PwC UK, reveals findings from the company’s latest Entertainment and Media Outlook report
19/07/2016 14:26
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6 TVBEurope
www.tvbeurope.com August 2016
Opinion and Analysis
Preparing for a summer of sport Sports rights and production costs continue to
federations are turning to media industry partners
rise, while linear CPMs are under pressure. Now
who are able to properly capture and manage
more than ever, it is imperative that rights holders,
media assets with correct, robust, and rich
broadcasters and sponsors capture every single
metadata to enable search and rapid recall
S
valuable moment from live events, and ensuring
for any purpose-giving sports fans around the
ummer 2016 is every sports fan’s dream,
it finds its rightful audience both during and after
world the compelling content they desire while
with numerous sporting events taking
the event on all screens and devices.
helping the federations and rights holders
including UEFA Euro 2016, the F1 Grand Prix,
the Olympics, USTA, and the golf’s Majors
Tour de France, Wimbledon, culminating in the
are under immense pressure to produce
excitement from Brazil with the Olympics. It seems
compelling programming both during the
By Harris Morris, chairman and CEO, Wazee Digital
place simultaneously around the world
‘It is imperative that rights holders, broadcasters and sponsors capture every single valuable moment from live events’
Sporting confederations such as Wimbledon,
event and, in this day and age, around the event in shoulder programming and highlights packages, especially for digital and social platforms. Monetising event content through licensing, capture of highlights, and packaging for activation with sponsors and partners is now
monetise every moment. As we saw this summer during the grand slams on the court as well as the record breaking
‘Sporting federations must focus on dayto-day operation, leaving the capturing and archiving of footage to experts who can support them’
a major factor for these significant annual events. that this time of year, every sporting fan has had
Those who specialise in digital asset
something to cheer about and watch on screens
management services can give vital support to
attempts going on in Brazil, it is important for
of all sizes.
live events providing turnaround material while
these sporting federations to focus on their
the moment is still fresh. For example, the winning
day-to-day operation during these tournaments,
some of the world’s most compelling moments.
shots from a tennis match, or the final putt from
leaving the capturing and archiving of footage
These moments, when captured and stored
a golf tournament, can be supplied to the event
to experts who can support them, their event
properly, can last indefinitely, giving unique value
host and delivered to advertising partners for a
and athlete sponsors, and their global broadcast
to sports and entertainment properties and their
‘congratulatory’ advertisement to be aired at
and digital partners by putting flexibility and
rights holders.
the end of the live broadcast. Increasingly, these
control in the rights holders hands. n
The sports and live events sectors generate
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06 TVBE Aug16 Opinion_final HA.indd 10
19/07/2016 14:35
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8 TVBEurope
www.tvbeurope.com August 2016
Rock Steady G
Visit Gibraltar – visitgibraltar.gi
Production
In the first of a mini-series, Philip Stevens looks at how broadcasters working in a limited geographical area handle their output
ibraltar’s TV service began in 1962. At
employees. This coincided with the full re-
the local DTT network called Gibraltar Freeview.
that time, it was a small commercial
equipping of the station to be full HD. After
This is picked up by two cable operators who
operation, but it led to the creation,
much work by everyone involved, the channel
include GBC TV in their packages. Together they
was relaunched in 2014, and has steadily
service around 13,000 homes on the Rock, with a
by statute, of the Gibraltar Broadcasting Corporation (GBC) a year later. At the start, the basic operation consisted of a multi-purpose studio and a small continuity booth located in a bastion within the historic Gibraltar city walls. “Our output was local, fairly low-budget programmes supplemented with internationally
potential viewership of 30,000.
“The channel was relaunched in 2014, and has steadily grown in popularity since” Gerard Teuma, GBC
Overcoming obstacles “Despite the small size, Gibraltar is a difficult location for transmission given the obvious obstacle of the Rock of Gibraltar in the middle of
acquired programming consisting of movies,
the territory. This means that there are significant
drama, comedy, and documentaries,” explains
shadow areas around it, requiring the use of
Gerard Teuma, the broadcaster’s chief
additional frequencies and/or repeaters.”
executive. “In 1980, the station was relocated
grown in popularity since then. Our focus now is
to its existing premises, which at the time was a
predominantly on local productions, although
Broadcasting House some years ago, the other
huge improvement. That facility, Broadcasting
we still supplement this with a limited number of
big problem facing GBC TV is its facilities.
House, was fitted out by Link Electronics.”
internationally acquired programmes.”
Throughout the 1980s GBC was able to air the
Teuma says that despite the move into
“We are still housed in very old buildings that are now not really fit for purpose. Although an
latest international shows, while also producing
Broadcasting cooperation
effort has been made to improve the working
a consistent number of local programmes.
Working alongside GBC TV in Broadcasting
environment and a big investment made in
However, the advent of satellite TV dealt a huge
House is Radio Gibraltar. Radio presenters
technology, there is no escaping the fact that
blow to GBC TV, which had trouble in re-inventing
also front TV programmes, with the newsroom
Broadcasting House is far too small for our
itself for many years.
servicing both outputs, as well as the online
operation. We have one multi-purpose TV studio,
platforms. “Radio Gibraltar is on air 24 hours a
with just one permanent set for news.
“GBC lived through its most difficult years between 1990 and 2013, with lack of investment
day, with presenter-led shows live from 7am till
“Given that in addition to that we have a
in technology and programming, and a general
7pm, and with an automated service at night.
different live show most nights, it means striking
lack of direction,” reveals Teuma. “With new
Frequencies are split from time to time to provide
sets every morning, with that day’s set built in
management in place, the public subsidy was
alternative programming on Radio Gibraltar Plus.
the afternoon. Sometimes, if there are special
renegotiated with the Gibraltar Government,
Transmissions are on FM, AM, DAB+ and online.”
recorded programmes, it requires two set
leading to the recruitment of around 30 new
TV programmes are transmitted terrestrially via
changes on that day, which is not ideal.”
08 10 12 TVBE Aug16 Production_v4 HA.indd 54
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www.tvbeurope.com August 2016
Production Well equipped
Gerard Teuma, chief executive, GBC
That studio is equipped with four Sony HSC100
“We have four ENG crews working on a shift basis to cover our operations from 9am till 10pm seven
cameras with Canon lenses. Three are mounted
days a week. In addition, we have a further three
on pedestals, the other on a mini jib. The gallery
production camera crews who service other
was completely redesigned and re-equipped
programming. They use a range of cameras
in 2013, when a Ross Carbonite 2ME mixer was
including Panasonic PX800, and Panasonic
installed. The transition to HD was managed by
DVX200, as well as Cannon DSLRs and GoPros.”
UK system integrators TSL, which both designed
Teuma goes on, “Although we traditionally
and installed the gallery and new HD MCR.
had our own OB Truck, we decommissioned it
“Our directors also vision mix. Invariably, they
upon the transition to HD three years ago. This
are also the producers of the programme. With
has been replaced with a hire agreement
a small operation as ours, multitasking is key,
with a Spanish firm, who drive a truck into
and although we employ people in a variety
Gibraltar as and when required. We carry out
of disciplines, we also need to be realistic and
around 18 OBs every year, ranging from four
tailor what we do to the funds that are available.
to eight camera productions. We consider this to
Therefore, we are very lucky to have a multi-
be more cost-effective, as well as assuring GBC
talented staff base of around 80 professionals
currently re-evaluating this, with FCPX, Adobe
of the latest technology being available
who deliver not just TV, but also radio, news,
Premier and Avid being considered. All editing,
for outside broadcasts.”
engineering and administration.”
whether for news or other programming, is done
Audio is handled by a Yamaha CL3 console,
Clearly, there are no other broadcasters based
on the same platform. All of our newer material
in the British Overseas Territory, but what other
while communications are provided by Clear-
is stored on servers, with an exercise currently
channels are available to Gibraltarians?
Com. Working alongside the Ross mixer is an
underway to transfer all of our tape library to a
“There’s a range of channels accessible by
Xpression graphics platform.
new Sony ODA.” This Optical Disc Archive was
satellite from the territory, all of which provide
recently installed together with a VSN MAM/PAM
challenges for us. Our limited resources make
system, and the Ross Inception news platform.
it difficult to compete with international
“It was decided some years ago to adopt Final Cut 7 as the main editing system. We are
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Production programmes. However, GBC’s strength lies in its
The set for GBC magazine programme, The Hub
local programming, which makes up 75 per cent of the schedule. We have very healthy viewing figures for these shows, which are unavailable elsewhere. Programmes range from news and current affairs to documentary-style shows and reality TV. We principally design our schedule with the local viewer in mind, although movies, drama and international specials are of obvious general appeal. The channel, though, is only seen in Gibraltar, with only local programmes available on our online Player.”
Future thoughts Teuma reveals that although it would be desirable to extend broadcasting hours, current resources do not provide much scope for this. “With Gibraltar being a small territory, it
extend broadcasting hours on significant days
relocate GBC to new premises. This is likely to
would not make economic sense to broadcast
of the year. We currently broadcast from 7.30pm
be our next big project, whereby the intention
daytime, when most people are at work. Local
till 11.30pm, but it remains our aim to increase
is to create a media hub associated with a new
audiences principally listen to Radio Gibraltar
broadcasting hours by one hour from 7pm till
national theatre for Gibraltar.
during the day, and move on to television
midnight in the medium term. This would allow for
in the evening. “However, we do broadcast
a more realistic evening schedule.”
Parliamentary sessions during the day, as well as any specials, as and when required. We also
08 10 12 TVBE Aug16 Production_v2.indd 57
So, are there any other plans for the future? “We are currently actively discussing plans to
“The idea is still embryonic, but we are confident that in the next few years we will have left our existing facilities and created an exciting future for local television and radio.” n
20/07/2016 10:59
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Production Joe and Jake performed the UK entry for the 2016 Eurovision Song Contest
From Stockholm to Stockley Park Philip Stevens finds out how the Eurovision Song Contest reached UK viewers
O
ver seven million BBC One viewers watched this year’s Eurovision Song Contest Grand Final, an increase of
half a million viewers over the previous year’s broadcast in the UK. Broadcast live from the Globe Arena in Sweden, the global audience for the three live shows (semi-finals and final)
reports Anne Marie Phelan, senior production
“The show’s director, Stephen Neal, is a
the multilateral and unilateral feeds for all the
regular director on The One Show and this
shows from Stockholm and that was not just for
proved very useful when we did a live hit into that programme. He knew who was at the other
“People think of IMG in terms of sport, but we’re fully geared up for other production genres” Cherry Portbury, IMG Studios
reached 204 million people across 42 markets
end of talkback!” says Phelan. “While the BBC provided the production personnel, IMG was responsible for technical support for what was quite a considerable facility contribution to the programmes.” She adds, “It was a massive team effort and it was very kind of Graham Norton to acknowledge the personnel both in Sweden and those working here at Stockley Park with name checks at the
worldwide, five million more than in 2015,
end of Saturday’s programme.”
making it one of the largest global live television
the Saturday Grand Final, but also the semi-finals
broadcasts of the year.
broadcast on BBC Four.”
The UK hub for Eurovision was based at IMG
and ETC Congo Junior lighting board.
services manager at IMG Studios. “We took in
IMG’s Studio C production control gallery was
Tailored workflow Phelan states that the biggest challenge for
Studios at Stockley Park in west London. “This
used for all the Eurovision programmes. Like the
such programmes is communications. “It was
also provided the base for the BBC Events
other studios at Stockley Park, this is equipped
incredibly complex. The song contest was in a
production team headed by director, Stephen
with a Sony MVS7000X vision mixer, Lawo MC562
massive venue, and the comms to and from the
Neal and executive producer, Steve Hocking.”
Mark 2 sound mixing desk, Riedel talkback system
UK hub had to involve not only connectivity with
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TVBEurope
August 2016 www.tvbeurope.com
15
Production Graham Norton in the on-site commentary booth, but also Lawrence Galkoff, the technical director and the unilateral presenters, Scott Mills and Mel Giedroyc. Scott and Mel also shot a number of packages which were edited by BBC staff in Sweden. When we were offered opt-outs from the Eurovision feeds, we were able to insert these packages from the gallery here at Stockley Park.” To handle incoming content, IMG put together a dedicated Signiant portal that enabled the
“While the BBC provided the production personnel, IMG was responsible for technical support for what was quite a considerable facility contribution to the programmes” Anne Marie Phelan, IMG Studios
Richard Osman presented the UK voting results from IMG’s Stockley Park facilities unexpected situation.” Portbury says that in total
that studios need to offer these days,” maintains
there are around 200 circuits available in and out
Portbury. “It’s not just about the studio, it’s about
of the MCR.
added value, tailoring a variety of resources
“We even transmit live sport via the Sport 24
including post production and crew, to client
team in Stockholm to send H.264 files to Stockley
channel to airlines and cruise ships.” Turning to
requirements and taking care of those who come
Park. “We built a watch folder so that anything
the studio space, she goes on, “When we built
to the facility to work or visit. The technical side
that came through the portal went straight
the galleries we made them considerably bigger
is vital, but so are the peripheral activities if the
into DNX 120: the flavour of files used on our
than many existing facilities. That enables clients
client is to have a positive experience.”
EVS network. The EVS operator sitting in the
to bring in as many personnel as are needed for
production control room could see the material
an effective production, without everyone
the world’s largest non-sporting televised event.
as soon as it hit the portal,” explains Phelan.
being cramped for space. A programme
People often think of IMG in terms of sport, but
need not be restricted to a studio. The facility at
we are fully geared up for other production
Confidence
Stockley Park allows any studio to be connected
genres. Recent clients include a commercial for
Although the demands of the programme were
to any gallery, but beyond that there are other
Asda supermarket and live streaming of Egamer
complex, IMG’s head of studios, Cherry Portbury,
camera connection points around the building,
tournaments with studio presentation. We are
says the master control room (MCR) at Stockley
including the restaurant.”
ideal for channel hosting and one of our four
Park is more than capable of handling intricate
She goes on, “The Eurovision Song Contest is
studios is currently home to Alaraby Television, an
configurations. “Obviously, we have EBU circuits
Added value
Arabic news and entertainment channel which
and lines direct to BT Tower, but also diverse
In addition to the technical considerations of
launched from IMG Studios 18 months ago. Our
circuits that provide clients with the confidence
the programme, IMG was responsible for hosting
varied experience and expertise means we can
that there is the capacity to handle any
the UK judging panel. “It’s all part of the service
offer great advice and support to our clients.” n
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18 TVBEurope
www.tvbeurope.com August 2016
Production
Sharing the content Ronen Artman, VP marketing, LiveU, explains how cellular technology has developed to accommodate specific user needs
L
ive content sharing between media
that’s received at their LiveU server and publish
companies has created issues, not least
it to other LiveU servers, making the live content
of which is the desire to maintain and
available to others. It’s about easy, live video
promote an onscreen brand. Having your own, instantly recognisable reporters plus, for example,
content sharing. Of course you can do this by fibre or satellite,
microphone branding, has held sway. Of course,
but how can you distribute broadcast quality,
there have also been considerable technical
live content using generic internet connections?
and business case issues. But this is no longer
Previously there was the issue of resiliency. LiveU
the situation.
Reliable Transport (LRT) protocol, central to
Pål R Hansen, head of operations, VGTV in Norway, says, “Even until quite recently, media
MultiPoint, overcomes that problem.
LiveU’s MultiPoint allows users to take a feed and publish it to other LiveU servers However, for both hardware resources and
VGTV, which operates a linear TV channel, is
bandwidth reasons, using Stavanger’s
companies held on very tightly to their content,
part of the Norwegian Schibsted Media Group
LiveU server to do this is not an efficient or
but the media landscape is continuing to
is now using MultiPoint as a fundamental part of
scalable solution.
change rapidly. Broadcasters haven’t really
its set-up. As the name implies, Schibsted owns
wanted to use others’ content, mainly for
multiple media outlets, some of which were
server, the newspaper sends the backpack
branding reasons. Now everyone has realised
also LiveU customers prior to the deployment of
feed to a cloud-based server that LiveU hosts.
that if we’re going to survive then we have to
MultiPoint. This meant that there were already
This is not restricted by CPU resources or data
work together.”
LiveU servers in place, including newspapers
feed capacity issues. This acts as the distributor,
Bergen Tidende, Aftenposten and Stavanger
and is managed in LiveU’s Central cloud-based
in cellular bonding technology, fit into this? If
Aftenblad. Although there was a loose
management platform.
customers have a LiveU portable transmission
collaboration of separate customers all doing
unit with a camera in the field, they can transmit
their own thing, Hansen says that content sharing
breaking news. MultiPoint provides the ability to
from that backpack to a receiving server. That is
within the group needed to increase in volume
work faster and more efficiently. Now, without
a one-to-one relationship. In the past, customers
and efficiency.
being there ourselves, we can rely on our
So where does LiveU, a company specialising
So, instead of sending its feed to the Stavanger
Hansen continues, “We mainly work with
asked LiveU if it was possible to send to more
If there’s a breaking news story in Stavanger,
than one server concurrently. But that wasn’t
for example, how does VGTV, get that content?
partners in the other major cities to share their live video. Just a few weeks ago we had a major
possible because of the one-to-one relationship.
If Stavanger Aftenblad covers a breaking news
incident with a crashed helicopter just outside
story, normally it would send that content to its
Bergen. Bergen Steiner Aftenposten moved very
All change
receiving server. MultiPoint allows the newspaper
quickly and we received live pictures via them.
This has now changed with the development of
to take the content that arrives at the receiving
MultiPoint is very convenient and reliable, it
LiveU’s MultiPoint. It allows users to take the feed
server and make it available for other subscribers.
simply works all the time.” n
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18 TVBE aug16 Prod_liveU HA_final2.HA.indd 54
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TVBEurope
August 2016 www.tvbeurope.com
19
Feature
IBC preview
If September, with IBC taking place mid-month, is the broadcast and media industry’s busiest period, then August surely must come a close second. A number of market analysts and industry figures took time out of their show preparations to reveal to TVBEurope their thoughts and expectations of next month’s IBC2016
IBC signals change By John Ive, director, technology and strategic insight, IABM
I
BC2016 promises to be a fascinating milestone
fragmentation and personalisation change the
in the evolution of our industry. Never before
rules. What was once considered the ‘long-tail’ is
have we faced so much change affecting
now a key component, as niche viewing and
every aspect of broadcast and media. The
subscription based programming become the
changes are so radical that we are not even sure
norm. It’s not necessary to reach an entire
what to call the business we are all engaged in!
population: just enough who are willing to pay a
Broadcast now just defines a part of the whole,
subscription to drive a viable business.
but there is an entirely new category emerging
What will become increasingly apparent at
based around the internet and on-demand
IBC this year is the commoditisation of
content. Those who say broadcast has a unique
technology, providing tools to anyone who has
advantage because of its one-to-millions
the skill and creativity to make high quality
economy of scale are missing the point;
programming and with it, low cost ways of
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19 20 22 23 24 25 26 27 28 29 TVBE Aug16 IBC Feature_final2.indd 19
21/07/2016 11:05
20 TVBEurope
www.tvbeurope.com August 2016
Feature reaching an audience. This has got to be a good
increasingly visible presence from these
subscriptions and recurring payments. With that
thing considering how many missed out on a
organisations. As the role of video and audio
comes a relationship change between suppliers
wonderful career because they could not afford
grows, the total value of the industry will grow
and customers; delivered products may never be
the gear or were not employed by a large
with it, attracting direct interest from these
finished but a continuous work in progress as
organisation that could.
sectors. With change there are always
technology and end-user needs evolve.
And it’s not all about image quality this year. No doubt UHD and its variants will be discussed at length in the aisles, on booths and in the conference, but money is being spent in other areas. Getting more channels out to consumers, providing on-demand services and making use of
All this will play out at IBC, which remains a
‘With change comes a significant increase in mergers and acquisitions’ John Ive, IABM
analytics are the pragmatic demands of the
changed from ‘hands-on’ displays of discrete hardware to discussions about functionality, business benefits and interoperability. Face-to-face discussions are more important than ever and no other event provides such an
industry right now, and potentially where money is being spent.
vital event in the calendar. The emphasis has
efficient opportunity to meet so many key people opportunities, but traditional companies need to
in one place. A word of caution though: don’t be
adapt, and fast. We have moved on from simply
surprised if your favourite company no longer has
enterprise systems are by their nature expensive
an industry of unique capital-intensive,
a booth. With change comes a significant
and complex and therefore need the leadership
interconnected, black boxes. Hardware is
increase in mergers and acquisitions.
of large organisations to match.
increasingly generic and a commodity as the
Large companies will still remain important;
However, the select group of large entities is
Well-known companies are reforming and new
value and revenue shifts to software and services.
names are entering the market as the industry
changing and growing as major IT and telco
Business models for technology suppliers have to
evolves and re-invents itself! I look forward to
companies join the fray. Expect to see an
change from ‘one-off’ capital payments to
seeing you there! n
Investing in collaboration By Tom Gittins, sales director, Pebble Beach Systems
F
or IBC2016 the hot topic will undoubtedly be
ecosystem which encompasses not simply new
IP, given that this is one of the most
technology, but new workflows, skills requirements
significant recent technical changes in the
and business models, the need to work in
industry. What will be interesting is to see to what
partnership with their technology providers is
extent vendors are able to truly virtualise their
thrown into sharper focus. In this new scenario it
solutions now that IP delivery is a reality; how
is the technology which can deliver not just the
many hands-on demos will be taking place; and
programme output but also, crucially, the
to what extent these solutions are now
information which enables the user to make
deliverable and proven.
informed business decisions, which can provide
We’re seeing that this move to an all-software environment has had a fundamental effect on
real value. Accurate and timely data on the utilisation of resources, coupled with agile software which can rapidly redeploy resources,
‘For IBC2016 the hot topic will undoubtedly be IP’ Tom Gittins, Pebble Beach Systems
can deliver tangible ROI. But the relevance of collaboration is not restricted to the vendor/buyer relationship. In the pressured content delivery environment where ‘best of breed’ retains its relevance, end users still want to retain the ability to select the specific software solutions which deliver the functionality they require, for example, for version
potential and existing end users, enabling them
the vendor/end user relationship. The watchword
management, playout, high end graphics and
to evaluate the team as well as the technology.
here is ‘collaboration’, as there is an increasing
non-linear distribution. As the largest technology
Bring it on! At IBC2016 Pebble will be showcasing
awareness on the part of broadcast and media
showcase, IBC delivers an excellent opportunity
Orca, the software-defined virtualised playout
companies that, now more than ever, they are
for vendors to introduce new technologies, to
solution, alongside its range of playout
investing in an ongoing relationship with the
network and strengthen business relationships,
automation and integrated channel devices.
supplier and the individuals who work there, as
and to present the company and the individuals
The company will also be announcing a number
much as in the technology itself. As the
who work there as a partner rather than simply a
of new collaborations with other best-of-breed
broadcaster ventures into a new broadcast
supplier. It gives vendors crucial exposure to
software solutions. n
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TVBEurope
www.tvbeurope.com August 2016
Feature
Compelling future By Simon Spanswick, CEO, AIB
A
s we approach another IBC, it’s easy to
digital revolution change the consumer dynamic,
view of the market. It is, after all, in our name. We
say that we do so in a time of change.
with more ways to consume, use and share
see more traditional broadcasters together with
However, this year it is truer than ever; not
media, and constant increases in the demand for
start-ups turning to transnational broadcasting.
a drive to more mobility in markets.
Some aim to reach the diaspora in the most cost
only within our own industry, but also for society as a whole. We see a world troubled by social
The digital revolution has created fault lines in
effective way whilst others are exploiting
unrest, with conflicts from South Sudan to the
the financial models that have underpinned
South China Sea through to the eastern-most
broadcasting for decades. These are having an
borders of Europe. We’re witnessing political
impact on the central areas of programme
equipment costs tumble and increasing numbers
unrest and turmoil on an unprecedented scale.
development and content creation.
of IP systems are developed. Advances in
The media forms an integral part of this world
Taking this into account, we could consider
emerging digital ways to reach new markets. The cost of broadcasting continues to fall as
processing power and storage combined with
and is therefore subject to its fair share of turmoil.
that the future is simply too challenging and
ever growing, ever-faster telecoms networks
This comes on top of the continuing digital
difficult to comprehend to plan for. However,
allow broadcasters to do more with less. The
revolution that has rewritten the very processes
when we step back and examine the sector from
growth is good news for those selling their wares
and structures of broadcasting and media. At the
the starting point that broadcast media now play
at IBC. As long as they remember that the
same time, there is an ever-growing pressure to
an essential role in both our personal and
traditional broadcasting approach to technology
reduce the impact of our work on the planet. This
professional lives, we should be confident that the
needs to change and become more cost
makes us responsible for developing sustainable
future offers tremendous opportunities, perhaps
effective and fit into an IP world, they will be able
operations even at times when we are under
on a scale that we have not seen before. Within
to secure their place in the rapidly changing
great financial pressure. We have seen this same
the AIB we have always taken the international
media workplace. n
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19/07/2016 15:05
TVBEurope
August 2016 www.tvbeurope.com
23
Feature
Content are king By Michel Beke, senior vice president, product strategy, MediaGeniX
H
ow can an expensive hour-long quality
linear broadcasting with VoD, or free-to-air and
and repurposed for the new consumer will shape
programme compete with a 30-second
paid services with social media, or traditional TV
the future. But it is only viable to the extent that
video of a cat chasing its own tail?
sets with mobile devices? Big productions and
the broadcaster can efficiently combine
High-quality drama productions, talent
live events will continue to pull the crowd to the
platforms and devices, and optimally offer
competitions, current affairs and news still draw
TV screen. But by slightly changing the traditional
produced, acquired, user-generated and archive
people in droves to the couch in front of the
content lifecycle, it is possible to also produce,
content. That means handling the transmission
smart TV. But you can bet that at the far end of
repackage or repurpose content that is tailored
rights, paying artists, clearing music, preparing
the couch, there is a child (or adult) reading,
to specific platforms or audiences. This might
material, ensuring legal, financial and business
gaming, browsing or looking at something entirely
range from bloopers on social media to
reporting, and, generally, implementing back
different on a tablet. If content still is king, TV
interviews on a website, catch-up on your
office workflows that fully support this content-
anywhere, anytime and all other forms of media
telecom provider’s VoD platform, or making all
centric view in a comprehensive and efficient
consumption are rocking the throne. So how can
previous seasons available on Netflix. The wealth
way. This explains the desire for a flexible,
traditional broadcasters respond, survive, or even
of archive content that can be repurposed,
integrated and, most crucially, agile content,
thrive in this media revolution?
referenced or re-packaged, and the popularity
rights and scheduling system. It is this challenge
of short clips saved from the cutting room floor, is
that MediaGeniX is addressing, with the
techniques, and are present on multiple
staggering. This is the kind of content that can
development of its broadcast management
platforms, devices and services. But here is the
find a captivated audience and generally
system WHATS’On. So if it is true that content still is
question that many are struggling with: What kind
enhances the viewing experience. A content-
king, maybe we should say that the many
of content do you need when you combine
centric business model where content is created
incarnations of content are king. n
Broadcasters are embracing new distribution
www.asperasoft.com moving the world’s data at maximum speed
19 20 22 23 24 25 26 27 28 29 TVBE Aug16 IBC Feature_final HA.indd 23
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24 TVBEurope
www.tvbeurope.com August 2016
Feature
HDR: What happens next? By David Wood, consultant, EBU
H
igh Dynamic Range is one of the most argued-about potential features of the second phase of UHD-1, otherwise
known as ‘2160p plus’. Taking sides in the debate during the upcoming IBC will need more than Dutch courage. For those TV sets that will have high peak screen luminance, it will mean images with more ‘sparkle’. The quality improvement will be about one ITU quality grade and be viewing-distanceindependent, for images and TV sets that can make use of HDR. Including it in the features for the second generation UHD-1 makes good commercial sense. However, agreement on the best technical system to implement HDR has been more than slow. Does the world need a system that is essentially an extended version of the current SDR (Standard Dynamic Range) curve, and that will thus work on both HDR and SDR TV sets: the HLG curve? Or would a new curve, based on a perceptually optimised curve be better: the PQ curve? There are different views on the convenience of both, and on whether the public would actually notice the differences. The ITU-R agreed (July 2016) a draft Recommendation on HDR for programme production, which includes both HLR and PQ. The DVB Project is in the thick of discussions, ending later in the year, about what to include in the broadcast format. There are five proposals on the
‘Agreement on the best technical system to implement HDR has been more than slow’ David Wood, EBU
DVB table, one for using HLG directly, and a
Is the answer to put them all in the delivery system specifications and let the market decide the winner, or to just include one or more? There’s a lot riding on this, as we will hear at IBC,
series of proposals using PQ, some of which
for the success of UHD-1 and for the proponent
include measures to make it possible to
and put Humpty Dumpty, the full PQ HDR signal,
companies. See you at the show bar for at least
broadcast an SDR set-compatible signal,
back together again in the HDR TV set.
some Dutch courage? n
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August 2016
www.tvbeurope.com
ber 9 – 13 Septem 0 D3 h ot Hall 10, Bo
Can VR capture audiences? By Martyn Whistler, lead analyst, media and entertainment, EY
T
he latest innovations in virtual reality seem certain to be one of the most exciting and hot
topics at this year’s IBC. VR has become a conversation starter that has captured the imagination of the broadcasting industry. What remains
increasing amounts in dedicated
less certain is whether it will capture
facilities and programme production.
the imagination of audiences. We all acknowledge the
These innovations are genuinely exciting, but are they enough? For
increasing complexity of the media
those audiences with higher
industry, with more companies
expectations, success depends not
competing on a greater number of
only on something different, but also
platforms and devices while offering
on something engaging.
more formats and genres than ever
Today’s audiences are
before. By default, audiences have
accustomed to surrendering
become more discerning and, as a
personal data in a value exchange
result, expectations have gone
for more meaningful engagement.
through the roof. Media companies
They want media companies to
are being challenged by audiences,
‘know’ us and to deliver experiences
especially younger demographics, to
that are relevant, slick, free of friction
work harder to engage them. VR is
and engaging. The burgeoning
another weapon in their arsenal as
success of UHD works, at least in part,
they compete for attention and
because it enhances the audiences’
market share.
experience in a way that is
In 2015, VR investments exploded
New perspectives in broadcasting studios The latest version of the camera robot solution offers unlimited design possibilities and creates stunning images and unique camera movements. State-of-the-art engineering is combined with exemplary cost-efficiency.
unobtrusive. One of the criticisms of
and 2016 looks like being another
3D, and one of the reasons why it
bumper year. So far we have seen 76
stalled, is because it was simply too
deals in VR and augmented reality
disruptive to the viewer experience.
totalling $1.3 billion in deal value.
As an industry, we must ensure we
That’s alongside the countless billions
are not caught in a bubble, fixated
pumped into R&D by the world’s
only on the technical capabilities,
leading technology companies,
but instead build out a business case
some of which will be at IBC. By 2025,
that puts the audiences’ experience
the market for entertainment VR is
front and centre. I am a convert, a
forecast to reach $19 billion, a prize
true believer in the potential of VR:
worth shooting for.
I buy into the hype. It will change
At this year’s IBC, there are
Our robots in motion make your visions move
the way content is produced,
conference sessions dedicated to VR
delivered and consumed, but only if
and there are vendors showcasing
it can deliver the kind of experience
everything from drone-based VR
that today’s audiences expect.
cameras to plug-and-play ‘portable’
At IBC, if every other conversation
options, as well as capabilities for live
starts with VR, I hope it ends by
streaming in VR. At the same time,
concluding how VR enhances the
channels and networks are investing
audiences’ experience. n
19 20 22 23 24 25 26 27 28 29 TVBE Aug16 IBC Feature_final HA.indd 25
www.camerobot.com Camerobot Systems GmbH, Theodor-Schmidt-Straße 19, D-95448 Bayreuth Phone +49 (0) 921 883 0, Fax +49 (0) 921 883 3244, info@camerobot.com
19/07/2016 15:05
26 TVBEurope
www.tvbeurope.com August 2016
Feature
The unstoppable growth of pay-TV By Michelle Abraham, senior research analyst, media and communications, SNL Kagan
A
lthough the cord-cutter phenomenon is pressuring subscriber figures, the global pay-TV market is on track to reach one
billion subscribers in 2017, while pay-TV penetration is forecast to increase from 58.4 per cent at year-end 2015 to 63 per cent in the next five years, according to SNL Kagan. North America was leading the world with an 83.5 per cent pay-TV penetration rate as of year-end 2015. The region is followed by Eastern and Western Europe, which achieved 66.9 per cent and 62.8 per cent penetration rates in 2015, respectively. As OTT services grow and their subscriber numbers follow suit, more pay-TV providers are incorporating OTT services into their offer to maintain their customers. Cable is the dominant pay-TV platform in all
the regions, except Middle East and Africa, where DTH leads due to the lack of cable and fibre networks in much of the region. In the next five years, IPTV is projected to become the dominant pay-TV platform in Western Europe, whereas DTH should take the lead in Latin America. The global pay-TV economy generated $239.8 billion in video service revenues in 2015, with more than half earned by US pay-TV providers. Western Europe, the second-largest pay-TV
‘In the next five years, IPTV is projected to become the dominant pay-TV platform in Western Europe’ Michelle Abraham, SNL Kagan
operating in the cloud. This makes it less costly and requires less time to bring up a pay-TV or OTT service. • Unified search and discovery across linear TV,
economy, accounted for only 17.8 per cent
VoD, catch-up TV and any OTT services that are
of the global total in 2015. Asia is projected
included in the video offer, with
to overtake Western Europe as the second-largest
recommendations taking into account context.
pay-TV economy, due to the sheer size
and HDR. We are forecasting linear UHD services
• Less need for set-top boxes (STBs) with hard
of its market.
to grow to more than 230 in 2020 in addition to
drives as storage slowly moves to the cloud. The
the UHD content available on OTT services.
STB market has bifurcated into very high end
continuation of trends of the last few years at IBC:
• Rather than deploying on premise servers, video
media server/gateway products with storage and
• More equipment capable of UHD resolution
technology is offered as SaaS or PaaS, all
simple single video stream STBs. n
2016
On the technology side, we expect to see a
When everybody says they are “agnostic”… At Tedial
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Media and content management solutions designed to maximize business efficiency and profitability
We believe in
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19 20 22 23 24 25 26 27 28 29 TVBE Aug16 IBC Feature_final HA.indd 26
What do you believe in? E U R O P E · U S · M E A · L ATA M · A PA C
20/07/2016 12:42
TVBEurope
August 2016 www.tvbeurope.com
27
Feature
Content creation smorgasbord By Tom Lithgow, product manager, Bluefish444
T
he current broadcast and theatrical
deliverable meant targeting SD PAL or NTSC
supporting all new media standards as quickly as
presentation ecosystem is more diverse than
video, a theatrical 24p release, or possibly a low
possible, until they are no longer required. This
ever, even before we include interactive
resolution MPEG for the web.
commitment requires substantial R&D investment
media such as AR and VR content. The diverse landscape of technology and deliverables include UHD, high frame rate, high dynamic range, 3D video content, object based audio and interactive media platforms. This extensive variety creates equal challenges for both the manufacturer supporting these deliverables and for the professional video artist. The developer of content creation tools might
The floodgates have now opened to the immense possibilities created by the way video
‘The current broadcast and theatrical presentation ecosystem is more diverse than ever’ Tom Lithgow, Bluefish444
ask; ‘What do users of my product need from the
A content creation professional may consider;
professional toolset to those on the frontline of production, a rewarding task. Bluefish444 has deployed hardware and software solutions into workflows supporting 4K UHD, 4K HFR and 4K HDR video IO. A widely adopted software development kit enables integration of professional video, audio and data interfaces to an array of content creation tools supporting SD to 4K UHD workflows.
tools I provide? HDR, real time 4K, HFR, VR, 3D?’ The list goes on.
and for those companies providing an advanced
Bluefish444 has invested in supporting the latest and audio is acquired, to the way that standard
technology and industry deliverables with SDI I/O,
computing hardware can process video, audio
and at IBC2016 will announce the next evolution
‘What is the final target of my content? Does it
and 3D data. These acquisition and processing
of this commitment, enabling our customers to
need to be accessible on all of these new media
advances would have been inconceivable only
reach toward goals that they can identify today,
frontiers?’ Gone are the days when creating a
a short time ago. Developers are tasked with
and tomorrow. n
19 20 22 23 24 25 26 27 28 29 TVBE Aug16 IBC Feature_final HA.indd 27
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28 TVBEurope
www.tvbeurope.com August 2016
Feature
Connecting the dots: IBC, IP and the evolution of connectivity By James Stellpflug, VP, product marketing, EVS
I
t’s that time of the year again: IBC is quickly
be used now to benefit certain elements of
approaching, and the question that’s already
production workflows, rather than looking for
on everyone’s mind is: where will we be this
options to replacing entire infrastructures.
year when it comes to new technologies?
As the show gets closer we expect to see the
Leading up to the show, there’ll be plenty of
theme of connectivity really pushed. We’re going
continue to see vendors presenting proprietary IP
products launched, technology developed and
to see how SDI and IP can be utilised together to
solutions as membership to industry groups like
ideas shared. Then, next month, the entire
make production solutions faster and more
AIMS continue to grow.
industry will come together to see what’s
efficient through better connectivity.
changed and what’s new.
So, this is what I think we’ll be seeing at IBC this
Over the past year, many IP-enabled projects
The alliance has encouraged a lot of more open and interoperable solutions so
year. In the past, there have been a lot of
inter-vendor demonstrations will remain a
and solutions have continued to evolve to the
suppliers showing end-to-end solutions. but this
highlight of the show.
point that we’re going to see something new
year, I expect a lot of hybrid, IP-alongside-SDI
emerge. Everyone is aware of the benefits that IP
solutions to enhance the current workflows rather
seeing the IP evolution happen. The live
brings, but increasingly the industry’s production
than replace them. For those able to invest in
environment must be a connected one and
teams have started asking how it can practically
entirely new workflow installations, we will
IBC2016 is going to be all about connectivity. n
Interoperability is, after all, one of the keys to
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19 20 22 23 24 25 26 27 28 29 TVBE Aug16 IBC Feature_final HA.indd 28
20/07/2016 11:01
TVBEurope 29
August 2016 www.tvbeurope.com
Feature
IBC2016: The race is on T
By Laura Barber, director of field marketing and publicity, Elemental Technologies
his year at IBC, the 4K 4Charity Fun Run is
The mission of Heifer International is to end hunger
common: people. Both empower individuals to
once again promoting wellness, networking
and poverty and to care for the earth. For over 70
work together, form partnerships and leverage
and charitable giving in a casual, relaxed
years, we have helped more than 25 million
their numbers and voices for deep impact.
(albeit adrenaline-fuelled), environment.
“As individual runners and sponsoring
Registrations have doubled for each event since
companies, the people that participate in 4K
2014 and total donations exceed a quarter of a
4Charity are helping families and communities
million dollars to date. The sponsors for this year’s
become self-reliant. While you build community
run and walk event include Aspera, an IBM
at the Amsterdam event, you’re enabling others
Company, Verimatrix, Dolby, ChyronHego and
around the world to do the same, in lasting and
Xstream, and media partners Rapid TV News and
transformative ways.
TVBEurope parent company NewBay.
“All Heifer programmes include a unique
Proceeds will be donated to Heifer
practice known as ‘passing on the gift’. Each
International, a global charitable organisation
family that receives an animal gift passes on the
that helps bring sustainable agriculture and
offspring and training they received to another
commerce to areas with a long history of poverty; and Jeugdsportfonds, a local Amsterdam-based charity that offers sports opportunities to children aged four to 18 whose families do not have the financial resources to pay for an athletics club membership. Eliza Penick, community engagement coordinator at Heifer International, shared her thoughts ahead of the event, and offered a
“While you build community at the Amsterdam event, you’re enabling others around the world to do the same, in lasting and transformative ways” Eliza Penick Heifer International
deeper insight into the charity’s aims:
family in need. The act transforms recipients into donors, creating an expanding network of hope and opportunity. It also means that your original donation, at minimum, is doubled in its impact. “The 4K 4Charity Fun Run Series is an amazing example of what people can do together and an embodiment of what passing on the gift is about. Each of you, as you walk, run and donate, are passing on your gift and helping to end hunger and poverty.
“I had the honour of representing Heifer at the
“We believe that together we can change the
4K 4Charity Fun Run at the 2015 NAB Show and
struggling families find hope and opportunity by
can personally attest to the camaraderie, and to
providing livestock and training in both
even more selfies. We are so thrilled and grateful
environmentally sound agriculture and
Saturday 10 September at 0730 in Amstelpark,
to be joining you again for the 4K 4Charity Fun
community development. The 4K 4Charity Fun
Amsterdam, conveniently located a short walk
Run at IBC2016. Look for us in the cow hats!
Run and Heifer International have one big thing in
from IBC venue, the RAI. n
The 4K 4Charity Fun Run promotes wellness and networking, in an adrenalinefuelled environment. The charity event will take place at Amstelpark, Amsterdam
world. Let’s run hunger into the ground.” The 4K 4 Charity Fun Run will take place on
30 TVBEurope
www.tvbeurope.com August 2016
Audio
In association with
All eyes on Amsterdam If the past year is anything to go by, the forthcoming IBC exhibition and conference should herald an abundance of exciting new audio developments, writes David Davies
I
t would be impossible to claim
will impact on workflow and content
and 3D spatial representations
high quality that consumers rightly
that the 12 months since the
management, the session will begin
supporting immersive sound systems.
expect.” The concept has already
last edition of IBC have been
with an examination of IP audio
Whilst it is clear that immersive
been adopted by a number of
anything but highly eventful in the
production ‘which will recommend
audio for broadcast is at a very
broadcasters, notes the company,
audio world. On the one hand there
a new IP-based facility control
early stage, these sessions should
including Input Media in London
have been strong signs that we
structure together with dynamic
provide some firm ideas about
and the ARD Tagesschau television
are about to enter a new phase
allocation of production resources’.
how these technologies might
news service in Germany.
of mixing and production thanks
The far-reaching session will also
be applied in the next few years,
Jünger Audio’s CEO Peter
to the arrival of immersive and
address ‘novel ideas and innovative
as well as highlighting some of
Poers comments: “Auto-Level,
personalised audio technologies;
workflows in multilingual production
the challenges that will arise for
Auto-Upmix, Auto-EQ, Auto-MIX,
on the other there have been
which have already been
workflows and production practices.
Auto-Loudness, Codec System
some formidable individual
prototyped and applied by a global
product releases that attest to the
news organisation,’ before moving
Meanwhile, out on the show floor, IBC visitors should expect the
robust health of the sector’s R&D departments. If one was to single out a few specific developments, these might include: the continued roll-out of Dolby Atmos; multiple showcases for the MPEG-H 3D
Metadata Management: the intelligent combination of all these Jünger Audio adaptive algorithms
‘IBC2016 looks to be a landmark show as manufacturers strive, and succeed, to keep pace with the enormous underlying changes ushering us all into a new era of broadcast audio’
audio coding technology; and the
will create the solution that delivers Smart Audio, and programme loudness will also automatically match, as expected.” To highlight this concept, Jünger Audio will be showing its full
ongoing adoption of the AES67
range of D*AP products that can
AoIP standard and/or Audinate’s
on to an analysis of how audio may
usual abundance of major product
deliver a Smart Audio experience
Dante media networking
be used in immersive storytelling ‘to
launches. The first flurry of press
because every device already
technology, with the latter recently
stimulate emotional responses’.
releases was just beginning to come
incorporates a collection of these
through at the time of writing, with
adaptive processing algorithms.
another conference session, entitled
Jünger Audio and Nugen Audio
They also employ the industry-
‘Advanced technologies for audio
among those making intriguing pre-
standard Ember+ remote protocol
many of these trends to be
in association with IEEE BTS’ (1100-
show announcements.
that facilitates integration with
reflected both on and off the
1300), also promises to deliver some
show floor. Indeed, one particular
tantalising hints of the broadcast
the news that the company will
conference session, ‘Advanced
soundworlds to come.
demonstrate its Smart Audio
passing the 300-manufacturer, 750-product milestones. At IBC2016, one can expect
ideas in audio production’ (12
Taking place on the same day,
The focus here will be to look at
From Jünger Audio comes
an increasingly wide range of compatible equipment. Nugen Audio is among the other
concept throughout IBC. In the
technology developers to have
September, 0830-1000), looks
new audio system technologies for
firm’s own words, Smart Audio
made an early start on its IBC2016
set to combine many of the key
both UHD TV and cinema platforms,
“means investing in simple, reliable
announcements. Its show highlights
threads. Devised to examine
with expert speakers set to review
and predictable equipment that
will include the AMB (Audio
three new influences on audio
the latest standardisation activities,
can automatically deliver audio
Management Batch) processor,
production and look at how they
delivery and playback techniques,
content while maintaining the
which is a new solution based on
30 32 TVBE Aug16 Audio_news_v2 HA.indd 54
20/07/2016 12:32
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32 TVBEurope
www.tvbeurope.com August 2016
Audio the concept of the company’s Loudness Management Batch (LMB) processor. Through new features such as threaded algorithm
In association with
News update NEP using Dante in latest OB truck
processing and multiple processing threads that are addressable for simultaneous parallel handling of files and queues, AMB will enable post facilities to speed workflows and reduce delivery times. Jon Schorah, founder and creative director of Nugen Audio, comments: “We developed AMB in response to customer demand for increased flexibility, more processing power, and scalable access to expanded capabilities. With AMB, our customers will have access to a broader array of Nugen Audio’s award-winning processor technologies, all designed to radically speed up workflows. We encourage IBC attendees to visit our booth and hear more about our integrated services as a key provider of batch file audioprocessing solutions.” Also on show will be an upgrade of the Halo Upmix software for upmixing stereo audio to surround.
NEP’s latest OB truck Pacific was used at Wimbledon this summer
audio to higher channel counts,
W
including LCR to 5.1, 5.1 to 7.1, and
UHD vehicles that are due to launch
7.1 to 9.1. The 9.1 option allows the
between now and October, with
provide the interface between its
introduction of vertical positioning
the entire quartet set to feature
comms system and its Calrec
of the brave new world of audio
into the upmix, generating a
largely similar specifications, the
consoles, giving it the increased
set to be reflected at IBC2016, and
7.1.2 (Dolby Atmos) bed track-
aim being that personnel can work
compatible upmix.
easily in all of them with a minimum
The latest version of Halo Upmix adds a new set of algorithms for upmixing from multichannel
According to Nugen Audio,
imbledon 2016 witnessed
console which NEP Visions has
Calrec’s knowledge and support as
one of the first major
installed to take advantage of the
they move into an AoIP future.”
outings for NEP’s latest
Dante implementation supported
OB truck, Pacific. It is the first of four
of readjustment.
by Calrec consoles. “NEP Visions is using Dante to
VR and AR audio event set for the autumn This month’s main feature speaks
there will be another opportunity to
‘The truck continues NEP’s long association with console maker Calrec’
peer into the future at the inaugural AES Conference on Virtual and
this capability provides users with
Genelec monitors and Telex
greater flexibility for high-quality
intercoms are among the integral
archival restoration, content
components of Pacific’s audio
repurposing, post production, and
section, whilst the truck also
the 141st AES Convention at the Los
sound design.
continues NEP’s long association
Angeles Convention Center’s West
This is no doubt the tip of the
with console maker Calrec. Jim
Augmented Reality. Taking place on 30 September and 1 October, the event will be co-located with
Hall Focused on the AR/VR creative
iceberg when it comes to the new
Green, international sales manager
flexibility this AoIP technology offers.
process and product development,
launches set to grace IBC2016.
at Calrec, spoke to TVBEurope
Many of our customers are using
the conference and manufacturer’s
But the early indications are that
about the latest chapter of its
different AoIP formats and it’s
Expo will showcase a range of
for the audio community it will
history with NEP. “NEP Visions
important that as a manufacturing
research institutions, developers
be another landmark show as
purchased four identical 56f Apollo
partner we are able to help them
and vendors who are providing
manufacturers strive, and succeed,
consoles for their new fleet of UHD
leverage this technology, whatever
immersive spatial audio for VR and
to keep pace with the enormous
trucks; Pacific is the first to become
the format. It’s vital that
AR media, “demonstrably one of
underlying changes that promise
operational and is already on the
broadcasters and facility providers
the fastest-growing segments of
to usher us all into a new era of
road. The truck is fully 4K capable,
such as NEP Visions can be
the entertainment audio industry,”
broadcast audio. n
and interestingly is the first Calrec
confident that they’ll benefit from
according to the organisers. n
30 32 TVBE Aug16 Audio_news_v2 HA.indd 55
20/07/2016 12:32
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34 TVBEurope
www.tvbeurope.com August 2016
Feature
TVBEurope 2020: Conversation and collaboration After the successful inaugural summit in 2015, TVBEurope 2020 returned to BAFTA, London, where dialgoue focussed on the current state of broadcast industry, and what’s needed going forward. Holly Ashford reports, in the first of a two-part series
T
VBEurope 2020 took place just days after the UK’s historic Brexit decision, and against a backdrop, said NewBay content director
and TVBEurope editor in chief, James McKeown,
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TVBEurope
August 2016 www.tvbeurope.com
35
Feature “littered with themes of annexation, separation
Tagsmart and non-executive director of
taken place in the industry: the definition of a
and isolation”. In the face of contemporary
theLADbibleGroup. Toumazis outlined four
subscriber, he said, has shifted from someone
events, our flagship conference offered an
areas which the broadcast industry needs to
who regularly pays for something, to someone
opportunity to focus “less on matters of division,
consider, “to prepare themselves for some
whose commitment might only amount to
but on that which unites us: the common ground
of the challenges which are taking place.”
the occasional email; a channel can now be
of collaboration that promises to smooth the way
Toumazis also highlighted changes which have
defined as “two minutes of content on YouTube”;
to a new era of IP enablement.” The IABM’s John Ive again proved a diplomatic and knowledgeable conference chair, demonstrating his continued efforts to support platforms for discussion and cooperation.
“The quality of television has never been as good as it is today” Tom Toumazis MBE, TVbeat, Tagsmart In his opening speech, he echoed McKeown’s direction and remarked on the need for industry collaboration, a theme which permeated speeches and panel sessions throughout the day. He opened the conference with an overview of the broadcast industry, or “broadcast and media industry”, so-called because the market “is so much more than broadcast now”. Following an historic battle between cinema and television, the industry is now seeing a “third wave” of new media, which contrasts starkly with what has gone before. It is “more niche, younger, more on-demand, higher value per user, with an emphasis on mobility” and, rather than broadcasting to a mass audience, offers more focussed coverage. So, has the broadcast industry been bowled over by the wave? “We’re going through one of the biggest changes in many decades,” said Ive, “this is not evolutionary, it’s very revolutionary and disruptive.” Every aspect and every person in the industry is affected by this “radical change” in broadcast, and the only way we are able to get through it, said Ive, is through collaboration, not only between different vendors and between vendors and end-users, but by fostering a “much broader-based collaboration.” This is a key goal of IABM, which launched its industry collaboration scheme at NAB this year, and has recently counted AIMS as its first endorsed organisation.
Data, media agencies, fragmentation, consolidation Introduced by Ive, and discussing the role of broadcasting in this new media era was Tom Toumazis MBE, chairman of TVbeat and
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36 TVBEurope
www.tvbeurope.com August 2016
Feature and a viewer, according to the streaming service, is now someone who tunes into “three seconds of continuous viewing”. First of the four areas outlined by Toumazis was the paucity of data and the insufficient methods of audience data gathering. “Who’s watching the commercials and what are they doing when they’re watching the commercials?” he asked. “Those are the two fundamental questions that brands, advertisers, agencies, are seeking to try and discover.” The “incredible rise” of media agencies over the last decade or so also poses a challenge, according to Toumazis. We are now seeing just six global media agency groups “delivering better margins than most media companies.” The agency world is getting
Tom Toumazis MBE, TVbeat, Tagsmart, The LADbible Group, warned of four challenges which the industry needs to be prepared for
stronger, he continued, with such organisations diversifying, recognising the potential of digital, and investing enormous sums in being “smart and efficient”, in advertising technology services, and in arbitrage. Third in his list of challenges is fragmentation. Toumazis credited the industry with creating
“It’s important to take content and not to be obsessed with the length” Justin Dewhirst, Bloomberg Media EMEA
will result in a reduction in pricing.” Finally, the industry needs to see more consolidation, which Toumazis predicted will occur in the broadcast industry throughout Europe, and even mooted
a “fantastic” multi-device, catch-up viewing
the union of Amazon Prime and Netflix as “the
experience, but warned that “fragmentation
perfect merger”.
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34 35 36 38 39 40 41 42 TVBE Aug16 2020Feature_final HA.indd 56
19/07/2016 15:12
Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam
IBC2016 Conference Speakers Announced Transformation in the Digital Era
Keynotes:
Sir Martin Sorrell CEO, WPP
Erik Huggers President and CEO, Vevo
Featured Speakers:
Shahrzad Rafati Founder and CEO, BroadbandTV
Dominique Delport Global Managing Director, Havas Media Group
Alex Mahon The Foundry Content and Production
Alex Green Amazon IBC Leaders’ Summit
Kevin Baillie Atomic Fiction IBC Big Screen Experience
Spencer Stephens Sony Pictures Entertainment Business Transformations
Hendrick McDermott NBC Universal International Platform Futures
Sara Johnson Keshet UK Content and Production
Register now at IBC.org/register
#IBCShow new tvbe template remade.indd 1
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38 TVBEurope
www.tvbeurope.com August 2016
Feature
(l to r) Figures from YouView, Channel 4, and Bloomberg Media join conference chair John Ive and keynote speaker Tom Toumazis MBE to discuss the evolving content ecosystem on the first panel session of the day In the broadcast business, it is these issues which
niche content as a service differentiator, and the
has always made short-form elements of long-
“keep me up at night”, he admitted, yet the
tactic of creating original content to stay ahead
form shows, he said, but is now looking at online
industry has shown resilience and growth, with
of the competition.
short originals. “We started producing those a
the calibre of content proof of this. “I think the
The first of the issues addressed by Toumazis
couple of years back,” he said. “It’s been really
quality of television has never been as good as
was raised again in the session by Simon
important for us, as it’s allowed us to experiment
it is today”, Toumazis continued, and despite
Cook, commercial director, YouView, who
with creative concepts and new producers
facing competition from stalwarts like soaps,
commented that, “data is going to be key to
which might not naturally fit with long-form
reality TV and sport, quality content – he gave
understanding all of this going forward.” The
channels.” Where originally broadcasters may
Breaking Bad, House of Cards and Game
need for diversification was also a topic of
have used the online domain as a platform for
of Thrones as just three examples – “clearly
the conversation, and in particular the way
catch-up services, now “it’s more about online
continues to play an enormous card in the way in which you can sustain audiences and monetise.” Consolidation and continued investment in the industry has also been in evidence. ITV has acquired a string of distribution businesses,
originals, live, boxsets, a much wider offering
“The TV product is still incredibly resilient” Keith Underwood, Channel 4
among them Talpa Media; Liberty Global has
for consumers.” Although “the [traditional] TV product is very resilient”, continued Underwood, Channel 4 ike many broadcasers, has seen a convergence of its online and linear departments in the company’s structure. For Justin Dewhirst, general manager,
acquired Virgin; Virgin itself acquired TV3; and
Bloomberg Media EMEA, experimenting with
Sky has brought together its UK, Germany and
traditional broadcasters are moving into the
programme lengths is a far from novel technique;
Italy operations. These are all examples, said
online, on-demand domain. “The customers
this is an area the company has always had
Toumazis, of how businesses have diversified in
don’t see it as any different, they see it as
more flexibility with. Two years ago Bloomberg
order to survive and thrive.
‘content’” said Cook, who introduced his
Media invested in a full team of digital video
YouView aggregator service to the TVBEurope
producers, which is “really focussed on the short-
A new (all IP) world
2020 audience: “we merge broadcast content
form side of things”, Dewhirst explained.
Toumazis’s opening keynote was followed by
with IP content and present it seamlessly”.
a panel session, which asked ‘Who are the
Similarly, Keith Underwood, director of strategy
Toumazis sees being equally flexible with programme lengths as a future route for other
content stakeholders in an all IP world?’ The
and technology, Channel 4, explained the hybrid
broadcasters to take in order to satisfy the
session focussed on how the traditional content
nature of the broadcaster’s online offering, All4,
changing demands of consumers. A traditional
ecosystem is changing to reflect the shift in
which offers short-form content alongside more
one-hour television programme, he said, has
consumer content consumption, the idea of
traditional long-form programming. Channel 4
a certain amount of content which could be
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TVBEurope
August 2016 www.tvbeurope.com
39
Feature removed, for example either side of commercial
for its advertising partners, Underwood claimed.
breaks. “If you found a way of expressing [the
Channel 4 has undergone a transition from
programme] in ten to 15 minutes,” he said,
traditional broadcast to online as a result of the
and analytics, are content providers now
“then the broadcaster can move away from
data capability it has developed, and is now
spending significant amount of their budget
the traditional broadcast world.” He continued:
“able to really trade these analogue pounds and
on data and intelligence systems? As Toumazis
“You may be able to create three kinds of forms
add to them with digital pounds”. Data, as Cook
pointed out, “it’s all fine having a box, but its
commented at the panel opening, really is key. Because of the significance of data gathering
of the same programme”: a one- to two-minute, seven- to ten-minute, and traditional 20-minute version. For Dewhirst on the other hand, it is less important to “obsess” over length of content, and more important to focus on “the format in which people are viewing.”
Choosing a partner
HALL 10 B12
The form of content distribution is a significant factor in Bloomberg Media’s business model, said Dewhirst, as well as “choosing and working with the correct distribution partners” to determine the best route to the audience. The consolidation of publishers has meant that “the distribution opportunities that present themselves
“AIMS is not about making money, more about collaboration in the industry” Andy Warman, AIMS now are significantly larger and potentially more complex than they were ten years back” he continued. Channel 4 has a “strong partnership” with YouTube, said Underwood, and was one of the first broadcasters in the UK to be featured on the service. The distribution platform “offers many advantages” he said, however, for “someone who’s investing a lot in content”, one challenge remains: “the price and the revenue share back to the platform.” As Toumazis pointed out, despite broadcasters experimenting with platforms like YouTube to distribute content, they are now starting to ask: “what’s in it for us commercially?” and concluding that “perhaps we’re giving another business an opportunity to grow, but not necessarily us.” Instead, it is now broadcasters themselves who are creating their own distribution platforms, and partnering with different content creators. Underwood commented that Channel 4 is working to evolve All4 as a “destination of choice for our content providers”, as well as allowing advertisers to gain
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40 TVBEurope
www.tvbeurope.com August 2016
Feature what you do with that information, how quickly you process that information, and insert a commercial message so you can monetise it”, which really grows a business. It’s an area Channel 4 has been investing in “for about six or seven years”, and which has included the creation of “a team of data scientists”. It is this, Underwood said, which is
“Niche is no longer a dirty word, it’s an additional source of revenue” John Ive, IABM
“driving real value for us as a business”. Cook agreed, and commented that most of the investment is “not in the technology, in the set-top boxes” but in “processing the data, understanding the data, applying data science to the data.”
(l to r) Jean-Baptiste Lorent, TICO Alliance; Peter Brightwell, BBC R&D, AMWA Networked Media Incubator; Felix Poulin, EBU; Andy Warman, chairman of the AIMS marketing working group; and conference chair John Ive
Is niche a dirty word? In his opening remarks, panel chair Ive
and multimedia, companion services? Channel
“you just can’t control the viewer” according
commented that “niche is no longer a dirty
4 has been using online services to “enhance
to Toumazis. Interaction, he said “is happening
word”, but instead an additional source of
shows” for some time, said Underwood, however,
on a second screen through social media,
revenue. So is niche content the future for smaller
he sees the second screen as “something all
predominantly through Facebook and Twitter.
players in a content driven ecosystem? Dewhirst’s
broadcasters have tried and worked with”, and
The viewer is saying, ‘I don’t want you to
Bloomberg Media is “highly diversified across the
which has reached and gone over a “hype
prescribe to me the environment in which I’m in
portfolio: radio, web, apps, magazines”, however,
curve” a few years back, and is now “starting to
a conversation with you’; they want to have a
these all focus on one piece of the content
settle down”.
conversation with their own friends.” In addition
spectrum: financial news and business. This is
Some shows are more suited to second screen
to this, and strengthening Underwood’s comment
clearly a successful business model for the
applications than others: “I think that idea
on combining services and show formats: “when
news publisher: “we’ll stay focussed on the
that every single show has to have within it an
it doesn’t work, its awful” said Toumazis.
niche”, he confirmed.
embedded twitter feed, a voting application or similar, was something we thought was going
Setting the standards
incumbents, perhaps stealing viewers away
to happen a few years ago, but clearly isn’t.”
Mid-way through the day at TVBEurope 2020
from services offering a miscellany of content?
Underwood continued, “for the right shows and
things turned “a little bit more techy”, when
Not so Cook, who commented that, from the
content formats I think it can work, but it has to
Ive introduced a panel session on ‘Setting
perspective of YouView, if a niche content
be seen as embedded into the editorial and
the standards for the industry’s future’.
provider approaches them, “great: we can offer
really work with the creative of the show.”
Representatives from a number of industry bodies
Does the rise of niche providers worry the
them a platform where they maintain their brand
For Dewhirst, however, the second screen is
delivered a presentation detailing how these run,
[and] we can provide data back to them.” In
an integral part of Bloomberg’s offering: “we’ve
fact, it may be that services like YouView actually
always had a companion screen, it’s called the
and provided an update on their initiatives.
contribute to the success of niche content
Bloomberg Terminal”. The purpose of Bloomberg’s
during the session, in which Andy Warman,
providers, as signing up for a proliferation of such
media offering is in many ways a device to
chairman of the AIMS marketing working group,
services individually is dependent on viewer’s
encourage people to take up that companion
explained that the trade alliance is “not about
willingness to spend money: “people only have a
screen, he explained, because the Terminal is “a
making money, but about collaboration within
certain amount of money”, Cook points out, and
significant source of revenue” for the company.
the industry: vendors, end users, broadcasters,
“you can only pay £2.99 to a certain number [of
Only a few years back the phrase ‘second
The theme of collaboration cropped up again
manufacturers.” AIMS does not create standards,
screen’ abounded at every industry event and
rather “we leverage the work of others”,
conference, and Toumazis admitted that he had
continued Warman. “Standards can be a little bit
when the floor was opened up to questions
expected the second screen world to “really
vague in places, can be interpreted in different
from the audience, one delegate asked about
build”. The lack of sustained interest in many
ways, so we use a referencing architecture
whether there was a future for the second screen
companion services though is evidence that
approach and make sure we have proper
niche providers]”. From multiple providers to multiple services:
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41
Feature interoperability and things are running smoothly.
Felix Poulin, senior project manager, EBU, gave
In terms of what it takes to have widespread
TVBEurope 2020 delegates a comprehensive
adoption, we see it as three components:
overview of the Joint Task-Force on Networked
technical operations, driving of market
Media (JT-NM), whose mission is to drive the
awareness and enough momentum in the
development of open interoperability, and
industry, and enough companies implementing
work with organisations including SMPTE and the
the same set of standards to make that work.”
Video Services Forum (VSF) to coordinate this.
AIMS operates on a basis of collaboration and
He shared the body’s JT-NM roadmap of open
“the key thing” is that everyone involved “has a
interoperability, which he admitted is “a living
common goal”.
document”, open to change. Its goal for IBC this
He explained, “While we perform different functions and each group performs different roles, we’re a partnership. Ultimately it’s a group of entities working together, to deliver the right solution to aid the SDI to IP migration.” The group’s priorities include forwarding interoperability of SMPTE 2110 technologies
year is to continue experimenting with IP and
“We come from a very static industry in terms of standards” Jean-Baptiste Lorent, TICO Alliance
through closed door, engineering-focussed events, as well as with demonstrations to
34 35 36 38 39 40 41 42 TVBE Aug16 2020Feature_final HA.indd 60
the public. There will also be “a lot of things
to ease remote production. Its missions stretch
happening on education”, the addressing of
to IBC2020 and beyond, and include finding
technical GAPS as identified by the technical
more flexible and efficient workflows and new
working groups, and “building more momentum”
format support like mezzanine compression, and
by getting newer companies involved.
supporting virtualisation and cloud architecture.
19/07/2016 15:15
42 TVBEurope
www.tvbeurope.com August 2016
Feature
The IABM’s John Ive enjoys a post-conference drink with delegates, after returning to TVBEurope 2020 as conference chair Jean-Baptiste Lorent of the TICO Alliance
transport format and addressing some of those
the world of software and software adoption,
admitted his organisation is slightly different than
parts of the JT-NM model that aren’t yet in
which is moving faster than standards. Lorent
the others on the panel because “the focus
place.” There are “about 40 names” involved
commented that the industry is “very static” in
(of the organisation) is on compression” and
at the moment, according to Brightwell, who
terms of standards, and that to move forward
finding “a good alternative to uncompressed
come together every three months to hold a
requires “an act of balance between the good
video”. Also of importance is “the move from HD
closed workshop and produce a summary of the
old static organisation and a totally organic
to 4K and the move from product to services,
software world”.
hardware to software,” he continued. “We are looking after technology that can be easily upgraded in existing systems and in the future to move to virtualisation in the data centre, and very low latency.”
Brightwell described SDI over IP as “an interim
“The network and the broadcast people need to work together” Felix Poulin, EBU
Closed workshops, open standards
solution”, and as such, there may be a risk that we will see a dip in the market, with people reluctant to invest in SDI because “it’s yesterday” said Ive, and “the building blocks are not possibly there for this brave new world.” Software-oriented products will give a
Peter Brightwell partook in the discussion “wearing
company most leverage, responded Warman, as
two hats” as both an end user working for BBC
event. The business of standards is technical and
they’re upgradeable and “the software route is
R&D, and as chair of AMWA Networked Media
the process of implementation time-consuming.
going to give you the most flexibility.” The key to
Incubator. The BBC has been doing some proof
Asked about AIMS’ position and relevance in
forwarding the technology and interoperability
of concept tests recently, taking advantage of
the industry, Warman responded that “we know
required for transferring video over IP? “The
a new building in Cardiff, where there has been
that certain technical recommendations will
network and the broadcast people need to
some initial work “looking into how suitable the
become standards, so rather than wait for a
work together,” said Poulin. “It’s very hard at the
IP market is at the moment.” Wearing his other
standard to be completed, we know directly
beginning to all talk the same language, and
hat, he explained that the idea of the Networked
where we’re going, so we’ll actually implement
they don’t understand how to fix the problem,
Media Incubator is “to compliment what’s going
that. We’re not going to wait.” AIMS aims to
what are the requirements.
on elsewhere in the industry, both the standards
stay ahead of the standards process and “have
area (the alliance side of AIMS) and compliment
solutions that deliver at the point where the
term there will be the need to work together. It
what’s happening in the VSF group, the specific
standards complete.” This is in great contrast to
will be challenging, but it works.” n
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“But the learning here is quite quick. In the short
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43
Feature
Running parallel to the presentations and panel discussions in BAFTA’s main theatre, was a breakout Technical Masterclass Track
At the cutting edge with the masters This year’s TVBEurope 2020 offered new kinds of sessions for those who wanted to drill down into the big issues. Neal Romanek reports
T
They have a lot of on-prem technology which works well for them, but if there’s a sudden ramp up, they can’t cater for it with what they have available there. But using the cloud, they can
his year’s TVB2020 conference expanded
thinking, then the benefits of cloud and what
burst whatever spare capacity they need for the
on the success of last year’s show with an
cloud can offer you are completely missed. You
time they need it.”
extended content offering. Running parallel
might as well have a private data centre, you
to the presentations and panel discussions in BAFTA’s main theatre, was a breakout Technical Masterclass Track.
don’t need to have it at Amazon or Microsoft.” Cloud has its own set of benefits quite beyond storage, one of the main ones being scalability
The masterclasses focused particularly on that hard-to-clearly-define technology that is getting increasing traction with the media industries: the cloud. The first session, ‘Working with the cloud’, featured a discussion between Greg Hoskin,
with millions of servers around the world linked to form an ever available resource like electricity or water, the price of which drops as it becomes
‘The “fun stuff” of the cloud is the ability to work anywhere, anytime and collaborate with different creative teams’
managing director EMEA/APAC of Signiant; Ben
more available. To Foakes the “fun stuff” of the cloud is the ability to work anywhere anytime and collaborate with different creative teams over different time zones. The cloud helps to remove the burdens of physical media having to operate
Foakes, managing director of BASE Media Cloud;
in physical locations.
and Steve Plunkett, CTO of broadcast and
and the ability to access storage and computing
media services at Ericsson.
power flexibly and on demand.
“One of the myths I come across is people
Foakes, of BASE Media Cloud pointed out that cloud is sometimes referred to as the “fifth utility”,
“Over the last year we’ve had one customer that transferred 75TB of data every month across
“For the sort of people we’re talking to that
out network,” said Foakes. “That’s 1,500 hours of
think the cloud is just storage or just virtualised
flexibility is key. They can’t predict how much
HD content. They used to send drives via courier
data centre in someone else’s facility,” said
storage they’ll need on their ingest server or
or fly them around. They’re saving £25,000 a year
Signiant’s Hoskin. “If you just stick with that
how much they’ll need on their outgest server.
just in transport costs.”
43 44 TVBE Aug16 Neal2020 Feature_final HA.indd 54
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44 TVBEurope
www.tvbeurope.com August 2016
Feature Ericsson’s Plunkett said that though increased
especially broadcasters. They have to deliver
origination can be done in the same way.” Veset
storage may be the first benefit people see in
at low cost with greater flexibility and with a
uses software by Zixi which provides a software
the cloud, it’s the ease of access to computing
technology that is future proof. Veset believes
only managed service which picks up the feed
power that is the hidden benefit.
that cloud is the answer, with its promises of
created in playout and transports it over the
scalability, reliability, and speed.
internet. Zixi solutions are specifically designed
“Software developers in my group can essentially bring up their own data centres while
One of the key benefits Krol sees in using the
for broadcasting. Veset also employs Akamai
they’re testing applications. You’re closing
cloud for playout is the ability for a content
Octoshape. “There are quite a few providers
the gap between the infrastructure and the
provider to quickly spin up a channel and
that have this software only approach,” said
people who are writing the applications and
provide an offering with relatively little cost,
Krol. “You always need to have something at
make use of it.
certainly far less than the gigantic outlay for
the head-end to receive it, but there are several
And that quickly changes how easily you can release new features, new services and new software capabilities.” But Plunkett reminded the room that using the cloud efficiently may require some reschooling. “You have to behave very differently. You have to treat the cloud, whether public or private,
ways of doing it.”
“You have to treat the cloud very differently from your traditional on-premises infrastructure” Steve Plunkett, Ericsson
very differently from your traditional on-premises
“We had a customer last year,” said CTO Gailis, “who went from one channel to seven channels, all redundant, and then went back to two. Impossible if it was physical, but with the cloud you can do that.” The afternoon masterclass session featured David Wood, the deputy director for technology
infrastructure; different sort of scales, different sort
and development at the EBU and chair of the
of people and different processes for developing
creating a channel using physical infrastructure.
World Broadcasting Unions Technical Committee.
and releasing stuff.”
With programming and a software architecture
Wood explicated the latest developments
already in place, the creation of a new content
in developing standards for high dynamic
storage itself is a different thing in the cloud with
channel becomes analogous to a business’s
range. Wood, careful to be diplomatic, offered
a different technical implementation. Storage in
launching a new website.
some insights into the arduous process of
The panellists were quick to point out that
a public cloud is object storage, and the way an
In this way, new content and new approaches
approving standards.
application reads and writes to object storage
to audience engagement can be trialled. There
is different from how an application on a local
is the potential for experimentation too with
alternatives, after much long debate: the HLG
server reads and writes to a local storage device.
successful content offerings being expanded
(Hybrid Log Gamma) standard, developed by
and improved upon and ones that don’t work
the BBC and Japanese broadcaster NHK, and
simply closed down with virtually no capex at all.
the PQ (perceptual quantiser), Dolby’s standard.
Playing out in the cloud Cloud playout company Veset was up next
Gatis Gailis, Veset’s CTO, showed the latest
The EBU has given the industry two HDR
The approval of two standards leads to
with a presentation on the challenges of
version of Nimbus, which runs all the playout of a
an inevitable question: “Which one is
linear playout via the cloud using its Veset
channel; from ingest to audience measurement,
better?” Wood was careful to sidestep the
Nimbus product as an example of cloud
through a single easy to navigate web interface.
questions, although he suggested that some
playout architecture. Veset CEO Igor Krol underlined the pressures on companies in the content delivery space,
“It’s a lot like Google. You want to access
believed HLG would have better applications
your email, you can do it anywhere from any
for live TV, and PQ system would be better for
device,” said Gailis. “And we think channel
pre-recorded material. “But I have to stress,” he said, “that the
David Wood, EBU, details the latest developments in developing standards for HDR
proposers of HLG and PQ each believe their standard is entirely adequate for everything.” One of the big questions in the move to HDR is not simply the selection of a standard, but how that standard will be implemented in current broadcast ecosystem, in which standard dynamic range will continue to be the norm for some years to come. The EBU has carefully looked at different models of backwards compatibility. Some schemes would have a single signal sent to viewers which would then be decoded into the appropriate SDR or HDR versions upon arrival. At the other end of the spectrum – and in the past, this has generally been the model for such formats as HD and 3D – there will be SDR and HDR simulcasts. You can get a complete perspective on Wood’s work on the HDR standard in his opinion piece in this issue. n
43 44 TVBE Aug16 Neal2020 Feature_final HA.indd 56
19/07/2016 15:17
Enter the IBC2016
Nominate your new product by 31 August to be in with a chance of winning www.newbay-awards.com of
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For more information contact Lucy Wilkie on lwilkie@nbmedia.com
BOStvbe IBC template FP 2016.indd 1 new remade.indd 1
20/07/2016 11:38 15:57 21/07/2016
r a e y t x e n in ga a u o See y in Amsterdam. new tvbe template remade.indd 1 ISE2017_SeeYou_220x290_.indd 1
A joint venture partnership of
20/07/2016 17:50 15.02.16 11:42
TVBEurope
August 2016 www.tvbeurope.com
47
Business
Driving engagement George Jarrett talks to Fabrice Hamaide, CFO and president of Piksel, about the huge advantages that come with a micro services architecture. Netflix and Piksel stand alone on this technology front thus far
A
s OTT revenues rise
millions of dollars for every minute
“It’s the marrying of the two that
matching analysis of the audio
dramatically, one of the
lost because of advertising revenue
creates the unique way to provide
track and the closed captioning.
biggest business enablers
issues and the loss of subscribers,”
the right content at the right time,
This amounts to an artificial
said Hamaide.
to the right person, and that’s
intelligence engine, with Lingospot
the driving force behind our Fuse
providing the metadata extraction toolset for Piksel’s core technology.
has been Piksel. Born in the summer of 2013 through the reassembling
“Traditional broadcast workflows
and re-incorporation of the core
are stable and proven, though they
metadata and the Lingospot
assets and values of Kit Digital,
do not deliver the best experience
acquisition, which is to enrich
Monetise OTT with just 50,000 subscribers
Piksel came out of a restructuring phase in 2015. CFO and president Fabrice Hamaide was one of the four executives who pulled off the reorganisation. “When we came
‘We saw that the real opportunity and the real movement of the industry is towards OTT, and decided we should try to be at the leading edge of the technology’
One of Piksel’s best-known customers is Channel 4 in the UK, which Hamaide describes as, “very much ahead of everybody else”. Does he agree
out of restructuring we saw that
with Channel 4’s (TVBEurope June
the real opportunity and the real movement of the industry is towards
and they are much more
what we know, and create brand
issue assertion) that VoD is moving
OTT, and decided we should try
expensive than the IP-based OTT
new metadata that does not exist
to the big screen?
to be at the leading edge of the
type deliveries. Those people will
today,” he added.
technology,” he said.
migrate, but one step at a time.”
“It is super simple. You are on
Working on the asset side of the
your mobile and you want snippets
metadata requires a lot of real-time
of content reformatted. The longer
ingest once, encode once and
in moving from spectrum to IP,
video stream analysis, frame by
the form, the bigger the screen;
deliver regardless of the device.
people have been plugging
frame through the content, with
long-form represents almost 40 per
From the OTT perspective, the TV
IP delivery into existing broadcast
set is just one more device. The
workflows, rather than re-
traditional, old broadcast side
engineering to achieve a single
sees everything else as another
workflow. This is known as doing
technology, but that’s not true.
a kludge.
“There is no reason you cannot
Hamaide points to the fact that
If you can deliver to a tablet,
In May, Piksel looked to boost
laptop or cell phone, you can
its capabilities with the acquisition
definitely deliver to a connected
of Lingospot, previously a partner
TV,” he added.
technology that had enriched its
This means re-engineering
core technology. The acquisition
the broadcast delivery to take
logic was based on the status of
advantage of OTT values, including
recommendation.
lower CAPEX, and this is where
“It’s pushing content, so you
Piksel’s metadata/workflow tool
need the right content to the right
Fuse comes into play, used
audience. But right now we are
for merging the workflows between
aggregating the content based
the broadcast delivery and
on a holistic view of sending that
OTT delivery. Are we at a decisive
content to an audience. It does not
moment?
work that way, purely because you
“It is going to take time for
need more data on the content
the one key reason that a lot of
itself. It’s one thing to know your
money is at stake. Nobody on the
audience very well, but it’s quite
broadcast side will take the risk
another thing to know your assets
of the black screen. It could cost
very well,” said Hamaide.
47 48 49 TVBE Aug16 Business Piksel_final HA.indd 55
THE FUTURE IS CONTENT-CENTRIC
Let’s optimize multiplatform scheduling Stand 3.C59 – Hall 3
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SCHEDULING THE FUTURE TOGETHER
20/07/2016 11:03
48 TVBEurope
www.tvbeurope.com August 2016
Business cent of full viewing, and connected
hardware and software fields for
TVs, Xboxes, PlayStations, Roku
the past 20 years, and you do not
boxes etc all present about 50 per
change a hardware company into
cent of OTT viewing in number of
a software company, just the same
hours. But in number of unique
as you do not make a software
pieces of content, the mobile and
company a hardware company.
the tablet represent three times as
The only place where hardware
much,” he said.
will stay, for performance
“Essentially, OTT is fulfilling its
reasons, is across the entire post
promise little by little. OTT does
production side. Once the asset
exactly the same as cable
is ready, everything can be
once did, but by two orders of
done in software. We can
magnitude cheaper. That allows
move software and we can
OTT to go to even finer segments
move cloud,” he said.
than an MTV,” he added. “Today
“How quickly it goes is
you cannot launch a TV channel if
highly dependant on a few
your market potential is less than a
chief technology officers,
million in a given country. With OTT
maybe just 20 to 30 of them in
you make money if you have 50,000
the world have the power to
subscribers anywhere around the
take that decision and force it
world. All of a sudden, it opens
down the throat of all the local
the door to a multiplication of the
CTO people and the local
number of channels that are highly
broadcasters,” he added. “Some
targeted to specific interest areas
have already made the decision
and specific populations.”
to move to pure software. With
Hamaide used the example of
the CTO of Discovery, the decision
Thai boxing, for which no channel
is activated and implemented.
has sprung up because many
He has gone with micro services
countries have small followings of
architecture because the one thing
this sport. “Around the world you
he recognises is that he does not
have maybe 1.5 million who are
know exactly what the world will be
passionate about Thai boxing, and
like in ten years. Because of that,
now you can deliver a dedicated
Discovery wanted a highly flexible
channel which you could not do
software architecture.”
with traditional broadcast, cable or satellite delivery,” he said. “What we are seeing is a high segmentation of the market, and that will continue. We have got
The inference here is that the micro service architecture is more appropriate than any monolithic software option. “If you go from a piece of
two content worlds: the Hollywood
hardware that was difficult
world and the hyper specialist
to evolve to a micro service
world and both co-exist well,” he
architecture software, which
added. “Netflix wants to be the
is super easy to evolve,
world player, and it is. What is the
you have made a
content that is most seen around
difference that
the world? It is American TV series
allows you
and Hollywood movies, and that is what Netflix secures in terms of content rights.”
The power to force change Does Hamaide believe that traditional vendors are losing their USP and their mojo? “The hardware side is dying. I have been playing in the
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49
Business to reduce your cost,” said Hamaide.
world. It helps with recruiting the
than the age of mobile phones,
the content that is produced by
“Changing is a difficult decision to
best talent.”
tablets and laptops, so you can
the other,” he added. “CBS Digital
produce things in the OTT world that
has an influence on what content
It will happen if you like it or not
are far more advanced than what
is produced by the broadcast side
you can do with the broadcast
because it has the analytics and
Hamaide does not think that
side,” he added. “LTI really
user data that the broadcast side
of what you do, you’ve got to
combining the roles of CFO and
understands that user engagement
does not have.”
sell a new piece of software that
president holds any difficulty
is everything. Being a subscriber
gives the new capabilities. That’s
despite being rare.
world, it is not making its money with
Catering for all
advertising, but on subscriptions.
What, then, is the Piksel USP? It
make, and if you are going to make it, take steps to ensure that you do not put anything at risk. “It means integration. Regardless
great, but because it is not rip and
“The role of CFO has evolved a
replace, you are not delivering
lot over the past two years, and has
They are the most forward-looking
has four products - Fuse Metadata,
a full workflow, only a portion of
become much more strategic in
companies that I have seen in the
Digital Showcase, Hive and
it,” he added. The issue here is
nature. A good CFO does not look
last six months.”
Voyage - and they all have the
that compatibility with the rest
at the numbers today. He tries to
of a workflow requires significant
understand what are the key drivers
shift – the pull versus the push model
“There are only two companies in
professional services experience
of the business, and how they will
– Hamaide sees Channel 4 as the
the world that have micro service
and capacity. Hamaide sees it as
improve financial performance.”
hottest ticket. “Channel 4 is the only
architecture, and the benefit is that
a generational issue, with younger
Acting on business drivers is
advertising-supported OTT venture
it allows us to cater to a unique set
people keener to move faster than
what the industry has to
that we know of, and we know a
of requirements for any particular
the older generation.
do, but how attractive will it be?
lot, that is actually profitable. The
client, but never reinventing and
“You will see less revenue online
reason for this is that Channel 4 is
redeveloping everything,” said
shortages, how does Piksel find top
than you will eventually see on TV.
extremely good at understanding
Hamaide. “ That’s the reason why
software developers?
The change will happen if you like
consumer behaviour and adjusting
we can, at the same time, cater
“There is a talent shortage. The
it or not, and from a broadcaster
its platform accordingly,” he said.
for LTI and Channel 4, an airline
primary way to compete well in the
perspective, it means you have to
“That does not mean they do not
like Voyage, and a start up like
market for talent is to be present
regain control of your audience,”
have issues, but it is a driving force
JungoTV, the specialised OTT
in multiple locations (UK, Italy,
said Hamaide.
in terms of adjusting to those issues
platform for the Vietnamese
“You have an opportunity to
faster than most people. “CBS is
immigration population in the US.
tap into multiple workforces and
regain the control you completely
doing some of what Channel 4
The consumption habits of those
markets,” he said. “When we have
lost over the years, and really
does reasonably well, but it did
audiences are different, the business
difficulties in one market it is easier
understand and know exactly what
it by creating two companies.
models are different, but we can
in another, and there’s talent in all
people like and what they do not
They have CBS Digital and CBS
cater for them all at the same time
our locations. Super engineers are
like. The only way you are going
Broadcast, and one benefits from
using the same platform.” n
excited about building the greatest
to regain value on a producer
brand new stuff, and we’re at the
basis, as compared to a traditional
forefront of what is being done in
broadcaster, is by getting more and
In an era when we face talent
Spain, the US). That allows us to
the OTT marketplace around the
When it comes to behavioural
same core technology Palette.
more information, by increasing user engagement, and getting more advertising hits per user than what you had before.“ Asked to nominate a couple of Piksel customers that are far reaching in terms of structural revision, Hamaide nominated Discovery and LTI. “They put their money where their mouth is. Discovery bought the entire Olympics rights for Europe, starting
COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE Let’s not leave money on the table
in 2018, and that’s going to provide a very significant push when it comes to business models, technology, viewer engagement,
Stand 3.C59 – Hall 3
Book a demo or appointment at mediagenix.tv/IBC2016
and title productions as well because there is a very large OTT component. “The age of millions of TV sets is
SCHEDULING THE FUTURE TOGETHER
significantly older
47 48 49 TVBE Aug16 Business Piksel_final HA.indd 57
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50 TVBEurope
www.tvbeurope.com August 2016
Post Production
Remote editing on The Island Michael Burns looks at the how the post production team on The Island with Bear Grylls overcame problems of location and logistics to produce hit reality show
T
a neighbouring island. The post
new cards for the islanders. Once
equipment included eight Avid
back at base, the crew would
ingest and synching stations, four
make two copies of the media
Avid edit suites, two 64TB nearline
and then start ingesting to Avid
servers, two Avid ISIS media servers,
Media Composer.
he post production team on
Castaway crew
a LTO5 library for backing up rushes
The Island had to be as hardy
Each of the ‘islanders’ was fitted
and media management, and
day’s recordings needed to be
as the contestants when
The multiple sources from each
out with a Zaxcom recorder, to
eight Mac laptops for logging and
synced and logged as soon as
it carried out a remote editing
record audio 24/7. Four Canon
two Forscene ingest servers.
possible, tagged with metadata
workflow for series three of the
XF105s, four Sony PMW200s and
Channel 4 show. The series was
eight GoPros were used to capture
replacement equipment available
in the edit. Princess Productions
filmed over four weeks on an island
video, with the kit producing a
anywhere nearby, most equipment
worked with the Forscene
just off Panama, encompassing a
combined total of 300 hours
was doubled up for redundancy.
development team to design
total of just under 9,000 hours of
of audio and 15 hours of video
media, without the benefit of a fast
per day. Meanwhile, 25 production
production crew would head over
that capitalised on each system’s
network, and far from any tech
and post production staff were
and pick up all the media cards
strengths to achieve this. The
support (or hospitality comforts).
battling the mountain of media on
from a (physical) dropbox, leaving
Forscene server was set up with
50 51 TVBE Aug16 Post Production_final HA.indd 54
With no spare parts or
Every morning, first thing, the
descriptions to enable searching
an Avid and Forscene workflow
20/07/2016 11:04
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August 2016 www.tvbeurope.com
51
Post Production watch folders pointing at the
Forscene, using a new feature
available for uploading media to
Avid storage, so as the media
in the software, which allows
the cloud, so the team was able to
ingested onto Avid storage it was
metadata to be associated with
start uploading proxy media to the
also immediately transcoded into
multitrack sequences.
cloud overnight, or in down times,
Forscene proxies, which were
Jones says shots from these
stored locally on the server.
multitrack logs can be used to save
Avid Media Composer was used
significant time when building the
to build a sync map of all the
story in the edit suite. “For example,
when there was limited demand on the internet connection. At the same time, an additional four loggers were assigned to take up the slack at the London base. They
“When managing vast amounts of media to tight deadlines it was vital to structure our media workspaces correctly right from the start” Paul Jones, Princess Productions
could collaborate with the island team thousands of miles away in Panama to review and log each day’s media within 24 hours of the shoot. “When it came to shipping everything
previous day’s footage. Editors then
if a producer wants to look
back to London at the
chopped this timeline into segments
at the emotional journey a
end of the shoot, the
and exported them as AAFs to
particular contributor has
Forscene. Forscene automatically
experienced, they can
the Forscene proxies
rebuilt the sequences using the
search all of the logs for that
that hadn’t yet been
proxy footage, retaining key info
contributor’s material and
uploaded to the cloud
such as track names.
immerse themselves in that
to local hard drives and
“As we were going to edit the
team was able to save
person’s experience.”
carry these back by
series using Avid, it made sense to
“We also log different
use the platform as the start point
emotions with a set of pre-
for media ingest and sync map
defined words using keysets, so if
creation,” says Paul Jones, head
production need to look at key
of weeks later, all the Forscene
of post production at Princess
emotional moments it is easy to
media was already available
Productions. “When managing
quickly find and view material.”
hand,” says Jones. “This meant that when the shippers delivered the servers a couple
in the cloud and waiting for
such vast amounts of media to
post to start.” n
structure our media workspaces
Long-distance relationship
correctly right from the start and
Due to extremely limited internet
then build the workflow through
connectivity, the loggers accessed
to Forscene, ensuring a seamless
the media over a local network
transition between the platforms
from the Forscene server, but
and avoiding any issues further
the logging metadata was still
down the line.”
uploaded to the cloud, making
tight deadlines it was vital to
“Avid is great for building our sync maps quickly, reading auxiliary timecode on some devices and
this information available to execs in the UK. “Forscene’s interface makes
allowing the edit assists to manually
capturing good meaningful logging
eyeball sync cameras with no
metadata a breeze,” says Jones.
timecode,” he adds.
“However, the data capture is only
“These sync maps really take the
the starting point. Once we had
place of rushes for viewing and
that information logged against the
editing through the edit run, so it’s
video, the edit producers could use
best for us to make them right at
it to research and start to build their
the outset.”
shows.” Despite this, the loggers on
Multiple loggers on the island
it was clear a bigger team
the same time using Mac
was needed.
against the multitrack timeline in
50 51 TVBE Aug16 Post Production_final HA.indd 55
Let’s unify the workflow
Stand 3.C59 – Hall 3
Book a demo or appointment at mediagenix.tv/IBC2016
the island were falling behind, and
could work on the project at laptops. They were able to log
VOD IS THE NEW LINEAR
Forscene has the ability to
SCHEDULING THE FUTURE TOGETHER
dynamically assign bandwidth
20/07/2016 11:04
50 TVBEurope
www.tvbeurope.com August 2016
Post Production
Remote editing on The Island Michael Burns looks at the how the post production team on The Island with Bear Grylls overcame problems of location and logistics to produce the hit reality show
T
a neighbouring island. The post
new cards for the islanders. Once
equipment included eight Avid
back at base, the crew would
ingest and synching stations, four
make two copies of the media
Avid edit suites, two 64TB nearline
and then start ingesting to Avid
servers, two Avid ISIS media servers,
Media Composer.
he post production team on
Castaway crew
a LTO5 library for backing up rushes
The Island had to be as hardy
Each of the ‘islanders’ was fitted
and media management, and
day’s recordings needed to be
as the contestants when
The multiple sources from each
out with a Zaxcom recorder, to
eight Mac laptops for logging and
synced and logged as soon as
it carried out a remote editing
record audio 24/7. Four Canon
two Forscene ingest servers.
possible, tagged with metadata
workflow for series three of the
XF105s, four Sony PMW200s and
Channel 4 show. The series was
eight GoPros were used to capture
replacement equipment available
in the edit. Princess Productions
filmed over four weeks on an island
video, with the kit producing a
anywhere nearby, most equipment
worked with the Forscene
just off Panama, encompassing a
combined total of 300 hours
was doubled up for redundancy.
development team to design
total of just under 9,000 hours of
of audio and 15 hours of video
media, without the benefit of a fast
per day. Meanwhile, 25 production
production crew would head over
that capitalised on each system’s
network, and far from any tech
and post production staff were
and pick up all the media cards
strengths to achieve this. The
support (or hospitality comforts).
battling the mountain of media on
from a (physical) dropbox, leaving
Forscene server was set up with
50 51 TVBE Aug16 Post Production_final HA.indd 54
With no spare parts or
Every morning, first thing, the
descriptions to enable searching
an Avid and Forscene workflow
20/07/2016 17:04
52 TVBEurope
www.tvbeurope.com August 2016
Data Centre
UK E&M sector will be largest in EMEA T
Phil Stokes, head of entertainment and media, PwC UK, reveals findings from the company’s latest Entertainment and Media Outlook, published in June
he UK’s entertainment and media (E&M)
growing from £8.3 billion to £13.7 billion in the
sector is set to overtake Germany and
period. The historic shift to mobile consumption
become the largest in Europe, the Middle
that both traditional and new media companies
East and Africa (EMEA). Our recent research
are experiencing has yet to be reflected fully in
shows that the United Kingdom’s E&M sector
advertising revenue.
will be worth £62.8 billion in 2017, overtaking
With the ways of measuring and tracking ad
Germany’s £58.6 billion. This growth will continue
performance on new platforms still evolving,
over the following three years, by reaching
advertisers have been reluctant to migrate
a projected £68.2 billion, in comparison to
their spending from more tried and tested
Germany’s £61.3 billion by 2020. So what are the
media. But that will shift as the market matures,
key drivers? Which segments are pushing this
and we forecast that by the end of 2017
growth in British entertainment and media?
advertising revenue from mobile devices will
Advertising revenues are driving this growth, as the industry identifies new ways of measuring and tracking performance in a connected, mobile
By way of comparison, the industrial revolution created a seismic shift to new manufacturing processes
Impacted
20 million people over 60 years
exceed that from online services delivered to PCs and laptops. Despite substantial growth in internet
and digital world. Internet access combined with
advertising, you still shouldn’t write off broadcast
tablet and smartphone penetration has created
advertising, as we will see good news in that area
a golden age for individuals interacting with
too. After a drop in total TV advertising revenue
media, and the appetite of UK consumers shows
in 2012, the UK has returned to growth. This was
no signs of slowing. It’s increasingly clear that
initially modest at 1.2 per cent in 2013, although
consumers see no significant divide between
stronger growth of 4.4 per cent and seven per
digital and traditional media: what they want
cent was evident in 2014 and 2015 respectively.
1760
1820
2011
2016
is more flexibility, freedom and convenience in when and how they consume content.
The mobile revolution Mobile internet connections worldwide are growing apace. They already outnumber fixed
‘TV advertising revenue in the UK increased from £3.8 billion in 2014 to £4.1 billion in 2015’
connections by three to one, and are projected to rise by over five billion to seven billion in the next five years. This is a bigger global disruption
TV advertising revenue in the UK increased from
than the industrial revolution.
£3.8 billion in 2014 to £4.1 billion in 2015. Growth
By 2017, more than half of the world’s
will continue at a 4.2 per cent CAGR through to
population will be mobile internet subscribers.
2020, with total TV advertising revenue reaching
Global total internet advertising revenue is
£5 billion.
forecast to grow from £101.1 billion in 2015
Online advertising has been winning market
to £171.3 billion in 2020, a compound annual
share from traditional broadcast advertising
growth rate (CAGR) over the period of 11.1 per
on the strength of its greater accountability
cent. As the segment captures an ever-larger
and wealth of detailed data on user behaviour
portion of advertising budgets, it will exceed TV
and engagement. TV is now fighting back, with
to become the world’s largest single advertising
innovations in audience measurement based
category by 2019.
around analysing return path data, social
The UK is the largest internet advertising market
7 billion
people in less than five years
listening, and new aggregated insights into
in Europe, and will remain so for the next five
agency spend. The new data also enhances
years, with a forecast overall CAGR of 10.5 per
pay-TV service providers’ ability to cross-sell
cent between 2015 and 2020, and revenue
and up-sell services to subscribers.
52 53 TVBE Data Centre PWC_final HA.indd 46
Impacted
Mobile access is making unprecedented changes in human history
20/07/2016 17:03
TVBEurope
August 2016 www.tvbeurope.com
53
Data Centre Another advertising segment that has been
The proliferation of such connected devices
in 2020, at a 0.2 per cent CAGR.In terms of film
impressing is the British out-of-home (OOH)
among consumers will create both significant
releases, 2015 was an extremely strong year
advertising market, the largest in Europe, with
opportunities and considerable challenges for
at the UK box office, with certain tent poles
total revenue of £1.2 billion in 2015. This also
companies creating and distributing cinema
performing powerfully. Two 2015 releases, Star
Wars: The Force Awakens and Spectre, are now
makes the UK the fourth-largest OOH market in the world, behind only the US, Japan and China. The UK market is expected to maintain a steady, albeit slowing, growth rate over the forecast period, reflecting the general economic climate, but also, with many of the gains from early digitisation already realised, an element
‘Consumers see no significant divide between digital and traditional media: what they want is more flexibility, freedom and convenience’
of diminishing returns on digital out-of-home
the first-and third-highest grossing films at the alltime UK box office. Jurassic World, another 2015 release, is now the tenth-highest grossing film. These three films’ combined gross accounted for nearly 15 per cent of box office revenue in 2015. Such is the effect of the top films on box office performance.
(DOOH) advertising growth will start to settle in.
Today’s entertainment and media industry
The net effect will be a modest CAGR of 2.9 per
is about consumer choice, innovation and
cent over the next five years, slightly above the
content. Despite this, the UK cinema market is
experience, irrespective of whether delivery
regional average. Total OOH revenue will reach
set to rise marginally over the forecast period,
is digital or non-digital. Mastering these three
£1.4 billion by 2020.
although this comes from a high starting base;
elements is now critical to commercial success,
2015 being a very strong year for film.
and to sustaining future growth. Melding what
Box office hits
Admissions in 2015 were at 171.8 million, a
people watch to what people buy can unlock
Global smartphone connections are forecast to
substantial increase on the 2014 figure of 157.5
a treasure trove of insight for media companies
rise from 1.92 billion in 2014 to 3.85 billion in 2019.
million. They are expected to reach 173.2 million
across the ecosystem. n
2016 will see an even greater commitment from TVBEurope to cover more of the pressing areas of concern, challenge, and opportunity within our burgeoning marketplace. The biggest change for this year will be the introduction of new sections to enable us to provide greater coverage to specific business areas. Our Workflow section will now be divided into two new sections: Production, and Post Production. We will also be introducing a new Business section to follow the increasing acquisition and investment activity permeating the sector, and are also introducing a dedicated Audio section to bring regular insights and updates from an often overlooked strand of our industry. These new sections will be manned by a team of section editors.
EDITORIAL PLANNER 2016 Issue
Exhibitions present at
Feature
Editorial Close date
Advertising close date
September
• IBC
• IBC 2016 Show issue: thought leadership insight and product showcase
19th August
12th August
October
•TVBAwards
• Audio for broadcast • IBC Best of Show Winners • IP technology
23rd September
16th September
November
• Post-IBC acquisition focus • Remote production
21st October
13th October
December
• Media Asset Management • M&A business review
11th November
4th December
For all advertising and sponsorship opportunities, contact the sales team: Europe Peter McCarthy: +44 (0) 20 7354 6000 pmccarthy@nbmedia.com TVBE Editorial Planner 2016 half page.indd 1
52 53 TVBE Data Centre PWC_final2 HA.indd 47
Richard Carr: +44 (0) 20 7354 6000 rcarr@nbmedia.com
Nicola Pett +44 (0) 20 7354 6000 npett@nbmedia.com
USA Mike Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv 20/07/2016 15:59
20/07/2016 17:30
54 TVBEurope
www.tvbeurope.com August 2016
Data Centre
Prime numbers: Retail unlocks the key to Amazon’s play for TV By Richard Broughton, research director, Ampere Analysis
“I
n business, what’s dangerous is not
in revenue each year. While our calculations
are worth more. Not only do Prime subscribers
suggest that spend per account has fallen slightly
spend more on purchasing products, meaning
since 2012 as the proposition has reached mass
that retail income after sales/fulfilment per
market, scaled up to the nearly 70 million Prime
Prime subscriber is roughly $83 per year by
customers worldwide, it nonetheless translated to
Ampere’s estimates, but they also spend on
nearly $40 billion in annual turnover for Amazon
the Prime subscription itself. The result of this is
to evolve”, said Amazon’s CEO Jeff Bezos in 2009. Sound advice for
any company, and Amazon has always been unafraid of change. In 2015, Amazon’s annual revenue passed the $100 billion mark for the first time. It ended the year having brought in $107 million across
that Amazon can effectively offset spending
‘Amazon Prime customers spend nearly three times as much on digital content purchases with Amazon as the average customer’
its retail and web services divisions. Despite the
substantial sums to drive Prime subscriptions, against the incremental income resulting from customers upgrading. Ampere calculates that the incremental income effect of upgrading an existing customer to Prime is likely to range from $100-$130 per year for Amazon. Adding an entirely new customer
growing emphasis of investors and analysts
to Amazon’s systems could be worth as much
on the Amazon Web Services (AWS) cloud
in 2015. This Prime-driven revenue growth is
as $160. On this basis, if Amazon spends $1
computing division, the vast majority of Amazon’s
crucial for content groups as the physical media
billion on acquiring content for Prime, providing
revenue and growth is still grounded in its online
market continues to contract. While Amazon has
it is able to retain or add seven to eight million
retail business. In 2015, 93 per cent of Amazon’s
been one of the few physical retailers to grow its
Prime customers as a direct consequence of this
revenue was retail-related, and just seven per
media sales, the underlying market trend is finally
content spend, the net effect on its bottom line
cent was from AWS. In growth terms, retail is
catching up with it.
should be neutral. Alongside Amazon’s acquired
also still the key driver. Eighty-two per cent of
Amazon’s international media revenue
content, it has also begun to roll out its Streaming
Amazon’s $15 billion revenue growth in 2015 was
declined by eight per cent in 2015, offsetting
Partner Program (SPP), which was launched in
derived from its retail business. AWS certainly
growth from its North American division.
the US in December 2015. The SPP is effectively
forms a crucial part of Amazon’s future strategy,
Amazon’s underlying margins are relatively
a managed online video service platform for
but retail remains the mainstay.
low for a business of its scale and position.
content owners and distributors, and customers
Operating income margins in 2015 were just
opt to add the chosen services to their Prime bill.
Amazon’s retail growth is underpinned by two core components: growing customer numbers
four per cent in North America, and less than
and increasing average spend per account. An
zero per cent internationally. Each Amazon
content acquisition, the retailer is also slowly
essential part of the increased spend has been
account is therefore responsible for roughly $46
building out what could very well be the
the growth of Amazon Prime. Numerous studies
in incremental income per year. Prime customers
template for future pay-TV services. n
So while Prime allows Amazon to subsidise
illustrate the effects of upgrading to Amazon Prime on a consumer’s purchasing habits, with spend roughly twice as much with Amazon as
100
customers without Prime. Ampere’s own research
39.3
purchases with Amazon as the average internet user, and 50 per cent more than average on physical media purchases. This increased spend, combined with Prime’s ever-expanding customer base, means that growth in Prime uptake has resulted in a large proportion of Amazon’s retail revenue being derived from Prime subscribers; 40 per cent in 2015, by Ampere’s estimates. The average Prime customer is now responsible for nearly $600
54 TVBE Aug16 Data Centre_final HA.indd 46
Revenue ($bn)
indicates that Amazon Prime customers spend nearly three times as much on digital content
Prime’s contribution to Amazon revenue
120
typical ratios indicating that Prime subscribers
19.7
80 99.1 60 40 120 20 0
Revenue from standard accounts
Revenue from prime account
Of which incremental revenue
Amazon retail revenue
Source: Ampere Analysis estimates, Amazon financials
19/07/2016 15:31
SECURING THE CONNECTED FUTURE
The world of video is becoming more connected. And next-generation video service providers are delivering new connected services based on software and IP technologies. Now imagine a globally interconnected revenue security platform. A cloud-based engine that can optimize system performance, proactively detect threats and decrease operational costs. Discover how Verimatrix is defining the future of pay-TV revenue security.
Download the New Frost & Sullivan White Paper
Total Cost of Ownership: The Key Metric for DRM Strategy www.verimatrix.com/costofmultidrm
Full Page 1 new tvbeTemplate.indd template remade.indd 1
21/06/2016 09:06:46 20/07/2016 17:52
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www.tvbeurope.com
TVBEurope Supplements
August 2016
KVM systems
The backbone of IT infrastructure
In association with
i-viii TVBE G&D Supplement_final.indd 1
21/07/2016 13:03
ii TVBEurope
www.tvbeurope.com August 2016
Supplement
In association with
KVM systems as the backbone of IT infrastructure Jochen Bauer, marketing director, Guntermann & Drunck GmbH (G&D), explains how KVM plays a critical part in the modern IT infrastructure
T
Above: The modular KVM matrix switch from G&D can be individually equipped with input/output cards and thus enables the mixed operation of CAT and fibre transmissions
he way we produce, process and manage content has changed considerably in recent years. Due to non-linear editing
workflows, today’s broadcast structures are almost exclusively file-based. The result is a complete, technical change towards fully ITbased infrastructures to take full advantage of file-based architectures. While data used to be transmitted via SDI between systems – usually while afflicted with losses due to recurrent compressing and de-compressing – the new infrastructures offer the opportunity to transfer the valuable assets, without loss, via network structures. Today’s ever-increasing requirements, demand high-performance network structures. Typically, it is tempting to use these structures via a KVM system since the groundwork is already laid and the connection via IP is extremely flexible. But beware: there are certain rules you have to consider in advance.
Intelligent functions like G&D’s CrossDisplay-Switching allow the intuitive operation of a KVM system. In this case, the user operates a number of computers via one keyboard and mouse. The special feature: by moving the mouse cursor from one screen to the next, the system automatically switches the keyboard-mouse focus on the respective computer. Thus, the user completely focuses on his actual work, instead of struggling with hotkeys or other menus for the infrastructure increases – and from delays of more than
setting up of a separate KVM network for IP
250ms between input and feedback (via the
systems, which amounts to cabling-in
possible to transmit audio/video over IP. As long
video signal), a system is no longer considered
dedicated KVM installations with the added
as sound and image arrive synchronously at the
fluently operable.
drain on resources. Either way, the primary,
The capability of modern bandwidth makes it
high-performance network equipment
workplace, any latency during transmission is, to an extent, entirely permissible as it is simply
System safety
required for the broadcast IT workflow r
not perceived by the user. This changes when
Another important aspect is the system safety.
emains in the server room where it can fulfil
it comes to the remote operation of systems
The additional use of an IP structure leads to
its purpose: the smooth exchange of assets
where another component is added: the return
the mixing of the productive network with other
between individual broadcast systems, servers
channel. Latency parameters are far more
applications. The productive network,
and storage.
tightly limited when ensuring an optimal user
however, needs to be failsafe when it comes
experience. A delay of more than 100ms can
to data handling for secure broadcasting
over IP or over dedicated cabling depends
result in a visible mouse delay. Here, the issue with
operations. Whenever a failure within a classic
on security needs. Since KVM transmission is
IP systems in comparison to KVM with dedicated
KVM system leads to the failure of individual
the pure communication between computer
cabling becomes obvious: what seems to be
operating units, it may affect the entire network
interfaces and the operating unit at the
easy to handle during standalone operation
when working with IP systems and thus jeopardise
workplace, it is initially independent of the
can become marred once the network load
the entire playout. In practice, this requires the
broadcast IT workflow.
i-viii TVBE G&D Supplement_final.indd 2
Whether a KVM concept is implemented
21/07/2016 13:03
TVBEurope
August 2016 www.tvbeurope.com
iii
Supplement System size
the transmission from computer to monitor is
There are many other aspects that must be
reduced. Depending on the application, there
considered. Firstly, there is system size, which
are different demands on the image material to
should be calculated generously. Usually, the
be displayed. A KVM matrix ideally supports both
demands on a system start to grow as soon as
CAT and optical fibres to fit both the budget and
it is installed. Scalability is another important
the quality requirements.
aspect and, when it comes to possible expansions, IP systems know how to score with
User friendliness
their flexibility. However, KVM systems with
The requirements of the applications lead to
dedicated cabling are equally exceptional.
those of the users. They need to be able to
With the help of grid functionalities the systems
intuitively operate a KVM system; ideally, the
can be interconnected; quite similar to network
entire system runs in the background and
topologies. This also allows users to establish
becomes almost invisible. Special functions for
access across systems.
optimised teamwork let users share on-screen content with colleagues or project them to
Video standards
video walls. Other features include control via
The consideration of video standards becomes
external media equipment, via touch panels or
more important since transmission, too, becomes
through automation systems.
critical for increasing video bandwidth. Therefore G&D rely on their own compression algorithm
Monitoring
to keep development of this core aspect
In addition, there are the functionalities to
within their control and to be able to quickly
monitor the system to enable stable access
adapt the transmission standards to changing
to the computers being operated. Many
requirements.
broadcasting stations already consider the use
Next is the choice of the transmission medium. Systems with dedicated transmission build on
of SNMP to monitor their system as standard. To be able to administer the system on-the-go
predetermined infrastructures. A powerful system
in case of emergencies, the classic KVM systems
transmits high bandwidths even over CAT cables.
can be complemented by single IP access.
Here, the direct cabling has more advantages than IP systems since the full bandwidth of the
Conclusion
medium is available and dedicated to each
A comprehensive planning process should be
signal transmission.
undertaken before choosing a KVM system.
Nevertheless, the range of CAT is limited
It is far more than a simple operating system:
and requires a higher compression than
the equipment can become the backbone of
transmission via optical fibres. This is less relevant
a broadcast infrastructure. That’s why options
for the actual content, because here the
for future expansion and adjustments to new
assets themselves are not compressed but
standards are even more important. n
With a KVM matrix grid, several installations can be interconnected. Thus, users are able to access the systems of various areas, eg different studios or different workflow processes
i-viii TVBE G&D Supplement_final.indd 3
KVM in short In the digital age and with the increasing use of IP, broadcast and IT applications are rapidly converging. Thus, being able to operate a system as easily and intuitively as possible becomes extremely important. KVM systems greatly simplify operating processes. The abbreviation KVM is short for ‘keyboard, video and mouse’ and stands as a synonym for computer interfaces. This is where the technology comes into play. It uses hardware to extend and distribute signals to the respective workplaces. There, the necessary interfaces are again provided in order to connect a monitor, keyboard, mouse and possibly other devices. Thus, KVM is independent of any software application, and consequently completely independent of the operating systems in use. The application of KVM can be roughly classified into three interrelated groups: • KVM switches to operate multiple computers via one workplace (and therefore with one set of peripherals only); • KVM extenders to remotely operate computers; • KVM matrix switches to operate multiple (distributed) computers over multiple (remote) workstations. Due to the standardised interface standards even in heterogeneous systems, users get the opportunity to operate the most diverse applications on a homogeneous platform. Thanks to the saved peripherals, they are able to work in a clearly arranged environment since the computers are stored in a separate equipment room completely free of heat and noise emission. How a KVM matrix switch works: The CPU units connect themselves to the external interfaces of a computer and use CAT cables or fibre optics to transmit signals to a central matrix switch. From here, the signals are then transmitted to the console units (CON) that the input and output devices are connected to. This way, users are able to access all connected systems n
21/07/2016 13:03
iv TVBEurope
www.tvbeurope.com August 2016
Supplement
In association with
(W)hole in one with KVM from G&D By Tobias Dreier, director of sales, Americas, G&D
A
long time ago, probably within the 14th
selected the ControlCenter-Digital matrix system
or 15th century, the first documented,
and that the channel trusts into G&D’s 30-year
modern golf matches took place in
history and experience as manufacturer of
Scotland. What started as a simple game has changed into a more and more professional
mission critical KVM systems. Meanwhile, the KVM matrix system has
sport within the last decades. Nowadays, golf
become a major backbone of the channel’s
is increasingly popular around the world. As a
studio infrastructure in Orlando, Florida. Around
result, tournaments and competitions attract
200 computers and 50 operators, which keep
a huge number of golf enthusiasts and fans
the Golf Channel Studios running 24 hours a day
around the globe.
and 365 days per year, are connected to the
With an audience in 84 countries in 13 languages around the world, NBC‘s subsidiary
G&D systems. Currently, the Golf Channel is operating
is one of the most successful channels within
two ControlCenter-Digital systems, with each
this international market. Founded 20 years ago
providing 288 Dynamic Ports (CCD288). The
as the first 24-hour network devoted to a single
flexible port configuration and the system
sport, the channel has experienced tremendous
range enabled the Golf Channel engineers
growth from its initial launch to become a well-
to implement the KVM system easily into their
established, international channel.
existing infrastructure. Since the CCD288 requires
It broadcasts from major live events and
only nine rack units, both systems are installed
tournaments around the world, offering exclusive interviews with popular players, daily latest news updates and country-specific content to delivers its dedicated audience. To produce and to deliver this programme to the recipients around the world, the channel needs the women and men in front of the camera; the colleagues that prepare the content and that do the research about
‘Founded 20 years ago as the first 24-hour network devoted to a single sport, the channel has experienced tremendous growth to become an international channel’
relevant and interesting themes, as well as the
To succeed within a competitive media
had no issues with the system or its components,” says Brian Slusarz, director of engineering.
ones that edit the content and develop the programme schedule.
operation since late 2014 and so far we have
“Its running is very stable and reliable. together into a single rack. Saving rack space
We indeed trust in G&D’s technology. The
was critical for the Golf Channel since the
operation and configuration is very simple. Our
market, the Golf Channel team has to deliver
expanding station needs any free rack space for
experienced team figured out easily how to
the latest top stories about and from the scene
its further IT expansion.
work with the system and how to configure it.”
and up-to-datecontent that is unique within the world of golf broadcasting. However, all this would not be possible without
Another important feature is the modularity
G&D’s DVI-CON operator units allow access
of the CCD system, for example, that the switch
without any latency, whilst providing instant
card and the control card can be exchanged
switching to the different server systems
the team working behind the scenes and with
quickly and replaced with cold stand by cards
connected to the matrix.
the technology this team is using for the different
in case a system failure might occur. With this
Since the modules do not require cooling
tasks. As an NBC affiliate, the Golf Channel is
option, the Golf Channel is prepared for even
by fan, the noise within the studios is reduced
using high-end equipment and systems from
the most major of system problems.
to a minimum, delivering a quiet working
renowned companies which provide systems
The operators are located within different
environment for production, editing and
and solutions for the broadcasting industry.
locations such as engineering, post production
engineering. As the matrix allows an individual
G&D is therefore proud that the Golf Channel
and editing. “The G&D system has been in
configuration of operator workplaces and
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TVBEurope
August 2016 www.tvbeurope.com
v
Supplement within different locations can switch between the available servers (the web interfaces allows the administrators to create user groups or individual users with certain user rights). n
The Golf Channel and G&D: an overview CUSTOMER: Golf Channel is an American cable and satellite television network and multimedia company that is a part of the NBC Sports Group division of NBCUniversal. Exclusive partnerships with the world’s top tours allow Golf Channel to feature more live golf coverage than all networks combined, as well as a programming schedule distinguished by golf’s highest-quality news, instruction and original content. Co-founded by Arnold Palmer in 1995, Golf Channel’s headquarters and studios are based in Orlando. Golf Channel is available in more than 200 million homes in 84 countries in 13 languages around the world through cable, satellite and wireless transmissions. CHALLENGES • Expanding IT environment • Separation of equipment and personnel PRODUCTS KVM matrix & peripherals: • Two ControlCenter-Digital 288, DP HR-DH CPU and CON modules, DVI-CON and DVI-CPU, VGA-CPU-UC • KVM extenders: DVI-Vision-CAT-AR (CPU and CON) • KVM accessories: Multipower12 and Device Carrier • Features: KVM Matrix-GridTM function, Push-Get function, TradeSwitch function
individual user rights management, the system
The range of up to 140m (310 feet) from the CPU
administrators can manage and control the
modules to the matrix and from the matrix to the
complete (KVM) infrastructure from their
CON modules via CAT-x made the installation simple for the technicians – they did not need to
‘With KVM, the Golf Channel is prepared for even the most major system problem’
worry about system range. For its editing workplaces, the Golf Channel is using the brand new G&D DP-HR-DH modules. These modules transmit keyboard, mouse and two video via one single CAT-x cable. Before using the DH modules, the channel
engineering room or from any of the
was working with simple point-to-point extender
DVI-CONs installed within the different
systems, which don’t allow as much flexibility as
operator workplaces.
the matrix solution.
Within the server room, the Golf Channel
Since the integration into the KVM network,
decided to use a mix of G&D’s Device Carriers,
administrators can access all editing servers
MultiPower12 units for central power supply,
via the matrix system from the central
and individual power units within certain racks,
engineering room, and from all operator
depending on the available space within those.
consoles if necessary. The operators working
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RESULT AND BENEFITS • Removing computers from workplaces for better working conditions, central system storage in dedicated server rooms, access to multiple platforms via the work places • Easy operation of multiple systems at a time with CrossDisplay-Switching “A big feature of the G&D system is its simplicity – we actually did not need any help from G&D during the installation phase,” says Andre Veenhuis, engineering. “What our team likes is the user-friendly webinterface, low latency, picture quality and the option to work on several operator modules with a single keyboard and mouse. Besides this, we often use the on-screen display that allows to switch instantly between different sources.” Another useful feature is G&D ‘s monitoring function, since the administrators have to monitor and to maintain around 200 computers and 50 operator workplaces. n
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vi TVBEurope
www.tvbeurope.com August 2016
Supplement
In association with
Inside the chief executive office TVBEurope sits down with G&D CEO Roland Ollek to discuss the fast evolving broadcast market, and how experience and knowhow from external sectors can be used to good effect
O
urs is a fast changing industry. What has 2016 taught us so far about just how the marketplace is shifting?
The market is driven by rapid changes towards
new technologies through the convergence of original broadcast equipment with professional IT tools. A recent example is the shift towards IP, and 2016 showed us the difficulties all those changes bring. It’s not by accident that we now see such a variety of alliances trying to proclaim common standards. We see this as a very important step. As the latest transitions can lead the broadcast industry away from those proprietary systems into a world of interoperability, we are going to need those common standards. There are huge opportunities but many of the different options that we have seen recently - claiming common terminology to suggest a standard but ending up in proprietary islands again - may lead to uncertainty as to where these will go. For the sake of the industry, manufacturers definitely need to avoid such uncertainty as it may lead to restriction on new investments; and
‘There are huge opportunities for real innovation that the whole broadcast market can profit from. We just need to pull together’ in the worst case scenario, keep us stuck with old systems. Hence, there are huge opportunities for real innovation that the whole broadcast market can profit from. We just need to pull together. The evolving market is placing a significant emphasis on business transformation for a majority of companies. Firstly, what changes
all our systems and make sure that their existing
the core competencies of KVM systems. Hence,
are you seeing from your customers in terms of
installations can be enhanced by any potential
the usability of the KVM system itself needs to be
their requirements?
future developments.
as intuitive as possible (it’s an enabling technology and shouldn’t add a further operation layer the
As there’s so much change, our customers are
Another high demand is usability. With more
looking more and more for adaptability. They
and more IT systems accommodating the latest,
need to be sure that their investments are future-
tapeless workflow structures, there’s a greater
proof in a way that systems can still be used
need for easy-to-handle human-machine-
Secondly, is your own business changing to
even if the requirements change. We’ve always
interface technology. Having the right machines
adapt to deal with these requirements, and
put significant emphasis on the compatibility of
available immediately when they’re needed are
wider market conditions?
i-viii TVBE G&D Supplement_final.indd 6
user may have to deal with).
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August 2016 www.tvbeurope.com
vii
Supplement ‘We’re working in different industries; these are all challenging and demanding but we profit from those different experiences. One thing all these business environments have in common is that they need total reliability’
reliability to installations. That’s another reason
dividends again and again. What also makes our
why we give broad consultancy and carefully
job hard is that KVM is such a great enabler – but
listen to customers’ needs.
yet a hidden champion. Quite often, we need to explain from the very beginning before getting
What do you feel will be the biggest
into detail. But the details are what makes the
challenges that face companies in the
difference. Sometimes the facts on a specs sheet
‘broadcast’ space between now and 2020?
may often be comparable, yet it’s all the other
For our product portfolio itself, the biggest
things we bring to the table, such as the personal
challenges at the moment come from the
consultancy, the passion in our solutions, the total
heavy increases in resolutions. But that’s more
reliability and also the usability and functionality
or less foreseeable and we feel well prepared.
of the products, and the most comprehensive
We’ve invested lots of work in developing our
product range. Getting an experience of that,
own compression algorithm that provides the
you’ll understand why you simply can’t compare
highest video quality with zero delay; so the user
one with the other. Of course, rewarding and
experience remains unaffected even when
enjoyable moments are always those when you
working remotely. Thus, we’ve got that core
get feedback from a satisfied customer or when
competency in-house and are able to react
you get contacted by a new prospect based on
really quickly to changing demands.
our reputation, or when another customer directly
Further challenges will be the new ways of collaboration throughout the workflow with
recommends us. Trying not to sound conceited here, but this happens pretty frequently to us.
interconnections throughout sites and access from everywhere to work across borders,
Finally, we’ve discussed the challenges facing
whilst keeping the content assets secure.
the sector in the run up to 2020, but what do
And, of course, we provide solutions for these
you feel are the opportunities for companies
infrastructural aspects, too.
across the market, and how bright does the near future look for G&D?
No, actually our business itself is not changing
On a personal level, how challenging is
I believe there are lots of opportunities at the
devising company strategy amid such
moment. Companies need to get their offerings
changeable market conditions?
sorted in a way they can remove uncertainty
The advantage for us is that the company’s
for the end customers. As I said, there will be
strategy isn’t solely based on the broadcast
many for us, and of course all other industry
market. We’re working in different industries; these
stakeholders, if we continue to provide our
are all challenging and demanding but we profit
warranty that (with all the changes looming) a
from those different experiences.
solution is a future-proof investment providing
One thing all these business environments have in
real and tangible advantages to their business.
common is that they need total reliability. We see
However, there are always further opportunities
ourselves mostly in control room-type applications
for both our customers and ourselves when we
where it’s about maximum reliability and highest
can sit down with them and identify a means
usability. Adaptations and product and system
of solving their problems and fulfilling their
developments we carry out for one environment
needs. Everybody wins. And for ourselves, I’m
become part of our standard portfolio. This
very optimistic. We see huge potential for G&D,
way, other industries can profit from these along
especially as the awareness and importance
with enhanced safety features and improved
of KVM systems is still growing. We are also still
functionalities. And our strategy, additionally,
expanding into new geographical regions, where
is about keeping our ear to the ground and
prospective customers do not know yet what the
listening to the existing and potential needs of
G&D brand truly represents, part of which I have
our customers, what the challenges are, and
already mentioned: our inherent reliability; our
then reacting to and satisfying them by providing
listening skills; the most comprehensive product
reliable solutions.
range; enhanced service options; the availability
that much, despite the fact that we see higher
of test equipment for our customer’s installations;
demands and much deeper involvement into
What are the hardest aspects of your job, and
the passion that we bring into our product
the broadcast applications (as we actually
conversely, what are the most enjoyable?
developments and our manufacturing; and the
come from the IT world). I’d say instead of
Sometimes it is a bit difficult when looking into a
German quality aspects that we’re so proud of. A
change we rather provide continuity (of course
variety of industries; it involves broader planning
good case in point is our new subsidiary in the US.
with high emphasis on new products as well) to
and the ability to adapt to different needs
Here and elsewhere we are working on ensuring
accommodate future compatibility. With our
whilst keeping an overview of the whole. But
that these messages get across to all our existing
systems, we want to give safety and add further
the synergy that comes from that can pay out
and future partners. n
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IT’S WHAT’S BEHIND THAT KEEPS US AHEAD
LEADING THE WAY IN DIGITAL KVM
www.gdsys.de
G&D’s KVM systems have a proven reputation for long lasting usability and reliability. But that’s not all that keeps us ahead. Because G&D don’t just provide systems, we deliver solutions. KVM solutions that are tailor-made to meet your specific needs. Our broad portfolio allows us to combine products and systems to cover any application. Our expertise in all areas ensures your G&D solution is right for you
in every way – from design to planning, from installation to technical support. Versatility also plays its part in keeping us in front. For instance, we offer systems for a wide range of different video standards – digital or analog – with bandwidths up to 4K (incl. Full HD, 2K and Ultra HD). The power to deliver the perfect KVM solution. That’s G&D.
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