TVBE December 2016 Digital

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Business, insight and intelligence for the media and entertainment industry

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December 2016

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www.tvbeurope.com

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.

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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

21/11/2016 14:38

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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16 17 TVBE Dec16 ch5news Production_v2 JGJMcK_final.indd 55

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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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TVBEurope

www.tvbeurope.com December 2016

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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www.tvbeurope.com

TVBEurope Supplements

December 2016

Charting the evolution of

MAM In association with

i-viii TVBE Dec16 TedialSupp_v7 JG_final.indd 23

22/11/2016 09:07

ii TVBEurope

www.tvbeurope.com December 2016

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

i-viii TVBE Dec16 TedialSupp_v7 JG_final.indd 24

22/11/2016 09:07

TVBEurope

December 2016 www.tvbeurope.com

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

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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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TVBEurope

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

i-viii TVBE Dec16 TedialSupp_v7 JG_final.indd 29

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

21/11/2016 14:34

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.”

30 31 TVBE Dec16 Business_v3 JG_final.indd 54

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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

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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

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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.”

34 35 TVBE Dec16 Audio_v2 JG_final.indd 54

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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?

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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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