www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
February 2017
Exploring the future of
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TVBEurope
February 2017 www.tvbeurope.com
3
Welcome EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Editor: Jenny Priestly jpriestly@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Contributors: Michael Burns, David Davies, George Jarrett, Philip Stevens, Neal Romanek, Catherine Wright Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025
2020 vision; 360-degree perspective Introducing MediaTech 360: the new week of events from NewBay, spearheaded by the good folks at TVBEurope
T
o be honest, we always knew that
Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000
TVBEurope 2020 as the title of an annual conference had a specific shelf life. And in
Digital Director: Diane Oliver
preparing our events portfolio for 2017, we came
Human Resources and Office Manager: Lianne Davey
to the agreement that to be true to our original
Head of Production: Alistair Taylor
blueprint of creating a peer-to-peer industry
Managing Director: Mark Burton
forum that addresses the strategic implications of
Designer: Kelly Sambridge kelly@excitingcreative.com
a changing marketplace, we had to reconfigure the existing concept to give us the flexibility to
US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072
grow our areas of discussion. (Or, put differently, that we’d got a bit too close to the year 2020 to
Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222 Circulation Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
justify one last hurrah in 2017.) All of which has brought us to this: MediaTech 360. So how is it different? Firstly, just like the inaugural TVBEurope annual review supplement that we are launching alongside this issue, MT360 (as I’ll refer to it henceforth) will provide a rare opportunity for the industry to unite, under completely independent terms, to address the good and bad of the current market, while
TVBEurope is published 12 times a year by The Emerson Building, 4-8 Emerson street, London, SE1 9DU England +44 207 354 6002
casting an exploratory net further into the depths
Jenny joins from Global Listings, where she
of an uncertain future ecosystem.
served as editor-in-chief, and arrives to take
Secondly, the format: the conference is now
will operate in conjunction with myself and
moving to a new venue – to be announced
James Groves. Jenny can be reached at
shortly. The remainder of the week will see
jpriestly@nbmedia.com.
affiliated webinars, roundtables, and the
NewBay is a member of the Periodical Publishers Association © NewBay 2017. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free. Allow eight weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
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the reins on the TVBEurope brand, where she
set over two days, June 7 and 8, and will be
integration of the 2017 TVBAwards. It promises to
I hope you enjoy this issue, and if you have any questions regarding MT360 or
be our most significant event to date, and I look
anything associated with the TVBEurope
forward to sharing further details with you over
brand, please feel free to contact me directly
the coming weeks.
(jmckeown@nbmedia.com). n James McKeown
Finally, it gives me great pleasure to welcome
Editor-in-Chief
Jenny Priestly as our new editor for TVBEurope.
SECTION EDITORS
Philip Stevens Production and post editor
03 TVBE Feb 2017 Welcome_no ad_v2 JG_final2.indd 1
Neal Romanek Technology editor
George Jarrett Business editor
David Davies Audio editor
18/01/2017 16:48
4
TVBEurope
www.tvbeurope.com February 2017
In this issue
Production and Post
18
Philip Stevens revisits the dock10 facility in Manchester to review its progress and discuss 2017
BVE preview
21
We look ahead to this month’s show at ExCeL London
29 Business
George Jarrett meets the heroes of journalism at the 22nd Rory Peck Awards night
32 Audio
David Davies hears from three leading players ahead of an exciting year in audio
04 TVBE Feb 2017 Contents_v2 JG_final2.indd 1
TVBEverywhere
34
Imagine Communications talk us through the radical differences between ‘cloud-native’ and ‘cloud-enabled’
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6
TVBEurope
www.tvbeurope.com February 2017
Opinion and Analysis
2016: the year in review To coincide with the launch of TVBEurope’s brand new series of annual review supplements, we provide an excerpt from the AIB’s CEO Simon Spanswick, and business development director, Tom Wragg, as they seek to summarise 2016 as a staging post for the industry
2
016 was a tumultuous year, and
players in international broadcasting, and their
Although the climate sceptic debate will
international broadcasting has been
use of algorithms to push news to their consumers
continue in the US and Europe, the practical
buffeted by the shock waves that have
has been questioned for its editorial intent.
effects of the planet’s changing climate still
spread around the globe. For clarity, when I refer
Despite social media companies’ assertions that
exist for the public and our members in many
to broadcasting, I am using that word in the
they are merely platforms, it is self evident that
parts of the planet.
widest possible sense, and including all forms of
they are far more than that as they constantly
content delivery to the public.
take unregulated editorial decisions. Combine
collaborates – albeit grudgingly at times – but
At the AIB, we are focused on organisations
Broadcasting has always been a sector that
this with political pressure groups and lobbyists
2016 has seen a global level of co-operation
that broadcast and support international
who have learnt how to use the algorithms to
that has pleased many of us. Cyber security is a
broadcasting. We have seen the stresses placed
push their own views direct to targeted groups,
growing threat to the operations of broadcasters,
on the sector by world events on almost a
and it seems inevitable that social media will
but is a very difficult one, both to understand
daily basis. Nevertheless, it has not been a bad
come under some sort of oversight, perhaps
and to deal with. It is both scary and costly, but
year for our members. Media, as a market, is
sooner rather than later.
it cannot be ignored. The AIB has established
growing globally, and despite the upheaval caused by rapid technological advances and multiple changes to the ways consumers can get content, it remains a very good market. It is
an international working group that shares
‘It seems inevitable that 2017 will be equally as tumultuous and as challenging’
information and exchanges intelligence on techniques and threats among our members. Importantly, it is collaborating with other groups
also worth mentioning that big stories are always
and other sectors to ensure that broadcasting is
good for broadcasters as they create compelling
made as secure as it can be from cyber threats.
reasons for audiences to watch. For commercial
To illustrate the point, the AIB is supporting the
broadcasters, those audiences attract revenue.
Social media has also been a major disruptive
North American Broadcasters Association (NABA)
For public service broadcasters, big stories are
influence has spread as far as broadcast
initiative to define technology standards for
their reason d’être.
distribution throughout 2016. When TRT World,
equipment that will support cyber security.
2016 has been uncomfortable for many news
the new international broadcaster from Turkey,
Looking ahead, we see the continued merging
organisations, as they became a part of the story
was occupied and taken off air during the
of all forms of media onto IP delivery systems
and, in some cases, the focus. In the UK and the
attempted coup, TRT journalists in their bureau
and the inevitable coming together of TV, print,
US, the rise of nationalist political oppositions,
in London, based at Celebro studios in the heart
radio, online and social media. This was clearly
Brexit and the presidential race have raised
of the West End, used Facebook Live to continue
demonstrated in our 2016 international awards,
many questions about how coverage should
to serve audiences around the world.
The AIBs, where for the first time our judges
be handled. Debate has been started about
Natural disasters around the world have given
decided to award both the short-form journalism
confusion between balance and impartiality.
broadcasters challenges to overcome. Many
and online awards to the UK’s Guardian
In both countries, questions have been asked
of these have brought to the fore the debate
newspaper. This year, the event attracted many
about scrutiny of facts and whether news
about climate change and the media’s role
diverse entries helping to underline the very
reporting held candidates sufficiently to account
within it. While much of world has been coping
rapidly changing market we are in.
for their comments and actions. This debate
with deadly storms and flooding, much of
will continue as broadcasters, politicians and
western media have been embroiled in a
tumultuous and as challenging with elections in
regulators come to terms with the very rapid
debate about whether global warming
Europe, a new president in the White House and
changes in society and what these mean for the
really exists. This is something that is definitely
China flexing its muscles on the world stage.
roles of broadcasters and social media platforms.
not questioned by our members in the Asia
Old certainties have been replaced, although
Pacific region, who are coping with its impact
the world’s broadcasters remain central to
on a daily basis.
informing, educating and entertaining. n
Social media has been under the microscope in 2016. Social media companies are now major
06 TVBE Feb2016 Opinion_v2 JGJMcK_final2.indd 10
It seems inevitable that 2017 will be equally as
18/01/2017 14:38
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8 TVBEurope
www.tvbeurope.com February 2017
Opinion and Analysis
De-risking cloud migration By Paul Glasgow, sales and marketing director, Marquis Broadcast
M
However good service providers and supply side
Our strategy has been to enable both pure
vendors believe their shiny new cloud solutions
play and hybrid cloud workflows. Our product
are, there are still some very practical issues to
roadmap and recently launched developments
overcome. Most of our broadcast and media
reflect this vision with:
any existing broadcasters and media
clients don’t have the luxury of starting with a
companies have an analogous
blank sheet of paper, along with some brilliant
problem with the potential journey
business ideas which will drive revenue from day
to cloud; it isn’t easy, trivial or straightforward
one, and a million rights-cleared assets already
considering where they are today.
hosted in the cloud.
l Cloud-hosted web services, for high quality transcode, legacy workflow support, and multi resolution 4K proxy workflows. l Native cloud object storage support for both ‘on premise’ and ‘in cloud’, enabling
The earliest cloud adoptions were around
The vast majority of assets and workflows are
business processes, light graphics and offline
still very much ‘bolted to the ground’ in billions
editing. Improved network performance
of dollars of legacy infrastructure, often with very
has marked the arrival of ‘heavy lifting’
complex live integrations, and often between
media files to transform the asymmetric
cloud applications, libraries, transmission
incompatible systems, which can’t be teleported
economics of cloud storage
and post. Importantly, it’s the business
into the cloud.
and operational benefits that have been driving these transformations. Think of SaaS, S3 and IP and look forward ten years – will the broadcast and media
The real journey is one of mitigating complexity and risk associated with the migration of live workflows into the cloud. Don’t standards resolve all these issues?
large scale consolidation of any given storage infrastructure l Cloud-based partial file restore for
‘The real journey is one of mitigating complexity and risk associated with the migration of live workflows into the cloud’
world be turned on its head? Perhaps rolling
The reality is that standards simply bound the
out a new media service could be rapid and
complexity without guaranteeing interoperability.
inexpensive; ‘spin up’ on-demand services,
The situation is actually getting worse – driven
applications, network and storage, add creative
by the arrival of new camera formats. Often
In summary, enabling live migration of legacy
ideas, branding, scripts, talent, content, rights
‘proprietary standards’, highly optimised for
workflows to the cloud will accelerate cloud
management, etcetera, and decide who you
acquisition efficiency and quality, don’t use
adoption. However, the integration to legacy
are going the deliver the service to, and how.
professionally supported file formats, metadata,
systems isn’t trivial, so our extensive library of such
codecs, frame rates and resolutions. If we
integrations makes us a natural industry player
concatenate these with post-production
within an open vendor eco-structure.We make it
codecs, transmission codecs, consumer
possible for ground and cloud workflows to co-
codecs and preservation codecs, the
exist. In other words; we make the migration and
complexity becomes astronomical.
integration practical and simple.
‘The vast majority of assets and workflows are still very much ‘bolted to the ground’ in billions of dollars of legacy infrastructure’
We cannot assume that ground-based
Only with such solutions can broadcasters
workflows will simply translate into the cloud
decide when, how and if they move selected
– we have to do better. Cloud and hybrid
workflows to the cloud, making implementing
Maybe this vision is overly simplistic, but even
cloud operations require care and thought-out
this migration a business decision, de-coupled
if it’s half true, it’s a radical change. For large
decisions on all these topics.
by the conventional technical complexities of
media companies’ complex migrations, this
Our experience of integrating ground-
can’t happen overnight, often because of
based workflows with Medway, our media-
All of this enables an agile response to an
legacy of applications, workflows and assets’
centric middleware, gives us an insight into the
increasingly fast-moving and competitive
metadata and media formats.
requirements of cloud integrations and workflows.
media delivery landscape. n
08 TVBE Feb 2017 Opinion with tint_v2 JG_FINAL.indd 8
integration with legacy infrastructure.
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10 TVBEurope
www.tvbeurope.com February 2017
Opinion and Analysis
‘Datanomics’ key to broadcast future Creating value from content-generated data will drive industry change in 2017, writes Sony’s Michael Harrit
Using data from all sources, whether it’s TV
There is an important role to play here in laying
viewing or production data, good analysis can
the foundations for the present, but also the
help identify waste, new opportunities, and
future; for the vast array of metadata-driven
endorse what teams are already doing right.
innovations which the industry’s brightest minds
Learning to read the feedbacks from all data
O
sources will underpin future decision making
as viewing habits change. These changing
of cutting-edge skills. Good data analysts can
habits are well documented. Young people, for
be in short supply.
are only today on the cusp of developing. We are in an age where capturing data is
fcom’s Connected Nations 2016 Report
on productions. It’s about turning big data into
already key and will continue to evolve rapidly.
published in December suggested
small, understandable information, but the
Where do broadcasters create value from the
that content platforms must evolve
problem most broadcasters have is availability
data? It’s very difficult now but it starts with good analytics and disruptive ideas.
example, are viewing more and more content
Finding the right skills or developing in-house
via mobile devices and tablets. That is, at
expertise will become – or at least should
least, according to Childwise statistics, while a
become – the New Year’s resolution for all
Broadcasters Audience Research Board (BARB)
broadcast HR departments. If they get it right,
report points to a more nuanced breakdown of
they will be able to identify efficiency and
viewing preferences. TV is thriving, with multiple
process improvements from content
points of access, digital-based services and
acquisition to delivery.
traditional programming dovetailing to create 24-hour provision – but what’s the next step?
A good analyst, for example, can pinpoint
‘Big data is already playing a significant role in the industry and this year, it will extend further’ This can be applied to content too. There is more data around content consumption, for example,
existing and potential workflow bottlenecks and
and therefore there should – in theory at least –
Big data is already playing a significant role in
translate findings to creative, engineering and
be less content waste. It’s about doing more with
the industry and this year, it will extend further. We
operational managers. What does this mean?
less, and being confident in the commissioning
will go beyond measuring social media-driven
Certainly there is an opportunity to identify and
and production processes.
consumer sentiment and ratings based on aging
fix workflow bottlenecks; a process which should
algorithms. Increased data analytics capabilities
improve production speed and reduce costs.
will provide companies with more accurate
personalised and mined further? The data can
decision making on productions, technology
Enabling unimagined future innovations
adoption, and skills.
Perhaps one of the best-known areas of data
insights, and this will form the basis of everyday
What are people watching and not watching? Where are the creative gaps? What can be start to provide answers to increasingly complex questions. You just need to know what to ask. Where can this go? Could data help
analytics, thanks in large part to the large social
production teams close the loop even further,
how to meet this change within tight budgetary
media businesses, is the use of data to drive
enabling live, evolving productions as data is
constraints. While big data can provide a field of
targeted advertising campaigns. Understanding
analysed in real time? There is huge potential,
information, organisations need good analytic
how data can deliver relevant advertising to
especially as delivery technology and platforms
skills to ensure they harvest the right information
consumers has been a bit of an art form over
evolve rapidly. We have only just started.
for informed decision-making. It will prove a
the past few years, with mixed results. Targeted
worthwhile pursuit. If broadcasters get it right,
advertising can polarise consumer opinion
to start appearing at least in trial form later
they will unlock a vast sea of economic potential.
but it is, without a doubt, the commercial
this year) is expected to have a big impact on
future of our industry. It just has to become
media businesses.
One of the biggest issues broadcasters face is
The emergence of 5G networks (expected
Will tomorrow’s head of production be a data analyst too?
more sophisticated.
What this means for many broadcasters is a
opportunities for advertisers but also improving
will enable new product opportunities and
cultural shift, as well as a change in necessary
content SEO and categorisation. Commercial
could revolutionise media delivery. That’s a
skills. It will be transitional. Nobody is expecting
SEO teams at broadcasting businesses will
great opportunity and a lot more data to
heads of production to become obsolete, but
demand metadata on all content: they will
analyse and act upon.
production teams must develop data analytics
want to automatically capture data at the very
The economics of data, or ‘datanomics’
expertise, tuned to the specific preferences of
first point of acquisition to enable them to drive
will become the cornerstone of the industry,
their existing and future audiences.
targeted ad campaigns around their content.
and it’s already begun. n
10 TVBE Feb 2017 Opinion_v2 JGJMcK_final.indd 10
For production businesses, it’s about enabling
According to Ericsson’s recent Mobility Report, 76 per cent of media companies believe 5G
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TVBEurope
www.tvbeurope.com February 2017
Production and Post One manual and three robotic cameras are used for most progammes
Retail therapy the electronic way Shopping television has come a long way in two decades. Philip Stevens talks to a major player in the market
Chiswick Park in west London, underwent a major
“We put customer service first. It’s hard enough
corporate restructure to align more closely with
to attract customers in the first place, after that
QVC’s six other markets. The aim was to transfer
you’ve got to continually delight them in their
efficiencies, learnings and good ideas across the
relationship with us.”
entire business. Many of QVC’s operations are
W
now globally led so best practices can be shared
the early days of commercial TV in the UK,
and global content, consider to be the most
there were programmes known as ‘advertising
significant change in shopping TV in recent
magazines’ – in effect 15-minute ‘soap dramas’
years? “The importance of the online digital part
– that brought products to the viewership in
of our business. QVC is not a TV shopping retailer;
Certainly, the UK operation must be doing it right.
various contrived scenarios. But there
it’s a digital retailer that uses TV as one of its shop
The most recent figures in the public domain show
was no direct interaction
windows. We only feature one product at a time
turnover was £470.2 million with pre-tax profits of
hen QVC launched in October 1993, the only model for such live shopping television was from the USA. True, in
across all markets. With that in mind, what does Brian Farrelly, vice president of commerce platforms for UK
between the programme and
on TV, but you can buy any of our products
the would-be consumer.
at any time on our website/mobile apps.”
“More so than ever before, we have to think digitally” Simone Borkar, QVC UK
£58.2 million.
Presenting the goods
So, ‘shopping telly’ was
Over the years, many competitors have
a new experience for the
come and gone, and Farrelly believes that
What about production and presentation? The
British viewer, and although
QVC’s success is down to the company
first auditions for presenters included having to
slow to take off, it wasn’t too
remaining true to its principles. “We have
‘sell’ a pencil for ten minutes.
long before sales increased
good products that we believe in and
“The demands have certainly changed,” reveals
and it became part of the UK retail scene. And as far as QVC UK is concerned, its scope has
carry a lot of major brands. We don’t do a hard sell along the lines of ‘buy now before it’s too late’; we
to write and produce their own weekly blogs, interact with customers via social media, and
and the purchase
work on a variety of QVC live and non-live TV
to four channels.
decision always
In 2015, the UK
12 13 TVBE Feb 2017 Production and Post_v2 JGJMcK_FINAL2.indd 54
talent. “Each of our 21 presenters now need to
showcase our products
increased from one
set-up, based at
Mike Tremain, director of TV production and
Brian Farrelly, QVC
platforms. Social media plays an important part
remains with
in our live shows, with the presenter answering
the customer.
questions live on-air. This adds an extra ‘live’
18/01/2017 16:02
TVBEurope
February 2017 www.tvbeurope.com
13
Production and Post element that needs to be managed, without
“In my opinion, Shotoku offers the best robotic
“Of course all our fixtures must be silent. At QVC,
taking the focus off sales.”
solution out there,” states Simone Borkar, head
we never use star filters to trick the audience.
Tremain goes on to talk about the gallery staff
of broadcast engineering and technical
With jewellery, we shoot close up, so we need
who support those on-screen presenters. “The
operations for QVC UK. “We have forged a great
to be working at a high F Stop, especially as we
majority of our producer recruitment is completed
relationship with them over the years and they
often use extenders. That calls for a significant
in-house. We need our producers to be great
understand how hard we work our robotics. We
amount of light.”
communicators, both over talkback and face-to
are live 16 hours a day, so if you want to stress test
-face with the many guests who appear live.
something, bring it to QVC!”
They need to be commercially focused and be
He goes on, “We use Sony cameras in our
When it comes to interconnecting the various parts of the production and post production operation, a proprietary system
great time managers, as live TV always throws up
live production – a mixture of HDC 1400Rs and
called JAMM (Joint Asset Media Management)
challenges. Most importantly, though, they need
the older HDC 1500Rs. All our lenses are Canon,
is utilised. Built by a Japanese software house,
to be able to understand what our customer
where the optical quality of the glass and focal
it allows staff to manage the user’s content
is looking for and make sure they construct a
ranges are best suited to our studios. Jewellery is
through rush footage to edit and ingest the
presentation that gets across the key stories of a
the extreme test!”
finished asset onto the Harmonic playout servers
brand or product.”
Sony also features in the two identical galleries
usedin the galleries and master control. JAMM
He says QVC has a tremendous track record of
where the choice of vision mixer is MVS7000X,
allows the programme director to assess all
finding talent in-house, nurturing individuals and
and the configured I/O is 80x48. “It has 3x mix
available assets for any given show or product,
providing opportunities. The last three QVC line
effect, with four keyers on ME1&2 each with 2d
and play them out from a touch screen panel
producers have all come through the internal
resizers. Programme/preview have eight keyers,
during any show.
formal evaluation and training programme. A
each with a 2d resizer and is set up to split the
Borkar adds, “My team of engineers have to be
similar programme exists for directors.
keyers into two outputs with five keyers each for a
cross-tech savvy. More so than ever before, we
main PGM output. We also have four DME’s with
have to think digitally, and by this, I mean web
inbuilt resizers.”
and apps. We have helped the social media
“The directing demands have changed over the years. Back in 1993, we didn’t have any robotic cameras, recorded content was rolled
On-screen graphics play an important part
team improve our stream on Facebook Live with
from tape, and shows were less structured. The
of shopping television output. QVC UK uses
a better camera, sound and lighting. With the
directing role is now more technical as all content
Viz Artist with their own proprietary front end
move towards everything going IP, we need to
comes via our gallery servers, and is available to
software. “Having an in-house developed system
hone our skills, especially with transcoding and
view in advance of shows. There are less people
gives so much more flexibility,” explains Borkar.
distribution. We have learnt some discipline from
in our gallery, but advancement and automation
“Artist allows our designers to have a host of
our cousins in IT, such as change control and asset
of systems have allowed our team to improve on
options available to them when deciding how to
management. My engineers need to be familiar
our high standards of live show execution.”
promote product and events. It enables them to
with networks, MySQL and IP protocols.”
push the limit of their design and animation skills.”
Studio set up
Mention was made earlier of the all-important
Future thoughts
Production is based around three main studios
jewellery programmes – and these, of course,
For Farrelly, there are challenges ahead. “As is the
and an outdoor set. Each is fitted out with one
demand special attention to lighting. “We are
case with all UK retailers, the Brexit result brings
fully manual and three robotic cameras. The
now nearly completely LED. Quartzcolor X3,
continued uncertainty. The pressure on sterling
Shotoku robotic set-up includes pan and hilt
X4, X6 and Dedo LiteMats have allowed us to
makes the cost of most goods more expensive,
heads and pedestal height.
replace our energy-hungry tungsten lights.
which is challenging when buying from around
All camera repositions are carried out manually
“Our main requirements are brightness and a
the globe. That said, I can say that we are always
– with a typical turnaround time of under 90
high colour rendition which, along with a hard
looking to innovate and explore, you cannot
seconds for all cameras.
source, helps the product sparkle naturally.
afford to stand still.” n
12 13 TVBE Feb 2017 Production and Post_v2 JGJMcK_FINAL2.indd 55
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14 TVBEurope
www.tvbeurope.com February 2017
Production and Post
Beyond mere graphics Jesper Gawel, CMO, ChyronHego, reveals the brave new world of producer-driven newsroom workflows
Therefore, we see an immediate future in which
solutions that leverage standard hardware and
newsroom-based solutions go far beyond
the existing IT infrastructure.
simple graphics creation to enable a complete,
Let’s take the example of virtual graphics in
producer-driven workflow for creating compelling
the newsroom. There’s no question that virtual
stories and delivering them to air. Here, producers
and augmented elements can add a layer of
are freed from complex technologies that
sophistication and deepen understanding of a
t’s a tough world out there for news
have created delays and required specialised
topic in ways that are far beyond the capabilities
organisations. Producers are pressured
technicians to operate.
of traditional graphics. But these technologies
I
like never before to hold on to, much
Content creators such as journalists, producers,
haven’t caught on in a widespread way for
less grow, market share while coping
editors, and directors are in the driver’s seat, with
enhancing breaking news, primarily because
with a raft of emerging and
access to a set of software-based, templated
they’re perceived as complex, time-consuming,
transformational technologies.
and difficult to use.
The competitive environment
That’s all changing with the
is hardly the straightforward
template newsroom workflow we’ve
and linear world of yesterday,
described above, as embodied by
when stations competed with
ChyronHego’s Camio Universe. With
each other for eyeballs on the
this approach, a station is able to
evening news. In an age when
take maximum advantage of its
anyone can broadcast live
investment in virtual and augmented
on Facebook using a mobile
graphics technologies to enhance
phone, the demand for content
storytelling for breaking news. The
is exploding, and viewers expect
mystique and complexity of these
ever-greater access to news and
powerful technologies is stripped
information, delivered in new and
away, and non-technical producers
compelling ways.
and journalists can generate highly
How can news organisations
sophisticated graphics in no more
stay profitable and successful
time, and with no more effort, than it
in these challenging times? The
takes to create a simple lower third.
short answer is efficient workflows
At ChyronHego, we believe so
that make it easier, faster, and
strongly in this strategy that we are
more cost effective than ever
continuing to develop and acquire an integrated
before to deliver news stories to air.
product portfolio that addresses every aspect of
Producers need tools that will allow them
news production, whether it’s setting up camera
to tell stories in captivating new ways, while working in a mixed environment where traditional HD-SDI is beginning to give way to 4K resolution, UHD-TV, and IP-based signal transport.
shots and controlling robotic cameras, providing The LyricX 2.0 graphics creation platform enables easy moves between SDI and IP, and 4K and HD video within the same graphics platform
software-based video switching, enhancing a story with sophisticated weather graphics, or template-based graphics for a virtual studio. n
Graphics to suit the platform Dr Stephan Würmlin Stadler, COO, Vizrt, discusses evolution in the graphics world
W
the industry are generating an explosion of new
For the traditional broadcaster, this means a
content creators. They not only include video
workflow change. Graphics technology needs
management systems, but also new ways of
to work out-of-the-box for all platforms, without
looking at graphics creation and administration.
reinvesting in platform specific solutions. Tools that
It’s not enough to make a video, add graphics
will survive the evolution are those that allow the
e in the media industry are in the
and publish to YouTube or send on-air. Media
journalist, or content creator, to make an editorial
middle of an evolution that is merging
companies must think about how amd where
decision with graphics and video once, and
traditional broadcasters, online and
content will be viewed, and then optimise that
distribute easily to every platform with the right
presentation for each platform.
aspect ratio and visuals automatically adapted.
new media. Tools that allow easy entry into
14 15 TVBE FEB2017 Production and Post_V2 JGJMcK_final.indd 54
18/01/2017 14:39
TVBEurope
February 2017 www.tvbeurope.com
15
Production and Post There is more to think about than quick and
The technology of graphics rendering is also
We also provide tools for media companies to
easy publishing. How does a media company
going through an evolution. While central
foster viewer engagement on social media,
know that the video and graphics system it is
rendering engines are still the key for great
while maintaining their brand identities on these
purchasing is future-proof? A change in business
looking, real-time graphics, the flexibility of
platforms. Viz Engine now runs as a cloud-based
offerings is in order. A move of technology from
placing these operations in the cloud makes
graphics renderer, and features open APIs for
on-premise to the cloud, combined with SaaS
them easier to access in more locations,
easy integration with any platform. Using open,
offerings and the ability to rent software and
in regional control rooms, or at an event
well-documented APIs designed to accomplish
hardware, will give media companies greater
from a laptop.
anything the user can do with the graphics
flexibility to expand, contract and adapt the equipment they require.
‘Tools that allow easy entry into the industry are generating an explosion of new content creators’
Gaming engines are poised to make their mark on the media industry, having already become
product, ensures the media company is ready for any future integration. n
the world’s biggest entertainment industry, with robust and (quite literally) battle-tested quality. Using a hybrid of gaming technology with a
Today’s flexibility enables content to be accessed more easily - even from a laptop.
broadcast graphics engine, media companies can see highly realistic graphics within the journalist-driven template workflow. The Viz Engine real-time graphics engine and
With video and graphics systems running in the
video server is the backbone of Vizrt’s graphics
cloud, media companies will be able to quickly
and video offerings. The system features plugins
make infrastructure changes on an event-to-
for photorealistic graphics rendering, including
event level. On a day-to-day basis, a local TV
those from Enlighten, Allegorithmic, GPU power
station may not need a large number of graphics
from NVIDIA, real-time global illumination, and
channels. However, when an election comes
sophisticated texture mapping – all desirable for
along, they can quickly expand their channels.
virtual set production.
www.asperasoft.com moving the world’s data at maximum speed
14 15 TVBE FEB2017 Production and Post_V2 JGJMcK_final.indd 55
18/01/2017 14:39
16
TVBEurope
www.tvbeurope.com February 2017
Production and Post
All about that Baselight Philip Stevens looks at how an Italian post house handles colour management
L
ocated in the central business district of Rome, Frame by Frame is a well-established but very dynamic boutique post-house.
Founded in 1992, it combines the traditional creative skills of the post house with cutting-edge technologies. It was Italy’s first Netflix Preferred Vendor for media processing, and regards online platforms as important as all other outputs. Business is shared between movies, TV and
Frame by Frame facilities include a 20-seat, fully calibrated theatre
advertising. The company can handle every part of the post process, from dailies ingest through editorial and audio sweetening to finishing. A
The theatre is set up to provide ideal viewing
Together with FilmLight’s transparent media
critical part of the process is grading, and for this
conditions for popular formats, including 4K as
management, simple workflows can be
Frame by Frame relies on the Baselight system.
well as 2K, stereo 3D and HDR.
established however complex the project.
According to CTO Walter Arrighetti, the
Asked if 4K and HDR are hot topics at the
Integrating colour grading tools across
technical underpinning of Baselight is as
moment, Arrighetti was very enthusiastic. “They
editorial, VFX and finishing – using the renderless,
important as its creative toolset. “Colour
are the hottest topics, not just hot ones! Is Frame
metadata-based Baselight Linked Grade (BLG)
management is finally approached the
by Frame ready for it? Yes. Do clients want it?
workflow – Frame by Frame delivers on its promise
right way – scientifically, at the heart of its
Yes. The main downside at the moment – apart
of a colour-managed end-to-end pipeline.
mathematical internals. But it also provides an
from bandwidth of course – is that there isn’t a
easy user experience, so complex colour space
uniformly accepted definition of 4K or HDR.
experience in the business and its integration
conversions are just a few clicks away.”
Some players using/supporting/distributing 4K
expertise, alongside advanced technology
content are up to speed, but there is not yet
from companies like FilmLight, to come up with
to work in native colour spaces whenever
a consistent, robust value chain. We hope
innovative and cost-effective ways to manage
practical. Recent movies Chiamatemi Francesco
emerging standardisation will help, but we
creative projects,” Arrighetti said.
(Call Me Francesco) and Perfetti Sconosciuti
are already fully prepared.”
That is important, because the facility tries
(Perfect Strangers) were graded in ARRI LogC, for example, to get the absolute best out of the raw image before colour space conversion to delivery formats. Frame by Frame has also completed projects using ACES (Academy Color Encoding System) workflow but, as Arrighetti pointed out, it needs everyone to get behind the standard. “Some
“The downside at the moment – apart from bandwidth – is that there isn’t a uniformly accepted definition of 4K and HDR” Walter Arrighetti, Frame by Frame
facilities we work with have yet to integrate it.
“We are taking advantage of years of
However, workflow counts for little if you cannot achieve the creative results you need. Senior colourist Christian Gazzi and his colleagues find Baselight delivers all the required colour control and creativity. “Baselight is like a magician’s hat,” states Gazzi. “You add a bit of fantasy and anything can be pulled out of it.” Arrighetti continues, “We chose Baselight because of the completeness of its grading tools,
But we use it internally – blended with our own
Connectivity and collaborative workflows are
with seamless real-time playback straight from
colour science – especially for projects using
important to Frame by Frame. The facility is built
any raw footage. But our colourists and editors
different cameras, and for integration with other
around a core SAN, allowing projects to be
tell me there are no technical limitations on what
post and VFX equipment, whose colour science
shared and worked on simultaneously. Some
can be achieved artistically either.”
and workflow are not as flexible as FilmLight’s.
of the Avids are fitted with Baselight Editions
I’ve personally been involved in the Academy’s
software, allowing the latest grade to be
and partial results can be combined with each
work for many years now, sharing experience
displayed in the edit suites and the editors to
other for creative effects that are simply not
and exchanging inputs on ACES with their
tweak in real time.
possible with other tools. FilmLight products
international experts’ team.”
“Every single grading operation is a layer,
Frame by Frame’s engineers have also used
offer the computational power and creative
the flexibility of the FilmLight operating system to
tools that allow the ‘wow’ factor at the heart
one is in a broadcast grading suite while
allow direct connections between the grading
of the workflow. And our customers are happy
the other is normally operated from the
systems and other VFX and compositing tools,
as well, because our colourists always meet the
20-seat, fully-calibrated DI theatre.
including Flame and Nuke.
cinematographer’s intent with Baselight.” n
Of the two Baselight systems at the facility,
16 TVBE Feb 2016 Production and Post_v2 JGJMcK_final2.indd 54
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18 TVBEurope
www.tvbeurope.com February 2017
Production and Post
HQ2 has an audience capacity of up to 600 people and is used for programmes such as A Question of Sport, 8 out of 10 Cats does Countdown and Vic and Bob’s House of Fools
Broadcasting is in the dock Philip Stevens revisits the dock10 facility in Manchester to review its progress and discuss 2017
T
“We built relationships with a number of northern
Joined up thinking
indies including Red Production Company and
dock10 also offers a high level of infrastructure
Shine North. “Working with Red, for instance, has
services. When the facility was conceived, it was
meant that we now do high-end drama, such as
decided to build around a modular system that
Happy Valley and The Five, and that was just the
allowed complete flexibility when it came to
start of expanding the post side of the business.”
connectivity. This means that all connectivity is routed via the Central Technical Area (CTA) so
here were sceptics who, when they heard of the idea of establishing a major media
Acquisitions bring growth
that any studio, camera or mixture of cameras
centre in an old Manchester dockyard,
The commitment to post production is set to
can be joined to any gallery, and any editing or
continue into 2017 following the recent acquisitions
graphic workstation can be routed to wherever
of Edit 19 and now 422, the Manchester-based
the output is needed. On several occasions, the
shift north has been a resounding success.
post production and vfx business. “422 brings a 20-
piazza outside the studio block has been used
Today, dock10, as the facility is now called, is
year heritage and prestige customer base in the
for producing programmes – with cameras being
providing a level of production, post production
agency and corporate markets, and gives us
routed to the designated interior gallery from
and infrastructure services that has attracted
the opportunity to expand our creative audio,
external plug-in points.
broadcasters and production companies alike.
vfx and graphics, grade, animation and CG,”
Regular output from its seven studios includes
states Senior.
thought it was a disaster waiting to happen. Six years on, there is little doubt that the
programmes such as Match of the Day, Football
He maintains that dock10 is now the biggest
“We think of MediaCityUK as an open air data centre,” explains Paul Clennell, dock10 CTO. “There is a fibre network that connects all parts
Focus, Blue Peter and The Voice. In fact, the last
post production business outside of London.
of the campus, but we have a resilient security
quarter of 2016 was the busiest in dock10’s history.
The expanding post business means substantial
partition protocol in place that prevents data
remodelling work will take place within the
ending up in the wrong place. It means, for
of Porridge and several quizzes in the upcoming
dock10 facility during 2017 to accommodate the
example, that if a freelance editor comes in
diary. So, how has that success been achieved?
additional personnel and their associated work
to work on one programme and then the
spaces. “Key to the next twelve months is the
following week is employed on a different
BBC contract after it decided to move a number
consolidation of those acquisitions and growing
production, he or she can only gain access
of its operations out of the capital,” explains
that aspect of our business,” says Senior.
to the appropriate content.”
The future looks equally inviting, with remakes
“The facility was originally set up to service the
Mark Senior, dock10 CEO. “For the first 18 months,
The stated purpose of such interconnectivity
that was our main production activity and we
is that whatever the requirements of a specific
concentrated on making that a success.”
production or post activity, dock10 will make it
The next milestone came when Granada TV
easy to plug-in any element to facilitate the task
in Manchester closed its studio facilities in Quay
in hand. Increasing the concept of a managed
Street, resulting in a substantial amount of northern
infrastructure will feature heavily during 2017.
ITV production moving to MediaCityUK.
To move that part of the service forward,
“At the outset, our post production work
dock10 recently recruited Fabien Robineau as
was heavily BBC focused, but new clients and
head of platform managed services. He brings
programmes meant that was something we had to look at,” says Senior.
18 19 TVBE Feb2017 Production and Post_v2 JGJMcK_final2.indd 54
The spectacular studio facility at MediaCityUK
over 15 years’ experience serving as a business developer and leader, identifying the best
18/01/2017 16:07
TVBEurope
February 2017 www.tvbeurope.com
19
Production and Post fit between business needs and appropriate
This aspect of remote working is already utilised for
annual innovations day where creative teams can
solutions. “The future is all about building a
the BBC’s Match of the Day output. Material from
familiarise themselves with developing technology;
sustainable platform,” he says. “The growth in
football matches that is captured in the dock10
including 360-degree productions.
this area will come about by meeting customers’
central server area can be viewed and edited by
demands in terms of services. The parameters
producers in the nearby BBC building.
for playout platforms, for example, are well
Clennell adds, “The obvious extension of this is
All round vision “We took a decision a year ago to take one of
established and we want to cover the same for
to go beyond the campus for production. With
our studio managers out of daily administrative
the post market. Managing the technology is a
the all the talk of remote production these days,
work and gave him a remit to investigate the
core part of the services we offer to clients. We
our connectivity infrastructure is ideally suited to
360 capabilities,” reveals Senior. “We have been
have evolved from a TV production facility and our
meet those upcoming demands. In the future, we
looking at camera technologies and working with
job is to ensure clients do not have to worry about
may see ourselves building galleries that are used
our graphics teams – because there is an obvious
the technology, and concentrate on content.”
specifically for remote production.”
cross over. As a result, we have produced clips for
He continues, “The blurring of lines between IT and
The Voice, shot footage from behind the goal at a
Remote possibilities
broadcast engineering is increasing. We operate
FA Cup match and recorded a music programme
Robineau says that because the technology is
a converged function – bringing in IT experts and
where the viewer is in the audience.
improving, some of the work previously carried
educating them about broadcast, and then
“In simple terms, we want to get up to speed
out within the facility can now be made available
recruiting TV technologists and educating them in
and ahead of the curve – although I’m not
remotely. “That’s one area where we are helping
IT practices. The two are inextricably linked.”
sure if anyone is really certain as to where this
clients, and one that will see more growth in the
The facility uses non-proprietary servers to
technology is going.”
coming months. By operating a data centre in
support the Avid Interplay systems in an IT based
the way that we do, we ensure that if there are
virtual environment. “This is the way forward for
demands and our job is to make their lives as easy
He concludes, “All of our clients have different
production teams located in different parts of
2017 and beyond. Our future investment is all
as possible and to create the solutions. Our focus
the world, they can have instant access to their
about supporting that flexibility,” adds Clennell.
has been – and will continue to be – to serve the
content. That’s how we will provide even more
dock10 is frequently used by manufacturers to
market, whether that is broadcast, corporate or
added value in the years ahead.”
showcase their products. The facility also runs an
commercials, with high end content. n
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18 19 TVBE Feb2017 Production and Post_v2 JGJMcK_final2.indd 55
18/01/2017 16:07
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18/01/2017 16:49
TVBEurope
February 2017 www.tvbeurope.com
21
Feature
BVE 2017
preview We look ahead to this month’s show at ExCeL London by hearing from Dan Sacchelli, head of events at BVE’s parent company, Ascential
T
he beginning of the year saw BVE actively expand in to the pro AV and live entertainment market, responding to the
continuing merging of technologies between live events and broadcast sectors. The theme of converging sectors has been one that has continued throughout 2016. What we have seen this year, along with everybody else in the industry, is the exponential progression of VR. Unlike IP or the cloud, this is very much a consumer-driven technology. How the end-user embraces VR determines its place in the market. Many compare it to 3D – another
But we needed last year to learn and build on
It is admittedly more expensive than SDI to set up,
technology whose success was determined by
our knowledge, which will act as the springboard
and then there is training. But where longevity
how the consumer masses adopted it. As much
for us to achieve this monumental growth in the
comes in to play, IP wins. The fact of the matter
as people pride themselves on writing off 3D as a
immersive technology market.
is, whether you are pro, against or agnostic;
‘flash in a pan’, it is still prevalent in our cinemas
The other acronym that has been on
it is the very nature of our industry to stay on
– with all major blockbusters available to watch
everybody’s lips is, of course, IP. There are so
the cutting-edge and therefore important to
in their three-dimensional glory. It may not have
many arguments against whether the industry is
consider every option.
had the warm welcome in our homes that we
ready. Is it like 4K, where the technology is ready
once expected, but has proven itself to work
but the end-user is not? It has been said that with
that were discussed and scrutinised in 2016.
on the larger screen formats for films and sports.
where we stand at the moment, it is easier to
Companies such as NewTek are pioneering the IP
This is what we are seeing with VR. Nobody is
deploy IP in trucks rather than buildings.
movement, whilst in the world of VR, production
quite sure of where this technology is going to sit, and, like 3D, we won’t know until we see how it is consumed. For gaming, advertising, architecture, featurelength films, the possibilities are endless. Much of VR at the moment is still at the R&D stage,
VR and IP are just two of the technologies
companies such as Happy Finish and Jaunt are
‘At BVE 2017, we are taking a broader approach to the broadcast market and delving in to the converging markets’
being used in many industries. This is why, at
pushing forward. On reflection, whilst the world outside of the industry has experienced seismic changes to its political and socioeconomic standing, we have carried on our quest of exploration. That is where 2016 has taken us: despite the uncertainty of IP and VR across the
BVE 2017, we are taking a broader approach
industry, we have continued to probe and look
to the broadcast market and delving in to the
It is, after all, more painless for a truck to go into
at all sides of the argument as to where we are
converging markets. It is not simply the broadcast
maintenance than it is a building which has
heading. We need to prepare for the future and
sector that concerns itself with taking content
legacy technology to contend with. For many
this past year has seen us do exactly that. n
from creation anymore.
companies, SDI is still the most reliable and safest
With Digi-Capital predicting AR and VR
option; to implement an SDI workflow is a more
revenue to hit $120 billion by 2020, 2016 saw just
economically viable option – the infrastructure is
the tip of the iceberg of where this immersive
already in place and staff are already trained to
technology is going to take us.
work with it. IP means investing a lot of money.
21 22 TVBE feb 2017 Feature_v2JMcK_final2.indd 54
BVE 2017 takes place from 28 February to 2 March 2017 at ExCeL London. This article was first published in TVBEurope’s brand new annual review supplement: 2016: the year in review
18/01/2017 16:09
22 TVBEurope
www.tvbeurope.com February 2017
Feature
Talking the talk S
James Groves looks over the speaker list ahead of this month’s BVE expo
peakers define conferences. You can network and network, you can collaborate and collaborate, you can discover and
discover, but the words ringing in your ears as you walk out of that door are those of welcomes, keynotes, and wrap-ups. The capturing of the essence, the setting of the tone. Those unique and distinctive moments engaging the audience’s imagination. BVE’s 2017 list of speakers does not disappoint. Headlining at ExCeL London this year will be actor, director, and writer Dexter Fletcher, international documentary filmmaker Louis Theroux and DPP managing director Mark Harrison, with more names to be unveiled in
Award-winning cinematographer Jonathan
the coming weeks.
Harrison will also take centre stage in the
Known for his work with Lock, Stock and Two
cinematography theatre. Harrison has spent
Smoking Barrels, Eddie the Eagle, Hotel Babylon
18 years as a freelancer, undertaking a wide
and Band of Brothers, Fletcher will be making
spectrum of national and international projects
an appearance at ‘The Screen @ BVE’ on the
from technical and scientific, aerial, special
opening day of the conference at 15:50pm.
effects and in-depth personal documentary to
The 40-minute keynote will see Fletcher discuss his career highs to date, and the challenges and inspirations he experienced on the road to becoming a British filmmaker. He will offer his thoughts on the development
drama and commercials. He shoots regularly for all major UK TV channels. Three speakers have already been confirmed production theatre – Game of Thrones location manager Robert Boake, Rebecca O’Brien,
evaluating the continuing evolution of the
producer at Sixteen Films, and Mark Herbert,
commissioning and creating of content.
producer and joint-CEO of Warp Films. Boake has ten years’ experience working
‘An audience with Louis Theroux’ on 2 March at
on a vast range of productions and genres,
11.20am in The Screen @ BVE Theatre.
providing creative scouting, location
The session will see Theroux share his
management and supervision. He is best
experimental filmmaking highs and lows
known for his work finding locations for
throughout his career, as well as providing insight
Game of Thrones, for which he won an LMGA
into the industry in which he works.
Award in 2014, for ‘Outstanding Achievement
Theroux’s career spans over two decades and specialises in getting under the skin of the
by a Location Professional’. O’Brien has been an independent film
people at the heart of some of the world’s most
producer for 30 years, producing 17 feature
controversial lifestyles and associations. His work
films directed by Ken Loach, including Land
includes Louis Theroux’s Weird Weekends, My
and Freedom, Sweet Sixteen and Looking for
Scientology Movie, The Most Hated Family in
Eric. She is currently on the boards of the
America, and Louis Theroux: Savile.
European Film Academy and PACT and is a
‘The Screen @ BVE’ will also welcome Mark Harrison, managing director of the Digital
member of the British Screen Advisory Council. Herbert’s credits include Submarine, Four
Production Partnership (DPP), and Ian Moore,
Lions, This Is England, Phoenix Nights and Dead
content director at the LAD Bible.
Man’s Shoes. n
21 22 TVBE feb 2017 Feature_v2JMcK_final2.indd 55
FURTHER KEYNOTES ANNOUNCED FOR BVE 2017 INCLUDE: Keynote: How to make friends and sell cinematic documentary film to Netflix Speaker: Figs Jackman, head of global development for Spring Films, with credits including The Act of Killing and The Look of Silence Date/Time: 28 Feb 2017 13:50 - 14:20 Location: Production Theatre
to make an appearance at the BVE 2017
and future of the UK film industry, as well as
Theroux will take part in a keynote session titled
Louis Theruox (L) and Dexter Fletcher (R) will appear at BVE
Keynote: From book to TV – Inside the success of The Night Manager Speaker: Simon Cornwell, Executive Producer, The Night Manager and CEO The Ink Factory Date/Time: 01 Mar 2017 12:00 - 12:40 Location: The Screen @ BVE Keynote: Power to the writer Writing a winning Screenplay Speaker: Amma Asante, BAFTA-winning writer and director, with credits including Belle and A United Kingdom Date/Time: 28 Feb 2017 13:15 - 14:00 Location: The Screen @ BVE Keynote: From Studio to Stadium: Contemporary lighting design for two very different situations Speaker: Tim Routledge, Lighting Designer Date/Time: 28 Feb 2017 11:30 - 12:00 Location: AV Integration & Live Theatre Keynote: Masterclass on cinematic lighting Speaker: Natasha Braier, cinematographer Date/Time: 02 Mar 2017 11:00 - 11:50 Location: Cinematography and Lighting Theatre
18/01/2017 16:09
s ar in eb
W
Thought leadership meets lead generation Content creation, marketing, and delivery: TVBEurope offers the platform to educate our audience through your webinar. Our position in the industry will allow you to present your content via interaction with a global audience while generating qualified leads The benefits of a webinar include: • • • • • • •
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24
TVBEurope
www.tvbeurope.com February 2017
Technology
In association with
Continuously evolving This month, NewBay launches TV Tech Global, a bi-monthly publication expanding its TV Technology Europe coverage to the media tech industry worldwide. Editor Neal Romanek reports
T
he first issue of TV Tech Global features an
“Research suggests that roles with creative and
interview with Naomi Climer, the first female
interpersonal elements will be amongst the last to
president of the IET (Institute of Engineering
be automated, so I believe human creativity will
and Technology). Climer is on an IET commission
have a place in broadcasting for some time!”
on the future of work. She notes that the effect of advancing technology on our ability to make a
Setting the standard
living is accelerating.
As a member of several standards bodies, Climer
“Research on the impact of automation and artificial intelligence suggests that more than 50
believes that technology can be harnessed to produce new kinds of collaboration in creating.
New OB vans capture German hockey season
In the past, technology advances have created
society is enabling completely new models for
more jobs than they’ve destroyed, but this may
things, from business models such as airbnb and
not continue.”
uber, to significant crowd-sourced projects such
C
as Wikipedia. Although I’m sure the process
company Broadcast Solutions.
per cent of current jobs won’t exist in ten years.
With the broadcast industry continuing its
“I’m interested in how our hyperconnected
overage of the German ice hockey league by NEP Germany is getting a boost from four new Streamline S8 OB
vans, provided by German production vehicle
process of virtualisation, it seems clear that most
would need careful finessing, I can imagine even
of the technological processes we take for
complex standards being developed very much
OB vans and one 4K OB van, all based on the
granted now – from capture and encoding, to
as Wikipedia articles are; open to editing by all,
Streamline S8 model. All production vehicles
grading and editing, to playout and consumer
peer reviewed and continuously evolving.”
feature a self-propelled truck and are suitable
interaction – will be distributed across server
The role of standards bodies is to create a
The four vehicles comprise three identical HD
for up to eight-camera productions.
farms. The content industry’s bandwidth-intensive
stable, reliable platform – a set of rules – on
requirements may slow the transition down, but it
which more complex structures can be built.
in the rear of the vehicles, which can
will happen sooner rather than later.
But with the technological environment – and
accommodate the complete camera
the rules that govern it – changing so rapidly, it’s
equipment as well as all necessary tripods
broadcast hardware is minimal,” says Climer.
becoming harder to find common ground that
and cables, eliminating the need for an
“Even cameras will eventually just be a lens and
doesn’t crumble away in six months.
additional support van.
“I can imagine a time where the pure
image sensor, with everything else happening in the standard IT infrastructure.” So, in ten years’ time, will the TV industry
“Our industry is changing and there are
The vans incorporate a storage compartment
By implementing the Streamline vehicles,
many new players who are moving faster than
Broadcast Solutions strives for an “off-the-shelf”
our traditional processes. So I believe that our
product which is flexible and can be adapted to
be created by bots, based on audience
standards activities are ripe for evolution, and I
individual requirements. Expansion capabilities
analytics gathered by other bots – a world
hope to see some of the established standards
with UHD technology have already been
where TV is something we no longer participate
bodies taking a lead on this.” Read more in issue
integrated into the basic design in several 4K
in, but only receive?
one of TV Tech Global. n
versions delivered last year. n
CES kicks off 2017
T
A few TV technology highlights from the show
l Kodak showed prototypes of its new Super
Vegas again kicked off the annual trade show calendar with new technologies
l Industry UHD trade organisations made their
|digital output as well as Kodak processing of
and new predictions for the year.
voices heard. The UHD Alliance completed
film stock. The limited edition camera will be
The show frequently sets the tone for
specifications for the use of 4K content on mobile
available in March 2017 and consumer versions
consumer media tech hype for the 12 months
devices. The new specs lay out requirements for
are said to be on the way too.
ahead, and with the consumer and professional
consumer electronics companies and content
growing closer and closer together, CES
creators in the delivery of 4K content on laptops,
Ektachrome film, which can be used in the new
is becoming a bellwether for professional
smartphones and tablets, covering HDR, wide
camera. The company announced the new
media tech too.
colour gamut and resolution expectations.
Super 8 camera last year at CES.
he Consumer Electronics Show in Las
24 25 TVBE Feb 2017 Technology_v3 JGJMcK_final2.indd 54
8 film camera. The film camera also features
Kodak will also revive its colour-reversal
18/01/2017 16:10
TVBEurope
February 2017 www.tvbeurope.com
25
Technology
In association with
l Dell showed off a new 32in, 8K desktop
of its line of gaming PCs, making it the world’s first
They have integrated those products for set-top
monitor. The Dell UP3218K features a resolution
Dolby Atmos-enabled PC.
boxes targeting cable, satellite and direct-to-
of 7680x4320 with 1.07 billion colours and
home video operators.
100 per cent coverage of the AdobeRGB
l Opera TV and MStar Semiconductor have
and sRGB colour gamuts. It will be available
introduced an OTT platform based on MStar’s
l Irdeto said it has secured a licensing deal
in March for $4,999. Something to plug your
system-on-a-chip set-top box platform. They’re
with Wyplay, enabling it to join more than 140
HDMI 2.1 cable into!
offering the combined system to set-top
companies that are part of the Frog by Wyplay
makers and service providers as a pre-integrated
community. Through the partnership, which
l The international VR/AR Association (VRARA)
platform that builds in Opera TV’s suite of
includes Irdeto Rights and Irdeto Cloaked CA,
launched a new database of AR, VR and mixed
OTT products.
they hope to offer an integrated advanced
reality tech companies, with the goal of making it easier for those in the space to connect with new partners. The directory is only accessible to the 100-plus members of VRARA, but any
middleware and security solution for broadcast,
‘CES is becoming a bellwether for professional media technology’
company can add a listing for free.
hybrid and OTT deployments. l MaxLinear said its Multimedia over Coax (MoCA) 2.0-powred MxL3707 integrated circuit is being designed into the CIG WF-802 Series
l LG Electronics unveiled its new LG Signature
l Nagra and Samsung will create a corporate
HomeMesh MoCA-to-Ethernet adapter product
OLED W-series TVs. The super-thin (2.5mm
body to licence the TVkey, introduced by the
line. CIG is an ODM vendor based in Shanghai,
thick) TVs feature the company’s proprietary
partnership at last year’s IBC in Amsterdam. The
with US headquarters in Santa Clara, California.
Nano Cell technology, which aims to “render
licensing JV will be targeted to third-party chipset
The MoCA 2.0 bonded specification provides up
highly nuanced and accurate colours” while
and device makers and TV and conditional
to 800mbps of MAC throughput.
maintaining picture quality at wider viewing
access vendors. The TVkey licensing terms and
angles. The company says that Nano Cell
technical specs are expected to be available by
l WideOpenWest has selected Universal
LCD displays use uniformly-sized particles one
mid-2017. TVkey, a USB-based security platform/
Electronics to develop and manufacture a
nanometer in diameter to create accurate
dongle for pay-TV operators, enables consumers
new TV remote control that’s optimised for
colours from wider angles.
to sign up and pay for TV services directly via
WOW’s “Ultra” whole-home DVR platform,
Samsung TVs.
and will include a dedicated Netflix key.
l Sony’s new flagship 4K HDR OLED A1E
The new remote is expected to reach Ultra
series TV also turned heads at CES. The super-thin,
l JungoTV introduced ten foreign language
subs by early 2017 and features embedded
Dolby Vision compatible TV is not equipped
channels that will be offered on Amazon
RF4CE tech (removing the need for line-of-sight
with speakers.
Channels, Amazon’s curated OTT-SVoD offering.
between remote and set-top), laser-etched
JungoTV’s line-up, which includes offerings
keys and backlighting, and a simplified three-
itself via Sony’s “Acoustic Surface” technology.
in Chinese, German, Filipino, Italian, Korean,
key set-up process.
Dolby hit the mainstream this year with TCL
Russian, and Vietnamese, will start to roll out in
announcing that its C-Series and P-Series TV
Q1 for $7.95 per month.
Sound comes from the screen
l Multiscreen video app maker You.i TV has
lines will also support Dolby Vision.
adapted Cartoon Network’s app for Apple TV l Broadpeak, a provider of CDN tech and VoD
and Amazon Fire TV devices, complementing
l Onkyo [SBT-A500] and Pioneer [ELITE
servers, and Wyplay, a maker of pay-TV software
its reach on iOS and Android smartphones and
FS-EB70] unveiled their first soundbar systems with
systems, are offering a joint solution combining
tablets and Kindle fire devices. You.i TV will
Dolby Atmos. Lenovo has also partnered with
Broadpeak’s nanoCDN tech with the Wyplay’s
also power the UI for Turner’s new FilmStruck
Dolby to launch the Lenovo Legion Y720 as part
“Frog” middleware.
multiplatform SVoD service. n
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SGL works with Sony Ci and S3 via Aspera & Expedat to enable quick and easy transfer of content to the cloud.
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24 25 TVBE Feb 2017 Technology_v3 JGJMcK_final.indd 55
19/01/2017 09:45
26
TVBEurope
www.tvbeurope.com February 2017
Technology
In association with
Dogfight drama and wartime glamour By Stuart Ashton, director, Blackmagic Design, EMEA
L
one day to do one green screen shot - we’ve
same comp to go and work up the shot into its
got half an hour. Fusion is a great tool for that.
broadcast-quality output.”
The workflow would be very different and very cumbersome with anything else.”
Taking VFX to the air One of the most innovative uses came during a
ondon-based effects studio Lexhag deployed
On-set shot visualisation
sequence where a dogfight involving British and
Fusion Studio on ITV’s The Halcyon, using the
“When supervising on set, I’m concerned with look
German warplanes takes place over the skies
VFX suite from Blackmagic Design to help
development,” continues Haggar. “This means
above London.
plan and produce subtle, believable visual effects
either getting the feeling across of how shots
for the wartime drama series.
are going to work, or piping images straight into
looked after the whole shot, bringing in the 3D
the computer so that we can do live comps, to
models into Fusion, lighting and rendering it with
illustrate the concepts.”
the Fusion Renderer. We could rapidly iterate the
A major eight-part series from Left Bank Pictures (The Crown, Outlander, Wallander, DCI Banks), The
Halcyon tells the story of a bustling and charming
Haggar connected an SDI feed from the
five-star hotel at the centre of London society and
camera via a Blackmagic Design UltraStudio
a world at war in 1940.
Mini, and captured live foreground blue screen
“The drama is set during the war, but the story was set in and around the hotel,” says Lexhag founder and VFX supervisor on The Halcyon, Alexis
“One of our lead compositors, Ken Turner,
look of the distant planes to sit correctly in the skies over London,” explains Haggar. “We experimented with capturing flight
frames straight into his laptop over a high-speed
simulation data to animate the planes. We used
Thunderbolt connection.
real flight models of a Spitfire and Messerschmitt
“By importing the images into Fusion, we were
Bf 109. With an old joystick, we flew them through
Haggar. “We decided to use a combination of
able to extract the action and quickly comp them
various combat manoeuvres and recorded their
practical and visual effects for the visions we see
over a background plate we had shot prior to
motion to a simple text file.
of London at war.”
the [main] shoot,” explains Haggar. “I was able to
Fusion’s true 3D compositing environment allows
“We also wrote some custom scripts in Fusion to
put it all together very quickly, along with some
create particle systems for tracer fire and vapour
artists to combine live action, 3D models, cameras,
geometry to bring in some of the features of the
trails,” he continues. “When all was in place, we
lights, 3D particles, volumetric effects and powerful
hotel that weren’t there on the day. I could pop
could freely move the planes around, and the
image processing tools. Lexhag used Fusion Studio,
that in and very quickly layer it up, output that as
whole scene would update automatically.”
and planning component Generation, throughout
a comp frame, and pop it into a PDF as a layout
the pipeline from pre-production through to post.
shot for approval.”
Checking out
“We try to use Fusion as much as we can, as I
This process allowed the director and DoP to
“The biggest benefit of using Fusion on this project
know it better than any other 2D compositor,” says
visualise where to place the camera, and how it
was its flexibility and its speed,” concludes Haggar.
Haggar. “I rely on its speed for everything.”
should be lit to marry up into a seamless shot.
“It’s stable, and it has all of the tools that we need,
“Fusion enabled us to quickly rough up shots
“From a look development point of view, Fusion
at least for all the compositing tasks. Due to the
for fast client approval on and off the set of
a great tool,” adds Haggar. “I can go as far as
way it is licensed, it’s very quick to add a seat
The Halcyon,” he continues. “With the speed
I need to go to sell the idea. Sometimes work
and get someone working on it. You can just sit
demanded by TV, you want as many clues as
you do on set is reusable, so when you get the
someone at a computer, stick the dongle in, and
possible that VFX is going to work. “We don’t have
actual rushes from the editorial, you can use the
off they go. For a small studio, that means a lot.” n
26 TVBE Feb 2017 Technology_v2 JGJMcK_final.indd 54
18/01/2017 15:19
The global resource portal for media technology content
White papers, webinars, opinions, blogs, case studies, tutorials and more. NewBay Connect now offers even wider content for its registered users, is easier to navigate and provides users with dedicated weekly newsletters offering a digest of the latest content and carefully selected content from its themes of the month. NewBayConnect-MediaInfo-PDF.indd 1
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17/05/2016 12:10
Save the Date Conference 14 – 18 September 2017 Exhibition 15 – 19 September 2017 RAI, Amsterdam
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Where the entertainment, media and technology industry does business Join over 1,800 exhibitors showcasing the latest technological innovations, 400+ speakers delivering the latest industry insights and 55,000 attendees providing unlimited networking opportunities at IBC’s 50th annual conference and exhibition. Add dates to your diary IBC.org/savethedate Follow us on social media for the latest news and updates #IBCShow
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TVBEurope
February 2017 www.tvbeurope.com
29
Business
The dangerous business of news George Jarrett covers the 22nd Rory Peck Awards event and talks to some canny journalists about safety, risk and luck
T
“It was very challenging for
from October 2015 to March 2016.
numerous reasons, but the one
He says, “It’s a story that needed to
I would like to address is the
be told. It’s not only very important
emotional toll it had on all of us
for the Middle East, but also how
he Rory Peck Awards 2016
“One of the biggest changes we
working in the field,” he says. “What
Europe is being shaped by the
saw nine experienced finalists
have seen in our industry is the
I found most difficult in the film was
migration crisis.
emerge from 101 entries,
improvement in the quality of both
sticking a camera in front of their
journalism and video,” Mates adds.
faces when they were at their most
that I shot, it’s all about how many
submitted by freelance journalists from 36 nations. UK nationals were
“This is not about how many hours
vulnerable, when they landed on an
hours that went out to clients. At
responsible for 20 entries across the
Nabil Hassan’s news finalist The
island, all of them terrified, and then
least a dozen hours went to outlets
three Sony-sponsored categories,
Battle for Aden, a brilliant report of
going north to the Macedonian
through Agence France-Presse,” he
and another five entries saw UK
anti-rebel militiamen battling Houthi
borders, where the conditions were
adds. “A lot of this footage is rushes
names partner American, Israeli,
rebels for possession of Aden, Mates
absolutely horrific.”
for the news agency, so it is not
Afghan, French and Mexican
is succinct: “News organisations are
journalists on projects. American
desperate for this stuff. It is less than
nationals fielded nine entries, with
possible for Western reporters and
French journalists totalling seven.
cameramen to operate at all, so
BAFTA was the venue for the first
When commenting on (Yemeni)
completely relies – on people like
a single prize saw just 15 entries
Nabil shooting material so we have
competing. Since then, the Rory
some idea of what is going on, some
Peck Trust has become one of the
sense of what’s driving the conflict,
most effective and best-loved small
how serious it is, and how many
charities in the world, thanks to the
victims there are.”
support of the world’s big players in
Hassan is clear about casualties:
the news business, and a constantly
a total of 18 Yemeni journalists had
committed staff.
been killed trying to do what he had done for AFP.
judging panel for news and Europe editor, ITV News, says, “We faced
A lot of it was on the spot
unprecedented quality. Reducing
Greek national Will Vassilopoulos
this to just three finalists was almost
won the Rory Peck award for
impossible. In the dim and distant
news for his story Fear and
past, some of the material you
Desperation: Refugees and
would get from freelancers and
Migrants Pour into Greece.
through agencies was sometimes
respect for the migrants. He shot
necessarily following people from entry to end.”
we completely rely – and the world
awards night back in 1995, and
James Mates, chair of the
Vassilopoulos filmed with utmost
THE FUTURE IS CONTENT-CENTRIC Let’s optimize multiplatform scheduling www.mediagenix.tv
This follows a good percentage of
of mixed quality. That is no longer
the 860,000 migrants who landed in
the case.
Greece last year.
29 30 31 TVBE Feb2017Rory Peck awards_v2 JGJMcK_final2.indd 54
18/01/2017 16:39
30 TVBEurope
www.tvbeurope.com February 2017
Business Four tons of explosives
He continues, ”A lot of it was on the
stories, without translation as there
“We had excellent support on the
spot, so I could tell many stories.
was no time,” says Salustro.
ground. We were working with two
Refsdal’s film, Dugma: The Button, is
Macedonian journalists and an
about suicide bombers, shot in Syria
I would find particular people,
Migrant family though a lens
ethnic Albanian freelancer from the
in the hosting company of the al-
with them, and try and tell the
nearby villages, so that secured the
Qaida affiliate Jabhat al Nusra.
stories at that location.”
German filmmaker Marcel
locals for us. Journalists were known
Mettelsiefen won the Sony Impact
to be beaten up going into those
one of the ‘martyrdom seekers’ as
A failed state on the doorstep of Europe
award for current affairs with
places, but the village was angry
they call them. I met a Saudi man
Children on the Frontline: The
about the gang operating there,”
who was supposed to blow himself
Italian journalist Marco Salustro
Escape, which is part two of a story
says Gammon.
up within two weeks, when I would
collected the award for news
he told in 2013 about the children of
features with another migration tale
a rebel commander in Aleppo.
gain their trust, build a rapport
called Libya’s Migrant Trade: Europe
Shot in Syria, Turkey and Germany
“The gang themselves didn’t
“I started filming and asked for
be back in Norway,” says Refsdal.
know we were coming and we had
“When I returned for my second trip,
no idea how they would react,” she
he was still alive. On my first trip I also
or Die, which was shot for Vice News
until April 2016, and seen on
adds. “I filmed openly, but it was
met a British convert who was on
in June 2015.
Channel 4’s Dispatches; his winning
difficult, especially in the border
the list, and when I went back, he
story follows the family after ISIS
area controlled by the gangs.”
was getting married.”
Salustro, who was applauded for delivering the sense of fear,
captured the father. The mother,
insecurity and lack of hope that
three daughters and a son escape
dogged all of the migrants he
from Aleppo to Turkey, and then
encountered, says, “The militia I
onto Germany and a new life.
filmed thought my work was useful
The judges say that it is very rare
for them, because they wanted
for a filmmaker to be so immersed in
to have recognition from the
his subject: the consequence being
government. They were quite happy
that the Mettelsiefen camera was
to show me how they were treating
totally invisible.
the migrants.” He shot 20 hours’ worth of
He says, “This took three years of my life. Documentary filmmaking
material, which was cut back to 30
is one of the most unbelievable
minutes for the winning title.
experiences if you are able to gain
‘The Rory Peck Trust has become one of the most effective and best-loved small charities in the world’
Militia support: desperate migrants talk to Marco Salustro
peoples’ trust, to squeak into their lives. This makes our profession so
“There was a point when I tried to
“This made me decide to
beautiful. I managed to gain the
film and they got very angry and
concentrate on these people and
trust of one of the most inspiring
started chasing us. Luckily, another
produce a story about them.”
families I have ever met.”
‘higher up’ trafficking gangster told
Journalists beaten up One of the finalists in news features,
He emphasised that he was
them to back off, otherwise we
studying fellow humans. “They
could have been in serious trouble.”
have their doubts, they change
Once the story was exposed,
their mind. They volunteer, and it’s
“I had been to Libya seven times
Lottie Gammon, and one in the
the Macedonian authorities
a long list because there were few
before this film and I worked
Sony Impact category from Paul
raided the house, freeing around
suicide operations being ordered,”
on another film on this issue a
Salahadin Refsdal, emphasised
200 people while arresting several
says Refsdal. “Even on the night of
few months before, so I had the
the crucial aspects of securing the
traffickers in the process.
driving a truck bomb at the Syrian
contacts and everything was quite
working environment, and also
easy for me,” he explains. “This is a
being lucky.
“It led to Macedonia easing its
army, the bomber can decide he
restrictions on refugees passing
cannot do it. They have a reserve
through, which resulted in nine
on the list. This is not Islamic State. They don’t target civilians.”
big story. The Western media is full of
In shooting Tracking Down
migrant and Islamic State stories, but
Macedonia’s Refugee Kidnap
months when people were able
there are lots of problems in Libya
Gangs for Channel 4 News,
to pass through safe from the
that are unresolved and we are
Gammon had reporter Ramita
kidnappers. But they closed the
started the project in 2013, and
facing a country that is on the
Naval for company. The film hangs
borders in the spring and I heard in
spent about 16 weeks inside the
verge of collapse. In a short time,
on the testimonies of two refugees
Serbia that the traffickers are back
rebel-controlled area until I got
we will have a failed state on the
who escaped.
up and running.”
permission. I had 20 hours of raw
doorstep of Europe, and migration
“We knew about the coordinates
Gammon and Naval shot
How did he get accepted? “I
footage, but it was not as much as
of a house where refugees were
relentlessly for eight days, for an
I wanted. After I spent a month
Some of his wonderful shots are
being kidnapped, but didn’t know
11-minute film. “I very much like
with them on my last trip, they
from inside the detention centre run
what would happen when we got
working in a team,” says Gammon.
said, ‘Now your film is finished.
by the militia. “I was given half an
there,” she says. “The refugees were
“You are a lot safer. You need
Go home’.”
hour there and just left the camera
locked in, and there were definitely
another pair of eyes, especially
rolling while the migrants told their
weapons present.”
when you are shooting.”
will be unanswerable.”
29 30 31 TVBE Feb2017Rory Peck awards_v2 JGJMcK_final2.indd 55
In one scene, a bomber sits in a truck cab explaining
18/01/2017 16:39
TVBEurope
February 2017 www.tvbeurope.com
31
Business the system of two buttons he has to push. How dangerous was that?
Mettelsiefen magic: how a mother escapes from Aleppo with her family
“We got bombed several times.
The third finalist in new features was
The Road to Fallujah by Ayman Oghanna and Warzer Jaff. The other
In the film, standing there with the
finalist in news was Waad Al Kateeb
truck, you know it is loaded with four
with A Life in the Day of Aleppo.
tons of explosives, and the Syrian
Waad is the working name of a
army started shelling the area. That
24-year old Syrian mother married to
was a bit hairy,” says Refsdal.
a doctor. She sent a message from Eastern Aleppo, which read, “I am
It is really tough out there
still watching what is happening and
Gammon and Refsdal spent time
filming. I still have hope. We have
plotting safety plans, but Rory Peck
been under siege for 107 days.”
Trust director Tina Carr speaks from
Oghanna and Jaff joined the Iraqi
the experience of sending out over
The camera vanishes
Harrit concludes, “Freelancers
Special Forces as they fought to
200 assistance grants in 2016, to
Michael Harrit, marketing director,
live a dangerous life, and no
remove ISIS from towns and cities in
freelancers and their families.
media solutions, Sony PSE, saw
other organisation supports
Anbar Province. It took 18 months to
“We are proud to help
many of the best entries in his
them in terms of advice and
secure the ride.
freelancers. Many are being
capacity as chair of the Sony
education, and support in
targeted by companies, by factions,
Impact Award judges.
difficult personal situations.”
gangsters, and anyone who wants
“The storytelling was much more
“Being freelancers allowed us to spend the time to develop relationships and trust. We were probably the first ever people to
its own vintage character, and it’s
Every person has to assess risk
getting better, and more varied,”
Ben Steele was a finalist in the Sony
and now, if you look at the situation
he says. “The camera is almost
Impact category, with the judges
in Mosul, everyone is trying to do
population of exiled and displaced
disappearing in the way stories are
noting, “It takes incredible skill to
what we did,” says Oghanna.
freelance journalists, she adds,
told, which is a sign of both good
make such a sensitive and nuanced
“There are more than ever because
journalism and good camera work.
film in those conditions.”
to control the agenda,” she says.
in focus this year. Every year has
“It is really tough out there for them, and it is getting tougher.” On the issue of the growing
have the access to the Iraqi military,
Jaff adds that they spent five weeks in battle zones with ISIS,
“In the case of the Ben Steele
He says, “I wouldn’t go into an
What’s changed is that this is
film The Children Who Beat Ebola,
a war zone, but I was comfortable
now happening closer to home,
where he follows two brothers, a lot
going to the Ebola hot spot in West
Award for heroic levels of support to
happening in countries that we do
of the shots are at the height of the
Africa. Every person has to assess
freelancers went to a woman. Angel
not consider as countries where we
children, and you are more closely
risk and decide what you are
istek Alcu, who works in the Turkish
have that kind of problem.”
relating to these characters,” he
comfortable with, and for me that
city of Diyarbakir, is a journalist, fixer,
added. “You can still relate to the
project felt perfectly acceptable.”
guide and translator. n
of repression, bullying and beatings.
The trust has managed to stretch the impact of its work through links
Ebola story through the humanity
to partner organisations. It wants to
in survival. There were a lot of
stay small to stay personal. “We just
emotional moments present.”
want to be able to do what we do better, and I
Harrit observed that the one topic from so many angles. What is it
do that with
that freelancers need in the way
staff that work
of technology? “A combo of very high picture
week rather
quality, low light performance,
than three,”
and ergonomics. There are many
says Carr.
For the first time, the Martin Adler
of refugees had been covered
would like to
five days a
securing 900GB of footage.
positions that are difficult to shoot, so thinking about how to hold the camera in difficult positions is important,” he says. “It is always
COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE Let’s not leave money on the table
a balance between being small and losing out on some quality or Will Vassilopoulos received the Rory Peck award for news
www.mediagenix.tv
flexibility. If it gets too big you lose out on flexibility, and may miss some shots. But for Sony, it is not a question of selling cameras. It is all about supporting the Rory Peck Trust.”
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TVBEurope
www.tvbeurope.com February 2017
Audio
Exploring the future of
live audio production With exciting developments surrounding immersive and personalised audio, and the continuing implementation of remote production techniques, 2017 is shaping up to be a hugely eventful year for broadcast manufacturers in this area. David Davies caught up with three leading players to find out about their latest projects and predictions
LAWO Christian Struck, senior product manager, audio production
I
mmersive audio with objects,
and, thus, help the engineer. More
inclusion in a broadcast mix.
but also OTT content, potentially
recently, with the introduction of
The outcome is a mix that is fully
binaural mixes, personalisation,
KICK in late 2015, Lawo took a first
repeatable from match to match
etcetera, all require additional
step to use external tracking data
and remains accurate even after
work from sound engineers. From
for mixing purposes in sports such
90 minutes of play.
monitoring multiple output formats
as football, rugby and American
to defining metadata for objects,
football. Considering that,
support in that it relieves the
new tasks require the engineers’
especially in sports, highly accurate
operator with regard to basic
attention and mostly mean extra
“Today, we normally find broadcast mixes in more places than we think”
workload. Another topic that is key in the music mixing industry is to make sure your mix sounds good on different playback systems. Today, we normally find broadcast
KICK works as an essential
mixing, and automisation creates extremely consistent audio levels and fades. This is an important prerequisite for use as full signal in object-based environments. Manually created
mixes in more places than we think.
close-ball mixes are always in
People listen to content on different
tracking systems are widely in use
danger of level inconsistencies or audible fades.
distribution channels (broadcast,
what’s coming. In Lawo’s mind, it
already, this is an excellent source
cable, network websites), but also
is therefore important to support
of information that can help to
as part of theatrical advertising
engineers with additional mixing
improve and automate major parts
unnoticed in a mix with crowd
or international outlets. If all of this
aids which will allow the engineer
of the mixing. KICK analyses and
and commentator, but just
needs the engineer’s attention
to manage all these additional
evaluates this tracking data for the
imagine a viewer – by using
during the mix, the care taken in
tasks. There have been different
automated positioning of the fader
personalisable audio – being
creating the mix will suffer.
developments in the past – such as
on the console, thereby achieving
able to lower the commentator
This might not be all relevant for
automix or audio follow video – that
a consistent audio level without
channel and turn up the sound
2017, but it is [an indication as] to
automate certain parts of the mix
noticeable fades for seamless
of the FX signals. n
This may be completely
DPA MICROPHONES René Mørch, product manager
I
n today’s competitive broadcast
the availability of compact live
be cut down to a tiny crew with
environment, where audiences
broadcasting transmission units
the agility of a gazelle, because
have endless viewing possibilities,
that have, to some extent, sent
it’s no longer necessary to send
news and sports coverage have
traditional ENG vans into retirement.
a van to the scene of the action,
become the main drivers used
With this equipment, broadcasting
or set up satellite or microwave
by traditional broadcasters to
live only requires two people:
links to access broadcast station
retain audience share. But with
a journalist and a multimedia
backbones. Two-man crews can
the advent of new and more
engineer carrying all the necessary
simply get on the metro, jump in
economical ways of gathering
gear, with transmission taken care
a car or even on bicycles, and
content, even this traditional
of by a few 4G channels, Wi-Fi or a
within minutes they can be right
advantage is coming under threat.
similar wired or wireless IP stream.
where the story is taking place.
One of the major changes is
Traditionally, costly set-ups can now
This rapid access has inevitably
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February 2017 www.tvbeurope.com
33
Audio increased the burden placed on
Going from an ENG van to a two-
with a smartphone is gathering
from background noise such
multimedia technicians, as they
man crew is a major evolution,
content, it is even more important
as wind and traffic, while our
now need to control audio, video
but it doesn’t stop there. The next
that good transducers, professional
bodyworn range of headset and
and transmission, as well as setting
trend in newsgathering is the
analogue and digital converters are
lapel mics make it easy to get very
the scene for nice pictures. In this
smartphone. Using smartphones for
employed to send the right audio
close to the sound source. We
respect, audio often receives less
live and pre-recorded content is
signal to the device.
even have an in-ear version of our
attention, as most of us are visually oriented. However, about 80 per cent of complaints received by broadcasters concern poor sound. An audio signal is only ever as good
“News and sports coverage have become the main drivers to retain audience share”
as it is at source – it certainly won’t
Audio equipment targeting these
headset microphone that allows
applications is already available,
you to monitor input and have
but quality varies greatly, from
foldback from the studio so you can
professional units to inexpensive
stay in contact with your producer.
consumer-type products. This is
We are also launching the d:vice
an area where you get what you
Digital Audio Interface, a new input
get better further down the signal
already part of daily life for large,
pay for, so even if you are working
engine consisting of a high-quality
chain. Therefore, delivering good
established broadcasters, as well
solo with a smartphone, it is worth
mic pre-amp, an A/D converter
audio starts with good transducers
as those creating content for the
investing in the best microphone
and a power plug that can be
(microphones).
web and social media applications.
you can afford. DPA’s broadcast
connected directly to an iOS
While we can live with less-than-
microphone range is designed
device, Mac or PC. This accessory
you need microphones capable
brilliant video quality, audio fails
to deliver high levels of speech
takes up to two DPA microphones so
of picking up audio and delivering
that result in distorted or difficult-
intelligibility. The directional quality
users can create a similar blend of
high speech intelligibility with little
to-interpret sound will quickly turn
of many of our microphones
voice and ‘clean feed’ that usually
to no adjustment.
viewers away. When one person
significantly reduces interference
follows a video track. n
If you want to avoid complaints,
JÜNGER AUDIO Peter Poers, CEO
W
ith today’s broadcasters
music and effects. The aim is to
and increased efficiency,
facing increasing
control these sources in such a
while still delivering a predictable
consumer demand for
way that final mixing can become
performance and audio
more content on more devices, the
fully automated. Separate audio
output. This is an important step
need for fast and cost-effective
control rooms are no longer
towards the introduction of
workflows has never been greater.
necessary because mixing can
object-based audio workflows
be done in the transmission centre.
that support the future Next
doubt that Smart Production is the
This solution offers highly automated
Generation Audio (NGA)
answer. This phrase encompasses
workflows with maximum flexibility
codec systems.” n
Against this backdrop, there is no
the use of sophisticated technologies to reach high-quality production results with increased efficiency. An important part of this will be Smart Audio, developed
in another location, you cannot
to help broadcasters embrace
always assume that audio levels
automated audio production,
will be consistent, or that the mix
particularly in live environments. The
will be compliant with relevant
introduction of remote production
loudness standards. The only way
scenarios will benefit from Smart
to ensure that viewers receive a
Production in general and Smart
consistent, clear audio experience
Audio procedures in detail.
is to utilise a chain of intelligent
Broadcasters who buy into this
and adaptive real-time processing
concept can choose devices that
algorithms working together. This is
are fully interoperable with others
what Smart Audio means: delivering
in the broadcast environment and
high quality sound in a very efficient
can integrate with both playout
way, with minimal requirement for
automation systems and logging
manual control or intervention
and monitoring processes.
from an operator.
If you are taking in a feed from
Let’s unify the workflow www.mediagenix.tv
Using this concept, we focus
an OB truck, combining it with a
on individual audio sources such
local studio presenter and perhaps
as venue feeds and location
also a feed from a remote reporter
recordings, commentator tracks,
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VOD IS THE NEW LINEAR
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www.tvbeurope.com February 2017
TVBEverywhere
The critical difference between cloud-native and cloud-enabled According to the 2016 Imagine Communications
and automation, which enable cloud-native
Focus Forward Technology Trends report, 52 per
applications to harness the power of a distributed
cent of broadcasters believe that encoding and
and geo-diverse environment. This allows
transcoding will be the first aspect of broadcast
broadcasters to scale resources up and down as
workflow to transition toward a cloud environment,
required and delivers reliability, easy set-up and
he terms ‘cloud-native’ and ‘cloud-enabled’
followed by advertising, playout, editing and
maintenance, as well as opening the door to
are often used interchangeably to describe
production – with master control, signal routing
countless business continuity scenarios.
an application that is accessible from a
lagging behind. In fact, over 20 per cent expect
By contrast, cloud-enabled applications are
virtual setting, and is not dependent on a specific
that over half of all operations will be conducted
designed for static environments. Having been
type of underlying hardware. However, assuming
in a data centre within five years.
merely ‘enabled’ for the cloud, they are firmly on
By Glodina Lostanlen, CMO, Imagine Communications
T
both terms mean the same thing can lead to very different results for broadcasters seeking the benefits of a cloud environment. A cloud-enabled application is one that was originally designed
the way to delivering the performance-enhancing
‘Assuming both terms mean the same thing can lead to very different result’
to run on purpose-built hardware located in the
and cost-efficient capabilities of the cloud, but in reality, they lack the ability to truly deliver them. Because technology vendors are conflating the two terms in their eagerness to jump on the
company’s central facilities, but that has been
cloud bandwagon, media professionals in search
retrofitted to be accessible from a public or private
These numbers give an idea of how high the
of a cloud-native infrastructure are facing a much
cloud environment.
stakes are as the industry embraces cloud. Many
more difficult task than they might realise.
Though cloud-enabled applications are
technology suppliers, however, are still incorrectly
Until the advent of a ‘cloud-native’ certification
accessible from the cloud, they lack the ability
promoting the relocation of premises-based
or industry-wide seal of approval, those media
to tap into traditional cloud characteristics, such
applications to virtualised settings as a ‘cloud-
professionals can ask three foolproof questions in
as elastic scaling, geo-dispersion and advanced
native’ solution – by simply dressing them up in
a bid to correctly distinguish the ‘cloud-enabled’
automation. A cloud-native application, on the
what amounts to an IP wrapper. These cloud-
from the ‘cloud-native’ application.
other hand, is developed with the cloud in mind
enabling efforts play a vital role in the migration
from the start, and is built to take full advantage
of the media production, playout and distribution
microservices architecture?” If the application is
of the inherent cloud principles mentioned
process towards realising the benefits of IP, but
based on microservices, a buyer can be assured
above. Cloud-native applications are also
they fall short of the end goal.
that it’s cloud-native. The reason behind this is
described as ‘cloud-centric.’ This may sound like a semantic detail, but
To exploit the full performance, scale,
First question: “Is the application based on a
that a microservices approach to application
reliability and efficiency benefits of the cloud,
development is a deconstruction of monolithic
as software-defined networking (SDN) and the
an application must be designed and built from
application design.
cloud gather momentum year upon year across
the ground up with a virtualised environment
the industry, it’s important for broadcasters
in mind. The power and efficiency of the cloud
on microservices is composed of small, mostly
to understand what exactly is on the table.
come from specialised and built-in orchestration
autonomous components that often perform a
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As the name suggests, an application based
18/01/2017 17:11
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35
TVBEverywhere specific function or capability, such as encryption
wholesale replacements of applications and
Several high-profile public deployments
or compression. A cloud-native application
platforms. Continuous software delivery is all
showcasing the successful relocation of integrated
may be composed of multiple microservices
about being able to augment applications
playout operations to the cloud have been
that interact through a shared fabric. A major
with the latest technology without requiring a
revealed in the past couple of years, including
advantage of microservices over monolithic
wholesale upgrade.
Disney/ABC Television Group’s relocation of its
design is the ability to troubleshoot, monitor and
Third question: “How long have you, Mr Supplier,
update on a service-by-service basis, rather than
been talking about SDN and cloud?” Designing
dealing with the entire application.
and developing cloud-native applications doesn’t
Most importantly, a microservices design
channel origination playout operations and master control to a virtualised environment. Whether a broadcaster has already started
happen overnight, and an authentic cloud-native
down the path of shifting its operations to a
enables the nearly immediate incorporation of
application is likely the result of years of extensive
software-centric model, or is in the early planning
new functionality and features.
research and development. Many technology
stages, knowing the differences between cloud-
suppliers lack the resources to fully commit to a
native and cloud-enabled is the first fundamental
continuous software delivery?” Continuous
cloud-native development programme. They
step to securing the future of the business. It’s
software delivery, or innovation, is a more formal
are often on the back foot, because they were
important to stress that the cloud, whether
way of describing how cloud-native applications
late to recognise the need for a new technology
private or public, isn’t for everyone. Rather than
can remain perpetually updated. The component
foundation to support evolving video consumption
pigeonhole companies into a single deployment
nature of an application that was born in the
preferences and business models. Unless there is
scenario, virtualisation provides businesses with the
cloud makes it possible for media companies
evidence that a supplier has been traveling down
ability to choose any deployment option, from
– or their vendors – to continuously improve
the software-enabled, IP-based road for at least a
appliance-based to cloud, or a hybrid approach
their operations with the latest technology and
couple of years, then it’s unlikely that the vendor
that distributes functionality between on-premises
advanced features.
has made it far enough along the path to have
and remote locations. A cloud-native approach
completed a significant shift to the cloud.
also enables broadcasters to migrate operations
Second question: “Does the application support
In the current technology climate, continuous software delivery is the only way to future-proof workflows without suffering through frequent and
34 35 TVBE Feb 2017 TVBEverywhere_v2 JGJMcK_final2.indd 33
Plenty of cloud-native broadcast applications have already been commercially deployed.
to IP-based on business objectives that dictate how and when they embrace the cloud. n
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TVBEurope
www.tvbeurope.com February 2017
Data Centre
This TV programme is brought to you by
automation xxx xxxxx By Barry Hartman, product director of media logistics, Ooyala
C
coined ‘peak’ TV – is unsustainable, and that
a software application that generates game
producers may simply run out of resources
highlight clips that are customised to individual
and bandwidth. There’s some truth to that. In
fan preferences, and then delivers those clips
today’s video ecosystem, content producers
immediately following or during games in
are taxed not simply with producing great
near real time.
onsumers and producers both want
shows, but also with competing for increasingly
more video content. Viewers are
scarce talent, such as writers, actors and crew
dying to see another season of Game
members. These challenges are compounded
of Thrones, up-to-the-minute clips from the
home team’s game, or the next installment of xxxxx
Fifty Shades of Greyxxxx . Content producers are
motivated to create more programming in order
‘It’s neither easy nor straightforward for providers to keep pace with viewers’ and advertisers’ increasing demand for video’
Similarly, a recent New York Times article discussed new technology that helps publishers such as Hearst, Gannett and The Huffington Post increase video production and save costs. This is done by automating the analysis of existing articles or scripts and searching for video clips to accompany that text, or by providing
X
past year, Netflix promised to double content
by the fact that content must meet the needs of
production and Amazon committed to tripling
different delivery platforms, devices, syndicate
the number of its original shows. Industry
partners, regional variations, technical standards,
for the production of content that already exists
watchers believe the uptick will continue,
and more – often without budget increases.
(for example, repurposing game highlights or
predicting that by 2017, output could reach
Organisations across the entire industry are
articles), but what about automation to help
to capture xxxxx thenhearts, minds, and wallets of viewers and wwww brands. As a result, we’ve recently
points to ‘technology that promises to streamline
seen producers pump up the content: this
more than 500 scripted shows. While it’s exciting to be part of a growing industry, in reality it’s neither easy nor
computerised voiceovers for videos. The article video production, sometimes to the point of
xxxxx struggling to meet this challenge, and few are xxxxx sure where to turn for solutions.
Some producers are hoping to meet
near-full automation’. These new technologies hold great promise
with the production of original content, such as those Game of Thrones episodes that viewers love? Certainly, original content producers
straightforward for content producers,
these exponentially increasing content
would welcome more help with both the non-
broadcasters or VoD service providers to keep
demands – and simultaneously reduce costs
creative and creative parts of production, but is
pace with viewers’ and advertisers’ increasing
and manpower requirements – by using
automation the answer to all those needs? Just
demand for video. In fact, some are saying
technologies that automate various aspects of
how far will producers go with automation – do
that this massive increase in programming –
video production. The NBA, for example, uses
they even know enough to decide?
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February 2017 www.tvbeurope.com
37
Data Centre The long road from creation to distribution
for repackaged videos? Well, yes – and no.
automation technology helped reduce the
Production of original content is, in general,
length of its average job from 90 minutes to
When ‘pumping up the content’, content
more creative, nuanced and involved than
just ten! Another commented that automation
producers must consider nearly every facet
repackaged video production, particularly
allowed them to on-board new clients or
of production, from concept development to
when that programming is licensed to scores of
launch new services in a fraction of the time,
scriptwriting, to editing, all the way through
outlets or partners that require quick turnaround
making them significantly more agile in a
to delivery, and often must customise those
and delivery. Given that complexity, it’s
rapidly changing market.
processes in various ways for dozens of partners.
unrealistic to think that automation could help
Consider this example: a major production
original content producers to the extent and
company recently signed a contract with a
in the same ways it’s helping repackaged
control over production, eliminating waste
distributor to produce more than ten animated
content producers – certainly, it won’t take
and saving money. These savings allow
cartoon series based on characters in its films.
the place of Aaron Sorkin’s stellar scriptwriting
organisations to do more work with the same
To meet this demand, the company not only
in West Wing. However, technology can be
budget, or to accomplish the same work
had to find animators, writers, and production
employed for many other creative processes
at a lower cost. The savings can also be
studios to create and produce the series,
involved in production.
reinvested, for example, to hire star-quality
Automation can also provide content producers with increased visibility and
they also had to deliver each of the shows in
For example, tasks that require human input,
multiple languages, with various versions, and
such as collaboration on a script, or the decision
with subtitles – obligations that often required
to move ahead with production after receiving
script changes. Additionally, the company had
comments during a review, can be orchestrated
be invaluable in risk assessment and growth
to package up the content assets to meet
and managed with automation. By removing
management, which can help an organisation
the barriers to collaboration – the large chunks
determine if it can add distribution partners
of time and the sometimes byzantine logistics
xxxxx up reviews and conduct more in total – xxxxx
without adding resources.
a move that can dramatically improve
creativity – the subtleties of plot development,
content quality.
nuances of language, and artistic flair required
‘For all its many benefits, automation will never be a complete substitute for human creativity’
required – a production can significantly speed
And, of course, there are many non-creative
on-screen talent, better producers, or better directors. The visibility afforded by automation can also
For all its many benefits, automation will never be a complete substitute for human
in design, staging, and lighting – but it can
distributor’s preferences. All of these steps had
aspects of original programming production
certainly help significantly augment many
to be completed for each and every episode
that content producers can automate,
creative processes, such as collaboration, and
in all ten series, on a rigorous schedule calling
including quality control, versioning, standards
perform a good share of the non-creative ones,
for production of roughly one episode per day.
and format adherence, ingestion, packaging,
such as ingestion.
Scaling was a major concern, and the pain of
delivery, content commissioning and pre-
managing existing day-to-day needs, combined
production workflows.
with the requirements of the overall increased demand, created a ripple effect felt throughout the entire organisation.
All told, automation technology saves the time and frees up the resources needed to add the creative cycles that can improve the quality
Automation increases more than volume
of programming, and to realise greater overall efficiency and cost savings.
By automating production, content producers
And, yes, automation can also help
Not all video production is created equally
can eliminate many manual tasks and shorten
organisations ‘pump up the content’ to
production cycles, which reduces errors and
meet the demand for ‘peak’ TV – an
So, can automation do for original content
increases productivity, speed and efficiency.
outcome that will make both viewers and
and more complex programming what it does
In fact, one Ooyala customer reported that
content producers happy. n
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Data Centre
The rise and rise of video streaming apps growth, MLB advanced media took advantage
Paul Barnes, director of Northern Europe and Middle East, App Annie, looks at why television networks are adopting the mindset of app developers
T
of device features to improve user experience. For instance, as part of its strategy to boost iPad engagement for the 2016 season, a February update introduced multitasking and picture-
he rise of the mobile phone has been
Amazon is a perfect example of the offline
in-picture streaming to iPads running iOS 9.
especially transformative for the media
viewing function directly impacting number of
According to MLB, the update resulted in a
industry. Time spent on apps is growing
users. At the beginning of September 2015, the
20 per cent increase in average minutes spent
globally, and it’s increasingly apparent that
company announced it was allowing users of its
per day, per user, on live viewing compared to
mobile devices are the first screen for many
Amazon Video app to download content and
the 2015 season.
consumers. In fact, over the past two years,
watch it offline. Since then, the base number has
global time spent on media and video apps has
spiked significantly. Netflix recently followed suit to
variety of video streaming services. Although
grown by more than 210 per cent. Growth has
keep up with the competition.
this appears to be a competitive risk to
been much faster than the average for all apps, and they are now on the brink of overtaking games in total time spent. Opportunities being created to reach, impact and influence target audiences is greater than
It’s very common for users to subscribe to a
individual apps, this could also be indicative
‘Opportunities being created to reach, impact and influence target audiences is greater than ever before’
ever before. For example, thanks to in-app
of the broader cord-cutting trend. Users may be picking and choosing the content they most desire – effectively building a custom TV package from available streaming services. However, this also provides a big opportunity
subscription payments, App Annie has seen the
for OTT consolidators, such as Molotov.tv and
likes of Netflix, HBO Now and IQIYI storm to the
Beyond the battle of content
ToView, who are providing pre-populated
top of global app revenue rankings. This is before
Netflix and Amazon’s battle for the best content
packages that draw content from multiple
we even consider the revenue opportunities
is well publicised, with the wider media industry
devices. They offer a one-stop shop to consumers
presented by advertising!
appreciating the need to secure the best
that could draw engagement from the original
exclusive content. But what’s equally important
content owner.
Untethering content from Wi-Fi opens opportunities
is the need for a successful app strategy. Key to success for any video streaming app is a
competitive, so how can you stand out?
Consumer behaviour is shaped by digital
combination of the same skills that make any
Following best practices for video streaming
convenience, and technology is similarly
media network successful, coupled with a well-
apps, including effective user acquisition and
shaped by consumer demand. In Q4 2015, 46
informed app development strategy.
engagement strategies, can ultimately lead to
per cent of global video plays were on a smart
One example of this combination in action
The video streaming market is highly
higher viewership, increased loyalty and more
phone or a tablet. With so much content being
is MLB’s introduction of new device features.
frequent engagement. However, in order to
consumed by video, access to Wi-Fi and data
The app is a subscription-based service that
benchmark success, it’s essential to have a clear
usage becomes a key issue for the wider media
allows users to stream league games, while also
overview of the wider app economy as well as
industry. In all countries studied in App Annie’s
providing a variety of supporting content. To drive
competitors in media network industry. n
recent report, the biggest portion of data used by video streaming apps was accessed via a Wi-Fi network. Unsurprisingly, users are primarily accessing videos when they are stationary (for example, at home, in the office or in a Wi-Fi hotspot). So, what does this mean for the media industry? There are several elements to consider. Mobile data can be expensive, and video can have a significant impact on data plans. T-Mobile’s US-based ‘binge-on’ promotion seeks to address this by offering users free data usage
xxxxx xxxxx
for major video streaming providers. Congestion and poor signal can limit the speed and quality of streaming services. The ability to watch content offline while commuting opens up an opportunity that directly confronts these prior challenges.
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