www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
December 2015
The evolution of MAM
Charting the growing importance of asset management
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TVBEurope 3
December 2015 www.tvbeurope.com
Welcome
EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Deputy Editor: Holly Ashford hashford@nbmedia.com Group Managing Editor: Jo Ruddock Contributors: Philip Stevens, Mike Clark, Catherine Wright Head of Digital: Tim Frost Human Resources and Office Manager: Lianne Davey Head of Design, Hertford: Kelly Sambridge Senior Production Executive: Alistair Taylor Sales Manager: Ben Ewles bewles@nbmedia.com +44 207 354 6000 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000
Time management The evolution of MAM has been a complex process, and it doesn’t get any easier from here
I
f you’re able to look beyond
Our roving reporter, Philip Stevens,
the endless talk of IP, UHD,
takes the industry to task on
and HDR that has all but
the finer points of challenge
dominated the forums of
and conjecture in the MAM
discussion in 2015, one of the
ecosystem in the very last of our
Sales Executive: Nicola Pett npett@nbmedia.com +44 207 354 6000
most intricate areas of fascination
traditional forums, whilst we sit
has been in the management
down with MAM specialist Tedial
Sales Director: Mark Rankine mrankine@nbmedia.com +44 207 354 6000 Managing Director: Mark Burton
of one’s media assets.
to bring you the latest in our line
US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales: Sho Harihara Sales & Project, Yukari Media Incorporated sho@yukarimedia.com +81 6 4790 2222 Fax: +81 6 4793 0800
of topic-dedicated TVBEurope
We once openly referred to this process as MAM (or DAM, or
supplements.
PAM), but even that seemingly
As most of you will have
comfortable agreement is under
deduced from the month on the
scrutiny as companies search for
cover of this edition, we are just about to sign off
the next common understanding of what
on another year of progress and development
this multifaceted discipline ultimately
in our fast-moving industry. Writing the epilogue
means for media entities.
to 2014 feels like an absurdly recent memory,
Indeed, having urged you to play deaf to
and I remember feeling particularly enthused
the ‘acronyms of the year’ at the beginning
about our chances of progress this year. That
of this piece, it is very much the development
progress has come in many forms, perhaps
in these areas – infrastructural advance and
the most mainstream being the launch of UHD
the unimaginably heavy load that a UHD/IP-
channels in Europe, with particular reference
enabled ecosystem will place on our current
to BT Sport. But not only this, there appears to
and foreseeable systems – that is changing the
be a wider understanding of the hybrid SDI/IP
TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002
debate around what MAM means in today’s
ecosystem that will persist for some time yet as
climate, and that of tomorrow.
we fully embrace the digital realm to become
NewBay Media is a member of the Periodical Publishers Association
the December issue to this discussion:
“for every strategic seed sown, there is hope of
addressing the specific infrastructures required
harvest”: if we have similar progress in 2016 as we
for content management and delivery to a
have had in the past 12 months, we’ll have had
broader volume of platforms; the adaptation
a good year.
Circulation Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
© NewBay Media 2015. 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 8 weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
03 TVBE Dec Welcome_final.indd 1
We’ve given over a significant portion of
of systems/workflows to support these platforms; and defining a measurable return on investment for the modern day asset management system.
truly IP-enabled. I wrote this time last year that,
Merry Christmas to one and all, and a happy New Year. n James McKeown Editor-in-Chief
20/11/2015 15:54
4 TVBEurope
www.tvbeurope.com December 2015
In this issue
www.tvbeu rope.com
TVBEurope
Supplement
s December 2015
Opinion and Analysis Technologist Miles Weaver examines some of the trends that will make 2016 a year of shifting loyalties, convergence and more big data fuelled intelligence
23 Supplement
The evolution of MAM. This issue’s supplement, in association with Tedial, delves into the ever-changing world of asset management
8
10
Workflow
This issue, we take a look at a couple of recent additions to the fleets of two OB companies, as Germany’s TV Skyline and Italy’s Telerecord unveil new trucks
The MAM
EVOLUTIO N
37 Feature
Future trends, and what we’ve learnt about ourselves in 2015. We’re joined by a selection of industry figures to chew the fat on another year of progress
In associa tion with
TVBEverywhere Tristan Du Laz, who heads TF1’s VoD rental service MyTF1VOD, is betting on a new EST proposition to see off competition from the likes of Netflix
04 TVBE Dec Contents_final.indd 1
31
42
MAM forum
Philip Stevens chairs the debate on our featured theme for this edition, MAM: a vital component of just about every media entity’s technology
20/11/2015 15:15
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6 TVBEurope
www.tvbeurope.com December 2015
Opinion and Analysis
MAM moves to the cloud By Baskar Subramanian, co-founder, Amagi
M
edia asset management (MAM) is changing, as a growing number of broadcasters turn to cloud technologies
for content distribution purposes. Several reasons can be attributed to the industrywide shift toward the cloud. First and foremost, broadcasters need to address the consumer demand for content anytime, anywhere, on any device. Leveraging the cloud, they can efficiently and cost-effectively distribute content across multiple platforms. Furthermore, a cloud-based workflow dramatically streamlines operations, enabling different media entities
‘Ultimately, migrating to a cloud infrastructure enables broadcasters to achieve the Holy Grail: distributed access across the globe’
task. Thus, the MAM system should include a
related to the particular asset, there is now
mechanism for working on a low-res version
a much broader range of data that can be
of the content. This feature might become
extracted. For example, broadcasters can
especially handy when creating a promo video,
extract context out of the audio and video of
for example. Broadcasters can download a
content, which is semantically rich. This can
low-res copy of the movie at their location for
then be leveraged for further processing and
promo creation. When they are finished, a high-
delivering targeted content.
res promo video will be added to the back-end. Since no high-res version is used, data transfers
Future outlook for MAM technology
are infinitely faster. In fact, broadcasters can
MAM technology is evolving, unlocking new
in various locations around the world to begin
share content anywhere worldwide, in near
functionality and benefits for the broadcast
working on content independent of each other.
real time, without high-res content ever having
community. Adopting a cloud-ready MAM
What’s more, with content hosted on the cloud,
to be transferred.
system is the first step toward migrating to a
content management and management of the associated metadata is more efficient. Ultimately, migrating to a cloud infrastructure
By adopting a cloud-based workflow,
complete cloud-based workflow. Over the
broadcasters can set up all of the metadata for
last few years, several big TV networks have
their content to be populated by third parties
embraced this approach.
enables broadcasters to achieve the Holy Grail:
without requiring access to the full set of content
distributed access across the globe.
in one location. By enabling TV networks to
face, from a MAM technology perspective, is
One of the challenges that broadcasters
outsource a large amount of metadata tasks,
how to create seamless integration with existing
Next generation MAM system
including metadata creation and processing, the
back-end systems. In the future, it’s likely that
When looking to deploy a next-generation
cloud speeds up operations and reduces costs.
standardised interfaces will emerge, enabling
MAM system, there are a few key features that broadcasters should look for. Obviously, any MAM system should make it easy to store and archive content. Beyond that, the capability to handle metadata in a distributed fashion is also critical. The moment content moves onto
seamless communication between various
‘Adopting a cloud-ready MAM system is the first step toward migrating to a complete cloud-based workflow’
elements in the broadcast workflow. This would allow other systems in the workflow to tap into the MAM solution in a programmatic fashion. At Amagi, we believe that having a world-class MAM system is crucial to content
the cloud, multiple people will be managing
distribution, including targeted content delivery
the asset. Broadcasters need a MAM system
and monetisation in multiple locations. In fact,
with an advanced permissions functionality. This
MAMs are nearly a prerequisite for cloud-based
will enable broadcasters to share assets and
A major benefit of moving metadata processing
enhance metadata seamlessly across multiple
to the cloud is that metadata becomes much
By creating one of the world’s largest cloud-
locations across the globe.
richer. Whereas metadata used to encompass
based workflows for distribution and monetisation
fundamental information about the content,
of content, Amagi is making hyperlocal television
such as subject, title, and authors and artists
a reality for broadcasters. n
As a broadcaster, you don’t want to be accessing the original high-res content for every
06 TVBE Dec Opinion_final.indd 10
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8 TVBEurope
www.tvbeurope.com December 2015
Opinion and Analysis
Glimpses of a TV future 2
Technologist Miles Weaver looks back at the year and examines some of the trends that will make 2016 a year of shifting loyalties, convergence and more big data fueled intelligence
015 has been a largely positive year for
focused on the 800lb gorillas like Netflix and Hulu,
the TV industry. The gloom of the global
there has been a rapid rise in niche television that
financial crisis has largely receded (at least
attacks the problem of making customers pay for
for some industries) and across the traditional
content that they have been weened to expect
and OTT landscape most operators have
for free in a different way.
posted positive growth numbers. Acquisition
Take World Wrestling Entertainment Inc, better
and consolidation has picked up, with Verizon’s
known as WWE. Since it was televised in the
acquisition of AOL and Charter Communications’
1980s, the spectacle has derived a significant
$55 billion deal to buy Time Warner cable offering
portion of its revenue from PPV events like the
a clear indicator of the likelihood of similar deals
Royal Rumble and Wrestlemania. However, since
in Europe and Asia in the near future.
launching its OTT subscription service in early
Although often pigeonholed as ‘just the
2014, WWE Network revenues are now higher
interface’ (and in some cases it isn’t even
Pay to play will create frenemies
than the stand-alone PPV revenues based on a
referred to that favourably), it is clear that the
Yet, the news from Google/Alphabet that
trailing 12-month basis. Other sports OTT niches
Netflix carousel and search model seems to be
YouTube is going ahead with plans for a
like Major League Baseball have thrived and
becoming the dominant standard. Yet, looking at
subscription service is the first move in a
even fishing and hunting have had channel
the consumer electronics space, a nod to Apple
potentially seismic shift. The world’s largest VoD
launches in the last few years that have been
which is still seen as the innovator in terms of UX
service is highly viewed but based on a
low key but which have attracted subscribers.
design, highlights just how far behind the pay-TV
dissection of Google accounts, is at best
For advertisers, a known demographic is easier
space really is.
commercially break-even. Initially only available
to target and within some of these niches, the
in the US, YouTube Red will cost $10 a month and
content is entirely exclusive compared to the
the space, pay-TV services will need to up their
will have no adverts and a roster of exclusive
broad commoditisation that is happening within
game when it comes to making the UX more
content from internet stars like PewDiePie and
the mass market SVoD service space. Niche fans
joyful. This extends not just to the big screen but
Lilly Singh. At present, YouTube takes around
are also far more loyal to their particular interest
also to the multiscreen world. With surveys such
50 per cent of revenue from ads appearing
than they are to general OTT properties. As a
as a recent report from Ofcom highlighting
next to YouTube content. How it plans to share
byproduct, it is likely that demand for PPV will
mobile devices as the most popular VoD-
subscription revenue with its channel operators
keep on declining as the economics of bundling
enabled viewing platform, 2016 will see more
is still vague, but the position means that some
thematically similar content together combined
focus on building better experiences that can
content will be free, some ad-supported, and
with the extended reach of the internet makes
take advantage of the small screen and not just
possibly a small percentage exclusive to Red
niche TV more profitable.
working around limitations. Innovations like
subscription holders. Some of the commercial
Of course, communities are not just sports
With new entrants like Amazon and Apple in
multi-touch, force touch, contextual menus
brands like Disney have signed up, but ESPN,
based. The big two of the gaming industry,
and even geolocation will start to become
the world’s largest sports rights holder and itself
namely Sony and Microsoft, with 40 million PS4
part of the UX lexicon.
a Disney property, has pulled all of its content
and Xbox One units sold between them, are both
off the site. This is presumably because of the
rapidly enabling credible video platforms on
Analytics = intelligence
complexities of rights agreements but also
their next generation consoles. Considering
If the first generation of pay-TV services are now
potentially because it may have concerns about
that both consoles are UHD enabled and
reaching maturity, the next 12 to 24 months will
the business model. ESPN is unlikely to be the last
theoretically 4K capable, and that owners tend
start to see operators refining both the technical
organisation to reassess how it deals with YouTube
to have better internet connection speeds than
and the business aspects underpinning that
as it starts to erect paywalls and segregation
the mainstream, this community may well
profitability. A fundamental part of this shift
around its own content. 2016 will be a year when
herald the starting point of the next generation
will be in the use of big data and analytics.
channel operators start to consider more options
of niche, high quality content.
Although an industry buzzword, the first iteration has seemed to centre around recommendation
other than YouTube, which will likely be a boon for
Bringing more joy to subscribers
engines. Yet, the potential is so much more. Big
Yet the swathe of new pay-TV and SVoD services
data, if used properly, can impact everything
The rise of niches, the death of PPV
highlights another trend that has emerged over
from UX design, content acquisition and
Yet the launch of Red mirrors a wider shift in the
the last few years and is likely to shift in the next –
licensing, all the way through to advertising
content landscape. With much of the attention
major improvement in user experience (UX).
placement and other revenue generating
the fast-growing MCN space.
08 09 TVBE Opinion_final.indd 10
20/11/2015 16:44
TVBEurope 9
December 2015 www.tvbeurope.com
Opinion and Analysis to see services develop or rent from service
Waiting for 4K‌
provider specialists the skills needed to make the
But where would any analysis and prediction
experience of TV more intelligent.
article be without mention of 4K?! Like the crush that never calls, 4K remains attractive
Converge and thrive
but entirely elusive: the journey to 4K from
This leads neatly to another major trend for 2016
camera to the screen remains stalled.
- convergence. When you talk to customers
Although the massive reduction in the
especially within traditional broadcasters, it is
cost of 4K cameras and adoption of file-based
clear that the majority of these organisations are
production workflows has made 4K much
heavily split into silos. OTT is separate from linear,
more prevalent in the creative aspect, it is
SVoD is another island, and content acquisition
still not universal. Whilst working on a project
has many disparate teams working in many
with Discovery earlier this year that tested 4K
directions. With OTT now more than just a pet
across its workflow, it became clear that 2016
project and generating significant revenues, it is
will see a lot more of these types of projects,
making more operational sense to unify complex,
with companies continuing to experiment and
often duplicated backend processes into a
refine, rather than jumping in with both feet
coherent whole. Not only is it financially sensible
(no one wants a repeat of the 3D debacle).
to have a single platform for service delivery but
Even with sub $1,000 4K screens in the market,
innovation is easier when processes are joined up
the last mile of content is still the critical hurdle
activities. There is still a lack of big data expertise,
and subscribers are catered for with a coherent
to mass adoption.
as data scientists are still in short supply, but
set of content and entitlements. These systems
with such a huge amount of competition
are too big and complex to replace in a root and
that may not be enough to push the
across the industry, this deficit will soon start to
branch fashion, so look for services that begin
massive infrastructure upgrade needed
Although 2016 is an Olympic year, even
be addressed. As services start to experiment replacing discreet services on a piecemeal basis 201511_200X135.pdf 1 2015-10-30 ě˜¤í›„ 2:38:32
to deliver 4K to the masses and drive
with big data in more creative ways expect
consumer acceptance. n
as they start to refine and unify their platforms.
C
M
Y
CM
MY
CY
CMY
K
08 09 TVBE Opinion_final.indd 11
20/11/2015 16:44
10 TVBEurope
www.tvbeurope.com December 2015
Workflow
The Lawo mc²56 console is central to the new German OB truck operated by TV Skyline
Making the most of IP on OBs Philip Stevens looks at an innovative solution within a mobile unit
design philosophy makes Ü8 a milestone in
is future ready. The multiple codecs that are
modern OB production. The truck’s crew has
supported by the system open the doors to
greater flexibility and space than offered by a
other systems. At this stage we are one step ahead to the coming challenges in the IP
J
ust prior to IBC, German OB production company TV Skyline took delivery of its latest mobile unit. Known as Ü8 (OB 8
UHD), this is the world’s first truck based on fully IP-implemented audio and video stageboxes.
“At this stage we are one step ahead to the coming challenges in the IP world with OB productions” Laurent Schiltz, TV Skyline
The new concept was made possible through
TV Skyline’s main facility is located within the Sky Centre in Mainz near Frankfurt. In addition to OB and studio production, the company provides digitisation and post production facilities and is one of the world’s leading developer and manufacturer of specialty cameras.
the use of V__Link4 IP-based stageboxes and
The innovative truck, which is built on a three
RAVENNA DALLIS routing from Lawo. “Our HD OB van fleet has always been
world with OB productions.”
axle chassis, has coachwork from Akkermans in conventional design, and its technical options
the Netherlands. The complete truck, including
equipped with the latest and highest-quality
provide increased working efficiency and
the tractor, has a total weight of 38 tonnes. Up
broadcast technology,” states Laurent Schiltz, TV
flexibility, resulting in more creative freedom.”
to 28 production and engineering staff can be
Skyline’s CTO. “Now our pioneering technological
He continues, “The vehicle with its IP infrastructure
accommodated in the operator positions.
10 12 13 TVBE Dec Workflow_final.indd 10
20/11/2015 16:18
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20/11/2015 16:48 15:30
12 TVBEurope
www.tvbeurope.com December 2015
Workflow A further five personnel can work in the supporting van. OB 8 UHD supports eight VTRs, and works tapeless for up to 20 3G signals together with the EVS systems. When it came to a vision switching, TV Skyline opted for the newest Kahuna 9600 with the Maverick modular mixer panel. Says Schiltz, “Kahuna 9600 offers a format fusion engine on all inputs and outputs; that means they can be converted into to production format within 40ms.”
Making music He goes on, “The new Ü8 was first used at a concert event in Switzerland,” reveals Schiltz. “For this project, the truck worked with 15 Ikegami HDK 97A HD cameras including cranes, wireless cameras and special remote heads from our own store. All 95 microphone signals where transported over IP/RAVENNA to the main audio console producing the live audio mix.” Felix Krückels, Lawo’s director of business development, explains more. “The concept of the new OB van included the requirement of parallel use of stageboxes in the vehicle as well as for remote production. Therefore, the client was looking for an innovative product, which could serve both applications. The trend for remote production and IP solutions had to be fulfilled by the truck.” Krückels says that the IP-based infrastructure allows for the connection of the vehicle to the home facilities using the same medium
which means that, for example, microphone
Looking to the future
which, in turn, provides faster reaction and
preamps and the line outputs or intercom I/
So, just why did TV Skyline opt for this solution?
efficient workflows.
Os appear directly in the mc² signal list for
“We believe in the future of video-over-IP
immediate setting. For the operator in front of the
technology,” declares Schiltz. “We think that
stageboxes include reduced cabling, easier
mixing console, nothing changes. For the set-up
the V_link4 is future proofed and gives us a
scalability and the smooth setup of a networked
engineer or project planning department, it
lot of technology opportunities. By working in
TV compound infrastructure. The fully IP-based
offers greater flexibility.
partnership with Lawo we achieved a perfect
The benefits of using V__link4 IP-based
combination of systems that all work together -
environment allows the monitoring via MJPG streams, enabling broadcasters and OB van providers with easy deployment of PGM feeds via COTS switches. “Compared to the traditional solution today with a lot of SDI cabling just for
“The trend for remote production and IP solutions had to be fulfilled by the truck” Felix Krückels, Lawo
Lawo Nova Core, Lawo console, Lawo RAVENNA IP routing with the stageboxes; Lawo V_Link 4 and LSB VSM control system.” He adds, “The Lawo V_view1 units provides us the maximum of flexibility regarding monitoring around the set, because we are
monitoring in the production offices, the
not limited to dedicated video signals. On
rehearsal room or even the commentary position, this network handles the cabling
Krückels continues, “With the layer 3
each monitor position we have access to all
much more easily,” says Krückels.
RAVENNA DALLIS stageboxes the customer
video signals in the cloud.”
With Lawo’s V__remote4 units aboard,
uses all IP benefits also for the mc² consoles
There is, of course, a move towards more
users can now stream in parallel RAW
and Nova routing systems. The RAVENNA
remote production: with minimal crewing
streams and J2K streams from the same
DALLIS provides an increase of capacity of
requirements on site and production being
video source. This allows for the parallel
128 inputs and outputs. On top of this, the
handled back at the studio base. With that
video production in the OB van, as well
stageboxes can be routed through various
concept in mind, how do both Schiltz and
as remote production for second screen
networks, setting up systems with networked
Krückels see the future for this type of OB truck?
or clips compilation.
infrastructures in studio, OB vans, on a
The Lawo mc²56 console and the DALLIS stageboxes are logically directly connected,
10 12 13 TVBE Dec Workflow_final.indd 12
Schiltz says, “The broadcast IP market is a very
campus or even with dedicated networks
fast growing market, and we intend to use more
on a wide area network.”
and more IP technology as it becomes available.
20/11/2015 16:19
TVBEurope 13
December 2015 www.tvbeurope.com
Workflow For our high variety of international
Ü8 is the world’s first truck based on fully IP-implemented audio and video stageboxes
productions there will be a big need for IP systems also regarding the remote production issues.” Krückels adds, “The broadcast industry currently does experience a trend towards more and extensive content and remote production, used mainly for second and third tier productions. And perhaps we also will see remote production for Bundesliga or premier league at some point. However, high-quality productions like big Saturday night shows or ceremonies like for the Emmy or the Echo Awards, or for major international sports events such as the Champions League final, where the end design is created on-site, this will remain the task of OB vans.” He concludes, “By developing IP video and audio streaming stageboxes deploying the open RAVENNA technology, Lawo has made a statement with regard to IP-based content creation and remote production, as being central to the future of broadcasting. Our products and solutions include remote production and IP core infrastructure.” n
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cinegy 20/11/2015 16:19
14 TVBEurope
www.tvbeurope.com December 2015
Workflow
For the record In the run-up to its 40th anniversary celebrations, Telerecord, Italy’s longest-established OB company treated itself (and its clients) to a ‘present’ for the occasion: an impressive new addition to its fleet. Mike Clark reports
T
elerecord, headquartered near Florence,
4K cameras, as well as 24 Sony HDC1500 and
already had a series of important Italian
HDC2500 HD cameras, it also features a Sony
‘firsts’ to its credit: it was the first to
PMW F55 CineAlta with BPU 4000 Baseband
“The IP3 ensures wonderful flexibility, thanks to its mixed-format video and audio routing, multi-viewer functionality, mux/demux, frame sync, clean switch and advanced I/O options such as MADI and fibre” Giovanni Lorini
experiment with digital technology (1996), the
Processor Unit and four HDC-4300 4K/HD systems.
first to use HD vans (2004) and the first to carry
Van engineer Giovanni Lorini says, “The F55 offers
programmable LCD-button router control
out 3D coverage (2007).
the possibility of mounting both cinema-style
panels. The slowmo/replay area hosts eight
lenses and 2/3-inch models, with adaptors.”
XDCam 1500, eight EVS XT3 HD and five DVD
The new 45-ton, 16.5m truck, designed for the step-up to 4K, has four expansions which put two
Unit 26 is also the OB company’s first outing
separate production areas at the disposal of a
with an Imagine Communications router, the
team of over 30 technicians.
Platinum IP3 28RU unit, and Lorini adds, “The
Production area one hosts a Sony MVS 8000X
recorders, and 5.1 audio is mixed on a Calrec Artemis Beam console. The truck has full redundancy as far as power
IP3 ensures wonderful flexibility, thanks to its
supply, control and crosspoint modules are
multi-format switcher (HD/3G/4K, eight ME (1080i),
mixed-format video and audio routing, multi-
concerned, ensuring total operating security,
four DME, 84 inputs, 24 outputs, eight format
viewer functionality, mux/demux, frame sync,
fundamental for the important events Telerecord
converters, colour correction, clip recorder),
clean switch and advanced I/O options such
covers (its client roster includes RAI, Mediaset,
and a monitor wall with 21 Vutrix 24-inch Quad
as MADI and fibre.”
Sky, the BBC, NHK and Canal+), which as well as
split and three Vutrix 17-inch Quad Split. The
The router is currently configured with 354 inputs
production area two has an MVS 8000X satellite
and 560 outputs, but will soon be expanded to
ME and ten Vutrix 24-inch Quad split monitors.
5760x1024 and the routing system is completed
Since the new truck was designed for use with
by 25 Imagine Communications Magellan
its sport specialisation, also include major rock concerts, opera and large conventions. Explains company founder Giovanni Bertini, ”Unit 26 was designed and built to meet
The new 45-tonne, 16.5m truck is designed for the step up to 4K
14 15 TVBE DEC Workflow_final.indd 18
20/11/2015 15:26
TVBEurope 15
December 2015 www.tvbeurope.com
Workflow Telerecord also designs and realises
at operators’ disposal, adding, “The
OB vans for sale to other companies and
separate second production area and
its 10m, ten-camera Unit 16 trucks are at work
the noise-free environment enable production
in Qatar, Sweden, Ukraine and Italy. Apart from the technical aspects, Lorini enthuses about the comfortable space
teams to work long hours without any problems and, in spite of its size, the truck is extremely user-friendly.”n
GET READY TO SWITCH the production requirements of high-profile international sports events, some of which we cover for Infront. We wanted a truck that was able to comfortably host a second production room for personalising event coverage, and we wanted to increase the number of cameras cabled on-board.” Thanks to the far-sighted policy of Bertini and the rest of the Telerecord team, which includes his son Fabio and daughter Rossella, the leading edge technology installed ensures Unit 26 is ready for future updates, such as HDR and IP. The structure of the trailer, designed by Telerecord and built by Rescar, another Tuscan specialist, is in carbon steel alloy and features
”Unit 26 was designed and built to meet the production requirements of highprofile international sports events” Giovanni Lorini tailor-made Isotruck panels and stylish interior woodwork. Telerecord’s technicians carried
Announcing the new production switcher built on IP architecture
out all the installation and cabling work in-house. Since it took to the road, Unit 26 has already covered several high profile sports events,
The DYVI scalable IP based switcher from EVS is ushering in the dawn of IT production technologies, allowing you to create, control and connect with unprecedented flexibility.
such as the World Bobsleigh and Skeleton Championships in Germany, the 2015 Ice Hockey World Championships in the Czech Republic, UEFA Europa League soccer matches and the Italian NBA tour. Putting its lengthy experience at the disposal of the OB market, as well as for in-house use,
www.evs.com/product/dyvi
Dyvi_132-216.indd 1 14 15 TVBE DEC Workflow_final.indd 19
13/11/15 11:29 20/11/2015 15:26
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TVBEurope 19
December 2015 www.tvbeurope.com
Workflow
Asset management 2.0 By Tony Taylor, chief executive, TMD
F
or many broadcasters, the question today is not how to do asset management. It is about how to migrate from a first generation
asset management system to something that is more modern, more powerful, and more suited to the challenges to come, like software-defined networks, content processing virtualisation and the cloud. Without doubt the choice of technology platform is more critical than ever, if you are going to have that sort of future-proof flexibility. But I would argue that an equally important factor in your choice of partner is the ability to share experiences in designing and implementing a second level because they had been involved in its
Migrating material
design; and a working system that could be
The final way in which a good technology
bad about the old design so that the new system
demonstrated to the board for their sign-off on
partner can transform a project (and a
is even better? How do you ensure that all the
the main project budget.
poor choice will derail it irretrievably) is in
generation asset management system. How do you summarise what was good and
the migration from the old system to the
nice ideas people have dreamt up over the years of working with the existing system do not
Keeping control
new one. You have to plan to move the
mutate into an impossible wish list? And how do
This community of interest approach can be
content and the metadata.
you manage the actual migration of content
made to limit mission creep too, although it
and metadata?
takes some subtle management. This can be a
the old system has a proprietary and expensive
Thinking of the content, the chances are that
good time to bring in an independent consultant
archive which is limiting growth and locking you
Learning lessons
to keep discussions on track. The second
in to a particular vendor’s roadmap. Take the
Implementing a second generation asset
generation of asset management systems,
chance to move the archive to a more cost
management system is no different from starting
along with the move to file-based content and
effective open standard like LTFS, which makes
out on any project. First you have to define your
software-defined networks, allows a completely
your content permanently portable, whatever
requirements. The people that know best what
new approach to workflows. Indeed, if you
changes you implement in the future.
you need are the people who actually do the
are not taking a fresh look at the way you do
job today, so have a strong feeling of where the
business you are wasting the opportunity.
bottlenecks and frustrations lie. One of the most successful implementations
So get everyone together, and ask them to
Moving metadata requires cleaning it first, and again it can be staggering how much mess there can be. One project we worked on, for a
think through what they actually need to do their
global leader in production and broadcasting,
we have ever had, in project management
job more efficiently. What processes are required
had allocated a free text field to describe how
terms, was at RTÉ in Ireland. They started out with
to collect programmes and commercials and
the audio tracks were laid out: we found 8,400
a small steering group from across the business:
broadcast them in the right order; or bring in
different descriptions.
an engineer and a project manager, obviously,
content and make programmes from it; or
but also a promotions producer, a traffic
deliver content across multiple platforms? What
down your old asset management system,
manager and even a weather presenter.
is the best order to do each individual process?
spend a few weeks transferring and checking
Which person should be responsible for each
the content and metadata transfers, then
system had to do, by the simple expedient
process? What can be automated and what
start business again. The migration will need to
of getting a small development system and
needs human intervention? At first this process will
happen while everyone is still working, so the
building their own workflows. At the end of this
get bogged down in people talking about what
project needs to plan for resources, too.
requirements phase – which really was not very
happens today. They will be keen to explain
The move to a second generation asset
long – they had three massive assets: a clear
the workarounds that the current technology
and workflow management system is a huge
definition of what the new asset and workflow
has forced upon them. But with patience and
opportunity: or at least it will be if you find the
management system should do and what
persistence they will start thinking about a
right project partner who will help you avoid the
could be left out; buy-in from staff at every
genuinely clean sheet of paper.
pitfalls and plan for success. n
It was this team that worked out what the
19 TVBE Dec MAM2.0 Opinion_final.indd 10
It is also unlikely that you will be able to shut
20/11/2015 15:27
20 TVBEurope
www.tvbeurope.com December 2015
Workflow
One change in the gallery was to replace CRT monitors with multiviewers
Crafty business Philip Stevens visits the studios of one of the UK’s most recently launched channels
O
ver the last few years, a number of ‘specialist’ shopping channels have emerged on the UK scene – selling
jewellery, health and beauty brands, and craft products. One of the latest to begin transmissions is The Craft Channel. Its soft launch, involving recorded ‘as live’ programmes, took place in
Both are also company directors, and together
up and I got increasingly drawn into the idea.
with CEO, James Doak, they put together a
It took four or five months to really develop the
package of measures that has resulted in the
ideas, but at the end of that time I decided this
successful start to the new channel.
was not really for me.”
There was no way that a new venture could successfully compete with the long-established, all-encompassing shopping channels, so a differentiator was needed
September, but plans are well advanced for live
long-established, all-encompassing shopping channels, so a differentiator was needed. “By going through that journey of exploring ideas, the one thing I did see was a need for a craft channel. The margins are good and there was only one dominant player at that time. We looked at that existing channel and thought ‘we
broadcasts to begin in the New Year. Key movers in the venture are well
He says there was no way that a new venture could successfully compete with the
can do a great deal better than that’.” “Julian and Debbie wanted to create their own
Doak says that with his telecoms background
experienced shopping television presenters,
shopping channel which would cover a wide
he could see the value of offering a free number
Julian Ballantyne and Debbie Greenwood.
range of products,” explains Doak. “We all met
to call to place an order: not a premium
20 21 22 TVBE Dec Craft TV_final.indd 18
20/11/2015 15:28
TVBEurope 21
December 2015 www.tvbeurope.com
Workflow rate facility used by some other channels. By
items of new equipment have been purchased
the gallery. “We wanted an automated system
providing an easier – and a no-cost – ordering
to meet specific needs.
that means that product data is just entered
route, Doak, Ballantyne and Greenwood felt
once, and then is available for all our outputs
they had a much better offering to put forward
Equipping for purpose
– the studio, website and so on,” says Clark. “A
for their viewers.
“We bought the existing studio cameras, peds
current development is a system that allows
and the lighting rig – some of which worked,
graphics to be operated by mouse click or push
February and we pulled out all the stops to make
some of which didn’t,” explains technical
button from a tablet or similar device.”
it work,” states Doak.
manager, Gary Clark. “There were big CRT
“The decision to move forward was taken in
Finding a base When it came to looking for premises for the
The Craft Channel is completely tapeless, with
monitors in the gallery, and replaced them with
editing being carried out on Adobe Cloud Suite
Blackmagic Design multiviewers.”
with a monthly subscription.
Clark bought a new vision switcher based on
venture, the management trio explored a
Blackmagic Design software and a new Trilogy
Meeting viewing needs
number of options.
talkback system – both of which were seen as
Alongside the conventional television
Ballantyne takes up the story. “We did
crucial in future-proofing for expansion. “The
broadcasts, The Craft Channel’s demonstrations
ask ourselves the question ‘do we need to
switcher is basic – but it does what we want it
can be found on its own website, YouTube,
be in London?’ and the answer was ‘yes’.
to do and is reliable. And because it is software
Vimeo and other outlets. “When customers
Here we have access to the presenting and demonstrating talent that we need – and also the production and technical personnel. Experience has shown that it is not always that easy to find the people you really want on the team in other parts of the UK.” He continues, “We always wanted a facility that already had studios and there were other
‘Yes, we are a TV channel, but we will use all media, too. In fact, about 18 per cent of our audience view online’ James Doak, The Craft Channel
considerations such as parking spaces for guest
wish to find a particular product using a search engine, all these alternative viewing platforms become visible,” reports Doak. “Research has shown that you are 50 per cent more likely to be found if there is a video to support the product. Yes, we are a TV channel, but we will use all media, too. In fact, about 18 per cent of our audience view online.” Demonstrations are key to the success of any
presenters and others. When that proved difficult,
craft channel. “We are also an educational
we looked at renting an empty warehouse.
driven, it is ready for the instant switch to HD,
channel,” says Ballantyne. “Of course, we sell
The positive side of that was everything could
when needed. The studio came with some
product, but we also show how to make craft
be custom designed and built to meet the
talkback panels, but we refurbished them to
interesting. Many of our viewers are already
needs of a new shopping channel, the
ensure they met our requirements.”
craft-orientated, but they really appreciate
negative was the cost.”
Plans call for the Sony cameras to be replaced
Eventually, a studio and office facility in
with Blackmagic units in the not too distant
being able to see how to develop their hobby.” He reports that he and Greenwood frequently
Acton, west London, which had been
future, and that will mark the upgrade to high
phone those who have been ordering to ask for
vacated by a failed shopping channel,
definition. “We can utilise our existing B4 lenses,
their opinions on what has been shown. “In that
became available. “Because it had been
which suit our purposes very well.”
way, we are moulding the channel to meet the
used in a similar project in the past, the facility
The Soundcraft audio console was also
had a great deal of what we needed for The
refurbished, although new radio microphones
Craft Channel,” explains Ballantyne.
were purchased.
needs of our all-important viewers.” Greenwood adds, “The products in the packets do not always look that interesting,
A number of structural changes have
Graphics come from a Pixel Power Clarity
so our job as presenters is to show all that can
been made, and although some of the old
3000 system which, once the original inputs are
be achieved. That means getting to know the
technology has been retained, various
created offline, is operated by the producer in
products very quickly.”
SGL has an established history serving the archive needs of broadcast facilities around the world.
SGL works in collaboration with industry partners, to provide seamless integration with leading MAM & PAM systems.
SGL’s solutions are reliable, flexible and are designed to grow with your organisation’s archive & content management needs
T: +44 (0)1489 889930 | E: sales@sglbroadcast.com | W: sglbroadcast.com
20 21 22 TVBE Dec Craft TV_final.indd 19
20/11/2015 15:28
22 TVBEurope
www.tvbeurope.com December 2015
Workflow Unlike many other shopping channels, there is no huge central warehouse fulfilling orders from viewers. “We have two models,” explains Doak. “We are currently on direct despatch with a number of suppliers. So when a customer places an order – whether over the phone or via the web – we get notified and it goes directly to the supplier with a despatch note with our branding. The order is fulfilled and the customer gets the goods quickly. Suppliers love that method. The second model involves us using a third party fulfilment facility.”He says that soon an app will be launched which will enable viewers to order much more quickly. “Again, research reveals that four per cent of viewers prefer to buy through an app.” Research, explains Doak, has played a major part in the launch process. “We had about 2,500 followers on Facebook at the time, and just under 2,100 of them filled in a survey for us. That level of response and involvement is phenomenal. That told us there is a real appetite for what we are doing. We really think we are now providing a service that viewers need – and we look forward to the future with confidence and excitement.” n
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20 21 22 TVBE Dec Craft TV_final.indd 20
20/11/2015 15:28
www.tvbeurope.com
TVBEurope Supplements
December 2015
The MAM
EVOLUTION In association with
23-30 TVBE Dec Supplement_final.indd 23
20/11/2015 15:59
ii TVBEurope
www.tvbeurope.com December 2015
Supplement
in association with
The modern
MAM revolution By Emilio Lopez, president, Tedial
by distributing the infrastructure and operators in the most convenient way to suit the requirements of the business; multi-tenancy, enabling customers to host different client/region/corporate
T
content within the same infrastructure, optimising
conferences and events throughout the year,
porting tools, providing a global overview of the
the term broadcast no longer represents the
system, detecting bottlenecks or inefficiencies.
he broadcast industry has seen a major
IT investment; workflow configuration in standard
transformation in the past two to three
notation using graphical tools independent from
years. Indeed, as has been discussed at
the supplier; and dashboards, monitoring and re-
industry that we’re in. In digitally mature markets
The MAM is key to content production, archive
‘TV everywhere’ is a reality and has completely
and delivery, which all require seamless workflow
altered the viewing landscape. Nearly every
execution. Broadcasters and content owners
week, a new report is published highlighting the
should select a system that’s flexible. This is even
non-linear trend, and you only have to step into
more critical now as content requirements for
Hall 14 at IBC to see how quickly technology and services in this area have grown. To be successful in this new multi-platform, multi-format world there are challenges that broadcasters and content owners must overcome. These include the introduction of non-linear offerings, which require different services to be managed in parallel; the reduction of revenues from conventional linear channels, increasing output while reducing costs; access to content
‘By selecting the correct media IT solutions architecture, media companies can integrate their entire business from acquisition and production through to packaging and delivery, enabling far more efficient and cost-effective operations’
across multiple platforms; and integration of
the workflow, number of users, departments or sites. Perfect media management requires an exceptionally well-integrated IT architecture that is always one or two years ahead technologically so that additions such as new formats are easily configured within the system. It’s essential
news and production environments and the
for MAM technology providers to apply preci-
business systems that control them. By select-
different platforms continue to change constant-
sion in IT technology to broadcast and media in
ing the correct media IT solutions architecture,
ly. Standardisation is also important to avoid the
order to maximise the capabilities of the modern
media companies can integrate their entire
need for proprietary formats or non-standard
broadcast world, one that continues to evolve to
business from acquisition and production through
integration methods that could complicate sys-
meet the growing demands of the consumer.
to packaging and delivery, enabling far more
tems, new features and workflows in the future.
efficient and cost-effective operations. By selecting a solution that allows these
The cloud can also provide improved media
It is essential that media companies put key
management as well as storage and disaster re-
processes in place including multi-site, multi-for-
covery options. These range from storage servic-
challenges to be met, broadcasters and content
mat (4K is now a reality), multi-platform delivery,
es with additional backup in a separate location;
owners have a system that provides services for
and increasingly media business reporting. In
content storage with the additional capability
new business opportunities and growth areas
turn, MAM systems have evolved to manage
to transcode different formats for delivery; to full
including: UHD, nonlinear services, multiple
users as well as large amounts of content and
MAM features for content management provid-
platform delivery, scalability, third-generation
related media and data, such as audio
ing complete search capability and the ability
environments and profitability within media
languages, subtitles and all the additional
for content to be managed by third-party service
operations. To enable broadcasters and content
metadata, images and attachments needed
providers if required.
owners to maximise these opportunities, MAM
for non-linear distribution.
This last scenario provides a full multi-tenant
systems should include key features that further
MAM providers have powerful tools that en-
improve flexibility and efficiency. These include:
able the management, flexibility and scalability
MAMs sharing the same IT platform, providing an
multi-site operation, allowing remote operation
for any size of media organisation, regardless of
always-online multi-site architecture.
23-30 TVBE Dec Supplement_final.indd 24
MAM in the cloud with independent virtual
20/11/2015 15:59
TVBEurope iii
December 2015 www.tvbeurope.com
Supplement
in association with
It’s no longer enough to simply move many
the MAM through ‘departments’ using ‘Amazon.
thousands of media files over IP quickly and
com-style’ functionality.
securely without an improvement in productivity.
Tedial continues to embrace global industry
Broadcasters, and increasingly telcos, are also
trends with support for media initiatives such as
now faced with the challenge of how to auto-
the UK Digital Production Partnership DPP. Tedial
matically manage and monitor the enormous
Evolution ensures that customers can advance
volume of media and metadata that’s being
and develop their media businesses by evolving
exchanged between multiple media partners
with the changes in media consumption and
24/7/365. This will only continue to increase.
providing real operational efficiency and bottom
Adapting typical broadcast processes or relying
line savings. Content preparation and/or produc-
on simple IP accelerators or transcoding is not
tion demands internal and external collaboration
scalable or cost effective. The launch of Tedial’s
(partners). Dubbing and subtitling of a content
multi award-winning Evolution MAM earlier this
delivery platform developed by specialised
year has driven media management to a new
companies often located in different sites is a
level by presenting a suite of scalable and flex-
prime example of this cooperation. All users
ible media IT software modules that automate
can collaborate under the supervision of a
the preparation, movement and distribution of
task-driven collaborative model (BPM), where
media internally and externally. Built as a modern
every external partner receives work orders and
workflow engine with a world class MAM tightly
media files from the BPM engine and contributes
coupled to it, Evolution makes media ‘workflow
with contents and metadata, without being
aware’, enabling customers to cost-effectively
declared a user of the MAM.
increase their media throughput to meet the
Tedial Evolution has revolutionised media
needs of the market where the consump-
asset management bringing state-of-the-art
tion of content is growing year-on-year at an
technology to today’s media landscape. Since
unprecedented speed. Providing advanced,
its launch in April 2015, the technology has been
high-performance search and indexing tools as
recognised by the industry with two prestigious
standard, Tedial Evolution users can surf and ex-
awards. At NAB 2015, Tedial was presented with
plore archives. They also benefit from improved
the IABM’s Game Changer Award in the System
integration between third-party business systems,
Automation and Control category. Entries were
driving workflow for linear, VoD and OTT services
judged by a panel of 30 industry experts who
via a collaborative working environment.
identified processes, systems, products, services
The platform incorporates new GUI controls for
or developments that demonstrate superb inno-
This is a sophisticated model that allows
MAC or PC browser, tablet or smart phone, and
vation and offer real benefits for end users. At IBC
broadcasters to search, select and share
dramatically speeds up both manual and auto-
2015, Tedial Evolution received TVBEurope’s Best
content via the cloud with a very high
mated workflows. The GUI keeps frequently used
of Show award. A significant number of entries
quality of service (QoS). Media files are
tools accessible to easily manage tasks, validate
were submitted prior to the show opening, and it
delivered automatically in the correct
media or monitor workflow status remotely. The
was the task of an independent panel of judges
working format for the recipient regardless
interface is customisable for individual prefer-
to examine and evaluate each nominated prod-
of the originating format.
ences or work assignments, including meta-
uct on the basis of design, features, cost-efficien-
Distributed access better enables anyone within the organisation to access content from any location. This high level of flexibility means that it’s easier to evolve and amend media services. Time to market is also reduced if the cloud infrastructure is already available.
cy, and performance in serving industry profes-
‘The MAM is key to content production, archive and delivery, which all require seamless workflow execution’
sionals. Tedial Evolution was chosen for its ability to provide broadcasters’ and content owners with advanced Media IT tools for multi-site Enterprise MAM and Business Process Workflow. Day to day, broadcasters can continuously
Broadcasters for example, can focus more
expand and easily re-configure their core Media
on their core business of programme making,
IT to improve their overall media business perfor-
brand care and audience engagement. Speed of delivery is also key. To meet the
mance, continuously tuning media workflows. data views and screen configurations, with an
Tedial Evolution provides a robust solution that
demands of the multi-screen world, broadcast-
integrated activity monitor and unified view of
can receive and prepare any format past, pres-
ers require solutions that enable fast and secure
archives, workflows and business processes.
ent and future. The company’s unique Media
access over IP, providing automated workflows
Evolution’s search/indexing engine organis-
IT solutions help international broadcasters and
that package and present content, which can
es and searches media collections and other
global media companies to increase creativity
then be delivered to the cloud, and other sites.
object related entities, and indexes sizable
and improve efficiency throughout their media
This removes the unnecessary complexity caused
databases using shared indexes. Descriptive
workflow. Tedial’s customers’ problems are often
when working between so many desktops and
metadata is tagged automatically and keywords
complex however its approach is simple: Find IT,
departments using LAN or MPLS.
are autocompleted. It offers new methods to surf
Enrich IT, Manage IT and Publish IT. n
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in association with
Case Study Leveraging the cloud present and future By Jay Batista, general manager north American operations, Tedial
Tedial’s headquarters
U
ntil recently, the media industry has operated in a linear way where material is tangible with files carefully controlled
under operator stewardship, providing a security blanket for content owners. This is no longer necessarily the case as cloud-based services have begun to be deployed at various points in the chain. But security concerns are now taking a primary role in discussions about cloud infrastructure, which stops many technical managers from investigating the benefits and drawbacks of extending operations using cloud services. There’s no better time than now to investigate
cloud services, by exploring ways to work with these providers. It’s a burgeoning sector with providers seeking business models and partnerships within our industry that can help sharpen their
through your system. Focus on the workflows:
The MAM system should provide tools to measure
pricing models and value proposition. The aim
modern workflow and business process systems
the capacity of the hardware systems attached
is to provide services that can drive growth and
allow system administration adjustments without
to its workflows: a method to monitor the daily,
profitability, an aim that is now being achieved.
recourse to the vendors. In other words, locate
weekly and monthly throughput of the opera-
the points in mapped workflows where ‘overflow
tions. In most modern systems this reporting can
As media companies’ distribution models shift – look at the ever expanding list of over-thetop (OTT) and video on-demand (VoD) services – so the content preparation side also needs to adapt. Addressing this problem without additional labour and technology costs is a key driver in designing and building a mod-
be automatic and used for dashboards, and it‘s
‘There’s no better time than now to investigate cloud services, by exploring ways to work with these providers’
relatively easy to set triggers to alert the engineering team when the workload is reaching a critical decision point. There are other cloud infrastructure advances that can augment your media factory. With a
ern media facility. The clear advantage of
modern MAM/business process system employ-
cloud services is their ability to adapt to new
ing browser and HTML5-based user interfaces, it
situations as they occur.
is extremely important to add secure access for
How should media companies proceed? The
temporary workers at remote locations. Cloud
first step is to build infrastructure to leverage the
projects’ could be diverted to cloud service
service providers are expanding services and it’s
cloud, now and in the future, designing internal
providers. Also, analyse the amount of time
now possible to add language translation, subti-
networks to be cloud-ready. Fundamental to
required by staff to modify workflows for external
tle services, closed captioning, descriptive video
that is making overall technology decisions that
diversion in time, investment and the impact to
services, audio post production and more.
leverage cloud infrastructure in the future. The
current workload.
CAPEX and OPEX models are changing and now
We can’t avoid the cloud, nor should we
Once you understand the investment required
want to, and as these services become more
is the time to explore these to establish the most
to configure your IT infrastructure as cloud-ready,
prevalent, media executives are going to ask
cost-effective route to satisfy – or create – new
it’s time to understand the difference between
more questions in order to compare operational
monetisation patterns.
leveraging a service versus capital expenditures.
costs versus capital costs. Tedial’s unique
We suggest contacting multiple service providers
media IT solutions are assisting broadcasters
media factory and understand where opera-
and investing time in a cloud cost analysis to
and content owners with their current and
tion adds value to the media and files passing
understand an operation’s decision points.
future cloud requirements. n
To make a system cloud-ready, analyse your
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Supplement
in association with
A MAM for our time TVBEurope talks to Tedial chief operations officer Esther Mesas and solutions director Julián Fernández-Campón about supporting the demanding requirements of media companies, adapting to the challenges of 4K, and rapid changes in the industry
now drive workflow operations with less and less human interaction required. Julian: The use of the IMF standard simplifies and standardises content delivery workflows that are able to distribute to multiple platforms. This
Which recent changes in the industry have had the greatest effect on MAM? Esther: The rapid growth of OTT and VoD services and the proliferation of smart devices (tablets, smartphones, etc.), as well as new consumer models of consumption. Media companies need to adapt their oper-
which need to trust in a platform that drives their
orchestrates a heterogeneous farm of engines to
current and future business growth and guarantees the profitability of their operations.
How have you had to adapt your technology/business to meet these challenges? Esther: Tedial has released its platform Tedial
‘The broadcast industry has evolved into a media industry and video technology is now IT technology’ Esther Mesas
ations to this new scenario, but traditional work-
Evolution, which represents the new generation
flows and onsite infrastructure used in content
MAM that can support the most demanding
preparation for linear channels are not efficient
requirements of state-of-the-art media compa-
for massive file delivery. Media companies need
nies in the world. This high-end solution has been
to move forward with technology and invest
designed to be scalable, flexible and adaptable
transform and package all content, simplifying
in a new generation MAM if they want to be
to address different business needs. Tedial has
operational procedures and reducing costs. IMF
competitive. This is a new age for MAM
created a powerful system with a common set
defines a CPL (Composition Playlist) that selects
technology, where the customers need to
of functionalities that can be configured to fulfil
which content should be delivered and an OPL
execute global operations.
business operation conditions.
(Output Profile List) to define the transformations.
The volume of files that need to be managed
Tedial’s system has been upgraded to scale
has increased dramatically and greater efficien-
support for workflows, now managing hundreds
cy is required. Traditional MAM technology is not
per second, and our true object relational
capable of providing these advanced features
database has permitted the system to adapt IMF
and high performance to media companies,
methodologies so that expansive metadata can
23-30 TVBE Dec Supplement_final.indd 28
What are the key business requirements for broadcasters and content owners when selecting a MAM system?
20/11/2015 16:00
TVBEurope vii
December 2015 www.tvbeurope.com
Supplement
in association with
How has the adoption of non-linear services changed the role of the MAM? Esther: Consumption habits have changed dramatically and non-linear services have turned the industry upside down. Traditional broadcasters are disappearing and new media companies are emerging. The broadcast industry has evolved to a media industry and video technology is now IT technology. A MAM system is a pure IT solution that has become essential in this IT media industry. The MAM has become the footbridge between the video world and the file world. Companies need to invest in a MAM that provides an IT media solution that adapts their facilities to the new IT features needed to deliver
Esther Mesas, chief operations officer, Tedial (above) and Julián Fernández-Campón, solutions director, Tedial
non-linear services. Today’s MAM must be integrated end-to-end to provide the real benefits of the media factory ideal. Tedial is one of the few systems to deliver on this promise.
Esther: Modern, flexible designs employing open
‘MAM vendors need to offer solutions able to manage content delivery to multiple platforms without complex operational tasks’ Julián Fernández-Campón
and SMPTE standards supply the most ‘future proof’ systems, allowing long term, modularised planning. Broadcasters and content owners sets and defines operations. For this reason, they
Julian: The major challenge is to produce more
need to trust not only in the technology of the
content for the new consumption models in an
You launched Evolution earlier this year, what success has it had in the market?
system, but also in the experience of the vendor,
efficient and cost-effective way. MAM vendors
Esther: Tedial measures the success of the Evolu-
who together with the customer will design a
need to offer solutions able to manage content
tion system in three ways.
solution that maximises business operations using
delivery to multiple platforms without complex
Evolution has won the NAB 2015 IABM Game
optimal technical workflows.
operational tasks.
Changer award and the IBC 2015 TVBEurope Best
Julian: It’s important that the MAM vendor pro-
for ground-breaking innovations. We have seen
caster’s current and future operations; scalability,
What are the challenges and pressures of 4K and UHD on MAM systems?
to upgrade the platform according to new
Esther: Tedial first tested 4K file management in
ber of upgrade requests from our current custom-
media processing and delivery requests; and
2012 and we have adapted our Hierarchical
ers who want to move from their existing version
the ability to allow the broadcaster to choose
Storage Management tools and metadata
of our software to the Evolution platform.
systems that are the best fit for their operation.
systems to fully support archiving, managing and
need a flexible system that allocates business as-
of Show award indicating top technical approval vides flexibility, to adapt the system to the broad-
a 25 per cent increase in bookings year-on-year, and finally, we are experiencing a record num-
distributing UHD formats.
What are the options for smaller broadcasters?
How do you see the industry changing in the next five years?
Julian: There are multiple aspects for MAM
Esther: Today’s broadcasters and media pro-
Esther: Smaller broadcasters can start with a
systems when using 4K, including efficient storage
ducers are going to see a rapid evolvement in
minimum system and an infrastructure plan, and
management due to the high bit-rate of new 4K
delivery systems and consumer demands. The re-
design with the future in mind. Alternatively,
formats; content management, ensuring that all
quirements for media factory applications driven
Tedial has partners that offer tenancy services
media in various formats is placed in logical con-
by OTT and VoD services will continue to increase
for smaller content producers and broadcasters
tainers to simplify operations; and workflow man-
and systems must scale to address hundreds of
that want the flexibility and benefits of a Tedial
agement, to design and optimise workflows that
workflows per second and encompass end-to-
solution as an affordable service.
manage 4K format acquisition and processing.
end solutions. n
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TVBEverywhere
Facing up to Netflix in France Tristan Du Laz, who heads TF1’s VoD rental service MyTF1VOD, is betting on a new EST proposition to see off competition from the likes of Netflix. Catherine Wright reports There are so many different VoD and SVoD services in France, including Netflix’s, which launched last autumn. What makes MyTF1VOD so special? Four years ago, when our service changed its name from TF1 Vision to MYTF1VOD, we begun a major strategic shift from being a pioneering provider (at the time our service was the only one to show top American drama series 24 hours after they were aired in the US) to becoming one of the leading global VoD rental platforms in the country, with one of the strongest and widest content offerings on the French market. At any time, the viewer can access over 6,000 premium programmes on MYTF1VOD, of which around half are films. To be able to offer such a wide variety of films, including all the recent successful theatrical releases, we have built very strong
“Our service was the only one to show top American drama series 24 hours after they were aired in the US”
partnerships with theatrical distributors. They increasingly choose our platform to launch their new films through dedicated cross-marketing campaigns, as was the case with Mad Max: Fury
Road (we showed the film for a week before any other VoD service). We have also become widely accessible: our service can be viewed on most set-top boxes and on virtually every device, including smartphones and tablets, whether Android or iOS. Our turnover has tripled in four years: in 2014, it grew by 36 per cent, for instance. We now have a 20 per cent share of the French market, if you add up all the different ways you can access our VoD content, up from ten per cent four years ago.
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32 TVBEurope
www.tvbeurope.com December 2015
TVBEverywhere How do you explain such growth?
right film for it. We also must handle all rights
Since the beginning of the year, a growing
It mostly boils down to our market knowledge
exclusively, including theatrical and VoD rights
number of people are watching our content
and expertise. We have more than 25 years’
in order to be able to do that, but it is a path
either on a device (smartphone/tablet) or
experience in acquiring, distributing and
we are determined to follow.
an OTT smart TV screen. It is an encouraging
promoting video programmes in France, initially
trend but I cannot give you any precise figures
on VHS then on DVD and now as part of our
What do people prefer to watch on
yet as we are still assessing these changes in
VoD service. We are still a major Blu-Ray and
MyTF1VOD?
consumer habits.
DVD distributor. But we are also keen to be at
Seven times out of ten, our viewers choose to
the forefront of innovation when it comes to our
watch films, though American drama series are
Does your VoD turnover compensate for the
VoD service and have since the spring started
also popular, as well as stand-up comedians
loss in revenue from your DVD business?
to release films as exclusive firsts on MyTF1VOD,
such as Florence Foresti, especially when they
Not yet because VoD content can be rented
such as The Age of Adaline with Blake Lively and
have a new show in town. French legislation
for a very cheap price – ranging from €2 to
Harrison Ford. The release created a fantastic
on release windows changed in 2009 allowing
€4 for each programme – compared to what
buzz and was a big success. The film was
films to be launched on VoD platforms only four
you pay to buy a DVD or a Blu-Ray. That’s why,
released theatrically in the US on 2,900 screens
months after their theatrical release, making
as of November, we have enabled people to
but we decided to only promote and release
movies more attractive to a wide audience. As
download MyTF1VOD content onto their hard
it on premium VoD. That strategy, pioneered
most viewers watch films on the TV set, it is also
disk and to keep it and store it, for a price that
by distributor Wild Bunch in France with the
a cheap treat for the family: a whole group of
is lower than DVD but higher than rental. Before
Abel Ferrara film on Dominique Strauss Kahn
people can view a film for less than €5. Viewers
that, people could download to own some of
with Gérard Depardieu, makes sense because
can also access our service on a wide number of
our exclusive content but only by becoming
so many films are released theatrically in our
devices inside or outside of the home.
an Apple iTunes user. From November, they
country every week, and many last no more
can download MyTF1VOD programmes and
than four weeks on the big screen. It is a difficult
How many people watch MTF1VOD content on
films on any device, whether Android or iOS.
editorial decision to make and it has to be the
their tablets or smartphones?
It is a strategic move and the only way to
www.asperasoft.com moving the world’s data at maximum speed
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December 2015 www.tvbeurope.com
TVBEverywhere compensate for the decline in DVD and
Cinéma Séries) are the most at risk initially. But
not planning to offer a subscriber-based service
Blu-Ray sales and make earnings grow.
when you look at countries like the UK where
à la Netflix any time soon. The only exception
Netflix and Amazon Prime have seven million
to this rule is TFou Max, a subscriber-based
What programmes are available for EST?
subscribers between them, Sky seems to be
offering of our children’s programmes,
From the start, several thousand programmes
doing fine and the same goes for HBO in the
available on telcos Free, Bytel and Orange
are downloadable but our aim is to offer more
US, despite Netflix’s 40 million subscribers.
platforms. But we are also quite aware that
content than what is available for our VoD rental service and that will happen during 2016, with a medium term target of 10,000 titles. Right from the start, we launched a greater choice of TV series on EST. But we also have a wide back catalogue offering which is not truly appropriate for VoD rental because people want to first access the latest successful releases. Around
one of Netflix’s strengths is precisly its very wide
“One of Netflix’s strengths is precisly its very wide back catalogue library, so we will have to be editorially inventive to compete”
back catalogue library, so we will have to be editorially inventive to compete. One of Netflix’s key advantages is its brilliantly performing algorythm. Is TF1 studying new recommendation software tools along the lines of
70 to 80 per cent of the demand for VoD rental
Canal+’s Suggest?
on MyTF1VOD concerns new releases, so
We are looking at those aspects very closely
there is a lot of scope to sell film classics or cult
and we plan to develop new tools when we
programmes to viewers who want to own them.
The business certainly hasn’t collapsed, as some
have gathered more information from our EST
For instance the Les Bronzés franchise, which has
pundits predicted at the time.
customers. Our service is not subscriber-based
cult status over here.
At the end of the day, we are all competing for the viewer’s time and of course some of our
and recommendation tools are especially useful to counter their churn rate.
How has Netflix impacted your business?
customers have made and will make the switch
It is early days yet but I would say that pay-TV
to Netflix. We have adopted a different business
everything we can to keep and grow our EST
operators such as Canal+ or OCS (Orange
model, by going down the EST route and we are
customers, so watch this space. n
31 32 33 TVBE Dec TVBEverywhere_final.indd 33
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Feature
Securing Britain: inside CISE George Jarrett looks at how project CISE could eleviate security fears in the UK film industry
T
with him. “Innovate UK mentioned to
That chain can be out to client or out to an
us that it was thinking of doing a project
overflow facility such as Milk. The group has
around network security after what happened
looked at their different interests and Jack has
to Sony Pictures,” he said. “I got more information
plumped to, “look particularly at how you define
and met individually with Nick Cannon and
these kind of security templates, and how you
he hacking of Sony Pictures triggered
Steve MacPherson and said in the vaguest
would use that to configure your hardware
shockwaves throughout a security obsessed
terms there is a grant project around security.
The thing that’s most painful for us is just the
film industry, and in the UK we saw a bout
They thought it was a good idea and
overhead of having to configure all of the
suggested we contact Sohonet.
different systems: our workstations, firewalls and
of government heebie-jeebies around the threat of a heavyweight hacking attack seriously
switches. What we are looking at is a way to
damaging global trust in the UK production and
define a high level template which defines what
VFX sectors. UK plc has a lot invested in film via tax breaks, and features support many thousands of jobs. To sustain this jewel, via Innovation UK, we now have the project CISE (Creative Industry Security Environment) with the aim of creating a content
“In light of the Sony Pictures hack, post and VFX content security is very high on the agenda for MPC and our clients” Nick Cannon, MPC
your security intent is,” he added. This would be driven by client needs and would be used to automatically configure all of the different tools. “That is the bit we are interested in and Framestore is going to be working on that part as
security protocol with accompanying open
well. MPC will be heavily involved in the testing
source software tools by the end of 2016.
part of it, and Sohonet is particularly interested in
The project involves five companies - Double
threat protection and real time traffic analysis,”
Negative, The Moving Picture Co, Framestore,
“We had four involved, and when we got
said Jack. “The idea is that you define this
Sohonet, and Milk. The five faces running CISE
Wavecrest involved to put the grant
template which says for this client this is the
are Graham Jack, CTO at Double Negative;
application together it suggested getting
security intent, then you configure your systems
Ben Roeder the CTO of Sohonet; Nick Cannon,
Milk involved,” he added.
in an automated way.”
director of technology and operations, film, MPC;
“The whole project was structured around
This removes the overhead, and then
Steve MacPherson, the CTO at Framestore; and
protecting digital supply chains, and we are
you monitor traffic using Sohonet’s real time
Dave Goodbourn, head of systems at Milk.
looking at ways to define a digital supply chain
traffic analysis to see if anything is reaching
in our business.”
that template.
Jack is the project lead, because it all started
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December 2015 www.tvbeurope.com
Feature “We will detect that threat as early as possible,”
needs of media content. We are working very
The project is to benefit UK plc, to keep British
said Jack. “The grant pays essentially 50 per
closely with Sohonet, seeing how we can do it
companies competitive. We are not doing
cent of our costs, so you have to make sure it is
in a way that works for our types of budget and
anything secret or particularly specialised. It is
something you want to do anyway. We would be
technical environments.”
about putting together a properly managed
doing a lot of this work even if we did not have
The application of deep learning technologies
service around the collection of different security
the grant, and the really good thing is it is a way
will enable MPC to look at the patterns of traffic
products out there, and building a platform out
of bringing companies together.”
in a network and identify anything that needs
of that,” he added.
The CISE group had just signed the grant paperwork and had not had a first quarterly
looking at further. “We are dealing with very large volumes of
“Security is much more about the practise and providing the managed service than the silver
meeting, but Jack foresees the finished project
data and traffic and typically with quite small
bullet you can buy. We run networking all round
impressing on a global scale.
operational teams, so automation makes sense.
the world and see this as an important step
If you bake in your security into the automation
forward on some of the security products that we
Picture Association of America, where the
you know it is going to be applied all of the
are developing anyway. It’s all about applying
biggest drive for security in our industry comes
time,” said Cannon.
the state of the art.”
“The most likely to bite would be the Motion
from. We are hoping to get a buy-in from the
“What CISE is going to do for us is give us more
It was Roeder who suggested Milk be brought
MPAA and from our studio clients, that this is a
of a level playing field between the different
on board, to help make CISE work across the full
good idea,” he said. “I am hoping by the end of
companies. It will give the major movie studios
VFX market. Milk has a split between TV show VFX
it we have a way of writing a security template,
confidence that there is a constant security
and movie VFX of 75/25, and has taken overspill
and Sohonet will offer a service which will run on
scheme here, and build the level of expertise
work from many other VFX houses. Its biggest
all our network connections. It would enable us
we offer in the UK,” he added. “We are focusing
recent credits include the VFX for Jonathan
to monitor traffic in and out of the building, and
more towards the tail end of the project, on
Strange (1,000+ shots) and Doctor Who.
compare that data with the security template.”
validation and integration.” MPC is owned by Technicolor, which will surely
“We are not and never will be Double Negative or MPC. We do not have a department
Looking at the patterns of content traffic
buy into CISE when it is finished. And CISE has
big enough to build our own systems and
been discussed already by some of the security
don’t have pipeline developers,” said Dave
Nick Cannon opened by saying: “In light of
leaders in the big studios.
Goodbourn. “We use a lot of off-the-shelf tools
the Sony Pictures hack, post and VFX content
and services. We use Sohonet a lot.
our clients. CISE originated in that conversation
Standing on the shoulders of giants
recognised that it is all well and good for them
amongst chief technology officers and the
Sohonet has managed security for over 50
to develop the CISE product but actually if the
level of collaboration we talked about is where
per cent of its customers for 15 years, and was
smaller companies are going to be able to use
Sohonet started out. We talked to Sohonet,
already increasing the level of inspection and
it we need to test it in our infrastructures,” he
came up with some ideas and submitted that
automation on the security monitoring side of
added. “Most of our contribution will be from
to Innovate UK. It was fantastic when we were
its business. Looking at the open sourcing of
a testing and implementation perspective –
awarded the funding.
security approaches and products as used by
just breaking their work. We will be testing
the likes of Facebook and Spotify, Ben Roeder
how well it implements in our kind of scale
expertise we have developed, and the amount
will be taking a lot of that technology and
facility. It needs to work across the board for
of content that goes through London, content
specialising it for VFX pipelines.
the concept to work, not just for half a dozen
security is very high on the agenda for MPC and
“If you look at our global market share, at the
security is vital,” he added. “This project is around
“We are standing on the shoulders of giants,”
“The CTO guys from the big companies
companies. If it is successful and works as well
taking technology from other hi-tech industries
he said. “Primarily the development side of CISE
as everyone hopes, there is no reason why it
and seeing how we can apply it to the specific
will involve Sohonet and Double Negative.
would not work globally.” n
34 35 TVBE Dec Feature CISE_final.indd 55
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TVBEurope 37
December 2015 www.tvbeurope.com
Feature
2016: Trendspotting
2015 saw the rise of premium OTT offerings, increasing hype around 4K/ UHD, and non-traditional broadcasters successfully entering the market. TVBEurope asked a selection of industry figures to share their predictions for what the next 12 months will hold
2015 was the year of…
although we are part of the way down the road.
Dr Neale Foster, COO and VP global sales,
This has been a year in which the real change
ACCESS Europe: In EMEA, 2015 was the year of
is that we are increasingly headed towards
accelerating premium OTT services, with Netflix
IT-based solutions (not meaning IP) for the
launching in multiple countries, Amazon Instant
next generation of systems. This is not just
Video rising to become the number one video
about IP, which is what everyone is talking
provider in Germany, and YouTube launching its
about, but rather a broader shift of the
ad free premium service.
professional video world towards solutions that
As well as services, the consumer was also targeted with new device types such as
are based on general purpose computing, processing and transport.
smartwatches, Hololenses and IoT devices.
“The imminent technological breakthrough that will transform the entire industry will be IP-related and it will happen faster than many might think” Andrew Cross, NewTek
This is great for the gadget freak and early
Guido Meardi, CEO and founder, V-Nova: 2015
adopter, but for many people the simultaneous
was the year that proved that the market needs
acceleration in services and device types
new solutions to solve an overwhelming and
As the industry moved towards the introduction
leads to confusion.
growing demand for video services. These seem
of HD and UHD the emergence of compression
to be coming from new market entrants, who
technology that could change the industry’s
customers see this as an exciting opportunity; by
can gain ground on even the most established
trajectory was an imperative, though not an
providing easy-to-use packaged solutions that
leaders with the right innovation.
inevitable outcome. The introduction of our
What we’re finding is that our operator
combine simplicity with a great user experience
In video compression, this year we saw the
compression technology, Perseus, in April this
the operator can retain and attract customers
first serious challenges to MPEG’s hegemony
year, turned legacy approaches to encoding
and perhaps even grow ARPU.
in a decade. Since the mid-2000s it started to
on its head, moving from block-based algorithm
become clear that legacy codecs might be
to hierarchical and scalable functionality that
Dr Andrew Cross, president and CTO, NewTek:
insufficient to meet accelerating demand for
delivers bandwidth benefits up to two to three
It is very tempting to say 4K or IP, but the reality
OTT and streaming video, without significant
times legacy codecs such as H.264/AVC, H.265/
is that neither of those are really ‘there yet’,
infrastructure investments.
HEVC, and JPEG2000 in real life situations.
37 38 39 TVBE Dec Future Trends_final.indd 55
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38 TVBEurope
www.tvbeurope.com December 2015
Feature
“IP has been around since the 1970s, but it is finally being embraced in the broadcast real-time video domain” Steve Plunkett, Ericsson Broadcast and Media Services
Steve Plunkett, CTO, Ericsson Broadcast and
are standardised and easy to integrate. 2015
Media Services: 2015 was the year of IP. It has
also saw the pace of change really ramp-up
been around since the 1970s but it is finally being
for operators. We’re confident that the operators
embraced in the broadcast real-time video
that thrive in 2016 will be those that can adapt
domain. We are only at the beginning of this
almost instantly to new trends and that data
journey but it was one of the most referenced
and analytics will be key to getting these
technologies at NAB and IBC.
adjustments right.
What have we learnt most about the industry in the last 12 months?
AC: It is clear that the trend towards a much
NF: 2015 saw operators understand and relish the
we are just at the start of this process. In the
The next few years will see a blurring of the
opportunities of going beyond the business of
traditional broadcast industry, people are starting
line between partner and competitor as the
content aggregation and distribution. Many of
to produce more content that is increasingly
strongest companies will look to specialists,
the most successful operators are building their
local and relevant to individuals, but with smaller
particularly in the areas of virtualisation, CDN and
own solutions from technology components that
audiences in many cases. This also means the
compression technologies, that can increase
traditional cost models are changing as well as
efficiencies and improve quality while meeting
the balance between requirements and cost.
the rapidly rising video demand.
broader reach of video is increasing, indeed
Outlets that were not traditional broadcasters are more and more becoming the mainstream.
SP: We really are in the midst of a major technology transition (IP, software, virtualisation,
GM: 2015 wasn’t all about rivalry and
cloud, etc) and it will be a bumpy ride but
competition. In fact, it proved that
there is genuine excitement (nervous or
interoperability and collaboration will be
otherwise) about the journey ahead. Oh,
fundamental to innovation.
and it turns out you can successfully launch a
Google’s decision to partner with four content
UHDTV channel in 2015.
delivery networks to improve its service is a giants will swallow the smaller, highly specialised
What will be the next big technology breakthrough?
innovators. There will always be a need for
NF: Technology continually evolves in steps,
independent companies that offer advanced
which sometimes makes it difficult to back
solutions, as they are often best placed to ensure
a winner. It was not so many years ago
continuous technical evolution.
that streaming was experienced by most
key rebuttal to those who argue that industry
“2015 saw operators understand and relish the opportunities of going beyond the business of content aggregation and distribution” Neale Foster, ACCESS Europe
37 38 39 TVBE Dec Future Trends_final.indd 56
At this pace of change, the emerging video-
of us as small boxes of grainy video, which
tech businesses that will have the greatest
stopped to buffer every minute or so. After
success will be those that develop solutions
many incremental increases in a number
that can integrate with legacy technologies
of technologies in the components and
and existing infrastructure, as much as enabling
infrastructure enabling streaming media,
improved services. Similarly, established
OTT video now competes on level terms with
consumer video businesses will need to
broadcast rivals in terms of quality, flexibility and
embrace the arrival of new technologies
ease-of-use. We see the next big thing as being
and even competitors.
the combination of information from different
20/11/2015 16:21
TVBEurope 39
December 2015 www.tvbeurope.com
Feature services and solutions generating completely new
This lack of momentum has been primarily
commercial opportunities, such as cross-selling,
due to the cost of overhauling today’s
enabling better service packaging through more
infrastructure to acquire, process and distribute
accurate customer knowledge and automation.
UHD video. As a consequence, UHD has
These developments will enable operators to
remained a difficult prospect for many operators
provide consumers with flexible personalised
until this year. In 2016, the video industry must
entertainment services.
bypass the incremental compression gains of legacy codecs and the unrealistic need to
AC: The imminent technological breakthrough
constantly require a complete infrastructure
that will transform the entire industry will be
change to deploy new services. We will need to
IP-related and it will happen faster than
embrace technologies that enable far greater
many might think. We are already starting to
efficiency and flexibility within our existing systems,
trend away from the traditional workflows into
including lighter clients, more virtualisation and
something that will eventually replace them.
novel encoding technologies. It does not stop
2016 should see some major advancements
at 4K/UHD; the industry needs to embrace
along these lines.
technological breakthroughs, including codecs, that allow for a wide-scale transition to 4K/UHD
GM: 4K/UHD delivery was at the top of the
as a mainstream reality and starts to make 8K an
agenda in 2015. This was well reflected at IBC
achievable ambition.
where a number of broadcasters committed to move into the space over the coming year, and
SP: Composable media and infrastructure: micro-
shipments of 4K TVs had a dramatic 197 per cent,
services-based distributed broadcast systems and
year-on-year increase in Q2 2015, as reported by
object-based media. Together they will change
IHS. Even so, industry adoption hasn’t made the
how content is produced, managed, distributed
gains that the buzz might suggest.
and consumed forever. n
37 38 39 TVBE Dec Future Trends_final.indd 57
“The next few years will see a blurring of the line between partner and competitor” Guido Meardi, V-Nova
20/11/2015 16:21
40 TVBEurope
www.tvbeurope.com December 2015
Feature
Talking heads: storage and archiving Sarah Paris-Mascicki, product marketing manager at Ericsson, and Object Matrix CEO Jonathon Morgan discuss moving content to the cloud, and the impact of IP workflows
The rise of cloud DVR, Sarah Paris-Mascicki
content and allow each cDVR subscriber to
even reduce some of the cost associated with
S
effectively tag an item they wish to ‘virtually
setting up such a large new solution. The main
ince the first video tape recorders of the
record’, essentially creating a playlist of content
challenge for operators is defining the business
1980s, the ability to record a single TV
that is stored once and served up through a
model for switching to the cloud versus in-home
channel has extended to multiple tuners
scalable origin server. This essentially turns the
DVR and each operator poses a unique set of
and live TV pausing and ultimately as a function
cDVR function into an SVoD service with a rolling
legal and technical criteria.
embedded within modern set-top boxes (STB).
catalogue of content based on transmission
However, the huge quantity and diversity of
schedules. However, the legality of this
networks able to meet demand, with studies
content as well as viewers demanding more
approach is dependent on jurisdiction, channel
showing that 12 per cent of viewers are
multi-screen playback flexibility is forcing the in-
agreements and in some cases individual shows.
accessing cDVR services like catch-up during
home DVR to adapt.
Moving to the cloud Instead, operators are looking at cloud DVR (cDVR) solutions that move the recording and playback of shows into the network, potentially solving several issues but also throwing up a few challenges. The major benefit is cost, particularly in terms of lower equipment and installation costs, which are often borne by the
Another consideration is designing delivery
peak hours. cDVR is still a small market with
‘The huge quantity and diversity of content as well as viewers demanding more multi-screen playback flexibility is forcing the in-home DVR to adapt’ Sarah Paris-Mascicki, Ericsson
research estimating that 4.6 million subscribers will have access to services in 2015. However, as more viewing minutes move to on-demand and away from linear TV, cDVR advanced features like relevant ad-insertion into recorded content will become a significant revenue generator and and may prompt more operators to make the switch. may prompt more operators to make the switch.
operator. With a core component of a spinning hard disk, device failures also force additional
IP workflows, a phased journey, Jonathon Morgan
servicing costs and impact subscriber satisfaction
To meet these issues, some operators are
as recordings disappear into the ether due to
instead deploying private copy cDVR. In this
component breakdowns. cDVR benefits include
instance, if 5,000 customers put a sporting event
the removal of limitations on simultaneous
on their DVR, the vendor needs to store 5,000
recordings and local storage capacity. With
copies of that video in the cloud. This presents
T
recordings now in the cloud, playback on set-top
major challenges, as capacity requirements are
Disaster! Where and how do I protect this digital
boxes in other rooms and even mobile devices is
not just huge, they're also difficult to predict.
content? My production storage is overfull. I
made easier although legal issues abound.
Playout is erratic, and storage volume constantly
better copy the data on to a tape to back it up.
changes. Consistent high throughput read
So much for an on-demand IP workflow.
Most significantly, this move allows operators to answer their subscribers’ demands for new
and write is critical.
services such as multi-device and multi-room
he impact of IP workflows in the media industry, as of today, sits somewhere between phase one and phase two.
Phase 1, Panic: capture becomes digital.
Phase 2, understanding: Time to stop treating ‘digital’ content like it is a Digibeta ‘tape’. I need
delivery that are not possible with an in-home
Mature technology
access to it throughout the production and
STB. Additional services like pause live, start over
In some instances, a hybrid mix of shared and
distribution process. I will buy a scalable nearline
or recording in the past can be added on the fly
private copy may be a viable way to reduce
storage platform to ingest/park the data. Now
once the move to the cloud has occurred.
content rights restrictions and help meet local
I can create media libraries of core company
regulations. Both approaches benefit from
footage, and digital archives of accessible
Shared copy vs private copy
mature software and processes for deploying
data. Having all that digital data available is
However, switching to a cDVR model is not an
cloud DVR, which have been refined in the
becoming a lot more useful and a lot more
instant panacea and has both technical and
growth of time shifted TV over the last few years.
integrated. We don’t miss tapes at all. But for the
legal issues that are closely related. In theory,
Real-world experience can also help alleviate
annoying offline backup processes IP workflows
the least complex method of deploying a cDVR
the difficulties of integrating with an existing
are now adding real value. Phase 3, protecting
would be to make a copy of all transmitted
infrastructure, increase time-to-market and
your back: You’ve now got all your data in one
40 41 TVBE Dec storage and Archiving_final.indd 54
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TVBEurope 41
December 2015 www.tvbeurope.com
Feature place. But when data is in one place it is prone
far more than purely a ‘disaster recovery’ second
filesystems and databases: that’s why formats
to disaster: floods, viruses, malicious individuals,
or third copy. It integrates into the way creative
such as AS11 exist, to combine data and
human error. But we don’t like tape archiving:
professionals work today and meets the demands
metadata into an easily transferable asset,
it’s time-lagged, manually intensive and error
for real-time delivery of content.
that is self describing and non-proprietary.
prone itself. Average down times can be 18 hours or more and that is with multiple copies of content on LTO. Disaster recovery strategies with digital data are increasingly cost efficient and sensible (protecting the company and… your back) with the data digitised. Production work can continue at a second location within minutes of the first going down. IP workflow suddenly becomes essential. Phase 4, The new world: Media convergence,
Sure, those assets are dropped on to
‘The IP workflow has fundamentally reshaped the way we all work, but it’s only truly reached the first few phases of its implementation’ Jonathon Morgan, Object Matrix
OTT delivery, non-linear programme selection,
filesystems and the metadata extracted into a database, but almost as soon as you’ve done that you have to extract the asset again to put it somewhere else. Hence in IP workflows there has been a rise in object storage platforms that keep the data and metadata together, and can apply policies to automatically copy or move the data across multiple locations. Those platforms can link across geographies, HSM to other tiers of storage and can integrate
editors being able to edit from one location whilst
into the workflows you use, sharing and
data is captured at another. Full production
From full tape workflows, only a few years
enhancing the metadata available in those tools
facilities available as a service – rented for just
ago, to the media convergence of today,
to find and manipulate the assets.
a few weeks and then passed on for the next
the IP workflow is not just changing the way
The IP workflow has fundamentally reshaped
user. These are but a few of the benefits bursting
data is stored but the way content is shared
the way we all work, but it’s only truly reached
through now that IP workflows are building up
and delivered.
the first few phases of its implementation. The
steam. At Object Matrix we call it ‘wide area nearline’ – data is shared over a wide-area and is
40 41 TVBE Dec storage and Archiving_final.indd 55
The media industry has long realised that the best ‘building blocks’ for IP workflows are not
future is more flexibility, more integrated, easier to use and with ever lowering infrastructure costs.n
20/11/2015 16:26
42 TVBEurope
www.tvbeurope.com December 2015
Forum
Managing your media Philip Stevens moderates a discussion on the benefits and challenges of media asset management systems, a vital part of just about every company’s technology
M
and provides fast and secure work management saves money. A modern MAM engine that permits web interfaces can provide a portal for consumer downloads: a clear monetisation
edia is being consumed by the
product manager, EditShare; Karl
scheme. Sharing content between regions, both
broadcasting industry at a phenomenal
Mehring, director of playout and delivery, Snell
inter- and intra-company also provides ways
rate. And it is set to increase. What’s
Advanced Media; Savva Mueller, director,
to monetise assets, especially if the MAM tools
more, that media now spreads across multiple
product management, Masstech; and Oscar
can provide partial file restores to high definition
formats and platforms. So just how do you
Tengwall, product manager, Vizrt.
formats, or automated deliveries.
management provides the solution, but what
How can the right MAM help to
Davenport: The power of a smart MAM lies
issues do such systems raise?
monetise content?
in the metadata. At a simple level, rich
Abel: Automating repetitive tasks and workflows
metadata – technical, descriptive and
alphabetical order) David Abel, director of sales,
with accuracy, managed by a MAM that
statistical – enables you to quickly search
Europe, Asia, Middle East and Africa for Tedial;
integrates the business systems driving the
and sort media, selecting assets you want to
Ben Davenport, director of marketing, Dalet; Niall
workflows, saves labour. Employing a system with
publish. At a deeper level, metadata can help
Duffy, head of IT and workflow solutions, Sony
a web-based HTML5 GUI that permits accurate
you target your content. For example, pairing
Professional Europe; Craig Dwyer, senior director,
searches, allows users to access their tasks on
targeted advertising with complimentary content
Avid Center of Excellence; Jeff Herzog, Flow
smart devices such as tablets and smartphones,
increases the potential value of that content.
handle all that content? Media asset
Taking part in the discussion are (in
42 43 44 45 47 48 TVBE December Forum_final.indd 42
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TVBEurope 43
December 2015 www.tvbeurope.com
Forum Duffy: MAM platforms have historically been
asset management. If you want to find and
it out in the appropriate formats for your target
siloed systems that lack collaboration and
restore a piece of media, some sort of human
distribution channels. One way in which a MAM
interoperability, unable to support multiple media
intervention is often required to match the
can really add more value, though, is in its ability
formats, and this has been an obstacle to asset
request manually back to the archive and
to uncover ‘hidden gems’ such as older content
monetisation. Earlier this year Sony launched
initiate the restore. What good is having an
or that which has appeal to a specific niche.
Media Navigator, a scalable solution to deliver
archive if content producers can’t get to the
Often, the monetisation value may not have
flexible asset management and support a wide
material? Removing these barriers to the archive
been obvious when it was first archived. Robust,
selection of applications. This intuitive new
and ‘democratising the media’ can have a
easy and precise search tools, including the
platform means little or no technical knowledge
tremendously positive effect on monetisation and
ability to search unstructured data, enable such
is required, keeping costs down by removing the
utilisation of the stored value in archived content.
content to be readily found, while an accessible
need for additional training.
API for interfacing with B2C and B2B commerce systems opens up new direct and indirect
Dwyer: Media environment enterprises are under intense pressure to improve content monetisation and maximise operational efficiency. They’re expected to do more – to create more content for more platforms and deliver it to more people – so they have to find new ways to secure revenues, differentiate services to earn audience loyalty, and deliver all these services at a lower
‘The right MAM puts advanced media search and restoration capabilities directly in the hands of the end users who are producing content’ Jeff Herzog, EditShare
monetisation opportunities. Tengwall: Time is money in our business and a MAM system’s primary job is to bring speed and efficiency. That is both about reusing media effectively, having a high-degree of automated workflows, and making sure that teams and departments can collaborate effectively. Beyond
cost. One of the key routes to achieving this goal
this, MAM provides an operational flexibility to
is through media asset management. Originally,
add more outlets for media, whether it’s new
asset management was seen as a low-level
broadcast channels, new online channels, or
function, a means of keeping track of content,
even B2B portals for selling media.
especially as the repository became a set of files
Mehring: It is all very well to catalogue your
stored on servers or in a data archive. Today,
assets within a MAM, but the right system needs
Has the cloud made any difference to MAM
the MAM system is seen as a key strategic
to have powerful and repeatable search
products and technology?
investment, providing wide-scale access to
capabilities that allow valuable assets based
Abel: Modern enterprise MAM architecture
content, and taking an active role in identifying
on metadata, captions, speech or logged key
such as Tedial Evolution is fundamentally
and promoting content that has an attached
frame information to be found. Add to this the
designed to be ‘cloud ready,’ to leverage
revenue opportunity. And as the repository of
ability to edit and create new versions of assets
the scalability in services available from
metadata, it’s seen as the heart of workflow
for re-monetisation and deliver to the multitude of
cloud providers. Applications include temporary
processes and automation.
different platforms for consumption. Furthermore,
or long-term storage, scaling transcoding
in the case of service providers, the right MAM
and quality control services, OTT and VoD
Herzog: The right MAM puts advanced media
would include statistical reporting allowing
distribution methodologies and a myriad of
search and restoration capabilities directly in
analysis of which processes materials have
support services, such as translation, audio
the hands of the end users who are producing
been through for billing purposes: as well as to
description and subtitling.
content. As we talk with prospective customers
understand system capacity.
about our solutions, it has become clear that in
An important innovation of Tedial Evolution leverages our true object relational database
many cases, facilities’ existing legacy archiving
Mueller: Of course, any MAM should make it easy
to permit thousands of users on any security
systems are not well – if at all – integrated with
to locate ‘high-profile’ stored content and get
authorised browser portal to upload or manage
42 43 44 45 47 48 TVBE December Forum_final.indd 43
20/11/2015 16:28
44 TVBEurope
www.tvbeurope.com December 2015
Forum
associated media, expanding the potential pool
collaborators anywhere in the world can use
people talk about existing asset management
of employees around the globe.
a standard web browser to play, log, search
technologies and concepts more than it
and organise media content, and also upload
has changed the technologies and
Davenport: Not to the technology per se, but
and download content directly to and from
products themselves.
to the way that technology is implemented and
central storage systems, without the security and
the business around it, absolutely. Virtualisation and cloud have the potential to fundamentally change the way we approach the media economy – the ability to switch on/off publishing channels with little more than a click of a mouse, experiment with new revenue streams with minimal investment, or build a ‘virtual facility’ to cover special events. This enables us to do
A fundamental proposition of good MAM systems was already enabling anyone in an
“Time is money in our business and a MAM system’s primary job is to bring speed and efficiency” Oscar Tengwall, Vizrt
things that aren’t practical or cost-effective with
enterprise to access any of its content from anywhere. Virtually centralised storage pools and what are now called ‘private clouds’ were already core to the idea of media asset management even before the cloud became a buzzword. In that respect, the public cloud becomes just another storage location. As of today, more of our customers interested
traditional on-premise infrastructure.
in cloud concepts have a preference towards implementing a private cloud solution than public
Herzog: The cloud is indeed having a huge
bandwidth concerns associated with storing and/
cloud, whether for technical reasons, contractual
impact. In our experience, when customers say
or transmitting full resolution media to and from a
restrictions (such as broadcasters who licence
they want ‘cloud capabilities,’ what most of them
public cloud location.
content under contracts that prohibit third-party
mean is the ability to open up their production
storage) or other business or legal concerns (such
workflows and assets to people outside their
Mueller: In many respects, the industry’s current
as news editorial producers concerned about
facility. With EditShare AirFlow ‘Private Cloud,’
buzz about the cloud has changed the way
forced government access).
42 43 44 45 47 48 TVBE December Forum_final.indd 44
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TVBEurope 45
December 2015 www.tvbeurope.com
Forum What changes have you seen in the use of
With increasing demands on the speed and
sized companies often manage their media
MAMs over the past two to three years?
variety of OTT video and social media publishing
back-up on portable hard drives, using Excel as
Dwyer: Across the globe we see clients thinking
platforms, creating the most efficient, predictable
their database. This is time-consuming and often
about the end-to-end media life-cycle and
and high quality output in a wide range of
results in misplaced or lost files, and explains
starting to plan more holistically across the
formats has become paramount.
why users are investing in a MAM which acts as
operation. This is most evident in three key
an insurance policy whilst also increasing the
areas. First, with standards like DPP emerging for post production to broadcasters supply chain integration, we see more clients realising the opportunities. The next wave of benefits provide improvement in quality and consistency, as post production facilities and broadcasters deploy new, highly automated ingest and
“A modern MAM engine that permits web interfaces can provide a portal for consumer downloads - a clear monetisation scheme” David Abel, Tedial
efficiency of their workflow. Mehring: In past years MAMs were little more than a database to index and track media. More recently, MAM vendors have introduced new features to allow review and editing of assets, logging of key frames, advanced search
QC operations. Next, we see clients reviewing
techniques - to name just a few. Only now are
their archiving and library operations. Most
the best MAM products providing new levels
large broadcasters have considerable film and
of automation of workflows. These have to be
tape archive repositories. As a prerequisite
flexible to allow for changing requirements and
to leveraging the content and creating new
Duffy: Users have now fully embraced all the
make it possible for the approved user to do
streams of revenue, those assets needs to be
functionality that modern MAMs can bring -
without calling the vendor to make modifications:
digitised, annotated and easily available to their
from large-scale, multi-site archiving to real time
a key point of SAM’s Momentum.
production teams. Finally, there is a considerable
syncing whilst on location - rather than purely
focus on using media asset management
seeing them as one-trick tools for managing a
Tengwall: The biggest shift we’ve seen is in
techniques to optimise digital distribution and
single, static archive. Based on our research and
what is being consolidated into the MAM.
content packaging and promotion.
user insights, we know that small to medium-
Consolidation or integration of tools is by no
EDITORIAL PLANNER 2016 Issue
Exhibitions present at
January
2016 will see an even greater commitment from TVBEurope to cover more of the pressing areas of concern, challenge, and opportunity within our burgeoning marketplace. The biggest change for this year will be the introduction of new sections to enable us to provide greater coverage to specific business areas. Our Workflow section will now be divided into two new sections: Production, and Post Production. We will also be introducing a new Business section to follow the increasing acquisition and investment activity permeating the sector, and are also introducing a dedicated Audio section to bring regular insights and updates from an often overlooked strand of our industry. These new sections will be manned by a team of section editors.
Feature
Editorial Close date
Advertising close date
• Launch of new sections • MAM Leaders Series roundtable • BVE Preview • Vision mixers
4th Dec December 2015
27th November
February
• BVE • ISE
• BVE Show issue • Virtualisation
15th January
8th January
March
• CABSAT
• NAB Show Preview • UHD feature
12th February
5th February
April
• NAB • TV Connect
• BVE Review • NAB Show issue
11th March
4th March
• TVBEurope 2020 preview • Euro 2016 live production • Satellite round-up
8th April
1st April
• TVBEurope 2020 preview • RIO 2016 Olympic feature: live production • Visions of the future: the connected world
12th May
5th May
May
June
• TVBEurope Strategy Week • TVBEurope 2020 Conference • Broadcast Asia
For all advertising and sponsorship opportunities, contact the sales team: Europe Ben Ewles: +44 (0) 20 7354 6000 bewles@nbmedia.com
42 43 44 45 47 48 TVBE December Forum_final.indd 45
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Nicola Pett +44 (0) 20 7354 6000 npett@nbmedia.com
USA Mike Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv
20/11/2015 16:28
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TVBEurope 47
December 2015 www.tvbeurope.com
Forum means, in itself, new - but what is fresh are the
Tengwall: The term today is very broad and I
tools and types of workflows being integrated into
think the application of MAM technology
the MAM. One example, is Mosart VoD publishing.
covers both use cases. Take our own MAM:
With this technology, customers can easily
we sell it both as an out-of-the-box solution for
produce VoD variants for web and mobile with
video production as well as managing clips
very high resolutions and added graphics, with
and stills for playout. But we also offer it as an
all configuration done via web-based interfaces.
enterprise platform that can manage all types
The second change is that customers’ direct
of production and assets. We use the same
usage of APIs has increased significantly. More
technology – the same software release – it
and more have built teams in-house that can
just depends on how we configure it and what
control, integrate and automate different
additional add-on modules and integrations are
systems in their production pipeline. This is also
connected to our third-party Rest API.
changing their buying habits, as they will look for a particular piece that fits their puzzle, and
What developments can we expect from the
be adamant that there are extensive open
next generation of MAM systems?
APIs to fit that piece. Thirdly, it is clear that
Abel: Tedial Evolution has defined single screen
the coming together of web and online is
OTT and VoD management tools for efficient
changing how broadcasters use MAM. More
distribution of content to non-linear services.
and more broadcasters need to publish content to online and mobile platforms. Traditionally,
“Today, the MAM system is seen as a key strategic investment, providing wide-scale access to content, and taking an active role in identifying and promoting content that has an attached revenue opportunity” Craig Dwyer, Avid
this production was handled by separate departments, on separate systems, which resulted in an ineffective handoff between teams and cumbersome workflows. What we see now is the online production being brought into the same systems, allowing staff to produce video, graphics, stills and metadata for broadcast, web and mobile. Are MAM systems seen as a single product or solution, or a platform for managing all types of media assets?
It leverages a template design and the IMF
Davenport: Yes, and often all of the above,
methodologies to enable speedy configuration
but this does not equate to MAMs being an
and automated delivery workflows. Our
isolated silo in the organisation.
continued integration to business platforms including Traffic, Rights and DAM systems
Mehring: At Snell Advanced Media, we have
continues to expand the enterprise capabilities
solution sets that span the entire media value
of our solutions.
chain, whilst at the same time offering full integration to other’s products to suit individual
Davenport: As we increasingly exploit the
needs. A given MAM needs to be able to
possibilities of cloud and virtualisation, MAM
interoperate with any number of third-party
is evolving in response. Security, mobility and
systems as well as customers’ own business
scalability all take on greater significance. The
systems via standard interfaces such as FIMS or
latest features elevate users above the ‘heavy
an Enterprise Service Bus.
lifting’ and grind of complex media operations fostering creativity in traditional artistic roles - such
Mueller: The best MAM systems serve as
as editing, but also in business and administration
comprehensive platforms not only for
functions. Together, these combine to enable
managing all types of media assets and their
media facilities to not only realise the value
related information, but also for enabling unified
of assets, but also innovate and discover new
workflows that seamlessly bridge operational
efficiencies and revenue streams.
processes and systems. The full potential value of media assets can be best realised when the
Duffy: We will likely see further development in
MAM not only supports all types of assets –
the core capabilities of MAM platforms, as they
video, audio, graphics, images, etc, – but also the relationships between those assets and additional relevant documents such as scripts.
42 43 44 45 47 48 TVBE December Forum_final.indd 47
From top: Jeff Herzog, EditShare; Karl Mehring, Snell Advanced Media; Savva Mueller, Masstech; and Oscar Tengwall, Vizrt
incorporate greater compatibility with more media formats and systems, ensuring they can better orchestrate media assets across entire
20/11/2015 16:29
48 TVBEurope
www.tvbeurope.com December 2015
Forum organisations. We developed Media Navigator in response to the needs of our customers, providing a MAM platform for small and medium-sized organisations. We expect the next generation of MAM systems to reflect this requirement for scalability and flexibility. Dwyer: The next generation of MAM systems will need to address the critical pain points that media organisations face. One is the digitisation of media and the world that we live in. There’s 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. The next phase of MAM development requires a number of cross-industry challenges to be addressed. The first is interoperability to enable a wide range of content processing,
Clockwise: David Abel, Tedial; Ben Davenport, Dalet; Niall Duffy, Sony Professional Europe; and Craig Dwyer, Avid
packaging, manipulation, and storage systems to be integrated into a unified environment. The second is enabling systems to easily capture, track and share metadata, making it far easier to leverage content and improve reuse. Using
“There is a considerable focus on using media asset management techniques to optimise digital distribution and content packaging and promotion” Craig Dwyer, Avid
the Avid Connectivity Toolkit, we are working
conforming assets that each has with multiple
capabilities we’re currently featuring across
versions and multiple resolutions.
mixes of both structured and unstructured data, as well as further extensions to our ability
with the industry to ensure a robust, standardised integration methodology.
Mehring: One area of development here will be
to transparently mix more media types and
direct creation of packaged formats for online
disparate systems in combined workflows.
Herzog: With the increasing adoption of 4K+
consumption on various platforms, removing
production, we’re seeing things come full
this particular hurdle from media organisations.
Tengwall: The first development that needs
circle with offline/online workflows. Once upon
Another area would be direct interaction with
to happen is that many of the old systems
a time, offline/online was the only available
social media sites to facilitate fast publication of
must get to current, state-of-the-art
model because storage space and computing
near live video snippets allowing organisations
architecture for a MAM.
power were relatively expensive and scarce
to push content out as quickly as possible to a
compared to the SD and early HD bitrates of the
diverse set of platforms.
This means they have to implement the type of web technology like Rest APIs, caching, and event-based processing that Google, Apple,
day. Of course, though computing power and storage have since caught up to the demands
Mueller: The next generation will continue to
Yahoo, Facebook, Twitter and Amazon are
of HD, now UHD resolutions have set this race
emphasise and enhance the discoverability of
using as their foundation.
off anew, forcing us back into an offline/proxy
assets in a variety of ways – from automated
Moving forward and talking about the
online/mezzanine conform model. Furthermore,
metadata generation from the content itself
true next generation systems, we will see
remote workflows have also heightened the
– such as through image recognition, to more
even more integrated and centralised control
need for proxies. We can expect that the next
sophisticated logic to create associations
and management with greater built-in tools
generation of MAM systems will better manage
between different assets. There will also be
and flexibility, and access from anywhere
the complexities in managing, tracking and
further evolution of the natural language query
in the world. n
42 43 44 45 47 48 TVBE December Forum_final.indd 48
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e v i s r r D sito d vi ur stan
o y to
OFFICIAL NEWSPAPER OF
www.iseurope.org ISE is a joint venture partnership of:
Tuesday 10 February 2015 SHOW HOURS:
Tuesday 10 February 09:00-18:00
Wednesday 11 February 09:00-18:00
Thursday 12 February 09:00-17:00
The future: Integrated System Europe? BY MONICA HECK The Internet of Things is set to turn the ‘integrated systems’ that make up Integrated Systems Europe (ISE) into a single unified ‘integrated system’, according to futuristic business mastermind and consultant Lars Thomsen. Speaking on the main stage during the ISE Opening Keynote speech, Thomsen predicted the future of the AV industry would depend on the IPv6 Internet standard, which would create a rapidly growing “digital nervous system” across the world not unlike the current energy grid everybody is used to. “In 10 years, 1,000 devices per human will be connected to the internet and this digital nervous system will incorporate all aspects of things that are important to humanity,
Thomsen: “In 10 years, 1,000 devices per human will be connected to the internet” such as comfort, energy, security, education and so on,” he said. “Right now there are different halls in this trade show representing different parts of the industry. We are now at a tipping point where we
don’t have to think about isolated systems, but rather about moving onto a system that incorporates the internet as its backbone.” Tipping points are a key concern of Thomsen’s, who doesn’t use slides
during his keynotes but prefers to let the audience connect the dots and imagine the future he describes. “Tipping points are points in time where a new technology, or business model is cheaper and better than the way we did it in the past,” added Thomsen, listing the victory of artificial intelligence and robotics over ‘dumb technology’ as tipping points to look out for. “Within 520 weeks, we will get to a point where robots can work in households or in elderly care, they will reach a price point where they are cheaper than employing humans for the same task. The implications to our society are big.” “We have to do more than just look for trends, instead of waiting for the future we have to find the next tipping point and actively create that future,” he concluded.
A minority report on the future of pixels BY LINDSEY M. ADLER A vacuum in professional computing has resulted from the evolution from desktop to laptop to mobile device. John Underkoffler, CEO of Oblong Industries, views the world through pixels and sees them as the key to filling that hole, which he shared in his Smart Building Conference address: “The Future of Work – Workplace Collaboration Thrives in the Spatial Operating Environment”.
Digital Signage p10
As an advisor to the film Minority Report, Underkoffler shared a clip he musingly hoped was “the last time we have to look at this.” Instead of being wowed by the ahead-of-its-time gesture technology, something he derided as “not what’s important,” attendees were asked to look for what was missing. “This sequence is as much about the collaboration and the room as it is the UI.” Applying that to today’s business technologies, he asked,
Residential solutions p27
01 ISE D1 2015 Live v2 NR.indd 1
“How does computation extend [the] room? It doesn’t. [Modern computing devices] don’t care about the room. You have a bizarre complication.” Because they are so personal in nature, “They are anti-collaboration devices and anti-architectural devices.” Underkoffler and Oblong Industries are working to get out of this “trap.” His solutions include: the more pixels the better; pixel interoperability; a user interface capable of managing all the pixels all over the place; and plurality, the
Unified Communications p56
need for systems that think about more than one thing - enabling the physical and social space for more than one person to work in tandem. By teaching a machine to speak pixels, multiple applications can run at the same time complementarily. “It’s a kind of quantum leap between what you can do with a machine,” Underkoffler declared. “We’re turning serialism into parallelism, linear into nonlinear, and raw technology into a more human approach.”
Smart Building p62
A DIGITAL THING HAPPENED ON THE WAY TO THE FORUM
Don’t miss your opportunity to advertise in the show Daily and ISE newsletter
sitor e, i V l ia or Offic ter, bef how slet post s w e N d e g an ct to th 00 n i r du d dire 88,0 r e v an o o s of isitors t e x o inb tial v and n e t st po your
rial o t i d e teed rtising n a r Gua adve the l l a with ages in or pack f a Q&A o e form ion piec opin
ISE’ managing director Mike Blackman introduces the event as Chiara Benedettini of organiser Connessioni looks on
BY KIRSTEN NELSON It was “laptop land” at AudioForum@ISE yesterday. The fifth edition of the day-long educational event presented by Connessioni certainly featured digital in every way, as nary a professional audio discussion would be complete without talk of software or DSP. Topics relevant to audio design, integration and live events were discussed in the context of building knowledge and business for a rapidly evolving industry, with participants taking keen interest in sharpening skills in modeling, time alignment, networking and Class D amplification. Attendees from the live sound and installation worlds convened at the event. The notion of convergence was very much on the mind of Jack Cornish, a project
Continued on page 4
Professional Development p68
ors’ t i b i exh nvert o t s co nues es s n i p l s e h bu eve r d s n e d i v a l dri show o so t n i e at th tunities s d stan s oppor nes i s u b
09-02-15 18:39
To confirm your advertising space in any of
products, contact the sales team now:
International: Gurpreet Purewal T: +44 (0)20 7354 6000 E: gpurewal@nbmedia.com Peter McCarthy T: +44 (0)20 7354 6000 E: pmccarthy@nbmedia.com new tvbe template remade.indd ISE 2016 advert_Final.indd 1 1
20/11/2015 02/11/2015 12:03 14:10
50 TVBEurope
www.tvbeurope.com December 2015
Data Centre
Adopting MAM and PAM Avid commissioned Ovum to conduct a survey of media and production asset management (MAM and PAM) technologies. Craig Dwyer, senior director at Avid’s Global Center of Excellence talks to TVBEurope about the findings
As media enterprises invest and transition to premium 4K/8K content repositories, senior management executives hold positive sentiments about the value of MAM systems. “MAM projects frequently deliver a positive ROI”,
F
or the joint project, A Content Everywhere
where the real advantages are being delivered.
says Dwyer, “with the best happening when
Game Plan, Ovum interviewed 125 senior
The primary benefits are increased collaboration
there is a comprehensive project connecting
management executives across 21
across silos, and greater efficiencies in multi-
across silos, removing barriers and making
countries to assess the adoption and satisfaction
platform publishing. In both cases, making sure
end to end processes smooth, consistent and
of MAM and PAM technologies, revenue
there is sufficient alignment between technical,
efficient.” 82 per cent of respondents believe
leakage, pain points, core deployment
operations and the creative teams provides the
that MAM delivers ROI of ten per cent
objectives, ROI perception, and budget trends
greatest benefits.”
or more. In 2020, almost half of media
in the next five years. The survey encompassed
MAM technology has strong adoption and
enterprises surveyed will increase their
nine industry areas including broadcasting,
deployment rates across the media sector,
content inventory value by five times, and in
publishing, post production, advertising
attributed to a shift towards a media centric
the same year executives expect 4K/8K content
agencies, music labels, internet streaming, film
multi-screen content delivery proposition;
value to account for almost five per cent
studios and sports franchises.
two-thirds of respondents stated that MAM
of total repositories. Respondents were also asked
technology facilitates low cost multi-platform
about which key performance indicators (KPIs)
media asset distribution.
they use to determine the ROI of a MAM solution.
Media enterprises today face the challenge of unification, collaboration, production, and distribution of personalised content on
There is a myth that lower adoption of
Almost 30 per cent of senior management
connected devices across diverse geographies.
MAM technology is a result of costly requisite
executives stated that reducing operational
The content production and broadcasting
infrastructure, however, the report found
and multi-platform distribution cost was the their
infrastructure of traditional enterprises is often
improved confidence in the systems across North
primary MAM and PAM KPI.
built on multiple third party solutions which
America and EMEA over the next five years.
lack agility, scalability, and efficient workflows
Almost 35 per cent of respondents will increase
management strategy is increasingly important,”
for multi-platform asset monetisation. Ovum’s
spending on MAM technology by one to five per
concludes Dwyer. “Looking forward, the next
survey looked at how companies leverage MAM
cent annually. “It is very encouraging to see how
level of innovation is coming through greater
to centralise their digital assets into a single
many executives are looking to increase spend
supply chain integration, more standardised
repository, and maximise their content value via a
in MAM, but not particularly surprising. A modern
interfaces across the media lifecycle, and a
collaborative ecosystem.
media enterprise uses a comprehensive asset
wider range of deployment and IP connected
management approach to remain competitive
infrastructure.” n
management market is maturing and clients
and agile to the very dynamic and rapidly
You can download the free white paper from
increasingly have a better understanding of
changing business landscape,” comments Dwyer.
www.newbayconnect.com.
Dwyer explains; “The media asset
“The report confirms a robust media asset
Primary Objective for Development of MAM System 90%
% of responses
80%
Tertiary
70%
Secondary
Top
27%
60%
13%
50%
30%
5%
20%
8%
10%
12%
0%
15%
25%
40%
Single repository view for branded media assets
18%
19%
16% 26%
13% 4%
End to end automation of programming content creation to distribution workflow
Increase operational efficiency
Meet regulatory requirements
13%
11% 18%
10% 5% 4% Enable multiplatform content distribution
16% Enable monetization of media assets
18% Cut costs
Source: Ovum (March 2015) n=93
50 TVBE Dec Data Centre_final.indd 46
20/11/2015 15:56
The Official Newspaper
THEBVEDAILY BROADCAST & PRODUCTION: FROM CREATION TO CONSUMPTION
Due to popular demand the Daily is returning for BVE 2016. TVBEurope and TVTechnology are delighted to invite all BVE exhibitors to promote their presence while encouraging greater foot traffic to their booth. Be sure to stand out from the crowd at the UK’s largest broadcast tradeshow. • 2,000 copies distributed per day • Digital edition distributed via email to all pre-registered visitors and previous attendees to the show • Guaranteed editorial coverage for all advertisers in the form of a 300 word opinion piece • Ten sends of the BVE e-Daily newsletter (44,000 circulation) WWW.BVEXPO.COM
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