TVBE June 2015 Digital Edition

www.tvbeurope.com

Business, insight and intelligence for the media and entertainment industry

June 2015

NAB retrospective

Satellite | Audio | M&A

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TVBEurope 3

June 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, Ian McMurray 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

The strategic balance of work and life From the pace of Vegas to the peace of Wuppertal I am very fond of executive interviews. I have always

As I mention in the article,

been keen to understand how companies operate,

the blurred lines of work

how strategies are defined, how philosophies are

and life are common to

born. Much of that rests with those at the helm of

such creators: those who

the boardroom, with responsibility thrust into the

give birth to enterprise and

hands of the chief executive. Despite my fondness

position their livelihoods

for this series of features, it doesn’t go unnoticed that

around the consequences.

tête-à-têtes of this manner are often of a familiar

It requires balance and

prototype: strategy, growth, trends…you get the

it requires the bravery to

picture. Hardly ever do they naturally trickle over into what we would deem as ‘real life’, and almost never do they touch on ‘life’ itself.

That’s why I found my trip to the German

embrace risk. Riedel’s position on all of this is well worth reading.

Elsewhere this issue, we continue our MAM Leaders’ Series coverage with part two of

town of Wuppertal to spend time at the Riedel

our write up from March’s roundtable, held in

Circulation NewBay Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK

Communications HQ with its eponymous founder

association with Avid. We also reflect on NAB

such a refreshing experience. We discussed

2015, and what there was to learn from the worlds

Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848

strategy, and growth, and milestones, and all of

of satellite, audio for broadcast, and the M&A

the things typical of a discussion with a brand’s

landscape. Mergers and acquisitions is also the

driving force, but the underlying context was

subject of Joshua Stinehour’s article in our Opinion

one of perspective, of understanding business’

and Analysis section, as he goes into detail on

place in the much grander tapestry of...without

some of the most recent business transactions.

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

sounding all gushy and arty-farty…life.

It was a human conversation with a human

Finally, we’re gearing up for TVBEurope Strategy Week, taking place from 29 June to 3 July 2015. We

being, and it was humbling to hear the story of this

now have a number of events confirmed for the

company’s foundation and fruition being delivered

week, and you can find more details on page 25 of

© 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.

in such an emotionally charged, and passionate

this issue. Be sure to book your tickets for the week’s

fashion. After all, Thomas Riedel is an entertainer at

centrepiece conference, TVBEurope 2020.

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

heart, and the feature interview on page 26 tracks

Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA

great insight into the entrepreneurial mindset.

his journey from magician to entrepreneur. It’s a

I hope to see you at BAFTA. James McKeown Executive Editor

4 TVBEurope

www.tvbeurope.com June 2015

In this issue

26

It’s a kind of magic

James McKeown flies out to Wuppertal, Germany for a heart to heart with magician-turned-DJ-turned-entrepreneur Thomas Riedel, the founder and CEO of Riedel Communications

12

Leaders continue MAM discussion

Melanie Dayasena-Lowe picks up the discussion in part two of our coverage of the MAM Leaders’ Series roundtable event at The Shard in central London, held in association with Avid

31

NAB retrospective

Ian McMurray, David Davies, and Russell Grute report from this year’s NAB Show 2015, exploring the latest from the worlds of satellite, audio for broadcast, and M&A activity

8 Opinion and Analysis

23 TVBEverywhere

Mergers and acquisitions: a sector analysis. Joshua Stinehour, principal analyst at Devoncroft Partners, provides a detailed insight of the industry’s recent business transactions

Holly Ashford reports from April’s TV Connect in London, where the talk centred on the future of hybrid OTT services

Communications forum From beltpacks to digital matrix technology, comms covers a wide range of products and innovations. Philip Stevens moderates this month’s forum with experts from the sector

42

16 An Olympic undertaking

48 Data Centre

Adrian Pennington reports on the International Olympic Committee’s digitisation of its vast audio visual archive

Will Big Data save the broadcast industry? Niko Waesche, global lead of the media and entertainment industry at Gfk, finds out

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6 TVBEurope

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Opinion and Analysis

The LTE alternative LTE technology alters the competitive landscape for delivering broadcast services to consumers, writes Olivier Lafontaine, director of strategy and product management, Technicolor

better positioned to take advantage of LTE-TTH than traditional broadcasters. But in classic ‘if you cannot beat them, join them’ fashion, many broadcasters are already making major moves to adopt and add OTT models of operation for their own purposes. LTE-TTH may just be another reason to continue, or accelerate, this shift.

LTE accelerates NSPs’ search for content partners

L

TE is becoming a crucial topic for the broadcast

For NSPs in general, and pure-play mobile

industry as the fight to protect market share

operators in particular, the adoption of LTE-

in an increasingly competitive environment

TTH strategies may require a fundamental

heats up. As a result, the broadcast sector is actively

re-evaluation of the kinds of business and

exploring the possibilities of using LTE services to

technology relationships needed to meet the

deliver new offerings to mobile consumers. Beyond

extremely high expectations of consumers who

the mobile play, however, LTE is also introducing new

demand high-quality entertainment services.

competitive dynamics for delivering entertainment

It is not enough to just provide connectivity from

services to the home, by adding a new alternative

the central office to the home. NSPs will have to

to cable, fibre, DSL and satellite services.

carefully think through the experience consumers

To be successful in this environment, broadcasters

will have to manage inside their homes. Most

will have to review the way their current customers access programming, and make sure that plans are in place to hold on to a viewership that expects their content to move seamlessly from at-home flatscreen TVs to an array of portable devices, as well as from their home environments to any place they want – or need – to be.

consumers will be unable to distinguish problems

‘It may well be that the internet-friendly OTT providers are better positioned to take advantage of LTE-TTH than traditional broadcasters’

In short, LTE technology is not just a mobile

originating in the wireless local-area network (LAN) from those originating in the wireless wide-area network (WAN). Thus, operators must do what satellite, cable, DSL and fibre service providers have done – which is to take responsibility for offering customer service assistance and technical support across both environments.

entertainment opportunity for broadcasters: it may

There is a continuum of bandwidth that must

play a critical role in serving a core market of

business models because consumers will have

be managed in order to maintain a continuum

at-home consumers.

new ways to access high-quality content. This

of quality as traffic crosses Wi-Fi and LTE networks

could create headaches for broadcasters that do

at consumers’ homes. Also, within the home,

not figure out how to feed programming through

attention must be paid to antenna design and

new LTE channels.

management to ensure maximum performance

Accessing an untapped household market According to analysts at ABI Research, some

This explains why a number of forward-

and service availability. The right equipment

1.26 billion households do not have DSL, cable,

thinking broadcasters were represented at this

and technical expertise has to be in place and

or fibre optic broadband. As a result, fixed and

year’s Mobile World Congress in Barcelona to

effectively applied to deliver a consistent and

mobile telcos are looking for LTE to close that

review an early demonstration of LTE Broadcast

positive consumer experience.

broadband access gap. As we closed 2014, the

technology from Technicolor and Ericsson. While

research firm estimates that 14.5 million residential

this particular technology is not yet ready for the

Conclusion

and commercial premises used LTE technology as

kind of on-demand consumption that consumers

The era of consumer choice over how to access

the primary vehicle for broadband access. By 2019,

clearly want, it is now evident that the bandwidth

rich content experiences has never been more

that figure could go as high as 123 million.

capabilities offered by LTE are evolving rapidly to

exciting. New developments in LTE technology

support broadcast quality traffic. It therefore offers

are making it possible to deliver a growing

the-Home (LTE-TTH), network service providers

great promise to the future for seamless delivery

portfolio of entertainment services to devices

(NSPs) are exploring new enhancements to

of entertainment services across the spectrum of

across LTE and Wi-Fi environments. Beyond

specifically optimise their wireless infrastructures for

home-based and mobile devices.

addressing the unserved broadband access

In addition to the emergence of LTE-to-

entertainment services. For instance, LTE Broadcast

Broadcasters who are not already doing so may

market, LTE-TTH also raises the prospect of new

technology is being honed to distribute content,

want to explore new business relationships with

alternatives for consumers who may not be

such as live events and media, to a wide audience

operators of LTE-TTH infrastructures, and work out

happy with current cable, fibre, DSL or satellite

at home and on the go. These technology and

what – if any – technical adjustments (such as

providers. The specifics of how these new

market developments are increasingly seen by

compression to handle next generation content

technological and competitive dynamics play

NSPs – especially pure-play mobile operators – as a

like UHD, HDR, etc) may need to be made so that

out remain to be seen. However, it seems clear

very attractive new market and revenue stream.

high-quality programming can be delivered via LTE.

that the broadcast community will be well served

For broadcasters, these developments are disruptive. LTE may represent a threat to existing

From a competitive standpoint, it may well be that the internet-friendly OTT providers are

to take a comprehensive and integrated look at the impact LTE will have on their business.

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8 TVBEurope

www.tvbeurope.com June 2015

Opinion and Analysis

M&A activity A sector review

By Joshua Stinehour, principal analyst at Devoncroft Partners

Being a privately owned company opens up for accelerated growth opportunities through, amongst others, future acquisitions that support our long-term strategy.”

Two observations for each of these transactions inform an analysis of M&A in the sector. First, M&A is viewed as necessary to augment the growth strategies of each organisation. Second, the management teams of both ChyronHego and Vizrt believe growth

economic scale of operations. A review

strategies are preferable to execute as a

of recent M&A transactions highlights

private company.

these topics.

Beginning with the second observation, small public companies reside in an unenviable

Public to private

twilight, enduring all the expense and

ergers and acquisitions (M&A) is a

Occurring within a week of each other during

responsibility of a public market listing, while

popular topic in the media technology

November 2014, broadcast graphics suppliers

enjoying few of the benefits.

sector. Announced transactions lend

Vizrt and ChyronHego both announced

M

Public market investors are interested in large,

themselves to speculation on the motives of

going-private transactions, where a private

cash generating businesses and small companies

the buyers and sellers, along with the outcome

equity sponsor purchased a majority of the

with exceptional growth. This is the cold reality.

of a given combination – and there has been

outstanding share equity to remove the

Great technology, high-profile customers,

much to discuss.

respective companies from the public markets.

best-in-class customer service, and a host of

Scandinavian private equity firm Nordic Capital

other beneficial sale points do not factor into

Valuation Report confirm there were a record

closed its acquisition of Vizrt on 19 March 2015,

the public market investor decision unless and

number of transactions in the sector for each

and San Francisco-based Vector Capital

until it manifests in sustained cash generation or

of the successive calendar years 2012, 2013,

closed its acquisition of ChyronHego on 6

exceptional levels of growth.

and 2014. The heightened levels of activity

March 2015. Part of the stated rationale for

Vizrt achieved record full year 2014 revenue of

reflect practical business realities confronted

both transactions was an ability to support

$141.5 million, and ChyronHego was anticipating

by executives in the sector including a limited

future add-on acquisitions. In the case of Vizrt,

reaching a 2014 sales level of $59.0 million, which

market for initial public offerings, mature

CEO Martin Burkhalter told Devoncroft Partners,

would have represented 24 per cent year-over-

growth levels in many market segments, and

“Nordic Capital is very committed to support

year growth.

the challenge of achieving an appropriate

our growth strategy going forward.

Figures from the IABM DC Global Market 1

Even though both vendors are large and well known in the sector, this level of annual revenue is small for institutional investors.

Though both companies were generating strong levels of revenue growth versus market growth rates, this level of growth was similarly not compelling for the public markets. In the spring of 2014, Vizrt traded at EBITDA (Earnings Before Interest Depreciation and Amortisation) valuation levels of approximately eight times (to enterprise value), while at the same time the broader NASDAQ traded at EBITDA levels of approximately 15 times.

While not aligned with public market investor preferences, there is direct alignment with the investment preferences of private equity firms such as Nordic Capital, Vector Capital and many others. These organisations exist – in many respects – to profit from the market inefficiency for technology vendors of a given size and growth profile.

Private equity firms are not providing a public service; these are savvy commercial entities seeking investment returns. One recent example is Telestream’s acquisition by GenStar Capital in January 2015. Telestream had been owned by

Our systems team has built over 50 Outside Broadcast vehicles in the last ďŹ ve years. #justsaying

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10 TVBEurope

www.tvbeurope.com June 2015

Opinion and Analysis

Source: Devoncroft 2014 Big Broadcast Survey

Vendors: Sales executives on M&A – the seller’s perspective

Operational scale

private equity firm Thoma Bravo since December 2011. Rumours suggesting an expedited sale at depressed levels were without substance.

Speaking at a 2015 NAB Show briefing, Telestream CEO Dan Castle stated in unambiguous terms, “Thoma Bravo achieved more than the firm’s investment return goals with Telestream in less than the firm’s typical holding period.”

‘While M&A is not always the most appropriate step for a technology vendor, in the current industry environment there are strong rationales for including M&A in strategic planning’

There are financial merits from M&A activity beyond supporting growth initiatives. On the day before the 2015 NAB Show, Avid Technology announced its planned acquisition of Orad Technology. A review of the transaction announcement showcases the tremendous cost synergies and the related, tangible benefits achieved from greater operational scale.

Constrained growth

On an annual basis, Orad Technology was spending 34 per cent of its revenue on sales

Returning to the observation of growth strategies benefiting from add-on acquisitions, despite every

to add to its product portfolio. Ross Video has

and marketing expense. Investors would

management team’s best efforts not every vendor

acquired seven businesses since 2012 to help

expect a substantially lower figure for a business

can grow faster than the market. In this way, every

enable its 21st, 22nd, and now 23rd consecutive

operating at appropriate scale. By contrast,

vendor’s growth rates are constrained by the

years of growth. NEP’s worldwide fleet has grown

Avid Technology is spending a figure closer to

growth of the underlying market segments. During

to over 110 HD outside broadcast units in part from

25 per cent of revenue on sales and marketing

the annual IABM breakfast at the recent NAB

completing 12 (not a typo) acquisitions since 2012.

expense. Avid and Orad attend the same

Show, IABM CEO Peter White provided excerpts

Ericsson has used a series of M&A transactions to

global trade shows and have overlapping

from the latest IABM DC Global Market Valuation

create one of the larger businesses in the sector,

sales initiatives focused on targeting the same

report on product category growth rates. In

with acquisitions ranging from cloud technology

potential customers. Avid’s management has

aggregate, product revenue in the sector was

provider Fabrix to large managed services provider

communicated a conservative figure of annual

actually slightly negative for the calendar years

Red Bee Media. The precedent Harris Broadcast

savings of approximately $5 million. Expressed

2012 through 2014. Management teams desiring

division was the accumulation of more than 40

in terms of the deal valuation, Avid purchased

material levels of growth will therefore either need

M&A transactions, and the subsequent Imagine

Orad at an EBITDA valuation of approximately

to take market share from competitors or expand

Communications has augmented its solution

seven and a half times, but when accounting

into higher growth market segments.

offering with four separate acquisitions over the

for expected cost synergies this figure is more

past 18 months. Belden built its now largest division

accurately restated to six times. Eliminating these

M&A transactions to accelerate organic initiatives.

– broadcast – through successive acquisitions of

overlapping sales and marketing functions is a

Blackmagic Design has completed five acquisitions

Telecast, Miranda, and Grass Valley.

proverbial ‘free lunch’.

Many vendors have successfully leveraged

TVBEurope 11

June 2014 www.tvbeurope.com

Opinion and Analysis Cost synergies are especially acute in the media

for including M&A in strategic planning. And in

for vendors to reach more appropriate levels

technology sector given the relative size of the

the aggregate, there is every expectation of

of scale, and the desire from executives to

vendors, global profile of customers, and long sales

continued heightened activity since primary

accelerate growth strategies.

cycle associated with large solution purchasers.

catalysts persist including the inability to generate

A simple but powerful example of the synergies

investment from public equity markets, the need

Ref: DC Global Market Valuation Report1

achieved through M&A was seen on the 2015 NAB show floor. For example, the Grass Valley (Belden) booth at NAB 2015 was 9,900sqft.

Contrasted against the booth space at the NAB Show ten years earlier (2005), all the precedent firms acquired by the now Grass Valley represented just under 32,000 square footage of exhibition space. This is a reduction of nearly 75 per cent. This single sales and marketing synergy,

Works here, here, and there

which represents only a small percentage of total spend by industry vendors at large trade shows, was on the order of $1 million (based on the current price per square foot at the NAB Show). The point is ‘bigger’ works for global sales, marketing, and support operations.

Motivation Many may find it surprising that the number one motivation of selling executives is, in fact, the desire to obtain access to a greater sales and distribution infrastructure. Devoncroft Partners’ annual Big Broadcast Survey of the media technology sector, which includes many of the readers of TVBEurope, has asked senior executives at technology vendors about the rationale behind M&A activity. Responses from senior executives making the decision to seek a company sale are depicted in Figure 1.

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In both 2013 and 2014, the principal reason

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cited for engaging in a company sale initiative was to obtain access to greater sales, marketing, and distribution resources. Having developed

Indoors. Outdoors. Or take it out on tours.

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and matured technology solutions, it is a natural evolution for a business to become part of a

Expansive wireless coverage far and wide. 1.9GHz and 2.4GHz beltpacks and antennas can co-operate in the same system. Continuous 18 hours of talk time. Every whisper heard over digitally-crisp audio. Water and dust resistant for mobile/outdoor productions. These are just a few of PDQ\ EHQHĆWV RI )UHH6SHDN ,,

large entity to accelerate customer adoption.

Even if you have a demonstrably better technology solution, this is of no consequence if a vendor does not possess the sales and marketing organisation to reach customers, or

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the professional service and support organisation to manage a global footprint of customers. In the press release announcing the Avid-Orad transaction, Avi Sharir, CEO and president of Orad, made this very point: “Avid’s global scale and distribution network provide significant opportunities for customer support, growth and market expansion.”

2.4GHz 1.9GHz

M&A rationale While M&A is not always the most appropriate step for a technology vendor, in the current industry environment there are strong rationales

Copyright © 2015. Clear-Com, LLC. All rights reserved. ® Clear-Com is a registered trademark of HM Electronics, Inc.

12 TVBEurope

www.tvbeurope.com June 2015

in association with

The MAM debate continues Melanie Dayasena-Lowe picks up the discussion in part two of our coverage of the MAM Leaders’ Series roundtable event at The Shard in central London, held in association with Avid. Jeremy Bancroft leads the discussion that includes Anil Chaman, manager of technology at Al Jazeera English Language Channel; Paul Clennell, CTO, dock10; Francesco Donato, VP broadcast operations, Sky Deutschland; Craig Dwyer, senior director, Global Center of Excellence, Avid; Tom Evetts, regional sales director, northern Europe, Avid; Rod Fairweather, senior director of infrastructure and media technology, Viacom; Jouni Frilander, portfolio manager, media systems technology and development at Yle; Kevin McCue, senior manager of technical operations for Sky Post Production; David Shield, senior vice president, global director of engineering and technology, IMG Sports Media; Kjeld Skovlund, head of TV projects and deputy manager, TV 2 Denmark; Chris Whatmore, MAM product owner and senior business analyst, Sky

C

ontinuing the discussion on security, Anil Chaman, manager of technology at Al Jazeera English Language Channel,

highlighted that assets are the most valuable part

The London skyline provided a dramatic backdrop to the day’s discussion

of his business. “That’s what we produce and make and that’s what costs a lot of money. Security and trust are key, which is why we’re not into the cloud and won’t be for the foreseeable future.”

But what about secure services from a dedicated supplier, asked moderator Jeremy Bancroft? For instance, he cited trusted suppliers like Signiant and Aspera, which are used for transporting content around the world.

TV 2 Denmark’s head of TV projects and deputy manager Kjeld Skovlund believes it goes in two directions. “Using cloud services is a question of functionality and price. I don’t have an issue with relying on Aspera. Moving into the cloud, whatever we all do, can be done by one company in the cloud because that is all they do.

“On the other hand, where I see the role of my staff in the future is to understand the business processes within our facility and be able to reflect on new wishes and changes in the

IMG’s David Shield offers his perspective

“We write our requirements or specifications and we have a manufacturer who wants to deliver this project. I want a basic functionality that can grow with me and my company and then have a working relationship with that manufacturer” Kjeld Skovlund, TV 2 Denmark

TVBEurope 13

June 2015 www.tvbeurope.com

in association with

organisation and production. That has to change over a few weeks and we’ve tried a number of manufacturers who say we can change our processes in a quick way but usually it takes two to five months. We need it to take two to five weeks,” he remarked.

The conversation then moved on to how the industry looks for the right product and manufacturer. Bancroft posed the question: “When we go out and specify what we need, whether it be MAM or production platforms, we’re gathering information from our users and stakeholders and people driving that line of business. We write a list of requirements and typically people go out to the market and say ‘we want you to do this’. Is that the right approach?”

Skovlund believes this is where the industry needs to change. “We write our requirements or specifications and we have a manufacturer who wants to deliver this project. I want a basic functionality that can grow with me and my company and then have a working relationship with that manufacturer.”

Sky Deutschland’s Francesco Donato

14 TVBEurope

www.tvbeurope.com June 2015

in association with

At Viacom, Fairweather admitted that there isn’t one application that does everything it needs. “We have chosen to separate workflow from asset management as much as possible.

We deliver to 100 different platforms. I don’t want to be tied in to one supplier. You end up with a multi-layered workflow environment. It gives us the ability to build workflows quickly and still have the granular control to do what we want.”

“So, does that mean every major media enterprise needs a significant developer department to keep itself ticking over?” asked Bancroft.

Fairweather agreed since Viacom has a developer pool, which it uses to create social media interactions on screen such

Sky Post Production’s Kevin McCue enters the animated debate Rod Fairweather, senior director of infrastructure and media technology for Viacom, said: “I’m looking at MAM as an infrastructure rather than application and it’s a fundamentally different way of looking at it.”

With reference to terminology, Avid’s Craig Dwyer, senior director, Global Center of Excellence, said: “When you look at MAM more as a utility or more generic it makes more sense than when you try to apply it to a specific business or operational use.”

Fairweather added that when basing MAM on today’s absolute needs, by the time it is delivered it will be out of date and won’t service the necessary requirements. “We really need to look at it as a much more agile platform that allows us to add or take things away. That’s

Rod Fairweather delivers Viacom’s insight

the kind of flexibility we need to be building-in.

We need to understand it from an operational, engineering and business point of view.”

Sky’s Chris Whatmore, MAM product owner and senior business analyst, said the model isn’t too different from the traditional method of buying a studio from a systems integrator rather than a manufacturer if you want to do it yourself.

“As this becomes more mature, one would

“I’m looking at MAM as an infrastructure rather than application and it’s a fundamentally different way of looking at it” Rod Fairweather, Viacom

hope you get better interoperability and

Central channels. Bancroft asked if it involves a different level of development compared to developing infrastructure. Fairweather would argue that it’s not that far different.

“Our developers don’t necessarily understand a huge deal about TV but at the developer level you need to be quite precise about what you need them to do. Our

adopt that model again.”

Bancroft returned to the question of how to

as Twitter battles on its MTV and Comedy

developers are less TV specialists; they’re closer this for us?’ Is that really the right approach?

to being proper developers. Our workflow

specify what is needed. “Should we come up

Or should we pick something we think has

engineers have much more of an idea of how

with a list of huge requirements and expectations

capabilities and ask what it can do? Do I have

the whole TV operation works: i.e. where the likes

and go to these vendors and say ‘will you build

to adapt what I do?”

of compliance and QC sit.”

TVBEurope 15

June 2015 www.tvbeurope.com

in association with

industry we used to have cameramen who

During the time Chaman was working at Channel 4, the broadcaster developed its own scheduling system. “It was almost like a proof of concept.

There weren’t manufacturers out there making automation systems so we decided to do it ourselves,” he commented.

Although IMG Sports Media doesn’t have a development team yet, David Shield, senior vice president, global director of engineering and

“Don’t listen to too many people. Choose carefully who you listen to for those requirements when building out your workflow, otherwise you won’t get the full benefit of what you’re trying to achieve” Chris Whatmore, Sky

spent years training to be a cameraman, but now the moment you leave college you’re a cameraman, soundman, producer. Training people on how to use a tripod, focus, frame, expose, etc, is hard enough. To then train people to the next level of data entry is very difficult. We absolutely need to automate things as much as possible. We know there are

technology, said his company is moving in that

tools that are going to help with that such as

direction. “We’ve just made a very bold step of

language recognition, speech detection, and shape recognition. It’s the reason we need

moving our whole separate broadcast IT team to co-join them with corporate IT. So far, it’s

specifically about the enrichment of metadata,

working quite nicely.”

the biggest problem you have is that the

good quality digitisation.”

Skovlund from TV 2 Denmark was also in

user will take the quickest route to get the job

agreement on the need for automation. “It’s

Channel, agreed: “I think the nature of the

done. It’s the users we’re relying on to make

important we focus on auto enrichment of the

systems means cross-scaling has to happen.”

this thing work. A lot of the problems we’ve got

media. The amount of hours coming into our

from manufacturers is that the UX isn’t thought

systems is exploding and I can’t see any way of

a few years back and Bancroft asked if there

about properly. “We’re all trying to achieve more

us tying in metadata.”

were any plans to bring the skill back in-house.

automation to make everything happen in the

“We are more and more trying to work through

background seamlessly,” he continued. “In Sky

their sincere thanks to all of the participants at

partners. Some are local IT companies and

post production, we’re moving rapidly towards

the MAM Leaders’ Series roundtable event.

some are non-vendors. We have very few of our

entertainment and to get to this utopia where

Particular thanks go to our moderator Jeremy

own developers. We try to concentrate on our

we have automated ingest. IT all falls down at

Bancroft for expertly supervising and directing

core business. There are some signs that it would

the first step due to the user because the camera

the flow of discussion.

be more meaningful to have some of our own

manufacturer has made it too difficult for users to

developers,” explained Jouni Frilander, portfolio

get the metadata off them.”

Chaman, from Al Jazeera English Language

At Yle, the large IT department was outsourced

manager, media systems technology and

This in turn raised the question of RFID, GPS

Both TVBEurope and Avid would like to extend

The MAM Leaders’ Series is a new thought leadership initiative between TVBEurope and Avid that unites authorities from around the

and geo-tagging as possible solutions. It also

industry to offer insight on some of the key

highlighted the important issue of training. Bancroft

challenges and areas of opportunity relating

the debate to find out the biggest lessons learnt

asked, “Do we have to train people better and

to the management of assets. The latest

from implementing MAM systems.

make them understand the bigger picture and

MAM Leaders’ Series blog can be found on

development at the Finnish broadcaster.

Moving the discussion on, Bancroft opened up

Sky’s Whatmore pointed out the difference in opinions between business leaders and users.

He explained that business leaders are often

why the camera metadata is important?”

Fairweather agreed that training has become a major issue. “We all recognise this. In the

concerned with financial efficiency while users may focus on the functionality required to do the job they’re doing now. His advice: “Don’t listen to too many people. Choose carefully who you listen to for those requirements when building out your workflow, otherwise you won’t get the full benefit of what you’re trying to achieve. Adding too much complexity by trying to provide too much to too many people at once can add significant risk to the success of a project.”

Fairweather from Viacom echoed the view of minimising the number of people you consult.

“We need to pluck important bits of information from users and work out which bits need to be discarded because it’s no longer relevant.

We need to have an understanding of what technology could provide, plus get a mix in the middle. Getting that right is a challenge.”

Kevin McCue, senior manager of technical operations for Sky Post Production, highlighted one of the challenges: “When you’re talking

Kjeld Skovlund, TV 2 Denmark

the TVBEurope website: http://www.tvbeurope. com/mam-leaders-series-blog-bartosz-paprockitelewizja-polsat-sa/.

16 TVBEurope

www.tvbeurope.com June 2015

Workflow Image credit: © 2012 Londres – Comité International Olympique (CIO)

An Olympic undertaking: The IOC prepares for the next 100 years T

he IOC has a proud history of innovations ranging from the Technicolor film of London 1948, to the first HD test in 1984 in LA and

early video-to-mobile tests from the 2006 Winter Games in Turin. However, an internal audit in 2006 revealed the alarming extent of the archive’s deterioration. It found that within a decade, half of the IOC’s 33,000 hours of video would be unplayable, 20 per cent of its 400,000 stills would have faded beyond use and there would no longer be a player to listen to much of the 8,500 audio recordings.

The collection spans official films, technical films, behind the scenes footage, unedited broadcast rushes and newsreel collections.

The IOC has opened a new exhibition at the Olympic Museum on the banks of Lake Geneva in Lausanne to highlight the results of an SFR 30

Image credit: © 2010 Vancouver – Comité International Olympique (CIO) – Kishimoto

The International Olympic Committee (IOC) has been pushing the boundaries of TV and media production ever since the Stockholm games in 1912, writes Adrian Pennington, yet no-one in the organisation was prepared for the catastrophic state in which its audio visual archive was found in 2006

million digitisation and logging effort.

Official film restoration Back in 2006, the 40 official olympic films were

if we want to promote the Olympic brand

within a single day,” explained Adrian Wood,

in dire need of restoration with large pieces

around the world.” Less a highlights reel and

IOC consultant, acquisition and restoration. The

missing and uncatalogued.

more an evocation of the spirit of each Games

original 16mm negative reels of the 1912 games

and an artistic representation of the period,

have been scanned to 4K and now provide a

images was in danger of disappearing

the official films have attracted A-list directors

remarkably detailed record.

irreversibly,” explained IOC president Jacques

including Claude LeLouche, Milos Forman, Arthur

Rogge who greenlit the digitisation programme

Penn, John Schlesinger and Mia Zetterling. “In

documenting the 1936 Berlin Games is among

in 2007. “In the digital age it is vital to have a

1912 the reels would have been shot, processed,

the restored pieces. “She was deeply unpopular

digital version of this patrimony especially

edited, packaged and sent to play in theatres

because she made propaganda for Hitler but

“I was informed that a century of Olympic

Leni Riefenstahl’s controversial work Olympia,

TVBEurope 17

June 2015 www.tvbeurope.com

Workow methodology was. We are missing all of these

the ofďŹ cial ďŹ lms are preserved on new 35mm

because we are not the producers of the ďŹ lms.â€?

polyester-based ďŹ lm stock with digital ďŹ les

However, restoration, digitisation and

backed up to LTO tape. They are versioned in

comprehensive metadata logging of the

2K and 4K DCP for theatrical presentation with

archive is now complete. For long-term archive,

HD access copies for broadcast.

the benchmark in camera control technology‌ “In the digital age it is vital to have a digital version of this patrimony especially if we want to promote the Olympic brand around the worldâ€?

Jacques Rogge, IOC president

you can build on.

Our Remote Camera Control System is fully integrated to manage and control all of your camera operations. Designed for standalone or WAN systems, the powerful CCU capabilities improve quality and performance.

also there was jealousy because her ďŹ lms are among the most impressive of their type and being made by a woman made her a tabloid hate ďŹ gure,â€? explained Kevin Brownlow, ďŹ lm historian, documentary-maker and ďŹ lm editor who met her in the 1980s to restore the footage.

Producer/director Caroline Rowland had to ďŹ ght to document London 2012 with an ofďŹ cial ďŹ lm. “London did not include provision for a ďŹ lm in its charter,â€? she explained. “LOCOG weren’t sure if it was a relevant addition to the legacy of the Games. Given that there is so much multiscreen coverage of the Games today that is a legitimate question to ask.â€?

The solution that convinced the committee to fund the project was to track the achievements of ďŹ rst-time Olympians to chime with 2012’s theme of inspiring a generation.

Until recently, the IOC has not involved itself in the production of these ďŹ lms so it had no

The Enterprise database system enables several controllers to seamlessly share stored camera presets, movements and set-up data across your entire studio operations – wherever they may be located.

Try the innovative solution for camera control that sets the benchmark for performance and efďŹ ciency.

ownership over the original elements, much of which is spread worldwide in private collections.

The entire 1960 ofďŹ cial ďŹ lm is still missing. “We are not like a major studio which has all negatives in house and can access the vaults,â€? said Wood. “A lot of research went into ďŹ nding where those original elements might be. Different cuts have been made for different audiences which begs the question of what version to restore when we ďŹ nd the ďŹ lms. And most of the time we’ve no access to production records which explains why changes were made, how many versions and what the post production

á VDOHV#WHOHPHWULFVLQF FRP á WHOHPHWULFVLQF FRP

18 TVBEurope

www.tvbeurope.com June 2015

Image credit: © 2012 Londres – Comité International Olympique (CIO) – Kishimoto

Image credit: © 2012 Londres – Comité International Olympique (CIO) – Evans

Workflow

“What is certain is that we need more agility in archiving technology to cope with the changes in format” Blaise Chardonnens, IOC head of images services

“We haven’t faced the 4K TV yet,” explained Wood. “We’ll leave that problem for the next generation.”

With the 2020 Games being broadcast in 8K domestically in Tokyo the organisation is aware of challenges ahead. “What is certain is that we need more agility in archiving technology to cope with the changes in format,” said Blaise Chardonnens, IOC head of images services.

Olympic coverage challenges

the movement is spearheading in order to

broadcasts the Games. The delivery of more

All of this work is important not just as a legacy

reach younger audiences and maintain its

content to multi-screens has highlighted a

but to form the backbone to a new Olympic

brand awareness in an age of digital distraction

tension between traditional broadcaster-

channel set to launch worldwide ahead of Rio

and discovery. Other initiatives include a

directed or curated coverage and the

2016. It is one of a number of media strategies

new approach to how the IOC presents and

potential, and seemingly pent up demand

TVBEurope 19

June 2015 www.tvbeurope.com

Workflow for, individuals to compile and view their own playlist on-demand of any and all aspects of Olympic coverage.

“The ideology of all sports broadcasting has changed from filming from the perspective of a viewer in the stand to filming from an athlete’s POV and to be as close as technically possible to the action,” explained Yiannis Exarchos, CEO, Olympic Broadcast Services (OBS) citing the use of tracking cameras for 100m or underwater

“Fundamentally, what we are doing with

‘Following the 2014 winter games in Sochi where more video was watched on digital platforms that on linear channels for the first time, the IOC has declared Rio will be the first real multi-screen games’

cams tracking swimmers.

to classic Greek drama that has existed for 4,000 years,” said Exarchos, a Greek national.

“You need to define the characters and tell the story of those characters, bring their story to a resolution and experience a catharsis of emotion as a result of that arc. What keeps me awake at night is how we can integrate a more democratic storytelling into coverage of a sport event.” Following the 2014 winter games in

“What has also changed is filming only once

Sochi where more video was watched on digital

the athletes are in the stadia to filming behind

platforms that on linear channels for the first

the scenes of key preparation moments such

time, the IOC has declared Rio will be the first

as the motivation of coaches, visualisation

sports competition is aggressive. We want to get

in alpine skiing, or the mental and physical

cameras closer to the athlete and even on the

preparation of athletes,” he said.

athlete, but we have to respect the athlete.”

“There is now pressure to introduce more

broadcast coverage is storytelling that conforms

At Rio 2016, coverage will include wearable

real multi-screen games.

“Broadcasters traditionally have been very keen to control what is being produced and for people to follow next the story they want to

wearable cameras into the field of play.

cameras on equipment (track cycles, yachts)

tell,” explained Exarchos. “Today, everybody is a

While today’s elite athletes are getting

and on referees (e.g. basketball). It is also

storyteller. Everybody has capacity to produce

used to this media jungle, we have to be

looking to use mini-cams on athletes during

audio visual content. Integrating these elements

sensitive to introducing technology that

training sessions in the run up to the games.

into an overarching narrative is, I believe,

doesn’t interfere with the integrity of the

Body-worn health science sensors – such as

the most important challenge for broadcast

performance. Involvement of media in

heart rate monitors – are also on the radar.

storytelling in years to come.”

20 TVBEurope

www.tvbeurope.com June 2015

Workflow boasts 12 million and 18 customers respectively, in France satellite can only claim a 23 per cent share of the TV transmission market, as 40 per cent of French viewers have opted for IPTV through an ADSL connection.

One of the main drivers of SES’s business in France has been, as in other European markets and across the world, the huge increase in HD viewing over the last five years. According to the aforementioned monitor, 25 per cent of the 7,500 HD TV channels in the world are accessed by SES satellites, amounting to 1,885 channels in 2014, up from 1,202 channels in 2011. In France, 13.8 million homes are equipped to watch HD, and DTH satellite represents 3.5 million of that total.

The lion’s share of the HD market, unsurprisingly, is claimed by IPTV (6.3 million homes), but the other providers have a lesser share than satellite, with HD

SES makes a play for UHD in France

terrestrial coming third with 3.1 million homes, and cable far behind with only 0.9 million.

So far, so good. But the prospect everyone is getting excited about is Ultra HD. Speaking at a Paris press fest, designed to drum up enthusiasm for the new format and give an idea of the potential it represents for SES business growth, Nick Stubbs, the company’s vice president for Western Europe hit the nail on the head: “We are convinced UHD will drive our business forward in France and in the world over the next five years, as more and

When will 4K become a market reality in France? For satellite operator SES, timing is crucial as it prepares to compete with very high bandwidth cable in an unequal fight, which on paper at least, seems to favour the latter. Catherine Wright reports

more TV sets are sold and operators as well as broadcasters gradually endorse the format.”

The company has conducted a number of trials with various broadcasters across Europe over the last couple of years, thereby showing that it is

ow can satellite transmission compete

ready for and can handle UHD transmission now

five or ten years down the line with high

for live events, with an average 25Mbitps capacity.

bandwidth cable, especially in a country

To date, Sky Deutschland is the only one to have

H

like France, where politics is a huge part of the

made any sort of public announcement about

equation? The French government has indeed

the trial which involved the live transmission of a

launched an ambitious programme aiming to get

Bundesliga football match in April last year. Little,

all gaul homes connected to what it calls “very

if any, information has emerged about the other

high bandwidth” cable – meaning a connection

ones, which most certainly included Canal Plus in

of at least 50Mbitps – by 2022, and has agreed

France. Some press reports have hinted that the

to put a massive wad of cash on the table to

gaul satcaster is preparing to launch 4K channels

finance the move: €20 billion over a ten-year stretch, an amount financed by central and local

towards the end of 2015. Canal Plus does not

Nick Stubbs, SES

Tom Cristophory, SES

government, with some private money thrown in

confirm the rumours but admits it is testing the technology: “We are conducting 4K tests on the

as well. It’s a political decision that could well lead

commission since 1994, six million gaul homes

whole broadcasting chain with all the French

to an important loss of market share for satellite

watch television thanks to an SES satellite. A

and European companies involved in that field of

operator SES, in one of its major European markets.

further breakdown of these figures reveals that in

technology,” a spokesperson admits.

At it currently stands, SES’s market share in

2014, two million of these homes simply bought

Philippe Bailly, the head of NPA, a media and

France has been steadily growing throughout the

a dish and used it to access digital terrestrial TV

telecoms consultancy, thinks the timing is ripe

years, no mean feat as more players compete

programmes on a free basis. The remaining four

for the format to take off in France, as consumer

for a slice of the cake here than in most other

million paid for a subscription, either as Canal Plus

demand begins to grow. “The indication we get

European countries. According to the company’s

subscribers or Orange and SFR hybrid set-top box

is that the French public is ready for UHD. We

yearly satellite monitor, a comprehensive study

owners, which number one million. But compared

interviewed and observed a number of consumers

of the satellite world market that has been in

with Great Britain and Germany, where SES

at retail points across the country and they showed

TVBEurope 21

June 2015 www.tvbeurope.com

Workflow a real interest in the format and seem to fully

And although he does not overtly mention

anyway, as viewers opt for the quality of satellite

appreciate its benefits. Unlike what happened with

it, coverage is one of the main competitive

transmission, but with the advantage of a return

the introduction of HD, and the confusing signals

advantages satellite currently has over cable.

path. “We will never reach the sort of figures we

sent by the launching of HD-ready sets just before the arrival of full HD ones, the marketing of UHD is much better understood by the public.”

And the figures tend to bear him out. According to estimates provided by consumer research institute GfK, 800,000 4K TV sets will be sold in France in 2015 as their price decreases under €1,000. That is four times the number of 4K sets sold in 2014. Gfk also indicates that 4K sets already represent 30 per cent of the sales of 56-inch TV sets sold in France.

One of the most strategically savvy companies in the gaul market, telco Free, is also hedging its bets on the imminent take-off of the new format. In its usual pioneering and flamboyant style, it launched the first 4K set-top box in the market in February.

On the content side, Netflix, which started up in

“SES is ready to broadcast 300 to 400 UHD channels from one single orbital position as from now. We have the right capacity, the wide coverage ability and the reliability required for UHD” Tom Cristophory, SES

France last autumn, has already announced that it will be producing new gaul series Marseilles in 4K and that 100 hours of its total 300 will be as well, thereby putting pressure on other broadcasters to compete. Even Blu-Ray discs will be available in 4K, as a new standard has been adopted by the BluRay disc association in February. The good news for consumers is that their current Blu-Ray players will be able to read the new 4K Blu-Ray discs.

And for SES, timing is everything. If 4K becomes a reality in France sooner rather than later, as NPA believes, the satellite operator will have a small window of opportunity to grab market share before 2022, the target date set by French officials for the widespread implementation of very high bandwidth cable. “We are rearing to go. SES is ready to broadcast 300 to 400 UHD channels from one single orbital position as from now. We have the right capacity, the wide coverage ability and the reliability required for UHD. ADSL does not have the bandwidth to compete and most digital terrestrial operators will probably not have sufficient financial clout to massively broadcast in UHD,” says Tom Cristophory, the company’s senior manager for sat/IP networks systems.

According to Nick Stubbs, growth will mainly come from the hybrid set-top box market

have in the UK or in Germany, but we will remain an important player in France,” he concludes.

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TVBEurope 23

June 2015 www.tvbeurope.com

TVBEverywhere The discussion opened with participants giving their definition of ‘Hybrid OTT’: “What consumers want, when they want it, across all devices” was the straightforward response from Nagra’s Trudelle. The company has developed service management products and solutions to support customers in the changing digital environment, supporting services ranging from broadcast TV and multiple forms of VoD to applications stores and interactive. “Semantics are important when talking OTT”, added Time Warner Cable’s Miles.

You used to have to be in the house to access content: “That’s not OTT” he asserted, but “using IP as a technology”. The “true definition of OTT” is “when you want to go truly over the internet”.

Time Warner Cable argues that it leads the pack when it comes to OTT: the company has made content available not only on smartphone and tablet, but has launched apps for Xbox, Samsung connected TVs, and Roku live streaming.

Evolution putting content in the ‘shop’ window

A “hybrid system” to CEO Halton can be defined as “trying to blend quality, resilience, universality of a broadcast network, with the flexibility [and] personalisation…of an IP network.” YouView offers digital TV channels as well as catch-up TV from the past seven days, with the choice of on-demand and pay-TV options for those who want them. Users need not sign up to a monthly subscription, and the service

TV Connect returned to London’s ExCeL centre in April for three days of dialogue, debate, and demos. Holly Ashford joined scores of exhibitors and hundreds of attendees discussing the future of connected TV entertainment

is available via a YouView box.

More consumer choice Orange has been active in the hybrid OTT market for a few years now: “We started with IPTV in 2002, a long time ago,” said Dubois. “It’s

“V

ideo remains the single most

device manufacturers to go direct to the

a very dynamic market, something like 20 million

valuable content to monetise,”

consumer. “Disruption is the new norm in the

broadband customers, more than five million

said Sef Tuma, managing

video industry,” he continued, resulting in “an

IPTV customers.” In July 2008, the company

evolving ecosystem”.

launched a hybrid service combining satellite

director of Accenture Digital Services, during a presentation at TV Connect. The broadcast

and broadband delivery, and is now one of

network today generates almost half a

Hybrid OTT services

the most successful telco TV services in Europe.

trillion dollars in revenue, he continued, but

This evolving ecosystem is not a bad thing for

This provides access to broadcast channels via

“disruption has already been happening in

viewers, allowing them access to a range of

satellite, and to VoD via the internet. In 2009,

the broadcast world.” The migration to digital

pay-TV and on-demand options, accessing

“we invested in content” continued Dubois,

caused cracks in the traditional broadcast

libraries of content over the internet, either on

and “built something we can compare to

business model as audiences fragment and

the go or through a set-top box or smart TV.

Netflix”. Orange Cinéma Séries is a series of

the share of viewing on flagship channels

These issues were discussed on day two of TV

movie channels that launched as part of the

decreased. Disruption, stated Tuma, hit the

Connect, in the Super Panel Session: What is the

company DTH satellite service. Not only did the

industry in three waves: the first wave brought

future of ‘Hybrid OTT’ services? Moderating the

company provide an alternative to Netflix, but,

the first generation of OTT players including

panel was iTV Doctor Rick Howe and discussing

as the movie giant’s popularity with consumers

Hulu and Netflix, followed by the second

the evolution and convergence of TV delivery

grew, Orange decided to launch the service

generation like HBO Now and Mediaset’s

were Pierre Francois Dubois, SVP, technocentre,

on its own set-top boxes in France. “We have

Infinity – broadcasters launching their own

Orange; Richard Halton, CEO, YouView; Jim

a different vision of what an OTT service is,”

standalone services using content to generate

Ryan, SVP and chief strategy officer, Liberty

said Dubois. “As an operator, we provide our

growth. The third generation of OTT includes

Global; Jaime Miles, group vice president,

customers with a shop.”

Facebook, Google and Samsung: social media

Time Warner Cable; and Simon Trudelle, senior

video providing a ‘super platform’ allowing

product marketing manager, Nagra.

Providing consumers with choice, with a “shop”, has grown ever more important.

24 TVBEurope

www.tvbeurope.com June 2015

TVBEverywhere point discussed by Accenture MD, Tuma,

Content creators and studios used to be at the top of the industry food chain, followed by networks, distributors, down to consumers, yet consumers have in recent years jumped to the top of that chain, determining for themselves what they want to watch. And, what many want to watch is Netflix. Last year, Dish Network became the first pay-TV provider to integrate

“We currently have a ‘transitional model’ in the hybrid OTT industry with a blend of delivery systems” Rick Howe, Moderator

at TV Connect, who pointed out that while TV set viewing remained strong for sport and movies, “overall viewing is rapidly fragmenting across devices. More people are going to be consuming more content on second and third screens.”

Miles continued, foreseeing a “continued

Netflix’s offering directly into its set-top box, the

increase in video-over-IP” and, in agreement

second-generation Hopper DVR. In April this year,

with Halton, “sharing of data in ways we’ve never seen before”, enabling a better customer

the network also announced it will bring Netflix to its Joey receivers. Is Times Warner Cable also

be in terms of delivering to consumers, in the next

experience, changes in advertising models,

looking at bringing in separate distributor content

24 months? Some things will remain unchanged,

and “all kinds of new interaction and social

and making it available to viewers via their

said Halton. Linear channels account for 80

media embedding”.

STB? “We’ve always tried to find what content

per cent of TV viewing, he said, “that’s not

customers want to be watching and integrating

going to change much”. The role of YouView,

delivering content needn’t mean providing

it. We’re evolving the relationships we have,” is all

he continued, is to try and help customers find

an STB: portable devices and even apps

Miles would say.

content, to gather intelligence and “use that

within a device can do the same thing,

intelligence to anticipate the needs of a user

concluded Tuma. The impact of this industry

A new kind of video service

who just wants to be entertained”, ensuring “a

disruption has provided opportunities for

“We currently have a ‘transitional model’ in the

great user experience”.

operators and next generation ‘broadcasters’

hybrid OTT industry,” rounded up Howe, “with a blend of delivery systems.” Where will the business

The next 24 months and beyond will see “more screens”, added Liberty Global’s Ryan. This was a

www.asperasoft.com moving the world’s data at maximum speed

These multiple screens mean that

to take advantage by providing a new kind of video service.

TVBEurope 25

June 2015 www.tvbeurope.com

TVBEverywhere

Momentum builds towards TVBEurope Strategy Week Webinars, breakfast briefings, roundtables, and the brand new TVBEurope 2020 conference to make up a week of industry insight and analysis

P

a driver for the other, transforming the technology

head of video products, Reuters; Rod Fairweather,

used to produce and distribute content but also

senior director of infrastructure and media

transforming the way in which programming is

technology, Viacom; Kris Hardiman, head of

delivered to consumers, what they watch, and the

product marketing, Ericsson Broadcast and Media

devices they watch video content on.

Services; Simon Gauntlett, CTO, DTG; David Peto,

Conference chairman, John Ive, director of

CEO, Aframe; Thomas Kernan, consultant systems

technology and strategic insight at IABM – strategic

engineer, Cisco Systems; Alla Salehian, CEO, TIMA;

partner of TVBEurope Strategy Week – explained

Niall Duffy, head of IT and workflow solutions, Sony;

reparations are now in full swing ahead

the concept behind the day’s agenda. “TVBEurope

David Klafkowski, MD, The Farm; Martyn Whistler,

of the first ever TVBEurope Strategy

2020 is taking an exciting new approach this year

lead analyst, media and entertainment, Ernst

Week, which takes place from 29 June

and recognising the future of UHD and IT workflows

and Young; Erhan Gurses, EMEA telecom industry

are inextricably linked,” he said.

analyst, Bloomberg, and more.

to 3 July 2015. The week of events starts with the centrepiece TVBEurope 2020 conference

“There is no stopping the introduction of new

at BAFTA in central London, on 30 June, and is

formats and better quality images but a change

briefing hosted by media and communications

followed by a series of thought leadership events

of infrastructure for each new image format

analyst firm, SNL Kagan, which will explore the

held in conjunction with dedicated partners.

is no longer tenable. To address this we have

future of the European pay-TV market. The briefing

assembled some of the most influential industry

precedes the 2020 conference at 9.00am on 30

convergence of UHD and IT/IP infrastructures in an

experts as speakers and panellists. Bringing these

June at BAFTA and is open to all delegates.

effort to identify the strategic imperatives facing

two aspects together and looking towards 2020

media entities as they prepare their roadmaps for

will provide many fascinating insights.”

The one-day conference addresses the

the medium to long-term future. The preface to the

The confirmed speakers for the conference

The Strategy Week also includes a breakfast

Elsewhere during the week will be the IABM executive industry C-level conference on 1 July, a webinar on ‘IP: opening up new perspectives

day suggests that the transition to IT and IP workflows

include Bevan Gibson, CTO of ITN; Jon Carter,

for live broadcast production’ in association

and the move to higher UHD resolutions come

UK head of business development, connected

with EVS, and a roundtable event on 2 July at

at a turning point in the history of television and

home, Deutsche Telekom; Dr Hans Hoffman, EBU;

The Soho Hotel, held in conjunction with

media. They represent a revolution arguably even

Phil Tudor, principal technologist, BBC R&D; Rowan

Pebble Beach Systems.

greater than the transition to colour TV in the ‘60s.

de Pomerai, senior technical manager, Studios,

UHD and IT workflows are inextricably linked, each

ITV (on behalf of the DPP); Tim Santhouse, global

Tickets for the TVBEurope 2020 conference can be found on www.tvbeurope2020.com.

26 TVBEurope

www.tvbeurope.com June 2015

Feature

It’s a kind of magic Riedel Communications is a brand synonymous with its pioneering work across many verticals: Formula One, the Sochi Winter Olympic Games, and Red Bull Stratos to name but a few. It’s easy to forget amid the high profile the brand enjoys that the name sitting in lights atop the industrial HQ here in Wuppertal, was given to the company by the man sat beneath it; in an unassuming office decked out in some of the more basic furniture his enterprise has invested in. Thomas Riedel’s story perpetually entertains, to be expected of a magician-turned-DJ-turned-entrepreneur, as I found out in a refreshingly candid and heartfelt conversation. By James McKeown

“T

he day I die, I cannot take anything

figurehead of a company that bears his name.

with me. My last thought would be

He has more invested in this company than simple

that I’ve had a great life.”

oversight of strategy. “I enjoy it about 80 per cent

The enthusiasm and candour of our roaming

of the time,” he estimates. “There’s about 15

conversation has hardened into something

per cent that is neutral, and there might be five

more primitive, more tangible. Thomas Riedel

per cent where I think about it being too much.

I think it helps to understand what some people in

is visibly emotional as we pursue an acutely

However, if I accumulated all of the moments

the company do.”

personal avenue of discussion on his attachment

where I have thought about not doing this

to his work, his life; indeed, life itself. Here is a

anymore since we started, it wouldn’t amount to a

with work and life is about balance: “It gives you

man of real perspective, not the sort that so

single day. It is a privilege to be able to live such a

support when making very difficult decisions,”

often manifests in boardrooms around strategy,

life, to live your dream.”

he explains. “You need to trust that things will

growth, roadmaps, but the sort that is aware of the true bigger picture.

“I often tell my nephews and nieces that when

The blurred lines of work and life are common

For Riedel the man, everything associated

be good, and you need to trust the people you

to entrepreneurial folk: those who give birth to

work with. A positive basic attitude and the right

enterprise and position their livelihoods around

view on life really helps.”

they think about people on Earth, probably 99.9

the consequences. Thomas’ out of office itinerary

per cent of people don’t have the standard of

is a familiar story: he’s never truly absent. “I don’t

The facility

living that we have. We’ve had the luck to have

really separate working time and private time,

The balance we have been discussing

been born where we have, to have enough to

this is all ‘life-time’,” he admits. Indeed, if you

permeates through to the design of the working

eat, enough to drink, and a place to live. Why

stumbled across the headquarters in Wuppertal

space here at the Riedel facility, with factory

should I complain? I’ve just got to get on with my

out of hours, it wouldn’t be deserted. “I do spend

and desk space mixed together so that all parts

job because, largely, life is great.”

time in the facility when no one else is here. If you

of the company are integrated. “It started as an

turned up at the weekend, you could feasibly find

issue, but turned into a real opportunity,” he says

me on a forklift truck moving stuff about.

of the industrial nature of the set-up.

A passionate elaboration to a question about the balance of pleasure versus pain in being the

TVBEurope 27

June 2015 www.tvbeurope.com

Feature

“At the facility here, which we own, we had a bottleneck in office space: there were plenty of big halls from earlier industrial use, but not enough office space. So, we discussed it with the architect who had the idea of making a gallery above the shop floor preparation area to create an office space.”

The mezzanine level is surprisingly calm, given the proximity to the shop floor and the associated noise levels. Understandably, it wasn’t universally accepted, at least initially. “I discussed it with a few people who were against having everyone in one big room, ‘the noise will be a big problem’, they would say. So I accepted that it was an issue and set about fixing it by installing noise protection in the ceiling between the upper and lower floors. It’s still the case that not everyone is happy with the arrangement, but the ratio of happy and not is 80:20 whereas it used to be 20:80.

“We believe in teams working together,” he continues. “The openness is highlighting our philosophy, which is very much about good communications internally, about being open and having all departments close to the gear and preparation areas, with staff moving between the areas. I wouldn’t say it is perfect, but the reaction of people who visit is positive, and it is something I would do again, for sure.”

It certainly does impress. This is no CERN or McLaren facility, admittedly, but it is an endearing use of space that holds the company’s entire philosophy at the core of its design. This visit preceded another to the Pixar studios in San Francisco, where I was shown around a modern ‘campus’ that attempts the

same balancing of work and life, and successfully.

to integrate. “The factory isn’t shut off from the rest

Although wildly different in execution, I am struck by

of the company departments, there’s a fusion

the similarities the two facilities share: their openness

between all departments which helps with the

and accommodation of all components of the

notion that they’re one and the same thing,” Riedel

company, and the encouragement for divisions

states. “It also highlights how we think: everyone

Picture credit: Kristina Malis

28 TVBEurope

www.tvbeurope.com June 2015

Feature to the right parking spaces. This was his entrée to the world of communications, following which he would drop the lighting, sound and magic from his repertoire (although he has been known to rekindle his act for the Riedel employees).

“This was in the early 1990s, and it was at this time when private TV stations in Europe started up.

RTL, which I think is now the biggest TV station in Europe, called and asked me about radios but also whether they could be connected to their talkback or intercom system. So I had to learn how to find

The mezzanine was designed to integrate factory and office departments

a solution, and built a product called RiFace,” the name of which, he says, is an unspectacular mixture

here is part of the fabric of what we do.”

Early years

One statement that strikes a chord is that “you

The company’s genesis is an unlikely, but

need room for thinking, just as much as you need

suitably engaging tale. “I started the company

Winning formula

room for building things”, important for a company

in February 1987, but I only left school in 1989, so

RiFace sold well in Germany and Austria, with the

of technical means and entrepreneurial spirit. Is

there’s a bit of an overlap in the early days.

interface-to-comms system giving the company

this an unspoken philosophy? “There’s certainly

It wasn’t a clear decision for life, it was more

a foot in that particular door. “I then started

no manual which preaches our philosophy,” he

‘let’s start this now and see how things work out’.

developing a small intercom system with a couple

explains. “However, we do talk to candidates early

I never had a big masterplan.”

of friends which was almost ready by the end of

on in the [recruitment] process about our goals

Riedel was ten years old when he developed an

between Riedel and interface.

1993. It was then I got a call from the organising

and ambitions, that we don’t want to build me-too

interest in business…show business, that is. “This came

committee of the Winter Olympics in Lillehammer.

products: we want to change the market, we’re

through my interest in magic. It was a hobby of mine

They hadn’t thought about communications, and

really passionate about what we do and we

to perform as a magician on stage in kindergartens

they came to me pretty late in the day. Although it

want to be different.

or in the church, and by the age of 14, I became

wasn’t an easy job, I said yes, which might be seen

interested in the technology behind the stage.

as quite typical of me: I’m not afraid of taking risks.

“This is an entrepreneurial company, not one built with private equity and run by banker-type people. In my mind, there’s not enough of this in our industry. I’m not saying the equity route doesn’t work, but there aren’t enough companies left who are independent, and I think that’s a shame.”

The reason for this, he explains, is that decisions about technology that may only pay off in five years’ time are difficult decisions to make, with

We supplied a comms system and a radio system for

“This is an entrepreneurial company.

In my mind, there aren’t enough companies left who are independent, and I think that’s a shame” Thomas Riedel

a huge amount of responsibility on the line for

the opening and closing ceremonies.”

Riedel was able to use his association with Lillehammer to good effect in marketing terms, but as he admits, a significant stroke of luck was to take his company onto the next step. It involved an interview with a local radio station about Riedel’s involvement at the Winter Games. “At the very same time, someone happened to pass Wuppertal on the autobahn and heard the interview on the radio.

the individuals making them in more corporate organisations, whose ideal turnaround might only

I was always more active outside of the classroom

He happened to be involved in Formula One, and

be two years. “It’s very hard to see any return on

than inside of it, and I’d always be the one handling

he’s probably responsible for us being in motorsports.

technological decisions in two years; to get the

the technology of theatre productions in school.

It was a slow start in Formula One, and it took me

concepts on the road and fully functioning takes

“During the summer, I’d spend much of it at a

about ten years to be accepted in this circus.”

between three and five years. So there’s

sea stage on Lake Constance, which was only

a fundamental difference in how an investor-

five minutes from my mother’s house in Austria, just

proof that this acceptance has now become

backed organisation and an independent

helping out where I could, and this is where my love

almost total. Literally tripping over crates of

enterprise function.”

for the industry really started.” By the age of 16, he

headsets belonging to the likes of Ferrari,

was organising parties, taking care of the sound and

Mercedes, and the FIA itself, I’m shown around

manufacturer in a market already well furnished

lighting systems. His increasing stewardship of these

a factory floor more reminiscent of a motorsport

with incumbent competition. The philosophy of not

events was the real reason he started the company.

garage than a communications depot. There are

delivering me-too products and services brought

“In Germany, if you file a company, you can buy

Formula One cars on display, past and present,

about a study of the market to assess the possibilities.

the equipment at the dealer price rather than the

and sat in a Riedel motorhome enjoying the calm

“We came up with a completely new concept of

end user price, so I literally started the company to

of the off-season, Riedel’s place in the sport’s

decentralised comms,” Riedel recalls. “In the past,

get the equipment at a cheaper price. So you can

tapestry is abundantly clear.

there was one big block matrix in one location: we

see the lack of a masterplan.”

Riedel the company started life as a comms

saw the future was in networking with a distributed

The current state of Hall J at Wuppertal HQ is

Having followed the sport with a keen eye for

Thomas bought his first radios in 1990 for an

some time, I am more than aware that Riedel

system, and that’s exactly what we did. This was

event for which he was stage builder, performer,

and Formula One go hand in hand, but as the

back in 2000, which was way ahead of the curve if

and car park attendant. It was for the latter role he

company’s leader earlier suggested, visiting the

you think that networking is a hot topic today.”

would need the radios to direct the flow of traffic

premises opens one’s eyes to the scope and scale

TVBEurope 29

June 2015 www.tvbeurope.com

Feature of the wider operations. More recently, flying out

buying the facility in Wuppertal; getting the first

landscape, and Thomas is philosophical about

to join Riedel at the Barcelona Grand Prix at the

big contracts – Olympics, Formula One, ORF; the

meeting success and frustration with a level

Circuit de Barcelona-Catalunya provided more

acquisition of Mediornet. “Even looking back to

head. “You have to experience some dark

evidence of this, with the company providing the

three years ago, I couldn’t have imagined the

moments to appreciate the sunshine,” he states.

comms for all of the teams on the grid, plus the

progress we’ve made in that time,” he says.

“However, nothing has changed, really. I still

FIA, its medical team, and so on. In fact, it’s

“You never learn when you do things successfully, you only learn when you fail. Since we need to

hard to walk the paddock and pit lane and not

do what I love, and my risk is very limited:

learn a lot for the things we need to do in the

pass something or someone associated with

I started from zero, so the lowest I could fall

future, we need to fail in certain ways to give us

Thomas’ company.

is back to that place.”

that experience. Yes, it’s painful, but it’s necessary in

The lack of a grand masterplan has not stunted

It is emblematic of the progress Riedel has

order to move on.”

made since its inception, and Riedel himself is

the growth of the company as of yet, and his pride

conscious of the luck has befallen his progress

in his successes extends to the manner in which

beneficial if you ably apply what you learn from

thus far; the timing of the company’s activities in

they have been realised. That he considers meeting

failure to sufficiently correct it. But this is a personal

communications systems coming in parallel with

and convincing the right people to come on board

and distinctly human philosophy brought to bear

the broadcast industry ramping up, and with the

among his greatest successes possibly tells you

in the professional domain, and that is refreshing

entertainment industry becoming an industry. “It’s

everything about Riedel: man and brand. It explains

in an environment that can so often suffer from

not something that could be repeated,” he recalls.

the family atmosphere here in Wuppertal, the sense

corporate sterility.

“It was a question of timing: it wasn’t because of a

that people are well looked after, and are buying

There is an overarching picture bigger than

smart concept, but because the stars were in line.”

into the ethos of the company; winning together,

any boardroom strategy can prepare for, and

losing together.

understanding this balance is what sets Thomas

Pride and perspective

It may sound a risky philosophy: one thast is only

2014 was a profitable year for the company,

Riedel and his operations in good stead for the

Despite this, there is abundant pride exuding

but the year before was more challenging. The

future. It may not be the kind of magic Thomas

from every recollection of every milestone: setting

company clearly prides itself on its agility in coping

was once known to showcase, but it is an

the company up to be financially independent;

with the undulations of the fractious business

inspiring formula.

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TVBEurope 31

June 2015 www.tvbeurope.com

Intelsat introduced IntelsatOne Prism, which the company describes as a next generation, IP content distribution managed service

Feature: NAB Retrospective

Delivering the future, today There is a case to be made that, increasingly, the success of the broadcast industry rests on satellite companies. Ian McMurray opens our NAB retrospective by finding out what these entities were doing at this year’s show to ensure that success

‘Recent forecasts suggest there will be over 1,000 channels broadcasting to over 500 million Ultra HD screens by 2025’

hat do LG, Netflix, Panasonic, Samsung,

W

said Peter Ostapiuk, head of media services at

Twentieth Century Fox and Walt Disney

Intelsat, “as well as how IntelsatOne Prism’s fully

Studios have in common? The answer,

automated, converged IP-based platform allows

“That allows Intelsat’s operations personnel

of course, is that they are among the founding

media customers to conduct multiple content

to monitor multiple projects with complete

members of the UHD Alliance announced at CES

transmissions via one platform, enabling efficient,

confidence,” according to Susan Saadat,

earlier this year, and providing further evidence that

high quality, multiscreen content delivery.”

vice president of ETL’s North American sales and operations. “There are a number of high

the move towards higher definition broadcasting is accelerating. Unsurprisingly, that was reflected by

The OTT society

throughput satellites that either have launched,

the satellite industry at this year’s NAB.

Ostapiuk noted that media companies are facing

or are being launched in 2016, and we’re working

pressure to quickly upgrade their networks to

closely with those operators in building out their

Prism, which the company describes as a new

meet the demands of a TV Everywhere and an

teleports and ground terminals.”

next generation, IP content distribution managed

increasingly over-the-top (OTT) society. IntelsatOne

service. Intelsat took the opportunity to stage a true

Prism is, he says, designed to addresses the

new StingRay RF over fibre range, which Saadat

4K UHDTV live transmission using HEVC compression

challenges of the converging broadband and

believes offers a unique, compact design for high

along with an HD Content Distribution Network

media landscape by enabling media customers

isolation applications, and new Dextra L-band

(CDN) contribution feed from a production truck

to seamlessly implement digital media networking

splitters and combiners, as well as its Alto series

over satellite with end-to-end video transmissions

using legacy assets, improve bandwidth

of line amplifiers. Also capturing visitors’ attention

managed by the IntelsatOne Prism hub located at

management with minimal investment, and simplify

was ETL’s high density 128x128 L-band Vulcan

the company’s Atlanta teleport.

overall content delivery and operational networks.

matrix, which is said to be capable of distributing

The show saw Intelsat introduce IntelsatOne

“The demonstration highlighted the advancements in HEVC compression technology,”

Intelsat recently chose ETL to upgrade its teleport facilities with ETL’s new Enigma matrices.

On show on the ETL stand was the company’s

high volumes of L-band signals in broadcast and government applications.

32 TVBEurope

www.tvbeurope.com June 2015

Feature: NAB Retrospective to towers and head-ends, reducing OPEX and CAPEX in various ways.

“The MCX7000 represents another milestone in the extension of our modem capabilities beyond single carrier support,” noted Hans Massart, market director, broadcast at Newtec, “and is ideal for broadcasters looking to future-proof their operations.”

Also receiving its official launch at NAB was the Equalink 3, a new linear and non-linear predistortion technology designed to compensate for the effects of distortions caused by the

Hans Massart, Newtec

John Bozza, SIS Live

Susan Sadaat, ETL

satellite’s filters and amplifiers.

“Live satellite tests have proven Equalink 3’s ability to increase link margin, which can be used to improve coverage and availability or to increase the symbol rate,” said Massart. “That enables up to 15 per cent more TV channels to be inserted in a DTH carrier.”

Focusing on video compression was Vislink, which showcased, among other products, the UltraCoder – a 19” x 1RU half rack width unit said to be capable of encoding four full 1080p60 HD or SD video signals using H.265 (HEVC) compression, or one 4Kp60 video, within the same unit.

Peter Ostapiuk, Intelsatz

Ashley Dove, Vislink

Eddie Ferraro, Globecast

Interest in H.265 “We saw a great deal of interest in Vislink’s

As well as being chosen by Intelsat, ETL has also

“We’re looking to provide broadcasters and

implementation of H.265 video encoding,” said

recently secured orders from DirecTV for its Alto

platforms with the ability to manage the

Ashley Dove, the company’s VP of solutions, “and

amplifiers to strengthen and improve signal quality.

customer return path by satellite, thereby

visitors to the booth were able to see how Vislink’s

giving them full control over their network,”

approach could help them use significantly less

technology for years to come,” continued

continued Arcidianco. “Our approach to this

bandwidth over satellite. Our demonstrations

Saadat. “Our Alto range of amplifiers is available in

is through the smartLNB, a low-cost modem

showed how required bandwidth could be more

redundant configurations, recognising the need for

that bundles satellite reception of TV channels

than halved compared to video signals currently

systems to provide redundancy for ultra-resilience.”

with a narrowband satellite return link for short

using H.264. Also, high quality 4K contribution video

transmissions of IP packets. It opens the door for

signals can be transmitted over existing satellite

1,000 channels, 500 million screens

broadcasters to grow towards an interactive

transponder allocations using the same bandwidth

and individualised set of services beyond TV,

that’s used for HD video encoded with H.264.”

Also focusing on the impact of higher definition

managed through a network they control.”

“That’s testament to the adaptability of this

broadcasting was Eutelsat, with the company’s

At NAB, Eutelsat teamed with Prodea and its

director of innovation, Antonio Arcidianco,

ROSE platform to demonstrate a broad range

pointing out that recent forecasts suggest there

of services: including IoT services such as home

will be over 1,000 channels broadcasting to over

monitoring, security, control, access, energy

500 million Ultra HD screens by 2025.

management, eHealth and wellness, eLearning,

“We’ve taken a strong stance on Ultra HD,

According to Dove, H.265 high compression technology will be implemented into Vislink’s

and eGovernment services.

starting with broadcasting the first 4K content in Europe two years ago and working since

High efficiency

then with the entire broadcasting chain to

Higher definition broadcasting relies, of course,

get all the pieces lined up in the right order,”

on highly efficient video compression and

said Arcidianco. “We have both

bandwidth usage – and the latter was front and

bandwidth and reach today and have

centre for Newtec at NAB, on whose booth the

made investments in future satellites optimised

newly announced MCX7000 had its first public

for broadcasting commercial Ultra HD as soon

showing. It is described as a dense DVB-S2X multi-

as our clients are ready.”

carrier satellite gateway demodulator that brings

Eutelsat believes that the other key trend in broadcasting is interactivity.

multiple benefits, including increased bandwidth efficiency of up to 51 per cent for distribution

Antonio Arcidiacono, Eutelsat

TVBEurope 33

June 2015 www.tvbeurope.com

Feature: NAB Retrospective current range of sub 23kg MSAT ultra-lightweight integrated SNG terminals, enabling multiple HD (or even 4K transmissions) from the ďŹ eld using the rapidly deployed MSAT terminal. It will also be implemented into the multi-use NewStream Van Transmitter, making it possible to transmit video via long range COFDM microwave (ENG), satellite (SNG) and bonded Cellular (CNG) as well.

Another company operating in the SNG space is SIS LIVE, which was at NAB to promote the ManPakT range of VSAT terminals. The ManPakT, which is based on the ManPak60 portable VSAT terminal â&#x20AC;&#x201C; also on show in Las Vegas â&#x20AC;&#x201C; is described as a compact, integrated tripod-based system. It was showcased as a prototype for the ďŹ rst time at NAB 2014 and, says the companyâ&#x20AC;&#x2122;s commercial director, John Bozza, received signiďŹ cant interest. At the show this year, the 0.6m and 1.0m reďŹ&#x201A;ector-sized antennas were being displayed. The 1.0m version is Ka-Sat NewsSpotter and Hylas approved.

The ManPakT is also available with a range

SIS LIVE was at NAB to promote the ManPakT range of VSAT terminals

of optional extras including integrated COFDM receiver for mobile camera connectivity, a Wi-Fi router enabling a secure satellite internet network, and integrated housing and connections for high grade encryption devices. â&#x20AC;&#x153;SIS LIVEâ&#x20AC;&#x2122;s ManPakT range leads the way in the

â&#x20AC;&#x2DC;Once again, NAB saw the satellite industry gearing itself up to support its customers, and whatever the future might bringâ&#x20AC;&#x2122;

next generation of VSAT terminals,â&#x20AC;? claimed Bozza.

recent reorganisation â&#x20AC;&#x201C; to take advantage of our global reach, combined with new infrastructure to power our media management business â&#x20AC;&#x201C; is really coming into its own.â&#x20AC;? â&#x20AC;&#x153;The new Los Angeles Media Center offers broadcasters and content providers a converged workďŹ&#x201A;ow to prepare, deliver and

â&#x20AC;&#x153;It is a compact and lightweight system which is IATA compliant and can be easily packed into

Those, however, were far from the only

playout content to any kind of distribution

one robust case. The completely waterproof and

changes, reďŹ&#x201A;ected, for example, in the launch

platform,â&#x20AC;? he goes on. â&#x20AC;&#x153;The new Media Center

rugged design allows for operation in even the

by Globecast of its Los Angeles Media Center

complements established Globecast facilities

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34 TVBEurope

www.tvbeurope.com June 2015

Feature: NAB Retrospective

Gently ushering in a new era for broadcast audio?

As well as the expected rush of developments related to audioover-IP, the NAB Show 2015 heralded some exciting innovations in immersive audio and loudness correction. David Davies wonders whether, all things considered, we are witnessing the dawn of a discreet but distinct new era for broadcast sound

T

he standard of debate around the

Immersion battle heats up

transition from point-to-point connectivity

Such is the fevered debate around AoIP, it would

to audio-over-IP (AIoP) in broadcast has

have been easy to overlook some of the other

been what one would most politely describe

underlying trends going into this year’s NAB. But

as ‘variable’. But no one could deny that it has

show visitors would not have failed to notice the

certainly been abundant – and continued to be

glut of developments around immersive audio as

so at this year’s NAB Show in Las Vegas.

vendors and broadcasters work to deliver a sonic

In truth, we do now finally seem to be moving away from the ‘protocol wars’ towards a more balanced and practical debate

experience befitting the emerging 4K/UHD and (God help us) 8K TV formats.

Perhaps most prominently, Fraunhofer IIS,

about implementation of IP networks. The

Qualcomm Technologies and Technicolor

arrival of the AES67 standard – which enables

jointly undertook demonstrations at NAB of

inch TFT display to depict current pan

interoperability of existing Layer 3-based

the new MPEG-H audio standard. Designed to

and joystick locations.

networking technologies – looks set to be

offer broadcasters a cost-effective means of

Whilst nothing remotely approaching a

a crucial enabler in this regard, and

improving the sound quality of their offerings

consensus exists about the best means of

unsurprisingly there were several related

beyond 5.1 surround, MPEG-H Audio also

delivering more all-encompassing broadcast

announcements during NAB.

delivers a host of interactive and immersive

audio to the home – or even what the viewer

features across the full range of modern

should actually be getting out of it experientially

would deliver compatibility with AES67, Dante

viewing devices from high-end home theatres

– the innovations on display at NAB suggest that

media networking technology creator Audinate

to tablets, smartphones, and sound bars. At

sound won’t be trailing too far behind picture as

announced support for the standard via the

NAB, the MPEG-H-based system on display, with

the new high resolution formats gain traction.

release of the Dante Brooklyn II firmware update.

a monitoring unit from Jünger Audio, offered

The addition of AES67, explained Audinate,

features including the ability to select different

Quiet is the new loud(ness)

will allow baseline connectivity between the

audio presentations – for example, ‘home team’

If such top line themes can be persuasive,

growing ecosystem of Dante-enabled devices

or ‘away team’ commentary for a sports event –

some issues reflected at NAB were more

and networked devices from other vendors who

or volume control over specific audio elements in

evergreen in nature. Take loudness, for example,

support AES67 bridging.

a programme such as dialogue or sound effects.

which continues to preoccupy many broadcast

In line with its confirmation last year that it

“The adoption of AES67 supports our

Another firm perennially at the cutting edge,

sound engineers despite the advent of the

vision to make Dante the most complete

Fairlight, demonstrated its latest progress in this

reforming EBU Loudness Recommendation,

audio networking solution, and will help

area. Designed to allow content creators to

R128. Accordingly, at NAB there were plenty of

facilitate the industry’s evolution from

deliver 3D immersive sound, the 3DAW (3D Audio

new developments aimed at making loudness

analogue to audio-over-IP,” said Aidan

Workstation) enables users to work in formats

metering and correction as painless as possible.

Williams, CTO, Audinate.

such as Auro-3D, Dolby Atmos and DTS MDA

NUGEN Audio, for example, released

without the need to replace existing 2D tools

Loudness Toolkit 2, the latest generation of

and workflows.

its suite of loudness metering and correct

Meanwhile, ALC NetworX – developer of another AES67-compatible technology, Ravenna – held a series of presentations on

Avid, too, underlined the extent to which an

tools. Consisting of the VisLM-H 2 Loudness

the implementation of AES67 in ‘real world

increasing number of TV shows and movies are

Meter, LM-Correct 2 Quick-Fix Tool and ISL 2

applications’ and new product developments.

being mixed in surround by introducing the Pro

True-Peak Limiter, Loudness Toolkit 2 is geared

With the recent formation of the Media

Tools | S6 Master Joystick Module. An option

towards the requirements of NLE and DAW

Networking Alliance to actively promote AES67

for both M10- and M40-based S6 systems, the

users. Elsewhere on the show floor, TSL Products

adoption, the momentum behind the standard is

Master Joystick Module incorporates dual non-

introduced Phinix, billed as a complete suite

obvious – and should ultimately push forward the

motorised, touch-sensitive joysticks for surround

of desktop and enterprise tools to address

overall adoption of IP-based workflows.

sound mixing with Pro Tools | S6, as well as a 3.2-

many file-based audio requirements, among

TVBEurope 35

June 2015 www.tvbeurope.com

Feature: NAB Retrospective them loudness measurement and correction,

offers the possibility of doubling the fader

and Dolby E encoding and decoding. More

count on the same footprint. Miniaturisation of

general workflow optimisation was on the

console design has, of course, been an abiding

mind of several other leading vendors at NAB.

theme of broadcast audio R&D for a good

Harman’s Studer, for example, exhibited its

half-a-decade now.

Vista X and Vista V digital consoles, whose Infinity Core CPU-based processors are

With IP-based production and immersive audio crossing over from concept to reality for many

‘Whilst nothing remotely approaching a consensus exists about the best means of delivering more all-encompassing broadcast audio to the home, the innovations on display at NAB suggest that sound won’t be trailing too far behind picture as the new high-resolution formats gain traction’

designed to provide high numbers of DSP

broadcasters, it is clear that more exciting times

channels for large-scale, high-resolution audio

are now firmly within reach. The innovations

processing and mixing. Also on a console

on the visual side might attract a greater

‘tip’, Lawo unveiled a high-density version of

percentage of industry headlines, but NAB 2015

its popular mc²56 audio mixing console. In a

did nothing to dispel the impression that we

move destined to endear it to compactness-

are entering a discreet but distinct new era

seeking OB vans and studios, the mc²56XT

for broadcast audio.

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36 TVBEurope

www.tvbeurope.com June 2015

Feature: NAB Retrospective

Ghosts in the machine Mergers and acquisitions at NAB Show 2015, by Russell Grute, director at Broadcast Innovation

Who’s zooming who?

Which of the recent mergers or acquisitions actually create and deliver a better value proposition for paying customers? Does a boost in vendor investment, a merger or a change of

n my first 20 years in the industry, I believed

I

owner actually benefit them?

that plus or minus a bit of smoke and

Mergers and acquisitions (M&A) activity

mirrors, smart broadcast and media

continued apace after last year’s upturn; a

customers could successfully evaluate the

valuable chance to pause and review the

leading innovators to make well informed

impact of last year’s activities, too. The IABM cites

buying decisions. Sellers sold and buyers bought.

annual market size for the media technology

Wouldn’t it be great if it were as simple as that?

industry at about US$40 billion for the sectors that

But there are others amongst us. Investors.

it addresses. The huge overlap with the IT industry

Whilst it’s customers’ investment in vendors’

and new cloud services makes that number

technology and services that pays for the whole

potentially much larger. Gartner recently cited

show, the whole industry in fact, they are not

25 per cent growth in “the emerging and

always only dealing with the vendors. Many

disruptive software defined video” sector at

developers and manufactures rely on suitable

US$10 billion by 2018. It’s interesting when you

external investment to get their businesses to the

look beyond the numbers.

next level. ‘Suitable’ for whom?

Appropriate investment is more important than ever to support the simultaneously converging and diverging media technology industry. As UHD promises to explode our eyeballs and ‘TV Everywhere’ is getting closer to finding the advertising-everywhere money, never have so many business models been so disrupted. Investors, advisors, financiers, private equity and venture

‘The group versus micro brand and segment reach is one of the biggest challenges in successful M&A; everyone has an opinion and the perceived connections between brands are often highly intangible’

capitalists are new spirits amongst us at NAB, haunting the show floor searching for opportunity.

Some highlights: last year we saw M&A action

of the most profitable companies on the show

fast with many overlapping cycles in play.

from Belden (Grass Valley), Dalet (Amberfin) and

floor is also because we’re also one of the least

Technology innovation in, say, managed services

Vislink (Pebble Beach Systems). Later on in the

well known. They know our brands, they know

and SaaS at one end, versus the unprecedented

year, Ericsson completed its acquisition of Red

the businesses that we bought, but they don’t

changes in audience behaviour at the other,

Bee Media and Nordic Capital AS announced

really see us – and that’s very intentional.” The

requires huge investment to innovate and deliver.

its intention to acquire trendsetters Vizrt, which

group versus micro brand and segment reach

completed recently.

is one of the biggest challenges in successful

Our media-meshed industry is now running

Investors are searching for something to give a financial return that suits their current appetite for risk

Serial acquirer, Oracle, made one of its most

M&A; everyone has an opinion and the

and reward. Many developers and manufactures

media-centric purchases to date when it

perceived connections between brands are

come to NAB actively seeking backing, too: new

bought highly respected archive innovator

often highly intangible.

funding to get their idea off the ground or to boost

Front Porch Digital. Many customers saw this

their next phase of innovation or expansion. For

being as much about high quality people.

ChyronHego was finally taken private in a

vendors who have gained recent new financing,

We’ll look at that aspect next month in part two

merger: I think. No space for the details here but,

the challenge is to swing into action and get their

of this feature: Peoplesoft.

if you really want to study the real challenges

Highly respected live graphics specialist

Vitec Videocom, one of the industry’s most

of governance, communications and value

active acquirers, recently bought Paralinx for

engineering in precision M&A, it’s well worth

window at NAB: selling their latest solutions to

its real-time wireless monitoring and in October

reading up on ChyronHego.

prospective customers whist also promoting

last year, completed its purchase of Autocue.

their company’s innovation and potential value

CEO Matt Danilowicz got my attention with this

for an all share deal worth about $60 million, on

to the investment community. It’s a very tricky

statement: “M&A is easy. Integrating companies,

a turnover of about $40 million. A low valuation

balancing act for vendors.

that’s really hard. The reason that Vitec is still one

perhaps, given Orad’s cash position and its

latest value proposition front and centre.

For many vendors, it’s now a two-way shop

Less interestingly so far, Avid acquired Orad

TVBEurope 37

June 2015 www.tvbeurope.com

Feature: NAB Retropsective everywhere, even on the NAB App home screen. Imagine’s campaign over the last two years since acquisition by The Gores Group illustrates two key dynamics in M&A: leadership and perception.

Anyone invited to The Joint at The Hard Rock Hotel to see Imagine Live featuring soft rockers Foreigner, couldn’t fail to be impressed by chief executive Charlie Vogt’s on-stage converged confidence, or by Imagine CTO Steve Reynolds’ 30-minute verbal tour de force.

Leading the 1,700 strong crowd with Imagine’s version of the industry future, with some repetition (Cloud, IP, SDN, etc) but certainly no hesitation or deviation.

This was real marketing folks: ‘make the market’ or ‘serve the market’ is what the books say. Imagine Communications with Gores backing is attempting both. Ambitious. Either way, the perception of value is crucial, both to paying customers now and to secure future investment. It’s also what astute investors think very carefully about. Successfully matching a company’s transformation with the global media-meshed industry is as difficult as it has ever been. Investors’ typical three-year outlook can be painfully short. Consumer and mobile technology ‘hype-cycles’ are going faster whilst perhaps typical media industry buying and budgeting periods remain slower.

Lining up Vince Roberts from Disney/ABC Television to confirm its vision and close proceedings was, almost, “unprecedented” as they like to say all too often in the US. He neatly gave us Disney’s/ABC Television’s strategic line: “By leveraging evolving IP and Cloud

technologies and products. Orad itself had

Leadership and perception (and soft rock defined video)

previously acquired UK MAM specialists IBIS.

For Imagine Communications, NAB 2015 was the

what’s currently possible with traditional

Come on Avid.

moment. The big push. And the company was

proprietary ‘Big Iron’ broadcast infrastructures.”

highly competitive yet under appreciated

technologies we are able to move beyond

38 TVBEurope

www.tvbeurope.com June 2015

Feature: NAB Retrospective defined workflow management proposition. RGB Networks, acquired in January, adds Dynamic Ad Insertion (DAI), Just-in-Time Packaging and Cloud DVR technologies. These highlight three game changing areas to rewire the revenue from advertising and subscribers.

Cloud DVR technologies will be key in the next cycle. The line between TV and mobile services is blurring, and in many cases that blur is ‘the cloud’. Just after IBC last year, Ericsson announced its planned $95 million acquisition of Fabrix Systems, another innovator in cloud-based platforms for delivering DVR and VoD services.

This acquisition is intended to help service providers deliver what Ericsson calls TV Anywhere: viewing on multiple devices with high-quality and relevant content for each viewer. Cable operators and telcos gaining dramatic growth in video streaming need to reach consumers and revenue cost effectively on multiple screens.

Ericsson, along with many others, is now laser focused on the importance of the game changing opportunities in distribution technology, ABR and IP – going beyond the linear playlist – and the pivotal role of telcos and mobile operators in supplying future growth in media consumption and crucially, of course, advertising revenue. Listening to this year’s customer-side reaction at NAB, Broadcast Innovation thinks that telcos, their systems integrators and service providers, will be the dominant customers for the media technologies on offer at NAB very soon.

Not broadcasters. Both will have to find a way to work closely but telcos, and mobile operators too, will thrive.

Patience and perspective: don’t fear the reaper One which might indeed help drive the industry.

larger independent businesses in our industry,

The financial spirits amongst us at NAB, haunting

As Foreigner took the stage to croon, “Feels like

with world class products and a rich history of

the floor searching for opportunity, add a

the first time…” a sharp-witted CTO remarked

innovation. I want to build on that tradition to

complex dimension for customers trying to select

to me, “…trouble is, I remember the last time.”

create an organisation 100 per cent focused

crucial new technologies that will help their own

Genuine frustration born of previous broken

on helping our customers prosper in the media

broadcast and media businesses innovate to

promises no doubt but that seemed possibly too

technology world.”

survive and grow. For some, it gives reassurance

simplistic. Broadcast and media technology is

The dynamics of leadership and perception

and stability; for others, the clarity and focus of

now a mature industry. Many established global

were illustrated again, with the departure in

brands do have a challenging legacy. Belden

October of EVS CTO Joop Jansen, which left

with Miranda then Grass Valley is going

many customers puzzled. EVS has one of the

required at times by customers trying to evaluate

through a similar journey (Don’t stop believin’?

strongest value propositions in the industry and is

the benefit for them in a merger or acquisition.

Plenty more soft rock defined anthems where

highly professional. Another indicator of a mature

New leadership can sometimes unintentionally

that came from).

industry searching for growth.

polarise the perception of both customers and

Quantel and Snell just got married, also with

their favourite vendor is often lost.

Increased perspective and patience are

also the inherited staff too. People are much harder to evaluate than technology and

Thorsteinson as CEO. Quantel and Snell’s vision

Streaming and distribution: walk this way…

is for an open and less proprietary approach

Imagine also made two notable acquisitions

when we’ll look at other important factors in

to IP within the broadcast facility. Thorsteinson

over the last 12 months. File-meisters Digital

M&A cited by customers as vital for success:

elucidated further for Quantel as “…one of the

Rapids last NAB yielded its Zenium software-

people and partnerships.

new leadership as Lloyds Capital appointed Tim

market segments. More on this next month

RAI Amsterdam Conference 10-14 September : Exhibition 11-15 September

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40 TVBEurope

www.tvbeurope.com June 2015

Feature A panoramic view of the election studio, including the green screen area used by Jeremy Vine for VR sections of the programme

The reality of election graphics Following his feature on the UK election in last month’s issue, Philip Stevens finds out more about the use of AR and VR for the programme BC Studios and Post Production’s (S&PP)

for us to integrate those engines with the BBC S&PP

Studio D at Elstree was home to the

systems and ensure all the video outputs were fine.”

B

broadcaster’s General Election coverage,

Leak also points out that there were many

and saw more than 24 hours of live programming

cameras that needed to be calibrated and

immediately following the close of polls on 7 May.

checked in a short space of time. All of this pre-

The use of virtual reality (VR) and augmented

production work had to be completed before

reality (AR) technology has become

the end of April when designers arrived to start

commonplace for such broadcasts where

pushing graphics through the systems.

analysis of the results is presented in the most

“The size and intricacy of the task meant that we had to utilise more than 20 graphics engines to provide the capacity needed. That complexity also meant that we arrived in the studio in mid-April to start all the preparation work” Russell Leak, Vizrt Based on the experience of the Scottish vote, the

Building on experience

BBC wanted to introduce an increased amount

Leak was able to draw upon around ten years’

of depth tracking on the cameras that showed

knowledge of election programming in preparation

presenter Jeremy Vine analysing results and

for the mammoth overnight transmission. “The most

making predictions. The technology enabled

makes this project such an absorbing and

recent were the local elections and the Scottish

Vine to move realistically around a green screen

interesting challenge.” That’s how Russell Leak,

referendum that took place last year and both of

environment and become immersed in the regularly

project manager at Vizrt, who oversaw the

those provided us with some useful background

updated graphics. The tracking system allows these

graphics workflow for the broadcast, summed up

knowledge for the General Election.”

movements to happen accurately and without

compelling – even dramatic – way possible.

Central to that technology for the election programme was the service provided by Vizrt.

“It’s the sheer scale of the programme that

his company’s contribution with the task.

“The size and intricacy of the task meant that

Leak says that active preparation for the programme started soon after the beginning

affecting the position of the virtual graphics.

That part of the programme originated in a

we had to utilise more than 20 graphics engines

of 2015. “We had a series of meetings with the

separate studio with its own gallery to enable

to provide the capacity needed. That complexity

BBC about what they wanted to deliver in terms

complicated moves to be rehearsed without

also meant that we arrived in the studio in mid-April

of the programme and what they wanted to

interfering with the main output. Those analysis

to start all the preparation work. It was necessary

achieve in terms of graphics.”

segments also involve the results and statistical

TVBEurope 41

June 2015 www.tvbeurope.com

Feature graphics that come from automation and data

appears on the set. But what happens if the director

We had worked very closely with the BBC to

integration provided by Idonix. Similarly in AR,

required that camera to be turned to another set

optimise the performance and the Vizrt UK team

Idonix was used for displaying social media

that perhaps has some green somewhere in it?

had the capabilities to handle these huge and

messages on screens in the studio.

That’s when you have to utilise another graphics

complex projects. And we certainly pushed

engine that runs a hold-out matte that makes sure

those graphics cards to their limit because of the

Keeping track of the cameras

that nothing is keyed if a guest comes into the studio

demands that were placed upon them.”

“We take the tracking information that comes from

wearing a green jumper or is sporting a party rosette

Leak states that all the AR and VR elements

the Mo-Sys Engineering system called StarTracker

or an election logo containing that colour. Even the

worked well on the night and everyone involved

and SpaceTracker into the Viz Engine render engine.

reflection on the floor of such items would cause

with the production was well pleased with the

These systems use reflective ‘stars’ on the ceiling

a problem, so we have to make certain that is not

outcome. “A great many graphics were prepared

of the studio to accurately locate the camera

keyed, as well. It is a delicate balance to getting the

to meet a variety of scenarios, many of which were

positions. As the camera is moved, there is a depth

AR and VR set up together.”

based on pre-poll predictions. We rehearsed the

perception to the viewer at home. When the director

Although set up for different purposes, both

graphics based on what the opinion polls were

switched cameras, the Viz Engine maintains the

rendering engines are identical and have the

saying, but in the end those often proved incorrect

correct perspective view. A GPI trigger box sends

same latest version of NVIDIA Quadro M6000 and

so the graphics were not used. No matter how

a command from the vision mixer to the Viz Engine

both run in a Matrox card for a video output.

much planning you do, there is never enough.

via Viz Virtual Studio. That was done to great effect

“On every election there is always the challenge

Although you come to the show with as many

in Scotland, and we learned valuable lessons about

of getting the graphics cards to work in real time,”

plans as you think you need, there are always

how it should be set up. But it is now even more subtle

reports Leak. “Like any computer system, if you start

unexpected events that occur, but we were

and was used on the General Election programme.”

to go over real time you begin to see problems.

prepared for everything.”

Leak adds that what was important for this broadcast was the requirement to be able to track the whole studio. “This was a huge studio space and the BBC wanted to use both VR and AR. The cameras that were being used for augmented reality were sometimes swung around and would be required for a virtual reality set-up. As a result, two of the cameras – the Steadicam and the encoderbased Moviebird crane – were capable of using both technologies.”

In effect, this means that the output from these two cameras had to be fed into two different render engines. Overall, the multi-camera set-up comprised seven virtual reality-capable and five augmented reality-capable cameras.

Green issues “There are lots of interesting scenarios for the AR camera. For instance, because green is being keyed, it is obviously important that nothing of the colour

A crane was fitted with a Mo-Sys Engineering tracking system to enable it be used for AR and VR production

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42 TVBEurope

www.tvbeurope.com June 2015

Forum

Talking of comms From beltpacks to digital matrix technology, comms covers a wide range of products and innovations.

Philip Stevens moderates this month’s forum with experts from the sector

Communication technology may not have the same glamour appeal as cameras, slow motion systems, or massive audio mixing desks, but it is nonetheless vital to the production industry. So, what are the challenges, what role does VoIP play today, and what should we expect for the future?

To communicate these and other issues we have (in alphabetical order) Manuel Brico, marketing manager EMEA, intercom and aviation, RTS Intercoms; Simon Browne, director of product management, Clear-Com; Eric de Bruyn, CEO, ASL Intercom; Ewan Johnston, sales and marketing director, Trilogy; Jürgen Malleck, international sales, Delec; and Ramon Pankert, product manager at Riedel.

What are the main challenges facing comms providers in 2015?

Brico: The entire industry and also RTS is in a changeover phase – moving from either analogue or digital to IP-based technology. In this process, audio specialists have to work and cooperate with IT specialists to get systems specified, installed, configured and working. This requires not only a change in mindset, but also in workflow. What in the past was achieved using wires or audio routers now happens on the network. Additionally, different IP formats and standards may present themselves as a challenge in the future due to interoperability and compatibility between different systems and standards.

Browne: I would say audio and control interoperability when using IP audio standards.

Connections need to be independent so that

Manuel Brico, RTS Intercoms

local components can be reconfigured without taking down all cross-connected systems or

AVB was trumpeted as the next standard 12

taking many minutes to rediscover each other

to 18 months ago. Today, AES67 seems to be

and reconnect.

the emerging standard. Keeping pace with

de Bruyn: Connectivity with as many as

technology trends as well as continuing to add

possible other systems and protocols. AES67

functionality is always an on-going challenge.

certainly helps achieving that.

Johnston: The most immediate challenge

Malleck: For us the challenge of 2015 is finding the balance between satisfying the growing IP

is adapting to the rapid adoption of IP in all

solution demand and the necessity of providing

aspects of the production process. This brings

simple out-of-the-box solutions. The IT industry

opportunities and challenges. For example,

moulded the perception of easily deployable

TVBEurope 43

June 2015 www.tvbeurope.com

Forum TCP/IP and VoIP solutions. But the truth is users

distributed resources – available everywhere

are left alone with bringing these solutions to life.

and anytime – than pure internet-based services.

We think that 2015 will focus more than ever on

The reliability and downwards-compatibility of

integrated systems rather than shifting boxes.

conventional intercom systems and the flexibility,

Pankert: There are two main challenges. First

scalability and cost-efficiency of transnational

is networking – how do you transport over a

cloud-based communication services like

digital network protocol? As an industry, we are

Intracom’s virtual intercom VCOM.

still in the process of building up our knowhow when it comes to IT technology, but it will be the future. Meanwhile, there are still many decisions pending and so we include in our products all the important protocols that we

Has the use of VoIP increased as a means of communicating between studios and OBs?

see coming along. Secondly, the total cost of ownership is getting more and more important.

Brico: RTS’ VoIP solution is called RVON, which

It is not only CAPEX, but especially OPEX. We

stands for RTS Voice Over Network. RTS has built

build our products so we can highlight the OPEX

up and maintained a large RVON install base

advantages for our users.

over the last ten years. This is, therefore, nothing

Simon Browne, Clear-Com

new for us. Additionally, we now also provide a high quality audio with full bandwidth and ultra

“The most immediate challenge is adapting to the rapid adoption of IP in all aspects of the production process” Ewan Johnston, Trilogy

low latency solution called Omneo. This is based on Audinate’s Dante and offers as standard keypanel connection for our customers. Also, IP four-wire exchange with other devices is becoming standard and more common.

Browne: Absolutely, yes. The concerns over latency for cueing the remote, although justified, are diminishing for the simple reason that the convenience of providing comms and data in

In the forum last year, opinions were divided about ‘comms in the cloud’. Is that technology being more accepted today?

the same low cost pipe is more appealing. ClearCom has a Partyline over IP product, LQ-2W2, that provides for this operation with both audio and call signalling over WAN networks. de Bruyn: There is an increasing demand for AoIP (audio-over-IP), not so much VoIP.

Eric de Bruyn, ASL Intercom

Johnston: Absolutely. The twin prongs of Browne: There is a place for pure intercom

improved quality of the more modern VoIP

for remote operations – so we anticipate the

without connections to other audio and control

codecs, together with the increased flexibility

potential for our VoIP products. We don’t just

sub-systems, but it is limited in most working

VoIP provides are making this an increasingly

need LAN solutions, we need integrated LAN

scenarios. You often need connections to audio

common communications standard in remote

and WAN solutions. That’s why we sold the WAN

consoles and routers if only for IFB or announcer

production systems.

concept last year and we have virtual solutions

systems. These connections are also needed

Malleck: We’ve noticed a strong move away

within the cloud. If this isn’t possible, and APIs

from analogue telephone hybrids and expensive

may not exist for the third-party devices, then the

audio codec trunks, to more affordable VoIP

cloud intercom may be limited.

solutions as networks become faster, and reliable

de Bruyn: So far, we have not had the wish

connections are available around the globe.

from our customer to go through the cloud with

We make sure our customers grow with the

their intercom system. However, it might be an

possibilities VoIP solutions offer, meaning we will

issue for the future.

be giving them more than just the VoIP interface,

Johnston: While we can deliver on that

all over our portfolio.

Are we seeing greater integration between comms systems and other elements in a studio distribution network?

we provide them with a set of tools to choose

capability today, there are still latency issues to

from when they are in production and are under

Brico: The integration into overall umbrella control

be addressed and any increased latency by

pressure to establish connectivity. Relating to this,

systems such as VSM from LSB, KSC from BFE and

going via a cloud service makes such systems

2015 will be especially interesting for Delec.

Celebrum from Axon is happening everywhere.

unacceptable to many customers.

Malleck: Yes and no. We still see great interest

Pankert: Short answer: yes. The need for remote production is growing a great deal. And

So, comms will increasingly be part of automated set-up change via a control system.

Browne: The intercom system has always had

in cloud solutions, as this was the term of late

there is a link to the OPEX we mentioned earlier.

2014. However, translating cloud features into

People don’t want to travel around the world

to connect with other elements such as the studio

the intercom language is more about providing

to make productions, so we see great potential

desk and audio router for IFBs or line monitoring, or

44 TVBEurope

www.tvbeurope.com June 2015

Forum platform will be able to do many other things – not just intercom. So, our approach is to sell a powerful smart platform onto which you can install comms apps. Then you have an intercom panel at an attractive cost. But on top, you have a concept advantage of other applications.

Do you have a very brief case study that illustrates an innovative use of comms?

Brico: Yes, the CTV’s new OB11. It ranks among the largest OB trucks ever built. With 880 ports, its ADAM matrix allows for the creation of a very large communication matrix. The matrix can be connected to all audio transmission formats – including analogue, voice-over-IP and the media networking architecture Omneo.

CTV’s new OB11 ranks among the largest OB trucks ever built

Rounding off the intercom system is a total of 32 keypanels from RTS.

through the master control to outside lines and to camera and wireless systems. With the development of higher audio quality in today’s digital systems – like Clear-Com’s Eclipse-HX – we are seeing intelligent links over MADI, integration with fibrebased audio and video distribution with ProGrid, and AoIP connectivity to remote links over LQ. de Bruyn: Even though we still believe in

“Comms systems have always been tightly integrated with other broadcast components. Right now, we see a convergence for interfacing standards” Jürgen Malleck, Delec

having a separate network for your intercom (to be able to communicate should the general distribution network fail), more and more

15 years ago. We are certain that the demand

integration is happening.

to improve interoperability – even between

Johnston: The answer to this is both yes

competing products – will eventually become

and no. There is a definite move away from

a real requirement. The IT industry is teaching us

purchasing proprietary systems from a single

this. Together with its parent Stagetec – one of

vendor that locks customers into that solution

the founding members of OCA – Delec sits at

for their comms and some other aspects of the

the source of this development. The concept of

studio network. However, as happened in the IT

OCA has been introduced as X210 to the Audio

world, there is an increasing drive towards making

Engineering Society and Delec’s R&D is ready to go

systems interoperable by using standards-based

as soon as this becomes an approved standard.

approaches. The move to IP means more and

Pankert: Absolutely. One example is the AVB

more systems are sharing the same IP infrastructure,

concept. This whole network approach is brilliant,

so interoperability and compatibility are key to any

but there are probably still some components

successful implementation.

missing. But we can have intercom on an AVB

Malleck: Comms systems have always

network with a mixing console, a monitoring system

been tightly integrated with other broadcast

on AVB – you just connect the devices together to

components. Right now, we see a convergence

the cloud – and everything is auto-detected and

for interfacing standards. Recently launched AoIP

working. This is a huge advantage of interoperability

connection standards – for example, Dante and

integration. Then look at our new Smartpanel. It’s a

AES67 – are bound to simplify connectivity amongst

total approach and we are operating in a similar

the elements, but they only transport audio.

way to the iPhone. You buy the platform and

IP-based control protocols like OCA (Open

Ewan Johnston, Trilogy

purchase the software applications as you need

Control Architecture) or EmBER are not industry

them. We have different editions of apps – just buy a

standard yet, so the way we exchange

simple one and pay for your needs. But in the future,

information is actually not much different from

the whole concept brings us up to a level where our

Jürgen Malleck, Delec

TVBEurope 45

June 2015 www.tvbeurope.com

Forum Browne: Through Clear-Comâ&#x20AC;&#x2122;s

Pankert: We were one of the

real future innovation of our times.

distributor, Audiopole, and the installer,

players who inspired ESPN to go

Delec focuses on making it easier

Astrium, the Eclipse HX matrix system

down the AVB path when it came

to use our systems, without any

and V-Series control panels were

to building a new studio complex.

reduction in functionality.

used during the world-renowned

As a result, Riedel delivered a

13-day fast-paced motor vehicle

complete intercom system based

major innovation is the Smartpanel.

event that is known to fans simply

on AVB network technology.

As I mentioned earlier, this is

as The Dakar. This event attracted more than ďŹ ve hundred competitors travelling up to 900km a day through Argentina, Bolivia and Chile. Unique operational challenges arise from the sheer scale of the event, teamed with the dangerous and noisy aspects of the sport. It is therefore essential that

Are there any major innovations in the pipeline as far as comms are concerned?

Pankert: For me, the biggest

a new approach to doing communication. At NAB, we introduced the apps that turn the Smartpanel into an innovative and customisable intercom panel for professionals. In the same way that smartphones have surpassed traditional mobile phones in enriching user experience, the

the comms are reliable, clear and

Ramon Pankert, Riedel

ďŹ&#x201A;exible. As part of a recent update,

Brico: We have just made a big

Smartpanel brings workďŹ&#x201A;ows to a

all standard IP-connected V-Series

innovative step by introducing

whole new level. And we have

it can be turned into a cutting-

operator panels perform both as fully

Omneo-based intercom keypanel

a small intercom platform called

edge and ďŹ&#x201A;exible solution for

functional intercom user panels and

and systems. Two years ago, RTS

Tango. This is our ďŹ rst fully networked

a variety of communications

as multi-channel audio gateways

launched the ďŹ rst Omneo-based

platform based on the AES67

scenarios. In short, Tango is the

with no requirement for additional

products: the OMI (Omneo matrix

and AVB standards. With its own

ďŹ&#x201A;exible future-proof platform for

hardware or software licences â&#x20AC;&#x201C; thus

interface card) and the OKI

dedicated intercom application,

the broadcast environment. Â&#x201E;

meeting the ďŹ&#x201A;exibility requirements

(Omneo Keypanel Interface cards

that are necessary for a successful

for legacy RTS panels). We have

rally. This added feature extended a

now extended this portfolio with a

V-Series panel at a speciďŹ c remote

new keypanel series with Omneo

location to utilise the auxiliary channels

on board: the KP-series. With the

to provide a local intercom, audio

complete new KP family, all RTS

system, or radio system with matrix

keypanels will feature two or more

communication down the same pipe.

channel Dante-based Omneo

Johnston: We have recently

matrix connections as standard.

deployed systems for customers who

For the future, we already have

have elected to use a standard

several ideas for other products

enterprise wireless solution for

and customer requirements that

camera, lighting, sound, and ďŹ&#x201A;oor

could be realised using Omneo

managers. They are using ruggedised

technology.

mobile handsets rather than

Browne: Yes, always. There

proprietary beltpack solutions. Initially,

are new technologies that allow

this is wireless, but will likely expand to

greater reach and ďŹ&#x201A;exibility that

a 4G offering in future use cases.

can be tied in clever ways to

Malleck: We introduced the Oratis compact series at IBC 2013. It

traditional intercom. de Bruyn: Flexibility of the

provides up to 24 analogue 4wires, up

intercom system is still a very

to 16 dual channel AES/EBU ports â&#x20AC;&#x201C; for

important issue. In Frankfurt, we

panels and 4wires, and a redundant

showcased a new digital system

64-channel Dante interface â&#x20AC;&#x201C; also for

that will give you the greatest

subscribers and 4wires. Dependent

ďŹ&#x201A;exibility to date.

on a customerâ&#x20AC;&#x2122;s technology level,

Johnston: Yes, but they are

he is able to interface with legacy

roadmap items that we are not

components as well as conveniently

prepared to launch just yet. Make

connect a subscriber through his

sure you visit Trilogy at IBC this year,

IP infrastructure using Delec Dante

where innovation and security will

panels. For us, innovative intercom

be high on our agenda.

systems are hybrids. Multi-interface

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nodes bring everything together with

interoperability and decreasing

maximum cost efďŹ ciency.

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You will have strong communication skills coupled with an ability to build rapport quickly with potential DQG H[LVWLQJ FXVWRPHUV EH JRDO RULHQWDWHG DQG GULYHQ WR VXFFHHG $ PLQLPXP RI WZR \HDUVÂś experience of the events and/or publishing industry LV HVVHQWLDO IBC is offering a competitive package of base salary with an opportunity of earning up to 15% FRPPLVVLRQ 0RUH GHWDLOV DUH DYDLODEOH RQ ,%&ÂśV ZHEVLWH ,I \RX KDYH WKH ULJKW VNLOOV DQG DWWULEXWHV DUH UHOLD EOH DQG GHWHUPLQHG WR VXFFHHG SOHDVH VHQG \RXU &9 DQG FRYHU OHWWHU E\ HPDLO WR NIXUQHOO#LEF RUJ LQGLFDWLQJ \RXU FXUUHQW VDODU\ DQG DQ\ QRWLFH SHULRG

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TVBEurope 47

June 2015 www.tvbeurope.com

Data Centre

Source: Juniper Research

OTT TV subscriptions to reach $31.6 billion by 2019 New data from Juniper Research has shown that subscriptions from OTT TV providers such as Netflix and Amazon Prime will generate $31.6 billion by 2019, up from just under $8 billion in 2014. By Holly Ashford he new research, ‘Mobile & Online TV &

T

Video: OTT, IPTV & Connected Markets 2015-2019’, observed that OTT services

are seeing a rapid uptake by consumers who want to view content, when and where it suits them. The report argued that traditional broadcasters are facing increased competition as more services go over-the-top of pay-TV incumbents, allowing distributors such as Sling TV to provide customers with a cheaper, tailored alternative to cable TV, driving the trend for ‘cord-cutting’.

Continued growth in the established markets of Western Europe and North America, along with the emergence of key OTT players in the Far East and Asia Pacific, will bring a surge in the uptake of OTT subscriptions over the next four years. In the US, OTT is a service which has done considerably well over the past few years, with Netflix registering 37.7 million paid US subscribers. This looks set to continue, particularly with the launch of services such as HBO Go where content will be available direct from the production company, on-demand and for a fee,

Total Subscription OTT revenues 2019: $31.6 billion

rather than customers requiring a more costly cable or satellite subscription package.

Whilst key players such as Netflix and YouTube have launched 4K services, the adoption of 4K

Meanwhile, 4K TVs will continue to become more

companies such as Netflix and Hulu. This trend

affordable, accelerating hardware take-up.

has been dubbed ‘cord-cutting’ and has

Over 84 per cent of OTT subscriptions will be

become a way for consumers to save

content has been slow. Juniper is predicting

made via connected TVs by 2019. IPTV revenues

money as they assess whether they need to

this will change over the next two years. Netflix

are set to more than double between 2014 and

subscribe to hundreds of channels, especially

added its 4K offering to its highest priced

2019, rewarding network operators’ investment in

as they move to watch TV on mobile and

subscription package last year, showing belief

triple and quad-play services.

connected devices.

that consumers are willing to pay for higher

One of the biggest threats to the traditional

In an attempt to combat the growing trend

quality content, while OTT providers are gaining

TV industry, Juniper asserts, is consumers

for cord-cutting amongst consumers, numerous

recognition as being the first to supply viewers

cancelling their satellite or cable TV services

network operators have ‘bundled’ their services

with content in this new format.

in favour of cheaper deals from OTT streaming

over the past few years.

48 TVBEurope

www.tvbeurope.com June 2015

Data Centre

Will Big Data save the broadcast industry?

Dr Niko Waesche

Today’s broadcasters and content owners are offering more subscription-based and registration-based services, collecting mountains of data about their users and audiences. But most of this potential is going unused, even though it has the power to dramatically reshape the broadcast industry. In its latest paper, ‘Big Questions, Big Answers: Will harnessing smart data for audience analytics save the broadcast industry?’, GfK explores the benefits of Big Data for broadcast. Niko Waesche, global lead of the media and entertainment industry at GfK, outlines what a Big Data future looks like t a time of intense competition, Big Data

A

reality is we are not yet, and we are working hard

is increasingly being embraced as a

to change that. We are evolving and learning.

strategic and operational business tool.

The reality today is that it is no longer about

But the type of data that is being collected and

households, it’s about personalised data across

analysed is changing. In the past few years, the

individual devices.”

industry has been focused on the basics; such as subscribers, the number of pieces of content

Adding value to advertising

Getting personal with the viewer

or the number of plays. Now, the industry is

Many commercial broadcasters are using Big

The changing business model in broadcast is

moving away from asset-based data towards

Data to enhance their advertising sales, because

also impacting how Big Data is being used and

‘behavioural’ data, using real-time individual

“in developed markets, advertising is a known

with more direct communication happening

information on a much greater scale.

metric,” says Tom Weiss, CEO of Genius Digital.

between the broadcaster and the audience, Big

Viacom International Media Networks’ (VIMN)

In the UK, Channel 4 is pioneering the use of

Data is becoming business-critical.

senior vice president Philip O’Ferral says, “Six

Big Data to drive advertising revenues. Big Data-

months ago, we were doing the basics. TV

enhanced VoD ad sales currently account for

across all the Sky platforms, including online,

Sky IQ collects customer behavioural data

ratings, website numbers and top-line social

15 per cent of Channel 4’s total VoD advertising

and tracks profiles and interactions. It also

media numbers. Now we have a business

inventory, traded based on demographically

integrates this data with outside data, including publicly available statistics, demographics and

‘Big Data-enhanced VoD ad sales currently account for 15 per cent of Channel 4’s total VoD advertising inventory, traded based on demographically targeted information.

In two years, Channel 4 predicts that as much as 50 per cent of its total VoD inventory will be traded this way’

retail data and partnerships. Tony Mooney, managing director of Sky IQ, thinks that companies need the basic demographics, including household composition, affluence of the house, affordability, transactions, and interactions. “But what you really need after that is frequency and ‘recency’; or how often and how soon. Until we started doing the viewing piece, we didn’t have a

intelligence team and the guy who runs it has

targeted information. And in two years, Channel

complete picture of consumer behaviour

a PhD in maths. What we are using is a blend of

4 predicts that as much as 50 per cent of its total

and consumption, so adding that has been

raw data from the mobile web and app usage

VoD inventory will be traded this way.

extremely powerful.”

in particular, who’s watching what, for how long

Sanjeevan Bala, head of data planning and

and for what time. Then we add third-party

analytics at Channel 4, says that these changes

wide initiative in 2014, moving it beyond the

feeds to help shape what we do with it, including

have resulted in “incremental revenue of

maxdome catch-up TV business to gather

Facebook, Twitter, YouTube and some set-top

between 30 per cent to 55 per cent depending

data from all the different parts of the business

box data. But we also use traditional data like

on the ad product, compared to current VoD

in compliance with the legislation on data

panels and groups.”

prices. These new products will be more

protection. ProSiebenSat.1’s maxdome service

effective and efficient for brands and advertisers

has already seen 40 per cent growth in its

Rohana Rozhan, CEO of Astro, states, “I would

that are looking to take advantage of

customer usage since its re-launched brand

love to say we are very good with data but the

more targeting on VoD.”

and content offer in 2014.

Yet it is clear that there is still some way to go.

ProSiebenSat.1 made Big Data a company-

TVBEurope 49

June 2015 www.tvbeurope.com

Data Centre OSN, the leading pay-TV operator across the Middle East, has quadrupled its spend on research and data capture analysis in the last four years. “We spend multiple millions every year on data. The justification for increased amounts of money is to enhance the value proposition and increase the growth of our subscription base,” says CEO Dave Butorac.

For content production companies, the allure

‘All the business models around data are still in the stage of thinking about ‘our’ data rather than the ecosystem of data. In the end, the different data sources will have to come together to be truly effective’

of Big Data is about the ability to create new business models. Ernst Feiler, head of technology at UFA serial drama in Germany, says contact with the audience is really new for broadcasters,

is possible. Understanding how best to use Big

but it’s a key element to the future health of

Data is also at a fairly early stage and there are

the television production business and TV as a

still questions about who should be doing the

whole. “We have no experience with (data)

analysis and how that research is disseminated

and we have to learn. The broadcasters do deal

throughout the organisation.

with data, but only after we deliver them our production. This is not an intelligent way forward.”

But for the future of broadcast, the industry needs to think about the data ecosystem. All the business models around data are still in the

The Big Data future

stage of thinking about ‘our’ data rather than

The power of Big Data is immense and it’s clear

the ecosystem of data. In the end, the

that broadcasters and platform operators are

different data sources will have to come

only beginning to scratch the surface of what

together to be truly effective.

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50 TVBEurope

www.tvbeurope.com June 2015

Data Centre

The OTT viewer experience “Quality of experience impacts the profitability of every digital media business and every single viewer,” says new report published by Conviva n its third annual Viewer Experience Report,

I

% of views that experience buffering

Conviva suggests that as audiences swell and potential subscription revenue increases,

2012

39.3%

2013

26.9%

2014

28.8%

there are mounting challenges in building sustainable OTT services.

Consumers no longer simply expect a service to work, they demand that it provide a high-end

BUFFERING

experience. Delivering a quality experience to each and every viewer has never been more complex nor more fundamental to acquiring and

% of views impacted by low resolution

retaining an audience.

“Viewers used to be content with an OTT

2012

63%

2013

56.7%

2014

58.4%

service if the video began playing at all - this is no longer the case,” explains Hui Zhang, Conviva’s CEO. “Consumers now demand a

RESOLUTION

multi-dimensional experience that provides superior picture fidelity, zero resolution volatility, and TV-like viewing quality, and will abandon the streams that do not deliver. OTT providers need

% of views impacted by full start failure

to utilise an iterative publishing process to ensure the optimised experience consumers demand.”

The report states that video start failures have decreased by almost half to an all-time low of

START FAILURE

2.6 per cent while buffering and low resolution

2012

4%

2013

4.8%

2014

2.6%

experiences remained relatively unchanged from 2013. Worldwide picture fidelity grew 30 per cent in 2014, and the report concluded that as picture fidelity increases, so does time spent consuming content. Playback interruptions were highlighted as a point of concern, as 14 minutes of viewer

14

engagement is lost on average for each one per cent of interruptions experienced.

“In the end, it is the combination of high picture fidelity and low interruption rates tuned to the platform, device and network in use by the viewer

12 10

that determines engagement,” the report states.

Despite these issues, multiscreen viewing is at

11 MINS

8

an all-time high. While average household size has been shrinking, the number of devices in use within each household has risen, with the average

6

8 MINS

household of three people using two devices simultaneously during primetime. “TV is becoming

14 MINS

+1% INTERRUPTIONS

4

a more individual, rather than community, experience,” the report summarised. It concludes by warning that although this is an exciting prospect, it

2

3 MINS

also brings significant risk to OTT providers: as viewers compare and contrast one another’s services,

2011

2012

identify the best available, and move to whichever best meets their needs.

Engagement reduction (in minutes) with 1% increase of buffering

2013

2014