TVBE August 2016

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

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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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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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10 TVBEurope

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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12 TVBEurope

www.tvbeurope.com August 2016

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

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14 TVBEurope

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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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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

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19 20 22 23 24 25 26 27 28 29 TVBE Aug16 IBC Feature_final HA.indd 23

19/07/2016 15:05

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

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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

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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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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

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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

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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

34 35 36 38 39 40 41 42 TVBE Aug16 2020Feature_final HA.indd 55

19/07/2016 15:12

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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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

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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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20/07/2016 16:14

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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August 2016 www.tvbeurope.com

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

19/07/2016 15:15

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August 2016 www.tvbeurope.com

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.”

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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

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For more information contact Lucy Wilkie on lwilkie@nbmedia.com

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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

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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

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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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August 2016 www.tvbeurope.com

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

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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

20/07/2016 11:03

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

TVBEurope

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

new tvbe template remade.indd 1

20/07/2016 17:53

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

i-viii TVBE G&D Supplement_final.indd 5

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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TVBEurope

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.

G&D AT IBC STAND 1.B10

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