www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
July 2015
Bridging the gender divide Evaluating the landscape for women in broadcast
2020: visions of the future Special report: Eurovision Forum: Channel in a Box
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TVBEurope 3
July 2015 www.tvbeurope.com
EDITORIAL Executive Editor - James McKeown jmckeown@nbmedia.com Editor - Melanie Dayasena-Lowe mdayasena-lowe@nbmedia.com Senior Staff Writer - Holly Ashford hashford@nbmedia.com NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002 Contributors - Chris Forrester, David Fox, David Davies, Dick Hobbs, John Ive, George Jarrett, Adrian Pennington, Philip Stevens, Catherine Wright Head of Digital - Tim Frost Human Resources & Office Manager - Lianne Davey Head of Design - Jat Garcha Editorial Production Manager - Dawn Boultwood Senior Production Executive - Alistair Taylor Publisher - Steve Connolly sconnolly@nbmedia.com +44 207 354 6000 Sales Manager - Ben Ewles bewles@nbmedia.com +44 207 354 6000 Account Manager - Richard Carr rcarr@nbmedia.com +44 207 354 6000 Managing Director - Mark Burton US Sales - Michael Mitchell Broadcast Media International, PO Box 44, Greenlawn, New York, NY 11740 mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales - Sho Harihara Sales & Project, Yukari Media Incorporated sho@yukarimedia.com +81 6 4790 2222 Fax: +81 6 4793 0800
Welcome
Bridging the great divide We must target the grassroots of our industry to bring the required balance hat a privilege it was to
W
to not only acknowledge the status
be sat amongst such
quo, but to identify how all of the
industry experience,
momentum created by forums of this
intellect, and inspiration. Our rather
nature will inspire action. There needs
functional setting may have lacked
to be a tangible result – something
much ambience of its own, but this
that can be measured in the same
was a roundtable debate of such
way a business measures ROI on its
expression and candour that little
activities.
external stimulus was required to encourage it along. This was a room full of industry
Much of the discussion inside the apologetically beige interior of our Bloomsbury Hotel suite centred on
experts; achievers; a gathering of
the grassroots, on education; on
role models to the next generation
informing the next generation of
of talent that we as a business
talent that there is a future for them
must strive to encourage into our
in our industry – male or female. It
fold. The very essence of bringing these people
touched on the responsibility of senior female
together was so that somewhere on our horizon,
figures in the sector to support the new wave
they will be acknowledged for their professional
by becoming their champions, ambassadors,
acumen and achievements, and not because
and role models. There are many success stories
Circulation NewBay Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK
they have overcome gender discrimination and
in this marketplace: the dignitaries sat at our
other forms of ‘political’ imbalance to get to
roundtable a great example of that fact. Those
Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
where they are.
successes need to be highlighted more often,
Ultimately, this was a panel that could have been offering informed perspectives on a legion
TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London, N1 8LN, England NewBay Media is a member of the Periodical Publishers Association
but in highlighting them, we need to ensure there is an end product.
of industry topics. The fact they weren’t tells you
Forums, seminars, roundtables, and all their
all you need to know about where we are in the
associated editorial coverage will only get us so
pursuit of gender equality in our sector.
far: it’s action that will bring about the change
Unfortunately, it appears that the only time
we envisage. And I agree with our esteemed
a significant body of female executives are
panel that to pave the way for change, the best
seen together on a conference panel or closed
place to start is at grassroots level.
© NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free.
seminar of this ilk is when gender equality is the discussion point. There must be a consensus
for concern, TVBEurope will remain a committed
Allow 8 weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
throughout the sector to change this, but talking
advocate of the movement for change.
Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA
far. That’s why we created this roundtable event,
about the existing problems will only get us so
And while gender imbalance remains a cause
James McKeown Executive Editor
4 TVBEurope
www.tvbeurope.com July 2015
In this issue
24
Bridging the gender divide A host of leading female industry authorities gathered at the Bloomsbury Hotel in London for an exclusive TVBEurope roundtable to discuss the continuing gender imbalance in broadcast and technology
36
28
2020: visions of the future
To follow on from the inaugural TVBEurope 2020 conference on 30 June, we invited Ericsson’s Simon Frost to offer a vision of the future of television within the Networked Society
10 Opinion and Analysis
12 Workflow
Russell Grute continues his focus on mergers and acquisitions by examining the ‘value of people’
Moving with the times: TVBEurope visits the new Modern Times Group transmission centre
Channel in a Box forum This month’s forum takes on a different shape with Philip Stevens talking to a number of Channel in a Box vendors to discover how their solutions are being utilised to maximum effect
38
Special report: Eurovision
32 TVBEverywhere
16 Workflow
Angela Buenger was on the ground at the Wiener Stadthalle to report on ORF’s live production of the record-breaking 2015 Eurovision Song Contest
Why OTT is an opportunity and not a threat to TV operators, by Michael Lantz, CEO of Accedo
Three French broadcasters are using Avid technology in diverse ways. Melanie Dayasena-Lowe visited M6, TF1 and TV5Monde in and around Paris to find out more
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6 TVBEurope
www.tvbeurope.com July 2015
Opinion and Analysis
Metadata Meeting the SCTE-35 requirements splice point for substituting local advertising into
By Roger Franklin, CEO, Crystal
T
Providers are tapping into metadata to increase service value and generate new revenue and business models
the programme stream. The DTMF descriptor instructs a receiver to initiate the specified DTMF tone. The result of this descriptor is the same as the Avail, but
he TV landscape has changed
it accomplishes this by signalling older
dramatically in recent years, with
splicing equipment that still require the
consumers growing accustomed to
audible DTMF tones.
receiving the content they want when and
often one segment, with other segments
where they want it. With this evolution is
for national and local advertising spots.
increased pressure on video providers to know
SCTE-35 can be used to define more specific
The segmentation descriptor is used to define the content of a programme segment. This descriptor has fields that are used to turn web
what the customer wants and to provide
segments than that. Individual scenes can
distribution on or off, or mark whether a segment
recommendations and compelling value added
be defined, enabling the possibility of scene
should or should not be blacked out.
services. Providers are tapping into metadata
substitution based on the age and preference
to increase service value and generate new
of the viewer.
revenue and business models.
The rules for content replacement are defined
According to the specification, the segmentation descriptor is added to a time signal command or other splice commands,
Metadata has been present in video streams
outside of the video stream and should follow
and is used to identify the content of a
since the middle of the 1970s. It is in the changing
the Event Signalling and Management (ESAM)
new upcoming segment. The segmentation
environment of consumer-driven content
and Event Scheduling and Notification Interface
descriptor message should be delivered at
consumption that metadata is the way to
(ESNI) standards.
least four seconds before the beginning of
enhance the viewing experience.
the segment, but is often delivered eight to 12
The SCTE-35 standard
Being SCTE-35 compliant: determining the ‘where’
With the SCTE-35 standard becoming a
SCTE-35 splice messages indicate where to
requirement, metadata must be handled
replace content in a video stream. Splice
in a very specific way. There is some confusion
points must be identified at the beginning and
as to what adhering to the standard
end of the content segment. Every splice point
actually involves.
should begin with an encoder-created IDR
The SCTE-35 standard provides more flexibility
frame and the encoder should insert the
than previous methods, making it possible to
SCTE-35 splice message. The splice commands
fully describe a segment within a programme.
are contained within a splice information
SCTE-35 messages not only define the start
section SCTE-35 message.
and stop points of a segment, but also the
seconds before the segment.
With the pace of change in the video distribution industry, it is clear the future for content distributors is in the value added to the content distributed
Because duration is present, while it is good
duration, and the content within the segment.
practice to supply both the start and stop points,
Making the most of metadata
This flexibility makes it easier to provide
it is only a requirement to provide one.
With the pace of change in the video distribution industry, it is clear the future
personalised content.
Determining the ‘what’
for content distributors is in the value added
Required metadata
SCTE-35 messages are used to define what
to the distributed content. It is a challenge
Two primary pieces of metadata are required
content is in each segment. Splice descriptors
to implement new standards quickly,
within the video stream: the first identifies
identifying the content in each segment can
especially when you need to leverage older
where in the stream a segment starts and ends;
be added to a splice information section
equipment and systems that are not fully
the second identifies what content is present
message. The SCTE-35 standard predefines
compliant. However, the companies that
in that segment.
three types of descriptors: the Avail descriptor
plan today to manage content smartly will
is added to the splice insert command, and
reap the rewards, delivering compelling
provider must determine what constitutes a
this descriptor functions like a cue tone. It is
content to viewers, and generating new
segment for them; e.g. the main programme is
interpreted by the receiving equipment as a
revenue streams.
In order to set those parameters, the video
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8 TVBEurope
www.tvbeurope.com July 2015
Opinion and Analysis
Complying with interference guidelines O If you are buying new modulators or single
By Martin Coleman, executive director, the Satellite Interference Reduction Group (IRG) atellite interference is a big topic. Much of
technology, based on an original development
thread encoders for video uplinking, they should
by Comtech EF Data, with Newtec and others
have CID support that meets the ETSI standard.
supporting testing and the DVB procedure. The CID
The next major deadline for this set of
info is now transported in a resilient spread-spectrum
resolutions is 31 December, 2017, at which point
carrier, ensuring the ID can be detected at all times.
you will need to ensure:
Most manufacturers have already integrated
O CID is included for all SCPC and MCPC video
this discussion and activity is sparked off by
S
CID support into their products and most new
and data transmissions.
broadcasters, who wanted to ensure the
launches have the ETSI version. The original
O The phasing out of the NIT version of CID and
seamless delivery of content. The satellite industry
Network Information Table (NIT) standard is still in
transition to the ETSI standard for CID.
responded by kicking off a host of activity aimed
place and functioning, but as we will discuss in a
at reducing interference over the last few years.
moment, it will eventually be phased out. So for
The FCC guidelines
broadcasters, buying new products and ensuring
The FCC is also doing its bit to ensure widespread
resolutions, training and quality programmes, and
they adhere to the ETSI standard for CID will
implementation of CID by making CID a
guidelines issued to ensure the various initiatives
guarantee being CID ready, but also future-proof.
requirement for all SNG/flyaway broadcast
There have been a number of specifications,
can be as effective as possible, but there is still a
platforms by 1 June, 2016. Of course, this
The WBU-ISOG resolutions
specifically relates to US broadcasts, however,
The World Broadcasting Union’s International
I would really like to see other regulators and
Carrier ID specifications
Satellite Operators Group (recently renamed
major broadcasters follow suit.
Carrier ID (CID) is perhaps the most talked about
International Media Connectivity Group or
initiative over the last couple of years, and is an
IMCG) issued a number of important resolutions
Getting CID-ready
effective way of fighting interference once it
relating to CID implementation. Some of these
The broadcasters wanted something done.
occurs. It takes the form of a unique embedded
affect satellite operators, to begin the transition
Although progress is being made, it is slow.
code within the transmission, meaning that when
to CID, and the broadcasters’ role to ensure
The satellite industry has made great strides in
interference occurs, it can be quickly pinpointed.
inclusion of CID in transmissions.
developing the technology and tools to combat
certain lack of clarity for some.
After much commitment and effort from the
So, here is what you need to be doing already:
interference and there really is some incredible
manufacturers, we now have a DVB specification
O CID support should be specified in all requests for
technology worth looking at, but what is really
and ETSI standard for a new CID insertion
proposal for any SCPC and MCPC video and data.
needed now is for the broadcasters to step up and implement CID and training programmes. There are two principle parts to a broadcaster’s involvement: 1. Ensure your SNG operators are properly trained. Better-trained operators are less likely to cause interference in the first instance, and better equipped to handle any errors that may occur. Many operators in the broadcast environment are simply not sufficiently trained. Our End Users Initiative (EUI) Advisory Committee has created a customised training and certification programme, specifically tailored to the broadcast SNG environment. The certification ensures that uplink operators are properly trained, leading to reduced transmission errors and decreasing instances of interference. 2. Adopt the Carrier ID technology developed by the industry to combat interference by adhering to the guidelines. As a group we are working continuously on innovations relating to improving geolocation and tools for determining VSAT interference. This technology is well advanced, with the ability to use interference cancellation technology to ensure you can tackle this challenge.
The w ireless and mo st o f capturing
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10 TVBEurope
www.tvbeurope.com July 2015
Opinion and Analysis
M&A: the value of people I hope you enjoyed last month’s feature ‘Ghosts in the machine’; Broadcast Innovation’s soft-rock-defined M&A review. This month, part two focuses on the greatest intangible of all in successful M&A: the value of people. By Russell Grute
resources to adapt to the consequences of an acquisition than investors realise. Often, it causes a loss of interest.” Indeed, I have seen many occasions where in addition to the unintended consequences of poor
t’s the subject that comes up time and again
future within the merged organisation. Whilst the
customer communication, the competition takes
in discussions about M&A. With individual
press releases may make all the right noises, the
immediate clear strategic action to benefit from
behaviour often triggered by perceived threat
discussion in the pub may be more confusing.
an acquisition or rumour in the short term. Extra
or opportunity, assessing the role and ongoing
So it’s important that the new structure is made as
stamina is required to get growth going again. Even
value of key individuals and teams causes many
clear as possible as early as possible: time is
if that is present in the target sales team, it may
misunderstandings.
of the essence.”
take longer for the people at resellers or systems
I
Regardless of company size or funding
So how do potential investors successfully
integrators to regain their impetus and direction.
type, it’s the people that innovate and deliver.
mitigate this – how do they get beyond the
Working together they market, sell, and support a
spreadsheets and the roadmaps? It’s not
playout and media management at Ericsson
company’s value proposition.
uncommon during an acquisition for there to be
Broadcast and Media Services, adds, “In recent
a target list. Specific individuals, who are judged
projects where vendors have been acquired,
marketing at Dalet and an M&A veteran from
to be of the highest value, may be obliged to
the results have been mixed and comparatively
both AmberFin and Omneon. “As an investor or
stay with the merged company for a prescribed
small issues have caused tangible performance
shareholder, gauging the success of a merger
length of time post-acquisition. Their loyalty may be
issues. Sometimes, problems arise in support and
or acquisition could be fairly black and white:
incentivised; so called ‘golden handcuffs’. There
in larger issues related to premature or rapid
largely deduced over a defined period of time
can also be a longer list of those who are protected
decisions on product rationalisation without proper
from the (merged) companies’ quarterly or annual
from ‘combined efficiency’ restructuring targets
communication, both internally and to customers.
financial statements. For customers, the benefits of
later on too. Maybe they get boxing gloves?
I spoke with Ben Davenport, director of
one vendor acquiring another can be much less
Davenport again: “Smart integrations try to
Joachim Bergman, head of service area
“For us, there is a need for transparent and rapid communication of roadmaps and changes
obvious. It’s important to remember, especially in
understand the value of individuals and the
in order for us to mitigate any potential negative
such an innovative industry as ours, that companies
intangible values they bring. Acquisitions often
consequences. Hiding or waiting to communicate
are actually about people. It’s people that have
fail to achieve enough growth when there is
bad news is never a good option and that has
the courage to collaborate, innovate and create.
inaccurate perception of these intangible values or
sometimes happened. It is better for us to have the
Sure, you buy a product and might compare that
inappropriate leadership.”
difficult conversations up front with a constructive
like-for-like with other products, but later on you
dialogue about transition and ‘sunset’ of products
actually buy from a person or group. Personal
Timing is everything
relationships are often your direct connection to a
Havard Myklebust, CTO at Norwegian commercial
brand and crucially where you have placed your
broadcaster and media house TV 2, gives his
especially with longer-term technology investments
loyalty and trust.”
customer’s point of view when an acquisition
such as MAM, newsrooms systems and automation
becomes public knowledge.
that have lengthy implementations, often conflict
Once those key people start to move or are moved around then trust has to move too. That’s
“For vendors of strategic technology, it can
and services.” The customers’ buying cycle and expectations,
directly with the timescale of acquisition – and
a difficult transition, impossible to predict. The long-
affect their short-term business negatively. In many
the product strategy post-acquisition. People are
term, face-to-face dialogue which helps forge that
cases it can be a double negative. It casts doubt
important here too, as many situations are better
trust with customers is hard won. Ask any real sales
over any urgent choices. A vendor that you may
dealt with face to face.
professional. And it’s great sales people that often
have been investigating successfully for many
suffer most during a change of owner, if they judge
months can suddenly look like a less clear choice.
Where’s the edge?
that their promises and customer commitments
Why are they being acquired? The local sales
Investors often comment to me that the broadcast
might be affected by the new regime.
team cannot usually offer the reassurance you
and media technology industry is financially difficult
need. The next thing you know is that you receive a
to size – appearing both too big and too small at
media services at BBC Studios and Post Production,
delegation from the new management promising
the same time. The edges are hard to find. So many
adds, “Acquisitions can cause unintended
everything will stay the same, or that everything
products appear unfinished, too.
uncertainty for customers and while those in the
will change. Only one of those statements may
boardroom understand their rationale behind
actually be helpful. Alternatively, the delegation
sometimes challenging to ascertain exactly how
bringing companies together, this is quite often
comes fishing for answers about your requirements
mature the target’s emerging new technologies
misunderstood by those that interface directly with
and the market potential; this can really set alarm
and products really are. Early adopter users are
the clients; their concern is often more about their
bells ringing. Customers have much less time and
looking for the same thing as more adventurous
Keith Nicholas, head of operations for digital
For investors, and customers of course, it’s
TVBEurope 11
July 2015 www.tvbeurope.com
Opinion and Analysis investors, something with suitable potential that
I’ll leave it to Keith Nicholas to bring us back down
can be overlooked at the time of merger, but it
is currently undervalued. In other words, the right
to earth. “However long you have worked in
can make the difference between a sales call
marginal area for public or private investment as
the industry, we all develop a network of trusted
being accepted or declined. I am a strong
explained by Josh Stinehour in last month’s issue.
colleagues and associates who we work with and
believer that our industry’s greatest strength is still
Optimal success comes when products and
follow from supplier to supplier. These relationships
the people and personalities.� „
solutions are ready enough. Or ‘out of the box’, as speciďŹ ed in many an RFP. This takes real discipline in product management and in selling to control commitments. And perhaps ‘the box’ might be a strange shape; not square. Maybe the cardboard is a bit soggy. By way of example, in my experience smart appliance vendors (for example Axon, Evertz, Snell and Ross) are better at this. Telestream and Elemental impress, too. However, many MAM, automation and newsroom control vendors have a more difďŹ cult time. Their products are
"
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more complex solutions with multiple third-party integrations, and they suffer where clients do not effectively communicate all of their requirements. I use these to illustrate where I have found investors confused by the dynamics of the broadcast industry. Please don’t write in. Smaller, privately owned vendors often innovate the fastest in any industry. Private ownership allows them to optimise their own balance of innovation and risk internally. This is usually via a succession of early sales, where they try to mature their solution (ďŹ nish the product) whilst gaining feedback. This is a tried and tested path for the vast majority of the start-up and small (say around $5 million annual revenue excluding support) vendors at NAB. This inevitably leads to a highly challenging imbalance: choosing between continued investment in innovation and development versus the growing pressure to deliver on their commitments in new sales and projects. With many customers actually much larger than the suppliers their businesses rely on, in terms of revenue, customers do exert inappropriate pressure at times. When further growth is required beyond what is possible organically in-house, or it looks like the wheels are falling off due to customer success and pressure, investment is sought. Another potential cautionary indicator is when
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a vendor’s key developers end up on the projects. Late night tactical coding on the job accompanied by too many ďŹ zzy drinks is fast, but often means poor quality control and bad documentation. This high wire act is usually managed instinctively by a small core group of people. Often, the company founders, led by a charismatic CTO, are performing the front line communications face to face. Unless this can be scaled-up, the acquired company, however smart, may not add as much growth as expected.
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12 TVBEurope
www.tvbeurope.com July 2015
Workflow
Moving with the times Philip Stevens visits the new Modern Times Group transmission centre ntil earlier this year, the UK operation
U
and administrative centres for MTG (Modern Times Group) were located in
buildings some miles apart. With the lease on the operations centre due to expire in 2015, the group made a decision to locate all of its UK operations under one roof. The result is an impressive facility close to London’s Chiswick Park that handles the playout for some 60 television channels in both SD and HD serving various parts of the world. But what is a Swedish company doing with a truly state-of-the-art broadcast facility in the UK? And why does it also have another major TX centre in Latvia? “When MTG started broadcasting to Scandinavia in 1987 there was no commercial TV market there,” explains Magnus Lindholm,
The MCR at the MTG facility is located close to the playout room
CEO of MTG Broadcast Centre, Sweden, Latvia and Africa, and project manager for the
London is not, however, the only transmission
Essentially, the live productions in those regions
Chiswick Park build. “Therefore, we obtained a
centre for this international broadcaster. Until
are produced locally, and sent via fibre network
licence in London, and set up a broadcasting
2010, MTG also operated three separate
to Riga for inserts.
facility that could offer entertainment channels
broadcast centres in the Baltics, but all were in
to viewers all over Scandinavia via satellite. As
need of extensive technological investments.
separate playout facilities across a number of
our channel offering grew over time, it continued
The most effective solution was to centralise
MTG’s outlets, but more importantly they provide
to make sense to have a central broadcasting
playout to Riga, Latvia, but keep the studio and
back-up for each other’s priority channels in
hub in London.”
sports productions in the neighbouring regions.
the case of an emergency or a breakdown.
Today, both Riga and London provide
TVBEurope 13
July 2015 www.tvbeurope.com
Workflow “Our goal is to be the leading digital entertainment company in each of our major markets” Magnus Lindholm, MTG
for the new facility, it was reasonable to go with Pebble Beach Systems Marina, with which we felt very comfortable.” Alongside the main transmission facilities in Riga and London, MTG also utilises Pebble Beach Systems equipment in other centres in Sweden, Ghana and Tanzania. “By using the same brand across several sites,
Each day, the transmission playlists are
we can share knowledge and components but,
loaded in both locations so that a switch can
most importantly, we are more effective,” states
be made, if necessary.
Lindholm. “London and Riga playout centres
“That essential duplicating of operations
are interlinked with a fibre – so what we ingest in
played a major part in the technology
London is available in Riga and vice versa. We
decisions when we moved into this new
use Front Porch products mainly due to stability
facility,” says Lindholm.
and flexibility. We had an alternative supplier for this application, but due to the required archive
The new Transmission Centre has been planned to allow daylight to be seen in the room
Synergy
synchronisation and robustness, Front Porch was
He continues, “[The Riga facility] was built
the choice.”
about five years ago and that was based on an
He says that the complexity of the London
automation system from Pebble Beach Systems.
operation makes considerable demands on
When we decided to build the new UK facility
all the equipment. “For instance, with the TV3
it made sense to look at synergies and
Swedish channel and 19 regional opt-outs being
efficiencies that could be made. So when we
part of the mix, all the systems need to be totally
looked at the options for an automation system
reliable and readily manageable.”
14 TVBEurope
www.tvbeurope.com July 2015
Workflow
One of the shift supervisors checks for new schedules in order to chase any missing material for later in the day The change of system involved considerable
Axon Cortex software is used for controlling the switching of these 19 regions of TV3 Sweden. All ingest is carried out in HD format, with transmissions for the SD channels being downconverted within the centre.
Automated ingest
MTG’s facility close to London’s Chiswick Park handles playout for some 60 TV channels in both SD and HD serving various parts of the world
re-training, but it was completed with few, if any, problems.” The transmission centre utilises two separate Harmonic systems. Each system is fully redundant providing four spectrums in total. To minimise transfers and disturbances there is a cache of 36
From the outset, the facility has been built
hours of each spectrum.
for tapeless operation. Although some of the
“We need to store broadcast material for up
content still arrives on tape, MTG is looking to
check, which we see as an important element to
to six months, so the video archiving solution
transition to total digital file delivery by the
increase speed, while maintaining quality.”
from Ideas Unlimited was a good option. This is a
end of 2015. Rachel Bernard, vice president of Broadcast Operations in London, explains more. “Ingesting directly to a central storage with instant
One major change of supplier came with
disc-based system that is attached to their server
the choice of media asset management
giving the users access to the complete period via
(MAM) system.
the Ideas Unlimited software,” explains Bernard.
“We looked at around three MAM solutions
playback and editing was one of our key
and TMD Mediaflex came out strongest,” states
Onscreen options
requirements, mainly to minimise time for file
Bernard. “At the time of the selection process,
When it comes to graphics, MTG uses both
transfer. The Dalet iCRs were the only application
TMD offered one of the few systems supporting
Pixel Power and Vizrt systems. The former is
at the time that could meet these requirements.
two of our key requirements: Quick Time
used mainly for the group’s free-TV channels
The iCR in combination with the Aurora is the
reference and multilingual audio and subtitling
dynamic branding, while Vizrt is employed on
perfect match to automate ingest and quality
which is used on our pay-TV channels.
the pay-TV outlets.
TVBEurope 15
July 2015 www.tvbeurope.com
Workflow “MTG has been using a mixture of other brands over the years, but we keep coming back to Screen’s products” Magnus Lindholm, MTG
“We have also been using Screen
house productions of commercial
Subtitling products for many years,
material, trailers editing of ingested
not only in London, but also in
material and compliance editing.
Riga,” says Lindholm. “Screen
Currently, we have more than
offers rapid remote and onsite
100 stations which are connected
support and we are happy with
to large production storage
their performance. MTG has been
to increase efficiencies with
using a mixture of other brands
minimised file movements,”
over the years, but we keep
states Lindholm.
coming back to Screen’s products. SDI Media, the owner of Screen
Working environment
Subtitling, delivers MTG’s access
Alongside the new equipment
services and this system is well
and state-of-the-art technology,
integrated into our workflows in an
Bernard has worked hard to
efficient way.”
establish an exceptional working
As far as the physical operation
room has windows that enable
consists of three ‘pods’ plus a
operators to see the difference
supervisor position running 24 hours
in night and day. Wherever
a day. There is also a schedule
practical, other rooms, such as
checking operator position that is
the ingest facility, have been built
manned seven days a week.
with access to daylight. An area
“It is a fairly small team, but
has been set aside that will be
that is adequate because we
equipped with computers and
handle all our own ingest and
printers where technologists will be
because we are really hot when
able to experiment with new ideas
it comes to QC, especially the
and concepts. Even the canteen
metadata,” says Bernard. “So,
has been designed to look like an
a great deal of the hard work
outdoor leisure facility. technical areas spread across five
really dedicated team that makes
floors, there is ample space for the
certain everything is ‘good to go’
working environment. recently been completed, there is
is vital that a policy of ‘ingest once,
still movement towards the future.
playout anywhere’ is followed. Although there are no studios
reliability. And because it releases camera operators from more expensive systems using licensed channels or cables, it’s cost-effective too. You also get return video, talkback, tally and camera control and an Ethernet bridge over the wireless link. To find out more or arrange a demonstration go to www.idx-europe.co.uk/CW-F25
“Our goal is to be the leading digital entertainment company in each of our major markets,”
for live production in the London
says Lindholm. “Geographical
centre, there are editing facilities.
expansion and content are our
Before the relocation, MTG
Dynamic Frequency Selection (DFS) automatically chooses the best available channel and Beam-forming technology maintains directional signal integrity. This unique combination means that no other wireless system using WiFi channels delivers greater
Although the move has only
She says that with multiple sites it playout many, ingest anywhere,
The new CW-F25 Wireless HD Video System from IDX frees you from the restrictions of cable and provides the flexibility you need to get the best shots back to base.
And with all the offices and
passed to transmission. We have a
before it hits the robot.”
How can you demonstrate your creativity if your equipment holds you back?
environment. The main control
is concerned, the control room
is done prior to material being
UNTIE YOUR TALENT
other key priorities; therefore,
was using a mixture of editing
we’re actively looking for and
formats, but with the move a
creating our own formats,
decision was made to minimise the
securing Hollywood studio deals
number of brands and solutions
and long-term sports deals, such
for compatibility, knowledge and
as the UEFA Champions League,
commercial reasons. “We use the
Formula One, NHL and the English
Adobe Premiere mainly for in-
Premier League.”
Reliability and safety first
16 TVBEurope
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Workflow
French broadcasters value collaboration and innovation Three French broadcasters are using Avid technology in diverse ways. They are adapting their workflows to meet the changing needs of their networks as well as adapting to more digital and non-linear services. Melanie Dayasena-Lowe visited M6, TF1 and TV5Monde in and around Paris to find out more y touring the offices of French TV networks
“The main addition to our technical infrastructure
M6, TF1 and TV5Monde, it was clear that
recently is the asset management system,
the broadcasters all share the same vision
Interplay | MAM.” The new Avid workflow
B
when it comes to technology. Collaboration
enables M6 to share purchased content
and sharing assets emerged as the common
between 50 concurrent users and four
requirements expected from their systems.
departments and maximise the value of its
The first visit of the day was to M6 Group, one
massive archive of media assets.
of Avid’s longest standing customers, which is
“Avid Interplay | MAM enables us to save
very strong in digital offerings and innovation.
valuable time and resources across our entire
The media group operates ten channels,
organisation. Our old workflows and systems were
which includes the flagship M6 generalist
limited, and did not allow easy co-operation
channel, W9 aimed at a younger audience, and
between departments.
6ter for families. The company also produces its own original programming such as teleshopping. On the digital side, Mathias Bejanin, CTO at M6
“Now, 80 per cent of our archive is digitised and is directly accessible in the Interplay | MAM system” Mathias Bejanin, M6
Group, said it is the number one group in terms of visibility on the web with dedicated sites such as Meteocity for weather reports. “We have digital services for replay. Our main service is 6play. It delivers catch-up TV for the main channels of the group and also offers online channels for specific thematics such as food or fashion,” he says. In terms of technical infrastructure, Bejanin outlines the group’s set-up: “We have a lot of technical operations because we have studio
We are now able to easily share media between
production, post production and internal
all of our different departments.”
subsidiaries of the group focused on media
Bejanin explains what M6 was looking for from
production. We have chosen Avid for both
a MAM system. “A few years ago, we had a lot
newsroom and magazine production.
of technical infrastructure for post production
“Regarding magazines, we have about 45
and different teams working on post production
to 50 Media Composer rooms and seven Pro
infrastructure but quite independently, which
Tools rooms across the various buildings. In
means every team would keep their own
the newsroom, the system can host up to 30
archives and database. There was no exchange
NewsCutters associated with ingest servers,
with the newsroom. This was difficult to operate
playout servers controlled by iNEWS Command, Capture Manager and iNEWS. The full Avid range in fact.
Mathias Bejanin: “It’s in our plans to plug more and more teams into Interplay | MAM.
and didn’t allow us to share images or save costs as we could end up buying images several times. “We started looking for a system that would unify
TVBEurope 17
July 2015 www.tvbeurope.com
Workflow In the M6 newsroom, the system can host up to 30 NewsCutters associated with ingest servers, playout servers controlled by iNEWS Command, Capture Manager and iNEWS
all databases, allow us to share and give the same tools to all the teams. We wanted to have common rules for indexing, description of assets, and archiving.”
“It is impossible to just think linear. We have to think 360 degrees” Alexis Renard, TV5Monde
Exchanging media Talking about the benefits, Bejanin adds: “Interplay | MAM has opened up collaboration between the internal teams and that was the initial goal. We can now see each other’s assets.
cent of our archive is digitised and is directly
It really facilitates the exchange of media
accessible in the Interplay | MAM system.”
between different services and we reach a much larger database than before.”
The company also has plans to extend accessibility to the MAM. “It’s in our plans to plug
M6 has also built an interface for Interplay
more and more teams into Interplay | MAM. The
| MAM. “We have an interface with our MAM
most recent addition is the promo department as
for the broadcast part. Interplay | MAM is used
they need a lot of images to make their promos.”
for archive but there is a different MAM for
One of M6’s other goals was to fully switch to
broadcast. The perimeter for this second MAM is
a file-based workflow and that has already been
that all the files are ready to be broadcast and
achieved. There are no more tapes, everything
are not archive files.”
has been digitised,” he adds.
Alongside the MAM project, M6 had already
The next stop was to TV5Monde, a French-
started a programme to digitise all of its assets
speaking TV network created by French-
because most of it was on tape. “Now, 80 per
speaking countries such as France, Belgium,
Alexis Renard: “We wanted a product that was reliable and flexible in terms of IT integration”
18 TVBEurope
www.tvbeurope.com July 2015
Workflow TV5Monde is French speaking and attracts 250 million households worldwide
“More and more we’re making graphicsonly stories” Hervé Pavard, TF1
Canada, and Switzerland. “We broadcast every kind of content including entertainment, movies, and news,” says Alexis Renard, deputy technical director, TV5Monde. The network’s content is French speaking and attracts 250 million households worldwide.
describing the content and filling in
According to Renard, its audience comprises
metadata in Interplay | MAM. It is also used
mainly French-loving people and those wanting
for referencing and tracking the content that
to learn French. “In order to attract non-French-
is used for playout.”
speaking people we subtitle content, so this is a
Renard says the Avid system is crucial
key differentiator for us. We’re subtitling about
for TV5Monde. It is used for traditional post
12 different languages including English,
production plus there is a native Avid workflow
French, and Arabic.”
for news. iNEWS is used by the journalism team
And what goes on behind the scenes with
to access footage and validate stories while
TV5Monde’s technical set-up? “Technology is
NewsCutters are used for editing and Interplay
everywhere because we have four main systems
Central for rough cutting, rushes and logging.
for ingest, broadcasting, post production, news,
“Everywhere else, the workflows are managed
and archiving/storage,” he explains.
by our SOA SYGEPS where processes are
“In order to link everything together we have a
scripted. That’s where we can master and
centralised service-oriented architecture (SOA).
control our operations. SYGEPS is also connected
It was mainly an IT integration project, which
to the supervision system.”
started in 2012 and took two years.”
Flexible and open
The project was progressive, “not an on-off operation”, he remarks. “With the traditional
Renard praises the Avid system for its openness.
broadcast operation, we offer a lot of services around that: internet, mobile platform, catch-up and non-linear content services.” TV5Monde has been an Avid customer since
“We wanted a product that was reliable and
Hervé Pavard: “TF1 is still working with a traditional MAM to edit stories”
flexible in terms of IT integration. Now, there is
step and is then sent to the production control
deeply in a modern TV organisation.
2000 and Renard explains how Avid’s technology
room. Cold content goes through the traditional
plays a key part in enabling the staff to share
ingest and playout system.”
proof that we can integrate that system very “We wanted to optimise the quality of the content and storage we wanted to buy. We
For archiving, Interplay | MAM is used for two
decided to go for XDCAM HD, which the Avid
“Everything that is focused around hot content
purposes. “We extract everything valuable from
system supports. It’s also flexible so if we want
(news and live) goes through the Avid system. It is
the hot content, which can be reused later and
to extend the system and scale it, we can. The
ingested there, goes through a post production
archived. There is a team of people in charge of
post production system is separated from the
assets and collaborate.
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20 TVBEurope
www.tvbeurope.com July 2015
Workflow
iNEWS is used by the journalism team to access footage and validate stories
ingest system. This was a major step because in
TF1’s news shows at 13:00 and 20:00 are the most
FTP. We are managing files and these are then
the past it was the same and in terms of resource
popular shows. The broadcaster also produces
pushed to the Avid system.”
allocation it was not perfect,” he comments.
the 24/7 LCI news channel.
When it comes to technology, the network has
Located in Boulogne, the TF1 building features
For TF1 news, there are 13 editing rooms with Media Composer and two Pro Tools mixers. “TF1
also focused on sustainability and conserving
a main studio for TF1, one for LCI, and two for
is still working with a traditional MAM to edit
energy by building a green room three years
production facilities. The broadcaster uses non-
stories,” he explains.
ago to house its technical equipment in an
TF1 facilities for shows such as The Voice.
environmentally friendly manner.
The main studio used for TF1’s news shows –
Graphics-only stories
Going forward, TV5Monde will be tweaking
built by TF1 with help from a set designer – was
With LCI, there are 15 to 20 editing booths, which
and customising its workflow. “The architecture
refurbished back in 2010/2011. Hervé Pavard,
are journalist operated. Pavard explains how
has been conceived for change, thanks to the
CTO for TF1, says it was a complex project to
there is now a shift towards more graphics-only
openness. We keep moving especially when we
ensure the equipment was kept cool through
stories. “More and more we’re making graphics-
talk about non-linear services.”
sufficient airflow and circulation.
only stories. We used to use stock shots but now
Renard elaborated on the importance for non-
Pavard provided a guided tour of the
linear services: “Now it’s impossible to promote
broadcaster’s facility with a detailed look at the
and develop the business if you don’t offer non-
operations and workflows.
linear content around the core offering. We work
TF1 has a main incoming and recording facility.
we try and make it 100 per cent graphics. We tell the story only with graphics.” Overseeing the main technical operation is the cockpit. “It looks more at IT supervision of
with our digital team to provide content for these
“The main incoming desk is where we record all
the complete infrastructure and at broadcast
non-linear platforms: catch-up, streaming, VoD,
the feeds and all the stories/rushes in our Avid
supervision. It checks everything in real time.
mobile apps, web apps and websites. Everything
system using Interplay Capture. That is recording
There are messages about what needs to be
is managed from the same system. Workflows are
on the ISIS system,” explains Pavard.
done and alarms if anything goes wrong in
managed by SYGEPS for delivering content to
He describes the change in workflow in
these non-linear channels. It is impossible to just
terms of how files are received compared to
think linear. We have to think 360 degrees.”
a few years ago.
The final leg of the tour was to see TF1, the
“We now receive files that can
the system. You can control the complete facility from here.” There is also a test and investigation room where people can isolate themselves and take
oldest French TV channel, which is considered to
come from our own teams and news agencies
control of the equipment to check everything is
be the leading broadcaster for news in France.
that we use from around the world through
functioning correctly.
TVBEurope 21
July 2015 www.tvbeurope.com
Workflow RTL developed a green screen concept that would provide images in different areas of the new studio
Filling a window on the world Philip Stevens learns how a dynamic virtual 3D solution breathes new life into Dutch news programmes
and foreground. “The look I wanted to create was of an empty studio populated with some very big green screens. The idea was to frame the news pictures in such a way as to create urgency while explaining stories for our viewers.”
TL News organisation’s Amsterdam
Dynamic upgrading
operation recently upgraded its studio and
So just how did RTL go about achieving the
gallery to high definition (HD) and, at the
effect it wanted to create?
R
same time, extensively transformed its existing
Hank van de Loo, manager AV techniek,
facilities by incorporating some innovative
RTL Engineering, explains more. “You have
virtual 3D solutions.
to remember that we are talking about a
“Our previous set-up was somewhat basic,
Because so many of RTL’s viewers use devices such as iPhones and tablets, television news output should offer a similar look and feel, with the ability for presenters themselves to ‘swipe’ to the next image in the story
studio that was more than ten years old. It
Van de Loo says that because so many of
and we need to develop a new look,” explains
was still operating in SD and so as well as the
RTL’s viewers use devices such as iPhones and
director of news, Marc Schreuder. “What we
need for the more dynamic look for our news
tablets, television news output should offer
wanted to create was a studio with the option
programmes, we needed to upgrade the output
a similar look and feel, with the ability for presenters
of incorporating a group of very large virtual
to HD. Not only that, we thought this was a good
themselves to ‘swipe’ to the next image in the story.
images and graphics. These would enable us
moment to see whether or not we were still on
The first phase saw Belgian company Pièce
to expand the scope of stories or to carry out
track with our audiences. We wanted to know,
Montée create a new design for the studio. This
animations and on-screen explanations.”
for example, if we were getting our messages
would include the ‘windows’ that would display
across in a way that fits with the current way
the virtual images that were essential in meeting
of perceiving news.”
RTL’s objectives.
Schreuder goes on to explain that he wanted to use large virtual images in both the background
22 TVBEurope
www.tvbeurope.com July 2015
Workflow “The Belgian developers came up with a physical ‘window’ which included an in-built virtual augmented frame,” describes van de Loo. “This design centred on a virtual and augmented environment in a studio that had no cameramen, five robotic cameras on the floor, and a production gallery with only three people: the director, the assistant to the director looking after robotics, and the editor-in-chief with responsibility for the content of the broadcast.”
Close collaboration “With the concept in mind, we had the additional challenge of a number of different suppliers having to work together to achieve our desired look,” states van de Loo. “But we did get some significant help from other parts of the RTL organisation. Although the Netherlands operation of RTL had not previously used an Orad product, I found that its virtual solutions had been used with amazing results in other parts of the broadcasting group. For example, M6 in Paris
With ‘windows’ surrounding news presenters, dynamic images can be shown from various angles
employed Orad PowerWall, and later installed the company’s solution for its dynamic graphics across all 12 of its channels.” The result was a period of intense collaboration
on the 11mx20m wide studio floor. Central to
on the technical infrastructure and design from
the solution is Orad ProSet for keying content
Orad, Sony and Vinten as well as the RTL board,
over the virtual panels and creating augmented
technical management, editorial and news
reality elements.
teams. “This cooperation across multiple vendors
Orad ProSet extracts camera, positional
and groups was key in innovating the way we
and lens parameters from each of the robotic
ultimately designed the studio and now present
cameras to enable the keyed graphics to be
our news programmes,” emphasises van de Loo.
accurately displayed on the three virtual panels
The outcome is a new RTL studio workflow,
“This cooperation across multiple vendors and groups was key in innovating the way we ultimately designed the studio and now present our news programmes” Hank van de Loo, RTL
within the physical studio. ProSet’s authoring
which includes three virtual big green screens
software retrieves bitmap files in a format that
and one large frame for augmented content
permits per-layer manipulation and animation. It also has dynamic scene-blending architecture that permits the triggering of multiple graphic scenes at the same time using just one system. This allows a virtual background to be generated from one scene while foreground objects are created from an alternative scene. Both sources are then combined into a single unified output channel to provide the overall graphic solution. The system’s internal chroma keyer is utilised for controlling the sharpness of both the graphics and video content. In addition, ProSet generates the augmented reality elements to create the distinctive look for each of the programmes that are originated in the new studio. Orad’s own HDVG4 rendering platform renders intricate 3D graphics scenery in real time, providing depth and perspectives as well as realistic textures. Full-screen graphics, tickers, lower thirds and other graphic elements are under the
TVBEurope 23
July 2015 www.tvbeurope.com
Workflow “The new studio provides our audience with a stunning visual set that is very flexible in terms of graphics presentation” Hank van de Loo, RTL
Quick-change sets According to van de Loo, the solution provides RTL with all the advantages of a video wall but without having to install a ‘physical’ component. “We produce 25 different shows each day from that studio, so that’s a heavy workload. Although the number of personnel in the studio and gallery has been reduced, we have increased the size of the graphics department to handle the new
management of another Orad component:
demands. The screens are two metres high, and
Maestro control. This handles the workflow from
eight metres wide, so that’s not a normal 16:9
ingest, through authoring, managing, distribution,
picture. That means we have to be quite creative
playout, to archiving.
when it comes to making images that are visually
The playlist, including the virtual background and the on-air graphics, are generated by the
good on the screen for the viewers at home.” He concludes, “The new studio provides our
Maestro News Producer plugin, embedded within
audience with a stunning visual set that is very
the Avid iNews newsroom computer system.
flexible in terms of graphics presentation. It has
Rundowns are created by dragging and dropping
enabled us to raise brand awareness that has
graphic elements into a playlist. These rundowns
seen audiences more connected to the news
are controlled by the Sony ELC studio automation
programmes, thanks to the hyper-reality richness
system, which triggers the Maestro-created playlist
of the content. As far as the future is concerned,
to air. This automation also controls camera robotics
we are already preparing with Orad for the next
from Vinten with APS (Absolute Positioning System)
generation studio which we anticipate will be
and Egripment track hanging in the ceiling.
online later this year.”
24 TVBEurope
www.tvbeurope.com July 2015
in association with
Bridging the gender divide The gender imbalance in the broadcast industry is an on-going point of controversy. Much has been said and written about the obstacles that stand in the way of progress for females in broadcasting and technology roles, and the statistics make for uncomfortable reading, but what are the solutions? This TVBEurope roundtable event sought to drill down into the fundamental issues that surround this imbalance by inviting a selection of prominent industry leaders to offer their experiences, and learned perspectives
Introduction Michelle Munson, CEO and co-founder of Aspera, an IBM company
how we can encourage the next generation
At a higher education level, the consensus
of talent – male or female – into the
was that there’s many respected educational
broadcast industry. So where do you start
institutions providing excellent broadcast
a discussion on whether there’s a gender
engineering courses. Many of these universities
gap in our industry, and if so, what can be
and colleges are even seeing their students
done to help to balance it out? Statistics
secure a job before they’ve finished the
always help. Recently, I heard that in the
course, which is very encouraging.
When I was honoured with the task of
USA, just 25 per cent of women work
moderating this debate, above all I wanted
in technology. Of this 25 per cent, the
needs to be done at a grassroots level to
it to be a frank and open discussion with a
breakdown of those working in broadcast
encourage children (of all genders) to pursue
group of women who individually represent
technology hits single figures.
an interest in maths and science. Through
a broad spectrum of the broadcast industry,
The discussion took on many routes to
One prominent conclusion was that more
education and getting children excited about
from education through to heads of media
analyse why this was, with education being
where their skills can lead, more generations
services companies. Second, we agreed
a big part of the debate. As well as what
will want to pursue a career in broadcast
that we wanted the outcome to be the
the industry needs to do to encourage more
technology, ensuring that our industry
start of a continuing conversation about
women into technical engineering.
continues to innovate.
TVBEurope 25
July 2015 www.tvbeurope.com
in association with
Roundtable: Evaluating the landscape for women in broadcast By Holly Ashford
ccording to a Creative Skillset report,
A
representation of women in the creative industries has increased from
53,750 in 2009 to 69,590 in 2012, yet this still represents only 36 per cent of the total workforce. A more recent survey conducted by the training and skills agency, released in May, revealed that women in TV earn on average £2,250 less than men. These issues are not unique to the UK: the Women’s Media Center published ‘The Status of Women in US Media’ earlier this year and made the disheartening conclusion that, “media on all platforms are failing women”. With the aim of examining the current landscape
for women in the industry, and the opportunities for better representation across the board, TVBEurope hosted the first in a series of dedicated roundtable events at The Bloomsbury Hotel in London. Michelle Munson, CEO and co-founder of Aspera, moderated the panel, which generated impassioned insights and personal experiences from figures across the broadcast environment: Anne-Louise Buick, head of TV compression portfolio marketing, Ericsson; Christine Corner, partner, Grant Thornton; Sinead Greenaway,
The panel listens intently to Carrie Wooten (foreground)
director of operations and technology, UKTV; Sadie Groom, managing director, Bubble and Squeak;
Despite gloomy employment stats, Greenaway
Wooten agreed, saying that from a
Lesley Marr, COO, Deluxe Media Europe; Meryl
opened on a positive note, saying that she
creative point of view things are fairly
McLaren, commercial manager, BBC S&PP; Emma
“joyously walked into a business that’s 64 per
balanced, though women are still under-
Riley, head of business development, dock10;
cent female”, and described UKTV as “bucking
represented in the broadcast technology
Sophie Wilson, director of sales and marketing, PHA
the trend”. However, she admitted that in the
market. “I’m not feeling as positive,” she
Media; and Carrie Wooten, head of commercial
technology community there is a “ferocious
admitted, using the example of being the only
development, Ravensbourne.
[gender] imbalance”.
woman on the bus leaving the
26 TVBEurope
www.tvbeurope.com July 2015
in association with
There was a healthy balance of serious and light hearted discussion around the table
Sophie Wilson expresses her thoughts
Las Vegas Convention Center at NAB, as being indicative of the state of the industry on a wider scale. Perhaps responsibility for ‘bucking the trend’ lies with individual businesses, then? Compression is one of the oldest parts of the business, opened Buick, and although traditionally maledominated, “we see this widening out” at Ericsson. The company has a stated goal that by 2020, women will make up 30 per cent of leadership and executives; at present, the figure is 22 per cent, and “there is a massive push and real commitment from Ericsson, top down, for diversity and gender equality,” according to Buick.
are “tons of women on the production side”
“It comes back to confidence,” said Marr. “I
of sports broadcast, according to Greenaway;
do think that’s a massive problem especially
departments there is roughly a 50/50 gender
McLaren has experienced an overwhelming
when it comes to women’s representation
split, however, “we have 40 engineers, of which
amount of strong women working for production
at conferences and on panel discussions.”
two are women”. She is the only woman on the
companies; and at Deluxe there are “a lot of
Indeed, when Females in the Broadcast Industry
ten-strong senior management team, and only
women around the accounts side – that’s a
(FBI) hosted a panel discussion at IBC2014, it
one of seven members of the company’s board
skills-based thing, women tend to be better
was probably the first time in the trade show’s
is female. Wilson seems to sum up all of the
at negotiating,” according to Marr. dock10’s
history that five women in the industry (including
roundtable attendees’ experiences – and those
Riley added her own experience of working in
roundtable participant Sadie Groom) had
of many women in the industry – admitting that
production and that aside from one male boss,
appeared on the same stage. “I was brought
“the elephant in the room is discrimination”. At
everyone else was female, concluding boldly
up to be very confident,” said Groom, and
a recent trade show in Dubai, she said, she had
that “women make TV”.
similarly Marr admits that confidence is part of
At dock10, said Riley, outside of the tech
“had enough”, having been pretty much the
After sharing the challenges and setbacks
her “personality type”. McLaren too says she
only woman at the tradeshow and experiencing
they’d faced, talk at the roundtable turned
grounds her confidence in “upbringing and
“rampant misogyny”.
to why there are not more women working
education”, as well as a love of sport, which
in the broadcast industry, particularly occupying
naturally drives and promotes competitiveness.
high-level positions.
But is such confidence the norm among women?
Not all areas of the media industry have such meagre female representation, though: there
TVBEurope 27
July 2015 www.tvbeurope.com
in association with
Corner believes that “women generally are less
and will go some way to narrowing the
However, the roundtable participants
conďŹ dent about speaking out, telling storiesâ€?.
gender gap in the broadcast industry. “Support
also stressed the importance of looking
And what about women who have experienced
in the collective and in the sisterhood and
after yourself and commanding respect, so,
a very different upbringing? Can conďŹ dence be
helping one another,� summarised Wilson,
as Wilson added, “you can then be that
so easily learned?
is “crucial and key�.
inspiration to other people�.
Marr puts a degree of her conďŹ dence down to “educationâ€? and a deep knowledge and understanding of her subject matter. Wooten, of specialist digital media and design college Ravensbourne, also stresses the importance of education and “enabling students to feel conďŹ dent in themselvesâ€?. She relayed the story of a female student studying in an environment in which she experienced persistent “male banterâ€? and sexist remarks – which as the vast
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[gender] imbalance,â€? implored Greenaway earlier in the discussion. But will positive role models and conďŹ dence be enough to address this imbalance? Or will the imposition of compulsory quotas be the only way to increase the number of women in high-level positions in the broadcast industry? In November 2013, the European Parliament voted in favour of a draft law that would impose a 40 per cent quota for female directors on company boards. To become law, the plans needed the backing of EU member states. The UK has been reluctant to impose quotas; in 2011, a government report recommended that FTSE 100 boards should aim for
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28 TVBEurope
www.tvbeurope.com July 2015
Feature
2020: visions of the future Television in the Networked Society
Television has come an extremely long way since the first public demonstration of televised silhouette images in motion 90 years ago, writes Simon Frost, head of media marketing and communications at Ericsson. But as we move closer to 2020, we are about to witness the greatest transformation our industry has ever seen
Redefining the TV experience TV packages in 2020 will be both completely different, and yet ironically similar. The concept of bundling will be challenged where sell-through of content will become more transparent and selective, yet the service of aggregation will be even more valuable in a highly fragmenting
he Networked Society is changing all the
This will be driven by the transforming elements of
business rules; it’s an irreversible entity and
mobility, broadband, and the cloud, overhauling
will continue to open up a whole range
the traditional rules of engagement and redefining
demand for an integrated, accessible and tailored
of exciting and potentially ground-breaking
how consumers demand and consume video. The
television experience, which is personalised to
opportunities across all forms of video.
internet era of TV will not be mutually exclusive to
their interests, devices and personal situations.
the traditional players in the existing value chain.
Consumers ultimately want a continuous, seamless
T
By 2020, we will see a firmly established internet era of television. Over the next five years,
Vision, innovation, and a laser focus on the
distribution model. Service providers are cognisant of consumer
and unified viewing experience throughout the
operators, TV service providers, content owners,
consumer are the winning formula in the era
day, with a content mix that is deeply tuned to
broadcasters, investors and new innovators
of the Networked Society and new players
their specific needs at that moment. This does
will revolutionise the way content is produced,
on the market will have the same opportunity
not mean the end of an era of scheduled TV,
delivered, discovered, and experienced.
to shape and drive this future TV landscape.
but the schedule becomes personal, suggestive,
The emergence of new technologies and
Widespread mobility, increased scalability and
and enables both lean-forward and lean-back
increased connectivity will enable greater
unprecedented choice will enable disruption
scenarios of consumer moods.
interplay between players across the entire
and play a pivotal role in the way all forms of
media spectrum. Market revenues will soar
video – premium, social, and informational – is
for many years, thanks to the ubiquity of TV VHS
to $750 billion.
delivered to the consumer.
box sets and DVDs, OTT players are now offering
Although binge viewing has been a feature
TVBEurope 29
July 2015 www.tvbeurope.com
Feature unprecedented convenience and access to entire
better distribution opportunities and extend strong
change the way consumers discover, navigate
TV series, without the prohibitive high cost of acquiring
brand trust in local markets into broader markets.
and experience content. Cloud-based services
the content. This is rapidly increasing competition
We already see the trend of content owners
will enable service providers to offer an enhanced
across the value chain, particularly for content
and broadcasters re-entrenching their intellectual
video delivery experience and the capacity to
owners, broadcasters, and TV service providers.
property in great content through investments
power and deploy new platforms that deliver ultra
and acquisitions of creative agencies, content
agile and flexible TV services at web speed.
These consumer trends are already challenging the value of traditional bundled packages and
rights and production companies.
Underpinning the infrastructure of the Networked Society will be the growth of IP. It will become the
offers of content as new service providers drive
Equally, we see large-scale TV service
viewing time to on-demand libraries of content,
providers consolidating their leverage and
future of video delivery and a fundamental ‘given’,
and consumers increasingly question the value of
position by investing both for broader market
which will enable all the various types of activities
so much linearly distributed, scheduled content.
coverage to drive buying scale, as well as
consumers will want to experience in TV. The need
2014 research by the Diffusion Group states that
complementary technologies, especially to drive
for ubiquitous and higher capacity broadband
around 15 per cent of adult broadband users
a fixed and mobile IP broadband capability.
connectivity is fuelling an ever increasing demand
who subscribe to a pay-TV service are considering
Charter Communications’ recent announcement
in data traffic in mobile networks, thanks to the
abandoning it within the next six months.
of its intentions to takeover Time Warner Cable
growth and uptake of video services across an
is illustrative of the types of industries that will
abundance of user devices. Ericsson’s June 2015
highlights that over 40 per cent of OTT users still
soon quickly fuse together and adopt a more
Mobility Report suggests video is the key growth
regard linear TV as a very valuable service. This
collaborative approach. The overall theme is
factor in mature mobile broadband markets, with
helps to demonstrate the balance that needs to
scale, in both the content and delivery roles.
60 per cent of all mobile data traffic forecast to be
Nevertheless, Ericsson ConsumerLab research
from video by 2020.
be struck between the provision of live content, alongside the rapid popularity and integration of OTT services. Ericsson Media Vision 2020 research predicts the consumption of linear and VoD services will be 50:50 by 2020 in advanced markets.
Empowering business
The true value of television will never be eroded. Technological innovations are there to enhance the television experience
Despite widespread agreement that the future of video delivery is IP via the internet, the internet itself is not ready for ‘TV scale’. Large investments in broadband capacity will be required to feed the demands of video consumption in the Networked Society and right now, many are discussing who will pay for the investments needed to replace current
The consumer is going to witness the explosive
distribution networks with IP-based networks in the
fragmentation of their television experience as
medium term.
content owners and broadcasters rapidly drive
Whatever media strategy an organisation may
forward with their OTT strategies and build-out
have adopted today doesn’t necessarily have
their ‘digital app environments’, hoping to keep
to remain their strategy going forward. Different
TV beyond 2020
the consumer’s attention for as long as possible.
industry players will need to adopt different
Over the next few years, the definition of television
While the depth of content on offer may be
strategies for success. Their place in the value
itself will evolve. To enable the ultra agile and flexible
compelling, the experience of so many apps, on
chain is fluid; indeed, we are starting to see
model that consumers want, the industry will have
so many platforms without consistency, will be
the arrival of brands as broadcasters, with their
to experiment in order to set the consumer agenda.
deeply frustrating to most.
own approach and strategy. The increasing
Nevertheless, even as we move towards 2020, the
connectivity and availability of video content is
fundamentals of the service of television will remain
those that own the content, it will require the next
enabling brands to reach their audiences with
the same. Television remains an emotive, storytelling
generation of advanced aggregation platforms
niche and resonating content that can build
medium with a purpose to educate, entertain,
and services to truly evolve the TV experience as
loyalty and a wider global reach.
inform, and offer a means of discovery.
market consumer loyalty. We will witness significant
An explosion of cloud services
Technological innovations are there to enhance
innovation inside single brand content apps, as
The cloud is one of the current hot terms in the
the television experience; greater picture and
well as single brand ultimate aggregation services.
industry, and as a topic is essential for several
sound quality, immediacy on every connected
reasons; yet the overarching one is agility.
device with a screen, interactivity, social groups and
quickly new innovators can re-establish consumer
Everything about the future of television will be a
sharing, and perhaps most crucially: discoverability.
expectation and perception of value in content
moving target, an adaptation, and will evolve.
offerings and access. The panacea for today’s
Many organisations from the internet industry
platforms such as Periscope present a future
industry players is to become an organisation
have this technology and service philosophy at
challenge for the industry business model around
that not only influences consumer perception
their core, serving the continually shifting and
content rights, enabling consumers to stream and
but also consumer behaviour. It’s imperative that
ever changing demands of the consumer.
deliver instantaneous live footage to a huge
So while OTT is certainly going to be successful for
we know it, and secure the next wave of mass-
The birth of the internet era of TV saw just how
the media industry focuses on the next emerging
The true value of television will never be eroded.
So, the cloud will play a primary role in the future
The rapid emergence of new social broadcast
critical mass of users.
consumer trends and where the consumer
TV experience and those who embrace it and
will want to go next while entrenching its core
who deploy new innovative solutions the fastest will
the Networked Society the deepest and who are
values. From the content owner and broadcaster
delight the next generation of TV consumer. It’s an
prepared to focus on how to innovate the quickest
perspective, their core asset is in the curation and
industry imperative which will deliver a whole host
in response to consumer demands, will grow the
creation of great content. They need to develop
of cross selling opportunities, social interactions, and
fastest in the new internet era of TV.
Industry players that understand the potential of
30 TVBEurope
www.tvbeurope.com July 2015
in association with
Start 4K now Sitting down a group of VIP broadcasting experts and asking them to deliver their advice on Ultra HD guarantees plenty of passion and some controversy, and yet there was a strong sense of consensus by the end of the session. Chris Forrester moderated the roundtable discussion, hosted by Marquis Media Partners in conjunction with TVBEurope, during which panellists shared their views on 4K/Ultra HD, when we might see transmissions, and whether over-the-top (OTT) will be the dominating driver for 4K availability
The Groucho Club in London provided an exclusive setting for the debate
higher frame rates, higher dynamic range and the ‘better pixel’ arguments likely from wider colour gamut images. BT’s Mark Wilson-Dunn said, in his view: “The material I have seen in 4K from the likes of Netflix is less than perfect. The danger for all of us is that people will buy into Netflix and think that’s as good as 4K can be, and it certainly is not. It could really backfire on all of us, given
T
Panellists Tim Bertioli
VP, media technology, NBC-Universal
Mark Wilson-Dunn
VP, BT Media & Broadcast Enterprises
Francis Rolland
CEO, Globecast
Mike Whittaker director, operations & technology, SIS Simon Fell John Ive
director, technology & innovation, EBU director, technology & strategic insight, IABM
Mark Smith
CTO, ITV
Doug Clark
cloud leader, IBM UK & Ireland
Rod Fairweather
senior director, infrastructure, Viacom
Martin Turner Andy Baker
director, media business, Inmarsat controller, major projects/ infrastructure, BBC
Chris Steele
MD, Marquis Broadcast
he BBC’s Andy Baker summed up the
that they are buying panels at a huge rate
industry challenges, saying: “Today, we
and those panels really are not ready for what
have 4K TVs on every retailer’s shelves but
we all know as Ultra HD. And this isn’t helped
there’s very little 4K content to display on them.
by the fact that there’s no content out there.
The 4K content is being made but it’s certainly
The other question that we all recognise is to
not being delivered except by one or two well
ask how many of these buyers will be viewing
known OTT suppliers.”
4K at the optimal viewing distance. There’s
The IABM’s John Ive expressed the view that
also the problem of the current crop of highly
consumers had very little choice when buying
fashionable curved sets which, in my view,
into 4K. “They can choose a size but, as we saw
don’t help matters at all.”
with HDTV when after a while it was very difficult
The EBU’s Simon Fell argued that people
to get a standard definition set, I think the same is
were already making 4K ‘programming’
happening to 4K.”
from their own smartphones. “The end results
The panel agreed that 4K in retail stores
are quite spectacular. It is the same with
was now near ubiquitous, and that the price
still images. In other words, it’s very easy for
premium for (so-called) 4K sets was no longer
consumers to be impressed by 4K displays but I
a disincentive. But there was considerable
think we are seeing something of an ‘emperor’s
discussion as to the capability of those
new clothes’ in that the display will look good
displays to handle ‘true’ 4K, let alone cope
to them, and their neighbours, no matter how
with today’s fast-moving developments in
close or far they are sitting from the screen.
TVBEurope 31
July 2015 www.tvbeurope.com
in association with
We would argue, of course, that we want
“We have to encourage the industry to get on with 4K otherwise we will all be waiting forever” Mark Wilson-Dunn, BT Media and Broadcast
improved frame rates and better resolution but I can tell you the viewer is happy with what’s out there already”. ITV’s Mark Smith said that the complete content delivery system needs to change. “There’s storage for a start, then compression, and I can see us ending up with bandwidth for 4K not being that far off from today’s HD. However,
just gotten on with it. We have to encourage the industry to get on with it otherwise we will all be waiting forever.” NBC-Universal’s Tim Bertioli said there was little interest from the USA’s main broadcast networks. “It is the usual challenge: where is the money coming from?” His comments were echoed by Viacom’s Rod Fairweather, and not helped by
while we can all agree that three years from now
his company’s focus on kids and music
the technology will have improved, we still need
infrastructure. It coped. Add on HEVC and it
programming. “And even with the high-quality
to make that transition.”
would have coped even better. We have done
MTV Music Awards, I doubt whether you’ll see
football, rugby, golf, and now cricket. I have to
much 4K action for some time. We’re not
while agonising over what might happen, there
say they all require different filming techniques
going to lead this revolution.”
were broadcasters who had already made the
to get the best out of 4K.
BT’s Wilson-Dunn reminded panellists that
switch. “There is a broadcaster who is running
Globecast’s Francis Rolland said he expected
“The biggest issue we have, in my view, is that
France’s Canal+ and Orange to be leading the
4K today to a whole nation, and that’s Star TV
everyone is talking about high dynamic range
change to 4K, and as far as contribution and
in India, who started their service on the back
and wider colour gamut, instead of talking
distribution services were concerned, Globecast
of the ICC cricket earlier this year. BT carried
about how we can launch 4K and getting on
was ready with extra bandwidth.
the signals from Australia, running for eleven
with it. I think we risk confusing the message.
and a half hours a day in 4K and HD across two
The USA is having a problem getting over
the panel agreed that certainly as far as the UK
continents through to their set-top boxes. It can
the ‘final mile’ of getting a signal into the
was concerned, within six months consumers
be done right now. We bolted four decoders
home because of the technical challenges.
would see lots of 4K channels. They unanimously
together and ran the signals over our existing
Meanwhile, a couple of Indian operators have
expected Sky to lead the charge.
Asked to say when UK services would start,
EDITORIAL PLANNER 2015 2015 will see TVBEurope attend and cover more of the key events on the broadcast media industry calendar. Following the successful redesign of TVBEurope, we have developed a more comprehensive list of features for each issue over the coming year, and will be launching a dedicated section covering the latest developments in OTT, multiscreen, and TV Everywhere: TVBEverywhere. Our Opinion and Analysis and Features sections will deliver the big stories every month; Workflow will continue our bedrock coverage of UHD, 4K, IT/IP infrastructures, and pre and post production insights; and our Business section will provide a regualr analysis of the marketplace, and all of the key M&A activity. Our Audio for Broadcast coverage will now be present in every issue and major sports/live broadcast events will be reported on throughout the year.
For all advertising and sponsorship opportunities, contact the sales team: Europe Ben Ewles: +44 (0) 20 7354 6000, bewles@nbmedia.com,
Issue Date
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Feature
Audio for Broadcast
Sports/ Live broadcast
August
• IBC preview
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•Wimbledon 2015
September
• IBC show issue
• Quality control forum • IBC show issue: product showcase • Audio for broadcast special • IP technology forum
October
or Richard Carr: +44 (0) 20 7354 6000, rcarr@nbmedia.com,
November
USA Mike Mitchell +1 631 673 0072, mjmitchell@broadcast-media.tv
December
• TVBAwards
• Acquisition focus: all encompassing • Transcoding forum
• Media Asset Management forum • Archiving and storage roundtable
• Broadcast audio feature •Rugby World •Cup 2015
32 TVBEurope
www.tvbeurope.com July 2015
TVBEverywhere
Why OTT is an opportunity and not a threat to TV operators The media world has been evolving at a dramatic pace over recent years, writes Michael Lantz, CEO of Accedo. The improvement of devices and networks has made it possible to distribute high quality video directly over the internet to virtually any consumer device, and TV operators should embrace this new OTT technology
to content outside of the home is a key value for the modern consumer. This is a good move, which may significantly reduce churn over the next couple of years. The standalone OTT service is another beast. The move to launch the possibility to subscribe to an operator-powered OTT TV service is still
ost TV operators were set up to control
worried about implementing any measures
considered aggressive, even more so if the service
the entire distribution chain. They built
which may risk destroying margins or causing loss
includes linear channels. Operators need to build
and controlled the technical distribution
of subscribers, even if they know that such moves
up new subscriber bases, new technology stacks
may be vital for long-term success.
and establish new business models, both with
M
(cable, satellite, terrestrial, etc), licensed the channels/content, and also established the
Secondly, operators have a long history
consumers and suppliers. The challenge of going
consumer brand name and the billing and
of implementing and controlling technology
head to head with pure play OTT companies like
customer relationships. The only thing they did
internally, with huge departments responsible for
Netflix and Amazon is daunting, but if operators
not control was the content creation and the
distribution of video to consumers. Clearly, with
want to grow rather than protect their market
channel creation. The TV operator and the
OTT, these departments will gradually be smaller,
share, this is an inevitable move. Operators like
channel provider built up a very attractive
both in terms of budget and manpower.
Sky and Viasat have launched standalone OTT
partnership where both providers managed to
Finally, TV operators maintain that they
generate more and more revenues and profits
understand content due to their long history
relevant and keep the initiative in a transformative
from a content-hungry consumer market with
of packaging channels. I firmly believe that TV
market, and both have succeeded with creating
relatively weak competition.
operators understand consumers enough to
strong local standalone OTT services.
The operator had a virtual monopoly
price and market a subscription offering, but
regarding their distribution networks, either
generally do not understand content once we
because of the very high investment barriers or
drill down one level below the channel structure.
personal relationships with the channels, where and money. The TV operators typically enjoy a sheltered competitive environment, in the form of either an actual monopoly (only one operator available per household) or a practical
OTT as an enabler for a service aggregator Clearly, some TV operators may not be interested
due to legal hurdles. Consumers had stronger higher competition existed for consumers’ time
initiatives on their respective markets to stay
or structured in a way that they can succeed
By embracing OTT technologies and relying on third-party vendors with strong cloud infrastructure, it is possible to completely change the cost structure
with a standalone service. Are these companies destined to disappear a few years from now, or can they find an alternative strategy to stay relevant in an OTT world? I believe that the way forward for more
monopoly (very long subscription periods and
traditional companies will be to slowly transform
high barriers to churn).
into a service aggregator. The strong customer and billing relationships in local markets, as well
This will all change with the emergence of OTT, and TV operators who can adapt to this new
In an OTT transformation of a TV operator,
as an understanding for consumer packaging,
opportunity can succeed.
they need to address these weaknesses. If
will remain attractive in an OTT world. A service
they do, they have a fantastic opportunity of
aggregator will establish distribution agreements
The operator’s weaknesses
becoming formidable competitors to the pure
with broadcasters, VoD providers and other
Most TV operators are fully aware of their
play OTT companies.
relevant video distributors on a multiscreen basis
strengths. It’s clear that the consumer
and provide attractive consumer business models,
relationships, established billing processes,
OTT as a standalone service
user experiences and marketing. Many consumers
attractive content agreements, and possibilities
Now, I’m sure that many TV operators are of the
are not particularly interested in visiting different
of bundling with other services are all great
opinion that they have already launched OTT
services to find the content they like, and the
strengths when moving into OTT services. It is
services on the market. They have done this in
operator is probably the only credible player to
always more difficult to be objective about
the form of a mobile extension to their core TV
solve the aggregation challenge in a market.
one’s weaknesses.
offering, a value-add for existing subscribers.
First of all, operators are defensive. Their existing business is valuable to them and they’re
Of course, inclusion of third-party services and
In all likelihood, this has been deployed as a
apps in your own offering will probably mean
defensive move on the market, where access
that operators should stop or at least downplay
TVBEurope 33
July 2015 www.tvbeurope.com
TVBEverywhere their own video initiatives to be attractive as a
The pressure on TV operators to embrace OTT technologies in order to lower costs will only accelerate as OTT technologies mature and become more reliable and faster to deploy
partner on the market. Similarly to what they did when they started aggregating TV channels in pay-TV packages, the operators should evolve to be the best possible partner to the video services on each market. This may mean relinquishing some control to the third party, but also adding value to them in a way where they can justify getting a share of the relevant revenue streams.
while the change over the last three years has been quicker than anticipated. Going forward, we believe that the service fragmentation will accelerate. Many well-funded media companies are in the starting blocks of providing their own standalone OTT service. Business models of SVoD services of between $5 and $10 per month and the abundance of services lead us to believe that many consumers will have two to three simultaneous
OTT as a driver for cost transformation
The pressure on TV operators to embrace OTT
increasingly use OTT technologies to drive
An often forgotten opportunity with OTT is the
technologies in order to lower costs will only
loyalty or new subscriptions. This will add to the
possibility to significantly lower the cost of setting
accelerate as OTT technologies mature and
complexity and the market fragmentation in
up and running a video service operation.
become more reliable and faster to deploy.
the short-term future.
Historically, operators spend tens of millions of
The continued rapid innovation in the industry is
dollars building networks, setting up headends,
clearly indicating that this trend will continue for
consolidation. Consumers will converge around
creating and deploying a service, and licensing
the foreseeable future.
the best services, and we will see merging
subscriptions. On top of this, operators will
proprietary technologies to distribute a premium
Long-term, it is likely that we’ll see some
between several different companies to create regional players and special interest companies.
relying on third-party vendors with strong cloud
Short-term versus long-term change
infrastructure, which can be shared between
We at Accedo have been preaching the virtues
reduced number of companies after the initial
many video providers, it is possible to completely
of OTT technologies for more than ten years. The
burst of activity we will see over the coming two
change the cost structure.
initial market change was slower than expected
to three years.
service. By embracing OTT technologies and
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We will still see healthy competition, but with a
34 TVBEurope
www.tvbeurope.com July 2015
TVBEverywhere newer businesses, bringing new functionalities
OTT service subscribers are predicted to increase from 92.1 million in 2014 to 333.2 million globally in 2019
and services into the market, have a greater expertise in this area than themselves – a challenge akin to trying to hit a moving target. These newer businesses are evolving very quickly while more “traditional” organisations are “just learning how to walk”. The chief concern among several broadcasters is how to respond to the “massive proliferation” of new TV services offering content across “different price points, difference operating systems and different vendors”. Whilst most commentators agree that the quality and experiences offered by these enhanced ondemand services are exciting and valuable to consumers, debate remains around how quickly these new distributors will have a measureable impact and how much of a ‘substitution’ they are or will become. An opposing view is that OTT services are set to
The future of broadcast, or part of broadcast’s future mix?
thrive best as value-add services used effectively to complement traditional regional broadcast, where brand, local investment and knowledge are highly valued. Those broadcasters dipping their toes into the OTT water have said they will continue to have a mix of distribution methods to match viewers’ consumption patterns, providing complementary
By Tom Cape, director of connected solutions, Arqiva
T
he broadcasting value chain is facing an
Faced with new international market entrants such as Netflix, whose content, subscribers and revenue are fast making major waves, echoes of the death knell abound
or video on-demand content on companion devices. The industry acknowledges the fluidity of the current environment, and that the future outlook for consumption is unclear. One broadcaster we spoke to recently said that the big question in the short to medium-term was to what extent activity and emphasis would
era of convergence; one impacted by a
shift from its television channels to newer forms
number of ‘disrupters’ both from outside
of digital distribution, as live and on-demand
their organisations, to inside, as well as the
viewing finds a new equilibrium.
audiences themselves. We’re facing a time
Faced with new international market entrants
Those willing to take a bigger risk can benefit
of uncertainty as industry players adjust to
such as Netflix, whose content, subscribers and
from the alternative revenue streams generated
a confused technical landscape affecting
revenue are fast making major waves, echoes of
by the “outside” disrupters. The dynamism of
mainstream television. With OTT service subscribers
the death knell abound: but in reality, how much
the current environment presents these new
in particular predicted to increase from 92.1
impact will such companies really have on the
opportunities. One broadcaster explained
million in 2014, to 333.2 million globally in 2019,
traditional establishment? Are they game-victors
that those broadcasters who are also content
this uncertainty is only expected to increase.
or merely new team players?
creators or rights holders should benefit as
TV is, and always has been, a world of many
Recently, when Arqiva questioned leading
content moves online, providing new digital
acronyms. Those in the industry are constantly
players in the industry, including free-to-air
avenues to exploit. If growth exists in this digital
playing catch-up with the next set of apparent
broadcasters, pay broadcasters, rights holders
world, they should “seek it”. Content owners
game changers. It’s perhaps a hassle to keep
and platforms as part of our Connected
in the US have been using this model for years,
on top of, but never have a group of acronyms
Broadcasting campaign, there was a general
with recent hit shows such as Vikings, originally
taken on such a menacing tone as those the
sense of “powerlessness” with the imposition
produced for The History Channel, subsequently
industry are dealing with today. From the modest
of change being perceived to be brought by
being made available on Amazon Prime.
yet important move away from linear viewing to
“outsiders”. Broadcasters are anxious about the
‘VoD’, to the stellar rise of ‘OTT’, ‘SVoD’, ‘TVoD’
“imposition” of a new reality by the newly arrived
holders can no longer ignore the advance of
and ‘EST’, many of the services behind today’s
international OTT players.
the OTT companies, and are having to make
acronyms have been heralded as the beginning of the end for broadcast TV as we know it.
Broadcasters acknowledge the pace at which the market is changing. One explained that
Whatever you believe, broadcasters and rights
some serious decisions about their own direct-toconsumer operations as a result.
The global resource portal for media technology content
White papers, webinars, opinions, blogs, case studies, tutorials and more. 5L^)H` *VUULJ[ UV^ VɈ LYZ L]LU ^PKLY JVU[LU[ MVY P[Z YLNPZ[LYLK \ZLYZ PZ LHZPLY [V UH]PNH[L HUK WYV]PKLZ \ZLYZ ^P[O KLKPJH[LK ^LLRS` UL^ZSL[[LYZ VɈ LYPUN H KPNLZ[ VM [OL SH[LZ[ JVU[LU[ HUK JHYLM\SS` selected content from its themes of the month. Why join NewBay Connect? Free and easy to use – stay informed with the latest industry white papers, opinion pieces, ^LI ZLTPUHYZ HUK JHZL Z[\KPLZ [OH[ HɈ LJ[ `V\Y business and your career. Categorised Content All material is organised into clearly referenced, specialist areas. Customised search @V\ JHU X\PJRS` SVJH[L [OL PUMVYTH[PVU YLSL]HU[ [V your business or area of interest. Tailored email alerts 5V[PÄ JH[PVUZ ZLU[ [V `V\ ^OLUL]LY [OLYL PZ HU update within your chosen areas. Dedicated weekly newsletters Visit www.newbayconnect.com to register, browse and download content for free today.
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36 TVBEurope
www.tvbeurope.com July 2015
Special Report
Eurovision Song Contest with record-breaking production By Angela Buenger Austria’s national broadcaster ORF implemented complex file-based workflows for AV recording and distribution of the 2015 Eurovision Song Contest to 80 countries worldwide
I
n its 60th anniversary year, the Eurovision Song
VideoHouse, ORF’s broadcast supplier – and the
Contest (ESC), one of the most popular TV
video and audio distribution of the commentary
entertainment programmes worldwide, was
solution were based on IP networking technology.
about to beat its own record. In addition to the
To distribute all of the audio signals to the
spectators in the hall, the final shows were watched
different suppliers and OB vans while minimising
by almost 200 million viewers from 80 countries
equipment and cabling required, as well as
– which included China for the first time in the
increasing flexibility, the signals were collected
event’s history – and topped its 2014 viewing figures
by a central audio router. The heart of the set-up
by around two million viewers, according to EBU
consisted of a Lawo Nova 73HD audio routing
reports. The show was even awarded a Guinness
core. Ten DALLIS I/O systems were connected to
World Record in 2015 for being the longest running
the core via RAVENNA audio-over-IP technology.
annual music television competition. However, the real revelation was not Sweden’s
The installation comprised a decentralised collection and distribution of the signals at the
Mans Zelmerlöw beating his adversaries from
venue, including 96 Sennheiser Digital 9000
Russia and Italy, but the complex file-based
wireless microphone systems, 32 Sennheiser
workflows Austria’s national broadcaster and host
in-ear systems for the artists, and an AVID Pro
of the event in Vienna implemented behind the
Tools playback system. In addition, all sync and
scenes at the event venue, the Wiener Stadthalle.
timecode signals needed for the production
The overall technical concept of the host broadcaster included the routing of all
were also distributed via the infrastructure. According to Lawo, over 6,600 audio signals
The 2015 ESC proved to be the most popular cross-media event in ORF’s history VideoHouse trucks were equipped with V__pro8 video processing systems for audio embedding,
audio signals via a RAVENNA/AES67-based IP
to six OB trucks and to the FOH and monitor
de-embedding and format conversion. To
infrastructure, a novelty in the broadcasting of
consoles inside the venue were routed by the
manage and control the whole set-up, a VSM
the ESC event. In this context, both the Lawo
Nova infrastructure. All OB vans from both ORF
system (L–S–B) was in use.
Nova 73 audio matrix – and all connected DALLIS
and VideoHouse were equipped with m²66 or
I/O systems used by Belgium-based company
mc²56 digital mixing consoles. In addition, the
In addition to the signal routing, the commentary system was also resting upon IP networking technology. A team of 14 engineers equipped 45 commentator cabins with LCU commentary units, which were networked via RAVENNA/AES67 with the commentary control room and the commentary equipment room. Here, the signals were forwarded to the Prodys ISDN and IP codecs that connected all international broadcasters with the event location. The video signals for the 90 video screens in the Eurovision commentary boxes were streamed via V__link4 video-over-IP systems. The equipment was provided by Audio Broadcast Services (ABS), a rental partner of German-based manufacturer Lawo AG, and the
All audio signals were routed via Lawo IP infrastructure
technical concept as well as its implementation and on-site support was managed by Lawo as a turnkey solution.
TVBEurope 37
July 2015 www.tvbeurope.com
Special Report For the video production workflow, ten EVS XT3 live production servers in an eight-channel SD/ HD configuration and eight IP Director suites for ingest control, metadata management, on-the-fly editing and playout scheduling were operated. In addition, three workstations running on XFile3-controlled file transfer, met archive requirements of the workflow. The video codec used in the production was Apple ProRes 422 HQ at 185Megabit. All recordings and video clips were stored on an Ardis DynamicDrivePool (DDP) with a capacity of 70TB. Overall, the complete video production workflow was file-based and the XT3 production servers had an integrated backup. However, to be on the safe side, all recordings were additionally stored on tape with two HDCAM, one HDCAM SR, and one XDCAM in operation. In total, four operators were in charge of the whole production system and one supervisor controlled the file transfer of the material recorded to the various user groups in the viewing room and the creation of specific user profiles. A complex access control ensured that each delegation only had access to their own recordings. Although the efforts that have to be made
In addition to the spectators in the hall, the final shows were watched by almost 200 million viewers from 80 countries
in terms of production for TV and internet broadcast as well as on-site security are increasing every year, the event in Vienna again set a landmark for the Eurovision Song Contest and was considered to be the most popular
All radio and intercom systems, as well as the
cross-media event in history for ORF. In a recent
signal distribution system, were supported by
statement, Alexander Wrabetz, director general
Riedel. In total, around 600 radio sets were used
panels and 15 mainframes were implemented.
of the ORF, Michael Haeupel, mayor of Vienna,
to interconnect around 2,500 crew members on
The signal distribution system included Riedel’s
and town councillor Christian Oxonitsch also
site. For example, the intercom matrix comprised
MediorNet solution for video, data and audio
drew an upbeat conclusion: the costs for the
nine Artist mainframes that were distributed
communication and comprised 45 MediorNet
event were below the estimated budget and
across the venue. In order to integrate the
mainframes and a total of 127 HD-SDI inputs as
the national and international reactions were
OB trucks into the whole system, around 300
well as 148 HD-SDI outputs.
more than positive.
38 TVBEurope
www.tvbeurope.com July 2015
CiaB Forum
The case for boxes This month’s Forum takes on a different shape with Philip Stevens talking to a number of Channel in a Box vendors to discover how their solutions are being utilised to maximum effect
If anything has aroused comment among industry experts it has been the topic of Channel in a Box (CiaB). Definitions have varied as CiaB has come to mean different things to different people. But whatever designation is used, the technology has brought about changes in operational practices that have been far-reaching. However, there are still some doubts as to the appropriateness of the concept. How has your solution benefitted the industry? Is CiaB the end of the story, or is there a better solution?
Pixel Power’s French connection TV5MONDE is a worldwide network of channels broadcast in French in more than 200 territories across the world. It has nine different channel feeds for various regions across the globe with eight being broadcast from Paris, covering all continents, and the ninth – TV5 Québec transmitting from Montreal. “TV5MONDE formalised plans to launch new thematic channels, including a children’s offering,” reports James Gilbert, Pixel Power’s CEO. “It uses a third party for its playout, but wanted to be able to launch these channels inhouse. This project needed to be as cost-effective automated channel graphics. In addition, it
in a Box system would provide the cost efficiencies
needed a tightly integrated production and
that TV5MONDE needed, but would it be able to
playout solution, allowing a faster time-to-air. This
handle the more advanced playout requirements?”
included the requirement for compatibility with its
PARTICIPANTS: Don Ash, PlayBox Technology Goce Zdravkoski, Stryme James Gilbert, Pixel Power Jan Weigner, Cinegy Janis Krampans, Veset Karl Mehring, Snell Tom Gittins, Pebble Beach Systems
James Gilbert, Pixel Power
as possible, but also required sophisticated
To answer the question, TV5MONDE turned
main channel graphics playout technology, Pixel
to Pixel Power’s integrated playout solution,
Power’s dedicated LogoVision 3D unit.”
ChannelMaster. “This is a highly scalable solution
Content for the new channels is created
that frees broadcasters from the compromises
collaboratively and updated in-house, matching
of many existing Channel in a Box offerings,”
the existing channel’s branding quality. Any
says Gilbert. “Alongside two dual redundant
new technology also had to support material in
ChannelMaster 3D systems, the broadcaster also
both 4:3 and 16:9. In short, TV5MONDE required
specified Gallium, a highly integrated and scalable
an economical yet rich playout and branding
scheduling, asset management and automation
solution to create, move and schedule video
technology, that provides the intelligence to build a
and graphic assets across various channels.
variety of playout solutions using Pixel Power output
Gilbert continues, “It was clear that a Channel
devices. Already-installed versions of automated
TVBEurope 39
July 2015 www.tvbeurope.com
CiaB Forum BCC racing cars
and text templates can be activated by a mouse click. TitleBox provides total control during on-air sessions, including text selection, running speed and transitions. CaptureBox allows high-definition or standarddefinition content to be captured from SDI digital feeds, analogue sources and MPEG transport streams. Four video sources can be monitored on a single screen and controlled via a new streamlined user interface. Audio levels can be monitored as loudness/true-peak displays and adjusted when required. Cinegy puts local station to Air Glimt Television, a Swedish TV station located in Karlstad, the regional capital for Värmland, started
branding playout software Pixel Promo and DJ – for
broadcasting last year using Cinegy Air PRO.
automated dynamic junction creation – have been
Live shows are sent to the playout as RTP feeds
further developed as part of the launch process.
over the city fibre network and played out live in
Integration with Polistream from Screen to deliver
HD to a number of different distributors. Cinegy
DVB subtitles was also completed.”
Air also acts as a client to control the playout
As a result, TV5MONDE was able to realise its
engine from remote locations. “The brief from
primary aim of introducing channels cost-effectively
Magnus Westlund, the managing director of
while deploying technologies that also support a
Glimt TV, was to provide a robust, cost-effective
quicker and far more efficient launch model for
and flexible CiaB solution for file playout, live
thematic channels moving forwards. Gallium is
programmes and advanced real-time graphics,”
configured with the ChannelMaster 3D systems to
explains Jan Weigner, managing director, Cinegy
create a powerful, dual redundant branding and
GmbH. “Magnus’ aim is to produce quality TV
playout solution. Pixel Promo automated branding
with a local touch.”
technology continues to be used to extract schedule metadata to populate graphic templates,
Cinegy Air PRO technology removes the
Don Ash, PlayBox Technology
monolithic black boxes, which are replaced
running alongside Dynamic Junction building
by TCP/IP network-attached real-time software
interstitials, both using pre-defined rules. This also
appliances. The system provides a broadcast
allowed TV5 to re-use existing graphic designs and
automation front-end and a real-time video
templates, further reducing time-to-launch.
server for SD, HD and/or Ultra HD (4K) playout in an integrated software suite. It offers a high
PlayBox Technology in the Baltics
degree of flexibility by playing mixed format and
Eesti Telekom, part of the TeliaSonera group,
mixed resolution content, as well as un-rendered
purchased a PlayBox Technology system for the broadcast playout facility at its headquarters in the
PlayBox server
Estonian capital, Tallinn. It is being used to control the branding, scheduling and delivery of four new
server with a direct DVB output. They are located
broadcast channels in three separate countries.
in the company’s central apparatus area and
“Eesti Telekom chose this solution for several
controlled from a master playout suite.”
reasons,” comments Don Ash, PlayBox
According to Ash, the AirBox content playout
Technology’s managing partner and director,
and streaming system can operate both in
sales. “Firstly, we are able to perform encoding
SD and HD. “Designed for 24/7 unattended
and redundancy routing within the system
operation, it can be connected easily to third-
which keeps the infrastructure size down and
party devices. AirBox supports MPEG1/2/H.264,
allows easy future expansion to accommodate
HDV and DV streams from practically any
extra channels. Secondly, management of
production platform capable of providing AVI,
files in several languages is easy because we
MPEG, MXF, QuickTime or WMV content. Files
can multiplex several audio channels into
from third-party broadcast content servers are
one container using ISO-639 language codes.
natively supported.”
Each of the four channels consists of an AirBox
TitleBox delivers on-air graphics that can
playout server preloaded with TitleBox and
be controlled interactively. Multi-layered
CaptureBox, plus a multi-language subtitling
simultaneous crawls, rolls, animated logos, clocks
Jan Weigner, Cinegy
RAI Amsterdam Conference 10-14 September : Exhibition 11-15 September
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TVBEurope 41
July 2015 www.tvbeurope.com
CiaB Forum
Cinegy equipment
CNBC has a long history of working with Pebble Beach Systems
edit sequences straight to air.
Using a Genesix VideoServer supplied by
Vericom AB, a Cinegy gold partner in
Stryme, the 24/7 playout automation of the mostly
Scandinavia, worked closely with Glimt Television
live production content runs independently on
throughout the entire installation process.
one machine and enables the station to reduce
Weigner adds, “This is a prime example of
the number of technical personnel need for
Cinegy’s broadcast, automation and branding
transmissions. In fact, the multichannel ingest,
solutions providing broadcasters around the
playout and graphics solution is responsible for the
world with flexible, scalable and cost-effective
total operation of the Krakow studio.
solutions, which are designed to meet the
The production schedule allows for races to
most demanding real-time requirements
start alternately on each channel. Eight cameras
of busy control rooms.” CNBC swims with the Dolphins
are employed on every racetrack, alongside one
Tom Gittins, Pebble Beach Systems
Goce Zdravkoski, Stryme
Business and finance news specialists CNBC
slow motion camera for high-speed recordings on the finish line. Goce Zdravkoski, Stryme CEO, explains more.
International has a long history of working with
functionality for ingest, channel branding and
“In this case, the high-end automation of the
Pebble Beach Systems, having deployed its first
frame-accurate multichannel playout,” says
VideoServer LPS (Live Production Studio) removes
generation Neptune automation system at the
Gittins. “The flexible pipeline design gives the user
the need for a traditional master control room. This
broadcaster’s London facility over a decade
the ability to customise the virtual output chain
results in an enormous reduction of infrastructure
ago. So when the opportunity arose to streamline
for each channel, specifying the order in which
and personnel costs in BCC’s daily broadcast
the technical operations across CNBC Europe
functions including graphics, effects, and aspect
business. The flexible out-of-the box configuration
and CNBC Asia, Pebble Beach Systems was
ratio conversion are handled within the system.”
of the Genesix VideoServer easily enables the
approached to offer a solution. “The goal was to implement a single
The channels carry a mix of live and clip-based content and various graphics elements, including
integration of various workflows, in this case the automatic live production.”
operational structure across sites in London
a ticker generated from CNBC International’s
and Singapore, enabling CNBC International to
in-house system. Dolphin provides flexible keying
traffic lights system, with red and green
benefit from efficiencies,” revealed Tom Gittins,
of the multiple elements that make up the CNBC
phases which indicate whether a studio is on
sales director of Pebble Beach Systems. “The
International channel style including a 2D DVE,
air, or ready for live transmission. In each studio,
designed solution had to enable them to operate
channel branding with static and animated
there is a team that prepares the track for the
both the London and Singapore sites using the
logos, and 2D graphics.
next race. When the team is ready, the referee
same operators, but without compromising
The playlist for the server incorporates a
triggers the green light to indicate the server
the on-air appearance or presentation style
Racing ahead with Stryme
can be switched to that studio. If neither studio
of either region.”
AMUsys is an Austrian sports betting terminal
is ready to send live content, the Genesix LPS
manufacturer that also owns the licenses for
automatically starts the predefined playlist that
Dolphin integrated channel devices were
two television channels, BCC TV 1 and BCC
is fed by background information on the races,
selected, under the control of the company’s
TV 2. These channels broadcast 900 live races
flashbacks and forecasts on new events.
flagship Marina automation solution. In Singapore,
each day live via satellite and internet streaming
the Marina system replaced the legacy Louth
from its own studio. The transmissions include
BCC TV to react rapidly to any kind of
automation system. This transition was made
automatic timing to one ten thousandth of a
eventuality in live production and automation,”
easier because of Marina’s ability to import the
second, super-slow motion replays, referees,
explains Zdravkoski. “The use of the built in
database and playlists, and export As Run logs,
sophisticated rules and perfect result processing.
signal detection means the LPS manages
Following an evaluation, Pebble Beach Systems
from this legacy system. “The Dolphin devices deliver highly automated integrated audio, video and graphics
A subsidiary in Poland owned 100 per cent by
“The whole system is designed to enable
the handover from the playlist model to the
AMUsys is responsible for the operation of the
live production and vice versa without any
BCC TV studio in Krakow.
human intervention.”
42 TVBEurope
www.tvbeurope.com July 2015
CiaB Forum Genesix video server channel. Based in London, and with plans to expand within Europe, it launched The Medical Channel to deliver trusted, evidence-based and unbiased health-related content to audiences in eastern Europe. In November 2014, Limeclip decided to migrate its playout from traditional hardware to the cloud. It contacted Veset and within a few months completed planning, testing and implementation of its new Nimbus cloud playout. “The Veset Nimbus solution allowed the channel complete playout functionality from playlist management, media aggregation and graphics overlays to transport and monitoring,” explains Krampans. “Limeclip’s media assets are stored with one of the leading cloud resource providers in the UK. The channels software only solution.” Snell goes for the soft(ware) option
are played out in 1+1 mode, the primary from the
Snell has introduced a strategy to migrate
To state the obvious, an increasing number of
broadcast technologies to a software and IP
CiaB systems are being implemented for premium
domain across the board. A number of file-based
channels, playout than with traditional devices.
and live conversion software products are already
“With new lower cost CiaB systems being available,
available, and ICE On Demand is to be released
such as Snell’s ICE LE, the argument for using CiaB
this year. The company is also developing a wider
for low revenue channels and/or backup channels
portfolio for signal processing, live routing, and
is more compelling than ever,” states Karl Mehring,
production switchers in the IP domain.
head of product architecture, Snell. “To satisfy the demands of premium channels, features like
Veset moves the box to the cloud
rich 2D and 3D graphics, Dolby E, ancillary data
According to Janis Krampans, chief technology
insertion and extras, such as Nielsen ratings, are
officer at Veset, it was not long ago that
indispensable offerings for a CiaB product.”
broadcast engineers were slow to take to
He goes on to say that selecting the right
integrated channel solutions that collapsed
partners to provide key software technology
traditional functionality of disparate playout
plug-ins is essential in order to fast-track product
devices into as few boxes as possible. “While
development, and that greater flexibility can be
these integrated channel technologies cleverly
achieved from keeping the overall solution in a
marketed themselves as one-stop-shop Channel
UK and secondary based in continental Europe.
single platform.
in a Box solutions, they eventually displaced
The video stream is then transported via two
legacy automation systems by delivering easy
separate paths over the internet to the headends
progress with its ICE On Demand solution, with the
installation, easy operation, high reliability, easy
in Croatia and Slovenia. There, the video stream is
first product scheduled for release in mid-2015. “With
maintenance, and easy scalability. Although
re-encapsulated back to DVB compliant UDP.”
ICE OD being fully software-based and virtualised,
they have become the mainstay of playout
Snell is able to offer cost models of OPEX-only which
capabilities today, they still require more than one,
Veset has enabled Limeclip to streamline its playout
allow the deployment of new services by simply
and often several, component bits of hardware
workflow processes. Limeclip has now only to
enabling a new software licence.”
and software that necessitate a tremendous
provide video content and playlist timetables to
amount of configuration, supervision and support.
Veset and the rest is handled by the Nimbus solution.
outputs, ICE OD offers significant reductions in
The Channel in a Box solutions have effectively
Limeclip also gets a centralised and secure cloud-
infrastructure costs and integration times. That’s
shrunk the size of huge automated processors into
based media archive, enhanced video quality and
because there is no requirement for SDI cables,–
sleek small boxes, but not much more.”
lower broadcasting expenses.
Mehring reports that Snell has beta trials in
Being a software product with IP inputs and
it’s just a case of utilising existing network fabric to the distribution platform. “Despite the fact that we have reached a
It is the newly emerging cloud playout and
Karl Mehring, Snell
Janis Krampans, Veset
As a result of migrating playout to the cloud,
“Limeclip can now quickly launch new channels
IP capabilities that truly eliminate the need for
in other countries. This level of flexibility would have
component boxes, other hardware, and cabling,
been unthinkable using traditional broadcast
point where CiaB products are feature rich, there
yet simultaneously offer a full playout capability
methods, as it would require the deployment of
is now a strong movement towards software-
complete with security, reliability and scale.
hardware across multiple headends and channels.”
based solutions. However, such solutions with the
And while broadcasters may be somewhat slow
same level of functionality demand a great deal
to adopt this new technology, there are those
is expanding to other platforms in Bosnia, Serbia,
of processing. That means the most feature rich
who clearly see the operational cost savings of
Slovenia, Bulgaria, Romania and Poland and
channels are still utilising CiaB products, while
moving playout from hardware to the cloud.
later has plans for the UK, Baltics, and the rest
low cost and DR systems are moving to using a
UK-based broadcaster Limeclip is one such
In the coming months, The Medical Channel
of the EMEA region.
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