www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
March 2016
A WINDOW TO THE
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HDR
SDI
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The broadcast technology report from CES 2016
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Interview: Muriel De Lathouwer, CEO, EVS Ericsson’s acquisition strategy
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TVBEurope 3
March 2016 www.tvbeurope.com
Welcome
EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Deputy Editor: Holly Ashford hashford@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Group Managing Editor: Joanne Ruddock jruddock@nbmedia.com Contributors: Michael Burns, David Davies, George Jarrett, Adrian Pennington, Philip Stevens, Catherine Wright Sales Manager: Ben Ewles bewles@nbmedia.com +44 207 354 6000 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000 Sales Executive: Nicola Pett npett@nbmedia.com +44 207 354 6000
The winds of change It’s not just NAB that’s turning our attention to Las Vegas
I
know I say it often, but it really
new broadcast environment. A
is a privilege being a journalistic-
recent example was the Consumer
type in this industry. The pace
Electronics Show (CES), which has
of change undergone, and the
been on the radar of broadcast
likely rate of advance on the
and media companies for some
Head of Digital: Tim Frost
horizon fuels a writer’s thirst for
time, and this year saw the UHD
Human Resources and Office Manager: Lianne Davey
knowledge; and in the absence
Alliance launch its Ultra HD Premium
Head of Design, Hertford: Kelly Sambridge
of knowledge, some considered
standard. Las Vegas in January is fast
Senior Production Executive: Alistair Taylor
opinion on the road that lies ahead.
becoming the first major event of
Sales Director: Mark Rankine
In amongst the speculation
the year for broadcast technology
Managing Director: Mark Burton
and informed commentary, there lie some
and to assess the lay of the land at this year’s
US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072
fundamental truths about what is happening
show, Adrian Pennington gets to grips with all of
to this beloved marketplace of ours. Often,
the latest news and views.
Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222 Circulation Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
around the major trade shows, and that has
with the Muriel De Lathouwer, CEO of EVS,
certainly been the tradition within broadcast.
as Holly Ashford finds out about her first year at
What is now apparent is that developments
the helm, shaking up the company structure, and
directly impacting our sector are increasingly
her thoughts on the year ahead. n
the winds of change are most keenly felt
We also feature an exclusive interview
James McKeown
emanating from non-broadcast events, which
Editor-in-Chief
tells us plenty about the composition of the TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002
SECTION EDITORS
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03 TVBE Mar 16 Welcome_final.indd 1
Philip Stevens Production editor
Michael Burns Post production editor
George Jarrett Business editor
David Davies Audio editor
17/02/2016 17:13
19/02/2016 10:35
4 TVBEurope
www.tvbeurope.com March 2016
In this issue
8
Opinion
12
Production
Bloomberg Television hauled 12 tons of equipment up a Swiss mountain for the meeting of the World Economic Forum. Philip Stevens looks into the project
The Perennial Millenials: LEK Consulting’s first life-stage analysis of millennials highlights a threat to traditional TV companies
Interview
26
Muriel De Lathouwer spoke to Holly Ashford about her role as CEO at EVS, shaking up the management structure and her outlook for 2016
04 TVBE MAR 16 Contents_final.indd 1
28
TVBEverywhere The Consumer Electronics Show returned to Las Vegas in January. Adrian Pennington reports on the technology, the trends and the future of TV
34 Business
Ericsson’s Thorsten Sauer shares details of the company’s latest acquisition, FYI Television
40 Feature
Industry authorities from Ericsson, V-Nova, and Omnitek offer their views on the UHD ecosystem, with a focus on compression and test and measurement
19/02/2016 10:40
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6 TVBEurope
www.tvbeurope.com March 2016
Opinion and Analysis
Where do we really stand with
virtualised playout?
BroadStream Solutions’ VP of Technology and Business Development, Peter Wharton, is convinced that virtualised playout will bring significant advantages to the business of TV network distribution, both technically and economically
O
ur current distribution systems are still primarily via satellite; and right now when we hear about playout
from the cloud, for the vast majority of cases, broadcasters and playout solutions providers aren’t really talking about true playout from the cloud, but simply moving some non-real-time operations into the cloud.
Uncertainty is fuelling virtualisation As a long-serving officer and current secretary/ treasurer for SMPTE, I have it on good authority that broadcasters no longer want to be in the infrastructure building business. Broadcasters want a software-based, processagnostic platform that can be readily adapted to whatever signals and formats that need to go out to their viewers. They want to leave infrastructure to the Amazons and Microsofts of the world in order to focus purely on content
uncertainty amongst broadcasters as there
Over coax or fibre? Or over IP uncompressed
creation and curation, and who can blame
is today: will I need to migrate to UHDTV/4K?
using 2022-6, Aspen, or TR-03? Or compressed
them considering the overwhelming sense of
Will satellite and cable distributors carry the
over IP using Tico, LVCC, etc? Will new
uncertainty that the industry is currently facing.
UHD version of my signal? How should I build a
transmission platforms force me to redesign
In fact, there has never been so much
UHDTV/4K facility? Using SDI as quad-3G or 12G?
my playout system? US broadcasters are also
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TVBEurope 7
March 2016 www.tvbeurope.com
Opinion and Analysis having to consider the impact of the spectrum
together with multiple 10G dedicated private
it wouldn’t see much in the way of CPU
auction and whether it means their station will be
fibre connections so that the entire corporate
savings if virtualised. Virtualisation, as it stands
consolidated, become a hub, or indeed whether
enterprise could share the same storage
today, only makes sense for pop-up channels
they will stay in business at all. It’s this uncertainty
architecture. But, the automation, cache and
and disaster recovery. Occasional use playout
that is fuelling virtualisation.
playout still occurs in the same building it did
applications, such as temporary election
30 years ago.
channels or sports event channels will be the first
The cloud isn’t quite ready for real-time playout Being fully virtualised sounds wonderful and many claims have been made from playout solutions providers that they can already move playout to the cloud. In reality, almost every
adopters of true cloud playout, and through their experience and maturation, they will pave the
’There has never been so much uncertainty amongst broadcasters as there is today’
way for future primetime, live channels to play completely from the cloud.
A gradual shift to virtualisation
‘cloud playout’ system we’ve seen to date puts
Playout solution specialists today are working on
only the non-real-time components in the cloud
developing the same resiliency and redundancy
and still uses a player at the edge with SDI inputs
for cloud-based playout as the industry has
to take in and switch the live feed; they still
Typically, only the non-real-time components
always demanded from its broadcast cores:
utilise a media cache for content pushed from
of a playout system are being ‘virtualised’ at
just as broadcast equipment manufacturers
the cloud and they rely on a GPU engine for
present: media management, storage, archiving,
adapted telecommunications networks and
graphics insertion and SDI outputs.
traffic, scheduling, and logging. All of these are
satellites for broadcasting 60 years ago.
Recently, a major US network and its playout
prime candidates for virtualisation because they
For the time being, moving full-time
solutions provider claimed they had moved their
are ‘bursty’, itinerant operations; actions that
playout to the cloud is a bridge too far
network’s playout operations to the cloud, when
use a lot of CPU cycles for a brief period of time
for most broadcasters. But, it won’t be
all they really did was move the main content
and then go dormant until needed again. The
long before full playout from the cloud
stores a few states away and tie the facilities
playout engine works non-stop 24/7/365, so
becomes commonplace. n
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06 07 TVBE Mar16 Opinion_FINAL2.indd 11
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8 TVBEurope
www.tvbeurope.com March 2016
Opinion and Analysis
The Perennial Millennials L.E.K. Consulting’s first life-stage analysis of millennials highlights a threat to traditional TV companies, writes Martin Pilkington, head of L.E.K.’s European media, entertainment and technology practice
D
ebate is rife in the broadcast industry
preference for watching drama at the time they
about the media habits of millennials,
choose rather than at the time of broadcast
people aged 17 to 35 today, but until our
and close to 50 per cent preferring to watch
work, The Perennial Millennials, was published in January this year, there had been no analysis in
more than one episode at a time. The devices millennials use for watching is also
the UK of the generation’s media consumption
different from non-millennials. Less than half of
by life stages. Our research reviewed the
millennial video viewing is on the TV, as laptops,
media choices and preferences of six sub-groups
PCs, tablets and smartphones are being used
of millennials, from people living at home
instead. In contrast, three quarters of non-
with their parents, through to those having
millennial viewing is via the television.
children themselves, against the media habits of older non-millennials. Our findings will be a wake-up call to many in
The second standout finding of our work is the impact of OTT subscriptions on traditional TV use. Whereas OTT is largely complementary with
the industry as they show that millennial habits
pay-TV (and Freeview) for non-millennials, it is not
remain very different to non-millennials across
for millennials, and this is the case across all life
the six life stages of the generation, that their
stages of the generation. Of the non-millennials,
generation pre-family and 42 per cent of those
take-up of over the top (OTT) services like
about three quarters of people with an OTT
with children use YouTube every day, versus just
Amazon Prime and Netflix is already high and
service say that the amount of time they spend
12 per cent of non-millennials.
likely to be a substitute, not a complement
viewing traditional TV hasn’t been affected
to traditional pay and free TV, and that the
significantly as a result of their OTT subscription.
millennials’ future use of pay-TV, whilst Netflix
generation’s media decisions and preferences
OTT has had a very different effect on millennials,
and Amazon Prime might not be substitutional
are spreading virally to older groups.
for nearly 60 per cent of people across the
for non-millennial generations right now, our
generation with an OTT service say that their
research indicates that millennials’ preferences
about the same amount of time consuming
consumption of traditional TV has declined
are spreading virally to older groups of people,
media, millennials are online for a far greater
significantly as a result. The impact on the future
through networks of family and friends. This would
proportion of their time. OTT viewing is
of pay-TV is yet to be seen but the research
suggest that a reduction in spend on pay-TV by
widespread across all life stages of the millennial
shows that 45 per cent of millennials with pay-TV
these older generations could become a reality
generation, including the older groups; 38 per
now also have or plan to have a subscription
in the not too distant future. An early indicator
cent of millennials without kids and 32 per cent
based OTT service in the next year. Critically, two
is that OTT uptake is significantly higher for non-
who are parents have an OTT subscription,
thirds of this cohort of millennials say they expect
millennials with children at home compared to
versus just 15 per cent of non-millennials. Sixteen
to cancel or cut back their spend on pay-TV
other non-millennials; secondly, of those non-
per cent of millennials also reported that they
after subscribing to OTT.
millennials that already have or plan to subscribe
Whilst millennials and non-millennials spend
expect to spend more on subscription OTT
Millennials’ preference for internet-based
Martin Pilkington
Looking to the impact of OTT on non-
to an OTT service in the next year, like the
services in the next year (compared with only
media is further evidenced by their view of
millennials, about two thirds expect to reduce
six per cent of non-millennials).
traditional versus new media brands. When
or cancel their pay-TV as a result.
What’s driving the mass migration of the
asked to score companies on a scale of one to
Our research may outline a bleak scenario
millennial generation to OTT is access to content
ten, where ten is love and one is hate, YouTube
for traditional broadcasters but it is too early to
not available on traditional TV channels, either
and Amazon are rated nine or ten by nearly 40
say just how big the impact will be. Subscription
pay-TV or Freeview, and the convenience of
per cent of millennials and Netflix by 30 per cent.
levels to OTT may be rising steadily, month by
being able to view this content on demand.
The big traditional brands all came in at less than
month, but the trends identified by our survey
On-demand is particularly important for drama
20 per cent. YouTube is especially important for
have yet to feed through to the traditional pay-
with around 75 per cent of millennials stating a
millennials of all life stages; 47 per cent of the
TV customer numbers: in the last quarter of 2015,
8 9 TVBE Mar16 LEK Opinion_final.indd 10
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TVBEurope 9
March 2016 www.tvbeurope.com
Opinion and Analysis Effect of subscription OTT on traditional TV viewing (pay-TV and Freeview) in last 12 months: Percentage of respondents with subscription OTT
BT added nearly 100,000 new TV customers, and Sky acquired 146,000 new television subscribers in the UK and Ireland. The TV industry has always monitored
100
Impact on viewing of similar content via traditional TV services (Pay or freeview)
consumer patterns very closely, created attractive and highly competitive products
No effect
80
Some decrease
and excelled at selling them. The pay-TV
Significant decrease
companies have developed slim bundles and
Completely replaced
60
low cost OTT to take on the likes of Amazon Prime and Netflix. They are also seeking to leverage triple and quad play convergence to offer highly competitive packages to lock-in and generate more income from existing customers,
40
20
as well as acquire new ones. Our research identified several new products
0
that captured millennials’ interest, incorporating
Non Millenials
Source:
features and content to match the generation
All Millenials
Millenials, no kids Millenials, with kids
L.E.K. Perennnial Millennial Survey
preferences and behaviours. These include a combination of a small number of selective pay
will cancel their existing pay-TV bundles.
bundles, and the new pure play OTT brands;
channels with a large catalogue of on-demand
Undoubtedly, the next few years will be
and how soon afterwards older generations
box-sets and movies, integration of online and
increasingly competitive and challenging ones
will follow in their wake. The key takeaway is
TV content, a single searchable interface,
for traditional broadcasters. Our work highlights
that the traditional media companies will need
access across all devices, and the ability to clip
the two big questions of just how quickly
to innovate far further and faster to create
and share content. The flip-side of such products
millennials will continue to move away from
propositions that capture the interest and wallet
201602_200X135.pdf 1 millennials 2016-01-14 is the increased likelihood that
오후 2:45:41 traditional
pay-TV packages to cheaper, slimmer
of the millennial generation. n
C
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Y
CM
MY
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CMY
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8 9 TVBE Mar16 LEK Opinion_final.indd 11
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10 TVBEurope
www.tvbeurope.com March 2016
Opinion and Analysis
HDR’s time has come Sony wants you to learn about HDR, writes Neal Romanek
T
wo years ago, Sony decided to lease a space at Pinewood Studios, turning it into the Sony Digital Motion Picture Centre
(DMPC). The Centre is now home to continuous workshops and tutorials on Sony systems and the theory and skills needed to use them. In January, the Sony DMPC was host to the UK leg of Sony Technology Days, which featured a half day of general training covering three sessions, ‘4K and HDR production’, ‘New live infrastructure over IP’, and ‘Workflow production from capture to archive’. Sony Technology
standard 4K monitor is a potential issue, and the
the Hybrid standard will be recommended by
Days is part of a European roadshow which has
uncertainties around standards have slowed
the ITU. Sony also has its own SLog3 system, which
travelled from Turkey to Poland over the past few
things down as well. But HDR TV’s are becoming
it intends to hold onto until an industry standard is
months, showing off kit and know-how.
more available for those who want them.
universally accepted.
BVM-X300 Trimaster EL OLED critical reference
HDR workflows are here (pretty much)
HDR live broadcasting is a reality (in theory)
monitor, showing 4K HDR about as well as you’re
The HDR post production workflow is also
The first live HDR broadcast trials have been
likely to see it on a grading monitor. Whenever
becoming more robust and simplified. Cinema
done too. Last year Sky Deutschland held a trial
you show quality 4K high dynamic range images,
cameras have been able to capture the image
broadcast of live UHD in High Dynamic Range
you inevitably attract a crowd.
information needed for High Dynamic Range
of the German Supercup Final from Wolfsburg
images for some time, but affordable HDR
Stadium with a fibre link to Munich. Sony
HDR’s time has come (hasn’t it?)
grading monitors have only appeared recently.
participated, supplying their HDC-4300 cameras
Peter Sykes, Sony Europe strategic technology
There’s the Sony BVM-X300, of course. Also
and the BVM-X300 monitor.
development manager, delivered Sony’s HDR
Canon’s 24-inch DPV2410 and 30-inch DP-V3010,
primer to the attendees and explained why
Dolby’s Dolby Vision 32-inch monitor and Vizio’s
HDR characteristics worked in a live chain to
HDR’s time has come.
65-inch and 120-inch monitors, which run on the
an HDR screen, and also, just as importantly, to
Dolby Vision system.
an SD screen. There was a single camera feed,
Of all the equipment on display, the one that garnered the most attention was the Sony
First of all, HDR movies and TV content are shipping. Last year Amazon became the first
A reference monitor doesn’t need to be
The aim of the trial was to evaluate how 4K
and different configurations were compared
VoD provider to distribute HDR content. Netflix
gigantic to be effective for HDR grading. A 30-
by switching between them (manually), every
followed with Marco Polo available in HDR. And
inch 4K monitor viewed at arm’s length provides
fifteen minutes.
Disney released Tomorrowland in an HDR version
as much or more picture detail as a dubbing
The test compared the SMPTE ST 2084 and
showing in a few select Dolby Vision cinemas.
theatre projector, a fact confirmed by Pablo
the Hybrid Log-Gamma standard,. The latter
Garcia Soriano, the Sony Digital Motion Picture
performed particularly well in outputting back
Centre “colourist in residence”.
to a Standard Dynamic Range, suggesting
Once the distribution workflow gets up to speed, there will be plenty of market incentive to regrade new HDR versions of any number
There is no monitor available that can
that Hybrid could be the best option for HDR
of feature films, high-end TV productions,
reproduce the entire BT.2020 colour space,
music videos, even ads. But delivering in HDR
the colour gamut standard for UHD TV’s. The
is pointless unless you have displays that can
Sony BVM-X300 monitor gets about 80 to 85 per
HDR has elbowed its way past 4K (and 8K and
reproduce HDR. This is where the development
cent of the way there. And HDR standards for
stereoscopic) as an eye-grabbing, audience
has slowed to the pace of the consumer’s
mastering and delivery are finally here. SMPTE
and artist-pleasing advancement. It’s not just a
willingness to upgrade. Will people switch to HDR
developed its ST 2084 HDR standard and there’s
leap forward in quantity (of pixels or inches), but
TVs? Probably. The fact that a 4K HDR display
the Hybrid Log-Gamma standard too, jointly
a leap forward in quality, transforming video to a
consumes notably more power than even a
developed by the BBC and NHK. It’s hoped that
literally brighter and more vibrant medium. n
10 TVBE Mar16 Opinion_final.indd 10
in live broadcast. It would appear all the pieces are in place.
19/02/2016 11:48
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2015-11-17 08:16:50 18/02/2016 17:36
12 TVBEurope
www.tvbeurope.com March 2016
Production
Peak finance Philip Stevens finds out how coverage of a mountain-top world summit is handled by one broadcaster
F
or several days each January, the great and the good from the world of politics, finance and entertainment appear at the Swiss ski
resort of Davos for the annual meeting of the World Economic Forum. In fact, the highest town in the world plays host to many who are the highest in their profession. And with the eyes of much of the world on this resort, it is obvious that the media interest is intense. This year was no exception, especially as the Forum took place at a time when the financial markets are somewhat in turmoil. One of the key players in that media coverage was Bloomberg Television. “We’ve been covering the World Economic Forum in Davos for more than ten years,” reveals Anastasia Ellis, managing editor, Bloomberg Television, EMEA. The annual meeting not only attracts leading politicians, business leaders, academics and not-for-profit ambassadors to discuss the state of the global economy, but also plays host to the international media scrum, eager
advance, when production and technical staff
screens, 50 PCs and four server racks. All packed
to gauge reaction to the topics discussed and key
look at designing and sourcing all the equipment
up in more than 50 flight cases, shipped from our
policy announcements.”
needed for the trip to Davos. “We pre-build the
warehouses. This makes it Bloomberg’s largest
set and wire it all up in the UK first and transport it
annual shipping exercise.”
Widespread coverage
two to three weeks before it all kicks off. A team of
Through Bloomberg’s Content Service, the
Bloomberg’s team on the ground publishes
eight Bloomberg and five Global Link technicians
company licences its premium audio and video
stories across the web, connected and mobile
then descends on the Congress Centre to pull
content, photos and data to broadcasters and
devices, television, radio and print magazines.
it all together and test equipment to ensure the
content providers globally. “This enables us to bring
It specifically produces 11 hours of live television
potential for glitches is minimised.“
our award-winning financial, business, political and
coverage each day, while radio is on air for five
The broadcaster has more than 30 editorial staff
technology reporting to a broader international
hours. Bloomberg’s suite of mobile products has
on the ground at Davos for Bloomberg Television
more than 33 million downloads and over 13
and Radio, which includes the on-air talent from
million unique monthly users, and includes the
London and New York. In addition, there are
content is in English, the company has several
Bloomberg TV+ and Bloomberg Radio+ apps.
production staff and engineers to ensure the more
content localisation agreements with broadcasters
Bloomberg TV and Radio also streams free on
than 25 interviews and panels each day are aired
globally. Attending Davos alongside Bloomberg
Bloomberg.com Fronting the TV coverage were
as quickly as possible. Alongside Bloomberg’s
this year are Bloomberg HT from Turkey, Mexico,
some of Bloomberg’s veteran broadcast faces
Television and Radio personalities are around
Mongolia, Canada and Bloomberg TV Bulgaria
including Tom Keene, Francine Lacqua, Erik
ten print reporters and editors who are writing
who broadcast in their local languages.
Schatzker and Stephanie Ruhle.
original content for the Bloomberg Terminal and Bloomberg.com
Pre-planning
“We haul more than 12 tons of IT and broadcast
audience,” says Ellis. Although Bloomberg Television and Radio
Cold comfort “Our chief challenge is producing world-class
Ellis says that planning for such a huge logistical
equipment up the mountain,” declares Ellis. “That
output in minus 13 degree conditions. One of
challenge begins more than six months in
includes several kilometres of cable, over 100
the biggest tests is lighting.
12 13 TVBE Production Bloomberg_v3 FINAL3.indd 54
22/02/2016 10:29
TVBEurope 13
March 2016 www.tvbeurope.com
Production Our rooftop studios face south in order to
Editing is carried out using Adobe Premiere CC,
take in the view of the Davos valley, which
Avid After Effects and Avid Media Composer.”
also means we’re shooting directly into the sun. In order to combat this we need to
Making use of IP
light the studios with giant HMI lights. This
She continues, “The most innovative and unique
requires endurance from our anchors
technical aspect of our set-up is the way we
having to look into glaring lights all day.”
integrate the Davos newsroom with our corporate and broadcast IT network. Usually a field operation
The team
means satellite uplinks and internet connections
For its multi-camera programmes, Bloomberg
for video transport and communication. Instead
Television works with its Swiss television
of that arrangement, we connect our pop-up
production partner, Global Link. Three camera
newsroom to Bloomberg’s corporate IP network.
operators work across the two studios, while
“All video transport and IFB/ talkback
four production staff man the control room. In
communication globally is done via IP over this
addition, Bloomberg uses an original digital
highly capable infrastructure. This allows journalists
video team of two. “Our studios pack a total of five Panasonic P2 AJ-PX800 and our digital video team uses C100 Mark 2 cameras. Content is stored, managed and published across all media platforms using MRC, Bloomberg’s own MAM platform. A team of global editors based in Davos, London and New
”We pre-build the set and wire it all up in the UK first and transport it two to three weeks before it all kicks off” Anastasia Ellis, Bloomberg Television EMEA
to browse our central video servers, work with minimal delays in live transmissions to New York, and even use the same IP telephones that they are used to from their home bureaux.” Ellis concludes, “The eyes of the world are on Davos, and we take great responsibility in providing reliable information and insight
York work across the day to ensure a seamless
for those who can’t be in Switzerland for
operation throughout the conference.
these few days.” n
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12 13 TVBE Production Bloomberg_v3 FINAL3.indd 55
22/02/2016 10:29
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16 TVBEurope
www.tvbeurope.com March 2016
Production The TV2 Fyn newsroom
The automated newsroom Producing news programmes is expensive, and this genre, like all others, is looking to save money while still being creative. One solution is automating newsroom systems. TVBEurope asked several suppliers to offer their perspectives based on their systems
Going all-IT for speed and efficiency By Sören Kjellin, chief technology officer, ChyronHego; Reinout Lempers, commercial director, VidiGo
W
ith automation in the radio industry
Acquisition
as the trailblazing example, TV
At ChyronHego, we had these attributes in
broadcasters everywhere are
mind when we acquired VidiGo earlier this
migrating away from proprietary, hardware-
year. VidiGo Live, is a multi-camera production
based workflows and towards all-IT, software-
environment that provides camera SDI inputs/
based production environments. Since these
outputs, video playback, graphics, audio, and
solutions run on commodity hardware, they
automation capabilities. The technology extends
open the door to new workflow efficiencies,
the BlueNet graphics creation and playout
reduced OPEX and CAPEX, less dependence on
workflow system and provides our joint customers
specialised technical staff, and the flexibility to
with an IT-based production solution. Euro Media
deliver more powerful and scalable production
Sören Kjellin
environments. These benefits are especially
Group (EMG) deployed VidiGo Live software in four live multi-camera production galleries, and
compelling in a TV newsroom, where every
any location and any time using a web browser.
saw it as a way to reinvent live broadcasting
second counts in the drive to deliver breaking
The software enables a repeatable, reliable
by separating equipment from the physical
news to viewers before the competition.
environment for packaging and presenting
location of the production. In this configuration,
the content with fewer touch points. And by
cameras and a production server are the only
workflow, broadcasters can build a ‘virtual
automating all essential production functions,
equipment required at the remote galleries, with
control room’ for managing switchers,
the newsroom is able to deliver the news to air
production controlled over an IP network from
automation, graphics, and video playout from
quicker and with greater accuracy.
a centralised studio. n
With a software-based live production
16 17 18 TVBE Mar16 Automated NRoom_FINAL.indd 54
19/02/2016 12:40
TVBEurope 17
March 2016 www.tvbeurope.com
Production Improving productivity and channel output through control room automation By Knut Alfred Andersen, EVP automation worldwide sales, Vizrt
F
or many years, large broadcasters and content distributors have used automation as a way to reduce operational costs and
Knut Alfred Andersen
launch new channels with minimal investment.
repurposed content and unique production values, and to present viewers with more content, both on linear television and online. Vizrt installed a Viz Mosart studio control
For smaller stations, the cost and workflow
system to operate within TV 2 Fyn’s two studios.
efficiencies can be just as significant as they
The system controls two robotically driven HD
battle for viewers against the bigger players. This
cameras in one studio, and six in the other.
includes controlling robotic cameras, and using a
There’s also a Studer stereo mixing console to
large number of graphics and live sources.
handle audio feeds, and a broadcast graphics
Vizrt was recently approached by Danish TV
system that will soon be replaced with a Vizrt
station TV 2 Fyn, which was looking to upgrade
template-based production solution.
its facilities. The station mainly broadcasts news
Prior to the automation of the control room
and talk shows in SD, as well as syndicated
and two studios, TV 2 Fyn was producing four or
programming from its Odense HQ. It was,
More than financial
five news shows every day. Now the team is able
however, keen to become more competitive by
The move wasn’t about saving money; rather,
to create the same number of shows, plus a news
delivering more content, of a higher quality.
TV2 Fyn wanted to improve the on-air look
channel that’s live for six hours a day.
To achieve this, its production team, headed
and free production staff from repetitive tasks
up by Michael Jensen, decided to fully automate
so they could be more creative. The channel
graphics, and build an entire broadcast all from
TV 2 Fyn’s control room and two studios.
also wanted to produce programmes with
within their (NRCS) or rundown creation tool. n
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16 17 18 TVBE Mar16 Automated NRoom_FINAL.indd 55
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19/02/2016 12:40
18 TVBEurope
www.tvbeurope.com March 2016
Production Change can be positive By Ben Davenport, director of marketing, Dalet
W
hen considering automation in news workflows and production, it’s easy
Ben Davenport
9pm bulletins on the premier television channels or the hourly ‘updates’ on radio. Workflow automation has massively reduced the time-to-
to focus on the resource ‘saving’,
with robotic cameras, automatically populated
air for breaking news, meaning that developing
rundowns and metadata-driven dynamic
stories can be delivered in a progressive and
graphics generation. Indeed, if they’re willing
continuous manner that is captivating for
to multi-task, it is almost possible to create a
readers, listeners and viewers. But perhaps most importantly, moving from a
production with only the on-screen talent. However, like so many other areas of the
process-driven to a story-centric methodology
media industry, these developments can
in the production with back office and ‘heavy
fundamentally change the process of creating
lifting’ functions that are highly automated, has
news in an immensely positive way.
levelled the technological playing field and shifted the emphasis to creativity and talent
Diversity, speciality and creativity Automated aggregation of sources and simplified representation of feeds to journalists and producers enable a far greater diversity of information into the newsroom environment. In turn, this enables news outlets to cover not only the big stories, but also the specialist and niche topics or to explore different angles. This enables producers to differentiate themselves and their product from other outlets and productions. For many of us, it will not seem long ago when there was little difference between the 6pm and
‘Workflow automation has massively reduced the time-to-air for breaking news, meaning that developing stories can be delivered in a progressive and continuous manner’ Ben Davenport, Dalet
where outlets try to differentiate themselves. In news more than any other discipline in the media and entertainment industry, technology has been adopted in a way that massively increases the reach of news content and news production. Automation means that the same content used and produced in the studio is simultaneously re-versioned and re-purposed efficiently, responding to the requirements of multi-platform publishing, eliminating task repetition, reducing organisational silos and increasing consumer reach and engagement. n
The TV2 Fyn director is able to control the complete programme from a single position
16 17 18 TVBE Mar16 Automated NRoom_FINAL.indd 56
19/02/2016 12:40
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20 TVBEurope
www.tvbeurope.com March 2016
Production Blackmagic Design cameras are used throughout the Be Curious sets
Lofty ideals Philip Stevens looks into the production workflow of an unusual Swiss channel
presenters, guests and audiences to immediately
closed world in order to create a universe apart
feel at home in their surroundings, to fit with our
and a totally different decor from all the other
inclusive and relaxed style of presenting. Also,
stage set designs.”
it gives us the ability to segment the content
Within the unique studio space, each element
into the most relevant part of the loft. For
of the channel’s bespoke Blackmagic Design
wiss television channel, Be Curious TV,
example, we have cookery programmes in the
production workflow, built by systems integrator
broadcasts a huge range of lifestyle
kitchen and debates in the living areas.”
PAD, has been designed with this informal
S
programming, all of which is united by
a single theme; curiosity. Launched in March 2015 by entrepreneur and former lawyer, Leila Delarive, the channel produces more than 80 per cent of its own content, with magazine style programming covering culture, entertainment, discovery and cooking, as well as debate and society matters. Distribution of the programmes is via cable and the internet.
concept in mind.
“We wanted our presenters, guests and audiences to immediately feel at home in their surroundings, to fit with our inclusive and relaxed style of presenting” Elie Wenger, Be Curious
“Our studio is equipped with five Blackmagic Studio Cameras HD, which are used across all six different set-ups in the loft, and all of which can be controlled by camera operators on the studio floor, as well as by the production team via ATEM Control Software,” states Wenger. “All cameras are manned, with one mounted on a slider, but which can also be used with a crane.”
“Our content is accessible for everyone,”
He says there were both aesthetic and
explains Delarive. “However, there is a distinct
technical advantages for the team that the
look, feel and attitude that runs through all of
Blackmagic Design solution brought to the
our programming. As the channel name
The 270sqm studio facility is located in
channel’s production design. “As we are not
suggests, the programmes have been
Préverenges, a suburb of the city of Lausanne.
a news channel, we wanted to create a look
developed to inspire curiosity as well as show
The design plan for the studio sets and
and feel for our programming that is distinctive;
and talk about what other media channels do
subsequent construction was completed in
something that had welcoming, warm tones
not. Through this approach we hope to express a
just 75 days by local interior architecture
to it. And that is exactly what the cameras allow
different point of view.”
partnership, Adeli. “Be Curious is the first
us to do, thanks to the access to colour
architectural experience for Adeli studios in the
correction that the control software gives us.
the Be Curious studios have been designed
world of TV,” explains founder, Siavosh Adeli. “Our
We did consider other options, but felt this
to feel like a loft apartment. “We wanted our
client was especially interested in our vision of this
was the right one for our particular feel.”
Head of production Elie Wenger explains that
20 22 TVBE Mar16 Production Be curious_FINAL.indd 20
19/02/2016 12:43
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22 TVBEurope
www.tvbeurope.com March 2016
Production Efficient workflow While the camera operators take responsibility for framing and focus, the iris control and primary colour correction are carried out by the team in the master control room through an ATEM 2 M/E Production Studio 4K. “Our directors carry out their own vision mixing. As well as the high quality broadcast mixing effects that the ATEM delivers, its colour correction tools in the software are so powerful, that this provides us with our final grade, and there is often no need for further post production,” continues Wenger. “This means our production workflow from acquisition to deliver is
“As the channel name suggests, the programmes have been developed to inspire curiosity as well as show and talk about what other media channels do not” Leila Delarive, Be Curious
Cookery programmes are just one feature of the Be Curious schedule MCR or out on the studio floor, depending on
Lighting for the studio is handled by Run The
what’s appropriate for a particular programme,
Show DMX. This system is a DMX box controlled
and whereabouts in the studio we are shooting.
by an iPad with a professional light application
It gives us ultimate flexibility.”
specially designed to be really easy to use.
On the audio side, Be Curious has opted for a
The box has its own WiFi router so the iPad can
Roland M200i. This is a 32-channel digital mixer
broadcast DMX information in a safe and
extremely efficient; perfect for the
that can be controlled with or without iPad. It
private mode, while the dedicated network
huge amount of content we are producing in
incorporates 17 motorised faders, dedicated
is protected by WEP key.
house on a daily basis, and at the same time still
buttons and knobs for key functions, 24 onboard
keeps the ‘Be Curious’ look running through all
inputs and 14 outputs with the capacity to be
Unique user
of our programmes.”
expanded up to 64x54 and the ability for multi-
“Be Curious has a very distinct identity as a
channel recording up to 40 channels.
broadcaster, and this was clearly outlined from
While all camera signals are routed over optical fibre into the ATEM 2 M/E switcher, the
All of Be Curious’ shows are recorded on to
the start of the technical planning,” explains
actual programme mixing is executed with
three HyperDeck Studio Pro broadcast decks,
Philippe Baudet, a director of Systems Integrator,
an ATEM 1 M/E Broadcast Panel, and camera
ready for later transmission, however the
PAD. “The Blackmagic Studio Cameras were
control through a touchscreen tablet.
channel already has plans to incorporate live
the perfect choice for the studio’s fresh,
programming into its schedule.
modern take on lifestyle, and their seamless
“This flexibility is perfect for us, as we can segregate the controls easily, whilst the ATEM
“We are completely tapeless,” says Wenger.
integration with the ATEM production workflow
switcher acts as the linchpin to our entire
“Editing is carried out on Adobe Premier Pro,
means that the team has much more time to
production hub,” explains Wenger. “The CCU
with the live graphics coming from Adobe
concentrate on producing high quality content,
camera control can either be situated in the
After Effect and Illustrator.”
wherever they are filming.” n
Local architecture partnership, Adeli designed its first TV sets for Be Curious
20 22 TVBE Mar16 Production Be curious_FINAL.indd 22
The set design allows for musical items to be included in programmes
19/02/2016 12:43
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www.tvbeurope.com March 2016
Post Production
Fixing it for post Early and continuous dialogue with facilities, whether they deal in picture post, VFX or audio, can prove invaluable, writes Michael Burns
comments we’ve been hearing that post production practitioners would really rather they were less of an eleventh-hour appointment. They are also increasingly being called upon to be resource managers as well as providers of
S
ome production companies, it seems, are
But the demands that the industry has for quality
creative services. Indeed, with the rise in demand
still not learning the cardinal rule of post
post production work have not diminished. In
for UHD and HDR, and even VR/AR in some cases,
production: don’t leave it till the last minute.
fact, demand has increased while timeframes
the complexity and scale of the workflow and
have remained static or worse still, shrunk.
the systems required has exploded.
The pace of workflow in many industries today seems to be increasing faster than seems possible
While this means that there is plenty of
Storage needs are expanding for the much
and we’re constantly hearing that familiar refrain
work around, we’re still hearing some facilities
bigger files required for this type of output; if you
‘we want it now’. This is particularly true of a
complain that producers are confirming bookings
combine this with a series of anything from six to
broadcast industry that is in the throes
with sometimes just a week’s notice, or even later.
thirteen episodes sitting on a server, a massive
of one of its perennial changes.
Clients rocking up to the facility at literally the
resource problem soon becomes obvious.
Commissioning deadlines are being truncated, schedules and viewing habits shift and change.
last minute are not unheard of. Facilities are, by their very definition and
Again, facilities are planning for this and invest in new hardware and services to cope, but
With whole series appearing at once on the likes
business model, there to facilitate, so they aim
such flexibility costs. Clients don’t always realise
of Netflix and Amazon Video, and with other
to be flexible and accommodate such requests
just how much; the relative ease of transferring
channels likely to follow suit, producers can be
as much as possible, within the time and budget
large files and the wide availability of cloud
working on multiple projects at one time. Last
constraints that production managers may have.
services, cheap hard disks and fast commercial
minute revisions are very common.
However, it’s clear from conversations and
broadband today can fool the unwary into
when audio matters natural sound – in the home
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24 25 TVBE Mar16 Burns Post Production_FINAL.indd 54
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19/02/2016 15:38
TVBEurope 25
March 2016 www.tvbeurope.com
Post Production thinking programme data transfer and storage
Under discussion were proven methods from
So producers should try, if at all possible, to get
is a cheap and instant process. There’s also
post houses on how to ensure a more cost-time
in touch with the facility first, and keep talking
media asset management, use of dedicated
effective workflow, and how documenting
to them. There should be no need to have a
private IP networks, and various levels of storage
workflows and consulting regularly can
panicked post production, even with today’s
infrastructure to consider, as well as media
ensure successful delivery.
pressure-driven schedules. n
compliance and delivery to broadcasters, all of which can cause an unprepared hike in costs for a production when they require dramatic changes or an increase in capacity at the last minute.
See us at NAB N4219
It doesn’t have to be this way. Over years of interviews and conversations with facility managers and post professionals, I’ve heard the same advice offered for producers and line managers; get in touch with the post house during your pre-production stage. Just as there are a number of footage acquisition workflows, there are many ways of handling, editing and finishing footage and
Qx UHDTV
programme material. The two are often linked and a facility will be able to advise and plan for the best and most economic workflow in advance and prepare for any unexpected changes later on. Every facility I’ve ever spoken to seemed happy to assist with any queries producers have about workflows or best practice, as they will often be able to provide a better and more creative service as a result. That same suggestion has been echoed from
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to this I have found we can eliminate most problems that crop up well before the producer gets to the dub stage: in turn, this means your dub can be fully focused on creative issues.” And it should be an ongoing conversation. A
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comment I’ve heard many times now is that the
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concept through to execution and delivery. So it’s a bit mystifying to find that some productions are still to this day only thinking of post as they’re approaching deadline. If they need more proof of the benefits, BVE in London last month hosted a panel session
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24 25 TVBE Mar16 Burns Post Production_FINAL.indd 55
Made in the UK
19/02/2016 15:38
26 TVBEurope
www.tvbeurope.com March 2016
Feature
Inside the chief executive’s office It has been over a year since Muriel De Lathouwer was officially appointed CEO of live broadcast specialist EVS. She spoke to Holly Ashford about her time at the company, shaking up the management structure, and her outlook for 2016
M
angles” she explains, “it’s really helpful, because I understand the R&D, which is 50 per cent of our FTE; I understand the marketing strategy and business aspect; and I already have the operational experience.”
uriel De Lathouwer has spent almost
to this reorganisation we have already seen the
20 years in the telecoms, IT, high tech
results.” Internal efficiencies mean that “it is much
work experience parts. De Lathouwer clearly
Yet, a good CEO is never merely a sum of its
and media industries, with senior roles
easier to reallocate the resources to get internal
has a strong vision for the brand and company,
at Accenture and McKinsey, and IT telecoms
mobility and to better manage resources”. The
which has retained its dominant position in the
operator BASE. Her strong work history is coupled
smaller team also allows for more effective
market for some years. “To first maintain this
with sound knowledge and understanding of
and comprehensive communication because
position and deserve this position all the time”
these fields; she holds an engineering degree
“decisions are taken with different stakeholders
she says, it is imperative to keep on innovating,
in nuclear physics from Université libre de
around the table with the different axis or
“making sure we can always really understand
Bruxelles, and an MBA from renowned business
dimensions of the company” and “it allows you
the needs of our customer and make sure that
school Insead, near Paris.
to cover 360 degrees of each challenge or
we bring pragmatic solutions that address their
opportunity, to take that decision together
needs.” By devolving power and taking a more
Lathouwer, who following stints at management
and afterwards to make sure that the decision
diplomatic approach to decision making and
and IT consultancy firms, “decided to do
goes down the organisation.”
company development, De Lathouwer hopes
“I’m an engineer by background,” says De
something more entrepreneurial” and joined EVS
Chairing EVS’ strategy committee “really
in 2013. She served on the board of directors,
allowed me to understand the broadcast
as chair of its strategy committee, and then as
industry” and “the situation of the company” in
interim president of the executive committee
particular. 2015 was a year of highs for EVS: the
following the departure of Joop Janssen in
live broadcast of the 230th El Clásico football
October 2014, with an official appointment
match in Ultra HD in March; delivering the first
announced in February last year.
ever multicam second-screen experience for an
One of her main achievements during her
international multi-sport event at the SEA Games;
short time as CEO was during the initial four or
and providing fans with enriched media content
five months as interim president, she explains.
over 4G Broadcast for the FA Cup Final. In
Just two weeks after taking up the position, key
addition to developments in technology, it is also
changes were made to the company structure,
those related to workforce which have formed
“from an organisation that was organised along
De Lawouther’s standout moments as CEO:
with the four markets – sports, entertainment,
“What I’m extremely happy about is being
news, media – and to organise it more simply,
able to build this management team”, she
around commercial organisation, product and
says. To “bring this new decision-
market organisation, and R&D technology.” This
making process”, and develop
was the first step, says De Lathouwer, to building
a new the management style,
a new management team. This involved a
“from the CEO who decides,
change in the structure of the team, from
to a team which is built
“a situation where we had a very large
around the CEO, who
committee of about 14 people, to a smaller
decide together.”
executive core team of five people, plus me.”
previous work
as a team, make decisions.”
experience – in R&D at
confidence in a broadcast industry
Accenture, strategic
resources, De Lathouwer was also instrumental
thinking at McKinsey,
in launching a strategy preview, examine
and an operational
“the evolution of the market, the trends, how
role at BASE – has
they would impact on business, what are the
equipped her well
opportunities, and is there a need to make
to oversee and
adaptations to our strategy.” Hardly light work
unite the leadership
for the early stages in a new role. The benefits of
team at EVS. “If you
this overhaul were soon in evidence, and “thanks
look at those three
26 27 TVBE Mar16 EVS CEO Feature_final.indd 54
loyalty and confidence.” Retaining this
De Lathouwer’s
The group meets every week to “really, together, In parallel to overseeing this reshuffle of human
EVS can continue “to deserve [customers’]
19/02/2016 10:41
TVBEurope 27
March 2016 www.tvbeurope.com
Feature bombarded with “technology disruption” seems
tournament beamed to the screens of millions.
leadership qualities, assets which are not inherent
far from straightforward. The likes of IP, the
It is at such big events and flagship projects,
to all. Overcoming the gender divide within the
cloud, and 4K have all created challenges and
says De Lathouwer, that “we bring all the
industry is not about giving women a helping
opportunities; how will EVS harness and profit
new innovation that’s afterwards going to be
hand, De Lathouwer implies, but about hard
from these in the year ahead? “You anticipate
projectised and offered to all of our customers.”
work and earning and deserving your success.
them and take advantage of the benefits, to
She also hints that events such as Rio are “a
However, she also acknowledges the problem of
make sure that you allow your customer to take
push in trying new technologies, to launch new
fewer women entering “technology-type studies,
advantage of those changes, while preserving
technologies”, but unfortunately is unable to
therefore less graduating, and less entering the
their existing investment,” says De Lathouwer.
elaborate on what this will involve.
industry.” If you want to address this problem, she
“One of the biggest challenges is related to IP
In addition to her position as EVS CEO, De
says “you have to do it from the start.”
and the new business model that IP allows”, she
Lathouwer is also a member of Women on Board,
says, stressing that it is not a question of if IP will
a Belgian and European network of women
comment on the gender divide in the broadcast
happen, but when. “With every technological
members of boards of directors. The aim of
industry, and instead highlights the need for “not
change you have to make sure you invest at
this non-profit is to create a pool of talented
simply gender diversity, but all types of diversity”.
the right time, in the right standard” because “if you invest too early, you might not have the best ROI for your investment, but too late is not good either.” EVS has developed a new strategy, IP4Live, which supports manageable migration to IP through open and interoperable solutions and
De Lathouwer says she finds it “very difficult” to
One of the most significant things she has learnt,
“When you have the same competencies as your male colleagues and you work in the right environment there is nothing that should block women”
COTS-based equipment utilisation. IP transition
she says, is “how powerful a team can be when you have different people from completely different backgrounds, different cultures, different ways of thinking, different references”. A new type of collaborative thinking and teamwork has been introduced to EVS by De Lathouwer during her time as CEO, and benefits
should happen “step by step at the rhythm
have been reaped from the “different ways of
of the customer” explains De Lathouwer, and
women ready to take up board positions, and
thinking” within her team. Coming from a non-
IP4Live aims to bring the benefits of IP-based
to facilitate access to this pool for Belgian
broadcast background, her knowledge of the
workflows to live production while preserving
enterprises searching for female directors.
industry was only from the EVS board, “not
existing investments. The launch of the strategy
Working in the “very male-dominated” nuclear
from the heart of broadcast”, and so “I had
coincided with De Lathouwer’s inauguration
engineering and technology fields, does De
to be more humble because I knew that
as CEO, but she maintains humbly that IP was
Lathouwer feel enough is being done to address
the knowledge of the industry resides within
something which was “already part of the
the similar gender divide in the broadcast
my team.” Ideas are exchanged and
thinking” before she took on the role. Instead,
industry? “It has never been an issue for me”,
decisions are made as a team which creates
she says, the initiaive was created collaboratively
she says, rebuffing any notion of sexism with the
“a different kind of dynamic.”
with the executive committee to make it
assertion that “you have some stereotypes…
“extremely clear” to customers that EVS
but then you have to behave like a leader. I’ve
the industry is “enormous”, and with two high-
would “really help them and support them”
always managed to evolve in my career” she
profile events this year, EVS’ innovations will be
in the transition to IP, and develop a clear
continues, because “when you have the same
thrust into the spotlight. The development of
message regarding this.
competencies as your male colleagues and
new strategies and products can no doubt be
you work in the right environment there is
credited to De Lathouwer, though the CEO is
nothing that should block women.”
keen to underline the importance of the unit she
EVS will no doubt continue to announce new strategies and innovations this year, not least as the summer will see both the Rio 2016 Olympics and Paralympics, and UEFA Euro 2016
26 27 TVBE Mar16 EVS CEO Feature_final.indd 55
De Lathouwer’s success is clearly down to her “competencies” as well as her ambition and
The pace of change and acceleration in
has assembled around her; “I strongly believe in the power of a team” she concludes. n
19/02/2016 10:41
28 TVBEurope
www.tvbeurope.com March 2016
TVBEverywhere
CES 2016 report The TV is on its way to becoming just another appliance, writes Adrian Pennington, who was in Las Vegas to report on this year’s Consumer Electronics Show
I
CES 2016 attendees testing a VR headset in the Sands Expo Center
network and that 600,000 people in
in the CE market this year. While
the US cut their cable subscriptions
these categories account for 51
last quarter.
per cent of the industry’s revenue,
Added to that, TV shipments
the catalysts for future growth
are down, with IHS reporting the
are newer innovations such as
t is traditional for press to wait in
domination by lighting up 130
biggest annual decline in five years
wearables, virtual reality
line for up to three hours just to
new territories for the OTT
for Q2 2015. It expects no growth
(VR) and drones.
get into jam packed Consumer
subscription service.
in 2016 either.
Electronics Show (CES) news
Smartphones are emerging as
The CTA (Consumer Technology
“The industry is at an inflection point, because nascent categories
conferences, but this year along
the TV screen’s biggest competitor,
Association), which owns and
will continue to gain market share,”
with those of the major TV vendors,
and are increasingly being used
produces CES, was slightly more
explained Shawn DuBravac, chief
the queues were snaking round the
for long form viewing, not just
optimistic. It projects revenues will
economist, CTA.
block for YouTube. Samsung and LG
It’s doubtful that any of the
press events were still standing room
3,800 exhibiting companies truly
only, but they lacked the buzz of keynotes from Netflix and YouTube. This was symbolic of the show’s key theme, which was of power
“UHD sets will be at 21 per cent of sales globally in 2016” Steve Koenig, Consumer Technology Association
draining from old TV straight into
achieves the impact they want at CES amid all the white noise and the shouting matches which constitute a stand interview. So let’s boil it down. From a tech
digital video.
point of view CES 2016 was about
“I believe digital video will
High Dynamic Range (HDR) and
overtake TV to become the single
short clips. Kyncl said the average
reach $19 billion for all TV sets and
VR wrapped in an increasingly
largest way people spend their
viewer now watches one hour 15
displays in 2016, on par with 2015,
omnipresent Internet of Things (IoT).
free time before the end of the
minutes of digital video per day,
as volumes drop one per cent to
decade,” predicted YouTube chief
a number that will grow. Google
just under 40 million units. Well-
Drone data
business officer Robert Kyncl, the
claims that YouTube on mobile
established technologies including
The CTA expects US sales of
day after Netflix CEO Reed Hastings
alone reaches more 18 to 34 and
smartphones, televisions and
drones to reach one million units
announced the next steps in global
18 to 49 year-olds than any cable
laptops will lead to a small growth
in 2016, a 145 per cent increase
28 29 30 31 TVBE MAR16 TVBEverywhere_final.indd 32
19/02/2016 15:28
TVBEurope 29
March 2016 www.tvbeurope.com
TVBEverywhere from 2015’s total. The US Federal
unit sales this year to top 1.2 million
Aviation Authority has mandated
in the US, marking a 500 per cent
registration of all UAVs in response
increase from 2015 (source: CTA)
to increased mid-air incidents
and accounting for $540 million
involving them, one reason why
in revenues. The Diffusion Group
leading developer DJI launched
reckons global revenues related
a beta geofencing system called
to VR will top $18 billion (€16.6
Geospatial Environment Online
billion) by 2025.
(GEO), designed to prevent drones
Among companies entering
from operating in restricted areas.
the fray is Zeiss, which applied its
GEO fitted, a DJI drone will update maps and restrictions based on unfolding events,
knowledge of optics to the VR One GX, a phone-based head mounted
Netflix CEO Reed Hastings takes the stage for the popular CES keynote
display costing $130. Unlike
including sports competitions. It’s
Samsung’s Gear VR, a phone-tray
expected to go live later this year.
solution enables the Zeiss device
Indeed, data gathered by drones
data you collect.” No giant CE
“It’s arguably the most complicated
to work with any smartphone on
is thought to be an even more
company has yet made a move
consumer electronics.”
the market today.
compelling business case than pure
into drones (Sony has development
video. “If you shoot a 3D map and
plans and Intel just acquired drone
2016 for VR lift off
of a live streamed NBA game
print it with your 3D printer, you can
firm Ascending). “Companies
With over 120 companies touting
between the Chicago Bulls and
get a 3D model of your house, for
deciding to do drones learn
VR or AR developments in Vegas,
Boston Celtics, produced with
example,” suggested DJI executive
just how hard they are to
VR was the hit of the show. When
NextVR investor Time Warner-
Brendan Schulman. “There are lots
do,” reckoned 3D Robotics,
Facebook’s $600 Oculus launches
owned Turner Sports. The company
of cool things you can do with the
CRO, Colin Guinn.
at the end of March it will help VR
also reported that it worked with
28 29 30 31 TVBE MAR16 TVBEverywhere_final.indd 33
NextVR hosted a private viewing
19/02/2016 15:28
30 TVBEurope
www.tvbeurope.com March 2016
TVBEverywhere
Nagra used CES to present its new all-inone TV experience, intuiTV Qualcomm to develop software
David Greenbaum, one of the
brightness, the UHD Alliance
certification as do units from
for the new Snapdragon 820
directors of the Fox Innovation Lab
announced ‘Ultra HD Premium’, a
Samsung and Sony.
processor that enables delivery
that co-produced The Martian
top of the range specification for
of live 360-degree content to
VR project, added; “We thought
distributing and displaying content.
mobile phones.
we were just doing R&D, but now
One area that promises to give the VR market even more traction will be the increasing
people want to buy [VR content].” However, Eric Shamlin, executive producer at content studio Secret
To meet the specs, screens must
action camera, the KeyMission 360, which shoots 360-degree video in 4K from a 20.8-megapixel sensor, was a surprise. Well-produced
Koenig, CTA, senior director of
deliver 10-bit colour bit depth, and
market research. “The vast majority
they must reproduce at least 90 per
of those will be 50 inches and
cent of the P3 colour gamut,
above. And, as set makers move
availability of 360-degree VR cameras. Nikon’s unveiling of its first
“UHD sets will be at 21 per cent of sales globally in 2016,” said Steve
to 1080p for sets smaller than 50
“A lot of good technology is being developed but there’s also a lot of bad content” Cliff Plumer, Jaunt Studios
inches and 4K for sets larger than 50 inches, the demise of 720p seems inevitable.” OTT delivery models can easily accommodate the 20 per cent
content is “desperately needed”
extra data over ‘normal’ UHD,
to help VR take off, according to
hence Netflix and YouTube
Hollywood execs at a panel on the
announced plans to launch UHD
topic. “A lot of good technology is
Location, warned: “It’s probably
the same as digitally projected
HDR content later this year. Hastings
being developed but there’s also
going to be 2017 before VR content
theatrical exhibition. In terms of
claimed; “We have over 1,000
a lot of bad content,” opined Cliff
is something you can monetise.”
HDR, the screen must meet SMPTE
engineers focusing on better
ST2084 EOTF and deliver certain
global delivery, more intuitive
peak brightness levels.
UIs, incredible picture and
Plumer, president of VR developer Jaunt Studios.
HDR to the rescue
Sony said it would start selling
TV and DVD player makers are
$300 VR PlayStation goggles by Q2
pinning their hopes on HDR to
achieve the $10 billion revenue
2016 and Fox announced a
reinvigorate the living room big
predicted by the CTA in US retail
for broadcasters who are still
minority investment in VR firm
screen as the place to experience
this year. Indeed, all 2016 OLED
struggling to deliver HD without
Osterhout Design Group. It
the best sound and image.
models from LG feature the Ultra
heavy compression. Frustration with
HD Premium seal of approval.
the broadcast HDR standardisation
also unveiled The Martian VR
Helping smooth consumer sales
This should help 4K TV sales to
audio quality.” Yet this is a lot more complicated
Experience, companion piece to
by streamlining the marketing
Panasonic’s new flagship DX900
process has forced Technicolor
Ridley Scott’s feature.
speak used to promote a screen’s
LED TV series, also has Premium
and Philips to marry their respective
28 29 30 31 TVBE MAR16 TVBEverywhere_final.indd 34
19/02/2016 15:28
TVBEurope 31
March 2016 www.tvbeurope.com
TVBEverywhere HDR technologies. The approach
platform later this year.
Just another appliance
With Samsung’s flagship UHD
will offer backwards compatibility
And in cooperation with Amazon,
“We believe the future of TV
TV KS9500 users can adjust the
to standard dynamic range
LG OLEDs will offer the newest
is still TV,” declared Anthony
lighting, watch the baby monitor,
displays, just like the BBC/NHK’s
original HDR content via
Smith-Chaigneau, senior director
and even create “mood schemes”
HDR proposals and include an HDR
Amazon Video.
of product marketing, Nagra,
with a group of smart devices.
presenting the company’s
They could even watch TV if
new all-in-one TV experience
they wanted.
solution for live broadcast. But since Technicolor and Philips own a set-top
called intuiTV. Targeted at
box business they are keen
pay-TV operators as a managed
consumer tech industry to $287
to badge their consumer
cloud-based platform for
billion in revenues, an all time high.
boxes – and screens/STBs
adding any mix of premium
“The exponential growth of the
of third parties – as offering
content with live TV, VoD, SVoD,
IoT and the lightning-fast speed of
Technicolor HDR and to
PVR and social TV.
innovation are key reasons we’ll see
compete with
“The advanced TV market is
rival Dolby Vision.
The CTA suggests IoT will drive the
such strong growth across so many
broken and heading toward a
tech categories,” said Shapiro.
cold computer dashboard of
Julie Brill of the US Federal Trade
Warner Bros., Universal, MGM,
coloured tiles,” added Smith-
Commission described what the
and Netflix will all support
Chaigneau.
future of the IoT will look like.
Dolby announced that
Dolby Vision with new releases
“We believe in unifying
and catalogue titles mastered
this fragmented market for
through it and devices will just
in the format. Owners of 2016
the consumer by having all
start to be connected, the way
LG 4K OLEDs will be able to
their entertainment in one
we think about electricity now,”
place and delivering a much
she said. The TV is becoming just
better experience.”
another appliance. n
stream HDR content from Netflix on LG’s updated webOS 3.0 Smart TV
Nikon unveiled its first action camera, the KeyMission 360
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19/02/2016 15:28
32 TVBEurope
www.tvbeurope.com March 2016
Feature © Yann Dejardin/TF1
TF1 remains cautious about
4K and HDR T
Hervé Pavard, director of technologies, TF1 Group, shares his outlook on 4K, HDR and the cloud with Catherine Wright
F1 is France’s biggest broadcasting group, its flagship channel drawing the country’s largest audiences, with an average 22 per
most notably on one of TF1’s most popular programmes The Voice, both in 2013 and 2014, as well as on BBC format Danse Avec Les Stars (Strictly Come Dancing) and on a few football matches before the World Cup in Brazil. “We conducted trials with Sony F65 and F55 cameras, which we found are more appropriate for film and TV drama production than for use in live situations. One of the problems was adjusting
one of the leading VoD services in the country, MyTF1VOD, as well as a very popular catch-up service and a number of internet sites. Not surprising then, that when it comes to adopting new broadcasting technology, it will want to make sure that it is properly tried and tested. The group has understandably taken a cautious approach to 4K.
“We found out fairly early on, by testing HD and UHD cameras next to each other, that the 4K images were not hugely compelling compared to the HD ones”
“Our main concern is whether our audience is interested enough in this new technology to
cent share of the viewing market. In addition
justify the huge financial investment it requires,”
to the main free to air channel TF1, the private
explains Hervé Pavard, director of technologies,
the cameras’ focus and depth of field, most
group also owns several free to air digital
information systems, internal resources and
particularly during the football games because
terrestrial channels; TMC, NT1 and HD1, targeted
security for the TF1 Group.
you don’t know where the players are going to
at slightly different demographics, in addition to a news only channel, LCI. The group also boasts
32 33 TVBE Mar16 TF1 Feature_FINAL.indd 54
The company has been testing the technology for the last three years, in different live situations,
go to next, you have to adjust all of that in live conditions. It’s much easier when you can
19/02/2016 14:38
TVBEurope 33
March 2016 www.tvbeurope.com
Feature © Drella Forever/TF1
control the situation for a TV drama. “You know exactly what the actors will do and when they will do it,” he describes. But even more importantly, these trials also enabled TF1 to assess whether 4K would bring a big enough change compared with HD to seduce the broadcasting group’s viewers. “We found out fairly early on, by testing HD
adopting 4K in the broadcasting and production of its free-to-air channels. “We’ve decided to go down that path slowly. Quite a few 4K TV sets have been sold in France, but very little 4K content is available at this stage and I‘m not even sure that the first 4K sets are really able to broadcast 4K images. But one of the areas we‘re closely looking at is 4K for
and UHD cameras next to each other, that the 4K
our VoD service and also anything to do with
images were not hugely compelling compared to
an OTT environment. Because the economic
the HD ones. The audience has to be equipped
model makes sense; you can ask you subscribers
with at least 70-inch TV sets to start seeing a
to pay a premium for 4K content or a 4K
difference. When it comes to pixel resolution,
channel,” he says.
there is no ‘wow factor’,” he indicates.
Having said that, he does believe that 4K will
HDR does provide that wow factor, he agrees,
succeed as a widespread technology and will
even though huge problems remain, one of
eventually become ubiquitous, contrary to
which being the actual standard itself. “There
3D. “3D should be a lesson to us all, there was so
are three different ones out there; Dolby’s,
much enthusiasm for it but the audience didn’t
the Technicolor/Philips one and the BBC/NHK
follow. So let’s take things slowly,” he cautions.
standard. We will be testing different options
The group is however less cautious about
during the year but we certainly have not
cloud technology. “We’ve been using cloud
made our minds up yet. We want to understand
systems for back office tasks such as personnel
how it will all work in a real production
management or administration for the last three
environment and in what I call a glass to
years and have learnt a lot about safety. We‘ve
glass situation, from the camera to the TV set
also started using it for archiving purposes and
in the viewer’s room,” he says.
have adopted Microsoft Azure’s system. We’re
Among the possible trials, some might take
also using a private cloud system for production,
place during the Euro next June, for which TF1
with our own data centre on site. Our aim is to
has some of the broadcasting rights. “UEFA has
have a private cloud on an outside data centre
already announced that four matches will
next,” he explains.
be broadcast in 4K, so it will be up to us to see
Cloud systems are not used when transmission
how we fit in with it. We might plan a demo of
on time is a real issue. “The risk of not finding
some kind,” he admits.
the content on time and all the queuing up of
One of the concerns is backward compatibility from SDR images to HDR ones. “It remains unclear whether you get a normal or a bad quality HDR image when you convert from one to the other,” he indicates. Another one is the licensing cost, knowing that Dolby has in the past demanded a
“3D should be a lesson to us all, there was so much enthusiasm for it but the audience didn’t follow. So let’s take things slowly”
files makes it difficult to use for our main news programme at 8pm, for instance,” he describes. Unlike some other broadcasters, TF1 hasn’t had trouble recruiting software engineers with the right skills. “We started using the technology three years ago, and we also trained our engineers at
high fee for licensing some of its technology.
the same time, so we have had time to adapt to
For all these reasons, TF1 is still far away from
the new skillset,” he concludes. n
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32 33 TVBE Mar16 TF1 Feature_FINAL.indd 55
19/02/2016 14:38
34 TVBEurope
www.tvbeurope.com March 2016
Business
An acquisition in
content discovery Thorsten Sauer, head of broadcast and media services at Ericsson, spoke to George Jarrett about the company’s latest acquisition
W
with aggregating the data and
sum of money to pay that they
presenting it to content creators,
are happy to pay for the
who can then use consumption
convenience of legally
behaviour to inform their projects.
scrolling through the options.
“We understand the big
“And there is generational
hen it comes to the
that there’s much more content
challenge today to being
change. There are snippets and
adroit tactic of capability
available, but they increasingly
successful is to provide a great
short form content available for
extension through
grow frustrated with how
experience and we feel we have a
free on YouTube, and that provides
acquisition, no corporation does
difficult it is to find what they
lot of the assets and ability there,”
a certain fascination,” he added,
it better than Ericsson. The latest
are strongly interested in.”
said Sauer. “Content discovery is
“We see in every market we
intake will be the Texas-based
Basically, content discovery
working hand in hand with the TV
looked at (nearly 40) that YouTube
entertainment metadata and
is the description of content in
platforms we provide to telecoms
is always the stronger producer
rich media content specialist FYI
a very deep way and linking
companies because the UI is no
of video, and consumers tend to
Television, which derives its success
that data to other forms of data.
longer the old-school EPG type
spend more time with it. Facebook
from tracking 9,000 TV networks
Ericsson’s Media First platform is
experience. It is more pictorial
plays eight billion views a day
and producing aggregated
on the front line.
because consumers want the
and volume wise it is probably
information put together in a
close to You Tube.”
content and scheduling data in customised formats.
“The opportunity we have with this new generation of
more immersive way.’
The logic of this tie-up screams
platforms is to present content in
content discovery, and for the fuller
a very immersive way and target
Spotting trends early
picture TVBEurope spoke to Thorsten
something based on preference,”
Consumers are both fickle
Sauer, the executive who drove
said Sauer. “Past preferences is
in terms of staying with a
the acquisition and integration
one opportunity to present
content supplier, and
of both Technicolor’s broadcast
content, and the extrapolation
generally unhappy
service division and Red Bee
of past preferences to fauture
about paying for
Media. Sauer is head of Ericsson’s
demand is another.”
the content they
broadcast and media services
This all starts with knowing the content, describing scenes,
is that they will pay
of 2,500 industry specialists.
following the trail of an actor
for better quality
perhaps, or opting for happy, sad
pictures.
enough as a topic, and it touches a
or action scenes. The consumer is
lot of different pieces that Ericsson
just as likely to buck the profile and
things,” said
does,” he said. “With the rise of
look for something very different.
Sauer. “It there is a
“FYI plays a key and integral
convenient choice
for us to access it, there is a level of
role in that,” said Sauer. “We are
at an affordable price
support needed to give users help
the leading provider of metadata
people will forego the
to find xthe right content.
in Europe. We cover 27 countries,
illegal ways of finding free
dealing with all the languages
content. They will say
therefore FYI obviously gives us the
and different local content. We
if there is a good
opportunity to cover a very large
approximate that 40 per cent of
subscription
part of the content created in north
this is American-produced content,
service and
America,” he added. “We want to
so we are now very close to the
a finite
go far beyond that, besides pure
source with the FYI acquisition.”
metadata. Consumers appreciate
Going deeper in terms of
all the new ways of accessing
exposing content to the
content, and they appreciate
consumer will match
34 35 TVBE Mar16 Business Ericsson_FINAL.indd 54
ITV
“We see two
content and the multitude of ways
“We do quite a bit in that area,
BBC,
access. The paradox
business worldwide, leading a team “Content discovery is broad
Ericsson is a business-to-business company servicing the likes of the
19/02/2016 14:35
TVBEurope 35
March 2016 www.tvbeurope.com
Business and Liberty Global, so in a sense
able to. “You have to continuously
Sauer’s division provides that
licensing the content, so is it a
it is one step removed from the
change and adapt. The motto
scale through a logic that runs
customer of its own expertise?
consumers of content. But its huge
of our network society is we have
from content discovery to access
“Yes, sort of. What we saw in
sample research projects have
to broaden to remain relevant,”
services, to media management,
the sub-Sahara area, and it goes
given it a sharp edge.
he added. “Across all industries
and to playout origination. This
for other areas of the world, is the
the importance of software is just
is leveraging knowledge, but
people don’t have a legal and
very closely in touch and to spot
increasing rapidly, but broadcast
he wants to expand back
affordable chance to access
trends very early,” said Sauer. “That
people still have time to adapt
up the chain.
content,” said Sauer. “A growing
informs our decisions on where
and adjust because this industry
we want to invest in developing
moves in cycles.”
“It is enormously important to be
middle class is getting into the
“We are moving closer to the
affordability range to spend
people that are doing all the
new propositions. It is also highly appreciated by our customers because very few of them have the opportunity to do something similar. “It positions us with a very positive
money on entertainment but they
“The best place and time to capture a lot of data about the content is in production” Thorsten Sauer, Ericsson
don’t have TV sets. They do have a smart phone though. “We expect the number of smart phones regionally to go up to 900
image but more importantly it
million by 2020. The broadband
informs us about trends at an
connectivity in those markets is not
early stage and how consumer
sufficient. We wanted to solve most
You could be out-scaled
exciting work, in both shooting
of the problems with a good quality
For the competence transition
and post production. Some of
affordable service without surprises
society are mobility, broadband
FYI Television is the perfect fit for
these things are extremely relevant
(like broadband data bills).”
and cloud services. The heart of
generating high quality metadata.
for our work on the metadata side,”
this is faultless connectivity, and
“FYI is almost 100 per cent North
behaviour changes,” he added. The key struts of the network
The key behind NuVu is the
said Sauer. “The best place and
intelligent client software
broadband does not reach
American, and we have some
time to capture a lot of data about
with network site components
masses of consumers as yet.
American content plus a lot of
the content is in production.”
that identifies when content
“The foundation of our strategy
global content,” said Sauer. “What
can be delivered.
is the network society. Cloud,
we also see is an increasing number
The spare element
broadband and mobility are
of aggregators, and with Netflix
One recent example of the value in
Africa, and they have a screen in
enabling factors, but the value
and Apple it has become a global
Ericsson’s consumer research is the
their hands. They are getting close
of being connected is rising,
business. This global perspective
Sub Saharan service NuVu, which
to where they can afford to pay
connected to content wherever
is one of the key changes to the
uses spare Telco capacity to trickle
for entertainment, and there has
we are. We do all of that today
broadcast industry.
feed content to mobiles. Ericsson
been no good proposition for them
runs the whole project including
so far,” said Sauer. n
and we feel the need for our
“A lot of the infrastructure and
expertise is also reaching industries
the competences that you need
where we have not played so
require skill and scale. There is an
much,” said Sauer.
increasing demand for having a
This relates to Ericsson’s industry
provider of services and solutions,
and society division, which focuses
which can act globally, and
on verticals like utilities and
that is why it is so important for
transportation. Has Sauer detected
us that we have that capability.
the fear amongst the traditional
As a company we are morphing
broadcast vendors that their time
and with colleagues from FYI
might be up? Ericsson predicts 26
Television coming in we will get
billion connected devices in 2020,
new perspectives. The topic of
so sustaining a USP is vital.
personalisation is going to be
“This is an industry in transformation and this requires
huge,” he added. What about the broadcasters?
a new set of capabilities. We
Being medium sized in a big local
are moving to something more
market is starting to look shriveled.
internet-like where you have fairly
“One of the fundamental insights
standardised hardware. The logic,
that we have for our customers
the value sits in the software,
to remain relevant is they have to
which requires new skills,”
partner and make smart choices.
said Sauer. “You will see some companies adapting to that, and some not being
34 35 TVBE Mar16 Business Ericsson_FINAL.indd 55
“Smart phones cost £30-50 in
Streamlin
e your
SCHEDU LING Model you r schedule s concept u p to broad from the casting an beyond ov d er multiple media. www.med ia
gwewn.m w ixed.tiavgenix.t v
With increasing competition and with so many companies competing on a global basis, you can be out-scaled,” said Sauer.
22/02/2016 09:56
36 TVBEurope
www.tvbeurope.com March 2016
Business
Virtualising media production Virtualising media production, and virtualising functionality: George Jarrett talks to Nevion CEO Geir Bryn-Jensen
N
established media companies
to production. “People did not
to adapt to the competition from
want to talk about it, but three
new media players.
years ago it started to get some
“They need to create more than
interest. A year ago there was a
just slightly different content, much
lot of interest, and at this point in
evion, which was built on
and its expertise in SDN aligns it very
more of it, and go multi-platform,
time we are sitting with ten projects
the merging of Network
well for the coming IP era.
but the sources of revenue like
and they are much more than
“This will be the next phase for
licensing monies are changing,”
proof of concept,” said Bryn-
Production Group and T-VIPS
Nevion for sure, and it will be the
he added. “And with advertising
Jensen. “People are building new
out of Tandberg, has come to
future for broadcast. It is migrating
revenue being distributed around
facilities and they want to create a
wider industry notice through its
for good reasons,” said CEO Geir
other platforms, what we see is that
sustainable future environment.”
VideoIPath and software designed
Bryn-Jensen. “Content consumption
the traditional broadcast customer
networking (SDN) technology and
has seen dramatic change over
has to do more, and they often
contribution networks but now
its roles in both the VRT/EBU LiveIP
several years, and what we see is a
have less resources, or at least no
it is transferring its expertise and
Sandbox project and The Alliance
triple effect of that. It is happening
more, to do it with. This drives the
core technologies into the facility
for IP Media Solutions (AIMS).
upwards in the value chain. It
need for increased efficiency.”
market to enable software defined
At 19 years old it was not
has changed the delivery and
Electronics, Video
This has accelerated the
Nevion had focussed on
environments for production.
embedded in traditional broadcast
distribution of content. And the
transition to new technologies and
What advantages have come
and SD to HD thinking for too long,
pressure is now on for the long
the bringing of IT and IP disciplines
from participation in the Sandbox
Ultra 4K Test & Measurement - SD to 12G-SDI
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36 37 TVBE Mar16 Business_FINAL2.indd 54
Las Vegas Convention Center 18-21 April 2016, Central Hall - C10418
22/02/2016 10:31
TVBEurope 37
March 2016 www.tvbeurope.com
Business Project? “We have validated more
of virtualisation, which is not fully
of consolidation, how vulnerable
than what we have learnt. We had
there yet, is virtualising functionality,
will Nevion be in the immediate
a working hypothesis when we went
which today is sitting as purpose
future? “I think we are an object
in and were pleased to see what
built hardware.”
out there; we would be a good and
we believed has been proven.
Generic media nodes and
complementary asset, but it would
The Sandbox project came at the
software enablement are the
not be in anyone’s interest to bring
right time,” said Bryn-Jensen.
way forward, along with new
us into something that is traditional.
infrastructures. Where does
With much of the consolidation
and a strategy, come the last IBC
VideoIPath come in? “For the
over recent years there has been
Nevion was both part of the IP
complexity and the management
a lot of value disruption. We have
Live initiative and able to launch a
as you move into SDN, it becomes
prepared Nevion for what’s to
software-defined networking starter
for us absolutely critical. It will
come, spending five years to do
kit with the requisite orchestration
orchestrate everything in the
it. The philosophy behind this is to
platform. “The LiveIP project proved
infrastructure and ultimately also
combine core skills from traditional
the workflow,” said Bryn-Jensen.
broadcast, IT enterprise, wider
Armed with both a technology
that the vendors could collaborate, which was good for everybody
Geir Bryn-Jensen
The old conception of a
IT skills and competencies, and
involved. Our kit gives the user
“You can create a hybrid network
broadcast market is something he
a low-cost entry level and the
or solution by utilising all that
sees as vanishing as 2020 looms.
Will we see much progress at
chance to trial the new technology
traditional broadcast equipment
“Within that time frame there will
NAB and IBC in terms of the total
and see that it actually works,” said
and putting it into a virtualised
be dramatic change driven by
transition to IP from SDI?
Bryn-Jensen. “We saw that it was
network that makes that asset
the acceleration in consumer
not the time to take an incremental
virtually accessible from anywhere.
consumption. Take a world player
again. I think you will have to
step but take a bold step. It is not
Using legacy technology in
like Akamai: will it define itself as
wait until NAB 2017 to see
just deploying IP technology for
combination with new software
part of the broadcast market, or
significant progress. We will
media production, but enabling the
defined networking principles
is it part of a different market? The
see steady progress all of this
virtualisation of production. This is
gives you have a hybrid network,”
screen in the hand and 5G will be
year through that momentum
the business benefit.”
said Bryn-Jensen. “A lot of the skills
the big kickers forward, and the
for standardisation, and the
and competences are in place.
giant aggregators will have an
collaboration between players,
Not locking the user into something
The core business of the typical
impact on the business models
but NAB next year will be one of the
end user that we work with is
and the sources of revenue typified
biggest milestone. The virtualisation
Joining AIMS was also a no
developing content. It is our belief
by established broadcasters.” With
of media production is what we
brainer. “The background for all
that there is a gap in network
so many continuing acquisitions
are pushing for.” n
the founding members has been
technology competency, but
happening under the umbrella
that the customer and vendor
it depends where you are,” he
communities have both now
added. “The interesting question is,
embraced the fact that there will
will the broadcasters build their own
be a future related to IP,” said Bryn-
IP network as they owned their own
Jensen. “But I think there is still a lot
traditional networks, or outsource
of uncertainty in terms of standards,
to a service provider specialising in
and there is still an amount of fear
running those networks?”
of the change among our users. “The good of AIMS is to come
A lot of value disruption
together as competitors and say,
Virtualisation has been a common
‘Hey we are all supporting each
concept (starting off in playout) for
other in creating new services
some time, but has the Nevion user
that are interoperable’. We are
base bought the concept yet of it
not going to lock anybody into
reaching into production?
something,” he added. “We will not
“Not everybody, but they are
be the standardisation organisation,
starting to engage with it. The LiveIP
and the user community
project is proof of concept, and
understand that we have VSF and
the ten projects we are engaged
SMPTE to do that work and the
in now are driven by the need to
Interoperability testing. The EBU and
build new green field production
AMWA are also important.”
environments,” said Bryn-Jensen.
A hybrid interim is a necessity
“We are back to standards
Optimize y our
WORK FLOW
Optimize linear bro adcasting on-deman and d services in a single system an d streamli ne your workflows www.med company-wid e. iagenix.tv www.med
iagenix.tv
“With virtualising assets you need
because of the massive investments
that software defined network to
in infrastructure and technology.
make it happen. The other piece
36 37 TVBE Mar16 Business_FINAL2.indd 55
telecoms data.”
22/02/2016 10:31
38 TVBEurope
www.tvbeurope.com March 2016
Audio
Predicting a new phase of
broadcast audio Immersive production and IP-based workflows mean that broadcast audio is arguably on the threshold of its greatest period of change since the analogue/digital transition got underway. But is the industry ready for the shift in skills that will be required? David Davies explores
D
eclaring the advent of
– was largely held in the realms of
been particularly successful in this
suggest that we are on the verge
a new era in any area of
the theoretical. In some quarters,
regard, complementing their core
of something big. In this regard, CES
technology is a notoriously
it was discussed as a technology
marketing activities with increasingly
2016 may retrospectively come to
tricky business. Broadcasting
that was ‘many years off’ and,
far-reaching educational initiatives.
be regarded as a major milestone,
certainly hasn’t escaped its
even when it did arrive, was more
fair share of ill-advised forecasts;
likely to be the preserve of a small
product announcements being
MPEG-H Audio Alliance showcasing
in recent years, just think of
group of early adopters than
made on a weekly basis, it is also
their latest developments related
the bright future widely, yet
a mass-adoption tool.
evident that potential investors
to the ATSC 3.0 next-generation
in AoIP now have an extensive
broadcasting standard.
erroneously, predicted for 3D to find a case in point. The scale of the disappointment
Very few people are still taking that tone in 2016. Numerous
ecosystem of products from which
broadcast centres and OB
felt about the commercial
providers are implementing AoIP
performance of that technology
infrastructures, in the form of
has – perhaps inevitably –
both refits of existing facilities and
engendered a greater sense
new-builds. The advantages of
of reservation about making
moving towards a fully networked
bold predictions. Look at the
infrastructure in terms of audio
conversation that has surrounded
workflow management and
the arrival of 4K, notably more
flexibility are no longer the subject
cautious in tone than that
of debate, they have been proven.
around 3D, and significantly more
With new licensing and compliant
It seems clear that the advent
with Dolby Laboratories and the
Using only integrated television speakers, Dolby’s demo highlighted
‘These are arguably the most exciting times for broadcast audio since the transition from analogue to digital got underway’
improved bit rate efficiency, intelligent loudness management, dialogue enhancement, multilanguage support and hybrid delivery, as well as immersive and personalisation features like stereo virtualisation and loudness description. Meanwhile, the MPEG-H
to choose. Hence the suggestion
Audio Alliance of Fraunhofer IIS,
preoccupied with the practicalities
of standards such as AES67,
that the ‘if’ question no longer
Technicolor and Qualcomm
of implementation.
which defines interoperability
applies; it is ‘when and how
drew attention to the ability of
between existing networking
best’ to apply IP audio that now
MPEG-H Audio to allow viewers to
to channel energies and investment
transportation technologies, and
preoccupies broadcasters and
adjust the sound mix in line with
more effectively, then it’s hardly to
the newly-published AES70 control
their service providers.
their own preferences.
be discouraged. But the industry
standard (based on the work of
would be a slightly greyer place if
the OCA Alliance) have played
predictions were to be dispensed
a fundamental role in bolstering
with entirely, so it’s with modest
industry confidence in AoIP; in
trepidation that this month’s
a nutshell, we are talking about
2
Audio Feature outlines three key
the basic security that ‘product
forecasts for 2016 which suggest
X will work with product Y’. But
‘gamechanger’, then what does
kick things up a gear. But in the
that, collectively, we are now
it’s also helped that networking
that make NGA (Next Generation
meantime, expect broadcasters
embarking upon a new era of
vendors have continued to refine
Audio) technologies like immersive
and vendors to be spending an
broadcast audio.
the messaging surrounding their
or interactive audio? At their most
increasing amount of time talking
solutions in order to convey the
ambitiously applied they hold the
up the potential benefits of these
As recently as three or four
benefits as clearly and explicitly
potential to completely transform
new technologies, both as a
years ago the conversation
as possible to end-users. Audinate
the way that we think about –
complement to the 4K picture
around audio networking –
with Dante, and ALC NetworX with
and execute – broadcast audio.
experience, and as a significant
Ravenna, can be said to have
Numerous individual developments
evolution in their own right.
If this more ‘sensible’ tone helps
1
and specifically Audio over IP (AoIP)
38 39 TVBE Mar16 Audio forecasts_FINAL.indd 54
The determination of which
We will see some significant
audio system will be standardised
developments around
as part of ATSC 3.0, a process that
immersive and interactive
is expected to reach fruition within
audio technologies. If AoIP is the definition of a
the next few months, will obviously be fundamental in helping to
19/02/2016 17:07
TVBEurope 39
March 2016 www.tvbeurope.com
Audio
3
There will be a renewed emphasis on the importance of broadcast audio engineer
education and ‘refresher training’. The advent of 5.1 wasn’t without
News update David Davies provides a round-up of recent developments in the audio industry
change that accompanies the
W
arrival of immersive and interactive
Loudness Recommendation has
audio. And it won’t just be about
resulted in significant progress in
the new technology, but also
terms of audio normalisation across
the creative decisions that will
the European broadcast sector.
be involved in optimising the use
Originally published in August 2010,
of these new techniques.
R128’s primary recommendation
its challenges for broadcast audio engineers, but that could be as nothing next to the step-
More than ever, it seems
hilst the issue of loudness has certainly not gone away, it would be fair
to suggest that the EBU’s R128
is the normalisation of audio
probable that broadcast audio –
at -23LUFS ±0.5LU (±1LU for live
especially for large sports events
programmes), measured with
or entertainment spectaculars,
a relative gate at -10LU. But it is
where the scope for immersion
accompanied by a number of
and interaction is most significant
guidances, several of which have
by other vendors should be
standards), and Roland’s M-5000C
– will necessitate a more artistic
been updated as of late January.
expected as spring gets underway.
digital mixing desk – which was
approach to mixing in terms of
In the previous version of the
delivering light, shade and the
supplement dealing with short-
show activity is synonymous with
applications, including broadcast,
variable dynamics that will make
form content, users could deploy
this particular change of season,
touring and theatre – were among
for a satisfying experience over the
either a maximum momentary or
and as expected the previews
the primary audio-related highlights.
course of a few hours. This will surely
a maximum short-term loudness
for NAB are now flowing through
require more intensive collaboration
measurement as a parameter to
at a rate of knots. At BVE, held in
the April edition of TVBEurope for a
between mixers, producers and
characterise and control the level
London this February, Fairlight’s
countdown of those new products
other key creatives involved in the
of commercials, promos, etc. In
EVO.Live converged console,
that audio professionals should
production of such programmes.
the new version only the short-term
Riedel’s Tango TNG-200 networked
be looking out for when they step
measurement is specified in a move
communications platform (with
onto the showfloors of the Las
engineer training is now highly
that EBU expects will “help simplify
support for AES67 and AVB
Vegas Convention Centre.n
responsive to technological trends
content exchange and reduce
throughout broadcast. But once
costs in daily operations”.
At undergraduate level, audio
engineers have qualified and
Loudness Metering specification
inevitable that they will require more
(EBU Tech 3341) has been updated
frequent refresher training to ensure
with new minimum compliance
their skill-sets remain up to par.
requirements and a number of clarifications. Meanwhile, the
predictions that suggest audio will
complementary EBU Loudness Test
rise even further up the broadcast
Set has been extended with 15
industry agenda during 2016. These
new test signals, designed to help
are arguably the most exciting
implementers check if equipment
times for broadcast audio since the
measures Short-Term and
transition from analogue to digital
Momentary Loudness, as well as True
got underway, and this year we are
Peak levels correctly.
likely to witness strong indications
A number of manufacturers have
of how these technologies
already confirmed their support for
might ultimately translate to the
the new updates, including RTW,
mainstream. And at the risk of
which highlights compliance with
making a very bold final prediction,
the Touchmonitor instruments, the
one might reasonably expect
SurroundControl 31900 and 31960
the process of explaining and
series, and all software products that
promoting NGA to the viewer to be
perform loudness measurements. A
one of the major stories of 2017. n
steady stream of announcements
38 39 TVBE Mar16 Audio forecasts_FINAL.indd 55
billed as being suitable all manner of
As for NAB…well, look out for
In addition, the ‘EBU Mode’
moved out into the industry, it seems
So there we have it: three
Of course, a heightening of trade
ne your
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19/02/2016 17:07
40 TVBEurope
www.tvbeurope.com March 2016
Feature
The latest perspectives on UHD In a break from the usual roaming, conceptual discussions around UHD, this issue we invited a selection of industry authorities to offer more granular perspectives on specific parts of the UHD ecosystem, covering compression and test and measurement
Unleashing UHD with next-generation advanced codecs By Fabio Murra, SVP product and marketing, V-Nova
M
ost of the necessary requirements for
Planning for the present
large-scale 4K/UHD adoption are now in
As more and more consumers are exposed
place. The UHD Alliance has announced
to, and accept, 4K content delivered via
its consumer standards, 4K TV sets are affordable
OTT, broadcasters will need to be able to deliver
and widely available, and content is increasingly
UHD to keep their viewers engaged across all
being captured in 4K/UHD. Multiple providers of
screens. With mobile video viewing continuing
OTT TV services have also announced new 4K
to grow, it is essential for providers to be
streaming channels. However, broadcast TV is still
thinking about a mobile-optimised content
resolutely in HD and SD, with economic barriers
delivery strategy.
acting as the primary obstacle to adoption of 4K
New compression technologies allow for
in broadcast.
streaming 4K/UHD video even beyond traditional broadcast networks and fixed
The importance of next generation advanced video codecs
landlines. A recent trial by telecoms provider EE
Multiple announcements of next-generation
high-quality 4K/UHD and HD content over
demonstrated that live-streaming of
advanced video codecs in 2015 have highlighted the need for the industry to provide a technological solution to many of the barriers to the wider adoption of 4K/UHD. Any viable solution will have to provide better compression
4G networks is possible in both congested and
“4K/UHD delivery is an invaluable viewer proposition for live sports broadcasters” Fabio Murra
performance and the ability to leverage the
remote areas of the UK using next-generation codecs. The trial also demonstrated that these solutions are deployable today, on the current population of consumer devices, through software upgrades.
existing infrastructure in the timescales that are vital for broadcasters to launch compelling 4K/
weapons that broadcasters use to gain and retain
Keeping up with 4K
UHD services. For content providers working
customers against newer rivals.
The mobile and IP revolutions no longer describe
in this increasingly competitive landscape,
The recent first UHD broadcast of the ‘El Clasico’
an ecosystem of the future. Video consumption
understanding the impact of these technologies
game between Real Madrid and Barcelona was
is already booming; high-quality services
has never been more important.
as an exciting demonstration of how 4K live sports
and convenience are crucial in maintaining
can be delivered to consumers using infrastructure
this generation of viewer’s engagement and
technologies in reducing video delivery costs and
that is already laid out. New solutions using novel
loyalty. New initiatives, such as the formation of
improving quality are widely accepted. What is
compression technologies, such as V-Nova
the Alliance for Open Media in 2015, founded by
less commonly understood is the
PERSEUS in this instance, were used to contribute
Amazon, Google, Netflix and others, reflect the
extent of savings that new compression
visually lossless 4K/UHD content from the stadium to
industry requirement for increases in compression
technologies can enable. By rewriting the
the studio over existing 1Gbps telco circuits, which
efficiency beyond the roadmap of HEVC. It is
rules that previous codecs relied upon, the delivery
are also used to deliver the multi-feed HD services.
vital to translate these requirements into solutions
of 4K/UHD is now an economic reality, with
The upgrade only required the deployment of
that support the deployment of new consumer
products and solutions available across
encoding and decoding products (P.Link 4K) that
TV services. Solutions that can leverage next
the media delivery ecosystem.
leverage this technology. The availability of these
generation codecs are now available and
products off-the-shelf meant that the solution was
already proving extremely important in enabling
compete with the OTT providers that have already
tested, trialled and deployed in weeks. 4K/UHD
providers to offer advanced video services
launched 4K/UHD services. A 2015 survey by Frank
delivery is an invaluable viewer proposition for live
that win viewers and new revenues. This way,
N Magid found that nine out of ten sports fans
sports broadcasters. Against the background of
providers big and small, are benefiting from the
still watch sports through a TV set, demonstrating
substantial challenges in matching OTT 4K delivery,
economic advantages provided by advanced
that top quality live sport is one of the main
this progression is a real boost for the industry.
compression technologies. n
The benefits of efficient compression
Live sport remains key for broadcasters to
40 42 TVBE Mar16 Feature_FINAL.indd 54
19/02/2016 17:20
new tvbe template remade.indd 1
18/02/2016 17:44
42 TVBEurope
www.tvbeurope.com March 2016
Feature How compression technology is changing the delivery options for UHD content By Matthew Goldman, senior vice president technology, TV and media strategy, Ericsson
T
oday’s television landscape is now defined
services. The combination of HDR, WCG and
by the unique demands of a diverse
10-bit sampling, which the television industry is
consumer audience. Content providers
increasingly referring to as ‘HDR+’, potentially
are concentrating on seamlessly delivering
represents the most significant innovation in the
video content across a variety of different
television viewing experience since colour was
platforms, with each offering providing a flexible,
introduced. The image can be so realistic that
dynamic and personalised user experience,
it appears to pop out of the screen itself, and
through a network optimised for video delivery.
significantly, its impact is not so dependent
Nevertheless, at the heart of all of this, is the
on viewing distance, in contrast to viewing
need to deliver content of the very highest
4K higher picture resolution.
quality. Enhancing the level of detail, colour and
HDR+ can be adopted across multiple
depth of image is a fundamental requirement
platforms and offers ‘the best bang for the bit’
in the television viewing experience. As new
so to speak because the improvements can be
technologies emerge, consumers want the
realised without much increase in the bandwidth
physical experience of immersion that features
over conventional TV services (ie, standard
such as Ultra High Definition (UHD) content
dynamic range with narrow colour gamut)
and larger screens enable.
of the same picture resolution. Increasing
Although the vast majority of television viewers
picture resolution from HD to 4K requires a
have not experienced UHD content, mounting
substantial increase in bandwidth. These
consumer demand for high quality video
enhancements will deliver an exciting and
has helped generate huge investment in this
visually captivating experience to the consumer,
area. UHDTV represents an all-encompassing
fulfilling the early promise of UHD-1 Phase 1.
immersive viewing experience that puts the much more realistic experience akin to looking
Overcoming bandwidth constraints
through a window, rather than a scene on the
The new High Efficiency Video Coding (HEVC)
screen of a conventional television.
technology is a critical factor in overcoming a
viewer at the heart of the action, enabling a
number of economic and technical bandwidth
The importance of ‘HDR+’ for UHD-1 Phase 2 services
constraints of direct-to-consumer networks, a
First generation 4K or UHD TV (which the industry
delivery to the home and to mobile devices.
refers to as UHD-1 Phase 1) sets have been in
Its place as the encoding standard of choice
the marketplace for the last one to two years.
for delivery to the home for all formats beyond
They offer four times the pixel density of HD at 3840x2160 pixels, which has the potential to greatly improve the picture quality. However, they are unable to offer the immersive enhancements that consumers are demanding. Now, by using very high performing compression technology, combining 4K resolution with High Dynamic Range (HDR), Wide Colour
crucial development in enabling UHD content
“As new technologies emerge, consumers want the physical experience of immersion that features such as UHD content and larger screens enable” Matthew Goldman
Gamut (WCG), and deeper sample bit depths,
existing HD is obvious, as 4K UHD greatly impacts the bitrate needed. The HEVC codec itself combines a range of advanced coding tools which deliver superior compression efficiency over those of previous video codecs, up to 50 per cent more efficient or half the required bitrate of MPEG-4 AVC. For 4K UHDTV, the bitrate reduction may even exceed 50 per cent.
service providers can deliver a higher quality
Ultimately, the decision maker will be the
picture as part of the next generation of 4K
with detail in brighter areas, delivering a far more
consumer. By enhancing the realism of live TV,
UHDTV, known as UHD-1 Phase 2.
realistic and valuable enhancement for content
the television industry can deliver a viewing
such as live sports. For instance, viewers can now
experience that will make TV viewers feel closer
combination of deeper blacks and higher peak
watch the flight of a ball during a football match
to the content on screen than ever before. This
whites) than current TV systems, which viewers
with greater clarity and detail in the picture,
is the perpetual opportunity for content owners
realise as more realistic images. The human visual
even if half the stadium is in shadow and the
and TV service providers; by delighting the TV
system interprets contrast as greater sharpness or
other half is exposed to bright sunshine.
consumer every day with addictive, immersive
HDR provides higher contrast levels (the
higher resolution. This enables the viewer to see the greater detail in dark areas simultaneously
40 42 TVBE Mar16 Feature_FINAL.indd 56
There are a number of enhancements in development within the UHD-1 Phase 2
content, the television experience will be so great, viewers will never want to leave. n
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44 TVBEurope
www.tvbeurope.com March 2016
Feature
UHD 4K: The tools of the trade With UHD/4K now being adopted by a large number of organisations, there is an increasing need for the appropriate test equipment to support manufacturing, commissioning and the day to day running of any UHD/4K equipment installation. Alan Wheable FISTC, MITOL, senior technical author at Omnitek examines the tools of the trade
A
lthough buying test and measurement
Eye Pattern display, jitter meters, jitter histogram
HDMI or DisplayPort monitor also provides
equipment isn’t on the top of most
and jitter frequency spectrum instruments.
a high level of confidence that all is well.
quite difficult to manufacture, test, integrate
Picture monitor
Audio meters
or operate new technology if you don’t have
Picture monitors can give confidence that
Audio meters have always given confidence
the right tools for the job with the appropriate
video is present and correct, however if
that the audio is present, at the correct levels
interfaces (SDI, HDMI or IP). The needs of
the resolution is not high enough and the
and is on the correct channels. In the new
manufacturers, testers, integrators and operators
screen size is not big enough they can mask
UHD/4K world there is the potential for a large
are different, but there is a set of well-established
underlying issues.
number of audio channels on each physical
people’s shopping lists, it can be
tools of the trade that is needed by all.
For UHD/4K material, the Picture monitor
link. Here audio meters allow you to check that
can be the first place to spot things wrong with
the audio channels are correctly assigned when
Physical layer analysis tools
square division (SQ) and sample interleave (2SI)
converting between physical interfaces.
Physical layer analysis of the actual analogue
image construction. The native UHD resolution
signal is essential for manufacturers, installers and
is 3840x2160 (4096x2160 for 4K) and low
infrastructure engineers to ensure that the SDI
resolution displays (such as 1024×768, 6.5-inch;
Video, audio and ancillary status displays
signal quality, whether it be HD, 3G, 6G or 12G,
or 1920x1080, 9-inch screens) may hide errors
Video, audio and ancillary status displays give
is a as good as possible and that jitter is within
and artefacts. Having the ability to view the
confidence that the data structure is correct
specified limits. Tools include auto-measuring
picture at native resolution on an external
as they can show the quality of the data
44 45 TVBE Mar16 Omnitek FeatureFINAL3.indd 54
22/02/2016 10:55
TVBEurope 45
March 2016 www.tvbeurope.com
Feature structure by reporting sync word errors and
be replaced by BT 2020 which extends the
image is constructed correctly. This can be
metadata packet CRC errors. These are the
viewable palette of colours and improves
especially difficult when checking conversions
ultimate indicators of link quality as errors start
dynamic range. The correct conversion
between different physical interfaces and
to occur immediately if signal jitter is too high
between these two colour spaces will be an
between encoding methods. The only way
or cable lengths are too long.
area of concern and will need checking
to ensure that the right source video data
wherever the conversion takes place.
sample is ending up in the right place in the
Gamut meters
The importance of waveform monitors in
destination is to have data and cable views
Checking that colour component levels
UHD/4K content creation and distribution has
that allow individual pixel values to be traced
are within legal limits is essential when any
been increased by the need to ensure that
to the destination image via whichever physical
image processing, grading or colour space
conversions between different physical interface
interface is being used.
conversion has been performed and whenever
types, encoding methods (SQ and 2SI) and
programme content comes from a range of
colour space conversions (between BT 709
Test pattern and tone generation
different non-professional devices such as
and BT 2020) are correct.
Video test patterns and audio tones have
mobile phones, action or drone cameras.
Waveform monitors need to be of appropriate
always been used to ensure that equipment
native size (or zoomed size) to see any digital
is set up and working correctly. Inserting known
Video timing displays
level issues (for example when converting
test patterns and audio tones into the start
Video timing displays are necessary to ensure
between eight, ten, and 12-bit video), image
of the equipment chain and ensuring that you
that the video at any point in the equipment
construction issues (for example when converting
get the same at the end of the chain. This
chain is correctly timed to the studio reference.
between interface types and encoding
method has worked successfully for HD-SDI
This is essential in installations using quad link
methods) and colour space issues. Although
and 3G-SDI but with UHD/4K, come a range of
3G-SDI (both for SQ and 2SI) and in dual link
some T&M equipment may boast UHD/4K
new link types and a new colour space, that
6G-SDI applications. The timing between studio
waveforms, these are often low resolution
require new test patterns and sequences.
reference and IP interfaces is equally critical.
displays that give a level of comfort and
The interlink tolerances are quite small with
familiarity, but may hide underlying issues.
these types of interface and the correct interlink
Colour bars, multiburst and ramp may show that the static image path is working correctly. However, moving test patterns or sequences
timing makes the difference between a good
Vectorscope displays
are necessary to check for encoding,
picture and a corrupt picture. Video timing
The Vectorscope display is the traditional tool
compression and temporal artefacts in
instruments show the relationship between each
for checking primary colour alignment and
each ink. This is important if existing
input and the studio locking reference. Although
assessment of the actual image ‘colour’. A
infrastructure is being adapted for quad
the video timing display cannot show temporal
significant limitation of the vectorscope is
link 3G-SDI applications. A temporally
image differences between the different links,
that it can only display the YCbCr subset of
changing test pattern sequence will show
the use of a temporal test pattern sequence
the full colour spectrum. Although this basic
up artefacts in the image that would
can be used to immediately identify them.
tool provides a level of usefulness in UHD/4K
otherwise go unnoticed.
applications, other tools such as waveforms and
With UHD/4K comes the potential for
Waveform monitors
gamut charts are required to ensure that the
far more audio channels and the greater
The waveform monitor has traditionally been one
new BT 2020 colour space rendition is correct.
chance of channel configuration issues.
video industry and is used for level alignment,
Data and cable views
between different link types not yet established,
quality control and grading to touch on just a
Even if you have a large enough full resolution
a fully configurable audio test tone generator is
few areas. With UHD/4K at frame rates above
display and are using appropriate test patterns/
a requirement to check the correct levels
60Hz the default colour space (BT 709) will
images, you may not be able to see if the
and channel assignments. n
of the essential tools for anyone working in the
44 45 TVBE Mar16 Omnitek FeatureFINAL3.indd 55
With codes of practice for conversion
22/02/2016 10:55
46 TVBEurope
www.tvbeurope.com March 2016
Data Centre
Is global cord-cutting here to stay? By Guy Bisson, research director, Ampere Analysis
additional economic or political challenges.
new homes. The problem is that growth is driven
Let’s look at the three key trends. Firstly, despite
disproportionally by one market: China. Indeed,
the fall in the third quarter and a marked
among the top ten growth markets, countries
C
seasonality, the number of countries hit with a
that fall into the categories of ‘emerging’ and
ord-cutting: it’s the phrase that strikes
decline in cord-cutting is on a distinctly upward
‘challenging’ feature heavily. Alongside
fear into every pay-TV executive; a
trend. The markets impacted are diverse, ranging
China, India, Russia and Nigeria are seeing the
net decline in pay-TV homes driven by
from Turkey and Poland through to Israel, New
strongest number of net pay-TV additions and
economic pressure or the migration of customers
Zealand, Brazil and Canada. Some, like those
look set to continue to drive growth. There are
to free or alternative entertainment platforms.
in the Middle East and central Europe are
a few surprising additions in the top ten. Thanks
Whether this trend is the result of classic ‘cord-
economically driven. Others, like Spain, are being
to Sky, German was one of the top performers
cutters’: pay-TV customers choosing to leave;
in the third quarter of 2015.
or the so-called ‘cord-nevers’: customers
So, if cord-cutting outside the US is a still small
choosing to not engage from the start, is
but increasingly noticeable trend and if growth
‘Pay-TV grew strongly in the third quarter of 2015, adding more than 12 million new homes’
open to debate. The net effect is the same though; the number of pay-TV homes in the affected market gets smaller. Outside the USA, persistent decline in pay-TV
continues to shift to low value markets, what are the implications for the wider industry? First, let’s be clear: we are not predicting the end of pay-TV as we know it, far from it.
homes is a relatively new phenomenon. And
But with value beginning to be eaten
on the face of it, the performance of the
away, we do expect to see pay-TV operators
global pay-TV business in the third quarter of
continuing to push back on rights costs and
2015 was strong. Overall pay-TV is still growing
channel carriage and fees, particularly of
globally. Further, the number of countries that
impacted by pay-TV platform changes. The
second-tier channels. Conversely, this may in
saw a net decline in pay-TV during the quarter
reason for concern, though, is that the markets
turn lead to an increase in direct-to-consumer
stood at 15, down from 23 in the second quarter
being hit are showing some consistency. Of
launches in markets impacted by either cord-
of the year and 21 in the same quarter a
the 15 markets that fell in the third quarter, 13
cutting or a slow-down in pay-TV growth as
year earlier. So does that mean pay-TV is back
also declined in either the previous quarter
content owners look to make up short-falls.
on track? The answer is not straight-forward.
or the same quarter a year earlier.
Picking the point at which a blip becomes a
The irony is that it may well be Netflix, the
The second trend going the wrong way is
company most often cited as a cause of
directional trend is key to future strategy, and
an increase in the size of the fall in affected
cord-cutting, that will show traditional players
the indicators for the spread of cord-cutting
markets. That means that where declines are
where to look next. Its recent global launch
seem to be pointing in the wrong direction.
happening, they’re getting worse.
proves, even with limited global rights, it
There’s another cause for concern too. There
So now to the good news...kind of. On a
is possible to push the button on a wide
is a noticeable shift in growth markets towards
global basis, pay-TV still grew strongly in the third
geographic roll-out of an OTT channel
low-value emerging markets that bring with them
quarter of 2015 adding more than 12 million
without local teams and costly negotiations. n
Cord-cutting amplitude
Cord-cutting volume (declining markets only) 0
25
# markets declining in quarter
15
10
5
-400 -600 -800 -1,000 -1,200 -1,400 03 2015
02 2015
01 2015
04 2014
03 2014
02 2014
01 2014
04 2013
03 2013
02 2013
Total loss in declining markets (000s)
Total loss in declining markets (000s) Source: Ampere Analysis
46 TVBE Mar16 Data Centre_FINAL2.indd 46
01 2013
03 2015
02 2015
01 2015
04 2014
03 2014
02 2014
01 2014
04 2013
03 2013
-1,600 02 2013
0
01 2013
# markets declining in quarter
-20 20
Source: Ampere Analysis
22/02/2016 10:38
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