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Business, insight and intelligence for the media and entertainment industry
The
December 2016
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The requirements of modern and next generation MAM systems
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TVBEurope
December 2016 www.tvbeurope.com
Welcome
EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Group Managing Editor: Joanne Ruddock jruddock@nbmedia.com Contributors: Michael Burns, David Davies, George Jarrett, Philip Stevens, Catherine Wright Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000 Digital Director: Diane Oliver Human Resources and Office Manager: Lianne Davey Senior Production Executive: Alistair Taylor Managing Director: Mark Burton Designer: Kelly Sambridge kelly@excitingcreative.com US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222 Circulation Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
Finding order amidst chaos We should cherish these times of industry decorum when all around us runs amok
I
t is quite a year to take stock
forward march. For some, 2016 will be
of. Logic would dictate that the
remembered as the year of IP; for others,
mainstream headlines would
it will be the year VR appeared to
paint 2016 as the year of ‘the public
become a more serious proposition; and
mood misread’: the shock of Brexit,
for many, it will be HDR that has proved
Trump, Honey G. Yes, the latter of that
the watchword of the year. What has
triumvirate might appear to cheapen
struck me as the totemic phrase of the
the story of populism’s triumphant rise
year is ‘collaboration’. I’ve elaborated
is part of the story, however cheap a component. The narrative is about a populous that is voting
way around repeating myself by saying simply that I believe the work being shared by service
for change, however manifestly ill-conceived that
providers, associations, and end-users in building
change may turn out to be. But it’s not about
common roadmaps for IP enablement, should
the instrument of change itself: it’s about what it
be applauded. We are at a juncture where
isn’t, and whether people are voting for a bolder
disruption from all sides is having a profound
Britain, a greater America, or a clown in a hat and
impact on the infrastructures and technologies
sunglasses, their common cause is to vote out the
with which we work: uniting to find order amidst
status quo. And nobody really saw it coming.
that chaos is a notable success story.
In amongst the whirlwinds of political upheaval,
NewBay is a member of the Periodical Publishers Association
on this before, and I shall navigate my
against the establishment, but oddly, it
It has made for some compelling TV, though.
TVBEurope is published 12 times a year by NewBay The Emerson Building, 4-8 Emerson street, London, SE1 9DU England +44 207 354 6002
3
And that would be a fine way to remember 2016. James McKeown
the broadcast industry has been a place of
Editor-in-Chief
comparative calm as it continues its innovative
SECTION EDITORS
© NewBay 2016. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free. Allow eight weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA
03 TVBE Dec16 Welcome_v2 JG_final.indd 1
Philip Stevens Production editor
Michael Burns Post production editor
George Jarrett Business editor
David Davies Audio editor
22/11/2016 11:18
4 TVBEurope
www.tvbeurope.com December 2016
In this issue
Production
12
Philip Stevens investigates how news production is benefitting from the latest technological developments
Post Production
Supplement
We hear from various cogs in the Tedial wheel as they talk profitability, MAM and the WIN Network
21 Feature
Avid, Ooyala, Sony and TMD give their take on the best way to implement a media asset management system
32
Michael Burns looks back on a year of success , expansion and disruption in post
04 TVBE Dec16 _contents_v4 JG_final2.indd 1
30 Business
George Jarrett speaks to Brad Gilmer, AMWA, and Felix Poulin, EBU, as the IP transition looks to accelerate
Audio
34
David Davies reports from the Futuresource Audio Collaborative conference
22/11/2016 09:12
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6 TVBEurope
www.tvbeurope.com December 2016
Opinion and Analysis
Dynamic media management By David Schleifer, chief operating officer, Primestream
E
the time of use, clips used in the final edit,
We also support cloud-based infrastructures so
clips from the same source material, material
companies can optimise where their data is
used most often, resolution, who used it, when
housed at any given time in its lifecycle.
it was used, and so on. When the time comes
However, the key is often metadata, and
very technology change brings new
to retrieve media, we have often narrowed it
that is why it is so important that it can be
benefits and new challenges. The shift
down to the point where we no longer want
easily added throughout the process and
in media production to digital file-based
the original asset, but would rather prefer the
that it stays connected with the media as it is
systems has sped up the process, multiplied the
bits we have already identified so we can
migrated. For instance, live logging modules
creative power of editing tools, and enabled
access it more quickly and get on with the task
allow metadata to be added in real time to
collaborative workflows that could never have
at hand. Enabling this workflow starts much
enable quick turnaround workflows, but they also
been imagined with film or tape. They have also
earlier in the process.
build up that first layer of metadata that stays
brought new challenges to the storage and retrieval side of the equation. It used to be that the only things you had to worry about were storage space, and whether the media was deteriorating over time. We now capture and try to keep much more media than ever before and the challenges
with the asset throughout its lifecycle. File-based
‘The shift in media production to digital file-based systems has enabled collaborative workflows that could never have been imagined with film or tape’
have expanded. We still have the issue of space,
metadata tagging tools also make it very easy to add consistent and coherent metadata to files already on a system, and it’s with tools such as these that Primestream is demonstrating its focus on simplifying the process for media companies, helping to maintain data integrity and consistency across the board.
but now space is calculated in bytes: mega,
At the time of retrieval, features like ‘partial
terra, petabytes, and more. The systems storing
At the point in time when you want to retrieve
file restore’ and ‘broad codec support’ make it
all of this data need to migrate over time so
your assets, your options and efficiency will
quick and easy to re-use what you have found,
archive migration is a constant push to new,
already have been pre-determined. If you did
but the real value is always in your ability to find
denser, archive technology.
not put the effort in up front, you will not have
it in the first place.
The real challenges, however, are in data
the chance to retrieve media efficiently. Part
So, when you think about storage, take
management. We have more stuff to store and
of this is compatibility, and having worked
the time to look at the workflows leading up
we have much more information about that
with several archive vendors to support their
to the moment when you put that asset
stuff. Not only do we want the source material
middleware and a wide range of hardware,
away for later: because if you don’t, you
for a particular story, but we want to search and
we’ve seen that this guarantees their ability to
might find yourself storing a lot of assets that
retrieve it based on metadata, notes logged at
move and manage media over time.
you never get to use. n
www.MultiDyne.com
06 TVBE Dec16 Opinion_v2_final.indd 10
21/11/2016 13:31
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8 TVBEurope
www.tvbeurope.com December 2016
Opinion and Analysis
The heart of the workflow By Paul Wilkins, director of solutions and marketing, TMD
M
transcoder farm is a bottleneck; the CFO
The playout software, for instance, needs a set
knows what impact this bottleneck is having
of key information but it does not need access
on revenues, and what the cost of relieving it
to all the metadata, which is why it is common
will be. The successful platform, therefore, will
to develop simple transfer protocols between
require constant enrichment of the metadata.
asset management and playout.
ost broadcasters and media businesses
Some of this information will come from the
are now on their second or third
content: in the DPP/AS11 wrapper if it is bought-
generation asset management system.
in content; or as shooting data if you are in
‘There is no reason why we should not share metadata between systems’
What was once an enforced necessity – a
production. There are the familiar metadata
means of keeping track of content on servers
categories, which are added as you process it:
and data tapes – is now a positive asset, lying at
things like reference numbers, programme titles,
Intellectual property rights management is a
the heart of the workflow.
precise durations, compliance edits and so on.
complex subject, and its users tend to maintain
Indeed, the enlightened approach is to
But you can enrich the metadata in many
very sophisticated systems to ensure they
regard asset and workflow management as
more ways. The idea of tagging – attaching
comply precisely. However, some information
one and the same. In turn, that makes the asset
descriptive metadata to a specific timecode – is
from it is valuable to other users, and the
management platform the orchestration layer
extending beyond sport to other programme
actions of other users are vital to the rights
for service-oriented, software-defined workflows.
genres. Some technical metadata is generated
management team. As we have already seen,
as it is processed through internal workflows:
audit trails could be reported to the enterprise
transcoding formats, for example.
management system.
Those workflows draw together small blocks of functionality (tasks) with, where necessary, intelligent decision-making and branching
Metadata can be enriched through queries of
Service-oriented, software-defined workflows
based on metadata values. They can include
external data sources. If you buy a movie, you
are the way of the future. They provide more
both manual and automated functionality.
could harvest further information from websites
efficient ways of working through extensive
like IMDB and Rotten Tomatoes. If you are
automation and better management.
‘What was once an enforced necessity is now a positive asset’
covering a golf tournament, you could collect
The workflow orchestration layer is the
course statistics from the club’s website, and
metadata engine, which is asset management.
player rankings from the PGA.
It must interface with external systems,
If your application needs it, scripts can be
whether that is by secure link to the enterprise
The workflows can also be triggered by other
transcribed, either by an external service or using
management infrastructure or harvesting
systems, and report to them. The business
voice to text conversion. As well as providing
information from multiple relevant websites. The
management of an enterprise will be overseen
additional internal functionality, this continuing
asset management platform stores much of our
by a system such as SAP: it makes sense for the
enrichment of the metadata can feed on to
metadata, and knows where to get the rest.
media workflow layer to provide detailed reports
the delivery system, providing all the information
and audit trails into the enterprise management
needed for subscribers to discover and explore
move to IT-centric broadcast and media
layer. That way, the board can take decisions,
content, for instance.
infrastructures lies in developing new, service-
and initiate new services, based on real
It is tempting to think of metadata as a single
The key to getting the true benefits of the
oriented ways of working, allowing the
information on how services are performing
collection of information, but in our software-
organisation to determine what best suits its
and what they cost.
defined architecture, as well as moving content
creative and commercial needs, freed from the
between computers, there is no reason why we
limitations of fixed architectures. That cannot
should not share metadata between systems.
happen without the right metadata. n
Through this vertical integration the chief engineer knows that, for instance, the
08 TVBE Dec16 Opinion_v2 JG_FINAL.indd 10
21/11/2016 14:28
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10 TVBEurope
www.tvbeurope.com December 2016
Opinion and Analysis
Transforming news consumption
A cloud alternative News broadcasters that want to adapt quickly to changing viewer habits, but also want to benefit from flexible commercial models, don’t necessarily have to use the cloud, writes Sony’s Dave Hedley. There is another way…
N
To my mind, adopting a scalable, and agile unified content platform is the future. Something developed using cloud-native technologies with open APIs that offer simple integration with multi-vendor production
ews consumption is changing, and
enough for this ‘internet first’ approach.
toolsets and an elastic business model that
changing fast. Broadcast TV news
Typical capex planning and project cycles
allows broadcasters to rapidly add and
programmes are still one of the most
mean that opportunities may have already been
develop new tools and functions to handle
trusted sources for just about all demographics
missed. Operationally, reporters and editors
changing viewer habits.
but, in recent times, it is frequently the internet,
often have to jump from system to system to
and social media in particular, to which people
create the different packages for each different
platform could be hosted in the cloud, but
turn when they want their news fix. Research
output, not always with the latest details or
it doesn’t have to be. The hosting location
suggests this is particularly true of women and
content. Adding any new tools, systems or ways
decision is primarily going to be based
the millennial generation.
of working can be a slow and expensive process,
around the cost of bandwidth.
This continuing shift is having a significant impact on how news organisations create,
so change is certainly required. If only it was that simple. While broadcasters
develop and distribute their stories and many are
do acknowledge the need to accommodate
now taking an ‘internet first’ approach, planning
the shifting requirements of their audience,
a lifecycle around breaking stories initially from
technical and workflow alterations cannot
and for digital media and then developing them
be made at the expense of their finely tuned
for broadcast bulletins and longer form later.
editorial processes or their ability to keep
However, being ‘internet first’ is not about
services on-air and online.
Now, this agile and adaptable single
‘Capex planning and project cycles mean opportunites may have already been missed’ It could equally be housed on-premise, or
prioritising. To be ‘internet first’ requires access
This fast-changing environment needs an
straddle a hybrid of both. I believe that if a
to the right content with the right tools, and for
agile prototyping: try it, measure it, expand it
broadcaster so wishes, they should be able
them to be available at the right time. ‘Internet
or kill it approach. These rapid ‘expand or kill’
to benefit from the same technology that the
first’ is really about agility and flexibility.
strategies are driving a widespread requirement
cloud uses, that gives them the same flexibility
for more flexible commercial models based on
and the same level of platform functionality, but
shorter term opex rather than the large (and
have it on-premise, hosted off-premise or in a
often painful) process of buying systems
hybrid configuration. Hosting location is a critical
outright through capex.
commercial choice. That’s why some operators
‘Internet first is really about agility and flexibility’
Faced with this scenario, the vast majority of
are already using a combination of on-premise
Digital media platforms, including broadcaster’s
media organisations automatically jump over
production infrastructure with massively scalable
own sites, are also very dynamic and
to the cloud. They know that the cloud offers
cloud-based distribution platforms.
competitive environments. Retaining (or even
flexibility and scalability, but does the cloud
re-acquiring) the audience is about the quality
offer the breadth of technical capabilities that
no doubt change again in the future. For
of the storytelling and ensuring that the platforms
are required to run a fast and flexible news
broadcasters to be able to keep up with this
the target audience want to use are supported.
organisation? In many cases, the answer is no.
constant flux, they need to be agile and flexible
Unfortunately, in many newsrooms, current
As such, I believe that there is altermative way
in both their working practices and in the way
of approaching things.
they spend their budgets. n
systems and procedures are not agile or flexible
10 TVBE Dec16 Opinion_sony_v6 JG_final.indd 10
News consumption has changed, and will
21/11/2016 14:39
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06/10/2016 14:30
12 TVBEurope
www.tvbeurope.com December 2016
Production
Keeping up with the news One genre that has greatly benefitted from new technology is news. Philip Stevens reports
example. “The things that underpin all of the
Pattison continues, “In terms of Facebook Live,
above are LTE mobile networks. It is rare that we
the coup attempt in Turkey was very interesting.
will deploy to a story and find ourselves without
Being able to deploy crews with at least a LiveU
some kind of 4G connectivity.”
LU200 bonded cellular encoder meant that all our crews had the capability to deliver live
I
n the UK, Sky News lists a number of significant
Facebook focus
pictures to the studio. Courtesy of Facebook, we
developments on the news front in the recent
Sky sees Facebook Live very much as a work in
had instant access to hundreds, if not thousands,
past. “Facebook Live has opened up a
progress, and the team is working on ways to
of live video sources, right at the heart of the
whole new avenue of newsgathering, forcing
capitalise on the opportunities it may present.
story, which was pretty incredible.”
organisations to utilise mobile devices to create
“At a very basic level, it has provided news
content,” states Richard Pattison, deputy head,
organisations with an additional revenue stream,
increasingly being used for the immediacy
news technology, Sky News. “We have also seen
which is always welcome. From a technology
of a situation, are there any technology
the advent of small, portable and affordable
point of view, it has forced our newsgathering
developments in that area that Sky News
bonded cellular encoders, such as the LiveU
operations to focus on mobile and IP-based
would like to see? “In the last six months, we
LU200, which have allowed us to extend the
delivery methods, which are sometimes
have seen improvement in live bonding apps
breadth of coverage by giving more and
overlooked in favour of more ‘traditional’ delivery
by the likes of Dejero and LiveU, such that with
more crews live capability, whether on foreign
methods,” declares Pattison. He feels that as
the right set-up, the quality of image delivered
deployments or just away from more established
a result, Sky News is focusing talent and effort
can be indistinguishable to a viewer from that
newsgathering capability.”
on more flexible, mobile and online-focused
of a truck or cellular bonding unit. Dejero
contributions that are keeping it at the forefront
taking advantage of the iPhone 6 Plus and
interesting developments that are just around
of newsgathering, and ensuring the broadcaster
6S Plus optical stabilisation was a big step to
the corner; bonded cellular encoders featuring
is well placed to be a multi-platform operation,
reducing the shaky, hand-held feel that gives
HEVC encoding and live 360/VR video, for
rather than just a TV station with a website.
mobile delivery away.”
Pattison believes there are also some
Beyond that, with mobile phone footage
RT believes that the 360-degree VR format is a game-changer for the news industry
12 13 14 15 TVBE Dec16 Production_v2 JG_final.indd 54
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TVBEurope
December 2016 www.tvbeurope.com
13
Production
Anna Belkina, RT
Ronen Artman LiveU VP Marketing
TVN provides 24 hour news coverage for its Polish viewers
Second opinion
of reliable, easily available, and independent
She reports that RT has always embraced social
Moving into the area of second screens, Chris
connectivity, regardless of location.”
media platforms. “RT launched in 2005, as
Smith, technology executive, Sky News, takes
Pattison teases a project with Sky Deutschland.
the mobile revolution was kicking off. We are
up the story. “This is an interesting concept in
“It’s early days, but we’re working on a proof
constantly perfecting our mobile applications
news. Other events, like sport, have a primary
of concept with our colleagues that will see an
that give viewers access to RT’s news content
activity – the game or match – for the viewer to
all-IP SNG workflow. We are also working on live
in English, Arabic, Spanish, Russian, French, and
focus on and for the second screen environment
360 and VR video, but at this stage, until the
German. We have become the absolute leader
to support with facts and figures. For news, the
wider public are consuming this kind of content
on YouTube among TV news channels – with
provision of what might be considered second
regularly, and readily have the means to do so –
nearly four billion views – within just a few years of
screen video or data elsewhere, is often the
that is, having an Oculus Rift headset or similar – I
the platform becoming available in Russia.”
primary output of the news channel.”
think its value to news is rather limited.
Smith says that Sky News provided second screen activity during the 2015 General Election when it streamed live coverage from 150 constituency counts to YouTube. These streams were made available via the election section of the Sky News website and apps, but the viewing figures were not enormous. “I think at the moment, rather than concentrating on supporting our TV audience with second
Periscope, the live-streaming service that also allows for social interactions in real time, is also
“Facebook Live has opened up a whole new avenue of newsgathering, forcing organisations to utilise mobile devices to create content” Richard Pattison, Sky News
screen facilities, we have been focusing on
having an impact. “RT has been leveraging this platform for special coverage of highprofile international events, including summits, conferences, and interviews with leading public figures, such as Maria Zakharova, spokesperson for Russia’s Foreign Ministry.” Periscope enabled RT correspondents to bring live-stream footage from ISIS-affected conflict areas direct to the viewers’ mobile devices,
delivering appropriate, engaging content for
and get their responses from all corners of the
our various different audiences on platforms
However, it’s certainly an exciting time for
world. Belkina believes the 360 format has been
like Facebook, our website, apps and our TV
newsgathering, and there are a number of
instrumental in giving a multidimensional picture
channel,” emphasises Smith.
interesting developments that are either arriving
of such major stories. “Sometimes these are
or just over the horizon, all of which point to
special features that benefit from using a cross-
an IP-based workflow.”
section of new technology. We combined drone
Moving on So, what does the technology team see as the
filming, audio commentary, and 360 video for
next major technological advance?
The Russian platform
understanding the scope of devastation of the
“I think the next significant step will be the
In the opinion of Anna Belkina, director of
Donetsk area in Ukraine, or sourcing videos from
implementation of IP workflows into the heart
marketing and strategic development and head
360-cameras mounted on tanks and fighter jets
of traditional SNG trucks,” says Smith. “The use
of communications at RT, the 360-degree video/
for the unprecedented Victory Day coverage
of platforms like Newtec’s Dialog offering,
virtual reality (VR) format is a game-changer
from Moscow’s Red Square. These all give our
whether directly in-house, or via a third-party
for the news industry. “From the newsgathering
viewers a sense of presence at these places.”
service like Network Innovations Mavericks,
perspective, it’s the most unfiltered news it can
means that trucks can become connected
be, especially when streamed live. From the
to launch a dedicated 360 mobile app, RT360.
vehicles offering a range of IP services. In
news consumption perspective, it is the most
Earlier this year, RT was the first TV news channel
addition, they can deliver quality video while
immersive, engaging content yet, allowing for
to carry a 360-degree video broadcast live, and
retaining the same SNG-related benefits
the ultimate sense of presence for the viewer.”
in HD, on YouTube.
12 13 14 15 TVBE Dec16 Production_v2 JG_final.indd 55
In 2015, RT became the first news channel
21/11/2016 14:38
14 TVBEurope
www.tvbeurope.com December 2016
Production Combining technology
The Polish view
When it comes to mobile phone footage
As already alluded to, RT has been successfully
According to Jarosław Kielmel, technical
being increasingly used for the immediacy
using drone technology, and in some areas it
director at Poland’s TVN News, the most
of news-worthy situations, he’d like to see
has proved indispensable. “All the way back
significant development in newsgathering
dual modem phones being offered with
in early 2014, we showed protests in Kiev’s
procedures over the last two years has been
bonding technology incorporated.
Maidan Square, and most recently filmed the
bonded cellular technology with broad
construction of the Crimea Bridge, where we
deployment of Long-Term Evolution (LTE). “Forty
Pros and Cons
actually combined drone filming with the 360
per cent of our ENG sets are equipped with
Kielmel says that he is seeing an increase in the
technology for a multi-dimensional look at the
Aviwest cellular transmitters. The use of this
use of IP technology, but, at present, there are
construction progress and process.”
technology eliminates the need to use SNG
reservations. “The problem with monetising the
uplinks for live news coverage. In this way, the
increased IP reach still exists, and there is no
news is delivered faster and with lower costs.”
clear scenario as to how these desired financial
She continues, “Using drone cameras, we were able to bring our viewers a unique view of the ancient city of Palmyra, recently liberated from the IS militants. You just don’t get this perspective from ground-filming.” So, how does Belkina see the future? “The 360 video technology has the potential to revolutionise the news industry, but it still
results can be achieved.”
“Drone manufactures should produce units with broadcast quality transmission links” Jaroslaw Kielmel, TVN News
has a considerable way to go before we’re
On a positive note, he says that second screen experiences are being used more and more across all programme genres, but the opportunity to enhance the news service with greater information is of special interest. “Our web production team prepares stories for a
going to see mass adoption. There are still
variety of screens, including desktop, mobile
a lot of challenges when it comes to
He reports that TVN crews use the technology
and tablets and for services such as Facebook,
producing high-quality VR content, such
every day; in fact, many times a day. “It is
Twitter, WhatsApp and Instagram,” states
as moving beyond the limitations of a static
especially helpful inside buildings, on the move,
Kielmel. “Certainly, I see that increasing
camera mount while maintaining a seamless
inside large crowds, demonstrations, and
over the next year.”
user experience.
abroad. It allows us to move freely with the
So, what does Kielmel perceive as the
camera during live transmission with just the
next major technological advance that will
operator and the reporter.”
help newsgathering organisations? “There
“However, as tech innovation addresses these issues and the audience becomes more educated about everything that VR content
Also on the subject of ENG crews, Kielmel
are two areas where I think developments
can offer, we will likely see this format moving
reveals that TVN utilises several DJI Phantom
are necessary. Firstly, camera manufacturers
from being a purview of just the specialists, to
and Inspire drone units for its newsgathering
should incorporate cellular bonding technology
something with an appeal for all.
operation. “The main problem is that the legal
into their camcorders. Secondly, drone
regulations are not finalised. There are many
manufacturers should be looking to produce
between mediums and platforms – both for
informal, intermediate procedures that are
units with broadcast quality transmission links.
newsgathering and news delivery – become
changing, and because of that we are unable
Those technological advances will help all
further eroded at neck-breaking pace.”
to formulate any long-term plans for their use.”
news organisations.” n
“I believe what we will see is the border
Goodbye NRCS... Hello unified news operations! Kevin Savina, director of product strategy, Dalet Digital Media Systems, describes a new approach
N
newsgathering and consumer habits.
are far more achievable with a unified
‘Room’ implies containment and isolation,
approach. Unified news operations, or UNO,
‘computer’ conjures images of large desktop
takes all the traditional functions of an NRCS,
PCs, and in this context you may as well
NPS (news production system), MAM (media
replace ‘system’ with ‘silo’.
asset management) system and more, and,
With such a large number of platforms
by combining them into a modular, scalable
RCS: just breaking down this acronym
and outlets competing for consumer
platform, presents significant and distinct
starts to highlight some of the problems
attention, commanding and retaining an
advantages to whole news organisations,
faced by traditional or legacy news
audience today requires effectiveness,
from journalists on the front line through to
efficiency and excellence; all three of which
system administrators.
solutions when addressing contemporary
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15
Production UNOs enable the implementation of efficient
and editors to focus on first-class content. The
and MAM is a potential pain point not just
workflows to produce news content from
smart automation manages all the ‘heavy
in initial deployment but also for ongoing
planning down to distribution on multiple
lifting’ of the media movement and native
maintenance and scaling. A unified system,
outlets. Web and social media are not treated
manipulation and processing. Meanwhile, by
based on a common platform, can lead to
as an afterthought or a separate workflow, but
bonding them in a common platform, native bi-
faster deployment and simplified maintenance.
as a core function of the news process. Stories
directional communications between rundown
can be researched and prepared efficiently
and playout gives full collaboration and
with direct access to social feeds before being
synchronisation between the newsroom and
quickly packaged to fit the various constraints
the gallery, allowing for a far more dynamic
of specific outlets and distribution platforms.
and transparent production.
Consistency
User experience
Metadata continuity (from planning elements,
Journalists in the field may have access to
rushes and b-roll to completed stories,
the newsroom system from their smartphones
programmes, and archives) links content,
through a dedicated app, but what’s the
and search from top to bottom enables more
point if they only have the rundown or the
effective and creative work for the editorial
story script, but no access to the media files?
However, ‘unified’ doesn’t mean ‘closed
teams who can make better use of the assets
Worse still if they have to use separate apps
system’ or even ‘single vendor’. Unified
in the news system. It means they easily find
or interfaces to access each element. Unified
news operations place the functions that
and discover all kinds of related content and
news operations provide apps and interfaces
naturally belong together in a united
visualise the relationships between them, and
that give secure access to all applicable assets
platform and extend these with native support
know if they have the rights to use them.
and related content.
for common exchange and communication
A BPM-based workflow orchestration engine deployed in news workflows allows journalists
Each integration point between core operational systems such as NRCS, NPS
‘With so many platforms and outlets competing for consumer attention, commanding and retaining an audience today requires effectiveness, efficiency and excellence’
protocols, plus a powerful API to build best-of-breed solutions. n
xxxxx xxxxx
www.asperasoft.com moving the world’s data at maximum speed
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Production
5 News relocates Philip Stevens visits the new central London home for the broadcaster’s news programmes
I
n May 2016, Viacom International Media Networks – owner of the UK’s Channel 5 – signed a four-year contract with ITN to
Ben Wickham, studio director in the new C5 News gallery
real set – simple, but clever in design – would
took place on 28 October and the 5 News team
help us do that, and would also be more
moved facilities and delivered the first broadcast
reflective of the high production values that
from Gray’s Inn Road on 31 October, with Sian
we put on all our news reports.”
Williams presenting 5 News at 5.”
“The desire for news from our audience has never been so great” Ninder Billing, Channel 5
produce 5 News. Under the terms of the new
Essential equipment Four Sony HXC 100 cameras are used in the studio, two static pedestals with robotic Vinten Radamec heads, one mini jib with operator and one static camera slung in lighting rig. “Having a
contract, the 5 News team has relocated to
camera slung in the lighting rig allows us a unique
ITN’s headquarters on Gray’s Inn Road in central
She continues, “When 5 News launched in 1997,
perspective on our innovative desk design, the
London. Previously, 5 News had been sited in the
its presenter perched, rather than sat behind
product of a collaboration with the external
Lower Thames Street offices of Northern & Shell
a desk, which was seen as pretty revolutionary
agency Kemistry,” explains Ben Wickham, studio
as part of its previous ownership arrangements.
then. We wanted something that had that
director. “Retaining a
The move coincides with a new look for the
spirited feel, but that also reflects how after nearly
camera operator
programme and a rebranded studio.
20 years, 5 News has really come of age. The
on the studio
Crisitna Nicolotti Squires, who was editor of
clever design, using the 5 logo, not only punches
floor allows us
5 News at the time of writing, explained,“The
out on the screen, but works on a practical level,
a wide variety
contract will run until 2020 and demonstrates
too. With bespoke soft areas we can use it in a
of shots and
Viacom and Channel 5’s ongoing commitment
variety of different ways, from delivering update
movement
to news programming.
bulletins in MCU, to sitting down with a family or a
which, in turn,
group of interviewees. The innovative presenters
provides the
with the rebrand of Channel 5; to create a design
desk, with its built-in hydraulic system, can
production
for news that takes in the channel’s core values
be raised or lowered so the news can be
staff and
of boldness and originality, and also strengthens
presented standing or sitting.”
presenter with
“Our new look was designed to bring us in line
our credibility as a strong terrestrial news brand
The new studio measures approximately ten
many options to
that is there for everyone. We put people at the
metres by ten metres and is twice the size of
tell the story of the
heart of all our storytelling, and we are clear,
the previous one used at Northern & Shell. She
day’s news.
honest and direct with the viewer. We felt that a
continues, “The last programme in the old studio Sian Williams presented the first 5 News from the new studio
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Production “The GV Karerra vision mixer is highly integrated into the gallery set-up to provide tight and pacy show sequences, whilst still being easy and intuitive to operate.” Wickham explains that for the longer news programmes, the normal manning is a director and a technical director (TD) who vision mixes. However, for evening and weekend updates, the TD both directs and vision mixes. Wickham continues, “The vision desk fires a mix to PBUS and GPI triggers into the Viz Content Pilot (VCP) graphics and SpotOn audio systems to tie together programme sequences, such as headlines and ‘coming up’. When TDs are on
Cristina Nicolotti Squires in the new set
their own, they can also control faders on the SSL C10 audio mixer.” Other equipment in the new studio includes Proprietary Centra GUI routers and a mixture
sequences in the individual packages, or whole
also available, under agreement, with other
edits if they are overly complex.
media organisations such as the BBC and Sky.
of Telex and LTS components for comms. For
Prompting comes from Autoscript, and this
lighting, acrylic fins and lightboxes are lit with
is automatically updated by the iNews system.
LEDS. “By lighting acrylics from behind they gain
All of ITN’s newsrooms (alongside Channel 5,
perspective and colour, which in turn lets the
news output is also provided for ITV and Channel
calibre delivering independent, accessible,
studio take on a subtly different look depending
4) have dedicated editorial operations with
credible, watchable television news. We tell the
on from where it’s shot. It also allows flexibility
separate journalists and editors who lead them.
stories that matter; the stories that have people
presenter to move around the studio, but retain access to running orders, we are using the latest MS Surface Pro, the clean lines of which complement the studio build.”
or royal events.” She goes on, “5 News is a brand of the highest
at the heart and that really affect them. Our
by providing a full range of RGB values to the lighting director, via DMX controls. To allow the
This would include things like party conferences
“We put people at the heart of all our storytelling” Cristina Nicolotti Squires, 5 News
Newsroom necessities
viewers don’t need to go anywhere else to find out what is going on in their world; bringing that news service back into the heart of ITN, where it all started nearly 20 years ago, with a fresh, exciting look.” One final word comes from Ninder Billing, Channel 5’s commissioning editor, factual:
In the adjacent newsroom, the preferred system
“The exciting launch and rebrand underlines
is iNews. “This is strongly integrated into the Avid
However, ITN does operate a shared
Channel 5’s commitment to accessible news
Newscutters and Assists systems, and works
newsgathering operation for on-diary stories;
programming following the signing of a
seamlessly with other systems via plug-ins to the
this involves sharing satellite trucks or other
four-year contract with ITN to produce 5 News
desktop software. These include plug-ins for
broadcast OB equipment to maximise
in June this year.
VCP to allow the use of templated graphics,
efficiency for its clients.
which also pulls in stills stored in the VME storage
“The desire for news from our audience has
Squires provides some additional information.
never been so great, so the refresh is timely
system.” The producers carry out most edits, and
“Footage is not shared with other newsrooms
during a crucially important period for news,
a dedicated editor is used either for complex
unless this is on a ‘pool’ basis where content is
ranging from the US election to global terror.” n
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Production
Spreading the word Philip Stevens investigates the current state of religious broadcasting
One organisation in the latter category is United Christian Broadcasters (UCB). “The way people listen to radio and watch TV has changed dramatically in the past few years and we
T
know it’s important that we adapt to this and
course) used to shut down between 18:15 and
meant UCB’s radio and TV was made available
19:25 on a Sunday to allow viewers to attend
to millions more homes in the UK. This was a
evening services at their local church. That
decision taken by UCB because we were finding
rule was eventually relaxed, but generally only
that more and more people were watching and
‘religious’ programmes were permitted between
listening to our stations through computers and
these times.
mobile devices.”
here was a time, back in the 1950s, when
give people more ways to engage with us,”
television in the UK (just BBC and the
explains Thom Price, head of TV programming.
commercial contractors in those days, of
“In 2015, we focused on new platforms, which
Beyond that, both channels usually carried
The Think Tank set in the UCB studio at Stoke-on-Trent
In order to help with this transition, the
a church service each Sunday morning, while
organisation invested in UCB Player, allowing
each evening ended with an epilogue, where a
viewers to watch and listen to all of UCB’s
message with a scriptural theme was delivered
content, both live and on demand.
immediately prior to shut down. Things have moved on, and while religious
No change
programmes are still provided by the main
The switch to internet-based programming
broadcasters, many channels have appeared
has not changed the operation of UCB’s
to cater for the spiritual needs of viewers. On
headquarters at Stoke-on-Trent. Here, two
the Sky EPG, for instance, around 15 channels
studios operating to broadcast standards are
appear in the religion category. Further, some
used to produce a number of programmes.
broadcasters have turned to the internet to
These include Facing the Canon, a 60-minute
provide programming for their viewers.
interview, Real God Real People, a five-minute
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Religious freedoms in Bulgaria has led to a variety of programming opportunities
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19
Production testimony, Since I Became a Christian, a
“A ‘Playbox’ software playout system from
quality of programming brought about by
30-minute testimony, The Think Tank, a half-hour
‘Databox’ delivers to our streaming partner
the reduction of cost and ease of access to
current affairs discussion, God Spots, 60 seconds
via an IP stream.”
production equipment.
of inspirational thoughts, and Now Hear This,
So, what does Price see as the biggest
“This, along with higher computer literacy
30-minute acoustic music sets featuring an
change in religious broadcasting in recent
amongst producers, allows for more
interview with the artist.
times? “Certainly, the improvement of the
complicated productions.”
“I firmly believe that religious audio-visual content can reach a very big audience” Stoyko Petkov, Studio 865 “In our studios, we use Sony EX3 and Panasonic GH4 cameras,” reports Malcolm Salt, UCB’s television production co-ordinator. “In the gallery we have installed a DataVideo SE 1000 vision mixer – selected for price and functionality – a PreSonus Studio Live 16.0.2 audio console, and Adobe After Effects for graphics.” Salt says that Edius was selected as UCB’s editing system because of its compatibility with a wide range of file formats and intuitive UI. UCB also transmits programmes from other producers, and these are delivered to the broadcast centre via FTP and occasionally hard drives containing uncompressed master files. “We make use of IP technology for the delivery of the playout signal,” says Price.
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Production Church has a Vivid imagination
Vivid Broadcast assisted Hillsong Church with the provision of its production facilities
In order to cope with the approximate 10,000 people who wish to attend the Hillsong Church in London, four services take place at the Dominion Theatre each Sunday. Hillsong, headquartered in Australia, also has other sites in the UK that can be linked to the London service, if necessary. Some of the broadcast development work in the UK has been carried out by Vivid Broadcast, based in Surrey. “I became involved with the organisation as a consultant about four years ago,” explains Rory Springthorpe, director of Vivid. “At the time, they were operating just two SD cameras in a mobile PPU. Since that time, as part of a major refit, we have seen the infrastructure built up, including the construction of a gallery within the theatre and trained volunteers within the congregation to use industry standard equipment.” The current set-up sees four Sony HDC cameras in the auditorium, two For-A HVS vision mixers, and DiGiCo sound consoles.
Full inventory
Serving Bulgaria
“Similarly, we opted for Final Cut Pro 6 because
“Suppliers were surprised that a church
Since Bulgaria’s transition from Communism in
of its price, stability, and quality of output.”
needed this level of broadcast kit,” states
1989, the Christian community in that country has
Alongside its own programming, Studio 865
Springthorpe. “The reason for two vision mixers
enjoyed greater freedom. Studio 865 is a media
transmits content from other producers. Playout
is to accommodate both the televised output
association founded and run by local Bulgarian
comes through a PlayBox Technology Broadcast
and the in-house screens. People in the theatre
Christians that has seized the opportunity and
Automation System.
don’t need to see the mixed TV output with wide
built on that liberty. “The name Studio 865 was selected because in the year AD 865, Boris 1 proclaimed Christianity the official religion of Bulgaria,” explains Stoyko Petkov, director of Studio 865. “Utilising TV, radio, internet, and print our aim is to encourage the Christian community in Bulgaria, but just as important, to address the needs of those yet untouched by the Gospel.”
shots – they are already there. So one HVS is used
“When you consider the church in London has 1.2 million ‘Likes’ on its Facebook page, this is a growing market sector” Rory Springthorpe, Vivid Broadcast
In recent times, Studio 865’s distribution has
for driving the LED screen and set video products while the other performs a more conventional full production cutting role. “One of the next projects is implementing a full IP encoding system that will allow time-shifted broadcasts to other UK sites, and allow two-way production from those other venues.” Beyond the weekly service, Vivid Broadcast provides OB facilities for other church events.
become more focused towards online platforms
“We use our trucks or one of our flypack portable
than on traditional media channels. “As with
Studio 865 has made significant progress in its
production units,” explains Springthorpe. “For
other niche programming there are more
mission, but how does Petkov see the future
example, covering backstage TV for Hillsong
opportunities in internet distribution and digital TV
of religious broadcasting? “The distribution of
online, or at the carol service at Wembley
compared to terrestrial television,” states Petkov.
religious programming in future may be more
Arena, we provided nine cameras with a full
“There is also much more content available,
in ‘narrowcasting’ or ‘slivercasting’ than the
broadcast kit, including Furio systems and
although it’s mainly church services and
big broadcasting channels. However, quality
jibs. Last year was sold out and this year
teaching. For ‘small languages’, it is now possible
of content, ready access to it and the level of
they’re looking to do three packed out
either to translate or produce more content with
interactivity of the platform will be the key for
services in one day.”
higher quality, thanks to the drop in prices for
future success.”
production and distribution.” Petkov continues, “Our main base is in Sofia,
He concludes, “I firmly believe that religious audio-visual content can reach a very big
He continues, “Hillsong has far-reaching plans for the future. It may have its own studio in due course. It is moving content to YouTube,
where we have one studio equipped with Sony
audience if it is produced and distributed
and has just launched a youth show, Fearless,
EX3 cameras. In the gallery, we use a Sony MCS-
according to the new expectations of online
on TBN that is produced by young people.
8M HD-SD vision switcher with a built-in audio
users. Our message is not just for those who
When you consider the church in London has
mixer. It was chosen because it suited both our
already have a faith, but also for those who are
1.2 million ‘Likes’ on its Facebook page, this is
operational and budgetary needs.
looking for answers.”
a growing market sector.”n
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TVBEurope Supplements
December 2016
Charting the evolution of
MAM In association with
i-viii TVBE Dec16 TedialSupp_v7 JG_final.indd 23
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ii TVBEurope
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Supplement
in association with
Revolutionising the market By Emilio Lopez, president and CTO, Tedial
The final piece of the puzzle in building a true media factory is the requirement to define thousands of distribution instruction sets and the ability to save these varying instructions as profiles
T
so that triggering a workflow becomes as easy he way in which we consume media has
as requesting an asset, or a group of assets, in a
completely changed in recent years.
particular profile.
We want to watch what we want, where
we want and how we want. This is a huge technological shift and the video industry has had to develop and adapt solutions to not only keep up with this trend but to stay ahead of the
‘To create a ‘true’ media factory, media processing tools need to be stacked in a unique, looping design’
curve. So how has this affected MAM providers? In order to be successful in the new multiplatform, multi-format environment, it’s
Earlier this year, Tedial’s Evolution Version Factory
essential that MAM technology companies
was launched. Providing a single efficient and
are very precise in their use of IT technologies.
cost effective workflow that supports millions
Solutions have to be fluid to meet consumers’
of file input to output configurations, Evolution
shifting demands. Since its inception in 2001,
Version Factory can be managed from a single
Tedial’s experienced, skilled and talented
operator screen. Coupled with Tedial’s Evolution
R&D department have consistently eclipsed
BPM, a highly flexible solution that centralises
traditional MAM technology to keep the
business process management to provide a
company two years ahead of the market.
‘joined up’ and efficient media process model
This cycle enables customers to increase their
across enterprise, Evolution Version Factory is the
inside its product to enable and support
business efficiency with the most advanced
world’s first true media factory. Evolution BPM
profile creation and modification. In order to
technologies and allows a continuous evolution
enables media companies and broadcasters to
take advantage of IMF methodologies, the
of software solutions that adapt as needed.
simplify and redesign their workflows according
MAM/workflow system must have the ability
to business requirements rather than technical
to support extended metadata for efficient
Evolution Version Factory and BPM
processes. Efficiency and higher quality are
content management. This is why leading MAM
The concept of a media factory was conceived
achieved by automating countless tasks,
software companies have begun to implement
to simplify and automate content delivery to
whilst reducing manual intervention minimises
a true object relational database as their core
multiple platforms, focusing on non-linear issues
operational errors.
product platform, to facilitate this expansion of
due to their inherent complexity. Instead of
Using Evolution BPM, the day-to-day media
connections and relationships into hundreds and
building a new workflow for each new media
production, packaging and publishing processes
thousands of reliable connections. The first design
distribution requirement, a media factory
are automated wherever possible and the use
foundation required to support an IMF Media
provides a special workflow design to initiate,
of the available resources and workloads are
Factory is efficient content management, to
manage and control thousands of configurations
optimised accordingly. Evolution BPM provides its
easily manage and reference the components
automatically. To create a ‘true’ media factory,
customers with the tools to implement thousands
to be delivered.
media processing tools need to be stacked in a
of business-driven media workflows, each of
unique, looping design so that a single workflow
which are designed specifically around their
elegance and easiest for operators, Tedial has
can connect to any of the customer’s third-party
unique requirements.
created a single screen to modify, manage
vendor systems: transcoders, audio level controls,
In keeping with the idea that simplicity is
and save IMF profiles. As an alternative, this
digital rights management, content distribution
Interoperable Master Format
single screen operation can be driven by an API
network interfaces; everything that is required to
Tedial is the first MAM provider to adapt SMPTE
and connection to the broadcaster or media
process media needs to be part of the stack.
Interoperable Master Format (IMF) methodology
company’s back office systems, whether a
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iii
Advertorial
in association with
controlling every attribute of their brand across hundreds or thousands of channels, and networks concerned with rising labour costs and lack of return on investment. Prior to actions, media collected in a Mediaset can be evaluated with reports to ensure all associated parts are available for actions. Rather than wait until a workflow “flags” a problem when it cannot find a specific asset, for example a foreign language audio track, a report can be run across all associated assets and missing segments of the logical version can be collected and associated to the main essence long before the actual output requirement is processed. As the Evolution Version Factory is designed to automate processes, there is immediate saving on manual process management. And because the introduction of new profiles is a single screen operation taking only a few minutes for a knowledgeable operator, there is no need to build a new workflow every time a new output is required, offering considerable speed to market. By adapting SMPTE standards and methods to modern MAM and workflow designs, Tedial has deployed true scalable media factories in locations around the world, including tier one players, where its systems are processing thousands of automated media versioning requirements per day and in some cases by the hour. In the case of IMF, it’s clear that it covers the requirements for the transformation and delivery of the content, plus adds a ‘future proof’ value as it prepares media companies and broadcasters to be ‘IMF-ready’ whenever production companies start delivering content traffic system, a content management system, a
The Tedial Evolution Version Factory provides
programme rights system or a work order system.
for escalation procedures and the ability to
The definition output of this screen can be
monitor, manage and report and even build
A major breakthrough
named as a template and adjustments can
customised dashboards and automatically
Since the late 1990s, media companies and
then be saved as new templates, so that
distribute executive reports. Most important, the
broadcasters have been searching for a
essences can be scheduled and configured
Tedial Evolution toolset includes solid business
solution to the dream of a Media Factory, an
through the media factory by calling for the
analytics and a thorough audit system that
all-encompassing workflow where media files
‘template’. Users are able to pre-configure
supports Sarbanes-Oxley compliance as well
enter and thousands of versions leave with little
thousands of templates from a single interface,
as dedicated reporting of any and all media
or no labour required. Tedial has revolutionised
or build them upon demand via a ‘work order’
actions for client and end user reports.
the market and the dream of a fully automated
system integration. Unifying all of these processes and jobs in a single platform ensures that all the resources are managed jointly, which provides the broadcaster with the visibility to optimise their processes
‘ Unifying all processes in a single platform provides visibility to optimise and maximise performance’
and maximise performance to ensure that
implementing this standard.
media factory and media-centric truly scalable workflow engine have finally been realised. Both are light years ahead of traditional workflow solutions and provide customers with an exponential measure of efficiency and path to profitability. These innovations are a major
service level agreements and commitments are
breakthrough in cost-saving design, driving
met and that there are no bottlenecks in the
The benefits of this unique stacked engine
the current technology of multiple workflows
overall system. Management can then focus on
workflow are fundamentally important to
in support of media format and configuration
exceptions and growth and new requirements
companies focused on managing ever
packages to a single system that can be fully
can be quickly and easily added to the
expanding OTT and VoD distribution systems,
automated through interconnection to existing
automated system.
networks and agencies concerned with
back office systems and third-party tools. n
i-viii TVBE Dec16 TedialSupp_v7 JG_final.indd 25
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iv TVBEurope
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Supplement
in association with
A WINning Network The Tedial MAM system has been implemented in various locations throughout the world. Here, we discover how Australia’s largest commercial network followed suit Challenge The WIN Network – the world’s largest privately owned regional television network and Australia’s largest commercial network reaching more than six million viewers across six states of Australia as well as the nation’s capital – was looking for a solution that would allow it to pull files from its remote locations across Australia, starting with Albury, Taralgon, Bendigo, Ballarat and Shepperton, to its central HQ at Wollongong, where it could edit and manage
extends MAM functionality with advanced
editorially approved, they go straight to Pebble
them for transmission.
search and indexing tools, new services to surf
Beach, Neptune automation or through to the
and explore archives, and improved integration
Ignite systems for studio automation and then on
Solution
between archive and workflow engines to
to the broadcast centre for playout.
WIN began discussions with Magna Systems and
reinforce a collaborative environment.
Engineering and Tedial at NAB 2015. The WIN
True multi-screen and multi-platform operations
operations, WIN Network, says, “The real benefit
team discussed the many and varied options
allow users to manage tasks, validate media
of the Tedial MAM is we can now create
that were available with Magna and Tedial in
or monitor workflows status from smartphones,
and automate what were previously manual
terms of efficient file movement, transfer, storage
tablets and other mobile devices.
processes and workflows including the transfer
and transcoding, all of which would create
Following completion of the demos, the
Stevan Djokic, general manager, television
of files to and from WIN and the playout to
a better workflow for the broadcaster. They
WIN, Magna and Tedial teams began
all regional centers via MediaHub. We can
purchased a full Tedial Evolution media asset
creating a workflow based around Tedial
also easily and efficiently view any part of the
bringing footage from all across the Eastern
workflow, identify any errors or ‘choke points’
Seaboard to Wollongong.
and correct them almost immediately.
Results
on a virtualised cluster. I must highlight Magna
With the Tedial system in place, the news teams
and Tedial’s flexibility and efficiency when we
at the WIN Network can shoot and edit the
needed to make changes during the install, as
story then add the metadata. From that point
they were critical to its success. Tedial is not just
they can send the story back to Wollongong via
an efficient working MAM system today, but
FileCatalyst fast file transfer, where the closed
the way it has been developed it is completely
management solution supplied and installed by
captions are added and the file is processed.
flexible and particularly scalable, meaning it can
Magna Systems and Engineering.
Tedial automates and manages the workflows,
grow and accommodate WIN Networks future
the files are then sent to HQ where, once
needs without any custom development.” n
“Tedial can accommodate WIN Network’s future needs without custom development” Stevan Djokic, WIN Network
“At NAB the WIN team were also able to
As a result, all of our workflows are now running
discuss the benefits of a Tedial MAM solution with one of their most well established customers, Fox in LA,” says Barry Pegg, Magna Systems Group engineering manager. “Then post-NAB, we went and did a Tedial demo at WIN with Magna’s digital solutions manager Dave Demmocks and Tedial’s David Abel and that’s where the project really began to take off.” Tedial Evolution is an enhanced version of Tedial’s Media IT platform and significantly
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www.tedial.com
Evolution Version Factory The world’s first true Media Factory One master workflow for millions of operations
Media and content management solutions designed to maximize business efficiency and profitability
Celebrating 15 years of success in partnership with leading Media companies
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Supplement
in association with
A major breakthrough Esther Mesas, CSO and CMO, Tedial, talks MAM, leveraging the cloud, and profitability This year, Tedial celebrated 15 years of technology leadership. How was the company formed and what were the first systems that you launched?
scalability, third-generation environments and
operations and media companies focused
profitability within media operations.
on managing their brand across all of their distribution formats.
This year you announced the launch of the world’s first true ‘media factory’. Can you explain the concept and how it will advance the industry?
Process Management (BPM) engine. When an operation is struggling to manage an ever-growing number of workflows per
Since the early 2000s, media companies and
day, hour or second, Evolution BPM provides a
broadcasters have been searching for the
cost-effective foundation to operate business
elusive ‘media factory’, an all-encompassing
practices efficiently.
Tedial was founded in 2001 by Dr. Emilio López
workflow where media files enter and thousands
Zapata, an award-winning internationally
of versions exit with little or no labour required.
renowned computer scientist and engineer, and
An integral element of the Evolution Version Factory workflow is Tedial’s Evolution Business
In 2012 Tedial started designing, implementing
Using Evolution BPM the day-to-day media production, packaging and publishing processes are automated wherever possible
José Mesas Segura, one of the most respected
and distributing a solution for the automatic
and the use of available resources and
TV engineers in Spain who acquired valuable
generation of multiple versions of content and
workloads are optimised accordingly. Evolution
and practical experience managing a large TV
massive online distribution platforms. The need
BPM is years ahead of other systems that offer
network for many years.
for automatic generation of versions and major
few prefabricated workflows that can only
online distribution is a generic requirement
be customised within limited parameters. It
to digitise content and traditional IT products
for many of Tedial´s customers, especially
provides media companies with the tools to
couldn’t handle the large size and formats
service providers. Evolution Version Factory is a
implement thousands of business-driven media
required. The first product that Tedial developed
progression of Tedial´s solutions and has been
workflows, each designed specifically around
was an archiving tool and the next logical step
productised and standardised based on the
the customer’s unique requirements.
was to develop a MAM system to complement
company’s philosophy of development to meet
the storage module. Although there were very
the changing needs of the market.
At that time, broadcasters were beginning
few MAM systems available in the market back
Evolution Version Factory and BPM are
Tedial’s multi-site media management with business-driven workflow enables end-to-end integration
then, a number of European broadcasters had
both light years ahead of traditional workflow
providing the true
experimented with early versions and were
solutions and provide customers with an
benefits of the
open to buying into the Tedial vision as even
exponential measure of efficiency and a path
media factory
then it was seen as superior.
to profitability. These innovations are a major
ideal. Tedial
Fast forward to 2016 and Tedial’s
breakthrough and feature an economical
is one of
technologically advanced media and
design, driving the current technology of
the few
multiple workflows in support of media format
systems
and configuration packages to a single
to deliver
system that can be fully automated through
on this
interconnection to existing back office systems
promise.
“In order to operate as effectively as possible, it’s essential that MAM technology providers are very precise”
and third-party tools. Providing a single, efficient and cost-effective workflow, which supports millions of file input to output configurations, Tedial’s Evolution Version Factory can be managed from a single
content management solutions are being
operator screen. Designed to interface to
used by the world’s leading broadcasters and
content management/rights management/
media companies. The MAM has become
traffic/work order systems for automated
the footbridge between the video and the
operations, the Evolution Version Factory stacks
file worlds and Tedial’s leading software tools
chosen media engines (transcoders, quality
allow broadcasters and content owners to
control, DRM, CDN, etc), employs SMPTE
meet the challenges of today’s multi-format,
standardised designs for
multi-platform industry, providing new business
future-proof “N-input to N-output” operations
opportunities and growth areas including: UHD,
and provides the maximum flexibility and
non-linear services, multi-platform delivery,
scalability for OTT and VoD platforms, network
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December 2016 www.tvbeurope.com
vii
Advertorial
in association with
How do MAM providers satisfy the demands of today’s multiplatform, multi- format world?
on-year. Evolution is designed to reinforce a
and other staff at remote locations can be
collaborative working environment and drive
connected to maximise off-site production
workflows for linear, VoD and OTT services.
and event coverage.
As an industry we know that to be successful
Most important, the Tedial Evolution toolset
in the new multi-platform, multi-format
includes solid business analytics and a thorough
options that range from storage services with
environment there are hurdles that broadcasters
audit system that supports Sarbanes-Oxley
additional back-up in a separate location;
and other content owners must overcome.
compliance as well as dedicated reporting
content storage with the additional capability
of any and all media actions for client and
to transcode different formats for delivery; to
end user reports.
full MAM features for content management
In order to operate as effectively as possible in this ever-changing landscape of media management, it’s essential that MAM
providing complete search capability and the
companies are able to integrate their entire
Can you explain how leveraging the cloud relates to media management and how it can help media companies and content owners drive growth and profitability?
business, from acquisition and production,
The future of the IT infrastructure will be in the
through to packaging and delivery, enabling far
cloud, and this industry, just as every other, will
more efficient and cost-effective operations.
adapt this technology leveraging its benefits
technology providers are very precise in their use of IT technologies when designing a system that needs to evolve to meet the growing demands of the consumer. By selecting the correct media IT solutions architecture, media
As the industry grows closer to an inflection point where OTT and VoD services outnumber
The cloud extends management and storage
for their business. The benefits for the customers are multiple
ability for content to be managed by third-party service providers if required. This last scenario provides broadcasters with a full multi-tenant MAM in the cloud with independent virtual MAMs sharing the same IT platform, providing an always-online multi-site architecture.
“The future of IT infrastructure is in the cloud, and the industry, just like every other, will adapt”
linear broadcast viewings, systems to support
including: scalability, reduction of time to
these new delivery platforms and UHD will
market, automatic deployment to provide
drive technology applications. Adapting these
services globally, externalisation of IT
tools to cloud infrastructure, whether private or
infrastructures as well as software (SaaS), which
public, will be key to leveraging the innovations
allows their core business to avoid internal IT
This also means a change to the business model
in the upcoming years.
departments and also means a change in the
of software suppliers; who need to structure
business model: from capex to opex.
their operations to provide a hybrid model of
Tedial Evolution, the company’s next generation MAM, was developed for business-
Other cloud infrastructure advances can
software suppliers as well as service suppliers.
driven media workflow. Evolution provides
also enhance media factories. Cloud service
media professionals and broadcasters with
providers are adding language translation
change of culture in development and support.
a full range of scalable, flexible systems that
services, subtitle, descriptive video, audio post
New practices like DevOps are more accurate
cost-effectively increase media throughput
production services, and more. With a modern
and efficient for PaaS rather than current
in-line with the unprecedented speed at
MAM-business process system employing
traditional agile methodologies.
which media consumption is increasing year-
browser and HTML5 user interfaces, editors
Providing a platform as a service also brings a
Adopting technologies like Dockers or Micro services in the software architecture allows full control and leverage of all cloud capabilities. However, there are challenges and concerns to consider: security, network bandwidth, price effectiveness. All these are related to this change of culture and philosophy, and will reduce in very short time, when use of the cloud increases and becomes a commodity. In conclusion, the media and broadcast industry won´t be an exception in the evolution of the IT world and vendors and customers will need to adapt their products and operations to the cloud. The timeframe for this ‘re-evolution’ is still a question, but in my opinion this will happen much faster than expected. Tedial is prepared for this change of culture and we are enthusiastic about the interesting opportunities and innovative business models that will come with this. Both customers and providers in this market will benefit from this re-evolution and advance of technology,
Tedial Evolution Version Factory
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as we are seeing in other industries. n
22/11/2016 09:08
www.tedial.com
When everybody says they are “agnostic”… At Tedial
We believe in
Business Innovation Business Transformation Business Efficiency
Media and content management solutions designed to maximize business efficiency and profitability
Celebrating 15 years of success in partnership with leading Media companies
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Feature
The
Generation game Asset management has come a long way since the days of analogue infrastructures, and the demands and expectations placed on current and next generation MAM systems are ever changing. To examine the latest thinking on MAM, we spoke to Niall Duffy, head of IT and workflow solutions, Professional Solutions Europe, Sony; Craig Dwyer, senior director, global presales, Avid; Phil Eade, director of media logistics, Ooyala; and Paul Wilkins, director of solutions and marketing, TMD
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MAM systems have had to adapt to the changing and growing demands placed upon them by broadcasters. Are traditional systems equipped to deal with these demands?
monetisation and maximise operational
of a MAM system, especially if total media
efficiency. They’re expected to do more – to
enterprise transformation is the ultimate goal.
create more content for more platforms and deliver it to more people – so they have to find
Eade: No. Traditional systems were built with
new ways to secure revenues, differentiate
traditional, linear broadcast distribution in mind.
Duffy: The key lesson learned from the past
services to earn audience loyalty, and deliver all
With the growing popularity of digital and OTT
five years is that a MAM should not try to do
these services at a lower cost.
channels, broadcasters now need systems
everything. We are now seeing a shift to more focused use of MAM technology, either where it fits into a particular niche (such as news, archive, content services, playout), or where it provides a core set of functionality. Key to this development is the model of micro services and strong APIs that can support broader integration. The more
that can handle the demands of both linear
“The technology is useless if you cannot make it do what you need it to do, in house and in time” Paul Wilkins, TMD
a company shrinks back the role of the MAM, the
and digital production and distribution. They need solutions that allow them to dynamically and cost-effectively expand and evolve their business; whether that’s adding new content or partners, expanding to international markets or creating content specifically for digital channels. And, they need systems that can integrate and
easier it will be for them to meet the future needs.
automate processes across the entire video
At heart, a MAM is a catalogue, asset manager
One of the key routes to achieving this goal
supply chain, not just part of it, but through
and access manager. Systems and solutions that
is through MAM. But, these systems need
broadcasts and OTT delivery.
can choreograph and manage multiple MAM
to be future-proof to meet whatever new
systems to support new business workflows will be
challenges media organisations will face in the
Wilkins: Adaptability has always been the
the future, rather than bigger and better MAMs.
future. Therefore, flexibility, extendibility and
marker of successful asset management
Dwyer: In today’s media environment, enterprises
the scalability to address specific business or
systems because no two broadcasters or media
are under intense pressure to improve content
operational needs are paramount requirements
enterprises have the same requirements. Today,
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we achieve that adaptability through softwaredefined workflows, using the metadata we acquire, extract and create to automatically drive our workflows.
What are the greatest considerations for broadcasters when assessing their MAM options? Duffy: The starting point ought to be an overall view of the content supply chain and identifying where MAM technology is required, and identifying those requirements and potential benefits. They then should consider whether those requirements and benefits can be achieved through better management of content, or where productivity can be improved through automation or streamlining of content and metadata-driven workflows. If you already have a MAM, you may not need another, you might just need a better way of managing workflows. From left to right: Craig Dwyer, Niall Duffy, Paul Wilkins and Phil Eade. Dwyer: A broadcast MAM system is more than just a single asset management solution. It
the rate their operation generates money?
provides the broadcaster with complete visibility
Can they generate more sellable content? Will
What are the absolute must-haves of any modern MAM system?
of their media content, wherever it’s located,
it decrease production spend or operational
Duffy: The next generation of MAM systems (4th
and it connects every contributor in your business
expense? Traditional MAMs typically fall short
gen) need to support hybrid cloud infrastructures;
wherever they are.
in at least one of those categories. That’s why
a modern MAM should not be either in a cloud
the need has evolved beyond MAM solutions to
or premise, it should have the ability to be both,
operational challenges that many media
include workflow automation and collaboration
to support modern content workflows. It needs
organisations face today. However, to achieve
tools, seamless metadata management, and rich
to be able to support metadata on a cloud
a successful outcome, MAM should be designed
analytics for smarter business decisions.
platform and with audio-visual content stored
MAM is proven to solve key business and
locally; it must have open and robust APIs and it
and implemented in close collaboration with the customer. Understanding their needs at every stage, from design through to implementation, and beyond, is imperative. A MAM system provides analytics and workflow orchestration, simplifies day-to-day manual production tasks, and connects media
“The word MAM no longer fully describes all the benefits that a broadcast MAM solution delivers” Craig Dwyer, Avid
must be both a platform: that is, something that is capable of continuous adaption was well as agile and scalable. Dwyer: The MAM system is seen as a key strategic investment. It provides wide-scale access to content, and it can take an active role in
production solutions with external business
identifying and promoting content that has a
systems, providing every contributor in the business with the right tools for their role and
Wilkins: If you are thinking about how to specify
revenue opportunity attached to it. And as the
access to all the content they need. It’s fair to say
asset management, you are starting from the
repository of metadata, it’s seen as the heart of
that in today’s world, the word MAM no longer
wrong place. The modern, software-defined
workflow processes and automation.
fully describes all the benefits that a broadcast
architecture is all about creating, adapting
MAM solution delivers.
and automatically initiating complex workflows,
come in the ability to store, update and maintain
The real benefits of a modern MAM system
drawing on and enriching the metadata.
comprehensive metadata, and to use this
Eade: We consult many broadcasters on how
Because everything depends upon good
to drive automated workflows. This can only
to approach technology investments. We
metadata, what we used to think of as ‘asset
happen in an organisation that has reviewed
start by asking ‘what is the goal of your media
management the necessary evil’ is now the
all its processes and considered how best they
operations?’ Most say the goal is to increase
orchestration layer for the whole architecture,
can be accomplished in the future. If you just
revenues. Therefore, any technology investment
and you should be designing on the basis of the
carry on as you are today but with the MAM
should be evaluated accordingly: will it increase
outcomes you want to achieve.
system alongside you, it’s unlikely that you’ll see
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advances in audience engagement, operational efficiency and cost savings.
“Asset management combined with workflow automation has proven to deliver significant ROI” Phil Eade, Ooyala
Eade: Broadcasters should prioritise these capabilities: • Integration: the ability to connect to legacy
systems, new technologies and the workflows
associated with those systems
• Configurability: the ability to easily configure
workflows to match your needs, including
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Feature
those that have been assembled over time,
MAM should be seen as the workflow engine,
Duffy: No, I don’t think so. It was painful enough
and to update instantly once changes
driving automated processes as much as
settling on MAM and now that everyone knows
are made
possible, and thereby reducing costs as well
what they think is a MAM, there is no point in
• Adaptability: the ability to expand and
as serving more markets and outlets. Globally,
changing. But there is also no need, as the
evolve broadcast operations or create new
clients are thinking about the end-to-end of
evolving functions will be served by other
services required to grow a business, without
their media life-cycle and starting to plan more
systems and there we will need a new term, be
disrupting existing operations
holistically across the operation.
that ‘media operations management’ or ’supply
• Data-first focus: the ability to model asset
chain management’.
relationships and related business data,
Eade: Traditional MAMs will have difficulty
as well as manage metadata to ensure
proving ROI. But asset management combined
Dwyer: Originally, asset management was seen
visibility, control, reporting and continuity
with workflow automation has proven to deliver
as a low-level function, a means of keeping
across entire operation
significant ROI. Ooyala Flex recently helped a
track of content, but MAM technology has
global post production company reduce their
had to mature very quickly to cater for today’s
Wilkins: Three things: a completely configurable,
project delivery time by 85 per cent, enabling
anytime, anywhere audience.
infinitely scalable metadata schema; a
them to take on more projects (increase
powerful workflow engine that can provide the
revenue) and invest in talent. We call that the
to address the critical pain points that media
orchestration for the whole software-defined,
‘automation premium’: the return customers get
organisations face. One is the digitisation of
service-oriented architecture; and an intuitive user interface which allows you to create precisely the workflows you need, quickly and securely. The technology is useless if you cannot make it do what you need it to do, inhouse and in time.
Where can broadcasters derive the greatest return on investment from their asset management system?
The next generation of MAM systems will need
media and the world that we live in. There’s
“We need to think of MAM systems as a means of structuring and controlling digital buckets” Niall Duffy, Sony
increasing consumer influence over content, how, where and why they watch content, and whether or not they’re willing to pay for it, and there’s continual pressure to improve operational efficiency. Broadcasters have to make difficult decisions about how much they want to invest in original programming and how much they want to spend on rights for overseas or domestic content.
Duffy: Mostly they will not derive any significant
by connecting their value chain, automating
return: now we are all file-based, a MAM of
processes and increasing visibility. There’s
requires a number of cross-industry challenges
some form is essential once you hit any volume
also an ‘optimisation premium’ that can
to be addressed. The first is interoperability to
of content. We need to think of MAM systems as
be achieved by using data to identify and
enable a wide range of content processing,
a means of structuring and controlling ‘digital
remove bottlenecks, or balancing flow
packaging, manipulation, and storage systems
buckets’. An ROI will either come from cost
with demand and scaling services up
to be integrated into a unified environment. The
savings or enabling new revenue streams, and
and down as needed.
second is enabling systems to easily capture,
those will be delivered through supply chain
The next phase of MAM development
track and share metadata, making it far easier
optimisation and metadata-driven workflow
Wilkins: Every broadcaster and media
engines, not MAMs. The ROI for these workflow
company is different, so each will find different
systems will be generated by extended use of
key performance indicators. Some will want to
Wilkins: We now tend to talk about asset and
the existing content, data and platforms rather
catalogue and archive programmes, clips and
workflow management, because the two are
than replacement and migration.
related media for future sales. Some will need
so intimately entwined. The truth is that the
fast access to any part of a growing archive.
new generation of asset management systems
Dwyer: MAM is widely seen as a fundamental
Some will want to handle raw content as part of
should be invisible, being the platform on which
component of any media enterprise, and users
the production process. You have to calculate
automatic and manual workflows run. It should
are confident about its ability to deliver a return
the benefit/cost ratio of each implementation
provide the orchestration layer for the whole
on investment. It’s essential in enabling media
based on what that user needs.
enterprise, communicating up to business
enterprises to compete effectively by reducing media lifecycle costs, unlocking new revenues, and boosting collaboration and productivity by making media assets accessible throughout the organisation.
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to leverage content and improve reuse.
systems and down to broadcast-specific
Finally, considering the evolving functions of these systems, will we soon render the term MAM redundant?
technology and software applications. It’s not easy to summarise that in a snappy phrase, so for now we talk about asset and workflow management. n
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Swiss TV’s technology game plan SRG SSR is taking a slow approach to adopting new technology, especially UHD: it has established a strategy stretching over the next ten years. Catherine Wright reports
T
to UHD, which takes into account
programme, for instance. It’s likely
that we started getting equipped
that news will actually be the last
with HD kit as early as 2009, that we
area to make the switchover.”
first went live with an HD signal in 2012, and that we completed our
Testing, testing
HD News Studio in 2014. Bearing
The company has, however, started
The Swiss public broadcaster
League football games, Euro 2016,
that in mind, we are planning to
trialling UHD technology, most
SRG SSR is unlike most other
the football World Cup in 2014, and
gradually switch over to UHD from
notably for capture. “We have
public broadcasting groups in
Grand Slam tennis tournaments
2019 to 2024. We estimate that our
been testing Sony’s FS7 camera,
Europe as it delivers programmes to
like Wimbledon. According to Swiss
HD kit has a ten-year lifespan and
for instance. It is well suited to shoot
three different language-speaking
press reports, the broadcaster
as a public broadcaster we do not
documentaries and we have been
audiences, and which are all fairly
devotes around 12 to 13 per cent
have any commercial obligation to
testing it on some of the content
small by other countries’ standards.
of its global budget to sport (that
go down the UHD route faster than
made for our Passe-moi tes jumelles
There are two channels devoted
includes rights, production as well
that,” he explains.
wild life programme. We are at
to each different language speaking region: RTS1 and RTS2 for the French, SRF1 and SRF2 for the German, and RSI 1 and RSI2 for the Italian speaking viewers. Despite these constraints related
the beginning of that process and
“Our HD kit has a ten-year lifespan and we do not have any commercial obligation to go down the UHD route faster than that” Valère Borruat, RTS
to fragmented audiences, SRG
can’t really give much feedback on what we think of it yet. Our first aim is to test capture but also editing and colour correction,” Borruat describes. The broadcaster also made a
SSR, which is financed in part by
first multi-camera test together
advertising revenue and in part
as technical costs and salaries). It
The broadcaster established
with Sony and the Montreux Jazz
by a licence fee, has a sizeable
therefore should have the means
a roadmap for which type of
festival in 2014. “It was a simplified
global budget of more than
to upgrade to UHD technology,
programmes should be making
workflow for which we recorded
SFR2 billion (£1.65 million). Unlike
especially where live sports are
the upgrade to UHD first. “Clearly,
each of the four F55 Sony cameras
most public broadcasters in Europe,
concerned. But according to RTS
live sport will be one of the first of
separately, without any vision
it also has the rights to most of the
CTO Valère Borruat, the group is
our outputs that will switch to 4K,
mixing and edited the result in post
big sporting competitions, which its
not about to throw caution to the
another priority is TV drama as well
production,” he indicates.
airs in full to its audience: examples
wind just yet: “We have outlined a
as some high-end documentaries,
include most of the Champion’s
global strategy to move from HD
made for our flagship Temps Présent
28 29 TVBE dec16 swissTV Feature_v3 JG_FINAL.indd 54
The test was not made in a live situation, Borruat explains, because
21/11/2016 14:34
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December 2016 www.tvbeurope.com
29
Feature “Sony’s F55 cameras are designed for drama and not really adapted to live captation.” The aim of the test was to see how UHD worked in a low lighting situation, as you would find in smoke filled concert rooms. The goal was to eventually prepare the switch to 4K around the Montreux Jazz Festival, which is one of the most illustrious music festivals out there, shown by many other broadcasters the world over. The results were quite positive: “We found the image was more detailed, which is something you would expect, but we were surprised, to some degree, to see that the rendered result was enriched by a much wider The set-up at SRG SSR
colour range than HD and that 4K generally responded well to the changes in lighting. These good
VR experimentation
The group has been looking at
“This is a great step, in my view,
results were obtained without
The group has also been testing
Nokia’s OZO 360-degree camera,
because it allows one to overcome
any HDR. However, one of the
360-degree technology. “At the
for instance, as well as others out
one of the big problems with
drawbacks was the lack of depth
moment we are trialling a few things
there. “Things are happening
360-degree technology, which
of field resulting from the low light
in partnership with our multimedia
quite fast on the camera front,
is how to free yourself from the
situation,” Borruat details.
department, mostly content that
there is clearly a new demand for
camera viewpoint when you take
One of the areas the group is
you can download on your phone
them,” he admits.
part in an immersive experience.
keen for technology to progress
or tablet. But there are many issues
Microsoft’s HoloLens system
With HoloLens, you are not limited
faster is IP. “To agree on the right
to grapple with, one of them being
also generated a lot of interest.
in that way and you can access a
transport protocols would be a
the storytelling itself: we have to
“From what I understand, HoloLens
form of augmented reality in real
major step: ideally, we would want
invent a new way of doing that;
enables you to move around in a
time. But we have no plans to use
IP networks to be up and running
how and where do you place the
sort of referenced universe.
such a technology as of yet.” n
before we make the change over
camera, what happens when the
to UHD because it would greatly
viewer turns his head round or if he
simplify things,” he indicates.
wants to walks around,” he lists. Valère Borruat, RTS
THE FUTURE IS CONTENT-CENTRIC Let’s optimize multiplatform scheduling www.mediagenix.tv
28 29 TVBE dec16 swissTV Feature_v3 JG_FINAL.indd 55
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30 TVBEurope
www.tvbeurope.com December 2016
Business
Virtualisation and ‘cloudification’ George Jarrett looks ahead to the IP transition in 2017
T
Gilmer suggests broadcasters
“As the industry moves to having
EBU, SMPTE and the vendors
start small with IP and learn the
our video, audio and metadata
themselves worked to educate the
technology before changing
as first-class citizens in the IT
industry about changes that could
complete infrastructures.
infrastructure, many things become
make end-users more efficient and
easier to accomplish,” said Gilmer.
profitable,” he added. “No doubt
“It is a logical business decision to he pallbearers carrying SDI
start deploying new technologies
“Having an extremely accurate,
the same thing will happen with this
to its grave are finally on their
in a limited way. The challenge
interoperable network timing
transition. Some people will jump to
way to the crematorium, but
with this technology is that it is a
solution is one example of how we
new workflows right out of the gate,
the hearse has encountered delays
fundamental replacement of our
are laying the foundation for many
but others will simply duplicate what
on route 2110.
core infrastructure. People will start
virtualised applications, including
they have on a new infrastructure as
small, but with an eye for how they
live. We have some way to go,
part of a ‘crawl, walk, run’ strategy.”
behind IP was immense, thanks
transition most, if not all of their
but the industry is committed, and
to the gathering, under the
facility in the future,” he said.
concrete progress is being made at
opex model to replace capex,
a surprisingly rapid pace.”
but many are not yet ready to
Coming out of IBC, the impetus
interoperability banner, of so many
IBC was evidence of a mature
Many users seemingly want the
industry bodies. To ascertain exactlly
first phase. “We saw a very high
where we stand, inputs come from
level of interoperability between
built a ‘one for one’ replacement
Brad Gilmer, executive director
different manufacturer products
for SDI, with central switching that
of AMWA, and Felix Poulin, the
around SMPTE ST-2022-6. There is
mirrors the way they used to work?
EBU’s senior project manager of
no question that 2022-6 will find a
“Many people built file-based
networked media production.
place alongside the new ST-2110.
workflows that replicated, in great
to know various cloud providers,
But many media companies are
detail, their tape-based workflows,
and trying to understand how their
Laying the foundation
looking beyond a simple ‘SDI-with-
and that is fine. At the end of the
business models can work with
The discussion with Gilmer started
embedded-audio’ solution. This is
day, people have to stay on the
ours,” said Gilmer. “There is some
with the Networked Media
where 2110 will shine,” said Gilmer.
air while working through this
gear-grinding as we go through this
transition,” said Gilmer.
process, but there are tremendous
Incubator Project, which has been
We saw the separation of the
a huge enabling factor in support
video and audio streams at IBC,
of the ambitions laid out by the EBU/VSF/SMPTE Joint Taskforce on
What of the people who have
commit core infrastructures to an outsourcing model. “I don’t know of anyone who wants to fully outsource their capex. We, as an industry, are still getting
“Over time, end-users learned
business and financial pressures
which points to auto discovery and
about the new possibilities that file-
driving this, and a lot of this has
eventually to virtualisation.
based production provided.
to do with laws around taxation.
Networked Media (JT-NM), and the progress of SMPTE 2110, which won’t be ratified until 2018. “The Incubator seeks to move quickly to establish initial implementations of critical frameworks for identity, timing, discovery and registration, and connection management. These frameworks were deemed to be absolutely critical if our industry is to unlock the power of IT technology for professional media applications,” he said. “2110 will be a key piece of work. While the SMPTE process needs to proceed with due diligence, manufacturers are moving ahead to ensure that their products meet endusers needs sooner rather than later. Many of them are participating in the 2110 discussions to ensure that they can be fully compliant with the
The Technology in Action Theatre at this year’s IBC
standard the moment it is ratified.”
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31
Business “We might like to keep all of our
It still needs to work its way through
Regarding virtualisation, Poulin said
“We see two mentalities of network
infrastructure inside our own four
the standardisation process, but the
few vendors are offering virtualised
control: the perfect replacement
walls, but it is not likely, over the
technology invention is done.
versions of their hardware products
for SDI seems to be SDN, which can
for Live IP production, and that it will
guarantee no packet is dropped,
long term, that we can justify this,
“Soon you will hear about AMWA
especially as more and more media
launching a fast-moving activity to
be a few more years before we can
but at the cost of losing the self-
companies move to a virtualised,
make the first dive into virtualisation
harmonise the approaches and set
management features of IP that
cloud-based infrastructure.”
and ‘cloudification’.
the best practices.
comes with its flexibility,” said Poulin.
User groups detect a fair bit of proprietary technology, and many people, including Michel De Wolf, CEO of DWESAM, and Simon Fell, of the EBU, highlighted the issue during
“The other way is IP/multicast/QoS
“It is a logical business decision to start deploying new technologies in a limited way” Brad Gilmer, AMWA
IBC. Surely this goes against the
with some fault tolerance on the application, and ultimately that will be required for cloud applications. Time will tell if one, the other or both approaches are adopted.”
user’s desire to buy best of breed?
Workflows are an area mentioned
“This is a natural tension that
We hope to use this to start fleshing
“It is very clear that there is a
by many users: how should they
exists in the marketplace, and the
out the work of the JT-NM reference
signifcant demand for training.
evolve to engage registration, auto
move is not going to make this go
architecture with respect to
Progress in interoperability around
recognition, and various levels of
away. Vendors look for ways to
virtualised facilities,” he continued.
SMPTE 2110 and AMWA IS-04 is
virtualisation? Will revising workflow
differentiate themselves. Users look
“Ultimately, this is likely to lead
the top priority for JT-NM, and
understanding/evolution be a big
for the freedom to be fickle and
to new specifications and best
then you will see the resources
part of the education process?
‘date other vendors’ if they want to
practices, which will allow us to truly
moving on to the next steps:
do so. But in a way, end-users cause
embrace data centre technology
harmonisation of network control,
the real benefits the day they see
their own conundrum,” said Gilmer.
and get even more out of the
capability management and, later,
new possibilities. So yes, we need
billions of R&D dollars being spent in
virtualisation,” he said.
to come to this point, but this is an
“Standards and specifications provide a fundamental foundation
the IT community.”
of interoperability upon which
Making the commitment to
“Most users will start to understand
iterative process. Start with current
switch to IP is as much about
workflows (like VRT/EBU LiveIP) and
vendors are encouraged to
Control of the network
mindset as the technology.
then work with the users to figure
innovate and do their best
Felix Poulin first considered SMPTE
Broadcasters are looking to replace
out new ways that will change the
work. End-users demand great
2110, and the next challenges.
24/7/365 with the same thing, and
way we integrate the systems,”
will also want to see a business
said Poulin. “Greenfield systems,
functionality, and they get it. They
He said: “SMPTE does not predict
can then take that functionality
dates, since the due process is
case if they are going to accept
where there are no constraints to
and move to another vendor with
unbounded, time-wise. 2018 means
and surrender full control, instead
fit a legacy infrastructure, will be
perfect interoperability. This is the
‘prevision from JT-NM that products
relying fully on another company’s
the most revolutionary. We are in
nature of what we do,” he added.
will be widely available so that a
platform, hardware and servers.
exciting times!” n
What can we expect to see happen in 2017? “The biggest thing I would like to see happen
multi-vendor system can be built using this standard’. “The good news is that the
is the development of a clear,
industry is behind it; even Evertz and
open, interoperable model for the
Sony acknowledged this is the way
description of the capabilities of
as they joined AIMS. We are in a
a device that is discovered on a
much clearer situation than a year
network,” said Gilmer.
ago, and this reduces uncertainty
“To move to the next level, we need to plug in a device,
for users,” he added. “AMWA IS-04 (NMOS Discovery
and have an open way for that
and Registration) is the other
device to describe all of the things
important specification that might
it is capable of doing, so that its
see wide implementation in the
capabilities can be consumed as
same timeframe. It is necessary
part of a dynamic workflow. The
to build bigger systems than VRT
FIMS (Framework for Interoperable
LiveIP. The next challenge for
Media Services) project has a good
standardisation is the control of the
start on this, and AMWA is hoping to
network (a lot of different protocols
incorporate the nuggets of this into
for ‘commodity’ switches) and
our NMOS (Networked Media Open
device capability management:
Specifications) work,” he added.
there are many technologies out
“SMPTE 2110, from the AMWA
there like AES-70, FIMS, and Ember+
perspective, is in the rear-view mirror.
from Lawo.”
30 31 TVBE Dec16 Business_v3 JG_final.indd 55
COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE Let’s not leave money on the table www.mediagenix.tv
21/11/2016 16:25
32 TVBEurope
www.tvbeurope.com December 2016
Post Production
Timeline provided both post production and outside broadcast facilities on BBC Music Day
2016: a big year for post Michael Burns reflects on a ‘bumper’ year in post
square foot on Mortimer Street in
seven new offline suites to its
not only prompted software
London’s Fitzrovia district, and it
Hoxton facility.
developers to redefine their grading tools, but also caused a bit of a
wasn’t the only one, as The Farm
“Our East London operation is
opened a new 90-suite facility on
now up and running, so our overall
W
nearby Newman Street.
year has been one of growth,”
sector, an obvious barometer to
percent of the shares of 422, the
facility too, working on The Durrells,
30-plus hours of UHD work going
check is how some of those on
long established Manchester-based
Marcella, The Tunnel, Cold Feet, the
through the facility, including
the front line have fared. The post
facility (the deal excludes 422’s
new Endemol gameshow Tenable,
projects for Netflix and Discovery’s
community in the UK in particular
sister company based in Glasgow).
as well as Hackenbacker, Downton
first ever scripted drama, Harley
hen seeking to gauge
Expansion of another kind
how 2016 has been for
was on the cards for dock10 in
the post production
MediaCityUK, when it acquired 100
are a very talented and resilient crowd, but have had to deal with an array of new technologies, and the retooling/reskilling required to keep up with demand, while
standards war. “2016 has been focused around
says Richard Hobbs, commercial
4K and UHD, and the introduction
director, Molinare TV & Film.
of higher dynamic grading,” says
It was a bumper year for this
“The changes at the top of the big players, production companies and broadcasters has caused unrest” Gina Fucci, Films at 59
rates issues, takeovers and other
Hobbs. “At one point we had
and the Davidsons. Inevitably with this scale of technological development there is a focus on your technical infrastructure, so we’re very pleased that our research and development in this
economic concerns have added
Evolutions opened a third London
Abbey and The Night Manager.
another layer of pressure to the
facility and expanded its Bristol
“We feel we’re a destination for
sector. It’s definitely been an
operations with the purchase of
high quality post production,
increasing. “Although gearing
interesting year for everyone, and a
natural history specialists Big Bang.
building on our previous success
up for it is expensive, we will
golden year for some.
Finish acquired VFX specialist
with a positive boutique post
be involved in more and more
Realise Studio and together they
production experience,” explains
projects,” says Cadle.
us,” says Dave Cadle, managing
rebranded as Freefolk, while
Hobbs. “We’ve worked on an
director, Envy Post. “Our turnover
probably the biggest sale of the
incredible number of high profile
different from when we went from
has increased as our clients are
year occurred when VFX giant
productions, including multiple
Digi to HD,” observes Gina Fucci,
winning more commissions. It’s
Framestore agreed to a £150
drama and factual productions
managing director at Films at 59.
incredibly important that clients are
million takeover by Cultural
posting in UHD.”
“But the added possibilities with
happy, so when they win more work
Investment Holding, a Shanghai-
you are hopefully in a good position
based conglomerate.
“2016 has been a great year for
to accommodate it, as they want to come back to you.” 2016 saw Envy grow, adding another building of about 10,000
32 33 TVBE YearReview Post Prod_v3 JG_final.indd 54
The increase in UHD work and file-based delivery has made a
area has been so successful.” Envy has also seen 4K work
“In some respects, UHD is no
HDR are making a difference. “File delivery in a world where
big impact across the sector, but
people are shooting file-based is
acquisitions in the previous year,
added pressure to retool and reskill.
also having an impact,” continues
consolidated its takeover of
High dynamic range (HDR), seen as
Fucci. “There are ever-larger
Shoreditch-based VET by adding
the key to selling the UHD concept,
amounts of media to be pushed
Molinare, no stranger to
21/11/2016 16:24
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December 2016 www.tvbeurope.com
33
Post Production and pulled, and a lot of camera
Bundles, which is essentially a
manufacturers have brought out
collaborative system in a box for
new cameras and codecs that
small facilities and workgroups.
require careful attention.” The progression of file-based
Also launched at IBC, Flow Story from Editshare taps Flow
ingest and delivery, as well as
databases and servers to allow
its secure, multi-gigabit private
remote, real time collaboration
network connecting Timeline North,
with other users of Flow systems.
Timeline Soho and Ealing Studios,
Team Projects was the Adobe
has enabled Timeline to streamline
response to collaboration demands
its workflows.
in 2016, bringing its enterprise level
One significant test was the two
Films at 59 provided the post production on Planet Earth II
Adobe Anywhere project sharing
versions of the Haçienda Classical
technology to the Creative Cloud
documentary for Channel 4 and
desktop apps Premiere Pro, After
Sony, on which Timeline provided
Effects, and Prelude.
full picture and audio post in
“As for opportunities, with our new
plugins, new Adobe updates and
October. For example, the complex
State of the nation
building we expect some growth in
data management/handling,” she
grade, by DI colourist Trevor Brown,
Contrary to the optimism of some of
our advertising arm of the business.
says. “As well as storage options for
involved nine types of camera
the London facilities, Fucci believes
Multi-episodic programming also
the future including nearline, and
formats across four varied locations.
it’s been a hard year for many in
seems to be a growth area for a lot
increasing existing storage and
“This was a complex project
the regions. “The changes at the
of our clients.”
back-up technologies for location
involving a great deal of varied
top of the big players, production
media, yet the offline, online,
companies and broadcasters has
margins, it feels like 1992!” observes
grade and dub were all seamless,”
caused unrest. I believe there have
Fucci. “But we have sustained
be ever-present in 2017, and
says Paul Tovee, head of post
been less commissioning hours
things over the years across the
that presents additional focus
production at Timeline North. “Our
available due to sports, election
sector by finding new ways of
on technological trends and the
team handled this very well indeed.
and Brexit coverage. In addition,
doing things, working closely with
additional storage required,” says
We are developing a remote Avid
global economic unrest has made
producers to build trust and help
Hobbs. “We’re excited by the
editing solution, which will go live in
everyone more cautious.”
develop talent.”
creative opportunities that our
early 2017.” CBBC drama The Dumping
Fucci continues, “We are proud,
“In a sector already facing tight
Looking forward to BVE in
as well as post.” “We believe 4K and UHD will
clients have with their productions
through all the unrest, to have been
February, Fucci already has her
and next year we’re looking
Ground also kept Timeline busy,
involved in some key projects from
shopping list ready. “We are
forward to again being a source of
utilising a remote grading workflow
kit hire through to post production,
keeping a close eye on where
knowledge and technology that is
with DaVinci Resolve.
including Trollied, Poldark, Great
Avid is going with 4K updates, any
second to none.” n
Tovee explains, “This allowed
British Bake Off, Hairy Bikers, Planet
our Manchester based client to
Earth II, Wild West, Life at the
work with their preferred colourist
Extreme, River Monsters, and John
based in our Ealing, London facility,
Bishop’s Gorilla Adventure.”
without having to travel and
“Brexit offers an opportunity with
therefore reducing costs. Grading
the pound’s strength weakening,”
remotely [allows] clients the
says Hobbs. “As a destination
flexibility of working across multi-
for post production we feel like
sites, reducing costs and providing
we’re in a good place to attract
an environmentally friendly option
international productions.”
in accordance with Bafta Albert+.” Software developers were also
Cadle feels that Envy experienced no immediate effect
devoting a lot of resources to
on work after the Brexit vote.
remote working and particularly
“However, kit is definitely more
cloud-based post, with a big focus
expensive as certain manufacturers
on collaboration in 2016. Avid’s
have increased costs in production
Cloud Collaboration for Pro Tools
and passed those on to us. There
allows collaborators to share audio
seem to be a few post houses
and MIDI tracks, edits, mix changes,
financially stretched at this moment,
as if they are working together in
so they will need a good 2017.
the same studio. This was followed
The challenge will be rates issues.
for by Media Composer | Cloud,
Building rates will be a concern
while at IBC came Avid Team
as ownership rates are going up.
32 33 TVBE YearReview Post Prod_v3 JG_final.indd 55
VOD IS THE NEW LINEAR Let’s unify the workflow www.mediagenix.tv
22/11/2016 10:56
34 TVBEurope
www.tvbeurope.com December 2016
Audio Harman’s presentation at the Futuresource Audio Collaborative conference
xxx xxxx Closing in on audio’s collaborative future Audio developers and manufacturers’ future success in markets including broadcast and live music will be dependent upon the forging of new (and sometimes unexpected) partnerships. That was one of the overriding messages of the recent Futuresource Audio Collaborative conference in London. David Davies reports
F
The scene was set nicely by an opening keynote from Armin Prommersberger, senior vice president, technology, lifestyle audio division, Harman International. Reflecting on the “welldefined” nature of the home audio business in recent decades, Prommersberger made it clear
rom the need to access music content
The Futuresource Audio Collaborative conference
that, by contrast, we are now in the midst of
flexibly from a multitude of platforms, to
– held at London’s Ham Yard Hotel on 8 November
profound flux. Connectivity and personalisation,
the opportunities presented by immersive
– did a sterling job of providing some much-
according to Prommersberger, will become
techniques and audio for VR, it is apparent that
needed illumination, and although its conclusions
ever more important as we move into a world
audio technology is now evolving at a more
were many, the dominant message was that
in which “the value chain has [gone from being]
rapid rate than ever. Inevitably this has huge
collaboration across sectors and segments will
a sequential thing to a network that requires you
implications for areas like manufacturing, R&D,
be integral to the business of survival – let alone
to absorb information and give something back.
music delivery and broadcast production, some
prosperity – for many players in the music and
It is not just in and out, but hundreds of thousands
of which are still yet to become entirely clear.
audio industries in the future.
of ins and outs.”
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35
Audio The ability for connected devices to gather and process huge amounts of data means that playback is now only one component of the overall consideration. “If you are only in the
Panel discussion: ‘What Does the Music Fan Really Want?’
playback music part of the business, you are in the ‘going out of business’ part,” Prommersberger added drily, before going on to outline some of Harman’s own extensive efforts to stay ahead of the curve in the consumer audio industry.
Headphone design evolution The headphone market is one area in which the accelerating rate of change is particularly apparent. Far from being the ‘one size fits all’ accessories of yore, contemporary headphones may be fashion-driven and informed by an increasingly broad spectrum of feature requirements. Consequently, the larger industry stalwarts have been joined by a newer generation of suppliers keen to make an impact on a highly dynamic portion of the business. rigeur for suppliers operating at all price-points,
may exert a considerable influence on audio
Study of Design Evolution, Brand Innovation and
so it stands to reason that differentiation is going
consumption over the next few years.
Sustainable Pricing’, multiple panellists helped to
to be ever more critical. As several panellists
In his presentation, Hemal Shah – who is
depict a landscape in which multiple headphone
observed, this will require manufacturers to think
worldwide business lead, Google Home and
ownership – with different headphones selected
bold and creatively about hardware features
Living partnerships, Google – pondered some of
for contrasting occasions – is now ubiquitous.
and capabilities.
the ways in which voice-based interaction with
So, in the session entitled ‘Headphones - A Case
“If you are only in the playback music part of the business, you are in the ‘going out of business’ part...” Armin Prommersberger, Harman International
Music fan expectations
future. The programme also featured a striking
Another highlight of a notably diverse
panel session on virtual reality and its potential
programme was the panel session entitled ‘What
incorporation into music video production and
Does the Music Fan Really Want?’ As it turns out,
live events, with MelodyVR CEO and co-founder
the music industry obituaries that started to become worryingly prevalent a few years back were decidedly premature, and now worldwide revenues are – slowly but surely – on the rise once again. But to ensure that this remains the case, record companies and other service providers
Suzaan Sauerman – who was until recently global
will be required to adapt more quickly than ever
senior director of consumer marketing at Jabra
before to consumers’ evolving expectations.
– highlighted the ongoing creation of a “digital
devices is likely to shape the smart home of the
‘Contemporary headphones may be fashion-driven and informed by an increasingly broad spectrum of feature requirements’
“One size does not fit all” confirmed Kim Bailey,
ecosystem” that will require different players to
CEO of the Entertainment Retailers Association,
Steven Hancock proving to be especially
“work together” effectively, although it is clear that
who pointed out that revenue is still divided in
illuminating on the many new opportunities for
“specific features will drive the market”. Across
fairly equal chunks between CD, streaming and
revenue generation and content production that
the panel it was felt that wireless capability is
vinyl/download. Panellists’ views on the extent to
this may open up.
bound to be a substantial driver of future product
which the current vinyl resurgence will become a
developments, while industry-watchers are
major revenue earner were the subject of some
overused in technology circles, but it is entirely
advised to train a particularly keen eye on the
variation, but there was uniformity of opinion when
appropriate in this context. Audio for consumer
newer suppliers (“it is easier for start-ups to be
it came to the increasingly diverse ways in which
and entertainment applications is now rapidly
radical,” observed Kodak vice president of brand
new talent can come to light and then maximise
transcending its focus on playback to embrace
and creative, Dany Atkins).
exposure. Some of the most striking examples
the many new and emerging ways in which
Several of the same themes recurred during
were provided by promoter and manager Mark
music fans interact with the world around them.
another of the day’s standout sessions, entitled
Walker, who discussed his work with stars rising to
‘The Evolution of Home Audio – MRA Streaming,
prominence through YouTube and other digital
become fully clear for some years yet, but Audio
Driving Quality Sound and Smart Speakers –
platforms, such as Emma Blackery.
Collaborative provided some much-needed
Where Next?’ Integration of streaming capability into home audio hardware is increasingly de
34 35 TVBE Dec16 Audio_v2 JG_final.indd 55
Audio Collaborative also found time to examine several other specific developments that
The term ‘brave new world’ is undoubtedly
The implications of this change may not
pointers as to how one might begin the process of developing a framework of understanding. n
22/11/2016 11:03
36 TVBEurope
www.tvbeurope.com December 2016
Data Centre
In association with
A world beyond
MAM
mobilising asset activities as they need to today.
Harness a platform delivering configurability for specific needs
Their engine may not be connected to other
MAM systems on the market today are
disparate systems and workflows, or processes
designed as singular workflow components
associated with those systems. This results in
within the confines of rigid structures that
roadcasters everywhere are living in
time-consuming metadata searches, a lack of
don’t match the unique needs of many
a new world order. It’s a world now
visibility across the operations, and the inability
broadcasters. Workflow capabilities may be
ruled by content demand, delivery
to automate manual tasks.
limited to predefined actions created within
By Phil Eade, director of media logistics, Ooyala
B
systems, which limits their effectiveness in fully
speed, cost reduction and revenue growth;
MAM systems (versus scriptable fields) and pre-
and united by data as the common
‘MAM-only solutions are typically not built with a holistic, modular focus, nor a modern architecture’
language everywhere. Today, broadcasters face these mandates in two distinct areas: content creation and delivery across linear and OTT platforms. They are stymied by the fact that these activities are
built integrations or APIs. Changing or building custom workflows to streamline synchronisation across such operations can be a costly and lengthy endeavour. Conversely, broadcasters harnessing a media logistics platform featuring MAM
all still so disconnected. At the same time, video
functionality have the ability to easily configure
xxx xxxxx
assets have grown exponentially to match a
MAM systems also may not offer coordination
them to match their own workflows, which
proliferation of outlets across many screens.
across production phases, teams or tasks
may have been assembled over time across
As a result, broadcast operations now require
like video reviews and approvals, and may
a variety of tools and systems. With an open
complex coordination that has moved far
not be built with data as a central focus. All
and extensible plug-in framework, it’s easy
beyond traditional siloed MAM systems. Those
of this reduces their flexibility and the ability
to access components and create specific
built for the linear broadcast world will not hold
to pivot quickly when issues like re-editing a
variables or functionality. Media logistics helps
up in the digital broadcast world, especially
season finale occur. Workflow orchestration
all systems work together efficiently, combining
as the industry pushes towards systems that
within a media logistics platform, on the other
human tasks, such as script revisioning, with
integrate, orchestrate and automate processes
hand, allows broadcasters to easily integrate
machine tasks, like organising cuts for show
across the entire video supply chain. xxxxx
internal and external systems at every step:
continuity. Richer analytics dashboards can
from commissioning, to content storage
also monitor the status or health of production
or small, local or global, media logistics is a
management, to file transfer services and
with correlating business data and provide a
xxxxx n necessity for broadcasters to survive and thrive
cloud transcoding. A media logistics platform
bespoke overview of system activity.
wwww today. To keep up with new content demands
includes asset management and data
and the complexity of modern broadcasting
modelling, so there’s consistency from one
Adaptability for the future
operations, broadcasters must prioritise four
end of a workflow to another, eliminating
MAM-only solutions are typically not built
vital video supply chain capabilities which only
the need to query multiple systems to find
with a holistic, modular focus, nor a modern
media logistics platforms offer:
an asset, and reducing the work and time
architecture. This shortfall inhibits the ability to
• Integration
needed to complete tasks such as assembling
dynamically expand and evolve broadcast
• Configurability
an episode montage.
operations or create new services required to
Whether production operations are large xxxx
X
• Adaptability
xxxxx Team members can automate human and xxxxx
grow a business; whether broadcasters are
machine tasks across an assortment of access
trying to quickly add new content or partners,
points, monitor time spent on tasks, visualise
expand to international markets, or produce
Prioritise comprehensive integration across video operations
information in real time through customised
new feature-length online documentaries for
dashboards, and receive alerts at every
a new digital channel.
Let’s consider the media-asset manager and
mission-critical process point. A comprehensive
its capabilities when it comes to integration
set of integrations allow teams to react quickly
control over workflows and an extendable
with the entire workflow process. MAM systems
to incoming changes and communicate them
data model that enables manageable changes
can be siloed, on-premise or partially closed
across departments.
to video operations. It offers the ability to both
• Data-first focus
36 37 TVBE DEC16 Data Centre_V3 JG_final.indd 49
A modern media logistics platform provides
22/11/2016 12:27
TVBEurope
December 2016 www.tvbeurope.com
37
Data Centre
In association with
handle legacy systems and configure new offerings. as well as revenue models. The platform can be deployed on-premise,
Understand that having a datafirst focus is the foundation for content success
in the cloud or in hybrid, multi-site deployments,
Data is at the heart of the most effective video
and enables system updates as quickly as
operations. Unfortunately, MAM systems by
needed to help broadcasters easily scale
themselves do not address the importance
their operations to strategically drive future
of modelling asset relationships and related
business expansion.
business data, or enable dynamic metadata
the workflow. With advanced data modelling capabilities, broadcasters using media logistics gain the ability to see reports in real time.
[The broadcast industry] is ruled by content demand, delivery speed, cost reduction and revenue growth’
management to ensure visibility, control,
‘Broadcasters harnessing a media logistics platform featuring MAM functionality have the ability to easily configure them to match their own workflows’
reporting and continuity along the entire video asset journey. They may struggle with managing
Data continuity is maintained, data capture is
multiple metadata schemas across assets,
ensured and data loss is avoided via a ‘single
recovering from metadata loss, and providing
source of truth’ for all metadata across the
real-time reporting that could rapidly solve
video production workflow.
system breakdowns, bottlenecks or other issues that can stop things in their tracks.
Broadcasters who follow these four concepts can fully realise the benefits of media logistics
In contrast, a media logistics platform is
platforms that extend beyond MAM: reduced
built around data. It can set up a customised
costs and complexity across operations; time
Modern micro-services architecture supports
hierarchy of asset relationships so content
and effort saved in production processes; and
any operational structure and the rapid
elements can be defined, catalogued and
more money to put back into creating content.
addition of new elements with complete ease.
found at any point. Subsets of classifications
All of which result in greater ROI.
NewBay Connect for HP.pdf 1 15/06/2016 This is important situations when new or 14:56
can be created that describe an asset based
acquired broadcast operations are merged
upon its provenance or parent data, and just as
into existing ones.
xxxxx importantly, its currentxxxxx location and position in
In this new world, using media logistics beyond MAM simply means content operations are transformed. n
The global resource portal for media technology content NewBay Connect now offers even wider content for its registered users, is easier to navigate and provides users with dedicated weekly newsletters offering a digest of the latest content and carefully selected content from its themes of the month. Why join NewBay Connect? Free and easy to use: stay informed with the latest industry white papers, opinion pieces, web seminars and case studies that affect your business and your career. •
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Campaign Manager: Warren Kelly wkelly@nbmedia.com +44 (0)207 354 6000
15/04/2016 12:17
38 TVBEurope
www.tvbeurope.com December 2016
Data Centre
In association with
Tearing down the blockades By Mark Blair, vice president of EMEA, Brightcove
Negative viewing experiences The overall picture painted by the research was far from positive, with a huge 92 per cent calling
T
for at least one improvement to be made to the
world. Indeed, the latest PageFair report revealed
ads emerged as the key culprits behind the
that over 400 million people are blocking ads on
substandard experiences. Almost three-quarters
the mobile web alone. But what is behind the
(73 per cent) of respondents had experienced
technology’s continued surge in popularity, and
poor video ad delivery such as repeated
how can publishers stop the current cat and
buffering, while a similar number (74 per cent) had
mouse game they are playing to stage a long-
a negative experience with the content they had
term fight back?
been served, whether that was because it was
he growing use of ad blocking technology
current online video advertising experience.
by today’s consumers continues to be a
When it came to specific complaints,
thorn in the side of publishers around the
irrelevancy, volume, and poor delivery of
At its core, ad blocking is a response to
inappropriate or simply not relevant.
negative advertising experiences. With this in mind, and to get to the bottom of the ad blocking
The reasons behind ad blocking
problem, Brightcove conducted its own research
Today’s technology-savvy consumers are only too
to examine consumers’ evolving relationship with
aware of ad blocking; our results found that over
online video advertising, asking 4,000 viewers
eight in ten (82 per cent) respondents claimed to
across the UK, France and Germany about their
know what an ad-blocker is.
experiences, feelings and preferences.
Armed with this knowledge, one in two (51 per
Exploring current opinions of the online video
cent) consumers said they have downloaded,
advertising experience, questioning the viability of
used or are currently using an ad-blocker, with
alternative revenue models and trying to solve the
a further 23 per cent reporting that they are
riddle of ‘the perfect video ad’, the findings gave
contemplating using one. The top reasons given
us that they were not willing to pay for any form
some interesting insights into the steps publishers
by those who had downloaded an ad-blocker
of online video content. Encouragingly, however,
could be taking to adapt their approach and
were that ads are too long (56 per cent), not
two-thirds (66 per cent) said they understand and
better balance their right to monetise content
targeted and irrelevant (45 per cent), and not
agree that it is fair for publishers to use online ads
with consumers’ right to a positive ad experience.
interactive (20 per cent).
to fund free content.
A failure to keep pace
through our results is that the present online
While around half of our respondents agreed
ad user experience is not satisfying consumers,
that the range (54 per cent) and quality (47 per
the silver lining for publishers has to be that
cent) of online video content has improved in
the majority of consumers understand the
the last year, the same could not be said about
ad-supported content model and just want
video advertising.
improvements made to the experience.
Though the underlying message running
Seventy-three per cent of our respondents said the quality of video ad content had remained
Getting it right
unchanged or deteriorated, and a similar 72 per
There are always going to be lousy ads out there
cent felt that there had been no improvement in
– but while ad-blockers offer a short-term filter
the range of video ad content either. Meanwhile,
for irritating content, they do not offer a long-
publishers continue to serve more ads; around a
term solution to the underlying issues of poor ad
quarter (23 per cent) of respondents said that the
experiences. What they present instead, however,
volume of video ad content had worsened.
is a clear call to action for publishers, marketers, and advertisers to improve video experiences
38 TVBE Dec16 Data Centre_v3 JG_final.indd 49
To pay or not to pay
across mobile, desktop and TV in order to engage
With a number of publishers already exploring
audiences. With 58 per cent of our respondents
different ways to solve their monetisation
saying that the amount of online video content
problems, our results potentially discounted a
they watch across their devices has increased in
paid-for model such as a subscription service as a
the last 12 months, the rewards for those who get
viable alternative; 50 per cent of consumers told
it right could be huge. n
22/11/2016 09:26
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