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Business, insight and intelligence for the media and entertainment industry
March 2017
ALSO IN THIS ISSUE
è NAB CEO, GORDON SMITH è PROTECTED STREAMING è FORMER IET PRESIDENT, NAOMI CLIMER
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TVBEurope
March 2017 www.tvbeurope.com
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Welcome EDITORIAL Content Director: James McKeown jmckeown@nbmedia.com Editor: Jenny Priestley jpriestley@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Contributors: George Jarrett, Neal Romanek, Philip Stevens Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000 Digital Director: Diane Oliver Human Resources and Office Manager: Lianne Davey Head of Production: Alistair Taylor Managing Director: Mark Burton Designer: Kelly Sambridge kelly@excitingcreative.com US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222 PRINT SUBSCRIPTIONS NewBay Subscriptions: The Emerson Building, 4-8 Emerson Street London - SE1 9DU Email subscriptions@TVBE.co.uk
The first shoots of spring
Business transformation, HDR, and IP are all on the early 2017 agenda
M
arch is upon us,
are reported on in the trade press and shouted
which means,
about at trade shows, there doesn’t appear to
incredibly, that
be a great amount of understanding as to what
we are already hurtling
makes a media company hesitant or enthusiastic
towards the completion of
where IP is concerned.
Q1 2017 and making final
We’ve taken the decision to use this issue to offer
preparations for the pivotal
the first insight into an international market survey
industry gathering on the peripheries
conducted by Snell Advanced Media (SAM) that
of the Mojave at the end of April.
seeks to get to the bottom of these insecurities, and
The year has started with a sense of ‘more of the same’, as discussions continue with regard to the application of enabling technologies such as
NewBay is a member of the Periodical Publishers Association
working towards with full or partial adoption. I also usher you in the direction of Stan Moote’s
HDR and UHD, disruptive ones such as VR and AI,
superb article in this edition, that in premise acts
and the small matter of those pressing systematic
as a lead up to NAB, but in effect sets an insightful
changes on entire broadcast infrastructures. For
and balanced tone around the talking points of
now, we can term the latter ‘transformational’,
the current marketplace. We also speak to – and
although the belief will be that the transforming
hear from – some of the industry’s foremost thought
technology in question, IP, is and will become an
leaders, including Naomi Climer, former president
enabling force for good.
of the IET; Gordon Smith, NAB CEO; WBU’s new
The headaches, concerns, and barriers to more
TVBEurope is published 12 times a year by by NewBay Media Europe Ltd, The Emerson Building, 4th Floor, 4-8 Emerson Street, London SE1 9DU
also understand the sort of timelines companies are
chairman, Simon Fell; Mark Harrison, DPP’s MD; and
widespread IP adoption can vary depending on a
Kyle Ford, Telestream’s new president and COO.
company’s size and scale, their ownership model,
Not a bad roster of authority! Enjoy! n James McKeown
their business model, and much else besides.
Editor-in-Chief
Indeed, despite the industry-wide discussions that
SECTION EDITORS
© Copyright NewBay Media Europe Ltd 2017 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. The contents of TVBE are subject to reproduction in information storage and retrieval systems. Allow eight weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
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Philip Stevens Production and Post editor
Neal Romanek Technology editor
George Jarrett Business editor
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SMART AUDIO Intelligent and complementary audio algorithms that optimize performance for higher efficiency and increased automation
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03 TVBE Mar17 Welcome_FINAL.indd 1
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ill nts w I nde D o S p s rid of re hyb ch ans 81% either a approa ope re e IP u t k f Eur e c r ta o u u r t p s r ra / IP o rrent inf u to c cts. s ean proje of Europ 65% o t % 1 d 7 l pare s wil com erican SDI / IP m id A r f b o a hy on from the release of its Global IP Following take ach. o r p ap Barometer last month, SAM explores how to
March 2017
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TVBEurope
www.tvbeurope.com March 2017
Opinion and Analysis
The future of VR Mark Blair, vice president, EMEA, Brightcove offers his thoughts on the future of virtual reality
A
this same article next year when the predicted
layer would simply open a new array of issues.
breakthrough fails to materialise? The answer
Instead, innovators could look at alternatives
to these questions lies not only in VR’s ability
like sponsorship or product placement as
to overcome its current barriers, but also to
possible routes to monetisation.
face down the competition from other new mongst the standard surge of New
technologies.
Year predictions, the topic of VR got
Similarly, I could also see the development of VR specials as part of SVoD offerings taking off for today’s ‘hero’ shows (like dramas and
Real-life barriers
documentaries), or for sporting and other live
everyone speculating as to whether 2017
Creating fully immersive VR experiences –
events that encourage mass audience viewing
could be the year it truly catches on. VR
especially in a live environment – is both
and participation. Imagine being able to use
continues to steadily build buzz, but hasn’t
time-consuming and expensive. For it not
VR to feel like you are running around a pitch
quite reached the mainstream.
to be prohibitively so, one of the key priorities
during game analysis – I could see consumers
has to be nailing down how to monetise VR.
being willing to pay for that.
a lot of airtime this January, with
With recent high profile projects such as the BBC’s Invisible Cities, which offered a VR tour
With many avenues to pursue – some more
of Rome, and plans for a three part Planet
complex than others – this is a task far easier
playback experience is different to what we’re
Earth II spin-off series available to view in VR,
said than done.
used to with linear or OTT – viewers are having
the signs are certainly looking positive for the
There is still much debate, for example,
The second hurdle is quality. The VR
to acclimatise. Ultimately, this will rely on the
techonology’s ascent into popular culture. But
around the current ad-supported video model.
quality of the content experience – ensuring
just how bright is VR’s future? Will I be writing
Until this is in a better place, adding VR as a
high-definition, smooth playback that viewers
06 07 TVBE mar17 Opinion with tint_FINAL.indd 8
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TVBEurope
March 2017 www.tvbeurope.com
7
Opinion and Analysis can comfortably immerse themselves in. If you
my opinion that 360-degree video will be far
an obvious choice. In this regard, the
take a close look at existing VR content, you’ll
more successful than VR (which will instead
continued evolution of consoles into ‘the new
find that lots of it has lost high definition or
become more niche). With no hardware
set-top box’ – a trend we’re already seeing
has a jerky playback experience This is where
involved, 360-degree video can be delivered
take hold as consumers increasingly use
leaders in the online video industry will have to
direct to the consumer – making it much
them in place of operating their TVs – is vital.
help broadcasters to get it right.
easier to consume in both a live or linear
With consoles acting as an aggregated OTT
environment. So, how do we avoid 360-degree
platform, it becomes much easier for viewers
be issues in the first place, you have to
video becoming the content form of choice;
to switch seamlessly between linear, OTT and
get people to use VR consistently. Here,
how do we convince consumers to wear
(theoretically) VR content channels – retaining
hardware is the third barrier – both in terms
the headsets?
a TV-like experience in which VR viewership
Of course, for quality and monetisation to
of cost and adoption. From a business perspective, providing VR kit to an entire live audience, for example, would be vastly expensive – but so are the individual headsets for any consumer hoping to make a personal purchase (though prices are dropping).
could reap the rewards.
‘While VR remains very much in the experimental stage for now, one thing is for sure: it is here to stay’
There’s also still a perception that VR headsets
Conclusion While VR remains very much in the experimental stage for now, one thing is for sure: it is here to stay. Once the hardware and quality associated barriers are resolved,
are a bit of a gimmick.
and the monetisation model mastered, VR
A gamified delivery
has the potential to grow much quicker than
(or even purchase) goggles-based hardware.
In order for VR content to succeed in the
the industry is currently expecting. As VR
We saw the same with 3D glasses and 3D TVs
mainstream, accessibility must expand to
hardware becomes more affordable and
in the home – limited adoption due to the
platforms where hardware isn’t a barrier –
popularity grows thanks to increasing console
associated hardware requirement. Unless we
games consoles, where VR headsets will
usage, I can see a future for VR in
can move consumers past this sentiment, it’s
soon become a standard accessory, are
the mainstream after all. n
The result is a consumer reluctance to wear
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8 TVBEurope
www.tvbeurope.com March 2017
Opinion and Analysis
Incremental Evolution With potentially hundreds of transmitters,
many: How do we get there, and at what cost?
transposers, repeaters and/or gap fillers
A transition to the cloud eliminates the need for
broadly dispersed throughout an entire
expensive and proprietary hardware. The move
nation, a cloud-based monitoring platform
to COTS platforms to host monitoring and analysis
T
can provide both a deeper understanding
software, an architecture that enables multi-seat,
he large national transmitter networks,
and quicker analysis of QoS and QoE as it
multi-operator use, removes the capital expense
which comprise most over-the-air content
relates to signal performance from
that still haunts many broadcast facilities.
delivery systems in Europe and the Middle
headend to consumer.
monitoring more channels, more data feeds and
Dynamic systems
points will require a broad extension of the
more sites based on the higher density digital
The dynamic and complex nature of monitoring
monitoring architecture. The only way to keep
terrestrial TV (DTT) infrastructure. This includes
DTT networks begins with the standard itself.
costs from exponentially rising with each point is
infrastructure providers who operate terrestrial
There are more than ten million ways to configure
through widely-dispersed virtualised probes.
equipment and lease their services to DTV
the DVB-T2 standard; baffling to think about,
networks covering both commercial and
but a truthful statement. With so many ways to
for data collection across monitoring points will
public channels.
configure and optimise DTT signals, the delivery
deliver the true long-term cost and operational
path from head end to consumer is challenged
benefits for a cloud monitoring transition.
providers are facing license renewals that
by an extraordinary number of factors that can
These begin with remote deployment options,
correspond with DTT transitions. These renewals
adversely affect performance. The scenario
which eliminate travel expenses and onsite
will come with a series of technology and
of signals freezing, stuttering and breaking up,
commissioning, and enable quick relocation to
infrastructure upgrades that will roll out in waves
and then resuming normal playout, accounts
a new server. This latter capability also provides a
over a typical eight to ten year license period.
for nearly 90 per cent of on-air problems today.
benefit for monitoring one-time events like sports
By Ted Korte, chief operating officer, Qligent
East, are faced with the growing challenge of
In Europe, many of these infrastructure
With these renewals and upgrades will come more programme multiplexes, more shared towers, and more shared transmission sites. Keeping these expanding DTT networks highly competitive requires optimal performance, quality, and service availability. Signal monitoring
However, considering the scale of most transmitter networks, the number of monitoring
The use of software-defined, virtualised probes
and live special broadcasts, enabling users to
‘The cost of standing still is far greater than the cost of intelligent transition to a more efficient monitoring platform’
and analysis, and understanding how network-
rent a virtual server or cloud instance, and avoid the labour associated with set up and teardown. Furthermore, these virtual probes are easily networkable with the main servers at master control or a headend-based NOC, for example. Instead of chasing problems that no longer
wide performance affects the consumer
exist, the connected cloud-based architecture
experience, will become an even greater
Reliance on a standalone monitoring box or
provides operators with a detailed platform to
challenge considering the added complexities
solution that focuses on equipment health
collect, analyse and troubleshoot performance
associated with the evolving DTT business. And it
will not catch these problems. Instead, the
issues across the network as they happen. It is,
will clearly take more than simply connecting a
broadcaster or network operator is left chasing
simply put, a better way to cover everything
box to an existing network management system
ghosts, exasperated as they struggle to pinpoint
from monitoring raw transport feeds; reviewing
to tackle the challenge.
the source of the problems – how long they
and analysing video and audio files; pinpointing
were off the air, and the impact on the viewing
trends and isolating performance issues and
Changing times
audience. All the while, their labour costs rise
developing a clear action plan to improve
Broadcasters have gradually embraced
as more resources are put into identifying these
overall performance.
the cloud as a means to produce and
elusive problems.
deliver content. As workflows are virtualised,
The cloud provides a far more efficient process
It would take another thousand words to detail all the possibilities of what an operator
technologies mature and efficiencies become
for collecting information that correlates with
can address, but the takeaway is that the cost
clear, broadcasters are looking to other positions
the performance of the five critical stream layers
of standing still is far greater than the cost of an
in the workflow where the same benefits of
(physical, transport, video, audio and data)
intelligent transition to a more efficient monitoring
working in the cloud can apply. Signal
at multiple points throughout the network. For
platform. The possibilities for a DTT broadcaster
monitoring and analysis is increasingly identified
those that have already transitioned to the
for new monitoring and analysis across emerging
as the next stop.
cloud, there is an immediate improvement in the
business models are far greater. For example,
ability to effectively audit overall performance,
an extension into the similarly signal-dense OTT
infrastructure, limited hardware and reduced
understand potentially troublesome trends, and
world is at the broadcaster’s fingertips once the
capital expense at the core. On the surface, it’s
drill down to pinpoint and address problems like
core virtualised components are in place. Once
certainly an attractive solution for addressing the
silence, black, blockiness and off-air to determine
in the cloud, the only limitations are those set
challenge of monitoring over-the-air DTT networks.
viewer impact. But the question remains for
by the broadcaster. n
Consider the basic benefits of the cloud: lighter
08 TVBE Mar17 Opinion_Qligent_FINAL.indd 10
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10 TVBEurope
www.tvbeurope.com March 2017
Opinion and Analysis
Albert-plus Square The latest in our series of sustainability essays, in conjunction with the BAFTA albert Consortium, comes from EastEnders coordinator, Suzanne Dolan
I
cups and getting recycling bins installed, but the first significant leap was in early 2014 when Workplace took the opportunity to build two
t was in 2009 when Hattie Park and Richard
the site was built in a different era – one when
new stages for EastEnders. BBC sustainability
Smith from BBC Sustainability approached
sustainability and efficiency were not close to the
provided funds to equip them with brand
us at EastEnders to help them test a carbon
heart of the building regulators.
new low-energy lighting.
calculator they had built alongside the Energy Saving Trust. The idea was to collect data from across the production, from light bulbs to paint pots and hotel rooms to mileage, to help ascertain what
EastEnders’ carbon footprint was. At the same time, revolutionary film and television production
The energy savings on these studios have
‘The first big leap was in early 2014 when Workplace took the opportunity to build two new stages for EastEnders’
carbon calculator, albert, was born, which has
kWh per year. Or for those more on my level, it’s a carbon saving (approximately) of one person taking 50 return flights from London to New York. the pay back in terms of the financial savings is
We started making the really small changes,
started, but it certainly wasn’t easy. One of
such as encouraging staff to turn off their
the issues of being based at BBC Elstree is that
monitors after work, eradicating polystyrene
10 12 TVBE MAR17 Opinion_eastenders_v6 JG JMcK.indd 8
it’s given us a saving of approximately 90,000
Although there has been considerable outlay,
now become industry standard. It was then that our Eco-Enders crusade was
been amazing. For any tech geeks out there,
about seven years. albert launched the certification programme in 2014: The ‘diet plan’ for your carbon footprint.
20/02/2017 15:58
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Opinion and Analysis
xx
X
Althoughxxxx EastEnders n has many advantages over
have brought them along on the journey with
We will be replacing tungsten house lights
some programmes because we have been
us. Our caterers are no longer allowed to use
with low energy LEDs, cutting their energy
running for so long and never stop, some systems
polystyrene cups and must provide recycling on
consumption by about 70 per cent and
and processes have been embedded for 30
location, and we now use solar power honey
renovating two galleries to become more
years, so changing culture, in between making
wagons when we can.
energy efficient. We will have mains water
over 200 hours of TV per year, can seem like a tall order. But we’ve never given up. We’ve ridden the rollercoaster of eco-motivation and apathy, and striving for albert certification has really helped focus our efforts. Our biggest injection of enthusiasm came following the carbon literacy course in June 2015.
coolers installed across all studios to
‘We’ve ridden the rollercoaster of ecomotivation and apathy, and striving for albert certification has really helped focus our efforts’
Somewhat reluctantly, a number of HoDs gave
eradicate the use of roughly 50,000 500ml bottles of water per year, saving approximately £9,000 per year. As I spoke about earlier, it is certainly not an easy task changing culture, but when facing challenges, I remind myself of the film that was shown to us at the end of the carbon
up a day out of their busy diaries to attend this
literacy course: a wild and crazy man starts
one-day course. I say reluctantly only because,
We have dramatically reduced our paper usage
dancing alone in a crowd. Initially he looks
as we all know, it’s so difficult to give a whole day
by a about half across scripts, risk assessments
like a bit of an idiot, but then one person joins
over to a course, because when do you then
and our weekly internal gazette and have
him and then another and before long,
pick up that day’s work? And what has carbon
reduced paper usage across all other use by
everyone in the crowd has joined in; and not
literacy got to do with production, right? But
about 20 per cent. This has saved over 1,000
only that, but they are all ‘giving it large’ with
every single person left the day slightly aghast
reams of paper and over £1,750 per year. We
their heart and soul.
at what they’d learned about the urgency of
now use recycled paper and other recycled
climate change, and really understood how
stationary as standard.
I can’t help but feel that production sustainability is a bit like where health and
everyone needs to play their role in taking
We no longer issue rushes on DVD and
responsibility for sustainability, both in their
instead work online using Box, saving 2,500
used to write risk assessments every time an
personal lives and on production. From this, we
DVDs per year as well as all the road transport
actor was required to give someone a gentle
set up a steering group with a representative
associated with sending all these DVD copies
wallop, but now, it is second nature, ingrained
from every EastEnders’ department that meets
around. This is just the beginning. We are proud
in our culture. That’s where sustainability is
quarterly to engage, motivate and share all our
to have just achieved our three star albert
heading. More importantly, that’s where it
sustainability projects and ideas.
certification, but know there are even more
needs to be if we are all to do our bit in taking
ambitious and exciting changes on the horizon
responsibility and preserving the world as we
for the coming year.
know it for our children. n
We have spread the word to our suppliers by requesting their own company eco policies, and
10 12 TVBE MAR17 Opinion_eastenders_v6 JG JMcK.indd 9
safety was around 20 years ago. People never
20/02/2017 15:58
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TVBEurope 15
March 2017 www.tvbeurope.com
Opinion and Analysis
2016: The year broadcasting got a name change By Mark Harrison, managing director, Digital Production Partnership (DPP)
The icon that gets used to denote broadcasting
online, the dark side of the internet came rushing
– the little transmitter with the semi-circular waves
in. Infrastructure: a new commoditised, software
– is a wonderfully telling piece of semiotics.
led, service orientated supply chain is offering
The individual tower of metal sits high on a
huge efficiencies – but also disrupting the
hill, beaming out over the surrounding terrain.
expensive, hardware-heavy, people-dependent
t’s amazing how much you can learn at a
Broadcasting hasn’t just been a one-to-many
technology, operations and finance divisions
trade show without speaking to anyone.
means of sharing media, it’s been a top down
that have been the beating heart of broadcast
I always make a point of taking in the
change process. The evolution of audiovisual
organisations for decades.
I
language of the stand signage. Each individual
content creation and distribution has been
vendor will have carefully chosen the wording;
largely under the control of the broadcasters
but if you look at the aggregate of these
and their specialist suppliers. In global terms,
individual choices, patterns start to emerge.
broadcasting has never been an especially large
It’s like a peek inside the collective unconscious
sector, and that has worked to its advantage in
of an industry.
managing the pace of change.
So what was our industry unconsciously telling
‘Managing quality, complexity and volume is the core skill of broadcasting that will survive any rebadging’
But then along came the internet, with
us in 2016? In the halls of IBC, the message was
its revolution in consumer habits. And that
loud and clear: media is the new broadcast.
revolution is now spreading higher up the hill.
Talent: how can graduates be persuaded to
The language of the stands was about content
Consider some major trends of 2016. UHD will
for a range of sectors, of which TV was just one.
definitely happen, but whereas the roll out of HD
broadcaster over a well funded, tech-
Broadcasting (capital B) was out, and media
was orchestrated by broadcasters, no single part
transforming start-up or online giant?
(small m) was in.
of the value chain can claim to be orchestrating
‘Live-streaming services from YouTube, Facebook, Snapchat are being gobbled up by media-hungry connected consumers’
So, has media just overwritten broadcast?
UHD. Then there’s IP. Much to its credit, the
Far from it. It was broadcasting that put the
broadcast industry has got itself organised to
mass into mass media. Creating high-quality
make this fundamental shift happen as quickly
content, managing it and distributing it to
and smoothly as possible. But ‘quickly’ can still
vast audiences as a constant, dependable
be measured in years. Meanwhile, live streaming
service is enormously complex, and, ironically,
services from YouTube, Facebook, Snapchat and
is only becoming further so with the rise of
so on are being gobbled up by media-hungry
online platforms.
connected consumers. Despite this, as you’ve probably noticed,
choose a cash-strapped, tech-transitioning
Next up is immersive technology: VR, AR and
At times like this an industry finds out about its essence. And managing quality, complexity and
broadcasting has not, in fact, gone away.
360. Broadcasting loves innovation, and so it
volume is the core skill of broadcasting that will
So is this subtle shift in language just a piece
loves immersive tech. But those who will actually
survive any rebadging.
of marketing nonsense? Not at all. It reflects
run with this technology hang out in the part of
a very real shift in the balance of power
the media Venn diagram that overlaps more
anyone will want to put on their trade show
from a world where broadcast called the
with marketing, brand experiences, gaming,
stand. But that’s what broadcasting really is.
shots to one where opportunities now seem
education and training than with TV.
And why, as non-broadcast media grows, it may
to come from a bigger sector: the nonbroadcast media industry.
15 TVBE Mar17 Opinion_v4 JP JG JMcK.indd 10
And now consider the broadcast operation itself. Security: the moment broadcasting went
‘Mass media supply industry’ isn’t a wording
begin to acquire familiar characteristics that will leave the old guard lost for words. n
20/02/2017 11:47
16 TVBEurope
www.tvbeurope.com March 2017
Production and Post
The winds of change Philip Stevens investigates the change of weather at the BBC
The transitional process is currently underway, with
commercial suppliers – for example, numerical
full implementation later in the spring. Howell says
weather prediction model data from the UK
that the decision will mean the BBC can further
Met Office, US National Oceanic and
modernise its weather forecasting by making the
Atmospheric Administration/National Weather
T
most of new technology and science to bring
Service (NOAA/NWS) and European Centre for
he weather may be unpredictable in the
audiences an even better service. “We will see
Medium-Range Weather Forecasts (ECMWF),”
UK, but the BBC will continue to provide the
improvements for the BBC Weather app as well as
explains Dennis Schulze, the company’s chief
best possible information service across TV,
local, national and global broadcasts.”
meteorology officer.
accurate forecast information.
Multiple solutions
headquarters in London assess newly arriving
radio and digital platforms based on timely and That’s according to Liz Howell, head of BBC
He continues, “The forecasters at MeteoGroup’s MeteoGroup was established in 1986 as one of
forecast data from our external suppliers and also
Weather: “We know our viewers, listeners and
the first commercial weather services in Europe,
our own forecasting processes. They also monitor
users expect a high-quality weather service from
and is headquartered in London. UK operations
how the actual weather situation evolves using
the BBC to help make decisions daily, from what
started in 1997 as a joint venture with the Press
observations from weather stations and remote
to wear to what to do,” she says.
Association (PA), which acquired majority shares
sensing techniques like images from satellites
in 2005. In 2014, General Atlantic acquired
and radar sites. The forecaster then prepares
to an end, so over the last year we have
MeteoGroup from PA. Today, the group has a
the briefings for the presenters at our various
been assessing a number of organisations to
local presence in 17 countries, operates in seven
media clients.”
determine which can best shape our weather
languages and provides solutions to media,
coverage for the future. As a result of those
governments and industry.
“Our contract with the Met Office is coming
studies, we have decided that our new partner will be MeteoGroup.”
“MeteoGroup acquires worldwide meteorological data from various public and
MeteoGroup provides services and software solutions to many European broadcasters. As well as Channel 4 in the UK, MeteoGroup also serves ARD and ZDF in Germany, FTV in France, ORF in
MeteoGroup’s jetstream imagery
16 17 TVBE Mar17 Production and Post_v4JPJG JMcK.indd 54
20/02/2017 11:50
TVBEurope 17
March 2017 www.tvbeurope.com
Production and Post Austria, SRF in Switzerland and DR in Denmark.
weather bulletins in multiple studio facilities,
RTL in Germany is one of its biggest privately
we plan to integrate WeatherSuite in each
owned customers, along with RTL Netherland, VTM
production environment and continue with
in Belgium, MTV3 in Finland and TV1,
existing studio installations – which may, of
BFMTV and M6 in France.
course, include Chromakey.”
Visualising the weather
international channels, such as BBC World.
Nils Paschmionka, MeteoGroup’s BBC product
Although there is likely to be different playlist
manager, takes up the story: “One benefit for the
templates prepared for each channel, the
BBC is that we provide meteorological services
toolset and processes will not differ according
and forecast data in combination with the
to geographical differences or formats.
The contract will also cover the corporation’s
visualisation system. In addition to the UK Met Office model data, MeteoGroup will provide
Other outlets
From left to right: MeteoGroup’s Dennis Schulze and Nils Paschmionka
As part of the deal with MeteoGroup, the BBC is
cross-platform weather presentation, which is an
live on air after loading the playlist. However,
mobile platforms. “Of course, exporting weather-
important topic for the BBC.”
WeatherPresenter offers a wide range of tools to
related content to social media is becoming a
tweak presentations and adapt the template to
key tool for communicating with audiences other
the weather story of the day.
than TV. The integration of social media feeds into
multiple forecast models from different providers. Furthermore, we have lots of experience in
The service for the BBC will be built on WeatherSuite, an existing product offering from MeteoGroup. This package can integrate customer design as well as various data sources. “The main application, WeatherPresenter, will be used by all the BBC presenters to create their daily weather bulletins,” says Paschmionka. “MeteoEarth, our worldwide weather presentation module, is optimised for touchscreen use and non-linear presentations.”
planning to update not just TV, but also online and
weather presentations can be of very high value,
“We have lots of experience in crossplatform weather presentation, which is an important topic for the BBC” Nils Paschmionka, MeteoGroup
especially for hyper-local story telling,” states Paschmionka. Howell says the cross-platform approach means audiences will see a more personalised website with clearer and more searchable graphics and more information on screen and on air. “We are already planning to upgrade our app, which has been downloaded around 15.5 million times
All solutions use graphic engines that were
– or roughly once every ten seconds – using
developed by MeteoGroup. Paschmionka says the main difference for viewers will be in
“The presenters will have many different options to
this enhanced data service to bring even more
the advanced storytelling. “Our WeatherSuite
arrange their presentation in a way that supports
science and forecasting detail, too.”
solution will enable the presenters to create
their story. This will be made possible by a variety
the best fitting story according to the weather
of different inputs like multiple weather forecasting
Howell assures viewers that some things won’t
situation forecast. We will also extend
models, images and videos generated by viewers,
change. “We know how fond people are of our
WeatherSuite to fulfil the BBC’s additional
live-video integration and touch interactions,”
weather presenters. We have taken steps so the
requirements, and that will create benefits from
states Paschmionka. “WeatherSuite is fully
vast majority of our well known and much loved
future innovations in weather visualisation.”
prepared and optimised for touchscreen use.
presenters will continue to front BBC Weather.”
As far as the back-office preparation is
However, MeteoGroup recommends to only use
Despite the appointment of a new provider,
“One long-term forecast we can make today
concerned, presenters will be able to load the
touchscreen in rare, but important cases to guide
with certainty is that audiences will still be able
most relevant playlist template from an existing
the attention of the viewer to the most relevant
to rely on the BBC for an authoritative weather
library. Technically, it would be possible to go
item in a presentation. And as the BBC produces
service in the years to come.” n
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18 TVBEurope
www.tvbeurope.com March 2017
Production and Post
Lighten up Nick Shapley, managing director, Lights Camera Action (LCA), proposes the questions to ask your supplier when it comes to upgrading lighting technology
T
he first question to be considered when
fixture for both studio and location work, then
contemplating an upgrade in your lighting
it’s worth asking if it can be run on batteries.
system is whether or not the fixture comes
as a bi-colour version, rather than just daylight or tungsten. That’s because fixed studios, or areas with permanent lighting situations, very rarely require a change of CCT. That said, with very flexible studio usage, the ability to change
‘If you are on set where using mains power is restricted, an AC/DC fixture could get you out of a tight situation’
from tungsten to daylight with a small change on the DMX desk gives the end user much more freedom of creativity. Next, you should question whether the fixture can run AC/DC? If you are looking to use the
18 19 20 TVBE Mar17 Production and Post_FINAL.indd 54
The ability to be flexible may not be something you have considered in the past, but with the advancement in technology and the improved
The Cineo Maverick
20/02/2017 12:30
TVBEurope
March 2017 www.tvbeurope.com
19
Production and Post light output, an AC/DC fixture could be a
software options and purchased fixtures to
As a supplier of a wide range of lighting
useful tool in your armoury.
grow with technology.
products, LCA has a dedicated studio
For those using lights for primarily studio
Finally, with so many different products out
where customers can come and test
usage, AC/DC lighting may take up to 70
there to choose from, it is definitely worthwhile
out a wide range of fixtures prior to
per cent of a month, with the other 30 per
requesting a demo in a controlled environment.
committing to buy. n
cent being on location where lightweight, dual-powered AC and DC fixtures become lifesavers. Not only that, if you are on set where using mains power is restricted, an AC/DC fixture could get you out of a tight situation.
‘With the advancement in technology and the improved light output, an AC/DC fixture could be a useful tool in your armoury ’ Here’s another question worth raising. Has the fixture been tested for a TLCI (Television Lighting Consistency Index) rating? CRI (Colour Rendering Index) should not be used as a reference for ‘new technology’ lighting, but end users should always refer to the TLCI rating of lighting. CRI was a measuring system from over 40 years ago, which was mainly used for vision and video; the TLCI is the most valid method at this moment, in terms of getting an accurate reading of new technology lighting. Next, you should consider whether or not the fixture you’re interested in comes with any accessories, or if there are extra accessories available. Due to the advancement of 4K – and possibly 8K in the very near future – the style of lighting is being forced to change to softer lighting set ups. The finer image detail that 4K produces can create amazing pictures, but it can show up imperfections, too. This is very relevant when filming people, and using a soft light helps hide imperfections. Using snap bags, grids and diffusers can soften the light and are far more requested as standard kit.
‘The finer image detail that 4K produces can create amazing pictures, but it can show up imperfections, too’ Is this the latest version, or is an upgrade coming soon? Most fixtures today from the ‘new technology’ lighting products offer ‘future safe’ upgradable options via a USB dongle
Virtual Multi Cam 4K Production This efficient and versatile 4K production processor does it all! Up/down/cross, scaling, multi-display processing and generating 1080p “cut-outs” from an original 4K source. The Datavideo KMU-100 creates a virtual 8-camera HD shoot in minutes, with the use of only two 4K sources. KMU-100 is an advanced video processor that converts an UltraHD video (3840×2160) into four user-defined HD windows, ready to ingest into a switcher. With two independent 4K channels, KMU-100 can generate up-to 8 3G-SDI outputs. The RMC-185 controller makes it easier to use the KMU-100. The integrated joystick allows you to easily pan and zoom anywhere on the 4K signal to select up to four user defined shots per 4K camera. For more information, visit our website www.datavideo.com
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or link to a computer. This allows both your
18 19 20 TVBE Mar17 Production and Post_FINAL.indd 55
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20 TVBEurope
www.tvbeurope.com March 2017
Production and Post
The ins and outs of renting a Virtual Reality camera Shaun Wilton, Shooting Partners director, focuses on the world of VR
T
eight overlapping camera views together to
above the stage provides a less natural, albeit
create a panoramic view, and these ‘stitch
effective, viewpoint. Previewing your panoramic
points’ between can be manipulated to exclude
footage on the shoot is essential to ensure
unwanted elements from the frame. But there’s
that your stitch points and camera positioning
a limit to how much you can cover in this way,
produce the desired effect. Shooting Partners’
here’s a reason why the Nokia OZO looks
so before they arrive on location, teams need to
Nokia OZO kit includes a MacBook Pro with
like it has eyes. Creating immersive VR
plan how they will rig equipment, and where the
Oculus DK2 head mounted display, which allows
and 360-degree videos is all about making
crew will be standing.
directors to preview the output from the camera
the viewer feel like they’re experiencing the content first-hand. And designing the camera to resemble a human head, with two stereoscopic lenses where the eyes would be, and sensors all around, makes it easier to capture a realistic point of view experience.
in real time. A skilled VR technician accompanies
‘Done right, 360-degree videos are the gateway to otherwise unattainable experiences ’
But producing immersive videos isn’t just about
manage the transfer and backup of media from the OZO media modules. Unlike other 360-degree cameras, which generate individual files for each containing all eight camera views, simplifying
Where and how you position the camera will
location, to camera position, your choice of
ultimately determine how realistic or fantastic
lighting and audio equipment, and how you’ll
your viewer’s experience becomes. Placing the
manage your media.
camera at head height in the front
VR shoot locations obviously need to provide
camera and the monitoring software, as well as to
lens, the Nokia OZO outputs a single .OZO file
renting a VR camera. Filming action in 360-degree affects everything; from what makes a good
all OZO hires to set up and operate both the
row seat of a concert will make
a good view all the way around the camera.
viewers feel like they are in the
There are, however, some tricks that can be used
audience, while rigging it
to mask unwanted objects. The OZO stitches
on a zip wire, levitating
data wrangling and post production. Done right, 360-degree videos are the gateway to otherwise unattainable experiences. Doing them right involves careful planning and using professional equipment that can deliver your creative vision. n
OZO: The Nokia OZO camera has eyes in the back of its head
18 19 20 TVBE Mar17 Production and Post_FINAL.indd 56
20/02/2017 12:30
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20/02/2017 16:32
22 TVBEurope
www.tvbeurope.com March 2017
Feature
Engineering with wisdom According to research, technology will have eliminated half the workforce in ten years. Neal Romanek talks with Naomi Climer, former president of the Institute of Engineering and Technology, about the future of work and how diversity feeds tech development What has your experience at the IET been like? I have been on the board of the IET for quite a few years. I was the president for one year until September 2016, and now I will be on the board until September 2017 as immediate past president. It has been a privilege to play a senior role in the IET. It gave me the chance to make a difference and to meet an extraordinary range of people from all over the world from many different disciplines. I’ve been able to learn about other fields of engineering, and to try to influence people – such as politicians or teachers – to care about how engineering could change the world. And of course I’ve tried to champion the need for diversity in engineering. What are the main issues being addressed at the IET right now?
Each year, the IET puts on an activity at IBC to help
between different styles leading to stronger
The IET championed the cause of ‘horizontal
us engage with our members in the broadcast
decision making and so on.
innovation’ throughout 2016. The Horizontal
industry. In September 2016, the IET collaborated
Innovation initiative aims to drive wider transfer of
with IBC for the eighth year running to produce
seems likely that the technical outcomes will be
technology from one sector to another.
a special interest publication, The Best of IET and
stronger from a diverse team of engineers. It’s
IBC. This year is IBC’s 50th year, so we anticipate
increasingly important that technology is designed
stepping up a gear to celebrate this milestone.
and built with end users in mind. Ensuring that the
It is a concept that all kinds of industries could benefit from, and it could give us the answers
Secondly, partly drawing on that research, it
team is representative of the whole spectrum of
to some of our greatest challenges. I’ve seen innovation between broadcasting and other
Most people agree we need more women in
industries that exploit audio/visual technology
STEM fields, as it’s the right thing to do.
such as surgery, security and many other
You won’t be surprised to hear that I think we
interconnected rather than standalone, it is
corporate environments.
need more women in STEM fields. In fact, we
essential that an engineering team not only be
need more diversity generally. There are a couple
able to design and build technology with an
campaign, which launched in March 2015, has
of reasons that I think this is compelling, apart
understanding of the users, but also that they can
continued with several initiatives to encourage
from thinking it would make STEM a better place
build relationships with many connected parties
parents and young people, especially girls, to think
for everyone to work.
and collaborate with them for the lifetime of the
Also, the IET’s ‘Engineer’ a Better World
annual Skills Survey that 91 per cent of companies agreed employers need to provide work experience for those in education or training to improve the supply of engineers and
Also with the way that technology is increasingly
technology. Although each individual has their
about engineering as an exciting and relevant career. In September 2016 the IET reported from its
end users is important.
“AV is so ubiquitous that our industry has the opportunity to bring expertise that benefits a much wider set of users”
own strengths, a diverse team is better equipped to cover the wide range of skills needed to develop connected technology. How do you think crowdsourcing could be used more effectively?
technicians. As a result, the IET launched a new
Looking at how the world is going to change
campaign: ‘Engineering Work Experience for All’ to champion the need for employers and
First, there’s plenty of evidence – McKinsey,
in the future, I’m interested in how our
universities to collaborate in offering quality
Gallup, World Economic Forum, and others – that
hyperconnected society is enabling completely
work experience to engineering students.
companies, and even countries, with better
new models for things, from business models such
diversity achieve better business results. The
as Airbnb and Uber to significant crowd-sourced
universities, government and students to make
reasons the research gives for this include stronger
projects such as Wikipedia.
a range of different, quality work experience
innovation, better ability to connect with the full
opportunities more widespread.
range of potential customer needs, balance
The campaign is designed to rally employers,
22 23 TVBE Mar17 Feature_v3JPJG JMcK.indd 54
Although I’m sure the process would need careful finessing, I can imagine even complex
20/02/2017 12:31
TVBEurope
March 2017 www.tvbeurope.com
23
Feature standards being developed very much as
However, research does suggest that roles with
benefits a much wider set of users. I can imagine
Wikipedia articles are – open to editing by all, peer
creative and interpersonal elements will be
a time where the pure broadcast hardware is
reviewed and continuously evolving. My concern
amongst the last to be automated, so I believe that
minimal; even cameras will eventually just be a lens
about our current standards processes is that they
human creativity will have a place in broadcasting
and image sensor with everything else happening
are quite slow while technology evolution is rapid.
for some time. The broadcast industry in particular
in the standard IT infrastructure.
As an industry, I think we have a great track
will be struggling to make meaningful sense of
record of collaborating between companies and
all the data that they have about content and
Who was really responsible for the Sony hack?
internationally. It’s crowdsourcing but with a select
viewers and turning that data into knowledge
I’m obviously not an official spokesperson for Sony,
‘crowd’! However, our industry is changing and
and ultimately, wisdom. Ensuring that those using
but I think it was pretty well publicised that the Sony
there are many new players who are moving faster
bots and algorithms are using the data in the
hack was perpetrated by North Korea.
than our traditional processes. So I believe that our
most intelligent way will be an important role for
standards activities are ripe for evolution and I hope
engineers and creatives in the future.
to see some of the established standards bodies
I was actually based on the Sony Pictures Lot in California at the time of the hack – it was an extraordinary time. I learned a lot from this
Will the TV industry eventually become a pure
experience. I realised that although many things
“IT” industry? Will broadcast standards be
could have been done technically better to
How will automation and virtualisation change
subsumed entirely into IT standards?
improve resilience against hacking, in reality if a
the media industries and the way we work?
The TV industry has become more IT-based than
well-resourced government decides to hack you,
I’m on a commission about the future of work,
ever. Distribution has been transformed by IT-based
you probably won’t be able to spend enough to
and we’re considering this topic in its widest sense.
methods, and production is following first with file
be 100 per cent secure.
Research on the impact of automation and
based working and IP production.
taking a lead on this.
artificial intelligence suggests that over 50 per cent
However, knowing what you might do if a hack
But even within the pure IT domain, I believe that
does occur can really make a difference to your
of current jobs won’t exist in ten years. In the past,
the world of broadcast will have the opportunity to
recovery. For example, do you know how you’d
technology advances have created more jobs
drive some standards. AV is so ubiquitous that our
contact thousands of staff if you couldn’t do it
than they’ve destroyed, but this may not continue.
industry has the opportunity to bring expertise that
through their work email or your intranet? n
www.asperasoft.com moving the world’s data at maximum speed
22 23 TVBE Mar17 Feature_v3JPJG JMcK.indd 55
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24 TVBEurope
www.tvbeurope.com March 2017
Feature
Exploring new pathways Telestream has brought aboard Kyle Ford as its new president and COO. Neal Romanek learns how the new hire heralds a new approach for the company
T
elestream has appointed a new president and chief operating officer, Kyle Ford, effective immediately.
In the newly created post, Ford will direct the
Telestream hopes that Ford will bring a fresh
the traditional broadcast sector. Telestream
perspective to the company’s go-to-market
had been in discussions with Ford since the
strategy and customer relationships, both
end of last summer.
directly and through the their global channel partner network.
“First and foremost, we already have plenty of insiders at Telestream,” says CEO Dan Castles. “If you need people with 30 years of broadcast
’Ford believes that the future of the industry may not lie with the traditional broadcasters and content providers who have dominated the scene for decades’
tactical implementation of operational strategies
experience, we have a long line of people we can choose from. But recently we’ve launched some live products that go beyond the broadcast and cable market that we’re all familiar with. “We began looking at the depth of the management team. We needed to have a
and will report directly to Telestream CEO Dan
perspective that wasn’t just broadcast – a
Castles. Ford has a background in software and
TVBEurope spoke to Kyle Ford and CEO Castles
software and digital media perspective to be
digital media and has worked with Comcast,
about the new paths Telestream intends to
better able to identify and bring in more of these
AT&T, MediaOne and financial market data
explore and the rapidly changing nature of
other new verticals.”
company Interactive Data, as well as being
broadcast technology – and of what it means
navigator aboard a US Navy cruiser.
to be a broadcaster.
As president and COO, Ford will expand
Ford is careful not to overstate his “outsider” status. “I’m familiar with the industry and I’m not a complete outsider,” he says. “When I was
the company’s market penetration and help
Outside the box
working in digital media, years ago, we were
establish the new live streaming products that
In creating the new position, Dan Castles
trying to figure out how to take content and
Telestream introduced in 2016.
deliberately chose to pick someone from outside
deliver it on all devices.
24 25 TVBE MAR17 telestream Feature_FINAL.indd 54
21/02/2017 10:02
www.tvbeurope.com
TVBEurope Supplements
March 2017
HDR
A game changer The ten things you need to know about high dynamic range
In association with
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21/02/2017 15:43
ii TVBEurope
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Supplement
In association with
High dynamic range Believe the hype Consumers like it, creatives love it and everyone is suddenly talking about it. But is HDR really the next big thing in television imaging? Peter Sykes, strategic technology development manager at Sony Professional Solutions Europe, certainly thinks so
O
f all the next generation imaging
This wave of enthusiasm has certainly not
technologies being tweeted right now,
gone unnoticed. Broadcasters and Internet
high dynamic range (HDR) is the
streaming service providers alike are
step-change in television quality that is
embracing HDR. Netflix and Amazon Prime
considered most likely to provide viewers with
already create and stream content with HDR
the ‘wow’ factor.
and, with industry-wide standards for production
Increased resolution and higher frame rates
and delivery to the home being approved,
are certainly important but the deeper blacks,
broadcasters are continuing to conduct
brighter highlights and richer colours afforded
numerous real-world trials. At the same time, HDR
by HDR adds increased realism to moving
televisions are starting to hit a price point that
images and helps to make content significantly
makes them a viable option for the home.
more immersive. Contrary to what you might read elsewhere,
Combined, these factors point to one thing: HDR is on the cusp of going mainstream. But this
however, HDR is not about making TV pictures
is not an entirely straightforward shift. Moving
brighter. What HDR does is take advantage of
from standard to high dynamic range, especially
a modern television set’s ability to show pictures
within live production, is a challenge.
with a greater contrast between the blackest
Fortunately, Sony has been working with
blacks and the whitest whites. It uses that extra
HDR for some time, providing expertise and
dynamic range to present an image that is
technology for non real-time production and
more detailed. The result is more natural
now aiding broadcaster trials for live TV. We’ve
looking pictures.
already learnt a lot and we are happy to share
Content creators certainly love the additional artistic freedom that HDR
our findings with the wider industry. We know that not all the pieces of the jigsaw
offers but are consumers interested? Yes,
are quite in place yet but they are very, very
I believe they are.
close. It is certainly possible to start producing
When you show a TV viewer an HDR image
content with HDR right now with minimal impact
side-by-side with a standard dynamic range
on costs and only subtle changes to existing
picture, more often than not, they prefer
workflows. We also know that there is a genuine
the HDR version.
desire among all parties to make HDR a success.
You don’t have to take my word for it.
If you’re considering HDR, already working
The Warwick Manufacturing Group (WFG),
with it, or even if you are sceptical, the
an academic department at the University
following pages will hopefully help you to better
of Warwick, has conducted research into HDR
understand the current state of affairs when it
images. Its findings, in a paper called ‘A study
comes to HDR. Maybe it will even inspire you to
on user preference of high dynamic range
start producing content with HDR.
over low dynamic range video’, show that,
Whatever your starting point, Sony can help
based on consultation with 60 participants,
you make the move to HDR, providing expertise,
“given the option, end-users prefer the HDR
training, technology and solutions, becoming a
representation of the scene over its lower
trusted partner in your HDR journey. n
dynamic range counterpart.”
Find out more on www.pro.sony.eu/hdr
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21/02/2017 15:43
What is SR Live for HDR? A key challenge has been the addition of 4K Ultra HD HDR production techniques to the existing HD live production environment while simultaneously maintaining the skill sets and workflows demanded to support the creation of content for the current HD marketplace. Sony has carried out extensive technical research and HDR trials with broadcasters and production companies, which you can read about in our free whitepaper.
Download our free whitepaper at: www.pro.sony.eu/hdr
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Supplement
In association with
The Sony briefing
Ten things you need to know about HDR The move to high dynamic range (HDR) has the potential to be the biggest change to television since the introduction of colour more than 50 years ago. In preparation, here are ten things that you really ought to know about HDR
years and are regularly used on mainstream
1. HDR offers more life-like pictures than standard dynamic range
lowlights and highlights visible at the same time,
of 14+ stops latitude and wide colour gamut, they
HDR can help to provide a representation of
have been used on Tomorrowland, Marco Polo,
It might sound like an obvious thing to say
the world that is closer to that which is seen
Mad Dogs, Mozart in the Jungle and more recently
but high dynamic range (HDR) provides a
by the human eye.
Alice Through the Looking Glass and Billy Lynn’s
movies and TV series, even if the final output isn’t mastered or delivered in HDR. Sony’s F55 and F65 are two examples. Capable
significantly better televisual experience than S
For viewers, this additional realism makes
Long Halftime Walk to name just a few.
standard dynamic range (SDR). And unlike
content appear richer and more immersive
increased resolution, the quality of the HDR
while for content creators, the increased
also two other important cameras: the Sony FS7,
image does not depend on screen size, the
dynamic range provides further artistic choices
which is changing the game for documentary
type of content being watched or the viewing
and the chance to produce ever more
production with its HDR latitude, and the
distance from the display itself. Importantly, it also
compelling TV and films.
Sony HDC-4300, a 4K live system camera with
looks increasingly ‘real’.
When it comes to HDR acquisition, there are
HDR capabilities.
and displayed in the shadows and highlights
2. HDR cameras are already in widespread use
three-sensor system, the HDC-4300 was awarded
within an image. With higher levels of contrast
Digital cameras that are capable of capturing
a Technical Emmy in 2016. Outside broadcast
between the light and dark tones, and both
images with HDR have been around for many
facilities all over the world are adopting the
This is thanks to the extra detail that is captured
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Featuring the world’s first 2/3-inch 4K
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March 2017 www.tvbeurope.com
Supplement HDC-4300 for their Ultra High Definition (UHD) units.
Gamma (HLG). The PQ specification, born out
specification mentioned above, being agnostic
In 2016 Euro Media Group chose HDC-4300s as
of research by Dolby, achieves a wide range of
is important. As such, Sony supports both the
part of a deal for the supply of up to 350 cameras.
brightness levels using a transfer function that is
PQ and HLG options, giving customers a
tuned to match the human visual system. While
choice of either.
3. Grading and client monitors for HDR are readily available
HLG, developed by the broadcasters BBC and NHK, offers a degree of backwards compatibility
RAW or XAVC and then working through to an HDR
One of the early challenges faced by content
with legacy displays by matching the previously
master in S-Log3.
creators wanting to make use of HDR was a lack
established television transfer curves.
of professional monitoring. This has now been
HDR content delivery is covered too. In
For post-production, Sony suggests shooting in
With similar characteristics to scanned film and 4,000% (4,000cd/m²) dynamic range, S-Log3
overcome with the launch of the Sony BVM-X300,
November 2016, the Digital Video Broadcasting
is Sony’s format of choice as it is designed to
a 30-inch Trimaster EL 4K OLED HDR reference
(DVB) group’s Steering Board approved a new
preserve the captured source light efficiently
monitor that can be used for accurate colour
version of its audio-visual coding specification,
and is optimised for production, recording and
grading or quality control. A 55-Inch monitor, the
adding support for HDR. Like the ITU’s
future re-use.
Sony PVM-X550, that can display Quad-view
recommendation for programme making and
Full HD images simultaneously with independent
exchange, it supports both the HLG and PQ
from using Sony’s new X-OCN recording format
picture settings, has also been released.
transfer functions.
which offers equivalent picture quality to RAW but
The final piece of the technology jigsaw was
4. Standards for HDR production, programme exchange and distribution have been agreed
A production-to-post workflow can also benefit
generates files that are up to 60 per cent smaller.
completed in December 2016 when HDMI services. This allows set-top boxes to send HDR
6. More TVs with HDR are coming on to the market
content to HDR-capable TV sets.
The consumer electronics industry has been
extended its 2.0b specification to support HDR
Reassuringly, no one is going it alone when it
quick to embrace the possibilities of HDR television displays. Among the announcements
standard for HDR programme making and
5. Post-production workflows for HDR are proven
programme exchange was formally
One of the many positives about HDR is that it
first 4K OLED TV. Part of the Bravia range, it offers
agreed and announced to
can be manipulated within a typical post
unprecedented black levels, rich and lifelike
the wider industry.
production workflow.
colour, dynamic contrast, blur-less image and a
comes to HDR. In July 2016 the ITU’s BT.2100
BT.2100 recommends two HDR options: Perceptual Quantization (PQ) and Hybrid Log-
i - viii TVBE Mar17 Sony Supplement_V2 JMcK_final2.indd 35
One proven route is to separate production and delivery. For delivery, taking into account the DVB
at this year’s CES show in Las Vegas was Sony’s
wide viewing angle. It will be available later this year in 55-, 65-, and 75-inch sizes.
21/02/2017 15:43
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Supplement
In association with
The Holy See On 20 November 2016, Sony, along with other technology partners, supported Vatican Television Centre (CTV) during its live coverage in 4K HDR of the Ceremony of the Closing of the Holy Door by his Holiness Pope Francis. CTV used 12 HDC-4300 cameras and a Sony HDR S-Log3 system as well as MVS-7000X production switcher and the PWS-4400 replay server system. The HLG profile was used for delivery with distribution taking place via Eutelsat’s HOTBIRD satellites. Globecast provided the satellite uplink using the HEVC compression format while Ericsson, NTT Electronics and Vislink supplied the encoding and decoding equipment. The broadcast was made available on Channel 200 of the Tivùsat free satellite platform. Dario Edoardo Viganò, Prefect of the Secretariat for Communications for the Holy See, says, “This is a state of the art set-up that reflects Pope Francis’ aim to keep up to speed with the rapid developments in global technology, to support the Catholic Church’s communication mission.” 7. Numerous live broadcast trials have been completed
one, have completed live HDR trials at football
8. The first HDR services are going live
Even before industry standards were ratified,
and beach volleyball events. In the UK, BT Sport
The first commercial HDR television service in
broadcasters had started taking a real interest in
has openly acknowledged that it has tested
the world was launched in October 2016 when
HDR. But while post-produced content with HDR is
HDR for live sports.
Japan’s Sky PerfecTV added HDR content to its
relatively straightforward, live production with HDR is still a challenge. As such numerous trials have taken place and some broadcasters have started to openly talk
i - viii TVBE Mar17 Sony Supplement_V2 JMcK_final2.indd 36
about their experiences. Sky Germany, for
Another notable event captured in 4K HDR was the live broadcast of the Ceremony
Ultra HD channels. A number of web streaming services also show
of the Closing of the Holy Door at the
HDR content. Amazon led the way, making HDR
Vatican City (see above).
content available on its Prime Instant Video
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Supplement platform in June 2015. The first title to be released
Sony’s solution to this problem is called SR Live for
technology and expand their network,
with HDR was Mozart in the Jungle, a series that
HDR. It is built around a new convertor unit called
aided by a team of experts. Sony training
was shot on the Sony F55. Since then Amazon
the HDRC-4000 that will launch this Spring.
courses do provide guidance on using Sony
has also released HDR versions of Bosch,
In this proposed workflow, live feeds arrive
systems but they also focus on HDR in general,
Mad Dogs and Man in the High Castle plus
into a 4K HDR S-Log3 domain inside an OB truck
giving course attendees a full and honest insight
various movies.
where they are switched. Then, for the output, the
into how to successfully put in place and manage
HDRC-4000 converts the signal to either PQ or HLG,
HDR-based workflows.
Netflix followed suit in April 2016, kicking off with season one of its original series Marco Polo, again
or to HD. The HDRC-4000 can also be used to up-
From cameras and monitors to end-to-end
shot with the Sony F55. Luke Cage and Narcos
convert any incoming HD feeds to 4K HDR before
workflows and training, if you are considering
followed. The movie streaming service Vudu
they reach the switcher.
adopting HDR for epidodic TV, feature or short film,
also offers titles in HDR and YouTube announced support in November 2016. The BBC has also made content available
As you would expect, Sony provides many of the components required for a live HDR workflow
Sony can help. n
including the HDC-4800 ultra high frame rate
via its iPlayer streaming platform. It successfully
camera system for slow motion replays, the
showed 4K HDR clips from the Planet Earth II
XVS-8000 production switcher and the PWS-4500
wildlife series during December 2016.
4K/IP production server.
9. Live HDR workflows are a real-world, viable option
10. HDR is not just about technology
One of the key considerations when it comes
Sony recognises that an HDR workflow is only
to live production with HDR, ironically, is how
as good as the people that use it, which is
to handle the standard dynamic range (SDR)
where the Digital Motion Picture Centre
feeds. To avoid increasing costs and re-training
Europe (DMPCE) comes in.
technicians, broadcasters are keen to generate
live broadcast trial or a full television service,
Get in touch: www.pro.sony.eu/hdr
Find out more about our free training: https://training.sony-europe.com
A leading destination for filmmakers and
both HDR and SDR images from the same
television producers, visitors to the DMPCE can
production set-up.
develop their craft, work with cutting edge
AMP VISUAL TV
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TVBEurope 25
March 2017 www.tvbeurope.com
Feature We were at the forefront of something that
Ford believes that the future of the industry may
when you start reaching out beyond
has now become the norm.”
not lie entirely with the traditional broadcasters
your wheelhouse, you have to know what
and content providers who have dominated the
you’re doing.
Ford earned a BA in Economics from Stanford University and an MBA in Marketing and Strategic Management from Northwestern University’s
scene for decades.
“Telestream is prepared to serve a number
“There is a democratisation of content
of verticals. And we have to ask ourselves what
Kellogg School of Management. He also served
creation,” he says. “It is individuals creating
we can do for them. What role do we play
as a US Naval Officer for four years with a
content; it is schools, and corporations.
with the telcos, for example? Well, we have a
deployment aboard a Ticonderoga-class cruiser, the USS Vella Gulf. For 18 years, Ford has been a technology executive managing global organisations in software and digital media and has had senior strategy, operations and sales and marketing roles at Comcast, AT&T Broadband and
live-streaming product for that world with our
“A picture is worth a thousand words, and people around the world are embracing video as a mechanism for communicating with each other” Kyle Ford, Telestream
Wirecast and other desktop applications. And that technology has been embraced by other sectors, even healthcare.“ Wirecast has been a great crossover product for Telestream. It allows for easy live webcasting and has been taken up for use in houses of
MediaOne, as well as the start-ups Eventbrite
worship, education, live events and gaming.
and Quantumshift.
With the quality of production and delivery
Most recently, he served as president of
technology improving, these formerly niche
Interactive Data Corporation’s Desktop Business,
Telestream wants to continue to serve the
markets are in a position to compete with
a company that creates software for retail and
customers we know so well, but want to continue
most broadcasters.
institutional traders. Kyle’s experience spans
reaching some new customers.
strategic planning to operational execution with
“And content is being delivered differently
Dan Castles says that the broadcast industry needs better thought leadership
particular emphasis on go-to-market strategies
than it has been historically. Consumers want
in addressing these new competitors and
for new product launches.
to enjoy that content on all kinds of different
the new opportunities provided by
devices. Broadcasters continue to be huge
alternative technologies.
players in this, but there are going to be a lot of other people creating this content too. A picture is worth a thousand words, and people around the world are embracing video as a mechanism for communicating with each other.”
“Within the vendor community, we need to explain more fully how we intend to resolve the challenges that face our customers’ business operations. “We need a dialogue with our customers and with this new management structure we’re well-equipped to provide that,” he said. “In an
Into new markets
uncertain world, we need a strategic long-term
Telestream has a clear view of the expansion
view, sharing with our customers where this
and diversification of video production
evolution in media consumption could lead us,
distribution and intends to be ready to serve
giving all parties time to prepare for what might
those markets as they continue to develop.
be needed. We need to identify more of a
And the nature of that development is
channel strategy and build.”
anything but certain. “When we start to analyse some of the things
Castles notes that the timing of Ford’s arrival,
Castles, “the one thing that becomes clear
just as the industry enters trade show season,
is there has been a fundamental shift in how
means that the new COO is going to hit the
programmes are consumed and viewed.” The appointment of Kyle Ford suggests Telestream is poised
“We’re in a deep dive mode now. Kyle is up to his eyebrows with some these fundamental changes. People are reporting now to him, and
into those new markets,
he’s on it. Going into NAB, there’s nothing more
to confirm. “As you start to reach beyond your usual core competency, you have to start pulling in new
24 25 TVBE MAR17 telestream Feature_FINAL2.indd 55
ground running.
for an aggressive expansion which Castles seems
“There is a democratisation of content creation. It’s individuals creating content; it’s schools and corporations”
Jumping in
we’ve been talking about here,” observes Dan
stressful than being brand new, but it’s flowing really well. Kyle’s arrival couldn’t have been at a better time.” Ford seems ready to not only take on his new post, but to help bring Telestream into a new phase in its development.
expertise,” explains
“I’m meeting the team. I’m getting to know
Castles. “We really
the business. And we’re planning for 2017 and
know well those things
seeing how we can take our products into
we call core, but
these new markets.” n
21/02/2017 11:43
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Feature
Keeping assets secure Philip Stevens takes a closer look at protected streaming
W
ith the threat of content piracy, security of pre-release material has become a priority for broadcasters
and distributors alike. Given that journalists and bloggers are not always available to attend a traditional multimedia screening, and the fact such events can be costly to run, studios need to explore other options for publicising their upcoming content. Traditional DVD screeners are both expensive and timeconsuming to produce and distribute, as well as being unsecure due to the wide availability of software to rip copies. Because of this, services to distribute online screeners are now a major means for the delivery of pre-release content, not only for publicity, but also for international film sales purposes.
‘One major advantage of using an online platform means that each user’s activities can be tracked on the site’
Secure screening helps prevent pirating and unauthorised use of content
Secure environment
in the file, and tracked directly back to the
“The Panther Secure Streaming platform was
source of the leak. Forensic watermarks add
designed to give our clients the peace of
an additional level of security that is resistant
mind that their content can be screened in a
to nearly any transformation of the video in
secure environment, and be accessible only
size, format or resolution. The system can also
During 2016, Warner Bros sued an artist’s agency
by the required recipients. The system uses
lock to an end user’s IP addresses, resulting in
for putting screeners on their in-house Google
email addresses supplied by our clients to
the video not being able to play from any other
Drive account. In the case of media sharing
authenticate the user via a unique password
device, further restricting the ability for an end-
sites such as Google Drive and WeTransfer,
that is generated by the system. Once a
studios strictly forbid any content residing
user logs on to the system, their session is
on these platforms. As such platforms are
tracked, and this also allows us to produce
regraded as unsecure and unencrypted, there
analytics including information based on
Limiting factors
is a very strong potential for accounts to be
the duration of the content viewed.”
Bottrill continues, “One
compromised and content leaked.
Each piece of content screened
user to distribute the content from the system.
major advantage of using
includes a unique burnt-in watermark,
an online platform means
is that they need to publicise films and
normally the name of the person
that each user’s activities
programmes before release to build awareness,
receiving the content. Encryption is
yet they don’t want to risk a leak,” states Neil
utilised to protect the streaming files
Bottrill, digital operations director at DMS. “The
and, in addition, the burnt-in watermark
the number of views a user has
explosion of social media platforms also means
acts as physical deterrent to prevent
to the content, put a time limit
there are more influencers to review content
the end-user distributing
prior to release and, therefore, more people
content. If copies were
who need to see this material.”
distributed, then
“The dilemma for studios and broadcasters
London-based DMS is a digital media agency,
name would
streaming using its Panther Online platform.
be viewable
26 27 TVBE Mar17 Feature_FINAL.indd 54
on viewing content, and most importantly, reports can be
the end-user’s
whose services include distribution and secure
can be tracked on the site. Studios have the option to limit
generated Neil Bottrill, Digital Operations Director at DMS
to see if the user has
20/02/2017 17:16
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27
Feature actually viewed the complete file. DMS’s highly
the utilisation of secure streaming for launches
purposes, ensuring that only their employers
secure site also features password-protected
that require internal and external review by
can view the content. Using a Secure Screening
logins. The next release of Panther Secure
stakeholders prior to public release. The IP lock
system allows delivery of pre-release content to
Streaming will include two-factor authentication,
function allows organisations to stream content
an increasing number of relevant parties, with
one being a code supplied to a mobile device
securely internally for training or approval
the bonus of utmost security and user insight.” n
as an extra level of security.” But, as Bottrill points out, it’s not just AV content that Panther Secure Streaming can handle. “Production notes and poster artwork can also be uploaded and viewed along with relevant metadata, making it the natural secure home for all pre-release content.
‘The IP lock function allows organisations to stream content securely internally for training or approval purposes’ In addition, advanced streaming technology and site development allows Panther Secure Streaming to sit alongside our existing Panther Online system to provide more integrated functionality and an easier and more intuitive
THIS IS
NOT
STATE-OF-THE-ART WIRELESS COMMUNICATION SEE RIEDEL‘S NEXT STEP AT
user experience.” These services are available not only across PC and Mac desktop systems, but also on all Apple devices, including iPad and iPhone.
Complete service When the action movie Deepwater Horizon was premiered in London, another DMS company, Tiger Films, captured red-carpet action and produced a Video News Release (VNR) of the event. The soundbites, B-Roll and VNR were available on Panther Online on the night of the premiere, with key broadcast and online outlets ordering the content, including Associated Press, ITV’s Good Morning Britain, Film And TV Now, ITN, Press Association and STV News. Of course, this service is not just available in the UK. Paris-based ICTV became the first company to use Panther Online to share assets with French journalists. The Entrepôt Cinema in Paris showcased the sixth edition of Les Ecrans de Chine, a European film festival showcasing the best independent Chinese documentaries of the year. Bostrill explains, “Our service is fully localised into multiple languages, and we hosted promotional assets for the festival and the seven full-length feature films. DMS created a press release, localised into French and distributed to our international database.” He continues, “One emerging key commercial application that is emerging is
26 27 TVBE Mar17 Feature_FINAL.indd 55
www.riedel.net
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Business
The benefits of distributed workflows and sharable infrastructure Over at AMWA Labs: George Jarrett salutes a shortterm project designed to resolve issues around implementations in the cloud
D
can be leveraged in the cloud, and where the challenges are, where the best practices are there, and what we as an industry need to agree on in order to successfully interoperate in a cloud environment.”
octor Bunsen Honeydew’s legendary line,
cloud technology, and in order for it to be
“Where the future is being made today,”
well leveraged in the professional media
behind the technology and what can it spawn
applies just as pertinently to the tool
What does it mean to the business imperative
environment, we have to be sure that the
in terms of the NMOS toolbox if it is just a short
AMWA Labs as it does to the doctor’s pioneering
fundamental assumptions we have come to can
exploratory project?
scientific work with his assistant Beaker.
be supported in the cloud.”
Brad Gilmer, the executive director of AMWA, first explains his organisation’s pedigree. “We have always been in a fairly dynamic
There must be a real purpose behind AMWA Labs, and a sure time restraint? “Yes and yes. The real job is to look at the
“The NMOS Group is a long-running project working on specifications from AMWA. AMWA Labs is a fast but important project looking at simply doing the implementation and learning
area of the industry because we have been
work of the JT-NM (Joint Taskforce on Networked
from it, and then using that work to inform the
focused primarily on software, and that has
Media) and really do a fast implementation
longer specification work,” says Gilmer.
been an area of the planet where a lot of
in the cloud based around JT-NM, to see if
change has been taking place,” he says. “Is this
everything works as expected, or if there are
Hanging on additional analytics
the most dynamic, changing of times? Yes it is,
places where the JT-NM approach needs either
Is it time we had plans for a new or updated
but that is only because the world of software
to be modified or clarified for specifically looking
JT-NM report, to reflect progress and identify
generally is just speeding up. The rate of change
at implementations in the cloud,” says Gilmer.
requisite advancements?
is continuing to increase, with no end in sight.
“The AMWA Labs is a short running project,
“Yes. We have been talking about that, and
specifically looking in three areas. These are
AMWA has already planned an assessment of
of this focused project is to look ‘cloud fit’
Discovery, Transport and Compression, and
the JT-NM reference architecture, specifically
for media over IP technology,” he adds.
within those three areas we are also looking
around connection management, and will
“The industry is rapidly moving to adopting
holistically at security, and at how those things
produce an output report,” says Gilmer.
“Our new activity is AMWA Labs: the purpose
Brad Gilmer, executive director, AMWA (inset) and Howard Lukk, standards director, SMPTE
28 29 TVBE Mar17 Business_FINAL.indd 54
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29
Business “We anticipate doing this soon, probably
trials, broadcasters have done an awful lot to
Presently however we are not working on any
after NAB, and we have to take the output of
provide business guidance for these projects,
standards that are specifically ‘cloud’ based.
that work and feed it back to the JT-NM and
and in keeping the industry tightly focused on
Having said that, we are concerned about both
potentially update the reference architecture
moving forward.
Registration and Discovery,” Lukk adds. “There
document. And it may be at the same time we
seems to be a number of standards, SMPTE ones
can take the output from the Labs work.
included, surrounding Registration and Discovery
“If we find there are areas where the JT-NM
and we believe that work at the JT-NM needs
reference architecture needs to be modified to
to be done to identify the ‘gaps’ and potential
make it more cloud fit, it is certainly our intention
areas of harmonisation.”
to take what we learned from the Labs project
Where will the IP bandwagon be when we
and share it with the industry,” he adds.
get to NAB?
Any revisions will be certified by IBC. It hangs
“The JT-NM will be demonstrating
on taking into account additional analytics done
interoperability at NAB specifically around the Felix Poulin, EBU, at IBC
regarding connection management. Another cool aspect of the AMWA Labs project is the support element AMWA Basecamp. “This is a collaborative tool available on the
new SMPTE ST 2110 series of documents,” says Lukk. “This will be an improved demonstration
“Broadcasters more keenly than anyone else
versus what happened at IBC as there has been
feel the need to have new tools at their disposal,
a lot of work done lately on ST 2110.”
internet, and it just helps groups to work together.
that allow them to meet the challenges in the
Felix Poulin, senior project manager of
We have been using Basecamp for quite a while
changing business environment,” says Gilmer.
networked media production with the EBU,
and have just established an area to specifically
“They look for collaborative working within
adds his perspective of where AMWA Labs
support the Labs project. AMWA members and
the industry, and responses from their vendor
has its influences.
indeed anyone from the industry can monitor the
partnerships to meet those business needs.
activity of the Labs,” says Gilmer. “People can
Intuitive graphic interfaces are a big new
the transition to our IP roadmap; it will bring the
sign up and watch the progress of the guys as
development area, but broadcasters are riding
benefit of distributed workflows and sharable
they move forward with the project.”
the software development trend generally, to
infrastructure,” he says. “This step was not yet
come up with tools that allow them to prototype
explored much for interoperable professional
and quickly deliver better user interfaces for
media applications, so it is good to see AMWA
hand-held and other devices.”
take a lead on this.
Registration and Discovery
be the validation of the JT-NM Reference
Director of standards Howard Lukk fed in the
Architecture and/or proposal for improvements. I
SMPTE perspective: industry groups that are
believe this will be considered in due time, when
closely aligned with SMPTE, one being AMWA,
AMWA provides feedback to JT-NM,” he adds.
Gilmer wants to pay tribute to broadcasters, and
help by providing input for SMPTE
“We can see a lot of effort behind getting 2110
the way they are fighting off the endangered
standardisation work.
out in the next few months.
“It is good to see AMWA take a lead on this” Felix Poulin, EBU
species tag: “Whether it be the BBC with its
“Cloud production is the ultimate evolution of
“One outcome of the AMWA Labs might
“SMPTE depends on user groups such as
“NAB will show how advanced we are in terms
stewardship of the NMI (Networked Media
AMWA to flush out technology and provide
of interoperability on 2110. I can only say the
Incubator project), the EBU’s continued
information and specifications,” says Lukk.
motivation is there in the industry to show results.
“SMPTE has been aware of AMWA Labs and
Also, AMWA NMOS will have also added iteration
board, or Fox and its continued support of the
is watching this space. As bandwidth increases
so some good progress on the ‘auto-provisioning’
JT-NM and its active support of interoperability
we see users push more tasks into the cloud.
part of the JT-NM roadmap. n
participation in the JT-NM and the AMWA
28 29 TVBE Mar17 Business_FINAL.indd 55
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30 TVBEurope
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Business
Backing the public service ethos against powerful interest groups George Jarrett talks to new WBU chairman Simon Fell about garnering the power to affect change
“We’re promoting things like digital radio chips in
“The standard will not be written/specified until
smartphones. We’re all broadcasting digital radio
2020. What we’re talking about is the US cable
and you can only receive it on one LG phone
head ends that are looking for that last mile to
which has a DAB receiver,” he adds. “It is crazy. If
rural areas; they look to introduce one of the
they would put the chip in every phone the world
parts of 5G, which is the higher bandwidth. They
W
would have free digital radio, but they would
want to introduce that on the radio links,” he
ith traditional broadcasters under
rather you pay for Spotify or Apple services. It is
adds. “We’re going to see a lot of hype between
threat from giant corporations on
not in the interest of the manufacturers or the
now and 2020: the Winter Olympics in Korea will
the one hand, and journalist-hating
network operators, and governments don’t see
be promoting 5G.”
governments on the other, Simon Fell’s two-year
the case because they see the growth in mobile
tenure as chair of the World Broadcast Union
broadband as beneficial.”
(WBU) will be something more dynamic than the plain honorarium the job has been in the past. The director of the EBU’s technology and
On his appointment, Fell highlighted cyber security and the impact of 5G on broadcasting
The real technology for it comes from the 3GPP standards group, which the EBU has a dialogue with. “We have been submitting broadcast
as two of the big issues that will feature high in
requirements into their standards setting work,
innovation department, Fell discussed his starting
the WBU agenda, and in conversation he added
and we have had good support from the likes of
plan before moving on to the big issues that will
The Internet of Things, the progress with IP to
Qualcomm,” says Fell. “We have been promoting
impact on all eight broadcasting unions that
cloud production, the 4K/8K nexus, and VR.
for a future that must allow for reception of a
comprise the WBU. “The WBU is not that powerful in terms of what
radio or TV service that does not require a SIM
We will see lot of hype
card, in other words, free to air content.”
it does, but I hope to get some policies away
The promise of 5G is another big global matter.
There is an ‘or’ here: the ability to broadcast
that make a difference and get adopted,”
“It’s going to take a long time to come in. The
the same signal over a wide area, say 100 miles,
he explains. “It is important to get the different
EBU was in the US recently talking to broadcasters
and not be limited to something that works within
regions on side, so you can only do it by
about 5G and we got blank looks all round.
100 yards of where you are. It is about replicating
consensus view.
Some said 5G is coming next year,” says Fell.
the broadcast model we know.
30 31 TVBE Mar17 Bus_simonfell_FINAL2.indd 54
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March 2017 www.tvbeurope.com
31
Business “Obviously not every mobile operator wants to
get it right, we could get something that makes
be really difficult and expensive. You need
hear that, but the infrastructure providers that
infrastructure totally flexible.”
to have the VR team following up the main
are working on building the standard can see
Fell was with the EBU Technical Committee
the benefits, and we have been asking for things
on a recent trip to Amazon Web Services and
like the ability to have a signal that is shared
Microsoft Azure.
between network operators,” says Fell.
“The scale of apps that people are putting
crew,” he says.
The threat to journalism The VR story though many times more gigantic
onto Amazon Web Services is now immense. We
than 3D, has too many standards, huge
will be release 16. “There is a definite trend
did a little app for Amazon Alexa, and when you
complexity, but great potential. One of Fell’s
where governments are trying to get behind
do that it is written in LAMBDA code, which can
big concerns is helping broadcasters become
5G because is will be a commercial advantage
call on the resources it requires,” he says. “If you
more athletic.
to industry and commerce. We are just trying
write a piece of code that says take this asset
to ensure that broadcasters are not ignored.
from this folder, convert it to MPEG-4 and put the
OTT subscription services. The model there is to
The mobile guys must understand what the
resultant file back somewhere else, that’s like a
pay a small amount and get exclusive access
broadcaster requirements are,” says Fell.
workflow. You do not have to assign resources.
to a sport say. The trend is away from the big
That is automatic, and that code can be paid for
pay-TV packages on cable, so the big cable
on the 100-millisecond slice.
operators now have to branch out into OTT
The LTE standard commonly known as 5G
“We do not know yet what IoT will be in our industry, but a big part of 5G planning is the IoT and machine to machine communications.
“That shows the huge potential of the cloud
“In the US, what you see is steep growth of the
services to get the customers back, but the rate
We can see an impact in terms of receiving
but it brings certain security aspects with it as
they are getting per subscriber is getting lower
Internet type services in the car,” he adds. “We
well. Amazon said if your infrastructure gets
and lower,” he says.
see now with the Amazon Alexa, the potential of
compromised in some way what you can do
providing access to media. We see radio services
is just dismantle it completely – blow it up and
accessible via a little speaker we can talk to. So
then rebuild it in an automated fashion,” he
broadcasters have to be relevant. In terms of our
adds. “You can just recreate the disc images
production businesses, IoT could be a boon.”
in a different space on completely different IP
He has in mind voice activated remote
numbers, and re-launch. That is one way of being
control, implications for metadata capture
totally ballistic about dealing with security issues.”
in sporting events, and applications for data
Some parts of the WBU are totally behind 8K
“The scale of apps that people are putting onto Amazon Web Services is now immense” “The PBS funding model is constantly being
around athletes. For example, the speed of an
(Japan) while Korea is 4K-minded. Meanwhile
challenged, and yet it does a good job. The
arrow leaving a bow in an archery event. All of
many broadcasters see HD as being good
public service model in Europe is the so-called
that points to apps that augment broadcast and
enough, and they can show you good HD
Eurovision model, free to air broadcasting
VoD feeds: every sport could be instrumented in
upgrades to UHD that require you to be three
providing the backbone service. But in some
that way with new depths of data retrieval.
metres away to not spot the difference.
countries cable is dominant, and in others its is
“What everybody is in agreement on is the
“We’re going to see a lot of hype with 5G between now and 2020”
impact of HDR, so you are going to see HD with
satellite that wins. Then there is DTT.” The many structures lead to the increasing
HDR coming on strong because nobody can
strictures. “The great thing about the broadcast
afford the bandwidth of 4K at the moment. And
unions is that they do try and counter or at least
that makes 8K more questionable,” says Fell.
expose the threat to journalism and the threats
“Everyone wants the bang of the buck that
to democracy, by calling it out when it happens.
HDR gives you now, albeit we need to get on
They try to get behind programmes that provide
Fell moved onto the march of IP: “The big
with it quickly before the standards diverge. It
the right values,” says Fell.
factors remain the timing issues to be resolved.
is largely lining up around HLG being good for
Broadcasters within those eight unions also
We feel that having as much software flexibility
broadcast channels and live, and then the PQ
have to be aware of things like Facebook Live,
as possible gives us the ability to develop apps
curve and HDR 10 being the popular thing in
which may soon see channels offering journalists
we have not even thought of yet. The benefit
Hollywood for pre-recorded content,” he adds.
better money for their stories than broadcasters
to all the broadcasters is that you get a flexible
“It is very hard to get 4K out there unless you are
can afford to pay, or afford to run politically.
infrastructure that is scalable for many years
a big pay operator, like Sky and BT in the UK.”
It is not fake news to add that the WBU
to come,” he said. “You won’t require such
Regarding VR, Fell sees the danger of too
committee has a conference call meeting
dramatic swapping out when you have to
many standards and competing branded
every two months, and gathers at events
do a changeover.”
technologies, not to mention patent disputes.
like IBC and NAB. Its summer technical
On a recent trip to Hollywood he saw a VR
assembly is in Stuttgart in June.
On the 100-millisecond slice
promo for Fifty Shades Darker, and this threw up
Quoting the change from SD to HD, and now
some very good advice.
“We are facing a world now where the consumer electronics companies or the big
the move to UHD, Fell adds: “UHD has stalled in
“It was a seven-minute promo shot from a
gaffer companies are so powerful and have so
a way because you have to change such a lot
scene in the movie. You have to shoot these
much money to invest, they can literally power
of infrastructure. People are looking for the next
things at the same time as the main set is
down the road with a particular technology and
generation and that’s where IP Studio comes
working. If you dismantle the set and the crew
drop it on the market - before a standard is even
into play. As the standards emerge and if we
and you have to put it back together, it will
conceived,” says Fell. n
30 31 TVBE Mar17 Bus_simonfell_FINAL.indd 55
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32 TVBEurope
www.tvbeurope.com March 2017
Technology
In association with
Will linear TV leave the mainstream? What kind of threat do social media and streaming video pose to linear TV? Can the two live side by side, or is linear TV doomed? Niall Duffy of Renegade Thinking investigates
W
e are witnessing demographic shifts
needed content – but high-quality, and well-
producer-broadcasters are content owners
in the age of linear TV viewers, with
produced high-quality content costs money –
rather than just broadcasters.
millennials and younger consuming
which most thematic channel operators did not
But there are threats. This time, social media
more content online, and increasingly mobile;
have. The winners from that deregulation were
coincides with the dramatic fall in the cost of
social media outstripping TV as the primary news
actually the people who were predicted to be
production of technically high quality content.
source; YouTube showing the Champions League
the biggest losers – the producer-broadcasters.
Whilst smartphones and consumer video
and Europa League finals, Twitter streaming
They were the only ones with the talent,
cameras may not meet the UHD (or even HD)
the NFL, and Facebook Live. In particular, the
resources and budgets to produce high-quality
standards of traditional broadcasters, this is not
broadcast industry has gone from seeing social
content. It is only many years later that the
an issue for social media.
media as having only marginal impact to
successful thematic channels could afford to
something far more threatening. This potential
commission originated content.
threat was neatly encapsulated in a recent Royal Television Society (RTS) event ‘Social media muscles in on TV’ where Facebook, Twitter and YouTube appeared on the panel. However, the panel members emphasised that they operate
New formats, such as AR, VR and 360-degrees may be capable of bypassing broadcasters altogether. This enables far greater
‘New formats, such as AR, VR and 360 may bypass broadcasters altogether’
distribution platforms that enable content makers
democratisation of the production market, and the minimum equipment investment for a production company making high quality content has never been lower. Importantly, the route to viewers is no longer bound
to publish their content, and are not content
to broadcasters. But is this good news for
makers themselves, adding that they have
The intent was to broaden the market and
production companies? The growth in demand
already established partnerships with existing
deliver niche segmentation rather than diminish
for content on social media may well fuel
broadcasters, rights and content owners.
the existing players.
demand for their services, but the pressure on
The implication is that social media may
With hundreds of channels, the thematic
offer more opportunities for content owners or
genre-based broadcasting model was an
producers, rather than threaten their existence.
effective means of providing more choice.
cost is also likely to increase, and so yet again they face a world of ‘more for less, please’.
The impact on production was more mixed.
Era of competition
Staying relevant
Programme quotas opened the market for
For broadcast technology vendors, the market
This is not the first time that disruption has
independents, and there was a demand for
for specialist hardware is only going one way –
caused concerns for linear TV broadcasters.
more content, but this was not matched by
down. Whilst not yet a ‘meteorite’ moment, it will
The deregulation of TV in the 1980s and 1990s
an increase in budgets, which were stretched
be essential for traditional broadcast technology
focused on increasing competition through
further. The ‘atomisation’ of production – the
vendors to embrace cloud technologies if they
programme quotas and licensing more
ability for smaller new entrants to compete –
want to stay relevant.
channel capacity.
increased. This was enabled by lower cost, file-
‘For broadcast technology vendors, the market for specialist hardware is only going one way – down’
We are moving inexorably towards a binary
based HD cameras, but it did not radically alter
market in ‘broadcasting’; we will have the
the cost or process for making content.
known high-end world of premium content commissioned by big broadcasters and
Social media
global OTT providers, where production values
So, what will be the impact of social media?
remain high, and technology innovation will be
The first has been to massively increase
expected to drive operational and infrastructure
‘atomisation’ of viewers to the point of
costs down.
The most significant impact came from digital
‘hyper-segmentation’, where it is now
thematic channels. At the time, more TV
affordable to serve segments that are very
and brave new world of atomised markets
capacity was seen as heralding an era of
small. So the first effect may be to generate
and production processes; where it’s all about
competition, greater consumer choice and
even more revenue for existing content
personalisation, mobile, on-demand, produced
where Public Service Broadcasters would no
producers, just as the multi-channel model
by commoditised tools and systems. For those
longer be relevant. Of course, this did not
generated a new wave of revenue in the 80s
willing to adapt and embrace the change, this is
happen in that way. These new channels
and 90s. This reinforces the conclusion that the
a compelling opportunity. n
32 33 TVBE Mar17 Technology_FINAL.indd 54
At the other end, we will have the chaotic
21/02/2017 11:40
TVBEurope 33
March 2017 www.tvbeurope.com
Technology
In association with
Silicon Valley assesses European VR S ilicon Valley-based venture firm, The
Venture Reality Fund (The VR Fund) has released its first-ever European virtual
reality (VR) landscape, which features European companies developing infrastructure, tools and apps for the VR ecosystem. The company released an AR (augmented reality) landscape last autumn. The landscape was created in partnership with LucidWeb, the French VR and webVR consulting agency, to depict the growth in the ecosystem, with the hope of increasing
competitive space with well-funded companies
Companies in VR post production are
investment and is based on research gathered
including CCP Games (Iceland), nDreams
developing 3D tools, which leading US
during meetings and calls with regional VR
(United Kingdom), Resolution Games (Sweden)
software companies have acquired over
providers across Europe. Close to 300 VR start-
and Solfar Studios (Iceland).
the past two years: Google acquired Irish
ups were identified and reviewed, of which 116
More than half of the companies included in
Thrive Audio, Facebook acquired
were selected to be part of the first release of
the landscape are based in United Kingdom,
Scotland-based Two Big Ears, and
the VR Landscape Europe. According to the
France, Germany and Sweden. France is taking
Snapchat acquired London-based Seen/
report, the VR gaming industry remains the most
the lead in VR in continental Europe.
Obvious Engineering. n
On Shot On Air
32 33 TVBE Mar17 Technology_FINAL.indd 55
20/02/2017 15:44
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20/02/2017 16:33
TVBEurope
March 2017 www.tvbeurope.com
35
TVBEverywhere
Pushing the boundaries
LG OLED TV display at CES 2017
By Brian Morris, vice president and general manager, media and entertainment services, Tata Communications
T
he raft of new 4K TVs and devices released
Enabling new viewing experiences
show how far videos from a 360-degree
at CES reinforces how the average viewing
CES gave us an opportunity to look at the
perspective have come in recent years.
experience is becoming ever-more
progress made by enabling technologies such
On top of that, Intel’s 360-degree replay
sophisticated and complex. This is great for
as OTT networks, which can have as major an
technology, which has been used in Major
consumers, who get to see their favourite shows
impact on the viewing experience. For example,
League Baseball (MLB), National Basketball
in better quality than ever before, and see new
low-latency feeds can enable new features,
Association (NBA) and La Liga broadcasts,
content produced for these enhanced mediums
such as super-fast channel changes and greatly
provides viewers with a 360 perspective of
and platforms.
reduced buffering times when streaming content.
the action, allowing them to relive the big
It also represents an exciting opportunity for content producers, distributors and broadcasters to push forward the boundaries of TV. However, it also represents a huge challenge. They’ve gone from delivering TV programming through one method – broadcast TV – to delivering live and
moments of a game through the eyes of the
‘The quality, individuality and intuitiveness of the viewing experience now carries greater influence over the choices of viewers’
on-demand content to mobiles, TVs and laptops
More definition, more data These enhanced viewing experiences all require more bandwidth than 2D TV formats, placing additional data loads on OTT networks.
across fixed networks and mobile, in HD, 4K (and soon in 8K) and HDR.
players on the pitch.
This development means that IP networks, These features are exclusive to OTT content
over which broadcasting are distributing
delivery, and are examples of how technology
their content, just as – if not even more –
to provide the same high-quality experience
is allowing broadcasters to enhance the
important than before.
to viewers. Increasingly, they are coming to
viewing experience using non-traditional
depend on the internet as a delivery method,
distribution methods.
Satellite and cable are no longer enough
as well as investing in ever-more sophisticated
Virtual reality is, for the most part, restricted
While content is still the major differentiator for broadcasters and producers, the quality, individuality and intuitiveness of the viewing
infrastructure, such as new connection points and
to gaming environments and applications,
experience now carries greater influence over
protected fibre paths to handle this demand. This
at least for the time being. There are
the choices of viewers, in a world where the
kind of investment is rapidly becoming the key
technologies on the market, however, which
choice of content is near-infinite.
differentiator for those who produce, distribute
are paving the way for more immersive
and broadcast content. After all, whether
entertainment experiences.
2017 will be a big year for broadcasting tech, in terms of which new technologies will find their
360-degree video is an example of a
place in the TV entertainment domain, and how
to work, or on their 4K TV in the comfort of their
technology that’s already out there and
broadcasters will use technology to inspire more
living rooms, viewers won’t wait around if they
very quicly being perfected. Experiences
innovative ways of bringing content to their
can get something quicker and better elsewhere.
such as those produced by Discovery VR
viewers’ screens. n
watching on their smartphone on the commute
35 TVBE Mar17 TVBEverywhere_FINAL2.indd 32
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36 TVBEurope
www.tvbeurope.com March 2017
Feature
Was 2016 a tipping point for next-gen TV? By Gordon Smith, president and CEO, NAB
watchdog on corrupt government officials and
Yet, despite these successes, broadcasters
shady local businesses.
are not resting on our laurels. We know we
We live and work in the communities we
face stiff competition as viewers increasingly
cover. Somewhere in the US – on each and every
go online to watch their favourite shows or
day – a local TV station is raising funds for a local
turn to smartphones and mobile devices
onumental. Historic. Jaw-dropping.
charity, collecting food or clothing for neighbours
for entertainment or information. That’s why
Those are just a few adjectives that
in need, or devoting free air time to promote
broadcast networks have invested in Hulu and
describe the tsunami-like disruption
education and healthy lifestyles. Being a good
CBS All Access, and it’s why local TV stations
occurring in today’s media delivery landscape.
corporate citizen is in the DNA of the
often host the most populated websites in any
Every day brings a breathless press release
local broadcaster.
given market.
M
announcing a new app, a new IPO and a new OTT service destined to destroy ‘traditional’ TV. Indeed, broadcast TV faces competitive challenges the likes of which our business has never seen. But make no mistake: local TV stations -- in partnership with broadcast networks -- are the King Kong of TV content, delivering
‘The standard use of an IP-based backbone also enables interactivity for consumers, which could also provide broadcasters with new revenue stream’
millions of viewers each and every day as the US’ premier video entertainment option.
Perhaps the broadcast innovation with the most potential to shake up the video landscape is the development of a new broadcast transmission standard. For the past several years, the Advanced Television Systems Committee (ATSC) – a cooperative effort between broadcast, consumer electronics, cable, satellite, motion picture and computer industries – has
And right now, working with the Partnership for
been working on a new IP-based transmission
Drug Free Kids, broadcasters across the US are
standard called ATSC 3.0, also known as next-
entertainment programming, from Modern
running PSAs, airing town hall meetings and using
gen TV. This new transmission standard combines
Family to The Voice. We are the most-reliable
our social media platforms to fight opioid and
the advantages of broadband and broadcast to
source for local news, weather, sports,
heroin addiction, an epidemic that is ravaging so
transform the way we deliver mobile, interactivity
public affairs and emergency information
many communities and families.
and higher quality content – all available to
Broadcast TV remains the most-watched
programming. We are home to over 90 of the
During 2016, local TV stations worked to ensure
consumers for free.
top-100 rated programmes during primetime, as
voters could make informed choices when
well as ‘must-see’ marquee programming such
they went to the polls. Local TV stations aired
just some of the potential advances made
as the Super Bowl, the Oscars and the Olympics.
countless debates between candidates running
possible by next-gen TV. NAB broadcast live
for federal, state and local office. We sponsored
content from the show floor to the pavilion to
that is free and locally based. Local TV stations
voter registration drives to help citizens make
demonstrate the standard’s support of UHD
are in every corner of the country providing a
their voices heard. Broadcasters spent hours
that provides a richer picture quality, HDR that
necessary public service to communities. When
delving into the national and local issues facing
offers a greater accuracy of colours, and Wide
disaster strikes, it is broadcasters who are in the
voters. Our commitment to serving the public
Colour Gamut that shows a broader spectrum of
field with boots on the ground reporting before,
good is a reason the most civically engaged
colours. Because the new standard makes
during and after the disaster. We are devoted
citizens tune into local TV to stay informed about
more efficient use of spectrum, broadcasters
to investigative journalism, serving as a
their communities, according to a recent survey.
could have the chance to offer these features
Broadcast TV is also the only video service
36 37 TVBE Mar17 NABFeature_FINAL.indd 54
At NAB 2016 in April, broadcasters highlighted
20/02/2017 15:51
TVBEurope
March 2017 www.tvbeurope.com
37
Feature on not just their main programming stream, but
broadcast of a major professional sporting event
should move swiftly on our petition. Next-gen TV
also on multicast channels offering a diversity
in next-gen TV – game two of the World Series.
has the potential to save countless lives through
of programming. The standard use of an IP-based backbone
Sports will continue to help lead the charge
advanced emergency alerting features that are
towards widespread option of next-generation
broadcast to not just TVs but also smartphones
also enables interactivity for consumers, which
TV. In South Korea, there is a mandate to
and tablets and other mobile devices. The
could also provide broadcasters with new
broadcast the 2018 Winter Olympics in UHD.
standard allows broadcasters to ‘wake-up’
revenue streams. A viewer might be able to
Korean-based TV manufacturers, including
devices in given areas with emergency alerts
shuffle through different camera angles while
the world’s two biggest in LG and Samsung,
when danger is near. The standard also allows
watching a football game, or even click on an
will be unveiling new TVs equipped with next-
broadcasters to provide multimedia content,
advertisement and be taken to that company’s
generation TV reception next year in anticipation
which could be used during emergencies to send
website where they could shop.
of these broadcasts.
evacuation maps, videos, pictures, and other
Next-gen TV is also designed with built-in
Despite the progress made by broadcasters
content to help keep people out of harm’s way.
native mobility from the very beginning, and
on next-gen TV, we still need action from the FCC.
was engineered to serve devices in motion.
We need the FCC to bless this standard before
remained at the forefront of Americans’ lives
Viewers would be able to access their local
we can begin innovating with it.
because of our high-quality content, community
broadcast channels on their phones, tablets or even in cars and trains.
In April of 2016, NAB partnered with the
For decades, local broadcast television has
service and dedication to keeping viewers
Consumer Technology Association (CTA),
informed about the world around them. That was
America’s Public Television Stations (APTS)
no exception in 2016. Yet, broadcasters know
progress in deploying the new standard. In June,
and the Advanced Warning and Response
that we must continue to push forward with new
Capitol Broadcasting’s WRAL-TV in Raleigh-
Network (AWARN) Alliance to ask the FCC to
and innovative content to keep the attention of
Durham, N.C. became the first commercially
begin the process of allowing local TV stations
the public. A new broadcast standard can help
licensed station to begin broadcasting using the
and TV receiver manufacturers to implement
us achieve our goals. We strongly urge the FCC
new standard. In October, Tribune Broadcasting’s
next-gen TV on a voluntary, market-driven basis.
to join us and help implement next-gen TV to the
WJW-TV in Cleveland delivered the first live
From a public safety perspective alone, the FCC
benefit of all Americans. n
Already we are seeing broadcasters making
EDITORIAL FEATURE THEMES 2017 2017 will see an even greater commitment from TVBEurope to cover more of the pressing areas of concern, challenge, and opportunity within our burgeoning marketplace. Our dedicated team of writers and contributing editors will continue their exclusive coverage of the shifting media and broadcast sector and will this year be bolstered by a new Technology section, run in association with our sister brand, TV Tech Global. More content, more insight, more ways to reach our loyal audience.
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MAY
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• TVBEurope Strategy Week preview • NAB review • Live production: Cricket: The Ashes
• TVBEurope Strategy Week preview • Live production: Rugby: the Lions tour of New Zealand • Lightweight cameras for location work
JULY
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• IBC show issue: thought leadership insight and product showcase • OTT insight • IP: the latest perspectives
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38 TVBEurope
www.tvbeurope.com March 2017
Feature
NAB 2017: we’re all in this together By Stan Moote, chief technology officer, IABM
T
To achieve this successfully, media technology
technology vendors are transforming their
suppliers are also having to change their
business models, but we will be very much
fundamental structure to a service model. You
aware of how this is flowing into their offerings.
can get personally prepared by attending the
Here are a few trends to look out for on the
“New Broadcast Skill Sets” Ennes/SBE–PBS–NPR
show floor and in the conference sessions.
he NAB Show has always been very much
engineering workshop at NAB Las Vegas on
about showcasing the latest technology
Saturday 22 April.
advances – how they can help end-users
Interoperability and standards Interoperability is one of broadcasters and
be more efficient, more creative and do better
Customer first
media companies’ top concerns, according
business. Over recent years, however, there
For many years, we’ve heard about companies
to IABM research. The same research also
has been something of a reversal; technology
that are supposedly ‘customer-led’. This has
reveals that end-users overwhelmingly want
development today is increasingly being driven
now become an absolute necessity. Just as
to build ‘best of breed’ infrastructures using IP,
by end-users’ rapidly changing business models,
broadcasters and media companies are having
and not be locked into a single vendor. That
and what we will see at in Las Vegas this year
to evolve quickly to keep ahead of customers’
means open, common interfaces are essential –
will undoubtedly reflect this.
changing habits, so too are technology
interoperate or be history!
Broadcasters, media companies and post
suppliers. Agility is key in this new world. We
As a result, the NAB Show has a major new
production facilities are fundamentally altering
need no longer wait years for standards to be
feature this year – the IP Showcase, led by a
their operating models to track the ‘content
universally agreed, nor for a new product or
consortium including AES, AIMS, IABM, JT-NM
everywhere on any device’ revolution. The
service to work its way through development
members AMWA, EBU, SMPTE and VSF, as well
vendor community is responding accordingly,
and field trials to maturity. End-users require the
as the Media Networking Alliance (MNA).
and as a result, also changing its own operating
supply community to be as responsive to their
Not only will visitors be able to witness real-life
model. Today, all the talk – and action – is about
changing needs as they have to be to their
interoperability between the products of 30+
business transformation.
viewers’ shifts. Suppliers and end-users now
vendors based on the forthcoming SMPTE 2110
work interactively on standards and technology
standard, they can also take in IABM theatre
advances. We’re all in this together.
presentations about technology advances,
Business transformation is not only about evolving away from a hardware-based offering to developing media-aware software services that will increasingly run in the cloud.
38 39 TVBE IABM Feature_FINAL.indd 54
How will this all manifest itself at NAB 2017? Of course, we won’t overtly see how the
and the practical steps end-users need to take to begin adopting the next generation of
20/02/2017 15:17
TVBEurope 39
March 2017 www.tvbeurope.com
Feature broadcast and media infrastructure. They will
their businesses. Keeping the door firmly shut
Advertising and big data
also learn about the implementation roadmap
on cyber delinquents has become a central
Broadcasters continue to feel the squeeze on
and new workflows that are now practical,
concern for the whole industry.
traditional ‘linear’ advertising revenues and
and receive solid advice about transitioning
are increasingly looking to online platforms to
today from SDI to the benefits of both hybrid
Beyond HD
supplement income. To do this, they’re going
and all-IP infrastructures.
It seems everyone I visit these days has a
to need to get to know their audience an awful
4K/UHD TV set, yet most of the time they are
lot better, which means finding out about their
Moving to the cloud
watching HD at best. It is of course easier to
audiences’ preferences and desires in as much
Having already established itself as the
deliver UHD via VoD services, and a number of
depth as possible. Media companies born in the
destination of choice for a rapidly increasing
players are increasingly shooting and delivering
online space such as Amazon already have a
number of playout providers, production is also
content in UHD.
huge head start, but savvy broadcasters will not
making a rapid switch to the cloud, so you can
UHD (and some UHD-2 as well) acquisition
give up without a fight.
expect to see many emerging cloud production
and production equipment will be ubiquitous
solutions on the show floor. In the media space,
at the show. But for broadcasters to join the
knowledge database about their audiences
cloud-native applications can offer fully flexible
party, a major investment in infrastructure is
and be able to use this Big Data on the fly to
media function virtualisation and the ability to
required – and this is unlikely to happen until
serve their individual viewers with exactly what
configure – and quickly reconfigure – entire
it’s driven by consumer demand. That hasn’t
they want – almost before they even know it. A
automated workflows through the intelligent
occurred yet – largely, I believe, because
visit to the Advanced Advertising pavilion at NAB
orchestration of systems.
while viewers could instantly see the difference
2017 will reward broadcasters looking to exploit
in picture quality between SD and HD, the
the power of Big Data and monetise their
to define exactly what we mean by cloud
difference between HD and UHD is not nearly
online platforms.
playout or production – or any other process
so apparent on home-sized screens.
It’s worth stepping back for a moment here
for that matter. Adapting an existing suite of
My prediction is that when consumers
What’s needed is to build a massive
Media supply chain automation
software to run in the cloud will leverage some
are able to see the step-change in picture
Media publishers often need to create well
of the benefits in terms of being able to rapidly
quality that HDR delivers, this will begin to drive
over 70 separate audio, video and subtitle
spin services up and down at will. However,
the market much faster. In the US, the move
files for a single programme, and the
to gain all the advantages of the cloud,
to ATSC 3.0 may well provide an additional
requirements go well beyond simply
applications need to be written from the ground
lever for this.
supporting multiple languages to catch-up, binge, mobile, tablets – with different versions
up specifically for it – this is the difference between cloud-enabled and cloud-native
Fighting fake news
on some devices. The bottom line is that
applications. One of the key differentiators
We have witnessed the impact that fake news
localisation is not just language/culture
here is microservices, which give cloud-native
can have time and again over the last year or
anymore but also audience demographic/
applications major advantages in terms of
so. Not only on the sites themselves, but also in
device specific. Cost and speed are the
scalability, reaction time, load-balancing and
the way they link to a network of like-minded
major challenges – the need to do more for
resiliency among others.
sites, building momentum to such a level that
less. Here is where media supply chain
it can be difficult for even seasoned news buffs
automation comes in. Keep an eye out for
to sort fact from fiction – even search engine
a growing number of vendors at the show
‘auto-fills’ are sometimes duped into putting
offering cost-effective media supply chain
fake news first.
automation solutions that open the door to
‘Today, all the talk – and action – is about business transformation’
Our industry can play a part in turning this
new generation content creators who are
around. Broadcasters have the skills – and
looking to leverage the internet to reach
staff – to report news accurately. They also
the widest possible audience.
Cyber security
have a reputation (in most cases) for fair
The NAB Show has another new feature this
and unbiased reporting – albeit established
Conclusion
year – the Cyber Security pavilion. The ever-
among an older audience demographic.
I’ve reached my word limit and haven’t even
increasing connection between back-office
What broadcasters must do is establish
mentioned some other key themes for this
and front office systems not only makes media
themselves as a trusted source to today’s
year’s show – VR, AR, drones, post production,
organisations’ business systems vulnerable,
audience that gets its news less and less
lighting, camera sensors, OLEDs – and I have but
but also their media assets. Our industry is
from the TV and more from social media.
brushed past ATSC 3.0 which will be out in full
becoming more and more like a media factory
To do this, they need to be able to acquire,
force. As NAB says in its strapline for this year’s
– measuring and recording all processes via the
package and deliver items to a wide variety
show, “Behaviour and business have merged
back office – and this is the way in for cyber
of platforms and devices at the same speed
to redefine content, workflows and revenue
criminals. In response to these concerns, vendors
as the ‘fakers’. The cloud production solutions
streams.” It really is a connected world today.
are taking cyber security very seriously, and in
I discussed earlier have the capability to do
Cooperation, interoperation and agility are
the pavilion, visitors can learn how to protect
this – backed up by mobile and IP delivery –
the watchwords that will drive our industry’s
their most valuable assets from malicious activity
and broadcasters will be looking hard at these
continued success – it is a transformed business
– programmes, networks, data and, ultimately,
systems on the show floor.
in every way; enjoy the show! n
38 39 TVBE IABM Feature_FINAL.indd 55
20/02/2017 15:17
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Where the entertainment, media and technology industry does business Join over 1,800 exhibitors showcasing the latest technological innovations, 400+ speakers delivering the latest industry insights and 55,000 attendees providing unlimited networking opportunities at IBC’s 50th annual conference and exhibition. Add dates to your diary IBC.org/savethedate Follow us on social media for the latest news and updates #IBCShow
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TVBEurope
March 2017 www.tvbeurope.com
41
Audio
Innovation in post production Jon Schorah, creative director at NUGEN Audio, looks at current trends that are driving innovation in the audio post production landscape
I
ATSC 3.0-equipped TV at CES this year, the technology is set to be a consumer reality in the near future.
Virtual reality
mmersive experiences are the flavour of
(7.1.2 configuration) for use in combination
No discussion about technological trends can
the month in the media world, and audio
with specific objects. Because an object-based
ignore VR. Technological solutions abound and
immersion is leading the way in cinemas.
mix is, in essence, an audio model of infinite
object audio is clearly relevant here; however,
Whether it be Dolby Atmos, Auro 3D, or DTS:X,
resolution, a single mix can be translated to suit
the main interest and research in this area is in
many recent cinematic releases are now
any speaker layout, maintaining backwards
the field of ambisonics.
delivering fully spatial sound experiences to
compatibility with a traditional surround
eager audiences around the world. These
environment and scaling up to the most
in the 3D space and so naturally lend
technologies introduce the final missing
sophisticated systems automatically.
themselves to the responsive world of head-
dimension to the audio experience – height –
Ambisonic recordings are easy to reorient
tracking and VR.
and this revolution is already redefining the way
Personalisation
we think about audio post production.
Object audio is already a daily reality in many
movements in traditional single-perspective
They can also be used to track camera
post production workflows. However, there is
productions, adding to the overall sense of
of addressable speakers for increased audio
another aspect to this technology that may be
immersion. As yet, the mainstream commercial
resolution, allowing specific localisation
the ultimate reason for its wider adoption in TV
applications for these technologies have not
and realism. In a traditional sound-mixing
post production settings: personalisation.
materialised. In the medium-term, this depends
Fully immersive audio utilises greater numbers
environment, this means lots more channels! The problem with this approach is that
Naturally, a personal auditory experience is more satisfying and immersive than a one-size-
as channel counts increase, so does the complexity, leading to an unwieldy mix that does not translate well to different system configurations. Whilst this is manageable for a 5.1 soundtrack that can be effectively downmixed to stereo, the same cannot be said for a 22.2 cinematic release!
on breakthroughs that will bring VR’s myriad possibilities into a focused reality. For today’s sophisticated consumer, audio
‘While swapping multiple channels for vast numbers of objects increases translatability, it does not necessarily lead to a reduction in complexity’
seals the deal. Some of the biggest news stories from the broadcast sphere in recent months have been about audio failing to meet listeners’ high expectations. That’s because audio can make or break our sense of immersion. Planet Earth II, a hugely successful programme with over ten million
Object audio
viewers each week and noted for its stunning
To overcome this ever-increasing complexity,
cinematography, recently drew heated
an all-new paradigm in sound mixing is
fits-all approach. Mixes using objects rather
complaint with regard to its post
required. Object audio bypasses the concept
than fixed channels can allow elements
production sound.
of audio tracks entirely. Instead, the audio
to be exposed to user control. Dialogue,
engineer positions sound at a theoretical point
for instance, can be made available as
shortcomings are complex, it’s clear that
in a three-dimensional space, building a virtual
an individual object, allowing the user to
today’s consumer expects more from the
audio model. There are no prescribed audio
raise or lower the level for intelligibility
listening experience. The resulting opportunities
channels, and translation to the available
and comfort. Different objects can be
should be a source of joy for professional
speaker configuration is handled automatically
activated and deactivated to allow
post production engineers.
in software. This means that the ‘perfect’ model
multiple languages or viewpoints to be
is maintained as the reference mix at all times.
delivered within the same mix.
While swapping multiple channels for vast
This level of control is yet to be realised
Whilst the reasons behind the apparent
Never have top-class skills been in such high demand; however, if we are going to continue to delight our audiences,
numbers of objects increases translatability, it
in the average domestic environment.
it’s clear that audio innovations must
does not necessarily lead to a reduction in
However, with both AC4 and MPEG-H
keep pace with those on the visual side.
complexity. Therefore, the object audio model
codecs being fully capable of supporting
There’s little patience out there for
also includes a 9.1 channel-based ‘bed track’
object formats and LG introducing an
second best! n
41 TVBE Mar17 Audio_FINAL.indd 54
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March 2017 www.tvbeurope.com
Data Centre
Conquering IP in 2017 T
By Robert SzabóRowe, EVP and general manager, live production and infrastructure, SAM
organisations as they lack the necessary
and succeed in a consumer-driven era.
technical in-house skills to transition to IP. The
2017 is set to be a big year for IP and the
barometer revealed that only 28 per cent
IP Barometer helps us understand how it
of Europeans believe they have the skills
can further support customers by greater
needed, while 56 per cent consider they only
investment in both customer and partner
‘partially’ have them. Additionally, the gaps
training and education.
he broadcast industry is undoubtedly
in knowledge and awareness of technologies
moving toward IP, but much uncertainty
such as software defined networking (SDN)
Customer IP Innovation Center that runs at our
remains regarding the best practices,
One of these training schemes is the Global
or software defined video networking (SDVN)
SAM headquarters in Newbury (UK). The Center
knowledge and skills needed to get there. The
were noted as a concern by those who
showcases the latest IP innovations as well as
industry, faced with the reality of a changing
participated in the survey.
SAM’s complete IP portfolio including routers,
environment, is finding it hard to cope whilst
Furthermore, 40 per cent of all respondents
switchers and dedicated IP only processing
under pressure to deliver better quality
said they don’t fully understand the above,
and more engaging content to consumers.
while 56 per cent want to know about their
IP technology today plays a key role in
benefits and disadvantages in managing IP
maximising the efficiency and productivity that
infrastructures. Only 22 per cent said they
Working together towards all-IP solutions
will lead the industry into the future. But what
would bring in specialist consultants to support
The pace of IT innovation and the push for
are the obstacles and how can the industry
the IP transition, whereas 69 per cent of all
open standards to future proof network
overcome them?
respondents currently plan on training existing
investment means that the shift to IP is
staff to bridge the skills gap.
becoming a reality. As a founding member
and control products.
Global IP Barometer
of AIMS and a member of the AMWA, at SAM
At Snell Advanced Media (SAM) we’ve
we work closely with other industry players to
conducted a global survey to address the key questions and concerns surrounding IP. The SAM Global IP Barometer gathers the opinions of nearly 1,000 media professionals from all over the world, including their priorities when it comes to the IP transition. According to the survey, the timelines and business benefits of this transition are amongst
“The success of AIMS shows that competitors can work together to rapidly overcome technology issues” Peter White, IABM
the key concerns for industry professionals
achieve a seamless transition to IP, supporting broader industry adoption and integrating open standards to aid interoperability. Peter White, CEO of IABM, the international trade association for suppliers of broadcast and media technology, says, “SAM’s Global IP Barometer complements our own research findings on broadcast and media companies’ concerns and priorities
alongside the need for training to address the
on the move to IP technology.
large skills gap and the imminent technology
From a technology standpoint, 47 per cent
obstacles being faced.
of respondents declared adopting open
that competing companies and end-users can
One of the key findings of the barometer
White continued: “The success of AIMS shows
standards as the most important consideration
successfully work together to rapidly overcome
refers to the transition timelines and business
for IP infrastructure, which ties directly to the
technology issues in the move towards open,
benefits of IP during the current year. On this
goals of achieving more flexibility, and reduced
all-IP and hybrid solutions to meet current and
topic 64 per cent of European respondents
costs. Another priority noted by 31 per cent of
forward-looking needs.”
declared they would start IP production
respondents in the survey is compromising the
infrastructure projects within the next nine
quality of production, followed by another 27
months, versus 56 per cent of Americans.
per cent ranking the cost of the transition as
Learnings that will shape the future of IP
Furthermore, referring to production workflows,
their number one concern. Adding to
It’s clear that in the last 12 months live
Europeans (54 per cent) responded more
that, 71 per cent of Europeans, in
production IP solutions, in studio and outside
positively than Americans (50 per cent)
comparison to 65 per cent of Americans
broadcasting applications, have moved from
regarding moving towards IP systems within the
will take a hybrid SDI/IP approach to current
discussion points to real-world deployments.
next two years. However, 35 per cent of global
infrastructure projects.
However, many of these deployments are
respondents claimed improved flexibility and
In order to address these market concerns,
raising a common set of challenges that need
reduced cost of infrastructure were of highest
we’ve designed solutions across the
to be overcome in order to successfully meet
importance to them as they drive IP migration.
media production ecosystem that enable
the strict technical requirements implemented
broadcasters, content owners and service
today by broadcasters with existing SDI
providers to evolve their business models
technology. So what has been learnt so far?
The survey also uncovered the need for training and the large skills gap within media
43 45 46 TVBE Data Centre_FINAL.indd 49
20/02/2017 17:02
Drive Visitors to your stand To confirm your position in any of the 2017 editions, contact the sales team now!
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03/02/2017 17:22
TVBEurope
March 2017 www.tvbeurope.com
45
Data Centre Firstly, it’s important to understand the network
the introduction of PTP (SMPTE ST 2059) brings
unified user experience that is familiar and
topology and edge device connectivity
other challenges around its implementation.
consistent is a core requirement. For example,
that is required in the system to build a truly
Finally, it’s key to always be aware that the
sources and destinations should be managed
non-blocking environment. Not all network
control and monitoring layer is a critical
within the same control system regardless if
switches are equal, whether it’s across multiple
component of the system.
they are SDI or IP. Ultimately, we must always
manufacturers or even within a singular manufacturer’s product. Secondly, always remember that legacy broadcast equipment and its associated connectivity needs to be accommodated in most cases. This is really driven by the pace of introduction of native IP edge devices to replace their SDI equivalent models, applying to cameras, replay servers,
provide adequate and accurate system
‘The industry is finding it hard to cope whilst under pressure to deliver better quality and more engaging content to consumers’
graphics, etc.
monitoring of the edge devices and network switches across the system.
What to expect in the future The broadcasting industry will hesitate to make the move to IP until it can see the same level of monitoring, control, reliability and performance as in SDI systems. The
A third learning focuses on the importance
industry is at a crucial point in its evolution
of system wide timing. Black and burst and tri-
Having to remember an IP or multicast address
and it’s of great importance that customers
level sync don’t disappear, legacy broadcast
to route a source to a destination means
and suppliers join forces and advocate the
equipment needs to be accommodated. But
something has failed. Therefore, providing a
use of purely open IP standards. n
Key findings: Technology approach Adopting open standards is the most important consideration for IP infrastructure according to 47% of respondents.
30% 31% of Europeans
of North Americans
The second highest priority in terms of technology is support for multiple IP switch vendors (30%). Of greatest concern is compromising the quality of production with 31% of the votes, followed by 27% ranking the cost of the transition as their number one concern.
81% of respondents will take either a hybrid SDI / IP or pure IP approach to current infrastructure projects. 71% of Europeans compared to 65% of Americans will take a hybrid SDI / IP approach.
43 45 46 TVBE Data Centre_FINAL.indd 50
65% 71%
of North Americans
of Europeans
20/02/2017 17:00
46
TVBEurope
www.tvbeurope.com March 2017
Data Centre Key findings: Transition timelines and business benefit Media companies globally are actively looking to deploy IP across both production infrastructure and workflows in 2017.
64% 56% of Europeans
Starting IP production infrastructure within 9 months?
of North Americans
2 years
9 months
54% 50% of Europeans
of North Americans
Moving to an IP production workflow within the next two years?
35% High Importance 32%
This IP migration is driven by the desire for improved flexibility and reduced cost of infrastructure - 35% of respondents claimed each of these were of highest importance. The number one priority will be migrating media studios to IP infrastructure (35% of respondents), the highest ranked 2nd priority was playout (32%).
Key findings: Skills gap and the need for training The study indicates that media organizations currently do not have all the necessary technical skills available in-house to transition smoothly to IP.
36% 28%
of Europeans
Of North Americans
Just 36% of North American and 28% of European respondents currently have the skills needed, while 47% of North Americans and 56% Europeans say they ‘partially’ have the skills needed.
47% of Europeans
56% Of North Americans
40% of all respondents said they do fully understand SDN/ SDVN, while 56% want to know more about the pros and cons of using SDN/ SDVN in managing IP infrastructures.
69% of all respondents plan on bridging the skills gap by training current staff with just 22% saying they will bring in specialist consultants to support the transition to IP.
43 45 46 TVBE Data Centre_FINAL.indd 51
69%
40%
56%
22%
20/02/2017 17:00
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