www.tvbeurope.com
Business, insight and intelligence for the media and entertainment industry
May 2015
Battleground UK Inside the ‘digital’ General Election
LTE Broadcast MAM Leaders’ Series roundtable Audio for broadcast
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TVBEurope 3
May 2015 www.tvbeurope.com
EDITORIAL Executive Editor - James McKeown jmckeown@nbmedia.com Editor - Melanie Dayasena-Lowe mdayasena-lowe@nbmedia.com Senior Staff Writer - Holly Ashford hashford@nbmedia.com NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002 Contributors - Chris Forrester, David Fox, David Davies, Dick Hobbs, John Ive, George Jarrett, Adrian Pennington, Philip Stevens, Catherine Wright Head of Digital - Tim Frost Human Resources & Office Manager - Lianne Davey Head of Design - Jat Garcha Editorial Production Manager - Dawn Boultwood Senior Production Executive - Alistair Taylor Publisher - Steve Connolly sconnolly@nbmedia.com +44 207 354 6000 Sales Manager - Ben Ewles bewles@nbmedia.com +44 207 354 6000 Account Manager - Richard Carr rcarr@nbmedia.com +44 207 354 6000 Managing Director - Mark Burton US Sales - Michael Mitchell Broadcast Media International, PO Box 44, Greenlawn, New York, NY 11740 mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales - Sho Harihara Sales & Project, Yukari Media Incorporated sho@yukarimedia.com +81 6 4790 2222 Fax: +81 6 4793 0800
Welcome
What’s in a name, broadly speaking? Are we too quick to consign ‘broadcast’ to the past? NAB will be heralded as another year-on-year
‘broadcast’ is losing its
success, with official delegate numbers reportedly
credibility in our sector
pestering the 100,000 mark; with exhibitors
because our mechanisms of
making the most of this annual international
delivery have changed. But
platform to deliver their key messaging; and with
if ‘broadcast’ is defined as
certain editorial figures discovering a newfound
‘the distribution of content
intolerance of air conditioning and an aversion to
to a dispersed audience
desert sunlight (and biblical dust storms).
via any electronic mass
The secret NAB has managed to keep within its
communications medium’ – be that over-the-air,
guard – much like IBC before it, and I dare to suggest
under-the-ground or over-the-top – then why the
it will retain this year as well – is some instruction on
rush to consign it to the past?
what, exactly, we are calling ourselves these days.
In any case, in our commitment to do so,
There are several, diverse trains of thought out
we have yet to accurately fill the void with a
there as to the perceived essence of the market
replacement that holds a common consensus. It is
Circulation NewBay Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK
we now operate in: the media and entertainment
something we will be discussing at our TVBEurope
industry; the electronic media and content
2020 conference on 30 June, but in the meantime:
Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
industry; the content media sector; the connected
answers on an electronic postcard, please.
TV everything and everywhere and everyone… market. Poor old broadcast isn’t getting a look in. My worry is that the nub of the whole discussion
Onto this issue, and there’s plenty to get stuck into. Coverage of May’s General Election in the UK promises to be the ‘most digital’ yet, with
TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London, N1 8LN, England
is getting lost in the immediacy of change, and
user engagement and measurement of social
the impatience of market acceleration. We rush
interactions high on the agenda, and augmented
NewBay Media is a member of the Periodical Publishers Association
to evolve because that is the natural form of
reality solutions on hand to bring a visual context
development: to ‘improve’; to move on from
to the results.
prototype. We rush because it is demanded of us
Elsewhere, we explore the business model behind
© NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free.
from the end user.
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don’t get me wrong, but are we being too quick to dismiss the pillars that define our heritage in
James McKeown
Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA
the pursuit of sounding up-to-date? The term
Executive Editor
We are in the grip of tremendous change,
LTE Broadcast, get the latest on bespoke music libraries and reflect on the launch of our MAM Leaders’ Series, in association with Avid.
4 TVBEurope
www.tvbeurope.com May 2015
In this issue
MAM debate opens in the clouds
12 Covering the counts On the 60th anniversary of election results programming, Philip Stevens looks behind the massive operation involved in this year’s UK General Election, described as the most digital election yet, including televised debates
21
TVBEurope and Avid launched a new thought leadership initiative at the Shard in March, as authorities from across the industry tackled the steep ascent for the first MAM Leaders’ Series roundtable event
6-8 Opinion and Analysis
32 TVBEverywhere
The latest insight from our MAM Leaders’ Series, in association with Avid, comes from Bartosz Paprocki, CTO of Telewizja Polsat SA
An exchange of experiences: Heather McLean reports from this year’s Mobile World Congress in Barcelona
26 What’s the score with audio for broadcast?
Workflow
17
Is LTE Broadcast a technology in search of a business model? Adrian Pennington explores the finer details to find the business case
Our audio for broadcast focus looks into the world of bespoke music libraries, licensing, and how demand for synchronised music and audio is changing amongst the broadcast media community
30 A world of apps
40 Data Centre
George Jarrett reports from this year’s DVB World in Copenhagen, where TVBAwards Lifetime Achievement recipient David Wood was on hand to spell out the current issues
We are experiencing the “most exciting time in the TV media industry”, according to Thorsten Sauer, Ericsson’s head of broadcast and media services, as he outlined the findings of the company’s Global Insights 2015
6 TVBEurope
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Opinion and Analysis
MAM Leaders’ Series blog Bartosz Paprocki, Telewizja Polsat SA Measuring the return on MAM investment, by Bartosz Paprocki, CTO, Telewizja Polsat SA
A
fter a number of years observing the market, we were able to get a true perspective of the solutions that work
well, and those which will naturally disappear. We were slightly late to the table, but in 2011, we decided to start the investment process
brings the greatest benefits of an operational
There are still new solutions and new
to purchase a MAM system. The decision to
nature. Today, due to time and flexibility of
technologies out there that can have a major
invest in Avid Interplay was made by Polsat’s
operations, it is a necessity to manipulate
impact on the optimisation of the system.
Tender Committee, which examined, in detail,
files instead of tapes. The mere fact that it is
the seven other proposed systems. The key
possible to start editing material while it is still
What MAM means to Polsat
factors behind choosing Avid were the cost of
being recorded in the studio and to describe
MAM is a platform that organises the flow of files
investment, and the degree of integration with
the content and data while being rendered,
(programmes and movies), both from our station
the station’s existing production systems. Also,
considerably speeds up the operation in a way
and from outside, to and from domestic and foreign
its deep integration of PAM and MAM systems
that was not possible with tapes.
customers. It is the central management system for
The competition’s coming. We can help you stay ahead.
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8 TVBEurope
www.tvbeurope.com May 2015
Opinion and Analysis production processes working with multichannel playout. The most critical task for our MAM system is to maintain the database of archived files as well as the automatic uploading of files from a digital archive to three distribution points: to Polsat for linear playouts; to Cyfrowy Polsat for VoD playouts; and to Ipla for IP streaming. For these reasons, the system must work reliably and have a constant efficiency of actions, 24/7/365. To meet this requirement, the system must be constantly monitored and any necessary action must be taken as soon as possible (this task is performed by engineers from the There have been many positives since we
Measuring the return on investment
implemented our current MAM system. The first is
Following the implementation of our MAM system,
services agreements with the manufacturers,
that it took only 18 months following deployment
we were able to measure a significant reduction in
in case of any significant problems in the
for all of the inefficient work processes that were
costs associated with tape technology. These relate
implemented processes and workflows, or
previously based on tape exchange, to be
to the elimination of HD video recorder purchase
problems with the MAM database.
eliminated. However, the biggest positive changes
costs for TV studios; the reduced load on quality
are in pre-release screening, technical inspection
control (tapes were previously checked before
Valuing the investment in MAM systems
and multichannel playout. Of particular note is
each use, whereas the file is checked only once
Polsat’s MAM system is an essential component
how our processes have been revolutionised from
before entering the digital archive); the elimination
of our tapeless production and playout systems,
the manual delivery of material on tapes, to a fully
of purchase and shipping costs in transferring
which are based on a digital archive. MAM serves
automatic process of transferring files from a digital
video tapes from foreign distributors; reduced costs
as an integration platform for all production areas,
archive and the different production systems.
associated with physical tape archives (manual
which include, among others: two Avid Interplay
Already, the number of files delivered to playouts on
movement between different departments); lower
PAM systems for the post production of news
a daily basis exceeds one thousand.
VCR operating costs; the elimination of labour costs
internal ITTV team). It is also necessary to have appropriate support
and programmes; Apple FCP/Quantum StorNext
Importantly, the whole philosophy of what
for playout ingest; and much more.
for the post production of sport; an Aveco Astra
MAM means, and how it integrates within our
multichannel playout system; TV studios with GVG
infrastructure, has also been enhanced. This means
the return on investment, our previous analysis shows
K2 servers; and OB vans with EVS servers. With MAM
that content is no longer tied to the physical
that MAM systems bring significant benefits for
being such an integrating factor at both business
media; it’s an independent entity. This opens up
modern production facilities, not only in the financial
and information technology levels, it is a critical
new opportunities, not only within existing fields of
sense, but also in relation to the competitiveness of
system for our entire business.
exploitation, but also for the future.
Polsat and the entire media group.
Whilst we aren’t yet able to accurately measure
Levels of investment Before investing in our tapeless production and playout system, our internal analysis showed that within the five-year period, expenditure on the existing (traditional) technology will be very close to the level of expenditure associated with an investment in MAM and the maintenance of the fully tapeless system. The savings associated with the withdrawal of tape technology compensated for the expenditure on the new system. Therefore, there was no reason to maintain uncompetitive technology. The total costs are always difficult to estimate because apart from the direct costs such as the purchase of equipment, other factors, such as software user training or any temporary decreases in performance during system start-up, also need to be taken into account. The start-up period also brings additional costs resulting from the dual action of old workflows running alongside the new system. With proper planning and implementation stages unfolding, it is possible to minimise the impact of the new environment on the entire operation.
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10 TVBEurope
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Opinion and Analysis
Broadcasting and the cloud Don’t fall at the first hurdle Aframe founder and CEO, David Peto, examines the hurdles broadcasters face when embracing the cloud and what it will take to finally harness the power of cloud video
Cloud hurdle three: The fear of the unknown Many broadcast engineers are used to having a deep understanding of the technology
O
Cloud hurdle two: What happens when Kim Kardashian ‘breaks the internet’?
they use and the cloud can be a daunting
and data. However, within the broadcast sector
Video is a very specialist form of data and the
comes to the cloud, many would prefer to
while innovators are busily improving collaboration
complexities that go with it mean that standard
have technologies in-house that they not only
and reducing production time by exploiting
cloud storage and processing just isn’t designed to
understand inside out but also have direct
a range of applications in the cloud, many
accommodate it. Many broadcasters will be wary
access to when things go wrong.
broadcasters are still failing to make the most of it.
of the cloud for just this reason. They know that other
ver the last few years, the cloud has become the de facto way of storing, retrieving and working with applications
place for many because providers often don’t let engineers ‘get under the hood’. When it
content is often shared on the same servers and
The solution
Cloud hurdle one: The ‘Saturday Night Live’ problem
that because their cloud service is not exclusively
Do not entertain suppliers who won’t let you
optimised for video use only, there is a greater risk of
know the ins and outs of the technology. A
Media companies that broadcast live TV will,
the whole service falling down.
specialist provider should and will be open
of course, be wary of the cloud as they think it means relinquishing control. Say, for example, a major network is airing a live show on a Saturday night and a public cloud service is being used to host VTs and other recorded segments; if the cloud goes down, they will simply be told: “We will be back up and running when the provider lets us
about their infrastructure and will allow access to
‘By collaborating in the cloud, broadcasters remove the need to share and distribute content using the usual costly methods: courier, tapes, or DVDs’
know.” This simply isn’t a good enough answer for
architecture documents so engineers can truly understand what they are buying and using. It is also important that broadcasters ask their supplier what level of bandwidth they will be receiving. In some cases, broadcasters will be paying the same as another organisation but will be receiving a poorer service.
companies dealing with live broadcasting. If the
Collaboration and cost savings
server goes down, so does that part of the show, leaving millions of viewers with a show that wasn’t
So while Kim Kardashian’s next selfie probably
Moving to a cloud-based infrastructure offers a
what the producers intended.
won’t actually break the internet, any potential
variety of benefits to a broadcaster, the most obvious
loss in service just isn’t feasible for broadcasters.
of which is cost savings. By collaborating in the
The solution
It’s potentially a reason that broadcasters are
cloud, broadcasters remove the need to share and
Broadcasters need to look into which of the providers
being advised by internal teams to keep servers
distribute content using the usual costly methods:
available manage their own infrastructure. Making
in-house rather than expose themselves to the
courier, tapes, or DVDs. This saves money by allowing
sure the cloud provider is in charge of its own cloud
‘dangers’ of the cloud.
teams to work from any location at any time.
someone who doesn’t have failover capability, can’t
The solution
shared, reviewed and edited in real time regardless
give you an answer or isn’t on the case fixing the
Do your research. It is imperative that
of shoot or edit location. Content can be filmed in
problem the second it happens is just not an option;
broadcasters understand what content will also
Australia and edited in London without disruption.
especially if the show you are airing is live. Specialist
be shared on the same cloud and make sure they
All users can comment, review and download as
cloud-based video providers will have this in
choose a specialist cloud provider that is tailored
required. The benefits are obvious.
hand and have the infrastructure in place to,
to service video content only.
– and has resilience – is imperative, as working with
one: make sure the server (and backup) doesn’t
Ease of collaboration means content can be
There are video specialists available that make
It is clear that the technology is only going to continue to grow and those broadcasters that
go down; and two: in the eventuality that it
their clouds for just that: video content and video
embrace its possibilities will undeniably get
does (after all, nothing can be 100 per cent
content only. They know the challenges that
ahead of the curve.
guaranteed), make sure there are sufficient plans
broadcasters face and have built cloud-based
Senior decision makers at today’s top media
and SLAs in place to run the service until the
infrastructures to address this. When the internet
conglomerates face a clear choice: keep their
original server is back up and running.
breaks, the servers don’t.
head in the sand, or get ahead in the cloud.
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12 TVBEurope
www.tvbeurope.com May 2015
Workow
Covering the counts On the 60th anniversary of election results programming, Philip Stevens looks behind the massive operation involved in this year’s UK General Election, described as the most ‘digital’ election yet including televised debates hile all the political parties in the
producing its own media – Tweeting, Facebook,
United Kingdom prepared for what
blogging even – so it knows more about how the
has been dubbed ‘the most signiďŹ cant
industry works,� states Tim Burke, editor, Election
W
election for more than a generation’, the BBC
OBs for the BBC.
was laying its own plans for, arguably, the biggest programme of the year for the Corporation.
He recalls that in 2010 the BBC presenter in the studio had to explain about the Twittersphere.
Since the last General Election in 2010, the
“But ďŹ ve years ago is so far away now that Twitter
perception of politics and politicians in the UK
is just part of the make-up of election counts
has changed. At the same time, technology has
now. But there is a danger that Tweets can give
moved forward at considerable speed – and
a distorted view of what is going on: our job is to
these twin factors have inuenced television
give the right result as it is delivered.�
coverage this time around.
He continues, “Viewers can see when
“The public has changed in the way it consumes media and is also instrumental in
something has been distorted by editing, so they are better able to discern whether or not what
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TVBEurope 13
Workflow they see and hear is true. So, the BBC has a great role to play in ensuring it is a trustworthy source of news. There are many other sources that can take the public down routes that are not genuine.”
“The public has changed in the way it consumes media and is also instrumental in producing its own media” Tim Burke, BBC Burke traces his association with General Election coverage back to 1992 while working as a reporter/producer for BBC Radio 4. Since that time – and especially over recent years – he has seen politicians transform their approach. “They have become far more savvy to the way social media has [impacted] on their workload. They are talking to a constituency that is very vocal – all the while remembering there are still a great many people who do not access social media.”
14 TVBEurope
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Workflow Places not previously viable
Boldly going...
Turning to technology, Burke says that it, too, has progressed significantly and there are far more tools to utilise than were available just five years ago at the last General Election. “We have HD GoPro which opens up tremendous opportunities for coverage not previously possible. But the great thing now is that you have elements such as LiveU, WMT (Wireless Multiplex Terminal) which allows the back of the camera to feed data to various fixed points and you can have a cameraman feeding back pictures directly.” The BBC will also utilise vSats: vehicles which can simultaneously set up a Wi-Fi cloud of their own and feed pictures from a simple small truck. “This has a great advantage editorially,” comments Burke. “We can do an interview and then move on to another location for another story. We are also using the BBC Live Bike, which enables a camera to be set up when the motorcycle is parked up, do an interview, feed it back to the hub and then travel to a new location and repeat the exercise. In that way, we can cover far more stories than is ever possible with a full outside broadcast set-up.”
The principle behind the StarTracker system is simple. LEDs mounted on the system’s navigation camera pick up reflected light from ceiling based ‘stars’ to locate the broadcast cameras’ positions By Philip Stevens
These retro-reflective sticker ‘stars’, which are
“The BBC has its own IP-based Broadcast Contribution Network, and across the UK, IP is enabling us to cover locations more cost effectively than at previous elections” Lawrence Galkoff
randomly fixed on the studio ceiling, are detected Pedestal camera systems for Virtual Reality
by the system’s LEDs mounted on the StarTracker
studios that rely on mechanical tracking for
navigation camera. This unit is attached to
mapping camera positions have always
relevant pedestals or cranes. StarTracker then
Lawrence Galkoff, technical lead looking after
suffered from the problem of ‘drift’. And this
‘remembers’ the position and pattern of the stars
OB content for the programme, adds more
is especially noticeable when graphics, such
and relays the necessary data to the graphics
about the utilisation of technology. “We use
as voting figures, are seen on studio floors. The
system generating the virtual images.
equipment such as LiveU on a daily basis to
slightest ‘drift’ makes the graphics appear to move across the studio.
“No calibration is needed, as this is carried
bring news to our viewers. As a result, there are
out automatically by StarTracker when the
few challenges associated with the technology.
pedestal is moved across the studio,” reports
But the biggest benefit is the fact that it offers
Election Results programme, developed by
Geissler. “And even if some ‘stars’ are obscured
us the chance to cover areas in the most cost
London-based Mo-Sys Engineering under the
by an object – such as a hanging light, there
effective manner possible. And that is always an
name of StarTracker, uses optical techniques
are enough to ensure the navigation remains
important consideration.”
to ensure accurate camera locations. And
pinpoint accurate.”
However, the tracking system used for the
the reason for that name is obvious when the
The nature of the system means there is
Moving home
no limitation when it comes to the size of the
Galkoff, for whom this is the eighth General
studio. The StarTracker unit comprises a control
Election programme, goes on to say that the
studio ceiling and use that to navigate and
box, monitor, and the navigation camera
biggest challenge for this year’s programme has
identify camera positions,” explains company
with LED-ring. The control box also contains a
been a change of studio. With the recent closure
CEO, Michael Geissler. “The challenge was to
module for lens encoding and bus power.
of the BBC Television Centre in west London, the
system is observed at close quarters. “We figured we could create a map on the
overcome strong lights on a ceiling. Our system
Geissler adds, “We are pushing the envelope
uses ‘stars’ that we attach to the ceiling and
with this technology – but there are still more
are unaffected by the studio’s powerful lights.”
exciting developments to come later this year.”
programme has moved to the facilities at Elstree, just north of the capital. “Although we produced the local elections programme last May from that studio, this is a
TVBEurope 15
May 2015 www.tvbeurope.com
Workflow much, much bigger undertaking. We started planning for this election once we knew Television Centre was to be sold. Of course, it made sense to opt for a BBC owned studio where we knew we had full control of the facilities, so Elstree figured in our plans from about the beginning of 2013. We also needed to bear in mind the closeness to London where many of the key figures are located.” Alongside the analysis in the studio will be the drama of the results from around the United Kingdom. At the time of writing, the exact number of constituencies being covered by live feeds was still being determined. But with 650 seats up for grabs, plans call for something in the region of ten per cent of counts to be broadcast live. Burke says selecting which counts to cover live is subject to several criteria. For example, who
The BBC’s hub control during last year’s European elections
is going to declare first? Where are the major contests between the parties? Where are the
“About half of the feeds from the locations will
Having two routes also offers us extra resilience.”
marginals? Where are Greens doing well in local
pass through the BBC facility at Wood Norton
To some extent, IP technology will be utilised.
councils that might give a clue in a General
before being passed to Elstree,” reports Galkoff.
“The BBC has its own IP-based Broadcast
Election? Where are UKIP progressing locally that
“The other half will go straight into Elstree where
Contribution Network, and across the UK, IP
might give them a foothold?
we have installed several extra flyaway dishes.
is enabling us to cover locations more cost
Remote Broadcast Solutions
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- SMOOTH & PRECISE MOVEMENT - REPEATABLE MOTION - USER FRIENDLY DESIGNED FOR VIRTUAL AND AUGMENTED REALITY Egripment can deliver a fully integrated system, which can be used in the automation environment of any studio. For a station that broadcasts 24/7, reliability as well as highly redundant system architecture with a minimum of maintenance service is required. Egripment has successfully taken on this challenge before and can deliver a complete setup. All of the systems can be controlled from a joystick control or a touch screen as well through an automation system. All of the cameras deliver absolute tracking data for the VR Studio demands.
16 TVBEurope
www.tvbeurope.com May 2015
Workflow The director’s chair The studio will accommodate 16 cameras under the direction of Claire Bellis. “Alongside the ten manned pedestals, there will be one 30ft Technocrane, three hot heads, one Steadicam and one locked off wide shot.” So, with a programme that starts just before 22:00 hours and goes on through the night until the next day, how does she prepare for such a marathon spell in the gallery? “I usually stop drinking a couple of hours before the show and only take sips of water during the programme. The adrenalin keeps me awake,” reports Bellis. She says that the biggest challenge is in the set-up. “There are so many people involved across so many different areas that coordinating all the different teams to achieve the
Presenter Jeremy Vine rehearses in the Elstree studio ahead of European Elections programme in May 2014
programme’s ambitions is a huge task.” To make it easier to handle the numerous sources coming into Elstree from the various crews scattered around the United Kingdom, a series of editorial hubs are being employed. For English constituencies, two hubs will handle input from the north and south of the country. In turn, each of those hubs will be fed from three sub-hubs. The other UK nations – Scotland, Wales and Northern Ireland – will each have its own hubs. Producers at each of these sub-hubs will pass material to the main editorial centre manned by Burke and a director as the action unfolds. They will then pass content to the main production gallery for transmission. Bellis explains how the system works in reality. “My main contact for all the OBs is through Nick Davies as the director in hub control, while the
The BBC made good use of augmented reality sets for the Scottish Referendum programme
editor, Sam Woodhouse, will talk to Burke. Once the OBs are through to the gallery on the hub
effectively than at previous elections. Key sites,
way we present the graphics to help
lines I can talk directly to them, if necessary,
such as Downing Street, are already cabled
them understand what is transpiring as
too. The principle is editor talks to editor, director
with that technology. And our colleagues
the votes come in.”
talks to director. The editors will discuss offers and
in Scotland used IP for their Referendum
Burke agrees, “As a viewer, what do you want
things coming up further ahead and Nick lets
programme last year, so that infrastructure will
from your election count? You want the result,
me know when OBs or two-ways are ready and
be utilised again.”
how your party is doing. We aim to provide
what’s on which line.”
Both Burke and Galkoff agree that the Scottish
the tools so people can see what the share
She goes on to explain that there is also a studio
Referendum and last May’s local elections
of the vote was last time and what the
‘tips’ system of offers from different areas that the
programmes served as good dress rehearsals
information means.”
Production Assistant (PA) will put into a running
for this General Election production. Much was
To meet that need, Vizrt graphics systems
order based on what the editor wants to achieve.
learnt about making the best use of the studio
will be used. Viz will also form a vital part of
“When I started working on Elections this was done
space for presentations and the use of graphics.
the Virtual Reality (VR) elements that
with a slung camera over the PA’s shoulder looking
have become commonplace in election
at handwritten yellow ‘stickies’ showing what was
The power of graphics
programmes of this type. The VR graphics will
coming next. Now, of course it’s all via computer.”
“We’ve seen a massive increase in processing
work in conjunction with Stype cranes and
power since the last election in 2010,” states
StarTracker from Mo-Sys.
Galkoff. “That means there is the ability to get
All the processing power will come from the
The final word comes from Burke. “The politics of the election are the democratic drama of the night so you have to capture that with the best
more information out to the viewers much
graphics engine and be fed as a single source
resources at your disposal. If you can’t do that
faster. People will notice a difference in the
into the Sony MVS-8000 vision mixer in the gallery.
you haven’t got the theatre of the event.”
TVBEurope 17
May 2015 www.tvbeurope.com
Workflow
LTE Broadcast
A technology in search of a business model? Adrian Pennington explores LTE Broadcast and eMBMS and the business case behind it
A
fter a decade of false starts, broadcasting to mobile is back on the agenda as momentum builds behind
LTE Broadcast or eMBMS (evolved Multimedia Broadcast Multicast Service). While the technology continues to be tested by mobile operators, the impediment to success would appear to be finding a business case. The main driver from the mobile industry’s point
of view is conservation of the 4G spectrum which operators collectively paid £2.4 billion for and which is being rapidly consumed by demand for video. Ericsson predicts mobile data traffic to grow 12 times from 2013 by the end of 2018 driven mainly by video. Currently, where there is high demand for a particular video service, whether live sports stream or a viral video, the one-to-one (unicast) mobile network is tasked to deliver
LTE Broadcast means an unlimited number of users can receive content with a high-quality user experience and a more efficient use of spectrum
multiple parallel sessions to users. This can build congestion, cause poor user experience
HEVC which delivers compression levels up
broadcast will offer a more efficient delivery,”
(e.g. buffering or loss of the stream) and is an
to twice compared to the H.264/MPEG-4
said Mark Hyland, SVP, global sales at QuickPlay.
inefficient use of network resources.
AVC standard; and MPEG DASH – Dynamic
“We see this being monetised by large operators
Adaptive Streaming over HTTP – which
with content rights as pay for use or by
handsets, LTE Broadcast means an unlimited
brings standardisation to an area full of
advertising that drives a free application.”
number of users can receive content with a
proprietary interfaces.
By broadcasting a single stream to multiple
high-quality user experience and a more
It builds off of the 4G network extensively
EE, for example, is lead sponsor at Wembley Stadium and is using events there to test
efficient use of spectrum. It does so by
covered in the UK by EE (BT), O2, Vodafone and
technologies including LTE Broadcast. “You
effectively allocating a single frequency
Three. Operators are now competing to rollout
could live stream a game over LTE and offer, for
within a base station, which is then repeated
LTE Broadcast, which is expected to be
example, bespoke fan commentary, multiple
in other base stations. This could be over a
ubiquitous by the start of 2016. All that is needed
replays, camera angles, and all manner of other
small area like a sports stadium, or part of a
to switch it on, for initial short-term, localised use,
interactivity via unicast,” explains Matt Stagg,
city (like London’s Tech City), city-wide,
is a commercial model.
senior manager, network strategy, EE.
Trials
adopting a ‘wait and see’ approach, while
requiring a software upgrade to the cell
To date, most LTE Broadcast trials have been
business cases are not nailed down. Rights
sites rather than network-wide upheaval.
in and around sports stadia where there is believed
holders probably hold the keys here in tandem
Smartphones fitted with the required chip
to be a business case for easing congested mobile
with mobile operators. For example, live streams
(from chip makers like Qualcomm) will be
networks in crowded and compact areas.
of EPL and Football League matches to the
Clubs and sports venue operators are
regional or national. Deployment is relatively straightforward,
mass marketed by the end of the year. The technology is a combination of three standards. eMBMS the 3GPP standard;
“Where there are more than six people in
mobile devices of fans inside a football ground
a cell site accessing HD video, it becomes
are restricted under the current broadcast
a problem from a capacity perspective so
contracts owned by BT and Sky. There may be
18 TVBEurope
www.tvbeurope.com May 2015
Workflow a case for using LTE Broadcast in and around
content,” he continues. “To the extent that
Broadcast. “File delivery is the unsung hero,”
Wimbledon during the annual tennis tournament
LTE Broadcast can help provide an improved
says Kerry Travilla, senior director, technology
but this would probably need to be free to users
experience it is interesting and important but
at mobile service provider MobiTV. “In order to
since the BBC owns broadcast rights.
it is not vital.”
create an engaging app you need to have data such as real-time score updates, Twitter feeds
Apps The BBC itself trialled the tech at the Commonwealth Games last July. A mobile app written by BBC R&D was used to display and navigate three live streams on handsets. The app featured a map of the events and locations around
“LTE Broadcast is definitely ready for primetime. It changes the game for TV in some areas” Dennis Specht, Roundbox
and breaking news sent alongside the live stream and the mechanism to do that is the file delivery portion of LTE Broadcast. It also keeps the app from trying to access that interactive content over unicast. If that happened it would make the network inefficient.”
Glasgow, which lit up in green when a live stream
Secondly, says Travilla, any place there’s a
was available. Users could click on the venue and
need for large scale distribution of content, LTE
receive the video. This was also connected to BBC
Broadcast is ideal “since you can hit millions of
iPlayer to enable the integration of unicast on-
Since LTE Broadcast has the ability to deliver any
handsets in one swoop rather than having a
demand content with the live broadcast streams.
kind and size of file, video is not the only selling
million individual requests by HTTP.”
“We hedged our bets by testing a sports-
point. Over the air firmware updates, Machine to
Longer term, there are those who argue that
specific event and also the idea that this
Machine, digital signage, in-car TV PPV events,
the needs of public service broadcasters and
technology could be rolled out into a mobile
marketing campaigns, auctioning of time slots
of the mobile industry could co-exist with
network wherever the user happened to
are other examples. Data plans are currently
judicious use of this portion of the spectrum
be,” explains Chris Nokes, principal engineer,
predicated on counting IP packets delivered
to reach the growing audience wanting to
distribution core technologies, BBC R&D.
to your mobile phone. Having a different –
consume content on mobiles.
“Our interest is for people to have the best
reduced or free – model for multicast packets
possible experience wherever they watch BBC
could drive adoption of services based on LTE
The EBU dismissed this last year, stating that LTE Broadcast was not yet ready to
TVBEurope 19
May 2015 www.tvbeurope.com
Workflow alternative to broadcast distribution, including DTT, anytime soon. Yet, its report preceded the start of a world first trial of TV broadcasting led by Nokia and research body Institut für Rundfunktechnik. The 18-month trial uses a single LTE frequency within the UHF spectrum and is being conducted in a 200km2 area around Munich until early 2016. “We strongly believe nationwide broadcast is a relevant use case and has the potential to change the business models in the media industry,” says Helmut Schink, head of telco standards, Nokia Networks. “So far the industry is talking about the digital dividend with mobile and TV industry framing this as a fight because of the perceived need
To date, most LTE Broadcast trials have been in and around sports stadia
to give some spectrum resources away. We think LTE eMBMS is sufficiently flexible that broadcasters can continue with their business
deliver widespread TV services free-to-air.
model without needing to have specifically
While the new mobile technology could be
allocated spectrum.”
a useful complement to the broadcast
“LTE Broadcast is definitely ready for primetime,”
distribution platform, it concluded, it was
declares Dennis Specht, CEO and co-founder of
unrealistic to expect it to become a viable
Roundbox, recently acquired by mobile solutions
20 TVBEurope
www.tvbeurope.com May 2015
Workflow provider QuickPlay Media. “It changes the game
To 5G infinity and hologram Skype
monitoring, scientific research and satellite
for TV in some areas. In APAC, for example, we are
5G, the successor to 4G, is already being
broadcasts. This would represent a 3,000-fold
seeing LTE Broadcast being leveraged as a cable
investigated. It would deliver speeds of 50Gbps
increase in speeds, according to the Financial
replacement. You can offer 12 channels for $7 a
running on spectrum above 6GHz, a high
Times. According to regulator Ofcom, 4G
month over mobile.”
frequency which is currently used for weather
customers in the UK today receive data at an average 15Mbitps. Research in the UK is led by the 5G Innovation Centre (5GIC) at the University of Surrey, funded with £15 million of government cash plus £45 million in contributions from Samsung, EE, Vodafone, Telefonica, Fujitsu and Huawei. Video over wireless specialists Cobham and the BBC are also members. Due to open its doors this September, the 5GIC is part of the University’s Institute for Communication Systems (ICS), which made a major contribution towards the development of 2G technology in the 1990s, 3G in the 2000s and 4G since 2010.
“If we get 5G right, there won’t be a 6G. People won’t talk about speed because there will be enough capacity in the network for millions - billions - of devices connected to the Internet of Things” Matt Stagg, EE
“If we get 5G right, there won’t be a 6G,” says EE’s Stagg. “People won’t talk about speed because there will be enough capacity in the network for millions – billions – of devices connected to the Internet of Things. It will be incredibly low latency and a totally different architecture with a lot of computing done on the cell site. It means you can start to look at all manner of applications such as driverless cars.” According to Ofcom, 5G would allow surgeons to oversee operations from the other side of the world using 3D medical imaging, or for families to “virtually attend family occasions” with holographic video. There is currently fragmentation in 5G development, a lot of work to be done and there are no standards. Operators are jockeying for position with 2020 the earliest timeframe for introduction. Ofcom hopes that the UK becomes a leader in laying the foundations of 5G. It states that 5G must represent a step beyond anything offered by 4G in speeds and in giving users the “impression of infinite capacity”.
TVBEurope 21
May 2015 www.tvbeurope.com
in association with
Clouds prove apt venue for MAM debate TVBEurope and Avid launch MAM Leaders’ Series at The Shard The sunlit London skyline was the glistening backdrop for the official launch of a new thought leadership initiative between TVBEurope and Avid, as experts from across the industry gathered for the first MAM Leaders’ Series roundtable event, high up in The Shard. The discussions were keen, with debate roaming from the granular understanding of specific processes to the definition of MAM itself. Melanie Dayasena-Lowe opens our coverage in the first of a two-part report into the major components of discussion vid’s Craig Dwyer, senior director, Global
A
Center of Excellence, began by setting
Craig Dwyer, Avid
Dwyer believes we are moving into a world where there will be a lot more real-time analytics.
the scene on how we all see media
“So applying some of this big data technology
asset management (MAM). “The traditional
and methodologies will be able to create real-
value chain is something we all recognise and
time insight from data.”
there has been a lot of work going on to make
Moderator Jeremy Bancroft opened the
the integration points across the value chain,
floor for discussion by asking: “What do we all
and make the media lifecycle, more efficient.
understand by MAM? Is it a system that just allows
Over the last few years, we’ve discovered it’s
us to catalogue material?”
all becoming a lot more non-linear. There’s a lot more integration required.
Paul Clennell, CTO for dock10, didn’t agree that it is exclusively about cataloguing but
“Also, the richness of the metadata, rights
acknowledged its importance in managing the
implications and publishing on all the different
media. “It’s the ability to harness the metadata
platforms with the right rights as well as being
and wanting to grow assets rather than it being
able to marry all that has fundamentally
a series of stagnant reference materials and
changed this media asset flow,” he remarked.
items. It enables you to access things that were
22 TVBEurope
www.tvbeurope.com May 2015
in association with
previously very difficult to access. Around that
Kevin McCue, senior manager of technical
it’s a process engine. It enables you to automate
operations for Sky Post Production, added:
some steps and apply processes to things you do
“We’re at the point where we’re looking for a
on a day-to-day basis.”
hub in the middle of a wheel and you have these
Sky’s Chris Whatmore, MAM product owner
things on the periphery of the wheel that are
and senior business analyst, was in agreement
operating in their own way and working. What
but pointed out that there’s another aspect to
you’re trying to achieve is something that sits in
consider. “It means different things to different
the middle, brokers the conversation between all
types of business. If you are a playout provider it’s
of these things and if you want to make changes
one thing, but if you are a production company
you’re not governed by everything attached
it’s another. At Sky, we do a little bit of everything
to the MAM system.”
so across our business MAM means different
In response, Bancroft asked: “Isn’t that what our
things to different departments, which is a huge
IT cousins would call an Enterprise Service Bus?”
challenge,” he explained.
Anil Chaman, manager of technology, Al
“It could mean a traffic system dealing with
Jazeera English Language Channel, was in
acquisitions, deals and scheduling, or it could mean management of the assets themselves.
agreement with Whatmore’s take on what MAM
Jeremy Bancroft, moderator
For production, it becomes your archive
means. “You can call it a MAM, PAM, DAM. We’ve ended up putting a control layer in that stitches
and library. I like to think of it not just as a
Rod Fairweather, senior director of infrastructure
the wheel together because there wasn’t a
system but more a collection of things that
and media technology for Viacom, was upfront
one-stop shop solution. We’re a fully file-based
need to be done.”
about his view on this. “I hate global systems with
global solution and we needed a powerful user
Bancroft put forward the idea of a single
a vengeance. It has to cope with every time zone
interface. That’s exactly what it does. It joins
enterprise MAM system that does everything,
change and you have to fit in with development.
up the dots. It has had to be bespoke, it wasn’t
and asked if this is an issue.
What we do need is clear interoperability.”
something that was available.”
www.asperasoft.com moving the world’s data at maximum speed
TVBEurope 23
May 2015 www.tvbeurope.com
in association with
The discussion then moved on to the Framework
unless you’re turning out these programmes on an
for Interoperable Media Services (FIMS), a project
hourly or daily basis, you don’t really understand
to define standards, which enable media systems
what the pressures and demands are.”
to be built using Service Orientated Architecture.
Whatmore added that ten to 15 years ago,
Bancroft positioned this aspect of discussion by
manufacturers were expected to come up
asking: “There is all the talk about FIMS and what
with all new features that worked together and “that is almost a different brain-set. Now things are changing more quickly you need to react
“I hate global systems with a vengeance. It has to cope with every time zone change and you have to fit in with development. What we do need is clear interoperability” Rod Fairweather, Viacom
to the strategy and direction of the business. You need a certain level of functionality that you can get off-the-shelf, but you do need either an integration platform or workflow management that sits over those services that you then bought.” David Shield, senior vice president, global director of engineering and technology, IMG Sports Media, commented: “You could do a definition of
Paul Clennell, dock10
what the MAM function is if you just say it’s storing content and associated metadata. All the different
that’s going to bring to the business.
Fairweather highlighted that there are few very
users (transmission, archive) are using all that stuff in
AMWA has been promoting it and it’s been
large organisations in the news world, namely CNN,
different ways. Managing the storage and holding
underway since 2010. There have been a
BBC, Al Jazeera and Sky. “If the market consists of
the metadata, that’s a common feature.”
few limited implementations around the
four companies, there aren’t that many that will do
world. Are we left that we have to go out
a massive investment to get it to the stage needed.
asked the group if multiples of those are
and do it ourselves?”
You can set up an engineering organisation but
needed in an organisation.
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24 TVBEurope
www.tvbeurope.com May 2015
in association with
“Our job is totally driven by the product line,” explained Francesco Donato, VP broadcast operations for Sky Deutschland. “We can’t ignore the requests from our colleagues in products and operations. This happens every three months so we don’t have time to build our own solution. For instance, there is no reason to build our own CMS. We already have three different CMS systems.” From TV2 Denmark’s perspective, Kjeld Skovlund, head of TV projects and deputy manager, said requirements are not that different across organisations. “We used to be linear in our production and we turned into non-linear. We still think in terms of linear when it comes to project
Chris Whatmore, Sky
Kevin McCue, Sky Post Production
Anil Chaman, Al Jazeera
planning but it simply doesn’t work anymore. We don’t have the time. We have to deliver the product in one to three months.” “With a three-month timescale, how do you manage to keep this big vision when people expect it in three months?” asked Bancroft. Skovlund admitted that he doesn’t yet have the answer. “We can’t change the technology and the complete facility in three months. Over the last two years, VoD and OTT have been driving everything.” Donato said: “The success is the combination of two things: the right technology choice and the ability to change your own internal workflow.” And how does this compare for public service broadcasters such as Yle? Does it take longer to implement changes in workflows? Jouni Frilander,
David Shield, IMG Sports Media
Kjeld Skovlund, TV2 Denmark
Jouni Frilander, Yle
portfolio manager, media systems technology and development at Finnish broadcaster, Yle, remarked:
Sky’s Whatmore answered: “We’ve already got
great example of the fact that you wouldn’t want all
“Sometimes there are challenges with the financing.
multiples and I think the secret to our future is
your transcoding and encryption to be sitting in the
I fully agree with the importance of the integration
how we integrate those better.
MAM. You want a process that is fed from the MAM.”
platform. The future will be different. There will be
“When we were trying to move from tape-based
On the topic of multi-platform and content
more cloud-based services and ideas will be created
to file-based, it seemed like the way to go was to
everywhere, Bancroft asked: “We now have
have one system (production, archive and media
multiple devices and platforms that we need
crunching/processing) and it was probably right at
to distribute content to, how quickly are these
the industry and requirements on engineering
the time. But you see how the industry is changing.
platforms and business models occurring within
platforms changing so rapidly, “is there a future
The OTT and on-demand side of the industry is a
your organisations?”
for these big monolithic systems?
outside of the broadcast and media industry.” Bancroft continued by suggesting that with
TVBEurope 25
May 2015 www.tvbeurope.com
in association with
Or are we going to use point solutions that we
monolithic system won’t cut it. In order to keep
but listening to the workflow they want to use,
find a way to integrate together?”
up, we need to be agile, modular and we need
and adapting the tools we’ve got to follow that
to be taking systems off the shelf rather than
process,” Clennell explained.
Chaman believes that as we embark on the IP world, the latter is eroding. “There are manufacturers
customising products.”
out there that are almost ready to create a purely IP installation/environment. You need the end-to-end
within cloud-based storage was expanded on
of asset management in dock10’s environment as a
by Shield, who offered: “There’s a nervousness
solution, not just the part in the middle.” Returning to the subject of the cloud, Bancroft was interested to find out whether more offsited services will be used as and when needed. Fairweather made an interesting point about geographical location. “None of us want rooms full of technologies sitting in expensive real estate in London. At Viacom we have 250 to 300 servers that
The wider acknowledgement of security issues
Clennell continued to point out the importance
about storage. Clients such as the Premier League,
“The success is the combination of two things: the right technology choice and the ability to change your own internal workflow” Francesco Donato, Sky Deutschland
need baseband in and out. If we can get rid of that,
Wimbledon and R&A are all saying that they don’t want their stuff on a server in Denver; which is typically what people will say. The international distribution is great, but they want to know that their content is physically ‘there’, so you end up inventing ‘private cloud’ so that it’s all contained in one place.” Fairweather added that this all depends
we can shift all that technology out of expensive
on the type of content being distributed. “If
cities. Manufacturers need to move to a model
you’re dealing with content that is yet to be
where we can spin up and spin down applications
facilitator – rather than owner – of content for its clients,
broadcast or is absolutely premium, then security
in 30 minutes.”
and the stresses on efficiency and security. The latter
is important. Once content has been broadcast
aspect was picked up by Bancroft, who wanted to
throughout the world, then security is less of an
as a shared infrastructure. Clennell noted the
know how companies go about convincing producers
issue as it is for a Premier League football match
importance of security and the use of a modular
and directors that their content is secure in the
or pre-release content.”
approach by his company. “If we’re undergoing
cloud among the concerns about security. “For us,
Part two of our MAM Leaders’ Series roundtable
a period of long and extended rapid change, a
it’s about not imposing a workflow on a client,
report will feature in the June issue of TVBEurope.
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26 TVBEurope
www.tvbeurope.com May 2015
Feature
UPPM creates bespoke, original and creative content and continues to showcase the quality and craft put into every album
“The demand for house seems to be on the rise as well as off kilter, moody electronic music which is popular for high octane sports productions and promos” Lina Tebbs, Audio Network
What’s the score
coming through. Over the past few years,
with audio for broadcast?
briefs we get. One noticeable change we’ve
production music has seen a real growth as companies are recognising the breadth and, most importantly, the quality out there. As the number of requests grow, so does the variety of seen at UPPM is a growing demand for tracks with lyrics. Although instrumental versions are still the primary choice for our clients, when they search for music, they are increasingly
TVBEurope delves into the world of audio for broadcast by speaking to a selection of audio experts on the issues of licensing and the challenges around UHD. We get the lowdown from Phil Stubbs, senior key account manager at Universal Publishing Production Music (UPPM); Lina Tebbs, head of TV, Europe for Audio Network; and Ian Cookson, communications manager at Calrec Audio
expecting to hear radio-ready songs – both in style and quality. The current charts and music trends often influence the type of requests we get as that’s what companies are looking to use within their productions. With music trends constantly changing, we need to ensure we keep up with these trends, producing songs with the same production values that you get
hat changes are you seeing in the
Stubbs: The expansive nature of the broadcast
broadcast market with regard to
market, which encompasses a diverse range
demand for specific audio and
of programming, means that there are
the soundtracks to movies and trailers also
always new and different music requests
have an impact on the requests we see for
W
music for TV productions?
with commercial music. In addition to the influence of chart music,
TVBEurope 27
May 2015 www.tvbeurope.com
Feature music in programming. We have a sizeable
Are today’s TV productions increasingly
Stubbs: Production companies are always
number of requests inuenced by movies – from
looking for unique material from
looking for something unique that will make
those looking for a cinematic sound from epic
bespoke audio catalogues and
their productions stand out and music is a
blockbuster-style tracks right down to much
libraries, rather than the traditional
great way of doing that. If TV productions had
smaller, indie or sparse and intimate sounds.
licensing alternative?
the money and time I think most would employ
Probably the biggest change over the past few years, however, is the increasing demand for music stems. This refers to a track being broken down by the group/single instrument and separated out. If companies had the
N7922
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28 TVBEurope
www.tvbeurope.com May 2015
Feature a composer to write something bespoke for them, however, money plays a huge deciding factor in opting to go down the bespoke route and this has always
Immersive audio
been the case. As such, an increase in demand for bespoke material hasn’t really
From your perspective, what are the current
changed, but the library’s ability to meet this
technical challenges facing the audio
demand has.
aspect of the broadcast sector?
As technology advances and costs reduce
Cookson: One of the main challenges is signal
on some of those technologies, it’s not
transport around the broadcast infrastructure
uncommon for composers to have their own
and beyond. Calrec’s proprietary Hydra2
studios at home. While we still use big studios
networking solution offers more than just a
and will continue to do so, the home studio
signal transport system. It is also a powerful
has had a knock on effect in keeping costs
management tool that provides network-wide
down for producing tracks. The key is finding
management of many parameters and allows
talented composers who are able to use these
signals to pass into a wider network using a
technologies to create some incredible music
variety of standards.
Ian Cookson, Calrec Audio
that a client can manipulate to work for their
In April 2014, Calrec committed itself to
production. Keeping these costs down allows
an agnostic future: while we felt that MADI
us to offer bespoke edits on existing tracks;
continues to serve the industry extremely
More recent times have seen companies
for example, if a show wants to refresh its title
well, we predicted we would see AoIP
developing a more object-based approach
music. The home studio also allows us to create
interconnections providing more flexible and
to broadcast audio where the viewer can
tracks from scratch with a quick turnaround
elegant replacements. Most of all it promotes
choose what they’re listening to. This hasn’t
at an affordable cost to the client as well as
freedom of choice – if everything works with
happened commercially yet but is an exciting
producing music stems.
everything, broadcasters can choose kit based
development, and Calrec is working with
on its suitability for them.
other parts of the industry to ensure that our
Recognising that companies want specifically composed music but haven’t
The publication of AES67 has given AoIP
consoles are fully prepared for this next stage
always got the budget, UPPM has come up
a massive boost. While non-proprietary AoIP
with new and innovative ways to help them
solutions are commonly not able to offer the low
reach this goal. One unique and revolutionary
latency, determinism, capacity, and broadcast
In your eyes, where will the next
solution we offer is the BBC Orchestral Toolkit.
feature-rich audio networking that Calrec’s
strategically important developments
Created by composers Marten Joustra
Hydra2 provides, we think that AES67 and its
come from?
and Andy Blythe, the toolkit is made up of
compatible brethren are a perfect companion
Cookson: The panacea is total interoperability
thousands of sequentially interchangeable
technology for wider connectivity to third-party
between equipment in the broadcast
cues. This means users can effectively create
equipment in a broadcast facility.
environment. The challenge in achieving this
of immersive audio.
lies with the manufacturers, some of whom are
their own score using existing music stems. It’s the closest you can get to a bespoke score
What sort of challenges will the advance of
competitors, moving towards a common goal.
but without using a composer, and we’ve had
UHD in the industry present for companies
AES67 is a major catalyst as it has provided a
some great feedback since its launch.
in the audio sector?
focus and a direction for everyone to move in.
Cookson: Consumers are demanding more and
This could ultimately lead to remote production
companies, seeking their feedback with
more from their viewing experience, although the
becoming a feasible broadcast workflow
regards to the use of the music they employ.
onus has been mainly on the visual side. Audio still
as there is currently a lot of interest among
Knowing what they’ve used historically and
has to keep up, though. The move to 5.1 is still the
broadcasters. The appeal of remote production is
knowing the direction they hope to go in will
biggest shift we’ve seen in recent years.
obvious: it saves money, increases efficiency and
We work closely with the TV production
allow us to feedback to our own producers in
It is now commonplace for audio to be
allows the mixing to be done in an acoustically conducive environment.
order to create albums that can be as useful/
broadcast in a surround format for the majority
bespoke for a client as possible. We always
of sporting events and light entertainment
take the time to understand the shows’
shows. The rising channel count that
makes possible the remote production of live
target audiences which inevitably shapes
accompanied this shift to surround sound
TV events, where large geographical distances
the style of music that will appear and appeal
was a big part in the development of digital
separate the production facilities and the
in the programme.
consoles, and was the ethos behind Calrec’s
events that are being televised.
Tebbs: The demand for unique, bespoke music in TV productions will always be high as exclusivity is very appealing within
Bluefin2 range of consoles that can have up to 1,020 fully featured input channels. The step up to 7.1 has been on the horizon
The use of wide-area audio networking
However, there are difficulties to overcome if this is to become practical in a wide variety of circumstances; in particular, the transportation
this competitive industry. However, the lack
for many years now but the demand from
of audio, and the issues of reliability, redundancy
of time and budget mean that this is not
broadcasters hasn’t arisen yet as many consumers
and synchronisation. It is likely to be a few years
always possible.
won’t have a system that can handle it.
before we see this happening.
TVBEurope 29
May 2015 www.tvbeurope.com
Feature To cater for our customers’ needs, we offer
“The costs of production music are covered by many of the broadcasters here in the UK” Phil Stubbs, Universal Publishing Production Music
a track amendment service. The client picks a track and we brief the original composer to carry out some changes to make it more unique. Most of our composers work in their own studios so we are able to ask them to edit the track to a client’s brief (e.g., addition or removal of certain instruments) and thus offering a somewhat bespoke service, but for a fraction of the cost. This is particularly popular among our clients
The costs of production music are covered
for series title music and advertising.
by many of the broadcasters here in the UK, however, when it comes to worldwide
To what do you attribute this change
rights, this historically has been where
or growth in demand from the broadcast
there could be additional charges or
market? Does it mainly concern costs,
implications for an IPC. The changes made
or are there other implications at work?
by the MCPS has meant that this is now
Stubbs: There have been some changes
much more simple to cover which has
set out by the MCPS to the way independent
Phil Stubbs, UPPM
production companies (IPC) pay and licence production music. Not only has this meant it’s become cheaper and easier to licence production
helped to drive demand. However, I believe the growth also has a lot to do
music but the licences now encompass
with a production music company’s ability
more rights for no extra cost, which has a
to meet the demands that are coming
great appeal to IPCs.
through from the IPCs.
30 TVBEurope
www.tvbeurope.com May 2015
Feature David Wood: “I used the phrase ‘faster than a speeding bullet?’ (during DVB World) because I wanted to say that just as Superman could save mankind, we imagine that UHDTV will save mankind, or at least the broadcast industry”
A world of apps George Jarrett catches up on the discussions from this year’s DVB World in Copenhagen
contributes to those worlds,” said Wood. “We are also thinking about how we could involve other parts of the world more, particularly Asia. HG
“Certainly the UHDTV broadcast profiles need to be developed, but we are also moving into the world of apps, and hybrid broadcast broadband” David Wood, EBU
Wells asked: ‘Is there to be no rest for mankind?’ I think the answer for DVB is no.”
VB World, held this time in Copenhagen,
D
“Which ‘quality factors’ should be added to UHD-1
is always an affirmation that the DVB
Which quality factors come first?
Phase 2 to make it successful is indeed the question
model of commercial and technical
Conclusions from the University of Stuttgart were
of the hour. The more you add, the bigger the ‘wow’
modules will remain vital to the business of setting
that the sales success of 4K TV sets is assured,
factor, but possibly also the higher the cost of the
standards way into the future.
because they are not much more expensive to
display. Where is the commercial balance between
make than HDTV displays. Does this amount to a
set cost and viewing experience?” said Wood. “There
good consumer proposition?
is also a balance to be made between additional
HEVC enablement with DVB-T2 and DVB-S2X were two of the big IBC attractions, so what were the interesting things that emerged at DVB World?
“A UHDTV display – which looks good close
production cost and quality value for broadcasters.
For regular event blog writer David Wood, chair
to the screen – will probably settle down at an
These are the questions that the DVB CM-UHDTV
of CM-UHDTV and CM-3DTV, as well as ITU-R Study
additional cost of only ten to twenty per cent
group is considering right now.”
Group 6, there were five things that stood out.
more than typical HDTV displays,” said Wood.
These were issues around 4K and 8K displays,
4K content services via IP seems to be the
“On the other hand, 8K consumer sets will need a
driver for broadcasters, and surely looks like a
consumer price willingness, the use of IP to
new generation of display technology because
finishing school direction for not trusting in the
establish broadcaster UHD services, the impact
of the much higher pixel density, and they will be
availability forever of spectrum.
or not of 5G, and radio issues around DVB-T2.
very much more expensive.
Having marked its 21st year, how key to everything is the role of the DVB Project going forward? “We constantly reflect on the road it needs to travel. Certainly the UHDTV broadcast profiles need to be developed, but we are
“We don’t know how this will play out in
“There was a proposal at DVB World that the best thing that broadcasters can do is to begin
reality. And it should be said that NHK believes
UHD-1 services via their internet services. In this
that mass-market 8K displays will be possible,
case, there will be no new broadcast receiver,
probably largely made in China,” he added.
and the decoding will be done by software,”
What about public awareness of the mixed
said Wood. “This is a ‘low risk’ means of starting
also moving into the world of apps, and hybrid
hardware and software conundrums around
UHD. After they gain experience of whether the
broadcast broadband. And we are considering
when HFR, HDR, better colours, better pixels,
public can differentiate HDTV and UHD-1, they
how broadcasting lives in, and if and how it
immersive audio become consumer realities?
can decide whether to broadcast UHD-1.
TVBEurope 31
May 2015 www.tvbeurope.com
Feature “But there would be drawbacks in doing
the world, the decoder costs could also benefit
“The ATSC 3.0 system is still being finalised
so,” he added. “Probably only a part of the
from volume production,” said Wood.
but the indications are that it draws very
broadcaster’s audience will have enough
“But life is not so simple. DVB-T2 would be yet
much on DVB-T2. Many of the key features
internet capacity to watch nice UHD-1
one more radio system to add to the list. Radio
found in T2, like OFDM and data pipes
images; most broadcast UHD-1 tests run at
broadcasters may fear being dominated by
will be in ATSC 3.0, but is it going to be
something like 20-25 Mbitps, but it could be an
TV if DVB-T2 is the delivery means. Also in the
exactly the same as DVB-T2? No. There
option to evaluate.”
countries where DAB and DABplus is in use, they
will be new features such as allowing
might not welcome other countries using another
broadcast and broadband delivery more
5G will require much higher broadcast bands
technology,” he added. “Digital radio is growing
seamlessly,” said Wood.
Back to the issue of frequency bands and 5G:
of technologies is part of the reason. How did we
here’. The Americans have looked at DVB-T2
the mobile broadband power base keeps
get into such a situation for digital radio systems?
and said ‘that’s great, but it’s been a few
grabbing and reaching, but does not use
This is not one of our finest moments.”
years since it was developed, and some lessons
only slowly throughout the world, and the plurality
what it already has.
“I don’t think it’s a question of ‘not invented
have been learned. We can make an improved
No question of ‘not invented here’
version’, which is what they are trying to do,”
possible loss of broadcast spectrum in the band
What did the DVB World audience learn from
he added. “Unless all regions of the world
below 700MHz for mobile internet, and they will
Mark Richer about ATSC 3.0 and its comparative
develop standards at exactly the same time,
be lobbying at the ITU WRC 2015 conference later
values to the DVB systems?
this is inevitable.”
“Broadcasters are certainly worried about the
in the year to maintain it for broadcasting,” said Wood. “5G is the technology being developed to meet what are perceived to be society’s mobile internet needs in 2020 and beyond. “With services like the Internet of Things the spectrum needs will be huge – well beyond anything current broadcast bands could provide. 5G will require much higher broadcast bands, so there is really no threat to the broadcast bands,” he added. “The current threat comes from short-term thinking by network operators. Broadcasters believe it would be a tragedy to kill broadcasting just for an interim solution for wireless broadband.” Audio was a key element at DVB World. Can Wood make a case for abandoning DAB and DRM, and why would it make sense? “There could be a case for those countries that have not yet started digital radio, but are planning to use DVB-T2 for television, using DVB-T2 also for digital radio, rather than DAB, DABplus, or DRM. T2 could be efficient, and have good radio coverage. As it will be widely used throughout
At DVB World, the hot topics were 4K and 8K displays, consumer price willingness, the use of IP to establish broadcaster UHD services, the impact or not of 5G, and radio issues around DVB-T2
32 TVBEurope
www.tvbeurope.com May 2015
TVBEverywhere
An exchange of experiences Heather McLean fills us in on the hot topics from this year’s Mobile World Congress event in Barcelona
obile TV was no longer presented as
Dan Warren, senior director of technology at the
a subject separate from all others at
GSMA, said: “The principal objective of the user
the annual Mobile World Congress
group is to share the best practices that will spur
M
event held in Barcelona in March. Thanks to the
industry growth and widespread adoption as we
proliferation of mobile devices and the pervasive
enter a new era of personalised media content.
nature of mobile technology in home and
Users want anytime, anywhere, any device
business life, mobile TV is simply a service that
access to their media and entertainment and
people expect to be able to access everywhere,
LTE Broadcast can be a key technology
from whichever device they are looking at.
to enable delivery of popular content in an
Many companies were talking about mobile
optimal way. It can relieve some of the heavy
TV in one form or another, from SES and Ericsson,
traffic burden that operators would otherwise
Expway and SPB TV, to Telefonica and Microsoft.
have to support.”
From network capacity issues and how to
Thomas Norén, vice president and head of
overcome them, to the latest OTT technologies
product area radio at Ericsson, commented:
and projects, mobile TV was being discussed
“Ericsson has been at the forefront of developing
in all its facets.
and implementing LTE Broadcast technology around the world. This technology has great
More than 93,000 people attended Mobile World Congress from 200 countries
Network capacity watch With 5G networks set for commercial deployment by 2020 and mobile data consumption increasing exponentially, Ericsson convened an LTE Broadcast User Group at the show, joining Facebook, the GSA, the GSMA, Indycar, Intel, KPN, Qualcomm Technologies, Telstra and Verizon, among participating companies.
evolution of network demand and usage will
“Satellite is a key factor for digitisation and an integral part of the mobile ecosystem” Karim Michel Sabbagh, SES
lead to unmanageable congestion,” said Karim Michel Sabbagh, president and CEO at SES, in a keynote he delivered at Mobile World Congress. He said there must be mainstream integration of cellular and satellite infrastructures for the delivery of video content in Europe. “Satellite
Mobile video traffic is growing rapidly and
is a key factor for digitisation and an integral
expected to make up 55 per cent of all mobile
part of the mobile ecosystem, adding reach
data traffic by 2020, Ericsson’s 2014 Mobility
and efficiency to mobile network operations,”
Report stated. Therefore, LTE Broadcast is
potential to grow much further, with more use
Sabbagh said at the conference. “Only
attracting significant and growing industry
cases such as TV services, cached media,
combining terrestrial and satellite infrastructures
traction as a method for making the best use
software updates including application updates,
and technologies will lead to significant
of existing network resources and available
connected car, digital signage and public
cost efficiencies, competitive solutions and
spectrum to introduce new video services and
safety. Together with leading industry partners in
compelling consumer advantages.”
reduce the strain on the network.
ecosystem development, we can spur the big
The LTE Broadcast User Group is to act as a forum for the exchange of experiences and best
Sabbagh added: “If, for example, today’s
business opportunity for the industry and promote
video content was to be consumed fully on-
the use of the technology more widely.”
demand and only by terrestrial fixed network in
practices on the establishment and operation
Europe, data consumption per household would
of LTE Broadcast services, with the intention of
Satellite and telecoms combined
multiply by a factor of not less than 35; with Ultra
promoting the use of LTE Broadcast more widely
Also discussing network evolution for video
HD, this would again multiply by three or four.” He
in the industry and to catalyse the development
content was SES. “Mobile players are facing
warned that if the mobile and satellite network
of an ecosystem around the service.
enormous challenges and the risk that the
industries failed to work together, things could
TVBEurope 33
May 2015 www.tvbeurope.com
TVBEverywhere
get bad quickly: “If we fail, the overwhelming demand for video content and streaming will even deepen the digital gap further.” Integrating digital infrastructures and combining the strengths of broadcast and broadband technologies, on the contrary, would create a unique combination, Sabbagh concluded: “Where terrestrial networks deliver connectivity on the one side, and satellites deliver the mass market distribution of IP video and non-video content to homes on the other, we can offload heavy video traffic from terrestrial networks. This will help all of us control costs, add reach and create truly converged ecosystems that will help us to drive the demand for further and future consumer applications and solutions.”
TV merges with mobile tech Telefónica, one of the largest telcos in the world, and Microsoft announced at the show a joint initiative for the provision of TV OTT on devices running the Microsoft Windows Phone operating system.
From network capacity issues and how to overcome them, to the latest OTT technologies and projects, mobile TV was being discussed in all its facets
34 TVBEurope
www.tvbeurope.com May 2015
TVBEverywhere Telefónica’s Movistar TV Go service for Windows Phone 8.1 will enable Telefónica users to view their favourite TV content, both linear and on-demand, by speaking into the phone. Microsoft’s digital assistant technology, called Cortana, is being integrated into Telefónica’s worldwide commercial video service for Windows Phone users, who will be able to search for content through the natural speech interface of Cortana. Telefónica aims to launch the final commercial version of the Movistar TV Go app on Windows Phone 8.1 sometime this year, available first in Spain and then in other Latin American countries where Telefónica is offering payTV services. Meanwhile, it will be tested in a Spanish language beta version to ensure perfect consumer interaction through Cortana, which will be the first time that Cortana for Spanish language is integrated in a worldwide commercial service. Michael Duncan, CEO of the global video unit of Telefónica, commented: “The availability of our television services on mobile devices increases the attractiveness and potential for enjoyment of the content we offer to our users, and places Telefónica at the forefront of video products with an offer of TV Everywhere which is increasingly diverse.”
Mobile TV is simply a service that people expect to be able to access everywhere, from whichever device they are looking at channels of simultaneous multi-rate transcoded
“Users want anytime, anywhere, any device access to their media and entertainment and LTE Broadcast can be a key technology to enable delivery of popular content in an optimal way” Dan Warren, GSMA
video streams and dramatic saving of energy, supposedly up to five times better than its standard transcoder. Additionally, SPB TV showcased its new OTT TV platform featuring 4K encoding and a ‘swipe’ feature for consumers. The 4K solution for video encoding and streaming in real time is available for telecom operators as a part of the SPB TV Media Platform, while the smooth multiscreen experience with swipe makes switching between
OTT for the masses
over fixed, mobile and terrestrial unicast and
devices easy and fun, allowing users to simply
Mobile broadcast and multicast technology
multicast technologies. Technicolor is one of
swipe content on a smartphone or a tablet to
provider, Expway, announced that its LTE
the key players in the industry, and Expway
view it on a TV set.
multicast middleware, also known as evolved
is proud to have its solution selected for their
Multimedia Broadcast Multicast Services
STB, to be ready for the upcoming LTE
base in emerging markets such as South
(eMBMS), is now available on Technicolor’s OTT
multicast deployments.”
America, South Asia, Africa and Eastern Europe,
STB. The result of this integration was successfully
Meanwhile, SPB TV, a provider of end-to-
Following up on its fast growing consumer
SPB TV also presented a new service launch
tested on the Ericsson LTE Multicast platform prior
end OTT TV, IPTV and mobile TV solutions,
in Pakistan, called Mobilink Mobile TV, which is
to Mobile World Congress.
showcased its newest mobile TV technology
Pakistan's first mobile TV launched on Mobilink
and announced new service launches
Networks on the new 3G and LTE licence.
Thanks to Expway software architecture, Technicolor’s Hybrid-OTT is also able to deliver
in emerging markets at the show. SPB TV
SPB TV CEO, Kirill Filippov, added: “Emerging
the LTE-multicast TV content over Wi-Fi to all
presented a new high capacity, energy
markets continue to provide a serious potential
tablets in the home.
saving Mega Encoder for mobile TV, OTT TV and
for growth and reinvent mobile TV. The large
IPTV. It straddles SPB TV’s encoding with Intel
consumer base and usually better, conducive
Seyrat, explained: “The objective of this
Quick Sync Video technology, Intel Media
regulations in those markets mean more new
collaboration is to add a disruptive use case by
Server Studio, and Kontron Symkloud. The
products, new technology and better return on
combining multiple means of video distribution
result is an increased capacity of up to 100 HD
investment for mobile TV.”
Expway chief marketing officer, Claude
TVBEurope 35
May 2015 www.tvbeurope.com
TVBEverywhere screens spread around premises. The BYOD phenomenon gives the professional AV industry the opportunity to take these video streams even further and deliver them directly onto the end users’ connected devices. There are, however, many challenges for businesses as they move to support BYOD, with the need to address content rights protection, security, reliable distribution and network management issues.
How BYOD is transforming enterprise IP video The proliferation of screens used to access content, both in the consumer and corporate worlds, enables organisations to distribute
Transforming the global communications landscape with professional IP video By Colin Farquhar, chief executive, Exterity
T
tailored video streams to different target audiences, as well as facilitate the sharing of high quality video content between offices. Businesses can connect their multiple screens using robust IP video solutions that efficiently distribute content. Live TV content from high bandwidth broadcast sources such as cable, DTT or satellite can be delivered to these end points without requiring additional cabling. Many organisations are increasingly looking to expand the reach of their video communications beyond
revenue grew by 16.2 per cent in 2014 over
their internal IP network, creating an additional
the previous year, and this growth is expected
challenge for systems integrators. These systems
to continue steadily through 2019, with the
enable remote staff, visitors and guests to access
market posting a CAGR of 20.3 per cent during
high quality video content while on the move.
the forecast period. Organisations around the
Leading the AV-IT convergence, enterprise
globe are implementing large-scale enterprise
IP video sits on top of the corporate IP network,
IP video projects such as stadia supporting
building on pre-existing infrastructure to limit
he rise of professional AV solutions in
the 2016 European Football Championships
cabling costs, while enabling organisations to
business has radically transformed
in France, for government departments in
offer a larger number of tailored streams to
corporate communications. Moving away
Australia and for world famous hotels in
visitors, staff and guests. Additionally, it enables
the Middle East.
systems integrators to better monitor the activity
from static images and email, companies are increasingly integrating video with their overall communications and information strategies. The increase in remote working and collaboration between regional offices has further impacted corporate communications and media consumption, leading to the increased deployment of Bring-Your-Own-Device (BYOD)
on the network, which is particularly crucial
‘The advent of trends like BYOD and the Internet of Things (IoT) highlights that connectivity has become an integral part of our lives’
for companies looking to expand their video communications to BYOD. BYOD-enabled IP video systems enable organisations to deliver a dynamic mix of information, live video feeds, real-time footage, over-the-top video and access to external channels easily to all users
strategies. The trend is so prominent that recent
across a wide range of networks, including
research from MicroMarket Monitor forecasts
the corporate wired LAN, WAN, Wi-Fi and the
that the Bring-Your-Own-Device (BYOD) market in
internet. This capability is critical for organisations
North America will grow from $29.5 billion in 2014
The advent of trends like BYOD and the Internet
that look to integrate connected devices with
to $89.6 billion by 2019, a CAGR of 24 per cent
of Things (IoT) highlights that connectivity
their enterprise IP video solutions.
from 2014 to 2019.
has become an integral part of our lives. It is
The emergence of BYOD in many verticals
With increased broadband bandwidth, 4K
therefore no surprise that an increased number
becoming more commonplace and wearables
such as corporate and finance, healthcare,
of market verticals are leveraging IP connected
entering consumers’ lives, end-users increasingly
higher education, hospitality, media and
professional AV technologies to provide
expect high quality video feeds to be
broadcast, oil and gas, transport, and venues
real-time content to guests, visitors and staff.
accessible everywhere in real time and without
and stadia has been significantly influenced by
Digital signage offers updates in airports, hotels
compromising on picture quality, enabling the
the growth of IPTV across the globe. According
and hospitals, while professional IPTV enables
advent of true TV Everywhere for both consumers
to a recent Global IPTV market report, market
end users to watch multiple TV channels on
and organisations.
36 TVBEurope
www.tvbeurope.com May 2015
Audio Mixer Forum
Sounding out the experts
This month we return to the topic of sound mixers for broadcast. Philip Stevens moderates the discussion
Along with all areas of the broadcast industry, manufacturers of audio mixers continue to face new challenges – especially when it comes to generating more content in less time with modest budgets. As a result there is an ongoing scrutiny of technologies, workflows and infrastructures to provide the answers the industry is demanding. On the panel this month to discuss current issues are (in alphabetical order) Henry Goodman, head of sales, Calrec Audio; Roger Heiniger, Vista product manager, Studer; Ian Staddon, vice president of sales, DiGiCo UK; Christian Struck, senior product manager audio production, Lawo; and Bjorn van Münster, product manager Polaris evolution, Stagetec.
What are the key issues facing makers of audio consoles in 2015? Goodman: Audio console manufacturers face the same challenges that confront the broadcast industry as a whole; there is a demand for everincreasing efficiency whilst, at the same time, a growing requirement for content with second screen and internet-based distribution. The
Henry Goodman, Calrec Audio
Roger Heiniger, Studer
biggest shift in broadcasting is the concept of interoperability. There is no doubt that networked
latency, determinism, capacity, and broadcast
infrastructures will become increasingly important
feature-rich audio networking that Calrec’s Hydra2
in all modern broadcast environments. The industry
provides, we think that AES67 and its compatible
is moving towards an interoperable future and
brethren are a perfect companion technology for
there are already a number of different protocols
wider connectivity to third-party equipment in a
vying for our customers’ attention, and although
broadcast facility.
MADI continues to serve the industry well, it is clear
Heiniger: Keeping abreast of changes in the
that these AoIP interconnections will provide more
broadcast industry and customer requirements
flexible and elegant replacements. It is important
is clearly key to designing, producing, and
for console manufacturers to provide solutions for
selling audio consoles. Broadcasters have
these technologies. While non-proprietary AoIP
always demanded reliability, usability and high
solutions are commonly not able to offer the low
audio quality, but 2015 is seeing a real desire
TVBEurope 37
May 2015 www.tvbeurope.com
Audio Mixer Forum for networked production audio
effects is that traditionally separate
practical solution for external
systems which include shared I/O,
technological worlds, as well as
processing is a low latency plug-in
shared control surfaces between
production facilities and expertise,
type server connected via a high
studio spaces, tighter integration
will keep merging even further, just
density digital interface like MADI.
with other broadcast plants such as
like the different production formats
video routers, control systems and
like TV shows and live events share
audio DSP revolves around the fact
intercom systems, and the ability
more and more structural and
that audio processing is a highly
to connect via AoIP in addition
technological qualities.
parallel task – you have to process
to more traditional interconnect
van Münster: As far as we are
Heiniger: A key challenge for
many channels simultaneously.
standards. Understanding this
concerned, the major issues are
SHARC and FPGA chips are good
systems approach is crucial to
changing hardware requirements,
at parallel processing, but both
remaining successful.
scalability, flexibility and modularity.
require significant R&D effort in
And, of course, there’s the question
PCB design and programming.
of integration with AoIP.
Standard CPU x86 chips, however,
Staddon: Probably, the key issue is one of demand to communicate number of different protocols. Whether this is over AES67, Optocore, Ravenna, AVB or Dante, etc. As a manufacturer, deciding which formats to adopt is not straightforward, with many factors to consider from latency to capacity to the number of thirdparty devices using that protocol. In short, the demands are for seamless
Ian Staddon DiGiCo UK
are shipped in huge volumes, are
with other devices over an increasing
It has been said that it is difficult to create successful digital signal processors for broadcast. What’s the solution?
integration, redundancy and control
easy to programme, have readily available PCBs, and their rate of
local server and are connected
change of processing power vastly
directly to the console using a
outstrips SHARC chips. Using a
dedicated interface. This way, the
special version of Linux, Studer has
plug-ins are a fully integrated part
developed a unique method to
of the console and any latency
utilise CPU chips for real time audio
is automatically compensated.
signal processing, thus offering
It only becomes difficult when
all the benefits of CPU chips over
external, non-integrated processors
traditional SHARC and FPGA.
are introduced into the system,
of overall systems, but whilst there is no
Goodman: In a broadcast
This cutting edge technology is at
as delays will be introduced and
single standard, we have to provide
environment and especially
the heart of Studer’s new ‘Infinity
no console can manage this
the best and most reliable solution for
OBs, it is clear that reducing the
Core’ range.
automatically.
our customers.
amount of external processing is
Staddon: The solution is to have
van Münster: There are four
an advantage. This is partly due to
all the processing within the console
areas of importance here. Firstly,
audio production requirements
costs, but weight and space are
itself as we do with DiGiCo. If there
providing reliable hardware
lead to the necessity of audio
also key factors. Two important
is a specific need for additional
and software that comes with
external processors, then these
a proven track record. Second,
should be plug-ins that run on a
always carefully listening to the
Struck: Latest developments in
“Keeping abreast of changes in the broadcast industry and customer requirements is clearly key to designing, producing, and selling audio consoles” Roger Heiniger, Studer
consoles providing connectivity
additional factors to consider are
to new infrastructure standards. In
security and processing latency.
general, this means that technology
Console manufacturers go to great
needs to embrace workflows using
lengths to provide a high level of
IP-Layer-3 formats, like Ravenna
security and redundancy within
which is compatible with the AES67
the console environment and this
standard format. Technology and
will always be compromised by the
infrastructures based on IP-Layer-3
use of external processing. Whilst
provide the integration of IP-
processing delays may be small,
capable devices into flexible and
the interfacing to the console has
scalable networks where signals of
potential to add significant delay.
any kind, be it audio, video, control
In either case these delays cannot
or any other media data, can be
be managed by the console and
collected, distributed and accessed
therefore have to be understood
for further use. One of the side
by operators. Today, the most
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38 TVBEurope
www.tvbeurope.com May 2015
Audio Mixer Forum IP solutions are the current ‘in’ thing. Do audio-over-IP applications require different mixers/ mixing techniques? Goodman: The only real issue here is the management of AoIP streams and the handling of potential latency issues with streaming audio technologies. The audio operators have to be aware of these issues and take the time to manage them, but the fundamental mixing techniques are not significantly affected. Heiniger: Whilst AoIP has obvious implications for a console’s I/O requirements and the overall audio system design, it doesn’t particularly affect the mixer control surface itself, nor the mixing techniques used by the operator. Console operators will, however, need to be aware of the delays inherent with AoIP connections. While these delays may only be a few milliseconds, and may not matter if the feed is to, say, a foldback loudspeaker, it may be significant with requirements of the broadcast industry. Next,
Heiniger: Yes it has: perhaps most significantly in the
things like multitrack record feeds if comb filtering
getting a profound understanding of the
number of channels a console is required to process
is to be avoided.
requirements and workflows that are applicable
simultaneously, and the amount – and type – of
to the customer. Finally, understanding the
I/O required. Traditionally, a console might have
technique, it is more one of understanding the
current requirements but, as a manufacturer, also
been expected to output one or two stereo mixes
AoIP stream and if this is adding any latency,
being aware of upcoming future trends.
in addition to the standard foldback and earpiece
which then has to be considered.
Staddon: It is not so much an issue of
outputs, clean feeds – mix minuses, etc. Today, a
Has the increased use of second screens and streaming — with their different audio requirements — made any difference to the manufacture of consoles?
console might need to output two 5.1 mixes with two matching stereo downmixes, foldback, earpiece outputs, clean feeds, and plus possibly stems or submixes for internet streams and interactive TV services. This also impacts the number of buses and monitoring and metering facilities a console offers. Staddon: Not for DiGiCo, as we have always
“The changes towards IP-based broadcast infrastructures and its spreading acceptance represents a quasi-natural evolution” Christian Struck, Lawo
been offering consoles with large numbers of outputs and the ability to provide all types of busses, be it 5.1, LCR, stereo, mono, mix-minus
Goodman: In practice this move has not had
etc. Operating in the ‘live’ environment has
Struck: We would not call it just an ‘in’ thing
any real influence to the manufacturer of audio
meant that we have optimised the way to
– the changes towards IP-based broadcast
consoles. It is standard practice to provide
generate and access these outputs, which is the
infrastructures and its spreading acceptance
multiple feeds – which is why most broadcast
key to the ease of operation.
represents a quasi-natural evolution. The open-
consoles are capable of providing more than
Struck: From a very early stage, Lawo has
format approach, the flexibility and scalability
one main programme mix and output. This could
developed its audio consoles parallel to the
of networks, the use of existing IP infrastructures
be 5.1 mix plus a stereo mix, or clean and dirty
constantly changing requirements of the industry
will re-form the complete broadcast sector
mixes for international distribution, and many
and the user – or even anticipated these
effectively and irreversibly. Lawo integrates
operators are already used to providing mixing
changes. This is a reason why our company has
Audio-over-IP technology not only as a mere
in multiple formats. That said, the quick and
been an early supporter of the AES67/Ravenna
interface, but as new backbone technology
easy creation of mixes does have an effect
technology which is integrated in our systems. We
in its already established mixing console
on the design philosophy of an audio console.
are constantly observing the market and thus see
series. This is technically sophisticated, but
Mixes should be easy to create and, as these
the new requirements for the provision of content
this path of integration gives our customers a
requirements increase, mixers need to be able to
for second – or manifold – use and distribution,
highly valuable practical benefit as they can
produce them just as quickly and just as easily.
but neither does this affect the manufacture of
migrate from MADI to IP Layer-3 infrastructures
There is definitely a trend in the simplification of
our audio mixing consoles nor the mix as these
step by step and are not forced to change
control surfaces of modern digital consoles.
are all downstream operations.
their existing technological environment in
TVBEurope 39
May 2015 www.tvbeurope.com
Audio Mixer Forum one throw. Hybrid products will
designers, maintenance engineers
consolidate new IP technology,
and operators to become IT experts
cost-efďŹ ciency and the customers’
overnight, so console manufacturers
innovative capacity. And with
must offer solutions that help manage
regard to mixing technique – in
this transition. Long term, it’s the
a ďŹ rst step these changes will
possibility of virtualising parts of the
affect the infrastructure, not the
audio console system – that is, the
mixing workow itself. However,
ability for a customer to run, say, the
by and by the skill set of engineers
DSP processing on its own hardware
will probably change, as will
platform, possibly in a data centre
the workows, when users start
remote from the console surface. This
discovering the exibility IP
possibility goes hand-in-hand with the
brings. Technical teams from the
transition to IP-based audio networks. Struck: The current moves of the
broadcast audio side will ďŹ nd that issues formerly approached
market will generate a complete
exclusively by the IT teams will now
set of innovative developments with
have to be conjointly approached
regard to IP-Layer-3-based systems. It may seem as if it was already
by both teams – close cooperation between audio and IT will lead to success.
Christian Struck, Lawo
Bjorn Van MĂźnster, Stagetec
established, but from our perspective the shift to IP is still in a very early stage. We’re just about to realise
van MĂźnster: It is not really the
What is the next biggest innovation to be introduced into audio mixers?
a common interface with AES67,
mixing technique that changes,
most would agree that things
but the audio distribution behind
are simpler in practice than ďŹ rst
it. Although we believe that for the
imagined. Learning to mix to a
upper range of high-end audio
Loudness meter is clearly a step
the TDM based networks like Nexus
change from traditional peak
are still outperforming current AoIP
programme meters, but the
performance in terms of latency,
ability for sound operators to
jitter, more elaborate redundancy
‘relax’ some of their dynamics
Heiniger: Short term, it’s the transition
multi-touch screen offers a wealth
– for example, cable, CPU and
processing and mix more ‘by ear’
to audio console networks, including
of possibilities in terms of additional
hot swappable elements, but also
is perhaps the biggest, and most
AoIP, and the associated network
options and interfacing to third-
control function through logic offer
welcome, change.
monitoring and management
party equipment – for example,
facilities that a broadcaster demands.
plug-ins, processing, control units,
We cannot expect audio system
and so on. „
beneďŹ ts with respect to unique AoIP networks.
Where are we today on the issue of Loudness?
Staddon: This is catered for in our consoles when used in the
van MĂźnster: Polaris evolution is a new network based console which is completely modular and scalable. The eye-catching 21-inch
using integrated Loudness metering which complies with the speciďŹ ed standards. Struck: During the last years the
Goodman: From a console
EBU, ATSC, ARIB – have answered
manufacturer’s point of view, this
to the issue of Loudness by
is done. Most broadcast consoles
globally implementing guidelines
now have built-in Loudness metering
and speciďŹ cations in content
which adheres to the legal standards
production. There has been a
which are now in practice.
learning process of broadcasters, and in the meantime we can
you are in the world, Loudness
establish a pleasing intermediate
compliance is either mandatory or
result. However, there is still much
not required at all. As such, there’s
work to do to reach a high level
a wide variation in knowledge
of acceptance and realisation in
and understanding of Loudness
the global context.
metering and compliance. For
workows are yet to come.
broadcast environment by
different broadcast authorities –
Heiniger: Depending on where
but the big innovations regarding IP
van MĂźnster: Loudness control
those sound operators, dubbing
is of course an ongoing topic.
mixers and post producers who
Within Nexus we offer proprietary
have made the transition to
Loudness control in agreement
Loudness metering, I suspect that
with ITU, EBU and ATSC guidelines.
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40 TVBEurope
www.tvbeurope.com May 2015
Data Centre
The consumer is king We are experiencing the “most exciting time in the TV media industry”, according to Thorsten Sauer, Ericsson’s head of broadcast and media services, as he outlined the findings of the company’s Global Insights 2015 and Consumer Insights Summary reports on 18 March. Holly Ashford went along to the event at London’s Broadcast Centre to hear the latest update peaking at one of the
S
UK’s leading broadcast facilities, Thorsten Sauer
opened with the oft-used phrase, “content is king”, though also asserted that “there is another king in town: the consumer. This new generation of consumer has grown up with the internet, and expects a more personalised TV experience,” Sauer continued. “Convergence” is also another buzzword of the moment: Sauer used the example of BT investing heavily in acquiring broadcasting rights, and other telcos translating to mobile platforms. Ericsson predicted this convergence trend ten years ago, Sauer asserted, and whereas production, content enrichment, content publishing and distribution, and content consumption “used to be separate”, now, Sauer continued, “we believe in convergence…we want to be there and act.” This
Ed Vaizey (left) and Thorsten Sauer discuss the topic of convergence
is evident through Ericsson’s slew of acquisitions, including Fabrix
tax relief for high-end TV drama
Systems, Red Bee Media and
and increasing R&D tax relief,
Microsoft Mediaroom.
promising that a Conservative
Ed Vaizey, minister for Culture, Communications and Creative Industries, was also at Broadcast
government will be “continuing to invest in the future”. Michael Bjorn, head of research
Centre, and praised Ericsson’s
at Ericsson ConsumerLab,
“fantastic” investment in the UK.
introduced the findings from the
The company operates from ten
new Ericsson research report on
locations in the UK, employing 5,000
TV and media which looks at the
people, with 2,100 of these working
changing behaviour of audiences
in the media and TV sectors. Vaizey
in the UK. This marked the 15th
also stressed the importance of
annual TV and media study,
“convergence”, contemplating
involving 23 countries worldwide,
demand streaming is replacing
times a week, compared with 51
the potential merger of BT and
including 2,000 online interviews
recorded TV and closing in on
per cent who watch recorded
EE. He also used the event as
with 15 to 69-year-olds in the UK.
linear broadcast; 69 per cent of
broadcast TV and 82 per cent who
UK consumers watch streamed
watch scheduled broadcast TV
on-demand video at least several
with the same frequency.
an opportunity to champion government initiatives like content
One of the key findings highlighted by Bjorn was how on-
Michael Bjorn explains ‘The double business model challenge’
TVBEurope 41
May 2015 www.tvbeurope.com
Data Centre “continue to invest in the future”, highlighting its funding of the University of Surrey’s research into 5G networks. ‘It is time to change the structure of TV services’ the report concludes. In the future, consumers will not accept paying for inflexible managed TV packages in order to get access to the content they love on the devices they want
69% of UK consumers watch streamed on-demand video at least several times a week
51% of UK consumers watch recorded broadcast TV at least several times a week
82% of UK consumers watch scheduled broadcast TV at least several times a week
to use. Customer satisfaction is a central concern, and traditional TV providers are facing challenges: the ConsumerLab report found that customers are more likely to recommend their on-demand OTT service provider than their traditional TV provider. However, many people will continue to pay for a broadcast TV package out
On-demand streaming is replacing recorded TV and closing in on linear broadcast
of convenience and ease of use, On-demand and catch-up services
catching up though, and BBC
did some video”, 4G is “a video
with live TV – and especially sports
are disassembling broadcast TV
iPlayer and Netflix were the next
distribution network that needs
– continuing to attract audiences
channels, the report concluded,
most popular services (following
to support communications”.
and offering high value.
as TV channels are increasingly
YouTube) with Android smartphone
Ericsson’s November 2014 Mobility
considered a source from which
users in the UK who use the internet
Report predicted that video traffic
utmost importance, but only
consumers can harvest content, for
on a daily basis.
will grow tenfold between 2014
if audiences can access it
and 2020 and within western
when, where and how they
challenge’ was another key point
Europe there will be 600 million
wish. “Customer experience is
Place-shifting
raised by Bjorn. The two main
4G subscribers: 75 per cent of
paramount”, concluded Stagg.
Content on the go is growing,
barriers for watching TV and video
all subscriptions. At Broadcast
“And although ‘content is king’
and this is driven primarily by
on mobile devices outside of the
Centre, Vaizey promised that a
is often quoted, it is actually
16 to 24-year-olds. Smartphone
home are both cost-related, the
Conservative government would
‘customer is king’.”
viewing has increased by 44
report reveals. Forty-one per cent of
per cent since 2012 and today
UK respondents said that data cost
26 per cent of consumers are
was too high, while 36 per cent felt
place-shifting content (starting to
that the cost to rent, subscribe or
watch content on one device in
buy is too high. Consumers currently
one location, before moving to
have to pay for both the content
another location and watching it
and then the data consumed while
on another device) on a weekly
watching that content.
example using a DVR.
‘The double business model
basis. The ConsumerLab report examined the weekly TV and video
Impact of 4G
viewing habits across the day,
The report also highlights the
among different age groups, and
impact of 4G: three times as many
found that – aside from ‘at home
4G users watch video outside the
during the evening’ – the highest
home compared with 3G users,
percentage watching at every
and they consume three times
other instance were in the 16-24
more data. In the UK, 26 per cent
year old age bracket. YouTube is
of 3G users plan to upgrade to
the most popular service in the
4G over the next 12 months. “4G
UK, the report found, and 70 per
video dominates,” asserted Matt
cent of smartphone owners who
Stagg, principal strategist at mobile
use the internet on a weekly
network operator and internet
basis use YouTube at least once
provider EE. Whereas “3G was
a month. Other SVoD services are
a communications network that
High value content is of the
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42 TVBEurope
www.tvbeurope.com May 2015
Data Centre
‘If OTT is attracting new customers they should arguably focus on a Now TV-style, standalone OTT service designed to attract new customers’
Multiscreen measurement made easy
By Giles Cottle, director, consumer insight products, Genius Digital
ike most of the TV industry, what used to be
There are some notable efforts – BARB’s
That’s to say – they weren’t sure if the viewing
straightforward tends now to be relatively
Project Dovetail, for one – that are seeking to
they were getting via OTT was new viewers, who
complicated. And so it goes for measuring
bring multiscreen measurement to a panel-
were not watching the linear services, or if it
viewing. Back when I used to wear short trousers,
based system. But for the most part, linear
was linear TV services using it. This is a big
and ‘telly’ consisted of only four channels in
and multiscreen are measured using different
question for operators that greatly impact
the UK, gauging who had watched what was
technologies, providing different metrics, and
their multiscreen strategies. If OTT is attracting
much easier. The rise of multichannel and, more
sometimes by different teams. This, of course,
new customers they should arguably focus on a
laterally, multiscreen viewing, has changed that.
is at odds with how TV is watched, packaged,
Now TV-style, standalone OTT service designed
To use tech metaphor, audience measurement is
and sold. Linear and OTT services are available
to attract new customers. If multiscreen is more
(simplicity wise) less iOS and more Windows 8.
side by side on most hybrid set-top boxes. The
additive, it should probably focus its efforts more
consumption method doesn’t really matter for
on TV Everywhere-style solutions. The answer to
how people use their services has never been
consumers, as long as they can watch what
these questions can only come from properly
more important for operators. Most countries
they want, when they want to. In turn, this makes
understanding the customer, and what this
have a national audience measurement system
it much more difficult for operators to get a
means for a company requires getting an
– it is BARB in the UK, Mediametrie in France – that
holistic understanding of how their customers
overall understanding of the viewer.
uses a panel of viewers to accurately estimate
are actually using their service; which is a major
linear viewing. They work very well, especially for
flaw in any business, let alone one as fast-moving
need for bringing linear and multiscreen
larger channels. But because multiscreen and
as TV. Strategically, one of the most important
measurement together, too. As viewers start to
online viewing have a return path, viewing is
questions operators face is the impact that OTT
see less of a distinction between OTT and linear
much more measureable – and most operators
has on their business, and what OTT means for
viewing, then so too will operators, advertisers
get at least a top line idea of how their services
them. In a past life, a large British broadcaster
and agencies. It will simply become an
are consumed, from their CDN or server logs.
once told me it had “little idea” about what the
operational imperative for advertisers to see a
crossover between its linear and OTT audiences
more rounded version of viewing, rather than
was, despite significant efforts to find out.
the current two tier system.
L
Ironically enough, getting a granular idea of
The key problem here is that these two types of viewing tend to be measured separately.
There’s likely to be a more operational
RAI Amsterdam Conference 10-14 September : Exhibition 11-15 September
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