www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
August 2017
The new reality AR / VR /AI
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TVBEurope
August 2017 www.tvbeurope.com
Welcome
EDITORIAL Content Director: James McKeown jmckeown@nbmedia.com Editor: Jenny Priestley jpriestley@nbmedia.com Senior Staff Writer: James Groves jgroves@nbmedia.com Contributors: George Jarrett, Neal Romanek, Philip Stevens Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Senior Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000 Digital Director: Diane Oliver Human Resources Director: Lianne Davey Head of Production: Alistair Taylor Managing Director: Mark Burton Designer: Sam Richwood US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072
It’s time to get real B
efore I joined TVBEurope, I didn’t really pay that much attention to augmented reality. In truth, I didn’t really know what it
to follow. It’s virtual reality that seems to
was – something I suspect most laymen would
have caught
agree with. Now, of course, I am starting to
the public’s
learn more about AI, AR and VR and how all
imagination
three are becoming major players in what we
the most so far,
watch, and how.
particularly in
AI is probably the least explored so far, but
gaming, but
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that certainly looks to change as applications
content producers
like IBM Watson become more prevalent.
are starting to see the benefits as well. In fact,
Wimbledon has already shown what it is
Paramount Studios has recently gone so far as
capable of thanks to the launch of ‘Fred’, its
to appoint its first ‘futurist in residence’ to help
Watson-enabled app that was available to
it explore opportunities in new and emerging
Email subscriptions@TVBE.co.uk
users at this year’s Championships. Sport is
technologies while US magazine Slate has just
also very much involved with AR – again, prior
launched their own weekly live VR talk show
TVBEurope is published 12 times a year by by NewBay Media Europe Ltd, The Emerson Building, 4th Floor, 4-8 Emerson Street, London SE1 9DU
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3
to joining TVBEurope I knew little about the
(more on that next month). While it might
technology even though it stared me right in
take a while for us all to be rushing home and
the face every week on Match of the Day.
plugging into our VR headsets, a new reality is
Apple launched its new AR development
on the horizon…and broadcasters need to get
platform at its WWDC event in July and is
on board. n Jenny Priestley
expected to include the technology in iOS
Editor
11. And when Apple leads, consumers tend
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03 TVBE August Welcome_V2 JG.indd 1
Philip Stevens Production and Post editor
Neal Romanek Technology editor
George Jarrett Business editor
20/07/2017 11:19
4 TVBEurope
www.tvbeurope.com August 2017
In this issue
10
Opinion and Analysis
“Piracy is going absolutely nowhere anytime soon” - Dan Pringle, owner, director, White Lantern Film, gives an overview of the current and future state of content piracy
Feature
26
Jenny Priestley hears from Resh Sidhu, virtual reality creative director, Framestore, about passion, imaginary worlds, and crazy ideas
04 TVBE August Contents v2 JG.indd 1
Production and Post
16
TVBEurope speaks to Patrick Hall, head of post, LA Productions, about how the UK’s boutique studios are increasingly delivering feature-worthy end-to-end projects
30 Feature
Muki Kulhan looks at why broadcasters need to keep their eyes (and minds) wide open to the realities of mixed and immersive storytelling
Business
32 Feature
Five industry experts look ahead to IBC2017
38
George Jarrett reports from EditFest London
20/07/2017 16:58
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6 TVBEurope
www.tvbeurope.com August 2017
Opinion and Analysis
The VR content conundrum Seth Barton, editor, MCV, looks at the hype surrounding VR, drawing comparisons from the gaming undustry
Not-so-virtual problems
Now, that doesn’t sound like a huge success,
The key problems are power and content – to
but once again, it’s almost certainly going to
create immersive experiences that look as
be mobile where VR makes its first inroads.
good as today’s ‘normal’ games requires an
The BBC has recently launched its new
immensely powerful desktop PC – something
Taster VR app – and the key thing with this is
that most people just don’t have. That aside,
that you don’t need a VR headset in order to
wo years after Facebook’s acquisition
game design for VR titles has proved that
enjoy it, just choose the ‘no cardboard’ option
of VR trail-blazer Oculus Rift, Mark
most games do not simply transfer over to VR.
on launch and move your phone around to
Zuckerberg appeared on stage at a
They have to be built from the ground up, or
explore the video as you please. You may have
Samsung event at Mobile World Congress
significantly reworked, and with a small install
seen similar implementations of 360-degree
and declared that “VR is going to be the
base, that’s a financial issue.
video in your Twitter timeline too.
T
most social platform.” It was a big, big deal,
Having three players in the gaming VR
It’s this kind of easy access VR that has to be
a personal endorsement of Facebook and
market is arguably making things harder still
the future. Yes, YouTube has been streaming
Samsung’s bold push into VR.
for developers. Both HTC and Oculus are
360-degree video for some time, but it’s the
very publicly funding developers to create
integration into apps such as Twitter that
VR dream has been somewhat tarnished
content for the fledgling platform, and there
bring this kind of content to the attention of
by a big dose of old-fashioned reality –
is no doubt that Sony is too, behind the scenes.
the mainstream.
made most visible by Oculus knocking
However, exclusivity deals attached to that
nearly $200 off its $600 VR bundle over
funding are then depriving all three headsets
at Mobile World Congress after all. I’m still not
the summer.
of games at a time when they need it most.
sure about that ‘most social platform’ line, but
Skip ahead a couple of years, and that
The hype around new technology – specifically new gaming technology – almost always outweighs the actual demand. Interest in any device is always at a peak before you can actually buy it – even if it turns out to be the best thing since
mobile is the next step.
‘The VR dream has been somewhat tarnished by a big dose of oldfashioned reality’
the iPhone.
The remaining barriers for 360-degree video are the usual pair: bandwidth and content. People are used to getting their VoD these days, but the bitrates of 360-degree video mean that downloads are still commonplace. We’ll need to see video compression improve,
Alarm bells began to ring when Oculus went
or bandwidth rise, before we can expect
on sale exclusively from its own website, which
And with gaming still the mainstay of VR
was barely any different from how prototype
content, that’s a major problem that could
units had been sold in the preceding years.
limit takeup.
It was hardly the huge launch some were
Maybe Zuckerberg was right to talk up VR
So, it certainly doesn’t look like hardcore
such convenience. Then there’s the content conundrum. After all, you can’t simply go about shooting everything in 360 degrees – it’s simply
expecting. It was soon joined by the HTC
gamers are going to be the ones exploding
inappropriate for most content. And while
Vive and the PS VR, which are both capable
VR content into the mainstream. But that’s
the kit is becoming more accessible, with
headsets. In fact, the Vive is arguably superior,
not to say that the format is dead and buried
kit such as GoPro’s compact and affordable
as it came with handheld controllers and room-
just yet.
Omni system, it’s still a trade off between
based positional tracking from the off; while the PS VR is a capable device built to a budget.
interactivity and quality for the viewer.
Mobile again
One day soon though, we should at
Samsung, in the meantime, has been using
least achieve my VR dream, that of a
a slow-builder rather than a popular explosion.
Oculus positional tech to create its own
high-end 360-degree video capture rig
Gamers are usually a key early adopter for
smartphone-based headsets, under the
emplaced in the best seat in every single
technologies like this – they certainly helped
Gear VR brand. It’s been giving away
Premier League ground in the country,
drive HD TV sales before there was any HD
millions of these to customers buying
allowing for live games to be streamed in
content bar games consoles. However, for
compatible phones. Meanwhile, Google
VR across the world, and millions of fans,
them, VR isn’t the must-have new thing,
had its similar, cut-price Cardboard (literally)
from Manchester to Malaysia, Newcastle
with the most dedicated gamers backing
headsets, and now has a cross-manufacturer
to New Zealand, to all inhabit (and pay for)
technologies such as 4K and HDR instead. The
VR platform called Daydream – only to
a single virtual seat.
lack of any VR headset support from Microsoft
date, there are barely any handsets on
for the Xbox is particularly telling.
the market that actually support.
So, VR is undoubtedly here, but it looks to be
06 TVBE August Opinion_V2 JG.indd 1
Now, that would make the basis for one hell of a social platform. n
20/07/2017 09:37
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8 TVBEurope
www.tvbeurope.com August 2017
Opinion and Analysis
Three ways broadcasters can improve QC operations in the designated folders. For instance, let’s say
Closed captioning checks
a broadcaster receives files from hundreds of its
Closed captioning was developed primarily for
content providers via file transfers to a folder. All
the hearing-impaired, as well as those learning
files need to be scanned and sorted out based on
a non-native language. In Europe, the video
T
the parameters and then, depending on the type
programming distributors have standardised DVB
of the file, appropriate actions need to be taken.
subtitles. Governments have regulations that
By Penny Westlake, director, Europe, Interra Systems he broadcast industry is undergoing a radical transformation. OTT video consumption is
By utilising a QC solution with smart folders,
require video programming distributors to transmit
often fully integrated with a MAM system,
closed captions so that viewers who are deaf or
that revenues for online TV and video in Western
broadcasters can dramatically speed up this
hard of hearing have full access to programming.
Europe will more than double from $6.40 billion to
process. Smart folders offer rule-based, content-
Typically, in Europe, broadcasters and professional
$14.64 billion between 2015 and 2021. Moreover,
aware, automated QC for verifying files. With smart
producers of online content would adhere to
video is being viewed in higher resolutions. SNL
folders, the QC solution automatically recognises
the EBU-TT and EBU-TT-D specifications, although
Kagan expects more than 100 linear UHD channels
content by identifying the content structure and
often additions to the specifications are made, to
to be available by the end of 2017, and HDR-
various content characteristics, such as resolution,
increase the quality offered by a particular service.
enabled consumer devices are beginning to
frame rate, and aspect ratio. Once content is
become available on the market. Supplying a
recognised, the QC system verifies and executes
to ensure synchronous captions coincide with their
seemingly insatiable market with output to myriad
action on content as specified. This can be as
corresponding spoken words and sounds to the
devices in myriad formats inevitably means more
simple as recognising that a file is corrupt, and
greatest extent possible and are displayed on the
complex production and distribution workflows,
messaging an inbound transfer system to stop the
screen at a speed that can be read by viewers.
and these require QC solutions that can keep
transfer, or more sophisticated, such as defining
Furthermore, complete captions must run from the
pace with this fast-moving scenario.
workflow actions, perhaps identifying and sending
beginning to the end of the programme.
soaring, with Digital TV Research predicting
In today’s complex video streaming world, it’s
a file for auto-correction.
even more important for broadcasters to have
From a QC perspective, broadcasters will want
Broadcasters require a QC solution that checks closed captioning at multiple levels for presence
Guaranteed detection of embedded subtitles
of closed captions, presence of a specific type of
and provides pertinent information about what’s happening during video processing and delivery
Subtitles are a necessity in terms of enabling
of closed caption dropouts than the specified
workflow. If the quality of service suffers, consumers
viewers to watch programming in an unknown
threshold. Having a QC solution that can ignore
will look elsewhere for content.
language, as well as supporting viewers who are
music is advantageous so that false positives are
deaf or hard-of-hearing.
not reported when background music is present
an effective QC strategy – one that dives deep
Aside from choosing a QC solution that offers comprehensive checks and exceptional quality on
Within the broadcast industry, burnt-in subtitles
closed captions, and detection of a higher number
in the file for which the corresponding closed
a wide range of devices, there are several other
are embedded within the video frame and
often overlooked, yet essential, functionalities that
cannot be turned off by the viewer. Burnt-in text
broadcasters need.
may appear within the region of a video that
keep track of closed captioning compliance in
captions are absent. It’s also a good idea for broadcasters to
contains black bars. Oftentimes, they are detected
case there is a regulatory inquiry. Advanced QC
Smart folders
as “video dropouts,” causing false alarms to be
solutions will provide an option to write out the
Most QC solutions use watch folders. Users can
reported by the QC solution.
closed captions so they can be checked later for
designate any accessible folder as a watch folder,
The best way to resolve this issue is by choosing a
compliance purposes.
and the QC solution scans the folders for incoming
QC solution that automatically checks for burnt-in
new files. As soon as a new file is detected, it’s
subtitles while analysing video. Broadcasters can
Conclusion
picked up and scheduled against a test plan
define the area in which the subtitles are expected
Using an integrated QC solution that offers
for QC. Users can specify filters to pick up or
to appear in a video. If the restrictions get voided,
advanced features like smart folders, detection
ignore files based on file extensions, minimum
the QC solution reports an error specifying the
of embedded subtitles, and closed captioning
file size, etcetera. Watch folders can’t handle
erroneous area. It’s important to look for a QC
compliances, broadcasters can deliver flawless
complex workflows where multiple types of files
solution that supports a wide range of languages in
video on every device, in the most efficient and
(with different parameters) are being dropped
order to reach the most viewers possible.
cost-effective manner possible. n
08 TVBE August Opinion_V2 Jg.indd 1
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www.tvbeurope.com August 2017
Opinion and Analysis
The P word By Dan Pringle, owner, director, White Lantern Film
K-Shop
spending it on an activity deemed not entirely
film K-Shop in the UK and a refreshingly constructive
satisfactory has become exponentially more of
chat with distributor Bulldog, we established that it
a factor in our decision-making. The net result?
would do little to no harm to sales if all streams were
Less risks taken on expensive three-hour trips to
collapsed together. The film’s release ended up
the cinema unless we are absolutely sure the film
with a traditional delayed schedule from theatrical
iracy. Okay, let’s talk about it…because I
in question is guaranteed to thrill. For everything
through to SVoD (with Sky) but it became clear
guess we have to, really.
deemed ‘worth a punt’, there’s Netflix, and for
early on that the risk of considerable damage from
anything deemed even iffier, there’s piracy.
a same-day strategy would have been low. In
P
So where to start? I’m a deeply objective
critical thinker, so I’ll always chew the grizzle hard on
I’m framing this model largely around youth,
fact, when chewing on it further, the concentrated
both sides of the moral argument, but for the sake
but I would say it is growing equally applicable
marketing push would have probably converted a
of getting the ball rolling, let’s kick off with a simple
amongst families with young children, for which
few more earnest viewers.
conclusion: piracy is going absolutely nowhere
the cinema trip has become just too big a
anytime soon.
percentage of their collateral income. Factor
life cycle, and I was well versed to the growing presence of piracy within the low budget space,
Three features into my production company’s
Why? It’s an iceberg-sized situation, but let’s start
into all this the plethora of entertainment and
with the speed of our lives and how our relationship
leisure choices vying for that money, and the
but for K-Shop, I was determined not to let the
to content has mutated in recent times. Note: I’m
ocean of content available from an oversaturated
cynical gnomes bed in. To weigh the film’s
in with the royal ‘our’ here and framing myself as a
film and TV market, and it’s safe to say we are
success would be to exclusively judge it on what
consumer first, but rest assured I’ll tackle professional
now firmly in the era of the consumer god, and
it was intended for; a career positioning exercise.
thoughts before we’re done.
no amount of anti-piracy legislation is going to
Ultimately, that objective has been fulfilled, and
combat the ubiquitous attitude that the content
granted me the chance to have a more well-
simply isn’t worth the risk.
funded crack at getting the core value back into
So let’s reminisce on how things were back in the day of days when the filmmaker was god. He/ she deployed their film to the theatres and the
But where do we go from here? Fuelled by
cinema again.
masses queued round the block. Be it Casablanca
micro-budget adventurism and the serial furnaces
or Ben Hur, you got what you were given, and you
of Netflix and Amazon, the catacombs of the
of laptop openings and illegal streams clicks, it’s
probably went back and watched it ten times,
Kodi box are becoming increasingly displaced
going to take something more revolutionary than
regardless of what you thought. There was no IMDB
of breathing space. With this, I feel the shrugs of
film itself. The way in which content is created
or Rotten Tomatoes, and even if it stank, it was
audience apathy will only bed in further, and this
and distributed needs a wholesale shake up,
blessed escapism.
all leads me to the thought of a singular solution for
and whilst the big online players are helping, their
the ongoing sustainability of independent movie
monopolisation of the market is making SVoD less
making – collapse the window now.
lucrative for indie players.
Fast forward to the present, and our lives are now turbo-charged, high-speed chases in comparison. The average employee works longer, commutes
Sure, studios can maintain their existing tent pole
But let’s be realistic. In order to stem the tide
Until that point, I’m campaigning for the end of the window, and in the meantime will settle for
further, earns less and subsequently has increasingly
relationships with chains by preserving time before
limited recreation time. The pressure on that time
online release, but for everything else, just get on
audiences watching K-Shop illegally and paying
has grown and as a consequence, the risk of
and flood it out there. Following the release of our
with their oh-so-precious time. n
10 TVBE August Opinion_V3 JG.indd 1
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30
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12 TVBEurope
www.tvbeurope.com August 2017
Opinion and Analysis
Taking the guesswork out of 360-degree filming By Paul Scurrell, chief executive, Timecode Systems
It’s also a time-intensive way for editors to search
around the crime scene of a drama? The
and align content when it gets to the edit suite.
potential of 360-degree filming is massive, but
And then there is the issue of camera control.
without an efficient, robust production workflow
Do all the cameras have sufficient power to last
and a cost-effective way to generate VR-style
for the duration of the shoot? What about the SD
output, the use of 360-degree content by the
verything you read about producing
cards? Has every camera been configured with
professional broadcast community has so far
360-degree video will say it’s a whole new
the same settings? Are they all recording? Most
been limited.
beast when it comes filming and post
operators of 360-degree multi-camera rigs have
E
production. Achieving the VR-like format that lets you look up, down, left, right, and behind, not
their fingers very tightly crossed during a shoot. The lack of a professional workflow could be
What professional crews want is to be able to start and stop recording all day long without the hassle of having to disturb filming in order to slate
only requires investment in a special camera or
one reason why, despite the buzz surrounding VR,
cameras manually, and to know all cameras
custom multi-camera setup, it also demands a
we aren’t seeing more immersive content from
and even separate sound recordings are
large dose of patience. You’ll hear that to capture
our favourite television programmes. The incentive
synchronised at the point of shooting. They
wraparound views, you can’t think about filming
to create VR output is definitely understood by
want to feel completely confident that
in the same way as traditional video. You’ll be told
the broadcast community. By giving viewers the
all cameras are shooting with the correct
to throw all the rules of multi-camera shooting out
option to immerse themselves further into a show
configuration and need to be able to identify
of the window and to accept that, due to the
by stepping directly into the shoes of a character
and eliminate errors in camera settings and
complexity of the set up, convenience usually
or contestant, 360-degree filming offers an exciting
problems with memory and power promptly
has to take precedence over quality. You’ll be
opportunity for production teams to create
to reduce the risk of content being lost due to
led to believe guesswork is the best that can be
engaging new formats and to inject new life
the malfunction of a camera. They simply don’t
expected when it comes to capturing content.
into established programmes. Who wouldn’t
have the luxury of time and unlimited budgets
But surrendering quality and control goes against
want to watch a sports event as if they were
to correct mistakes and manually search and
every instinct of professional filmmakers.
running alongside one of the players, or snoop
sync huge volumes of content. n
One of the main challenges for professional broadcast production teams looking to diversify into producing 360-degree content is capturing and producing VR content to the same high standards, and with the same efficiency, as mainstream multi-camera filming. Aligning multiple files from a 360-degree multi-camera VR rig into a professional workflow, particularly when this includes separate audio, is time-consuming due to the manual process of synchronising and stitching multiple audio and video recordings. The cameras used in multi-camera VR rigs are typically GoPros or similar, and are primarily designed for consumer use, meaning they don’t generate timecode as a synchronisation reference. A workaround has been to use some kind of visual or audio cue to mark the start of a take. However, timecodeslating cameras, using the clap of a slate for example, can be disruptive to the creative flow of a shoot and is an added annoyance to everyone from the artists in front of the camera to the
The SyncBac VR rig
producers and DoPs working behind the lens.
12 TVBE August Opinion_V4 JG.indd 1
20/07/2017 12:42
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14 TVBEurope
www.tvbeurope.com August 2017
Opinion and Analysis LiveLike was involved with providing VR facilities for the French Open tennis at Roland Garros
VR as a game-changer Andre Lorenceau, founder and CEO, LiveLike, talks about the challenges of the virtual world
V
to create experiences that are needed to sell
In VR, as with the smart phone, the focus now
headsets... when there haven’t been enough
should be on why the excitement is there,
headsets sold to prompt developers to create
and the industries on which VR can have
these experiences. This, coupled with varied
the greatest impact – now and in the future.
user experiences across multiple devices (such
But strangely, we see much more scepticism
as nausea, resolution and controls) has created
around VR than we ever did with the smart
R was once thought of as a science-
a narrative around VR as failing. This couldn’t
phone. The smart phone simply changed how
fiction dream, but in 2017, that dream
be further from the truth.
we communicate, where VR has the potential
has become reality. Children of the
‘80s grew up consuming pop culture filled with VR, AR, flying cars, and so on. They have grown up to become the engineers of the world designing new technologies, and their childhood dreams are becoming reality before
to change how we experience the world.
‘Once we combine the immersion of VR with the social nature of humanity, we’ll begin to see this industry take off’
our eyes.
The solution So, what needs to happen for VR to turn the corner? One, we need to solve gaming: where the chicken and the egg manifests most. A lot of noise has been generated about licensed games like Batman: Arkham VR, but indie
In 2016, 6.3 million headsets were shipped, and the industry generated $1.8 billion in
In fact, this sentiment is natural – all cutting-
studios have been pushing the envelope of
revenue. And it’s just the beginning: Samsung,
edge technologies are initially met with
what is possible and showing how VR is distinct
Google, Facebook and Microsoft are
criticisms. This phenomenon is so widespread
from other gaming. Touch controllers like
continuing to double-down on their VR efforts.
that it is even named! We call it “the trough
Oculus and Vive change how gamers interact
of disillusionment”, and every new innovation
with and are immersed in these new worlds.
various industries – gaming, entertainment,
goes through it. For example, before all smart
Yes, licensed content is key to continue selling
advertising, sport and beyond. However,
phones had a touch screen, there were a wide
headsets, but indie devs are paving the way
despite the buzz and excitement, there remains
variety of form factors and experiences on the
for the future of gaming in VR. We will see an
a healthy level of scepticism towards the
market. Different companies offered multiple
influx of M&A by big companies and adoption
industry. There is also a chicken and egg issue,
interpretations of what the smartphone today
of methodology perfected by indies, who are
where software developers must be prompted
would become.
creating the roadmap for future AAA content.
The growing impact of VR can be felt across
14 15 TVBE August Opinion_V3 JG.indd 1
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TVBEurope
August 2017 www.tvbeurope.com
15
Opinion and Analysis Secondly, we need to create compelling
used for every major sports broadcast, altered
Even live events like sport have declining
non-gaming entertainment. The media
reality basically started with the ‘yellow line’ in
viewership given the plethora of options
industry as a whole has been eager to adopt
football, and so on.
for today’s consumer. VR is another way
VR technologies. High profile filmmakers have
VR is the next frontier for sports broadcasting.
broadcasters can bring back the wow factor
already begun incorporating VR – Alejandro
Most fans will never have a true courtside
G. Iñárritu, for example, recently developed
experience, know what it feels like to throw
a VR film on illegal immigration, calling VR
down a 360 dunk, catch a touchdown pass, hit
the mainstream by one key technological
“an art in itself.” Creatives recognise that
a homerun. VR alone can transport us to offer
leap: social. Putting on a headset can feel
VR has the unique capacity to elevate the
these new experiences in a way that no other
extremely isolating. The likes of Facebook and
emotional connection you feel to a story by
medium can.
Twitter have taught us to be more connected
creating a fully interactive experience.
to live sports. But all in all, VR is being held back from
with each other than ever – making the
Still, major entertainment properties like
‘The growing impact of VR can be felt across various industries – gaming, entertainment, advertising, sport and beyond’
films and TV have yet to make the leap, and are instead dipping their collective toes in the water until the adoption curve can catch up.
isolation even more affecting for today’s user. When we can use the headset to connect people, we’ll see more activities in VR. These shared experiences are what make interactive entertainment take off. Remember, Playstations and Xboxes were
Sport – a key
kid’s toys until their users grew up and
This is where my bias comes in. I’m CEO of a
Major broadcasters and sports teams have
demanded a connected, online experience.
sports VR company, and I believe sport is the
already begun to experiment with the
Again, social gaming fuelled massive
key to the future of VR. Why? Sport has been
technology. This has tremendous viewer
companies – look at Blizzard’s WoW, Xbox
a driving force for multiple new hardware
benefits – everyone can sit courtside. It’s
Live, Halo 2, Bungie’s Destiny, Overwatch.
adoptions: cable was buoyed by ESPN, tiny
not only viewers, but also broadcasters who
cameras were created to be placed in the
see tremendous value. That’s because we
the social nature of humanity, we’ll begin to
catcher’s helmet, HD didn’t take off until it was
watch TV differently from how we once did.
see this industry take off. n
Once we combine the immersion of VR with
5.5 & 7 inch FULL HD Waveform LCD Monitor
SINCE 1996
Your best camera mate
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14 15 TVBE August Opinion_V3 JG.indd 2
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20/07/2017 16:24
16 TVBEurope
www.tvbeurope.com August 2017
Production and Post
The rise of the one-stop-shop TVBEurope speaks to Patrick Hall, head of post, LA Productions, about how the UK’s boutique studios are increasingly delivering feature-worthy end-to-end projects
“Efficiency was key in developing the kind of workflow that would allow us to produce a drama like Broken, which is certainly our largest endeavor to date, and one we are
W
all incredibly proud of,” confirms head of hen you think of a series like Broken
years. Aided in part by ongoing tax breaks, the
post at LA Productions, Patrick Hall.
– the latest six-part drama to be
gross value added for the UK creative industries
“These are projects that just a few years
broadcast during one of BBC One’s
accounted for more than £80 billion and 1.71
ago would have been unheard of for such
coveted 9pm prime time slots – it’s easy to
million jobs, according to the latest economic
a small team to take on. When I started
imagine dozens of production companies
estimates report, giving it a leading place on the
in post, we were still using a mixture of
and post production professionals coming
global stage. At the same time, we increasingly
cutting formats, including film and linear
together to help bring each episode to life.
have more and more choice when it comes to
tape. I even remember stacking up a tower
Broken was written by Jimmy McGovern and
what shows to watch – and on what device –
of 9GB drives in an array just so we could
stars Sean Bean, who plays a Catholic priest
thanks to companies like Netflix and Amazon.
online a single episode.”
presiding over an impoverished Northern parish while struggling to come to terms with his past. The reality of how the drama was created,
In an EY survey on the future of TV in the UK, a
“At that time – and for quite some time
steady growth in independent production was
following that, editing, grading and VFX
shown to be helping to fill in the gap. Along with
work continued to be limited at only the very
however, is completely different. The entire
the large, well-known shops, a growing number
high-end facilities and projects, because the
production of Broken, including edit, conform,
of boutique studios brimming with ideas and
technology just wasn’t there and was certainly
grade and visual effects, was delivered
talent are starting to make their mark – and as
not affordable for the mainstream,” he recalls.
not by several industry giants, but by a
the technologies becomes more accessible,
“Today, things are completely different: cost
single, independent Liverpool-based studio:
studios big and small now find themselves on
of technology is no longer a restricting factor.
LA Productions.
a more equal footing. The same survey also
The ability to cut multiple formats, in real time
highlights a shift away from the cost-cutting
across multiple platforms and devices and
with its post production arm, LA Post, represents
that characterised many strategies during
then continue working in high-res to deliver
the perfect example of just how much the UK TV
the recession, and towards efforts to drive
VFX shots and grades on a modest budget is
production landscape has changed in recent
efficiencies into the business instead.
just incredible.
Founded in 2000, LA Productions, together
16 17 TVBE August Broken_V3 JG.indd 1
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TVBEurope
August 2017 www.tvbeurope.com
17
Production and Post
“Companies such as Blackmagic have had a
“Once we had picture lock, we then sent
For Hall, however, the most important factor of
big part to play in leveling that playing field.
everything straight into DaVinci Resolve, where
all to what allows a boutique studio to create
Much of the work we did on Broken could have
we had all the shots relinked, and then began
such impressive work remains the creative team
been completed in the free version.”
the conform and grade with the help of five
behind it. “You don’t have the luxury of time,
foundation look up tables (LUTs). This all helped
and it’s all about being multi talented so that
producing the best possible results as quickly
to create further efficiencies in our workflow.
one person can do a multitude of different
as possible, the LA Productions pipeline is
Features such as Resolve’s ColorTrace were
tasks as a generalist,” he concludes. “For all of
continually being assessed and refined.
especially helpful when it came to delivering
us at LA Productions and LA Post we just want
“If we invest heavily in a product or solution,
multiple versions for international distribution.
to make the best film and television possible,
we expect that solution to last, so we look
Copying final grades across took seconds -
and for that the skill of the creative team is
at maximising its shelf life well over and
rendering a complicated, time-consuming
paramount, and remains the deciding factor on
above its initial use,” Hall reveals.
process relatively straight forward.”
any project.” n
With a workflow entirely geared towards
“We also run a tier system, so if we invest in new front end machines that need processing power, our older front end machines that they replace then become our back end machines, which in turn become workhorse machines for simple processes.” Shot in 4K on the Varicam, all of the rushes for Broken were captured in ProRes 4444 XQ. Post production began with the offline edit, which was completed in Media Composer. Using Fusion Studio’s Avid Connect plug in, the LA Post team then sent all their VFX shots into Fusion while the project was still in the rough cut stage. “The fact that we could work on both the edit and the VFX simultaneously was incredibly useful. It meant that when we came to do the online effects, we could simply refer to the existing Fusion files that we’d already created and then tweak them based on the online materials,” Hall continues.
16 17 TVBE August Broken_V3 JG.indd 2
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18 TVBEurope
www.tvbeurope.com August 2017
Production and Post
Bundesliga in 3D Philip Stevens talks to the team bringing a new dimension to player profiles
T
of the top six clubs that were needed for the innovative presentations they had planned.
360-degree cage “We set up mobile scan rooms at the stadia,
here is always a challenge to find new and
which were part of the concept,” says
innovative ways of presenting on-screen
Taprogge. “These looked a bit like cages, as
data – especially to dedicated sports
they were enclosed and 360 degrees round.”
fans, who are hungry for ever more detailed
Inside these ‘cages’ were 70 Canon EOS
information. As part of its four-year contract with
5D cameras placed at strategic positions to
the Bundesliga, Sky Sports Germany is seen to be
capture images of each player from every
pushing the boundaries of AR technology.
angle of the 360 degrees.
For the 2015-16 season, the broadcaster used
“We were working to a very tight time
Ncam’s tracking system – integrated with Viz
schedule,” reports Taprogge. “We only had
Virtual Studio and Viz Engine – to create AR
one minute for the player to walk into the
graphics. More recently, Sky Sports Germany has
cage, be photographed for three different
taken a further step and introduced specially
versions, and then walk out. That was a
created 3D images of most players in the league
challenge in itself – but we had previously
in order to enhance player comparisons, mega-
carried out some intensive testing, so
facts or the team line-up information.
things could work smoothly at each of the
“Just before the beginning of each
‘capturing’ sessions.”
season, the Bundesliga organises a media
He says that the first club to be
day at the clubs’ venue,” explains Sebastian
photographed in this way was Borussia
Taprogge, senior manager, sports, programme
Mönchengladbach. Unfortunately, the team
development and innovation, Sky Sports DE. “At
arrived in their white shirts, and this presented
these events, the players and managers appear
a problem with the photography and lighting.
so that the league itself and Sky Sports DE as a
“But we managed to sort out the difficulties
main live partner can collect images, videos
and all was good in the end.”
and other assets that can be used throughout
As the sessions continued over the following
the upcoming season.”
days, improvements were made to the lighting
It was at one of these sessions that the
and to the positions in which the players stood
broadcaster was able to collect the 3D images
in the ‘cage’.
One of the finished results from the series of image captures
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18 19 TVBE August AR Viz_V2 JG.indd 1
20/07/2017 09:41
TVBEurope
August 2017 www.tvbeurope.com
19
Production and Post Post production procedures “Once the images were completed, they underwent considerable post production using the ZBrash modelling programme. This is designed to render three-dimensional objects. With 360-degree lighting, you are always going to run into the issue of having reflections in the eyes – so that had to be treated by the post production people. There were slight adjustments that had to be made to some ears, noses and parts of the skin before we had the finished avatars.” Taprogge explains that each file size was huge – each player equalling about one million polygons. “Once we had the completed images, we were then able to
70 cameras in a circular ‘cage’ captured the images needed for the on-screen presentation
around the player, enabling viewers to see the
Vizrt, takes up the story: “It’s actually an
“All textures, shading and any animations are
can see the minute details, such as tattoos.
extremely simple integration. Using Viz
included in the fbx import. The workflow is
Artist, we do a standard import of the fbx
exactly the same as importing any other 3D
to use a Spidercam at the Allianz arena and
files – that is, the models of the players.
object into our system.”
place the 3D models over the background.
feed them into a Viz engine.” Gerhard Lang, chief engineering officer,
This integration places the player models
Lang says that as the introductions are made
details on the player and the 3D rendering that is happening in real time – if we zoom in we Taprogge concludes: “We have been able
This is a really good way of using the avatars
as 3D objects in our database, then the
for each player, he can be seen to ‘walk’ into
– standing as 3D models on the pitch.The results
designer modifies them as needed.
the foreground. “We can do a 180-degree move
were great.” n
18 19 TVBE August AR Viz_V2 JG.indd 2
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20
TVBEurope
www.tvbeurope.com August 2017
Production and Post The Piero Augmented Reality can analyse where a player scores his goals
A unique 3D solution Philip Stevens speaks to Piero Sports Graphics to learn more about its latest 3D solution
L
aunched in April 2016, Piero Augmented
So, what was Ericsson’s brief from BT Sport?
Flexibility
“We provide readymade solutions to our clients,”
Noyer goes on to explain that the Piero
emphasises Noyer. “It’s prêt-à-augmenter!
technology is not bound by specific studio
We work closely with our clients to tweak and
limits. The limitation usually comes from the
improve the solution for specific requests. It’s
talents’ ability to move within the virtual
more a dialogue rather than a brief.”
space while maintaining an engaging story.
Reality enables broadcasters to overlay
“Human interaction with AR and staging are
Producing in real time
more limiting than the technology. A large
productions and sports games. It allows sports
Without having a specific brief, what information
studio is preferable because it opens up more
analysis graphics to be produced instantly, either
does a designer need about the possible shots to
possibilities for real size one-to-one scale effects.
by a system operator or by a presenter using a
be used in the live programme?
Producers and talents need to be able to
3D graphics in real time during live studio
tablet device. “Piero Augmented Reality is a part of Ericsson’s
“Fortunately, the Ericsson Piero AR solution
change their mind during rehearsal, so AR sets
does not have to worry about this. We provide
need to be flexible. Designing a rigid AR set can
Piero product suite, the real-time sports graphics
very specific AR effects for sports analysis. The
lead to a lot of frustration.”
software specifically designed to enhance and
shows tend to integrate the graphics rather
analyse sports for broadcasters and TV service
than the other way around. Most important for
providing the licence to use the software, Ericsson
providers,” explains Vincent Noyer, head of
implementing AR is to be flexible, extremely
trains a client’s staff in the use of the solution.
Piero Sport Graphics. “Piero is used by over
versatile and adaptive during the production.”
50 broadcasters around the world to deliver
He adds that last-minute changes are not a
The Piero system is very user-friendly. Alongside
Like so many others in the broadcast environment, this technology is ever-changing,
stunning, fast and accurate analysis graphics of
problem. “We have little pre-scripted, pre-defined
so is Noyer prepared to reveal what is up ahead?
sports programming and to enhance broadcast
graphics. Everything comes to life as the shows/
“There are a few ideas floating around in our lab
presentation of international sporting events.”
games go on. Our renderer is real-time and
as we work on more and more sports and with
The first user of the software system was BT
the solution we offer is all based on speed of
more and more customers.”
Sport, and it has been extensively used for
execution. As the game is played we can choose
both studio presentations and various games,
what type of graphics are best suited to support
including football and rugby. The graphics
the pundit’s story.”
are projected on to the studio floor in 3D
Speaking of rendering, Noyer states that it is
Understandably, some things are best kept under wraps until the launch! Noyer concludes, “The Piero solution is unique, as we have found that it really brings
allowing the presenter to illustrate the analysis
easier to start with an idea and work towards it
to life third party sports data. Traditionally,
sequence without cutting away from the studio
within the renderer capabilities. “All renderers
this analysis was done by cutting away to a
environment. This technology integrates readily
have pros and cons. The technology is rarely the
2D or 3D rendered sequence, whereas now,
with major studio tracking systems and a host of
limit in this day and age. Creativity can get you
we can bring it seamlessly into the studio,
sports data service providers.
very far with a limited renderer.”
allowing the presenter to engage with it.” n
20 TVBE August VR Ericsson_V2 JG.indd 1
20/07/2017 11:24
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24 TVBEurope
www.tvbeurope.com August 2017
Production and Post
The power of augmented reality Marlon Etheridge, team leader of graphics development, NEP The Netherlands
E
with a full range of managed broadcast
opponent. It all comes down to who has the
services and media solutions for remote,
best deal. The contestants take it in turns
cloud and studio production, host
to open boxes and receive the same offers
broadcasting, post production and visual
from the banker at the end of each round.
effects, AR, media asset management,
The only thing they do not know is whether
ndemol Shine UK is part of Endemol
CDN, VoD, digital media services, playout
their opponent has decided to make a deal
Shine Group, the global content
and uplink communication.
at any point.
creator, producer and distributor
NEP is one of the few broadcast and media
Endemol Shine UK set out to look for ways
with creative operations in over 30 different
services provider to own and operate its own
in which it could give Deal or No Deal a
markets, with a portfolio of over 600 revenue
broadcast IT facilities and cloud native IT
‘prime time’ twist.
generating formats across scripted and
media infrastructure. The company is a
At the beginning of 2017, NEP The Netherlands
non-scripted genres; coupled with digital,
front-runner in photorealistic AR in daily
captured a five-camera live entertainment
gaming, and distribution operations.
sports programmes, large entertainment
production in a 360-degree virtual set
Endemol Shine UK is behind a diverse
shows and location sports productions
with calibrated physical elements. It made
range of hits including Big Brother, Black
including carpeting and virtual advertising.
use of its AR platform ‘CUBE’.
A prime twist
usage of techniques like AR plus proof points
international game hit show is back with
Double Deal or No Deal is the ultimate test of
from various entertainment shows resulted
a twist: Double Deal or No Deal.
judgement as two players go head to head.
in a partnership in order to develop a
Players require the same level of luck, but
pilot, which took advantage of these
with the added pressure of outwitting their
radical changes in TV productions.
Mirror,, Benidorm, Broadchurch, Peaky Blinders and Deal or No Deal. The latter
NEP The Netherlands provides broadcasters, telcos and rights holders around the world
24 25 TVBE August NEP_V2 JG.indd 1
Showing Endemol Shine UK the successful
20/07/2017 09:42
TVBEurope
August 2017 www.tvbeurope.com
25
Production and Post Making the impossible possible
including the tracking of the cameras,
shown on screen. In addition, the set is easily
AR is the integration of digital images with the
rendering and keying, as well as game logic.
interchangeable when selling the format.
live video environment in real time. Unlike VR,
As in painting and photography, lighting is
In the case of Double Deal or No Deal,
which creates a totally artificial environment,
crucial to a photorealistic set.
physical elements are placed in a virtual set
AR uses the existing environment and overlays a new reality. The movement of the studio
in which multiple cameras are set up, so that
‘AR is the integration of digital images with the live video environment in real time. Unlike VR, AR uses the existing environment and overlays a new reality’
cameras also directs a virtual camera in the 3D augmented environment so the output precisely matches the camera view. The augmented layer becomes integrated with the real-time camera view. For the viewer, it becomes one total experience.
the camera perspective and angles in the augmented studio is exactly the same as the perspective in the isolated opponent’s studio. Because all cameras – crane, dolly, camera on a tripod and even handheld – are fitted with the latest tracking technology, the picture looks very tight in every shot. The graphics
Together with Endemol Shine UK and Park
are realistic and retain perspective, regardless
Lane, NEP created and designed a virtual
To get the virtual studio as realistic as possible,
of the angle. The audience’s perception
set within the live augmented set, to capture
shaders, lighting, environment and the right
is not affected by the large green screen in
the pilot episode. The first contestant was in
approach are essential. The multiple rendering
the studio, and the tension is still felt. Thanks
the studio set together with the presenter. His
tools makes it possible to render physical
to strategically placed screens, the public
opponent was in a visual and audio isolated
elements into the virtual environment.
was able to see exactly the same as the
green screen multi camera studio setting and
viewer at home.
was live rendered into the live augmented set. Not knowing what the opponent has
Bringing the wow factor
Carefully designed and rendered shadows
With AR and the CUBE platform, the set is highly
and reflections made the final result look real.
decided gives the game an extra dimension,
flexible and adaptable – by show, or even
With Double Deal or No Deal, Endemol Shine
which has been visually captured based on
by scene. It offers the possibility to interact
and NEP created a challenging, highly realistic
different elements of CUBE – part of the end-
with the set, because in composition and
combination of a physical and virtual set in a
to-end workflow and full capturing process,
colour, the set is able to react to the situation
dome of glass. n
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26 TVBEurope
www.tvbeurope.com August 2017
Feature
A virtual pioneer Resh Sidhu, virtual reality creative director, Framestore, was recently named as a leading pioneer in VR by Marie Claire magazine. Speaking to Jenny Priestley, she talks passion, imaginary worlds and crazy ideas
R
afraid of what we’d just said we would do but so excited about designing for this completely new device. And the Tokyo Motor Show was only eight weeks away so it was a phenomenal project.” After her success at AKQA, Framestore reached
esh Sidhu is at the forefront in the world of
developer kit headset,” she explains. “At the time,
out and asked if Sidhu would be interested in
virtual reality (VR). Talking to her about the
I was creative director for Nissan and it just so
working at the VR studio they were setting up in
subject, you quickly get a sense of how
happened that the universe gave me two great
New York. So, she left her home in London and
passionate she is about VR, which also comes
things – Nissan had reached out and said ‘we
moved her young family to the Big Apple. She’s
across in her award-winning work for the likes of
have this brief for you, the Tokyo Motor Show is
now returned to London where she’s taken up a
Red Bull, Nivea, Warner Bros and JK Rowling.
coming up, we have these concept cars, we want
wider role for Framestore, working on VR as well as
to find a cool way to attract a younger audience.’
AR, AI and all immersive content, something she
her career in 1998 designing gaming packaging,
And literally the next day the DK1 landed in the
says “seems to change every day”. She explains:
where she got her hands on a very early version
office and there was this ripple of excitement.
“You go to sleep thinking you’ve discovered
Sidhu trained as a graphic designer and began
of Flash. “I was fascinated by the way I could take
“That moment always reminds of when my
a tremendous amount about AR and VR and
still graphics and turn them into motion graphics
dad brought home the Commodore 64 for the
new headsets and you wake up and five more
and the way that engaged people and the
first time,” says Sidhu. ”We didn’t come from a
headsets have come to the market or suddenly
way it made something memorable,” she says.
rich background and when my dad brought
there’s an update and they’re able to do
“Since then I’ve been looking for experiences
home that computer it transformed our lives. We
something they weren’t able to do before! Haptics
that gave people moments to escape and really
were thrown into these imaginary worlds. It would
are coming onto the market every day. And new
memorable interactive experiences. For me, it’s
be many years later when I found myself trying
experiences are being released from studios like
always been about taking whichever technology
the DK1 and saying ‘this is just like that’. For me
ourselves, and indie developers as well are kind
was available and using that as a device to tell a
it was a revolutionary moment where I believed
of dabbling into the dark arts of VR. We’re seeing
story. I always have this kind of philosophy when
in this device even though it was very big, it was
people who are trying to create something that
working with clients to ‘fish where the fish are’ –
clunky and there were only a few experiences
pushes the medium and excites and provokes the
wherever your audience is, whichever tool they’re
that you could do, but it was an eureka moment
conversation. Every day is like having to do your
using to engage, that’s where as a brand you can
for me because I really felt like something new
homework and I love that, I find it so exciting.”
be present.”
had landed and it was going to change the way
After moving on to become creative director at
With such a new medium that’s changing every
we interact and change the way I as a creative
day, Sidhu admits it can sometimes be baffling
digital agency AKQA, Sidhu led a multi-disciplinary
director could tell stories. We literally rang up
to both clients and consumers as they try to
team across a wide client base, working with
Nissan and said ‘we have this crazy idea, we’ve
understand the terminology involved. “Sometimes
the likes of Nissan, Xbox and L’Oreal. She says
got this new technology that no-one knows
we’re still trying to formulate the language for
she often found the projects that scared her the
about, and those cars that you’re creating that
this new medium,” she admits. “We’re still trying
most were also the ones that she would be most
no-one knows about, how about we merge them
to work out what content is native to it. So
exhilarated by. “It was at AKQA when I got my
together and take it to Tokyo Motor Show?’ and
everybody’s terminology and approach to it is
hands on the first Oculus DK1 which was the first
they were totally up for it. And we were slightly
different. But I think in the next few years you’ll see
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August 2017 www.tvbeurope.com
Resh Sidhu
27
Feature
Paragliding with The Hawaii Tourism Authority
that level out and there’ll be some best practises and natural language that everybody agrees upon. I think that will help bring a normality and more understanding about what we’re trying to talk about and what we’re trying to say. It’s like the early days of filmmaking or mobile experiences, sometimes it’s hard to encapsulate what it is that you are creating when it’s a combination of everything.” Framestore has been leading the way in creating VR projects that have captured the public’s imagination. One project that brought VR to the masses is its Fantastic Beasts and Where to
Find Them VR experience, which was released on Google Daydream in November 2016. Sidhu says her team’s work on the experience was helped by Framestore’s 30 years experience in VFX. “What’s magical about the history of Framestore is that they’ve always been able to adopt the latest technology and enable clients to tell stories on those platforms in the most interesting, the most visually stimulating ways, whether that was the early days of making music videos and pioneering in the visual effects of that to epic films like Harry
Potter and bringing Dobby to life.”
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Feature
Framestore’s Fantastic Beasts VR experience “What’s lovely is that we’ve been able to draw on
where we had game engine coupled with a
One of the big issues for Sidhu is the quality of VR
the expertise of the existing teams, for example
live action video and the seamless interaction of
experiences that are being released to viewers.
we find that the visual effects supervisors are
allowing someone to experience something and
She worries that some of the content being made
almost like the vanguard of VR because they’ve
then come back and try the different islands. It
available isn’t up to scratch. “You see a lot of
been working in 360-degrees throughout their
really got people engaged and understanding
content that is meant for broadcast, meant for TV
careers. When we worked on Fantastic Beasts
that each of the islands could offer something
or YouTube, and you see it being shoe-horned into
and Where to Find Them, having our VFX
different and it was a really powerful experience.”
VR and it doesn’t work,” she explains. “I think that’s
supervisor who’s been involved in the film’s visual effects and bringing that understanding and pipeline into VR had a tremendous impact on the process, the understanding of what we could use from a technical and visual point of view, and the quality of the overall experience. So we are a group of people who are used to
the big mistake that people make. I think VR needs
“Think about content as built to live, not built to die. If you can think about VR in that way then you’ll be able to monetise it” Resh Sidhu, Framestore
creating with new technology.”
content that is native to the medium. That requires anybody that wants to consider VR as part of their brand or even as part of their business strategy to treat it like any other medium, step back and ask where does VR fit into the strategy? What can we use VR for that no other medium can do? What can we use AR for that no other medium can
Another project Sidhu worked on while in
do? We’re still in the very early days of doing that,
New York was creating a VR experience for the
So does Sidhu see a role for VR in broadcast?
but some brands are leap years ahead, they’re
Hawaii Tourism Authority. It involved taking users
“I think there is a trend for VR to tell stories,” she
investing in VR, they’re investing in technology, in
on a paragliding tour of the different islands,
says. “We’ve seen a lot of VR content that is
the expertise, and even though they’re not putting
something she says the team were instantly
documentary based. I was recently at Sheffield
out content, they’re testing strategically when is it
excited about. “We created that in game engine
Doc/Fest and saw a tremendous amount of VR
right to put out the content.
so that you have interactivity, because what
content that was showcasing real-life stories and
“We’ll see more and more consumers in the
we’ve found with VR is that a lot of passive VR just
what VR enabled the user to do was empathise
next few years engaging with that content. That’s
isn’t exciting people as much as it used to in the
with that story. I think sometimes with traditional
going to be the trick, people are going to be
early days. People are looking for a moment of
mediums and broadcast mediums, we become
hungry for that content. News, entertainment, all
interaction, a moment where they can be part
desensitised to everything and it’s so tragic. I’m
of the broadcast channels, if they’re not already
of the experience, part of the story. By adding
a parent of two kids and you see the news and
thinking about VR they should be! For me, being
that degree of interactivity and allowing the
suddenly you’re not engaged in the story and
inside my next Netflix series in VR is something I
user to paraglide over the islands, it really set the
yet it’s so tragic. What VR enables us to do is
dream about and imagine all the time. People ask
emotional connection and it set the tone of the
connect to that in a much more emotional way
me what that’s going to be like, and I say I don’t
experience. That was a tremendous learning curve
by placing us into the heart of the story, it takes
know but we’re definitely on our way to making it!”
for the team, it was the first hybrid experience
us a step further.”
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29
Feature So, does Sidhu see a day when we all rush home
“I’m not sure that people will be going home
was when people did the experience and were
from work and fire up our VR headsets rather
and watching a movie together as a family
like ‘this is amazing, this is great’ but they wanted
than the TV? “One of the things I’m very mindful
in VR but they might be in a series where they
more! They wanted to interact with more beasts
of is that VR is never going to replace existing
are controlling the narrative and the kids are
and explore more. It was so fulfilling to hear that
mediums. It’s not meant to,” she says. “I remember
following a story while mum and dad are following
because that’s exactly what we had wanted
when the mobile phone arrived, when the first
their own narrative and yet they’re able to
to do.
big phone came out it was a ridiculous amount
come off the device and engage together
of money. It was only early adopters or rich Wall
with what they’ve just experienced. I think it
Fantastic Beasts VR experience was part of the
Street individuals who were able to have these
will absolutely transform our lives and that will
strategic approach from day one and that’s how
huge phones and we all thought isn’t it cool but
be a super exciting notion.”
we are encouraging our clients to think about
we never, ever fathomed that it would develop
“Being able to release episodic content for the
it,” Sidhu explains. “We always say think about
Sidhu imagines a world where VR will be an
into something that is literally as smart and as fast
accompaniment to already established mediums.
content as built to live not built to die – it should
as a computer in your back pocket. I would never
“Any great idea that already has a huge fan
have a long shelf life, not a short life. If you can
have imagined that. And people are watching
base is a ready made recipe for success for VR,”
think about VR in that way then you’ll be able to
content on it in a way that has changed and
she continues. “You take any great idea, create
monetise it, you’ll be able to be more strategic
transformed the way that we are delivering
content in VR, make it episodic, then people
about the content you put out and consumers will
content. It’s the Netflix model, the content that
are going to want to buy that. I think that’s
be able to download content at their leisure.
I want when I want it. That’s a transformation in
why Fantastic Beasts was such a success,
behaviour.
because of the legacy of JK Rowling, you have
today and knowing you can download another
“I think VR will be another medium that
“Imagine heading home on your journey
this huge fan base. There are very few projects
experience that is not necessarily the narrative
accompanies other mediums. I do not think it is
that have a fan base from the young right
that we know, maybe it’s a split narrative following
here to replace any of them, it will find its own
through to old. My parents and my Gran love
one of the characters like BB-8 in Star Wars when
place. The challenge that we have is what kind of
watching Harry Potter down to my ten-year-
he goes off screen, what happens over there? To
content will people want and what will they do? I
old who adores it. When we released the VR
me that’s what VR can add, it’s an element
definitely think it’s a very social platform.
experience, what I found creatively satisfying
of discovery!” n
LET’S TALK
stand 3.C59 (hall 3)
ibc@mediagenix.tv www.mediagenix.tv
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Don’t Blink
Muki Kulhan, executive digital producer and managing director, Muki-International, looks at why broadcasters need to keep their eyes (and minds) wide open to the realities of mixed and immersive storytelling
C
At the recent MediaTech 360 Summit in June, I was lucky enough to be part of a panel that tied in both of those core propositions, but with the focus centered around immersive storytelling and sensory experiences, and how important it now is for broadcasters to really push boundaries and increase the value not only for their own brand, but most importantly, the viewers. We all agreed this industry has made a nice circle during the last 20 years and welcomed the change in how we create and consume. As someone who has experienced first-hand this shift in interactive production and audience engagement since the early ‘turn of the century’ red button stunt days at MTV, we knew that
lose your eyes. If you have them open
It’s now pretty common and often entertaining
a fun, retro game like ‘Ad-Break Pong’ in the
again and have continued reading
to integrate this type of alternative content in
middle of an MTV Hits commercial would work.
(I thank you in advance), you’ve
order to give a bit of jazz hands – In some cases
Why? Because it was simple. Nowadays we can
just blinked. As you repeat this action, all
quite literally, citing Jeremy Vine’s election night
craft simple storytelling in the virtual, 360-degree
around the world there are hours upon hours
soft shoe, hot-stepping around a virtual map of
space to take our viewers on a much deeper
of revolutionary new content being created,
the UK.
journey, such as the BBC’s amazing, emotional VR refugee story We Wait.
new production houses being started, new live experiences streamed, new code being developed and new hardware being crafted, all in the name of the fabulously modern and skeptic-defying formats that we call Virtual, Augmented and Mixed Reality.
‘Imagine watching the World Cup on TV, and being able to take a virtual penalty kick right there in your living room’
Within our worlds of broadcasting and
Next up, augmented stories – how, why, what next? The good news about AR is that it will allow us to show off our environments and tell a story in a different way, be it long-form, short-form or live.
production, the ‘Reality Family’ of content that
While tying in AR into a broadcast production
are siblings V, A, M, (and introducing, the new
is still in the early stages, it gives us the exciting,
cousin ‘S’, for Sensory Reality), are now more
However, if you put green-screened news
thrilling chance to go back to basics, and keep
than just a bunch of trendy buzz words that
studios to one side, the value propositions for
things simple and fun while we experiment.
hovered over us the last five years. They’ve
broadcasters to MR, VR and AR content are
managed to stand a mini-test of time to grow
still a bit like newly discovered gold mines.
is when a client asks, ‘What do I do?’ Starting
into a popular way to add value to many shows
Except that this time, the channels are no
with a big white blank canvas means that world
and brands, with fans now expecting different
longer the canary, but the gems waiting to
is yours, and anything can happen. The very
ways they can experience and connect with
shine, with some of the biggest opportunities
first thing to consider are the fans. Those lovely,
their favourite programmes. And, over the next
being around ground-breaking revenue
die-hard, sometimes brand-new, often curious,
five years, these formats are likely to become
and commercial areas (cue new term
attention-fickle, let’s-keep-their-attention-fans.
part of our required, core deliverables for major
‘interactive brand partnerships’), and the
Who are they, what do they want, how will they
productions around the globe. And that’s a
all-important, pure entertainment value
watch their content, and how will you educate
good thing.
that is clever storytelling.
them about it? What is going to make your UX
One of my favourite questions in the world
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August 2017 www.tvbeurope.com
IMAGE SOURCE: YouGov Report: The Current and Future Market for Virtual and Augmented Reality (May 2017)
31
Feature
compliment the broadcast so much that it’s
environment, the story you can tell can invite
in real time? Why not? With the right production
a seamless integration, yet still stand out and
viewers to replace a flat screen experience with
tools, devices and marketing around it, these
be unique?
interactive, three-dimensional graphic overlay
are stories waiting to be created. It’s
The audience’s needs will totally dictate
layers, virtual ‘social reality’ communities and 3D
just a matter of taking chances and doing it,
how you tell your story, and which format you
geo-mapping for post-TX or in-between episode
and educating the masses as you go along.
choose, how you make it, and where you
experiences. As an extension of the show, an
showcase it. It’s also good to think about what
AR experience can enable fans to choose their
Quick reality cheat-sheet
the fans might not know, and create something
own adventures and create new ways to be
With change comes fear, and it’s easy to
so new that they become early adopters. Should
immersed, while also collecting valuable data
become quickly daunted. So, here’s a quick
you gamify your story or keep it a narrative
along the way, via gaze-recognition and virtual
cheat sheet. AR kit demos and kooky new
companion piece?
check-ins.
headsets are becoming more popular, but
Bilawal Singh Sidu, a creative technologist, mixed media storyteller and VR/AR evangelist based in India, summed this up perfectly in his recent article in Virtual Reality Pop when he wrote “It’s about figuring out what unique affordances each medium gives you, and
they are still in their infancy stages, crawling
‘AR will allow us to show off our environments and tell a story in a different way’
then natively storytelling to the strengths of
through a soft play hype curve and finding their legs. 3D mapping will come in handy for remote productions, and one of my favourite new buzz phrases out there for VR/AR/MR is ‘social immersiveness’. In fact, don’t be surprised to see the words social reality in
each medium and platform… Think 360-
the dictionary soon.
degree video in-browser versus HMD, mono
Imagine watching the World Cup on TV, and
versus stereo 360 versus stereo 180 versus
being able to take a virtual penalty kick right
The industry’s Big Kahunas
photogrammetric video versus light field,
there in your living room, immediately revealing
There are dozens of top-notch media folks who
game engine versus pre-rendered versus
your stats and accuracy, all at the same time
champion these formats, who, like me, do not
hybrid VR… It goes on and on, but know that
as it’s happening live! Or being mesmerised by
want to blink and miss out on this exciting time
whatever you choose to build – AR, VR, MR
Planet Earth II, then holding up your device to an
of change. I admire them for having the guts
– it’s all spatial computing and the learnings
AR feature that lets you go on safari with David
to do one simple thing: get out of that ‘safe
you undertake in one subset will undoubtedly
Attenborough, and have instant info about that
zone’, grow a pair of kahunas, and experiment.
transfer to the other.”
animal. And why not throw in some rock and roll
Just to see how their audiences will react to it,
to your augmented avatar and virtually stage
by pure trial and error. After all, it’s why we’re
push out and experiment with, especially as
dive during a live Metallica concert, jumping
in production in the first place, to share our
companion content to shows before, during
into a crowd of hundreds of other fan avatars all
passions with the rest of the world, literally and
or after TX. In this alternative, augmented
sharing the same experience in the same space,
virtually, of course. n
This is why AR is a good virtual boat to
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Feature
preview IBC
As the broadcast and media industry’s annual trip to Amsterdam approaches, TVBEurope asked a number of market analysts and industry figures to take time out of their preparations and reveal their thoughts and expectations for IBC2017.
The potential of live streaming By Jake Ward, business development director, Groovy Gecko
L
it isn’t without its challenges, giving broadcasters
audiences for broadcast programming. Adding
yet another platform to think about, live social
additional live interactive content before, during
streaming is an innovative way to engage
and after transmission can help engage and retain
audiences. It can help augment broadcast
audiences. Live streaming into social media has
content or serve as a new form of advertising and
long been the domain of brands and marketers
brand engagement.
but now content owners are seeing it not only as
ive streaming has grown massively in
a channel to help promote broadcast but as a
popularity over recent years and the ability
Live streaming for broadcast
to stream live via social media platforms has
Broadcasters are beginning to see how live
begun to revolutionise the media landscape. Whilst
streaming increases engagement with larger
broadcast channel in its own right. Over the last year alone we have streamed Wayne Rooney’s Testimonial and the Professional
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Stand 1.C49 www.subtitling.com 30/06/2017 14:30:37
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TVBEurope
August 2017 www.tvbeurope.com
33
Feature Footballer Association Awards into Facebook Live,
with content when it offers them the opportunity
broadcasters the potential to engage a modern
content that you would normally expect to find on
to have a unique interaction or influence action
audience in a way simply not possible previously.
a standard broadcast channel.
somewhere else in the world.
I look forward to yet another year of innovative
Facebook itself has been seeking to create its
By combining the innovate technology of
new experience being created in which this
own programmes for the platform, having already
live streaming and the unrelenting power of
interactivity can be used to build deeper and
commissioned a number of programmes which
social media, live social streaming offers
more immersive experiences. n
will debut on the social networking site complete with advertising.
An engagement platform Around pre-recorded programming such as drama, live social platforms can offer a great way to drive engagement.
Hollyoaks for example has produced a lot of highly interactive content across a broad range of social this year delivering live Q&As while on location so that the audience can interact with the cast along with in depth discussions about issues raised on the programme. For sponsors there is a growing opportunity to use these platforms to co-create great content with the programmes they work with and thus increase the value of the partnership. As mentioned above, many companies are already using live streaming into social platforms as a branding tool. It is only relatively recently
THIS
that we have seen broadcasters use it in this way. The key always is of course to ensure the stream doesn’t seem like a glorified advert, but is instead something engaging and compelling. Alibi successfully demonstrated this with its Escape Room stream, Framed. Taking inspiration from one of its hit shows
Crossing Lines, the programme was shot and live
fans were able to take part. By commenting on the video or taking part in polls, they assisted the
PE N
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TS
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a murder. The innovative aspect of this was that
PATE N
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www.tvbeurope.com August 2017
Feature
The future is bright for HDR By Jeromy Young, CEO, Atomos
On the production side almost every current
our own high brightness panel technology. But
cinema camera is already capable of capturing
that brightness also needs to be controlled. We use
the extra dynamic range necessary for HDR. Even
complex algorithms, our own operating system and
so, many content creators are still confused about
a simple user interface to give cinematographers,
how to work with it. The weak link, until now, has
camera operators, director and producers a visual
n the past 12 months, HDR has finally gone
been monitoring the image from these cameras.
representation of what the final HDR image will look
mainstream. More and more affordable
How do you shoot HDR on set when the Log or Raw
like. With our tool set the user can easily examine all
consumer TV sets now come equipped with
image viewed natively appears flat and washed
aspects of an image to make sure they are suitable
HDR, mobile devices like the latest iPad are also
out? And how do you do it when your on-set
for HDR. Common mistakes like overly noisy blacks
going HDR, and an increasing number of film and
monitoring devices aren’t yet capable of displaying
or cut off highlights can easily be avoided.
television productions are now being mastered in
Dolby Vision or HDR10?
I
the formats. YouTube also launched support for HDR
We took the early lead by developing the
When we first saw HDR, we knew this would be a significant change to the industry. We worked
playback in late 2016, giving many independent
AtomHDR engine and launching out first HDR
with these makers early on to ensure that we could
content creators their first chance to use HDR. On
product back in February 2016. We use clever
make HDR monitoring work seamlessly with their
the standards side Dolby Vision and HDR10 both
mathematical formula to transform the Log
cameras. Proper monitoring means the artistic
continue to fight for the right to be the defacto
gamma image into one that is closer to what
integrity and creative intent of the content creators
professional standard, while the BBC and NHK have
people are used to viewing. The increased
can be maintained. I truly believe that with these
pushed on with their use of Hybrid Log Gamma for
brightness range at capture also means you need
affordable devices we will be able to bring HDR to
easier delivery to consumers.
to display more light. Unlike older monitors, we use
the masses. n
Why is an audio network solution worth considering? By Dan Page, brand manager, DiGiGrid
experiences. No recording engineer or producer in
core advantages of the SoundGrid-based DiGiGrid
a studio using a networked audio system wants to
products. Firstly, the flexibility of the network
be a network engineer, worrying about IP addresses
allows them to use any space for any purpose.
and subnet masks. It just needs to work, and offer
Without the finite limits of analogue tie-lines and
O
real advantages.
other traditional infrastructure, they can place
ver the last few years, audio networking
So why is a network solution worth considering?
the audio interfacing pretty much anywhere;
has become much more prevalent, with
A traditional infrastructure installation for a
all that’s required is power and a single network
multiple network formats supported by
recording studio would generally involve an
cable. Even if the building infrastructure doesn’t
many different manufacturers. However, there is
analogue cabling and multiple patchbays to
totally accommodate every possibility or option,
a definite lack of understanding or appreciation
achieve the desired flexibility. And if we follow
it’s neither difficult nor expensive to run in a single
within the user community as to why they should
this route, it can deliver the required functionality -
extra CAT6 cable. Any space can be repurposed
consider an audio-networked solution over a more
albeit for a price. Studio designers largely stick
for recording. For Fenix, this removes bottlenecks
traditional interfacing solution.
to this, as it’s a safe bet. It may not be cutting
associated with moving sessions between rooms,
edge, take advantage of technology
making space scheduling and studio bookings
networking offer largely similar solutions. Dante,
developments, or be particularly imaginative,
much easier to handle.
AVB, Ravenna and SoundGrid all deliver high
but it works. But facilities of this nature have to
channel count, low latency audio; from a user’s
be able to adapt and deliver cost effective
strive to succeed in today’s competitive market
perspective, choosing the most appropriate
solutions for their clients, and while the traditional
place, they should be looking for ways
solution may be based on a bit of product
route can work, it’s an expensive solution.
to offer their customers more flexibility, better quality
In many respects, the different flavours of audio
knowledge, the wider industry acceptance of
Fenix Studios, a multi-room space that
TAs studios, rehearsal facilities and media spaces
and more bang for their buck.
one format over another, or even a brand name
incorporates recording, mixing, editing and
they associate with. But from an operational point
rehearsal spaces, has gone down the network
cost effective answer to more flexibility and
of view, the choices can offer wildly different
solution route with great success, based on two
more productivity. n
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Networked audio solutions offer exactly that; a
20/07/2017 15:23
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Lewis Wiltshire Consulting Partner, Seven League
Peter Hutton CEO, Eurosport
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TVBEurope
www.tvbeurope.com August 2017
Feature
The new productivity shift By Dr Andrew Cross, president and CTO, NewTek
IP makes a production part of a network
accessible from anywhere in the world. Multiply
infrastructure, which is connected to every
that by every company in the world that knows
computer and cell phone in the world, and
it needs to create quality video to communicate
more – think light bulbs and toasters! This is
regularly and be successful. With this type of
T
unprecedented in human history. Additionally,
productivity shift, the possibilities are staggering.
changing moments: the realisation of IP workflows
to produce exponentially more video while
transition efficiently and with as little disruption
for video.
maintaining high quality on ever-shrinking
to your current infrastructure as possible. Some
budgets. Nowhere is this more apparent than
industry proposals are looking at new camera
the advent of file-based workflows. And, at the
in live sports production, where demand for
connectivity standards, replacing one cable
time, many people thought moving away from
content is so prevalent that companies that once
with another. Some require installing super-high
a tape-based workflow was a mistake. Today,
produced ten shows a year are now being asked
bandwidth networks. Some require both. These
however, these types of workflows no longer exist.
to produce 100 or more.
are potentially expensive predicaments for
here are a handful of points in time when
SDI runs parallel to the infrastructure but cannot
an entire industry fundamentally shifts and
talk directly to other devices connected on a
The challenge ahead
pivots in ways that change it forever. We
network. IP can.
Now, the other big challenge facing the industry
are at the precipice of one of those rare industry-
In the past, one such relevant industry shift was
Similarly, the move away from SDI to IP-based
Professional broadcasters are being squeezed
Imagine the costs. Imagine what you have
with IP-based workflows is how to make the
producers that lead one to believe IP-based
workflows isn’t about a single specification or
to pay your crews. Imagine your best talent
industry-imposed technology shift like the move
getting away because you can’t pay them what
to 4K resolution. IP is a resolution agnostic format
they’re worth. Imagine trying to maintain quality
bi-directional IP-based workflow using the SDI
that is a fundamental change in the way video
standards with high turnover among your crews.
cameras you currently own and without changing
is produced.
An IP workflow allows you to maintain your
workflows are still a work in progress. But what if you could reap the benefits of a
or upgrading your network infrastructure? What
best production talent in a central location that
if there was a way to take what you already
to liken the difference between SDI and IP
receives camera feeds remotely from wherever
have invested in and transform it into a robust
to replacing one cable for another. This is
the action is. This is how production companies
and powerful IP-based workflow right away?
understandable. Essentially, they both connect
are scaling as the demand for high quality video
Without making any significant new investment
something to something else in a workflow.
continues to rise. It is already happening and it will
in anything?
But the difference reaches far beyond just
continue to drive demand for more efficiency on
connection—it’s like comparing a walkie-talkie
the broadcast side of the IP framework.
The traditional mindset of broadcasters is
to a smart phone.
IP workflows will continue to democratise our
It doesn’t seem possible really. But at my company, NewTek, that is a problem we’ve been working on solving over the last 10 years. We not
trade whether we like it or not. The advantages
only see the future but we believe we are making
The reality and the promise
are too numerous and enormous to mention here.
the future. And the future is far closer to fulfilling
There are several underlying reasons why IP-
Think of an individual producer who can only
this promise than most people realise.
based workflows will forever replace SDI for
afford four camera inputs today having access to
Big change is underway. It’s what I love about
video workflow.
more cameras than he could possibly ever use —
our industry and what we do. It’s never boring. n
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37
Feature
Handling complexity with workflow automation By David Schleifer, COO, Primestream
Qx IP | Qx 12G REAL-TIME EYE
C
omplexity is how we accomplish great things, but workflows that are complex are often prone to error. Broadcasters
are faced with the challenge of balancing the process of delivering creative results, against staffing and infrastructure limitations. Generally speaking, people are good at tackling complex tasks. In most cases, we document the workflow so that we can refer back, and we create a training plan so that we can bring in new people at a later date. This overhead will have an associated cost, and this is where workflows can be compromised, products rushed and creativity restrained. As we will see at IBC2017, technology is now readily available to solve these problems. Workflow Automation gives broadcasters a way to codify a workflow and relieve users from repetitive or difficult tasks. Errors can also occur in complex tasks as settings, metadata or other criteria must be entered in a consistent way, and processes need to be followed methodically to get the same results every time. In some cases, with metadata for example, you may not even know that you have been doing it wrong until you try to retrieve those archived assets at a later date. We define Workflow Automation as the ability to trigger and complete actions based on status, metadata, user action, location or other critical criteria. The systems that were designed ten years ago were very good at processing what were, at the time, difficult tasks like encoding. Today, those tasks can be accomplished with off-the-shelf hardware or products from different vendors. Now we need a solution to tie it all together, eliminate the tedious tasks and reduce the workflow complexity. Our experience has shown us that the best solution is a hybrid with the scripting/ automation tool defining the workflow, and with
IP, 4K/UHD + HDR Generation, analysis & monitoring With Qx 12G, you have fast access to all the essential test & measurement tools for hybrid IP, 12G-SDI and HDR environments.
Comprehensive HDR / WCG visualization and analysis tools include signal generation, a CIE chart, luminance Heat-map, and waveform / vectorscope.
An advanced IP toolset for SMPTE 2110* and 2022-6 offers Packet Interval Timing Analysis (PIT) for rapid diagnosis of issues like packet congestion. There’s also a Packet Transmission Profiler for stress testing video networks.
Additionally, Qx 12G performs fast, automated UHD and HD physical layer analysis, using RTETM (Real-time Eye) technology. It’s the ultimate hybrid test & measurement solution.
the ability to leverage third party components anywhere along the way. While broadcasters need the ability to manage
www.phabrix.com
technical facilities and changing requirements, their primary goal is creating great content,
*Upcoming software release
supplying it within the required formats at a viable cost. This is where Workflow Automation excels. n
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Business
Cutting the narrative f irst George Jarrett reports from EditFest London
On the plus side, television drama was revered
Editing for television
as ‘the new cinema’ and documentaries were
Richard Cox, whose many credits include Happy
soaring in their breadth of subject coverage and
Valley, Doctor Foster, and Last Tango in Halifax,
journalistic prowess.
talked about what happens in a new series.
Five years on, EditFest was about the pure
“The directors and editors want to be the lead,
hen American Cinema Editors (ACE)
craft of editing and the unique freedoms and
but for me it is a bit of a poisoned chalice because
first brought EditFest to London, debate
responsibilities that editors have to handle honestly.
the first episode has to set up the characters and
EditFest 17 gave us windows on editing for TV,
the story, and it does not really move along. You
W
was dominated by the move away from
film, the incredible volume of rushes that came with
cutting documentaries, and editing movies. A
have to create situations, and you have the execs
madcap digital shooting ratios, the flat lining of
wonderful finish to the day was 90 minutes in the
over it like a rash,” he says.
budgets and the associated reduction in allocated
company of double Academy Award-winner Pietro
editing assistants, and the cramping of schedules.
Scalia, ACE, who won for Oliver Stone’s JFK and
Execs were bomb-shelling editors with notes, and
Ridley Scott’s Black Hawk Down. Renowned for his
(Sherlock, The Last Detective, and Doctor Who)
cuts left by long-gone directors were treated like
11 collaborations with Scott, Scalia has also worked
responded: “We wanted to give Sherlock a modern
yesterday’s cold coffee.
with Rob Marshall, Sam Raimi and Gus Van Sant.
reboot twist because it was a year since the last
On the matter of the latitude for changing something well established, William Oswald
years Base Station
Camera Unit
3G HDSDI 2x2 or 4x0 Composite Video 1x1 Audio 8x8 Genlock 1x1 Time Code 1x1 GPIO 3x3 Tally 1x1 Serial Data 3x3 Ethernet
TV Tech TOC 5/2017.indd 1
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39
Business series had gone out, plus it had a Victorian episode
in order to deliver what was essentially required as
“The thing you have to be careful of is that you
in the middle of it,” he says. “You just want to push
house style.”
don’t lose your audience. Do not lose track of
Oswald talked about getting a rhythm going in
where you are in the story. You need to be able
Sherlock, about a script full of fractured narrative,
to follow where everybody is, so there is a timing
sequences, global view street maps and chemical
and the use of story misleads. Why did he hold a
to how you bring the split screens up and how
symbols to take stories further. “You have to find the
very long shot on Sherlock? He says: “Benedict’s
long you hold them for,” Smith says. “I will cut the
form for each particular show,” he says.
performance is so strong, and then you don’t really
narrative first and pick the performances I like,
want to cut away at all, or only occasionally.”
and will put down a straightforward conventional
that form slightly further on.” Oswald used visuals like text, montage
Caroline Bleakly (Monarch of the Glen, Death
in Paradise, Lewis) expanded on the issue of
In an era when crews over shoot rushes, Cox
edit. I go back and ask myself where I can play
pushing on an episode of a long established show –
had a surprise when he worked on episode five,
about with it. I make the drama work, and then
Midsomer Murders.
series two, of Happy Valley. “Sally Wainwright did
try and spice it up, and bring the boxes in to make
one episode in series one, the first time she had
it more interesting.
“I was invited to join because (in season 18) an extra episode was commissioned and the two
directed, and then directed four episodes of
in-house editors were unavailable,” she says. “How I
series two. She tends to under shoot and I think it
for episode three while another editor got dailies for
approach joining a long standing series is to watch
is because she wrote it. She will often just do one
episode four. I got two or three weeks to put a cut
many episodes. What takes over is the individual
take,” he said. “I had to say please do more.”
together that I was happy to show to the director or
craft; as editors we cannot help but slightly change something or do it in a way that is unique to us.” On the ‘own skill’ issue Bleakly had to
John Smith, ACE, has more credits than just
“They cross boarded the series. I would get dailies
the execs,” he adds.
about any editor working. Leaving Las Vegas and
Editors are not asked to do dubs any more.
The Life and Death of Peter Sellers being two of his
Rates are not rising, and budgets are not always
succumb. “The audience (of Midsomer) has
gems. Smith talked about the Fox reboot series 24:
ripe enough to allow any given editor to fulfill
certain expectations. It is a particular and slightly
Legacy, for which Kiefer Sutherland is a producer.
their original vision. The good news is that lots
heightened style of crime drama, and I had to
He cut six of 12 episodes, and met the editor, Scott
of new writers are appearing and masses of
learn that. It did not come naturally, because my
Powell, who had cut 60 episodes of 24. First up
drama series are being made. “TV is filling a gap
instincts were to make it a bit more visual and inject
was a discussion on how often Smith could use
in cinema. You can tell a story in much more
some pace. I had to undo that process in my head
split screens.
detail,” says Cox.
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Business
Steven Worsley,Tony Cranstoun, Sylvie Landra, Sian Fever, Jake Roberts, Job art Burg
The art of documentary editing
How do editors deal with biographical docs and
The session ended on the issue of moral compass.
This area of post involved ACE members Mathilde
archives? Chris King (Amy, Our War, Welcome to
King says: “The moment you make a cut it is a
Bonnefoy, Zoe Davis, Stephen Ellis, Chris King, and
Lagos) explained that an archive researcher would
conceit. If you accept that and think everything
Gordon Mason.
have done an initial sweep of everything out in the
goes, really you have your own ethical compass
media about any subject.
that is going to tell you how far you can or cannot
Ellis (Children on The Frontline, and Watani: My
Homeland) talked about day one. “It is like opening
“My assistants will have put all that into various
go. As long as you are not downright lying there is
up a new script. It is organic: you have to start by
bins,” he says. “I will watch stuff in a chronological
watching material. I don’t go in with any pre-
way, which may take two or three weeks. I then
conceptions of what it is about. To begin there is
try and get a feel about the story and what the
Editing feature films
no roadmap.”
structure is, what the life is about, and then I quickly
The speaking team here was Tony Cranstoun, Sian
start editing after that.”
Fever, Sylvie Landra, Jake Roberts, and Job ter Burg,
Mason (Hermitage Revealed, A Girl Called
Georgia) adds: “Some directors are more prepared
Ellis adds: “It is always worth spending as long as
honesty. It is a constant juggle.
who spoke first. His credits include Winter in Wartime and Black Book.
than others. Sometimes you have an outline script
possible before you touch the narrative. You
or a treatment they have written. Depending on
are just finding out what speaks to you in the
the subject, you may have a more detailed script
story. But quite often there is a lot of pressure to
I watch the dailies, I am figuring out a way to put a
of what they wanted to shoot.
start cutting.”
scene together. I try and do it by getting down to a
“Basically, you are given the material first and
Watching the material and breaking it down
“One trick I use is to cut without any sound. So if
bunch of selects.”
then start shaping it as to what you have actually
into assemblies was the agreed way forward.
He used clips to emphasise something editors
got rather than what they hoped they would get,”
Mathilde Bonnefoy had the biggest dramatic
often discuss: “We often talk about editing as re-
experience while cutting the film Citizenfour with
structuring scenes or sequences, or entire reels, or
director Laura Poitras about illegal mass surveillance
the endings of movies, while at the core of what we
Ellis is producing his own films so he can get
by governments. It was a strong story but lacked
do is usually trying to balance out a scene involving
involved on the first pitch. “There are a lot of walled
evidence; the two of them had 40 minutes of
the very intricate moments between people.”
gardens in filmmaking,” he says. “The editor has
quite solid rough cut when suddenly the director
been employed to come in on the first day of the
revealed she had received encrypted emails from
Mr. Bean’s Holiday) used three short clips to elevate
edit, and everything has been shot. I am not sure
someone claiming to have the proof they lacked.
the subject of shape.
that is a brilliant way of making films.”
That person was Edward Snowden, and Poitras met
he adds. Big issue one was getting involved much earlier.
All of the panelists agreed that editors should be involved from the off, and talk to cameramen
and filmed him in Hong Kong. “The footage of Snowden revealed the existence
Cranstoun (The Royle Family, Queer as Folk, and
“They have a kind of introduction like a very small set, then they have escalation towards a climax, and then there is a return to normality,
so from day one they know what the story is.
of mass surveillance by the US and UK governments.
which is pretty much the art thing for a film in
Editors must be there, even if they don’t start
Laura came with a trove of extraordinary footage
general. And they also encapsulate the theme
cutting a film for eight weeks. Davis talks to the
that completely changed the situation. It became
of the film within the scenes,” he says.
DoP if she can to find out what formats are used
a film about courage and we took Snowden as the
“Shape really interests me. I have worked on a
for the shoot.
centerpiece to show the tension of personal fate.”
lot of comedy and in recent years I have cut horror
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41
Business movies. And I find that the application that you
“The first scene in the town is what Taylor Sheridan
bring to comedy as an editor is very similar to when
was trying to say with his screenplay. Sometimes
favourite films – JFK, Gladiator, Good Will Hunting,
you cut horror. Comedy builds up to a gag, and
pace or perceived pace can be about context,
and Black Hawk Down, which included the most
horror is the same thing. It is a reveal,” he adds.
not necessarily about running time,” says Roberts.
difficult scenes he had ever cut from the point
Editors then are happily multi genre. Landra (The
Scalia took the audience through his work on his
of view of geography and positional awareness
Fifth Element, Fairwell my Concubine) observed:
Eleven movies with Ridley
regarding the talent, and some of the most
“I like doing pop promos, commercials and movies.
Moderator Carolyn Giardina, the technology editor
demanding shooting ratios.
I do not know if I have any style but what is of
with the Hollywood Reporter, asked Pietro Scalia
interest to me is to get the style of the story I am
how he starts to build a scene.
telling, whether it is 30 seconds, three minutes, or feature length.”
“It starts when I read the script and get a sense of
“Ridley shot it with 11 cameras. He would limit his shooting to maybe two or three takes a day. He decided to shoot a full action sequence in
what a scene is about. I usually make notes on the
one take with multiple cameras,” said Scalia. “So
script so when I get the material from the previous
eight to ten minute takes meant coordinating
as editors out in the real world is something you
day on the set it equates,” he says. “It is one of the
all the actors and having Steadicam operators
bring with you into the cutting room. Your sensibilities
best moments seeing the actual footage coming
running with the actors. There were fixed cameras,
come from your gaze.”
to life.
helicopter shots and A and B unit. I was getting 100
Cranstoun adds: “Your own personal experiences
Landra showed clips that summarised what all editors feel about floods of dailies featuring brilliant acting. She says: “Every morning I am happy to go back and see what they have done. There is a music to what actors are doing.” Roberts (Long Way Round, The Riot Club, and Mr.
Burberry) used clips from Hell or High Water to make
“It is about the complexity in shots, tighter schedules, and managing the large amount of dailies.” Pietro Scalia, film editor
his points, the big one being the value of putting scenes back as they were intended.
minutes of material, and it was vast to sift through.” The complexity of knowing where everybody and every chopper was in such big scenes required Scalia to ask the technical advisors for timings and character geography. “In real-time Ridley thought he was going to capture everything, that he had it all. Movie time is not real-time. You still have to break it apart. The
“It is happening in front of you. After my initial
difficulty for me was that I had all the material but
“We cut this film for six months and we went
viewing and my assistants have put the material
had to break it apart so I could be at different
through all the usual rounds of notes from execs.
together I make mental notes of what I react to –
places every time.” Understanding the geography
Then we had to go through three test screenings to
things I like about performances. Those impressions
was key. He said: “When we put the film together it
push our score up to Hollywood norms. And after all
are key to me,” he adds. “After I screen the dailies
was very hard to understand where everybody is so
that we had a locked picture but David Mackenzie
with Ridley I get some more input, but before I start
we suggested to Ridley that he should explain. We
and I went back into the edit suite and cut seven
building I read the script one more time.”
needed to get the audience back on track, so a
minutes out of the film,” he says.
When he does build, it is with large brush strokes.
Hell or High Water is a neo-Western movie in
“I don’t spend much time in the minute bits. I find
little scene with a blackboard signaling which team is where was shot.”
which two Texas Rangers await two bank robbing
the connections in the performances and the
brothers. After going back and savaging anything
hardest part is always those first two steps,” he says,
like it’s getting more, because of the logistics and
extraneous from the movie, the big issues for editor
“Once you get them in place you build off that.”
how it is shot. It is partly the amount of material,”
and director were about indulging themselves with
Scalia admits that watching the material is tough
Scalia concludes: “Over the years is seems
he says. “A lot of times I might have two or three
long scenes of Jeff Bridges and Marcus Hamilton
when shooting ratios are heavy. “I don’t just look at
cutting rooms active at the same time. One will
sitting and chatting as their characters wait, and
selected takes. I watch everything. I can see how
be in Southern France where Ridley lives; one will
some extraordinary improvisations by the Howard
the shooting day actually evolved, and the choices
be in London, and sometimes when we move
Brothers (Ben Foster and Chris Pine) as they playfully
that the director and the actors have made,” he
to LA to do previews we might set up another
enjoy probably their last dusk.
says. “It’s valuable to know the material.”
cutting room.” n
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TVBEverywhere
Capitalising on the interim VR period By Ashley Cowans, VR producer, co-founder and CEO, VR City
I
As well as East City Films, I now run a company
It’s not necessarily all about the headset
called VR City, and for two years we have
experience. It might not work for everything, but
created emotionally transformative experiences
there’s also Google Cardboard, on the phone
in VR, and it all began with a documentary.
and on the desktop. Not hugely immersive
Witness 360: 7/7 is a film about a lady who
granted, but still a way of watching VR content
t’s Sunday morning after The Grand National
had survived the London bombings on 7/7 in
and Nic, the marketing manager from ITV,
2005. The film puts viewers in the shoes of this
and I are sat in the back of a cab making
lady, both on the day itself, where she was on
strongly suggest that one day we will all own a
our way to Liverpool station. The taxi driver
the tube carriage as the bomb exploded; the
good quality headset, but in the interim, I want
asks what we’ve been doing in Liverpool,
immediate aftermath when she realises she
VR to be part of people’s lives today. But there
and we explain that we’ve been producing
has survived; and the ensuing ten years,
is still a gap to be bridged, and I believe that
360-degree highlights of the Grand National
where she has suffered from flashbacks,
bridge is social media and VR in the form of VR
for ITV. Expecting a blank response, we got
PTSD and depression. The experience of
light, 360-degree video. Which brings me back
the opposite.
making this film opened our eyes to the
to ITV, our taxi in Liverpool and horse racing.
“Do you mean VR highlights? Will I be able
possibilities of VR linear filmmaking and how
and at least people in scale can be reached. Now, I’m a great believer in full-blown VR, and
Last year, ITV won the TV broadcast contract
to watch it on my Playstation VR?” asks the
it can connect people to others, inspire
taxi driver.“Yes, it will be up on YouTube in an
empathy and give them experiences which
years of being on Channel 4 and the BBC, it
hour” is our reply.
are otherwise simply not possible.
was back on the “people’s channel”. ITV spent
So Nic and I caught the train back down to
Keen to explore this, we followed Witness up
for all of the UK’s horse racing. So after 32
£30 million for the privilege and is dedicated
London, the video went live and we began to
with another documentary. This time we won
to bringing the sport to a much wider and
think that the world could finally be ready for VR.
a commission from Sheffield Doc/Fest, the Arts
younger audience, to make it the home of
Now, let’s wind the clock back by about two
Council and Site Gallery to make Indefinite, a
racing, and to bring people closer to racing
and half years. It’s November 2014. I was eight
film about the UK’s indefinite detention system.
than ever before.
years into running a production company called
This film premiered at Doc/Fest and again
East City Films, and I had just been introduced to
was very much about putting viewers in other
entertaining and inclusive, bringing well-known
VR as a medium for filmmaking.
people’s shoes to understand what they have
TV talent such as Ed Chamberlain from Sky Sports
gone through both physically and emotionally
and the greatest jockey of all time, AP McCoy
was confronted by a series of websites selling
in a world so few know anything about. The
to front the shows. But not only are the TV shows
GoPros hacked together, a rabbit hole of
recognition and reach of this film was vastly
already appealing to a wider audience, ITV are
stitching tutorials, and strange sounding software
increased when it was licensed to the New
really thinking outside the box when it comes to
by the name of AutoPano Giga.
York Times.
social media.
As I leapt into this exciting new world, I
I read all about Palmer Lucky and his $2 billion
As well as the above, we’ve work with brands
Its TV coverage has so far been fresh,
With its first major broadcast of 2017, the
sale of Oculus Rift to Facebook, discovered
and broadcasters such as the BBC, Lexus, RBS,
four-day Cheltenham Festival, ITV chose to
that the phone company HTC was launching a
Laphroaig, and Lagavulin, and even created an
commission VR City to create 360-degree
headset, and read various reviews of the Matrix-
experience with the Dalai Lama.
video highlights on a daily basis, to be posted
inspired Sony Morpheus. But what really stood
But even though these have all led to
on Facebook and YouTube by 8pm that
out to me was the Samsung Gear VR. Unlike the
the creation of some truly transformative
same day. The big focus being getting the
Rift, the Vive and the PlayStation, they actually
experiences, in my view there is one nagging
360-degree content out fast while it’s still
had a headset available to buy, so I headed
flaw – they haven’t been seen by many
relevant, and being accessible to as many
down to the Samsung store and bought a
people. No matter what people say about
people as possible, driving their engagement
phone and a Gear VR.
how VR is going to be huge at the moment,
to the sport and to ITV’s coverage. Full
not enough people own a headset today. 6.3
immersion via headsets was, in this instance,
still lives with me the most today. In Catatonic
million headsets shipped in 2016. Worldwide. 4.5
entirely secondary.
you are transported to an early 1900s insane
million of those were Samsung Gear VRs, three
asylum as a patient sitting in a wheelchair.
quarters of a million were PlayStation VRs and
video can be a slow process, far slower
Pushed around by a nurse and bombarded by
the remaining million or so made up of the Vive,
than conventional video, but in this case
a series of shocking scenes, and with the clever
Oculus Rift and Google Daydream.
we simply didn’t have that sort of time. With
The first film I watched in the Gear VR is what
combination of a physical connection between
As you may be aware, creating 360-degree
For year one these are okay numbers,
our knowledge of certain cameras systems
your real life seat and the wheelchair, along
especially when you bear in mind that the
and improved workflows, we accepted the
with extraordinary sound and images, you really
iPhone’s first year sales were around 6.2 million.
challenge and took a step into the exciting new
feel like you’re there. It was this film that led me
It’s all about how you spin it. But lest we forget
territory of fast turnaround 360-degree video
to expand what I do for a living.
there are more ways to watch VR content.
event coverage.
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TVBEverywhere Immersion
Head-mounted display “Top marks for ITV as lighter content appeals to wider audience”
Google Cardboard
Smartphones with gyroscope
360 desktop Player Licensed by
Reach With a crew of 12, VR City was at the Cheltenham Festival filming, stitching and editing on site to create three-minute highlights packages of each day. We had five carefully selected cameras, shot to a tight script and dropped rushes off to the edit as we went.
360° VIDEO HIGHLIGHTS
Filming up until 3.45pm, we then wrapped cameras and pushed on through to stitch and edit the highlights video by 7pm. This was then posted on ITV’s YouTube and Facebook pages at 8pm each evening, bringing fans an almost immediate view of the day’s racing from an entirely new perspective. The response was fantastic. Across the four days, the videos gained just shy of two million views on Facebook and YouTube. It was clear that this approach had started to fulfill ITV’s promise of giving a fresh audience the best seat in the house. So we’re pleased to say that all of this lovely success led us to the biggest race on the calendar, the people’s race, The Grand National. This time we employed eight cameras
our master of his craft Conan Roberts held it all
And much like our taxi driver I mentioned earlier,
and a publishing time of 10am on Sunday
together. At 11pm we had a finished 360-degree
if you had a PlayStation VR, Daydream, Gear
morning, giving us a little more time to stitch
highlights video for upload the following
VR or Oculus Rift, you might just have found the
and edit.
morning. Truly, for ITV’s viewers, this was closer
content in a headset too.
We had a link from Ed Chamberlain to open the video, Oli Bell who introduced the race itself
than ever.
This is the reality of the industry right now,
Once again, the results were astonishing as
and I am excited that ITV were bold enough to
from the track, and Matt Chapman who gave us
this single video racked up 1.4 million views in
recognise this. VR in television has the potential
the lowdown from the betting ring.
just 48 hours.
to be many things in the future, but for the time
We were bringing the traditional TV show that much closer with the 360-degree highlights. We had full support from Aintree, giving us
So what we love about what we did with ITV is we ignored the usual VR rules and created a workflow that enabled us to deliver
being, social media is a very valid place for it to reside. At VR City and ITV, we are looking at the
access to the weighing room, the parade
360-degree videos when the story was still
state of the VR landscape at present, investing
ring, the cherry picker, the follow car, the
fresh in people’s minds. We hit YouTube and
in its future but also focusing on the best way
commentator’s box and the track itself. And
Facebook very hard, meaning that nearly
to capitalise on the medium today. It’s a long
come 6pm the rushes from eight cameras came
3.5 million people saw unique footage from
journey to the mainstream for VR but ITV is
rolling in, the stitching went into overdrive, and
the racing.
taking a clever route. n
42 43 TVBE August TVBEverywhere_V2 JG.indd 2
20/07/2017 15:07
44 TVBEurope
www.tvbeurope.com August 2017
Technology The Technicolor Experience Center has worked with scientists to create a realistic simulation of a colony on Mars
A new world inside a new world Technicolor is designing the virtual world that we will all live in someday. Neal Romanek reports
W
hile Elon Musk builds yet another space
“The more immersive the experience, the higher
Deploying content much closer to the viewer,
the data,” says Limor. “Streaming and being able
rather than from a server in a farm in Sweden,
to get it in the same way we’ve got OTT content
allows for a much more immediate interaction
is a challenge. At present, things are mostly in
with the user.
download format. “Delivering more immersive content brings a
“Bringing content closer to the edge will give you the opportunity to predict what content is
ship with dreams of colonising other
host of new challenges, but the first thing is the
necessary and then bring that closer to the users,”
worlds, Technicolor is creating a new
backbone of the data delivery has to be stable.
says Limor. “You need to come up with some
There has to be an efficient low-latency way of
intelligent ways to predict what the user is going to
getting it to the user.”
do. We want to come up with new ways to do that.
world right here on Earth. In June, Technicolor celebrated the opening of its Technicolor Experience Center in Los Angeles.
This problem of latency is one that is not easily
If we just treat immersive content like traditional
Technicolor has often been at the forefront of
overcome, especially with the file size arms
video, in a linear fashion, we won’t be able to take
imaging innovation, starting with its industry-
race, content always ballooning to fill the size
full advantage of what the tech has to offer.”
transforming three-strip film process in the 1920’s –
of its container. How do you get these gigantic file
the 4K + HDR of its day. But today, Technicolor
sizes in and out of a user’s living room – or phone –
experiences are going to push developers up
isn’t just trying to produce more realistic images,
or (insert future device here) instantaneously?
against the boundaries of technology – and of
it is trying to produce a more realistic reality.
Developing a new ecosystem
Increasingly ambitious, large-scale immersive
physics. How do you have a truly instantaneous
Cloud troubles
global interactive experience when you come up
The sheer amount of media data is the main,
against the limitation of the speed of light?
Josh Limor, VP of technology and ecosystem
and most obvious factor. You should also factor
development, Technicolor Production Services,
in latency – the more pixels, the bigger pipes you
More important than tech
leads the team dedicated to pushing the
need, notes Limor. Locating things in the cloud can
But all this capture and delivery technology will
boundaries of VR, AR, MR – and that synthesis of
be another hurdle contributing to latency.
be useless without the artists to drive create the
all three that we are all anticipating. “Immersive
“Our eyes are extremely sensitive to any kind of
content” seems to be the blanket term for now.
delay,” Limor points out. “So bringing things closer
it. If creative aesthetics and audience desires are
Gamers have the opportunity for increasingly
and closer to the edge will help. That’s the way
not in sync, the entire proposition of immersive
immersive experiences and we’re in the opening
we see the industry going as far as distribution. If
content will have just been an interesting, but
stages of mass 360 videos, but what happens when
you have the interaction occurring closer to the
essentially purposeless, technological exercise.
we reach fully immersive, interactive experiences in
home – or the viewer – you’ll have a much higher
a world of several billion media addicts?
quality experience.”
44 45 TVBE August Technology_V2 JG.indd 1
content – and audiences who want to experience
“What’s interesting is how this changes the whole platform of storytelling,” says Limor.
20/07/2017 09:48
TVBEurope
August 2017 www.tvbeurope.com
45
Technology “Typically a storyteller is able to control the
What is TV anyway?
Devices
perspective of the user at all times. You can control
The Technicolor Experience Center hasn’t left
The endless marvels of a virtual entertainment
focus with depth of field or sound or through other
behind traditional TV viewing. It’s just that the future
space still have to rely on some sort of delivery
tricks that we’ve learned over time. But now some
TV may not be what you think it is.
technology. Maybe a hundred years from now, our
of the companies we work with are exploring the
“We wonder if you can you enhance the
media will be directly beamed into our brain. But
question of what is an interactive story. We see
experience by adding virtual elements that are
for now, our principle delivery system is the mobile
people using not just traditional VFX platforms,
part of the story or allow the user to control content
device and old faithful – the TV. But what will be the
but also incorporating game engines. And game
in some way,” says Limor. “Can you use the wall
hardware that will be in every home/car to allow
engines can do things like “gaze directed”
space around the TV? Can you use the table
seamless access to this new virtual world?
storytelling, where you can insert content based on
in front of you as part of the experience of the
where the user is looking.”
content? We have projects exploring these and
Limor. “Remember when mobile phones were
New technologies are allowing for instantaneous
“We’re in a very nascent stage in this,” cautions
how you might start crossing over from a traditional
bricks, and comparatively impractical to how
switching of image elements. Limor points to the
flat world into this mixed world and how this mixed
they are now? We’re in the early steps of this new
The Mill’s “Blackbird” engine, which is a motion
reality world can give you much more than you
technology, and we have a long way to go in
capture system for shooting vehicles. The motion
can currently experience today.”
making this technology something that will be
of a car can be captured live with the Blackbird
The message that seems to be implicit in the
vehicle and instantaneously replaced with any
Technicolor Experience Center’s research is that
more of a part of our day to day lives.”
other car in The Mill’s library, using real lighting from
we shouldn’t think of the immersive entertainment
will adopt a virtual entertainment ecosystem, there
the environment.
While the jury is still out on how quickly people
space as bound to a fixed screen - or to a single
is no shortage of economic models that are being
“These kinds of crossover elements become a
device of any kind. We might be entering a period
considered. There’s no shortage of money to be
very interesting space,” says Limor. “Many think of
where screens might not be the carriers of images
made, experiences to be had, technology to be
NewBay 1 15/06/2016 14:59 MR as justConnect putting HP.pdf a virtual object in a room, but
at all, but will themselves be projections within a
explored in this new brave new virtual world ahead
it brings up more questions than that: what is that
bigger virtual reality, arbitrary frames for content to
of us. But is it something people really want? In the
crossover from the virtual world into ours, and how
appear in, all existing in a fully virtual entertainment
future they’ll be able to take a virtual walk around
do those two spaces interact with each other?”
environment – a living room within a living room.
the block to think about it. n
The global resource portal for media technology content C
M
Y
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44 45 TVBE August Technology_V2 JG.indd 2
Editor Neal Romanek nromanek@nbmedia.com +44 (0) 20 7354 6002
Sales Manager: Pete McCarthy pmccarthy@nbmedia.com +44 (0)207 354 6000
Campaign Manager: Warren Kelly wkelly@nbmedia.com +44 (0)207 354 6000
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46 TVBEurope
www.tvbeurope.com August 2017
Audio
The sound of VR Back in April, Grand Central Record Studio launched its own VR audio division - GCVRS. Head of VR Mike Hill looks at the evolution, and everlasting potential that the trending medium offers in the audio sector
V
R has been waiting on the fringes
The applications of both mediums also extend
for decades. Reinvention followed
beyond advertising, brand-building and gaming.
reinvention, iteration after iteration, yet it
They can be used very effectively in specialist
has only been in the last couple of years that we
training within both the medical and military
have really seen the technology emerge onto
industries for instance, and can also serve as
the mainstream.
an incredibly engaging tool for education. At
It’s an exciting time, comparable with the way
GCVRS, we worked on a project for the Natural
the smartphone evolution dramatically changed
History Museum last year that brought prehistoric
how we communicate on mobile devices in
creatures back to life in VR whilst highlighting
the space of ten years. VR and 360-degree
to people the rapid increase in extinction
video are on the cusp of transforming immersive
with today’s wildlife. It seemed to be a huge
experiences across a spectrum of industries.
success in classrooms across the country, as
But what does it mean for the creatives?
children watched the content on smartphones
360-degree video and VR both have
within Google Cardboard headsets. The sound
incredible potential, and whilst they share
for these films is something we had a lot of
one huge similarity in offering the viewer a
fun designing, and it was one of the first films
full 360-degree perspective of the action,
on YouTube 360 to feature a fully trackable
it is important to note that they are still very
360-degree spatial sound mix.
much different mediums for brands, agencies
The initial roots of our new specialist division,
and film-makers to explore. 360-degree video
GCVRS, began taking shape over eight years
offers the viewer a further perspective on a
ago when our VR technical lead, Steve
story or environment that they are not used to
Lane, and technical director, Ivor Taylor,
headphones would always be required to
experiencing in 16:9 view. VR, on the other hand,
started exploring the possibilities of spatial
hear the full effect. Fast-forward to today
opens the door to interactive experiences that
sound and how it can and cannot be used
and it is impossible to ignore the ever-growing
allow the viewer to be part of the content itself.
in the mainstream mediums for advertising
presence of people watching content on
Both mediums are relatively new but if harnessed
and marketing. Spatial sound had limitations
their devices in their everyday lives; from
correctly, can be used as an extremely powerful
in its reach due to the fact that unless you
the daily commute to sitting by the pool
storytelling device.
had a swanky cinematic speaker set up,
on holiday, people are constantly watching
46 47 TVBE August Audio_V3 JG.indd 1
20/07/2017 15:08
TVBEurope
August 2017 www.tvbeurope.com
47
Audio
content on their phones/tablets and most
Having worked in 360-degree/VR alongside
generate this content. But as it turns from niche
importantly for us sound lovers, they are listening
production companies, agencies and brands
to mainstream, the demand for high-end
with headphones. This gives us the potential
for the past two years, we realised that
production is soaring. Therefore, sub-par audio
to create immersive spatial sound without the
while there is a significant difference in the
will no longer do. That is why we felt the time
need for users to have expensive multi-speaker
approach to designing spatial sound and
was right to fully launch our new division, GCVRS,
set ups.
mixing in a three-dimensional space, the
to specialise in high-end spatial sound design
importance of having an audiophile in charge
and 3D mixing.
An often frustrating part of working in audio post is that sound is an afterthought in the
of the sound rather than a programmer is
production process. It can be an incredibly
extremely important.
powerful tool when used correctly, but sound is not often given the chance to lead the narrative in traditional AV content. In the world of 360-degree/VR, this paradigm has been flipped on its head: 360-degree/VR gives sound just as important a role in the narration as the visuals. By using spatial sound (i.e. 3D audio, fully trackable
With full support across Facebook, YouTube and Twitter alongside the development of more affordable ways of shooting and
‘These new immersive mediums, no matter how they evolve, are here for the long run – and the race is on to see who will master them first’
watching 360-degree/VR, the consumer reach is expanding rapidly. And as the technology grows and grows, and the hardware improves, this reach will only get bigger. There is an obvious level of scepticism when something new pops up in our industry
within a full 360-degree environment) we not
and it will take time for creative teams to use
only heighten the immersion of the experience
the medium to its full potential. There are lots of
for the user, but we can also direct them to
new tricks to learn, new workflows to finesse, and
where the filmmakers want them to be looking;
Why spend lots of time crafting great sound if
whole new approaches in the way ideas can be
for example, audio cues coming from your back
the end result suffers because a sound mixer is
exploited but these new immersive mediums, no
left to help you turn around and focus on a
not implementing the final sound in to the VR
matter how they evolve, are here for the long
particular part of the storyline. Sound has never
build? With 360-degree/VR being increasingly
run – and the race is on to see who will master
played a more important role.
embraced, demand is clearly growing to
them first. n
46 47 TVBE August Audio_V3 JG.indd 2
20/07/2017 15:08
48
TVBEurope
www.tvbeurope.com August 2017
Data Centre
Reanalysing the structural shift IABM DC recently published the 2017 Global Market Valuation and Strategy Report. Lorenzo Zanni, research analyst, IABM DC, takes us through the findings
I
technology infrastructure is taking place as the industry transitions to IP-based systems. Previous generational technology upgrade cycles typically involved the “forklift upgrade” of existing technology with a newer version of the previously
ABM DC, a joint venture between the broadcast
overall market revenues in 2016 were at levels last
deployed solution. Examples include the transition
and media industry vendors association, IABM,
seen in the 2010-2011 timeframe.
from black and white to colour, analogue to digital,
and Devoncroft Partners, has just published
and SD to HD.
the latest edition of its annual market sizing and
The shift continues
strategy report. The Global Market Valuation and
Looking behind the headline number, it’s clear
systems are still yet to be finalised, potentially
Strategy Report (GMVR) is the only industry-wide,
that the structural shift in the industry is continuing.
delaying projects, while raising concerns over
collaborative market sizing and forecasting initiative
The gap between products and services widened
interoperability in multi-vendor deployments.
that benefits from direct participation from a wide
further in 2016, continuing a trend that began
However, while IP has yet to translate into a major
range of media technology sector participants
in 2011. Revenues from hardware and software
spending driver for end-users, with all parts of the
– and covers the supply of both products and
products (and associated support revenues)
industry now working together on interoperability
services. It is universally acknowledged to be
represented 43.3 per cent of the total industry in
initiatives and with new, common standards and
the ultimate source of knowledge within the
2016, or $22.07 billion, up 0.9 per cent versus 2015.
codecs coming online, the move to IP-based
broadcast and media technology industry, widely
The compounded annual growth rate (CAGR)
infrastructures is beginning to gain momentum,
used by vendors and investors for benchmarking
of product revenues from 2012-2016 was -2.08
as demonstrated by end-users’ buying intentions
performance, identifying industry trends, preparing
per cent. Revenues from services accounted
revealed in the latest IABM End-User Survey.
for M&A activity and market entry research.
for 56.7 per cent of the total industry in 2016, or
Standards for IP-based production and delivery
$28.91 billion, up 3.3 per cent versus 2015. The
New business models
following a sharp decline of 6.3 per cent in 2015,
compounded annual growth (CAGR) of services
This generational technology infrastructure change
modest growth has returned to the broadcast
revenue from 2012-2016 was 0.20 per cent.
is part of a wider shift in end-user business models.
The headline finding of the 2017 GMVR is that,
and media technology market. The aggregate
There are a number of factors that are impacting
Technology is only one component of the business
revenues for all media technology products and
the market, many of which look set to continue
transformation process for media companies,
services in 2016 was $50.97 billion, up 2.3 per cent
over the next several years. Most profoundly from
and today it is a means to an end rather than
versus the previous year. Despite the increase,
a vendor perspective, a generational change in
an end in itself. Business model changes require
48 49 TVBE August Data Centre_V3 JG.indd 1
20/07/2017 09:46
TVBEurope
August 2017 www.tvbeurope.com
49
Data Centre enterprise-wide business transformation that
is in traditional hardware face a tricky transition
computing power, to playout and archive, all while
involves everything from operational practices to
period as they move to software, while funding this
prices for these services continue to become more
company culture. Where necessary, technology will
through the continued delivery of hardware to a
and more competitive.
be deployed to support the needs of the business.
stagnant or shrinking hardware market. However,
Therefore, suppliers should not expect media
for the same market size, profitability – the driver
revealed by the GMVR. For example, workflow
companies simply to replace older technologies
for investment – looks set to improve significantly as
orchestration grew in 2016, OTT managed services
with new versions of the same. Instead, they
media technology vendors continue to command
increased by 17 per cent, and the market for IP
should work to become an integral component
a premium for their industry-specific software
routers also continued to grow at a CAGR of 16.06
of broadcaster’s strategic focus on thriving in an
solutions, replacing low-margin hardware income
per cent between 2012 and 2016.
environment of changing consumer demands as
lost to IT vendors for their COTS platforms.
There are also significant market opportunities
“As we go through this structural shift and
power shifts to the viewers with an ever-increasing
transition gradually from hardware to software
New opportunities
and from Capex to recurring revenue streams, the
4K is also playing a role in the structural shift. While
GMVR reveals potential areas of high growth within
The new paradigms
delivery of content in 4K remains largely the realm
the industry for vendors to consider,” says Peter
As consumer media consumption patterns evolve,
of pay-TV operators and some SVoD providers,
White, IABM CEO.
and the number of OTT, streaming and SVoD
content creators are future-proofing their media by
services increases, broadcasters are demanding
capturing and post-producing it at high resolution.
number of media choices.
technology solutions that are more agile and
Another factor which continues to impact
“The static overall market reflects the change to new business models and the change in product mix that the market is going through at present.
flexible. Some of these solutions require the
the industry in certain regions is government
While the overall revenue potential of projects is
establishment of new pricing and revenue models
regulation. These include mandates for localised
reducing as software becomes the norm, their
for both buyers and sellers of technology products
content, issuance or delay of new broadcasting
profit potential increases because of much lower
and services. End-users are moving to Opex-based,
licences, auctions of broadcast spectrum,
material costs for vendors. We cannot compare the
software-driven business and technology models
and next generation broadcast standards.
present-day industry with the one we were in even
to deliver the agility and flexibility they need to
We are also seeing the continuing growth of
five years ago; this is a new market with plenty of
keep up with viewers. Vendors whose background
cloud-based solutions ranging from on-demand
opportunity for innovators.” n
s ar in
eb
W
Thought leadership meets lead generation Content creation, marketing, and delivery: TVBEurope offers the platform to educate our audience through your webinar. Our position in the industry will allow you to present your content via interaction with a global audience while generating qualified leads COntact details
Sales Manager Peter McCarthy +44 (0) 207 354 6025 pmccarthy@nbmedia.com
TVB Europe Webinar HP.indd 1
48 49 TVBE August Data Centre_V3 JG.indd 2
The benefits of a webinar include: • TVBEurope will act in the capacity of an independent facilitator and moderator • Topics of discussion to be set by the client or in collaboration with TVBEurope • Can take the form of either a Powerpoint presentation or a webcast • Unlike a 1-2-1 conference it is not restricted by geographical or temporal factors • Live Q&A session to encourage dialogue • Ideal for lead generation • Ongoing promotion following the webinar’s transmission
Senior Account Manager Richard Carr +44(0) 20 7354 6000 rcarr@nbmedia.com
Standard webinar marketing campaign utilising three separate NewBay Europe digital broadcast platforms: • 5 x e-blasts • Advertisement on each of the three sites: TVBEurope, TV Technology Europe, and NewBay Connect • Advertisement included on multiple newsletters sent across the three databases • All generated leads to be shared with the client • Follow up correspondence/reminders to all non-attended registrations • Permanent hosting on each of the three sites
US Account Manager Michael Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv
20/04/2017 11:06
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50
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Data Centre
Live and kicking T
A new report has found that consumer appetite for ‘live’ content is still strong, despite advances in technology and widespread digital adoption. Dan Ison, head of media and entertainment at Deloitte UK, explains
Live radio also remains extremely popular. Against the backdrop of surging online music subscriptions and the widespread capability to create personal playlists, radio represented about 74 per cent of audio time in 2016, while on-demand music was only 17.2 per cent. In the B2B world, the live ‘experience’ remains popular. The events industry shows that global trade show revenue has risen every year since 2010 and is forecast to continue to grow, to generate around 40 billion by the end of the decade.
he concept of a fully virtual world has long
of all revenues for companies in the top 100. TV
The future: live forever?
been predicted. Digital capabilities have
production and distribution was also the most
But what of the future? Will live entertainment
been improving exponentially over the last
profitable sub-sector, generating combined profits
continue to monetise strongly? Will TV and radio
of £2.6 billion, up 57 per cent year-on-year.
continue to be consumed predominantly live?
few decades, and, with the dawn of the smart phone ten years ago, many felt that it would not
Live content plays a significant role in the
be long before we gave up physical interactions
continued financial success of television. The
vibrant, as people attend events for a wide range
entirely, favouring virtual workplaces and
majority of TV is viewed at the time of broadcast,
of reasons, some of which cannot be replicated
‘socialising’ with other digital avatars online.
rather than time-shifted. Many fans need to
digitally, such as socialising together, often in
watch their favourite sports team play live and
pleasant locations. When the social, relationship-
across business and leisure seemed to compound
uninterrupted – the age of the smartphone and
and trust-building aspect of trade fades, then
the view that we were about to immerse ourselves
notifications means that it is very difficult to be
events may be able to migrate online.
into a virtual world. In the world of business,
cocooned from finding out the score of the big
sophisticated high-resolution video conferencing
game. Broadcasters know this, of course, and
as it continues to deliver memorable experiences
suites were being rolled out, enabling participants
are therefore willing to spend big on the rights.
that cannot be easily replicated in digital format.
to feel as if they were in the same room as those
The 2016/17 season was the first of a new Premier
on the other side of the table to them. Webinar
League broadcast rights cycle, and resulted in an
provide one indicator about the prospects for live
attendance and video calling were increasingly
average increase in central distributions of around
broadcast content in the future. Most broadband
becoming common practices.
45 per cent to each club.
connections in the UK should be capable of
At the same time, technological advances
In the entertainment sector, music, TV and film streaming has steadily grown in popularity inline with improved connectivity and device evolution. Catch-up TV and on-demand services were proving popular for busy consumers that do not want to be tethered to TV guides. Yet, despite all of the technological
Demand for live business events should remain
Live entertainment should remain strong, as long
For broadcast, the current demand for radio may
supporting streaming audio. Yet demand for live
‘Humans are social beings, and it may always be the case that people use technology to enhance live consumption – not to avoid it’
advancement, demand for live content lives on.
radio via platforms built for on-demand remains strong. The majority of requests (between 60 and 70 per cent) for iPlayer Radio are for simulcast. But it is the slew of recent announcements relating to TV offerings that is perhaps most telling for the future demand for live content in the years to come. A multitude of different digital platforms
People still like to attend live events, whether in a
have recently announced investments in reaction
business or entertainment capacity. And perhaps
More than half of Premier League clubs’ revenues
to and in anticipation for intrinsic demand for
more importantly, live content remains valuable
in 2015/16 came from broadcast – just over £1.9
scheduled TV.
and commercially lucrative. Deloitte’s recently
billion – a figure that has essentially doubled
published Media Metrics index – a ranking of the
since 2008/09.
For instance, Amazon has recently launched Amazon Channels, a suite of live TV channels
top 100 largest UK media companies – found
Sport is not the only driver for live content
featuring content from Discovery, Eurosport, MGM
that three of the largest media sub-sectors (TV
consumption, however. The latest must-watch
and others; Twitter signed 16 live-streaming deals,
production and distribution, information publishing
episode of your favourite TV drama or reality TV
spanning concerts, sport and drama; YouTube
and events, and advertising) all generate much
series has to be consumed live and uninterrupted.
offered several Champions League matches;
of their revenue and profit from the consumption
Viewers often ‘second-screen’ in order to react
and Facebook will broadcast 20 live baseball
of live content. These three sectors collectively
to the events they are watching live on social
games and 46 live Mexican football matches to US
generate 81 per cent of the revenues of the top
media channels and discuss with friends through
audiences in the coming season.
100 media companies in the UK.
instant messaging platforms. Being able to say “I
Live, in the digital era, would appear to still
saw that” or, “I was there” is still highly valued in
be alive. People still go to trade fairs, business
TV on the right channel
the market. It’s a similar story in the world of music.
conferences, live music gigs and the theatre.
When looking at the top 100 index, television
In 2015, the total live music audience reached
Catering for this demand will have to remain
production and distribution was the largest sub-
27.7 million, generating £904 million in revenue.
core to the business strategies for many media
sector in terms of revenue (£40 billion), average
Live music audiences are growing every year, and
companies. Humans are social beings and it may
revenue per company (£2.1 billion) and also
are boosted by streaming services, rather than
always be the case that people use technology to
accounted for the largest share (41 per cent)
replaced by it.
enhance live consumption – not to avoid it. n
50 TVBE August Data Centre V2 JG.indd 1
20/07/2017 12:43
@IBC2017, 15th – 19th September, Amsterdam
Recognising and rewarding the achievements and innovations in product and service development
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ENTRY DEADLINE: 4TH SEPTEMBER 2017 www.newbaybestofshow.com SHORTLIST ANNOUNCED: 8th September WINNERS ANNOUNCED: 18th September Brought to you by:
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19/07/2017 15:42