TVBEurope October 2014 digital edition

www.tvbeurope.com

Business, insight and intelligence for the broadcast media industry

October 2014

NOW HEAR THIS Inside broadcast audio

Satellite focus IBC Best of Show Avid CEO, Louis Hernandez Jnr Imagine where you could take your business... if technology didn’t stand in your way.

An all-new blueprint for managing, moving and monetizing video content is here. an evolutionary path that aligns current investments with the network of the future.

Find out more. imaginecommunications.com Š 2014 Imagine Communications

TVBEurope 3

October 2014 www.tvbeurope.com

EDITORIAL Executive Editor - James McKeown jmckeown@nbmedia.com Editor - Melanie Dayasena-Lowe mdayasena-lowe@nbmedia.com 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 Mike Clark, Chris Forrester, David Fox, Mark Hill, Dick Hobbs, John Ive, George Jarrett, Heather McLean, Adrian Pennington, Philip Stevens, Reinhard E Wagner Head of Digital - Tim Frost Office Manager - Lianne Davey Head of Design & Production - Adam Butler 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 Sales Executive - 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 Circulation NewBay Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848

Welcome

You say you want an evolution…

IBC buzz-phrases and Abbey Road, tenuously linked by (vandalised) Beatles lyrics elcome to the October issue of

W

to embrace change as progress, rather than

TVBEurope: our difficult second album.

interruption (‘disruption, not interruption’ — for

Edition two of a wholesale redesign

the buzz-phrase enthusiast).

that all systems have very much been ‘go’ since

feature. It doesn’t take much twisting of the

our return from Amsterdam, and we have another

arm to get me over to Abbey Road Studios,

can often feel like that, but I’m happy to report

cracking issue lined up for you.

I’ll start with Amsterdam, and

Onto this issue, and our Audio for Broadcast

being a songwriter from a family of Merseysiders. My recent visit

IBC. Being my first experience of

took me behind the scenes of an

the show, I arrived with a huge

Audio Network recording session,

amount of anticipation, and what I

as the company continues to build

discovered to be a hugely optimistic

its impressive repository of music

meeting schedule — you can tell a

for film and TV. The engaging

rookie by his limp, you know.

Andrew Sunnucks, its co-founder,

There were plenty of themes

offers an energetic account of

and discussions emanating from

the company’s work, and the new

the halls of the RAI complex. While

breed of composers it has taken

some lamented the ‘silo mentality’

under its wing.

that exists in addressing global industry challenges, others talked

I also speak at length to Louis Hernandez, Avid’s CEO, as we delve

TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London, N1 8LN, England

of the need for leadership, and the current

inside the chief executive office, while we showcase

lack of senior figures putting their heads above

this year’s IBC Best of Show winners, examine the

NewBay Media is a member of the Periodical Publishers Association

the parapet. But if there was one thing that

latest in IP technology in our forum, and assess how

struck me at IBC this year, it is the sense that the

the UK has fared in making October’s file-based

component parts of this broadening industry

delivery deadline. It really has been an immensely

© NewBay Media 2014. 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.

appear to be pulling in the same direction, and

enjoyable issue to put together.

Allow 8 weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England.

ISSN 1461-4197

joining the bandwagon-chorus of ‘evolution, not

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

to ignore the growing appetite of the industry

working to a common goal: evolution. Without revolution’ championed by some, it is impossible

I look forward to seeing you at the TVBAwards on the 23rd of this month.

James McKeown Executive Editor

4 TVBEurope

www.tvbeurope.com October 2014

In this issue

52

22 Audio for Broadcast Our cover feature this month looks into the world of broadcast audio, where we learn more about the art of audio fixing, talk to Harman’s Andy Stott about the company’s culture of innovation, and drop in on a recent Audio Network recording session at Abbey Road

Satellite Focus

Chris Forrester reports from IBC2014 where the satellite industry’s readiness to tap into 4K/UHD was evident from the many demonstrations witnessed in the prestigious Hall 1

6-10 Opinion & Analysis

58-63 IP Technology Forum

Simen Frostad, chairman of Bridge Technologies, analyses the technical issues surrounding the future of OTT

Philip Stevens moderates this month’s Forum which addresses the issues and challenges relating to internet protocol (IP) technology

12-20 Workflow

44

Coronation Street ’s production team delivers an even higher quality drama with a new workflow while still meeting the time demands of producing five episodes a week. Adrian Pennington reports

14

Feature

37-41 IBC Best of Show Winners

64-66 Data Centre

James McKeown speaks to Avid CEO, Louis Hernandez Jr, about the challenges of driving strategy in today’s market, and how his entrepreneurial spirit is helping to shape the company’s future

TVBEurope’s parent company, NewBay Media, carried out its first ever Best of Show awards programme for IBC in Amsterdam this year. Here, we celebrate the winning entries

New research from GfK shows that while second screening is becoming commonplace, most people use the second screen for very separate activities

Untitled-1 1

09/10/2014 17:03

6 TVBEurope

www.tvbeurope.com October 2014

Opinion & Analysis

Content Everywhere

round up

MVPDs, in particular communications service providers, are under severe pressure to provide video content to the multiscreen world, and they often must acquire technologies from many vendors to establish a complete TV Everywhere offering.

More 4K UHD TV sets shipped in Q2 2014 than the whole of 2013 This year, 2.1 million 4K UHD TV sets were shipped

Melanie DayasenaLowe rounds up the latest Content Everywhere news, including global internet access, TV Everywhere and 4K TV shipments

in Q2, compared to 1.6 million in 2013, according to the NPD DisplaySearch Quarterly Global TV Shipment and Forecast Report. Brands introduced their 2014 model ranges in Q2, with a clear focus on 4K as the ‘must-have’ consumer feature for high-end television viewing.

With the introduction of the 2014 models, the

ver 50 per cent of the global population

O

shipment balance by region has shifted. In 2013

Charlie Vogt

will have internet access within three years’ time, with mobile broadband over

China accounted for approximately 80 per cent of shipments in each quarter, as Chinese brands

smartphones and tablets now the fastest growing

A TV Everywhere future

introduced low-priced 4K TVs. However, in China

technology in human history, according to the

Imagine Communications has unveiled its vision

there were few sources of 4K UHD content, and

2014 edition of the State of Broadband report.

for enabling communications service providers to

TV brands were largely marketing the higher pixel

gain a strategic advantage in offering over-the-

count to consumers. New 4K TV models from

of the global population are already online, with

top (OTT) video and IPTV services. It is claimed

global brands have been introduced in every

the number of internet users rising from 2.3 billion

to be the only company in the industry with an

region this year, and there has been a recent

in 2013 to 2.9 billion by the end of this year.

end-to-end TV Everywhere solution — from media

increase in 4K UHD content available

ingest to advanced advertising, subscriber billing

from streaming providers.

The report reveals that more than 40 per cent

More than 2.3 billion people will access mobile broadband by the end of 2014, climbing steeply to a predicted 7.6 billion within the next five

and multiscreen CDN. “TV Everywhere is a game changer for

A result of the regional shift is that China’s share of 4K TV shipments dipped to 60 per

years. There are now over three times as many

communications service providers around the

cent, though as supply chains are filled there

mobile broadband connections as there are

world who are looking to offer their customers

is likely to be some over-shipment relative to

conventional fixed broadband subscriptions. The

new services that increase loyalty and drive

demand outside the Chinese market. “New 4K

popularity of broadband-enabled social media

revenue,” said Charlie Vogt, CEO of Imagine

TV model introductions have broadened the

applications continues to soar, with 1.9 billion

Communications. “Driven by our vision of leading

4K TV business, which has become a lot like

people now active on social networks.

media companies to a future that is defined by

the high-end TV market, in general,” said Paul

IP, software-defined workflows and the cloud,

Gray, director of European research for NPD

50 per cent of the population is online, up from

we offer customers an unprecedented degree

DisplaySearch. “Even so, there needs to be

70 in 2013. The top ten countries for internet use

of flexibility and scalability that allows them to

greater implementation of broadcast

are all located in Europe, with Iceland ranked first

introduce new TV Everywhere technology and

offerings that deepen the value of 4K sets

in the world with 96.5 per cent of people online.

customised services with ease.”

beyond pixel counts.”

In total, there are now 77 countries where over

8 TVBEurope

www.tvbeurope.com October 2014

Opinion & Analysis

The inaugural TVBAwards A celebration of industry excellence from where he quickly progressed to roles at

Holly Ashford introduces TVBEurope’s inaugural awards ceremony, created to recognise excellence and achievement in the broadcast media sector

the IBA and the EBU. He pinpoints “being part of the ‘drivers’ cab’ in the three stages of digital television standards” as one of his career highlights, as well as “being in at the beginning of

t has been a summer laden with change and

the DVB project in 1993.” Attendees to the Awards

development at TVBEurope, and the onset of

will no doubt discover the depth of Wood’s

autumn brings with it one of the most exciting

experience, and his outlook on the future of

I

and anticipated areas of our development to

broadcast (you can read the full length interview

date. As you are likely to be aware, 23 October

with Dr Wood on pages 50 to 51).

Nominated projects have all been completed

sees the launch of the first ever TVBAwards; a brand new event dedicated to the recognition

over the last year, and are divided into four

of achievement, excellence, and endeavour in

fields. Capture comprises three awards: Beyond

the broadcast media industry.

HD Achievement, Achievement in Sports

The awards recognise talent from across

Broadcast, and Achievement in VFX. These

the industry, covering Capture, Delivery and

are designed to honour expertise in image

Workflow categories, as well as Special Awards

and content creation, and nominees include

for achievement in Outstanding Broadcast,

projects as varied as The Match at Mission Hills

Marketing, and Sustainability. The night’s most

(U.COM Media), War Horse live in 4K (NT Live and Sony), and Peaky Blinders (Bluebolt).

prestigious accolade, the Lifetime Achievement Award, will be presented to

Wood spoke to TVBEurope ahead of the event

Dr David Wood, former deputy technical

and discussed his long and illustrious career,

Fast Turnaround Broadcast, Legacy Content and

director of the EBU.

which began at the BBC as a graduate trainee,

Multiplatform Content. Elemental Technologies

The Delivery awards celebrate Achievement in

boasts a double entry in the category, with its work for the BBC World Cup live streaming nominated for two awards. The category also looks back to historical broadcast gems, with the Achievement in Legacy Content nominees including projects on World War I (Russia Television and Radio/FERC Sovtelexport) and a fatal Everest ascent in the 1920s (BFI National Archive/Deluxe Digital).

Post Production, Sound and Systems Integration make up the Workflow awards. The teams behind TV hits Sherlock, The X Factor, Happy Valley, and

Later…with Jools Holland are all in with a chance of scooping the Achievement in Sound award, while major projects like ITV Studios’ Production modernisation (Nativ) and “the world’s largest TV catch up service for UK education” (Cambridge Imaging Systems), make up the Systems Integration nominees.

Tickets are still available and include a drinks reception on arrival, dinner, awards presentation and after party. The black tie event celebrates the successes of known industry colleagues, coupled with a chance to network with emerging creative talent.

10 TVBEurope

www.tvbeurope.com October 2014

Opinion & Analysis

What does 4K mean for OTT providers?

Simen Frostad, chairman of Bridge Technologies, analyses the technical issues surrounding the future of OTT

resolutions are still necessary for viewing on

In addition to encoding content for SD and HD

mobile devices, OTT providers such as Netflix

TV, a broadcaster adding OTT services has to

have a big incentive to stream the highest

prepare the content for a combination of HLS,

quality to smart TVs, and embrace 4K early.

Smooth Streaming, and HDS. These adaptive streaming technologies share common features

Younger appeal

but are not identical, and as usual when there

OTT may be a forum for cutting-edge

are competing formats, there is uncertainty

TT was a big theme at this year’s IBC,

O

technology development for some, and a way

about which horse to back. Having to cater

as was 4K/UHD. Consider OTT in the

of protecting existing revenue sources for others.

for multiple formats increases the costs and

light of 4K and you get some interesting

But demographical factors are determining

complexity of establishing and operating services

perspectives on the dynamics driving the current

market developments too. Cord-cutting, and the

in what is still a fluid and evolving arena.

development of the market and the possible

preference of younger audiences for OTT TV, which

future shape of it.

fits an ‘anywhere, any time’ consumption pattern,

DASH as a common format would remove

While the drive towards 4K has an obvious

The simplification offered by adopting MPEG-

are factors that can’t be ignored. The introduction

some of these obstacles, and accelerate the

pay-off for certain vendors such as manufacturers

of hybrids of OTT and live TV services allows

development of the OTT market. In theory, a

of TV sets, who will see a higher margin on

broadcasters to take a more agile approach in this

common format supported by all devices would

every 4K screen they can shift, a difference of

fluid marketplace, adding or expanding services

lower the cost of establishing new services and

approach between pure OTT service providers

at a much lower cost than was previously possible,

make entry into the OTT market easier. But MPEG-

and broadcasters shows that the opportunity OTT

and offering something to both the younger OTT-

DASH is still unproven, still evolving, and it’s not

presents is not the same for everyone.

oriented audience, and those who prefer linear TV.

clear yet whether it will become the standard.

For broadcasters delivering their main,

Whatever the market imperatives are, there

But MPEG-DASH is codec agnostic, and while

revenue-earning service to subscribers’ 1080p

remain plenty of technical issues for OTT service

the vast majority of video is currently encoded

television screens, OTT services tend to be seen

providers. Security of content over the public

as H.264 this does mean that DASH is ready

as an extra that they offer to allow the same

internet, and how to provide service quality at a

for UltraHD with H.265/HEVC and hyper-bitrate

content to be viewed on tablets and phones.

TV-equivalent level are two of these issues.

codecs when they are needed.

rising, but much of their current HD content is

A question of formats

a top priority for those broadcasters surveyed,

streamed at no more than 720p by broadcasters.

The screen resolution of these devices is always

Interest in 4K over DASH may not have been One of the more concrete technical issues for

yet the inclusion of support for services beyond

For out-and-out OTT providers, streaming

the future of OTT is the question of formats. The

HD in the DASH standard is important, especially

at higher quality than this is an important way

range of viewing devices that an OTT operator

since 4K is more of a differentiator for some OTT

to differentiate their services. So while lower

has to support is a source of complexity.

providers than for others.

12 TVBEurope

www.tvbeurope.com October 2014

Workflow

Green issues in Greenland Environmental considerations forced Greenland’s public broadcaster to relocate. Philip Stevens discovered what was involved in the move

K

it is very expensive to travel since there is no road to connect the cities.”

Greenland, which has a population of about 56,000, is the least densely populated country in the world. Despite the huge area, KNR radio and TV broadcasts reach each home.

“The government of Greenland also utilises the broadcast station services to further unify and

alaallit Nunaata Radioa (KNR) is the

connect the dispersed population, as well as to

national public broadcasting corporation of Greenland, based in the country’s

promulgate the Greenlandic language,” states Berg.

The new KNR continuity playout centre in Greenland

capital city, Nuuk. This independent state-owned

Apart from the studio facility in Nuuk, KNR operates remote area offices which feed local stories and

corporation is responsible for broadcasting both

Greenlandic and Danish. “Broadcasting in

news via the internet. In addition, some larger towns

radio and TV programmes. On the television side,

Greenland is a big challenge,” explains Jan

have live feeds using Streambox encoders.

about 700 hours of programmes are transmitted in

Berg, KNR’s head of TV and deputy director.

the Greenlandic language (Kalaallisut) each year.

“KNR is a small public service station with around

Health issues

90 employees and a yearly budget of DKK 67

The KNR broadcast operation was set up

Greenland, South Greenland and Copenhagen

million. That is not much to cover as great a country

in 1958 in a building originally designed as

deliver news to the whole of Greenland in both

as Greenland. The distances are huge and

a heliport for Air Greenland.

KNR’s news departments in Nuuk, North

TVBE Oct P12-13 GreenlandMDLHAJMcK.indd 12

14/10/2014 15:48

TVBEurope 13

October 2014 www.tvbeurope.com

Workflow continuity playout master control room, plus the entire equipment room with 16 racks. All needed to be moved to the newly refurbished building.”

The new continuity suite utilises a Dalet TV Playout System

The original studio control room included four PCs, five Sony CCUs, and four Avitech multiviewers that generated a considerable amount of heat and noise. It was decided that these should be moved into the CAR, with KVM extenders for the PCs and DVI optical extenders for the multiviewers.

The original time plan was optimistically scheduled for completion by the end of 2013.

However, due to construction delays and scheduling needs, work was finished in May 2014.

However, the combination of a building with an

a new purpose-built facility in the coming

extensive steel construction and the extreme

three to four years.”

temperatures experienced in Nuuk, led to

Pfeiffer explains that the first requirement —

The five existing Sony DXC-55 studio cameras with their Vinten pedestals and Sachtler tripods, together with Panasonic ENG P2 cameras were

condensation and water drip problems. Over

staying on-air — provided the biggest challenge.

the long-term these created a build-up of

“It was essential that the move, rewiring and post

unhealthy mildew and fungus, and meant that

installation tests be performed without interrupting

includes a PESA Cougar SDI-AES Router, a

relocation was essential.

the normal daily schedule of live broadcasts.

Soundcraft Series Five audio mixer, Chyron

In close partnership with KNR, we were able to

Duet and Title One graphics systems and

invited to visit KNR Greenland and consult on the

agree a work schedule which ensured that the

the RTS Zeus Intercom with user panels

relocation project. The move involved the entire TV

network was able to maintain full-time on-air

and Telex BTR700 wireless.

and radio broadcast operation and 100 staff.

status. Despite the complexity of the operation, a

In September 2013, Danmon Systems Group was

Defined goals Danmon Systems Group project manager Jack

retained for the relocation.

Other equipment that made the move

closely monitored build schedule was achieved

Looking to the Arctic Games

over nine weeks in two phases.”

What are the future plans for KNR? “I’m afraid

Phase one embraced the relocation of the

the details are confidential,” declares Berg. “But

Pfeiffer takes up the story. “The project goals and

radio studios, including three Studer On-Air 3000

what I can say is that, of course, they do include

ambitions were well defined. First, to ensure KNR

desks, and installation of a new Ross digital audio

migration to a tapeless workflow and possible

remained on-air during the move. Secondly, to

router for transmission.

support for HDTV broadcast. Our future projects

move the radio and TV station in an efficient and

“Phase Two centred on moving the existing

include expanding our services, as well as

cost effective manner. Lastly, to accommodate a

television facility, with its 20x20m, two set

supporting the 2016 Arctic Winter Games which

future plan that may see KNR move again to

studio, gallery, audio production control rooms,

will be hosted in Greenland.”

14 TVBEurope

www.tvbeurope.com October 2014

Workflow

Stephen Edwards: “We’re not trying to change the look of the show but we did need to balance it”

manager. In designing the equipment spec and workflow layout specifically suited to the needs of the Street, the team’s goal was to increase production values and to boost the efficiency of

A new lease of life

the technical workflow through to post.

One way of achieving both was to enhance the colour correction process, which was limited at Quay Street.

“We could only grade the location material, not the studio material, because of the available kit and the costs

Coronation Street’s production team delivers even higher quality drama with a new workflow while still meeting the demands of producing five episodes a week. Adrian Pennington reports

associated with grading the whole show,” explains Williams.

“Previously, we were exporting QuickTime

TV Studios’ move to a new northern

the programme as opposed

out of Avid, popping an

production base at Salford’s MediaCity

to making it work in post,

entire episode into the

at the beginning of the year afforded the

the more quality we can

Baselight One to grade,

show on screen.”

and exporting it back

I

opportunity to quietly revolutionise the post workflow and on-screen production values of flagship soap opera Coronation Street.

The show had been post produced for some

With the soap transmitted five times a week, the production team is creating

to Avid again. Each

Corrie’s production had outgrown its resources and was in need of a revamp

round trip took an hour or more.”

time by 360 Media, the BBC and ITV joint venture

the equivalent of a full-length

facility based, with ITV, out of Manchester’s central

feature film every week. The new location which is

the Baselight with Slate control surface but has

Quay Street. But like the warren of production

built solely to cater for the Street (and is separate

equipped five of the production’s edit suites with

offices there, Corrie’s production had outgrown its

to ITV Studios’ offices on the other side of the dock

Baselight Editions, a software plugin that features

resources and was in need of a revamp.

adjacent to the BBC) includes external streets,

a familiar Baselight GUI and enables online

practical sets and studio space, together with all

editors to manipulate the grading toolset

block of five episodes, producing 260 episodes

the post production required to deliver completed

directly inside Avid.

a year,” explains Robbie Sandison, head of

programmes on a fast turnaround.

“Every Monday for 50 weeks we start a new

production. “There is always media going through. The more time we can spend producing

The new set-up features

Each clip is identified with shot take, scene

“This building has given us a new lease

and camera information which is fed through

of life,” says Dave Williams, post production

to production. Script information is assembled in Adobe Story.

HD camera outputs as AVC Intra 100 files are immediately loaded onto an 80TB Avid ISIS 5000 shared storage system. From there, lead colourist Stephen Edwards performs a master grade but can do so without having to render a single frame. Grading information is passed to the edit suites as metadata in the AAF files, including tracking information, windows and keyframes.

The colour correction is live, not burned in.

Instead, the grade is stored as metadata. By working on the same media in its native format, metadata exchanges between the grading and editing suites are not only very fast but there is no loss of quality through rendering or file conversion. Editors can make changes to the grade – such as extending scenes – if necessary, and also the lead colourist can pull edited shots (and their adjusted grades) back into Baselight to make further changes in the master suite.

“They don’t have that much time to grade,” explains Marty Tlaskal of FilmLight. “They may use a couple of layers or a vignette to isolate the action, put in an ellipse or blur someone out.

TVBEurope 15

October 2014 www.tvbeurope.com

Workflow The beauty of it is they can do it in an Avid and

ITV Studios moved to a new northern production base at Salford’s MediaCity at the start of 2014

everything is changeable. If a scene is too blurred or not blurred enough – or the lighting director wants to change it – then anything in colour correction can be changed at any point. The online editors don’t have to ring up grading as they can do it themselves.”

Authenticity There was a perhaps unforeseen element to the move which would ordinarily have impacted the grade were it not for the more efficient workflow.

Although the sun rises in exactly the same place in reference to the set’s geography as it does in Quay Street, the lot is bigger, the street is wider and therefore the shadows fall differently. Also, the street simply wasn’t dirty enough.

“Although we’ve added dirt such as algae to the buildings and added litter to the cobbles, the set does reflect the light more than we

“With the drama transmitted five times a week, the production team are creating the equivalent of a full-length feature film every week”

anticipated,” says Sandison. “It’s important to

automatic quality control and AmberFin to process the DPP compliant delivery files. Until the final file creation, production uses the same shared media.

This makes the process of approvals by production executives much quicker too. Should any changes be requested, the workflow is agile enough now to be able to deal with it and save

be able to either fix this quickly in the grade

everyone a lot of time.

to match scenes that are usually shot out of

is scope for a director to want something more

sequence (on different days), or to inform the

silhouetted, for example. But the overall look to

P2 media although this is shortly to be replaced

lighting director to maybe move the position of

the show is that it has a warmth (attributed in

with studio cameras recording direct to a

the camera on set when they do pick-ups.”

part to the Ikegami studio cameras). It’s hard to

gallery via AirSpeeds.

“We’re not trying to change the look of the show

Location rushes are currently captured onto

put a house style down because you don’t want

“The P2 adds a chalk and slate approach

but we did need to balance it,” stresses Edwards.

to lock-off a lot of artistic endeavour. But you do

to metadata, so moving to a gallery gives us

“Between interior and exterior shots you could get

want a look that invites people in.”

a chance to straighten out that part of the

big jars caused by shadows or clouds.

“If we make it too desaturated, then people

It was important that the file-based operation maintain its use of AVC Intra as the codec from

workflow,” says Williams.

“What Corrie does well is try and push the

will notice. We can make a block maybe darker

capture through to DPP delivery, avoiding

production values as high as possible bearing in

or moodier in keeping with a storyline and there

transcodes as far as possible. Vidchecker is used for

mind we’re delivering a show almost daily.”

TVBEurope 17

October 2014 www.tvbeurope.com

Workflow Simon Robinson: “Developing Just in Time solutions actually helps with this overall concern for shorter production cycles”

hen Simon Robinson and Bruno Nicoletti

W

founded software company, The Foundry, in 1996, the original intention

was to build a business employing no more than six personnel. Today, the count is around 300, with staff split between the Soho, London, headquarters, Los Angeles and Silicon Valleybased offices and various other remote locations around the world. “We are a software company providing software tools for creative media people.

Media is pretty well a global activity, so we have support teams wherever customers are using our products,” explains Robinson.

As well as being a co-founder, Robinson carries the title of chief scientist. “Starting a company means you have the opportunity to choose your title – and I felt chief scientist fitted my job description.”

He explains that the research team is mostly made up of scientific people with PhDs, so his own job title as the head of that group in the early days was quite appropriate.

From the outset, the company produced plugins for the Flame system, then made by Discreet Logic. “At the time, the concept that you could use software-based systems instead of bespoke hardware was quite magical. And for us, the idea of third-parties producing plugins and add-ons was one of the motivations for starting the company.”

Although a great deal of the initial work centred on commercials, it soon became obvious that film and broadcast television productions could also benefit from these solutions.

The Foundry

finds a niche

Just in Time With the ever increasing need for the most up-to-date information to be available for viewers, Philip Stevens talks to a software developer that is meeting those demands

The more ‘likes’ the rate got throughout the day, the lower it went. Each of the draws generated such a huge social response that all winners gained record-breaking home loan rates and the bank earned many new leads

Workflow

Award-winning In 2007, The Foundry was presented with a ‘technical Oscar’ – a scientific and engineering award from the Academy of Motion Picture Arts and Sciences – for a suite of plugins called Furnace.

“That led us into the world of motion pictures, and as a result we took on a product called NUKE. This comprised cutting-edge compositing tools that delivered unparalleled speed and functionality in the market. Soon it became obvious that this was

is carried out, the HIERO station plays back the

Assembly also had to make sure the correct

also a perfect solution for creating high quality

latest state of the edit.”

motion-blur was on each number and then

He continues, “The automated functionality

animated in the exact ‘count-down’ fashion,

commercials, television, marketing and advertising

that cuts out complex manual processes means

as it played live. HIERO and NUKE were tightly

and design, especially where tight deadlines and

that HIERO integrates seamlessly with NUKE and

integrated at the script level to ensure all the

managing speed, quality and efficiency in the

other production tools to ensure smooth delivery

tweaks were carried down the line.

production workflow are required.”

of collaborative end-to-end projects. It’s a

still and moving images not only in film, but also

The Foundry can now offer software for a whole range of services from storyboarding through

The competition ran during primetime on

remarkably simple concept, but there’s a lot

10 March, 2014 with the TV commercial appearing

of ‘tech’ underneath it.”

nine times over a four-hour period, each airing revealing the live results of the moving interest rate.

3D content generation, rendering, visual effects

Interesting

For each ad insertion into a break, the operators at

Blending marketing, animation, and social media,

Assembly received a count-in from Master Control

have customers come up to us and say ‘we are

ASB Bank’s inventive ‘Like Loan’ campaign —

at TVNZ, and at the appropriate moment the ‘play’

doing this or that with our commercial or with our

created by Saatchi & Saatchi Auckland — proved

button on HIERO was pressed and the re-versioned

film, and these are the challenges we are facing

an ambitious project requiring spot-on timing

commercial sent down the transmission chain.

— what can you do to help us?’”

and precision. It centred on a competition via

compositing, 3D painting techniques and finishing.

“The technology is moving ever faster and we

Assembly used a Blackmagic Ultrastudio 4K with a Thunderbolt cable, allowing the playing of an HD SDI

Just in Time One of those recent challenges revolves around creating software that allows ‘Just in Time’ productions, especially commercials, to be aired with the most up-to-date — even live — information that will help consumers make a purchasing decision.

“There are technical hurdles and there are creative hurdles – but those are what we can overcome” Simon Robinson, The Foundry

He continues, “Our job is to meet those

stream with embedded audio straight from HIERO on the iMac via internal SSD. According to Robinson, there were no dramas at any stage of the night.

In another example, The Foundry systems were used to reconfigure and re-render a commercial during a sporting occasion in order for it to be played in different versions during the event.

“There are other examples out there where our

demands with tools that are ‘Lego-like’ — which

systems are being used in similar circumstances.

means they have to be easily re-configurable

Facebook that allowed users to collectively

In each case, the transmission is triggered by a

to make them into pretty well anything the

lower a home loan interest rate and become

new set of parameters within the commercial.

customers want. And that’s what one of the

eligible to win that rate for a period of one year.

But where our system differs from others is that it

customers needed in order to produce a series

The dropping interest rate was tracked and

can include changes in the motion content,

of commercials, the content of which would

integrated into a pre-rendered animation and

not just the overlay of new text.”

change according to certain conditions over the

then broadcast live in the designated spot.

course of an evening.”

The project involved Auckland-based design

Robinson explains more, “After creating and

The future

finalising the commercials framing animation

Robinson says that developments in this area

and animation company Assembly carrying

with all its moving elements in 3ds Max and

are moving on — not just for use in ‘traditional’

out a unique piece of marketing for ASB Bank

compositing in NUKE, the crew at Assembly set

broadcasting circles, but also in the ‘alternative’

in New Zealand. The company used HIERO, The

about building an OpenGL app that rendered

outlets such as YouTube and Netflix.

Foundry’s all-in-one shot management, conform,

426 frames of additional 3D animation. This was

edit and review solution, to move offline to

composited over the pre-rendered material and

continue to talk to our customers about future

online, organise projects and stay on top of

then written out to a file sequence. This would

demands. There are technical hurdles and there

review and versioning at every stage.

be set to happen every 70 seconds, versioning

are creative hurdles — but those are what we can

up each time.”

overcome. It is a social thing to react to what is

“HIERO is an interface that pops up rather like an editor, on to which you can drag the

The challenge for the creative team at

“Just in Time is an active topic and we will

going on around the viewers, yet maintaining the

current state of the edit. It does all the conform

Assembly was to ensure that if the viewer was

complexity of the finished product. Developing

that allows you to build a file structure that

watching television while logged into Facebook,

Just in Time solutions actually helps with this

enables the operator to distribute the shots so

the number of ‘likes’ would be the same. Getting

overall concern for shorter production cycles and

that anyone can pick them up and place them

those figures through to the correct spot on the

gives the edge to those clients who wish to take

in the appropriate folder. Every time a re-render

live screen was the next challenge.

advantage of this technology.”

Photo: © ASB Bank. Images courtesy of Assembly Ltd

TVBEurope 19

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20 TVBEurope

www.tvbeurope.com October 2014

Workflow

Know your rights With multiple content sources paid for at multiple rates, and played out on multiple screens, the issue of who gets paid what and when has never been more confusing. Neal Romanek spoke with rights software provider, Counterpoint Systems, which helps companies negotiate the content rights swamp hen content makes money, everyone

W

content is shown, while on the other, audiences

involved wants a slice of the pie,

are demanding more availability on more screens.

and the majority of an entertainment

When a viewer’s expectations of accessing an

lawyer’s time is spent negotiating contracts

on-demand programme are thwarted, they

specifying how that money will flow and to whom.

don’t see a complex international rights issue at

In 2007, the Writers Guild of America went on a

work, they only see a broadcaster providing an

100-day strike largely over the issue of the future of

unsatisfying service.

Research shows that when consumers are denied content in one outlet, they will find it elsewhere

‘new media’ rights and compensation, including

Clasper says that the research he has seen

IPTV, streaming and on-demand. While producers

shows that when consumers are denied content

saw no reason to change existing agreements with

in one outlet, they will find it through another,

A premium future

the Writers Guild, writers recognised that new digital

whether by accessing it from other territories

Clasper believes that premium content will be

media outlets were going to dominate the future

through tunnelling or other technical solutions,

the differentiator between content outlets in

of the industry. The stand-off cost the LA economy

buying it through a premium content provider,

the future. “Everyone is going to have the same

hundreds of millions (some say billions) of dollars.

or resorting to illegal methods.

channels, everyone will have the same normal content. It’s going to be what have you got

Fast-forward seven years, and rights management is more treacherous and byzantine than anyone could have ever imagined. Rights issues have always been legally tortuous, but with global audiences now demanding to access programming anytime, from anywhere, broadcasters face an unprecedented challenge in managing content — from commissioning and purchasing, to producing and scheduling.

“The issue that people are facing is that consumers’ expectations have outstripped the broadcaster’s or content owner’s ability to keep up” Ben Clasper, Counterpoint

that’s exclusive.”

Providing this exclusive content will force companies that previously might have had a very simple rights problem to become content owners, which complicates rights issues immeasurably.

“Now you’ve got a far more complex problem,” Clasper explains, “You’ve got talent, you’ve got producers. You’ve probably got partners that you’ve produced that content with, and you

Demand for on-demand

suddenly get a new set of responsibilities in terms

Counterpoint Systems has specialised in rights

Counterpoint often has broadcasters

of reporting. So, we’re starting to see companies

and royalty management software for over 20

approaching it for help who have used content in

get into areas of business that they weren’t in five

years. The London-based company — with offices

good faith but have discovered that they’ve used

to ten years ago.”

in Los Angeles — began by providing the music

it in a non-compliant way. More often the issues

industry with a way to manage royalties, and then

are around what the industry terms ‘non-linear

to calculate the potential cost for running a piece

in 1997, it launched software packages for the

versus linear’ distribution.

of content: “A business needs to be informed

larger media and entertainment industries. The

“The number one question that people come

Counterpoint also provides forecasting services

of what that cost of sale is going to be. ‘If I put

company has built up a formidable expertise in

to us with is: Can you manage non-linear with

this on an on-demand platform in Australia and

the shadowy world of content rights and royalties.

linear? Can you make sure my content gets up

make X, what do I have to pay to everyone who

on every platform, not just my traditional linear

contributed to that content?’”

“The issue that people are facing,” says Ben Clasper, Counterpoint’s senior vice president, “is that consumers’ expectations have outstripped

playout systems?

“Our clients want to be able to say: ‘This system

Beyond the problem solving, it works with companies to leverage their rights and user activity

the broadcaster’s or content owner’s ability

will tell our scheduling platform when it can

data. “There’s no point in putting content out on

to keep up. The consumer couldn’t care less if

broadcast the content, and it will also inform our

14 different platforms if three of them don’t get

something is a difficult rights model with US shows.

on-demand platform when it will be available,

any viewers or activity.

All they want to know is if they miss their favourite

and we may even be giving this content to third

“There’s a sort of Holy Grail that we’ve been

show, can they watch it the next day? Can they

parties to put on their site, and that all has to be

working toward that we would love to give our

watch it for the next seven days?”

done in realtime and has to be ready the minute

broadcast clients, and that’s telling them in what

the first trigger event happens, on the first time that

order and how to distribute your content in the

content gets released to the consumer.’”

new world and make the most money.”

On one side, rights holders are increasingly particular about how, when and where their

22 TVBEurope

www.tvbeurope.com October 2014

Audio for Broadcast

Audio Network’s ensemble cast

Audio Network was born to remove the complexity of licensing high quality music for film and TV by producing an entirely new audio catalogue specifically for content makers. In doing so, it has also encouraged a raft of new composers and songwriters into its community, giving them a valuable break into the industry. James McKeown met co-founder Andrew Sunnucks at Abbey Road Studios his isn’t the first time I’ve stood awkwardly in

T

vital organs. Today’s recording has been broken

a corner of Studio One, blushed with goose

down into four distinct segments: strings, brass,

bumps, hairs on end. Once, this hallowed

woodwind, and percussion. “For the user, this

hangar haunted with its emptiness, its silence;

means we can do different mixes and versions

as if I was present at some precious interval of

of the same composition; for instance, we can

reflection on sessions past, and the pregnant

have a strings-only version which might have a

anticipation of those to come.

completely different usage (to the full version).”

Today, I am met with a very different, but no less

Rather helpfully, the composition being put

vertiginous sense of enthrallment. The cavernous live room of Abbey Road’s main recording studio is alive with the sweeping strains of the

through its paces by the ESO as we filter back into

Audio Network composer, James Brett, in discussion at an Abbey Road session

English Session Orchestra (ESO), whose shivering

the control room is a good example of this. The score’s youthful composer and conductor, Jody Jenkins, has brought touches of John Williams —

adaptation of a brand new work by an unknown

The players, in today’s case the ESO, are

in his Indiana Jones pomp — and more than a

composer is reverberating off every camber,

handpicked by project, giving the company’s stable

hint of Maurice Jarre’s Laurence of Arabia to an

panel, and parquet floor tile of this iconic space.

of composers the very best musicians with which to

orchestration with clear ambitions of accompanying

record their tracks. “It took a long time to get to this

big screen adventure. But when heard as isolated

recording the orchestra,” posits an enthralled

standard of playing and this standard of studio. There

components, you can see (and hear) the markedly

Andrew Sunnucks, as he invites my gaze to inspect

are many great classical players but it’s a different

different qualities each of the four segments brings,

the upper reaches of this vast structure, “the

discipline to have a click track in the ears, their parts

and how each mix could be utilised for various

gods”, as he puts it. “Studio One has that amazing

in front of them and then bang! Off you go.”

different synchronisation projects.

“You’re recording the room as much as you’re

‘bloom’. It has a 2.4 second reverb, and when

Indeed, our live room discussion takes place just

While this in itself is not breaking any new ground,

you’ve got mics up there (in the gods), it’s perfect

after the second run through of a score the ESO

it does help in understanding the tangible benefits

for recording ‘tutti’ (all together).”

have had barely 20 minutes to acquaint themselves

of Audio Network’s mission on both sides of the

with. “They’re all amazing – it’s extraordinary,” he

supply chain: removing barriers for those licensing

given the frequency with which his company,

confides. “Especially with brass players, because

music for film and TV, as well as for those making it.

Audio Network, is on-premises to utilise the unique

they can get lip issues; you have to work out the

facilities that Abbey Road famously harbours. “We

sessions so that they’re not blowing fortissimo semi-

Uncovering new talent

did 41 days here last year, which probably makes

quavers all day long. You can understand that how

The latter is one of the most endearing things

us Abbey Road’s biggest client,” he offers. “The

you lay the session out is very important.”

about Audio Network, and Sunnucks; the

Sunnucks is at home here, which is no surprise

advantage of that is that you get to have a direct relationship with the players.”

The layout of the sessions has many influencing factors, not solely the preservation of the players’

emphasis on rearing new and undiscovered talent, and giving them a foothold in an industry

TVBEurope 23

October 2014 www.tvbeurope.com

Audio for Broadcast which is notoriously difficult for songwriters and

workable sound – you can add reverb to it. Then

If a work requires plenty of tracking, spaces like

composers to break into.

you’ve got places like Air (Studios) which has a

Angel Studios would be the port of call, he says.

ceiling that you can bring down and take up, so it

What Audio Network is doing on a regular basis is

person starting their career, standing in front of an

gives you a different acoustic depending on

ensemble work specifically for film and TV, which

orchestra hearing their music being played back

what you’re doing.”

Sunnuck believes puts the company in a class of one.

“There’s nothing quite like seeing a young

to them,” Sunnuck explains. He estimates that around 30 per cent of the composers currently on his company’s books do not read music, at least not with the conventional fluency of a composer.

“The composers put together detailed demos, of which we receive around 40 per day, and we have a process of going through them. For the less experienced composers who haven’t worked with an orchestra before, we might bring in an orchestrator to work with them.

“It’s really important to me that we’re always bringing new people in,” he continues. “We have something called ‘Undiscovered’, which is where people send in a demo, we don’t fiddle around with it too much, but we say, ‘it’s a great idea, but we’re only ever going to take five tracks from you.’ The idea behind that is that these guys are published, they get to join the PRS, they get a start, but we make it very clear from the start that we won’t be doing more with them.”

“Because what we do is music for a purpose, there is a danger of thinking that the performance is of no relevance. Well, it is. The fragility and the imperfections are the value in a live recording”

Not quite a development deal, but it serves the dual purpose of giving people a start without the company becoming oversubscribed, and bottlenecked. “(Taking on new composers) is easy to do when you’re growing, but the reality is that if you’re not growing, then you’re culling other things to keep people coming in. So, there are always difficult decisions to make.”

Today’s decision has been slightly easier. There are two of Jenkins’ works on the agenda for the ESO to commit to tape (or file, as is the way these days). “We started with a really hard one today, to get them [the players] really wound up. Then we’ll take it right down. Measuring what they can do is a really important part of it.”

That measurement applies not just to the ensemble cast of players singled out for each project, but also the space in which it is recorded.

“Studio Two (at Abbey Road) is not that much smaller (than Studio One), but it has a more

24 TVBEurope

www.tvbeurope.com October 2014

Audio for Broadcast “The fragility and the imperfections are the value in a live recording.” The impartial musician in me couldn’t agree more.

Well stocked So what’s next on the horizon for Audio Network?

The library is currently stocked with more than 81,000 pieces of audio, and the plans are to double that. “The main thing is not to replicate what we’ve already got,” he says.

“Firstly, we look at the metrics to see what is being used, and why. We do a lot of analysis on that. But, it has to be a creative business, so we can’t rely on the metrics too much as you end up

The ensemble is put through its paces

“Some of the samples are really good now, but

reinventing what you’ve done to recreate that

they date,” he adds, as I question whether the

success. We have to bring an element of surprise;

“There is nobody else in the world doing regular,

brass guide track underneath is a sample from

things that people wouldn’t expect to get from a

large ensemble recordings like we are… there’s

Jenkins’ demo. “If you do it right the first time,

standard library.

just nobody else doing it. And we would know

you know the recording made today will still be a

because we’re using all the best players.”

great track in 20 years’ time, because it’s real.

Those players have moved on to track number

“Because what we do is music for a

“We’re doing a focus on international music,” he continues, “and in that, we’re travelling the world finding ensembles to record. We’re doing

two in the short time we’ve been talking; Sunnuck

purpose, there is a danger of thinking that the

lots in Nashville, we’ve got guys in India, Australia,

impressively interjecting his precise but warmly

performance is of no relevance. Well, it abso-

China, and Japan. So it’s a big A&R job to find

delivered directions to Jenkins, and the orchestra.

bloody-lutely is,” he gesticulates passionately.

the right people, and interesting new material.”

TVBEurope 25

October 2014 www.tvbeurope.com

Audio for Broadcast On the orchestral side, there are various big

helping to release approximately 12,000 tracks a

a realistic opportunity to earn a regular source of

projects in the works, one of which is recording

year. It records with some of the finest orchestras

income. A lot of the libraries have been bought by

all of the classical greats. “We’re reworking, for

and musicians from around the world to create

majors, which have a very P&L-driven approach

media, everything from Wagner’s Ride of the

what it believes is an entirely unique catalogue

where the incentive to use samples, or to use small

Valkyries onwards – we’re literally starting in 1700

of music for content producers.

ensembles, is very strong. I’ve seen a lot of great

and working our way through to build our own classical catalogue. A lot of the classical music you listen to on TV is actually taken from classical catalogues, which is very dynamic, very difficult to edit, whereas this will be designed to be used.”

And that’s just at one end of the spectrum. “The other thing we’re looking at is ‘hybrid’ – the Hans Zimmer sound where you have electronics with orchestra. You need to have so many different skills to bring it all together,” he explains. “The programming needs to be bang on; it’s a big electronic production

catalogues being bought by majors where the

“It’s about supporting creative talent: the composers. It can be a lonely business, especially as a composer trying to get into the industry, and we want them to feel part of a community” Andrew Sunnucks, Audio Network

and you’re adding orchestra to it, all of which means

investment dries up, and then they’re run as cash cows. I think that’s a very short-term approach.”

Sunnucks concludes that the ‘new approach’ is a strategy built for longevity; to produce a vast new catalogue of accessible, and affordable music with the utmost emphasis on quality. That this strategy is being driven by the compositions of a pool of largely unearthed, raw talent, is refreshing to see, and is an encouraging cornerstone of the Audio Network story.

“It’s about supporting creative talent: the

that you need to know how to create space.”

composers. It can be a lonely business, especially

It’s a bold blueprint to achieve the growth

as a composer trying to get into the industry, and

necessary to keep the business moving forward,

“There was a time when ‘library music’ was an

but as with everything Sunnucks has described

egregious term, and something that people didn’t

today, there is an immense amount of thought

want to be involved with,” he suggests. “Everything

off the passion and enthusiasm of Sunnucks

and perspective behind it. Audio Network now

has changed now, and media music is the way

himself, then the future is an inviting prospect

has more than 500 composers on its books,

that most of the top musicians and players have

for all involved.

we want them to feel part of a community.”

If that community and this business can feed

26 TVBEurope

www.tvbeurope.com October 2014

Audio for Broadcast

RX 4 is a new version of iZotope’s audio repair toolkit, which enables users to significantly speed up their workflows with time saving features

Add mobile phones, background noise, and wind, and it may be almost impossible for viewers to understand the interview.

The location recordist and audio post editor for film Location film sound tends to be highly controlled and methodically planned out. The equipment is thoroughly tested prior to shooting, and sound recordists are masters of their craft.

Despite of careful preparation, no one can predict what challenges will arise once actors start moving and getting absorbed in their

Audio repair The Cinderella of broadcast post production Rob D’Amico, senior product manager at iZotope, an audio technology company, looks at some of the most common challenges and pitfalls facing content producers

performances. Because of the wide variety of microphone placement and extraneous noises captured on the set, the dialogue has typically been ‘re-voiced’ in a process called ADR (automated dialogue recording, or additional dialogue recording). This process requires the actors to re-speak their lines in a controlled audio environment while viewing the take on a monitor.

While this technique offers the ultimate in control for the mixer, the performance is typically not the same, lips can be out of sync, and having an actor perform multiple times in different locations can be prohibitively expensive.

In modern post production, in order to reduce

uch like the magical transformation at

technology can play, it’s necessary to look at

the sound budget, the growing trend is to maximise

the heart of the Cinderella story, audio

some specific applications.

the use of location sound whenever possible. This

M

professionals quite are often tasked with

creates the challenge of matching any ADR-

transforming flawed audio into pristine, usable

The reality TV audio editor/mixer

material. Yet in the broadcast world, there is no

Reality television production requires a significant

escaping the fact that audio post production is

amount of ‘run and gun’-style shooting without

engineers are finding innovative solutions for

always at the end of the production pipeline. As

much time or crew. With minimal set-up time,

delivering high-quality results without significant

a result, schedules become compressed, with

quality and continuity are often sacrificed.

increases in time. Intelligent software programmes

quality suffering as a consequence. For a long

Additionally, due to constantly changing

recorded dialogue to that captured on location.

In light of these growing trends, editors and

can vastly reduce manual efforts and streamline

time, content creators have asked for workflows

locations and crew, it’s not uncommon for the

workflows by ‘learning’ characteristics of audio

to be even faster and more tightly integrated with

same actor’s audio to be captured with different

and matching those settings automatically to other

their DAW or NLE of choice.

microphones. This, coupled with the naturally

sound sources. Visual feedback in both waveform

One of the primary development themes in

varying sound characteristics of each location,

and spectrogram modes offer additional layers of

audio repair is addressing workflow optimisation.

makes it difficult to keep each actor’s dialogue

detail, making it even easier to detect and isolate

The optimum solution should not only solve typical

sounding consistent and recognisably unique

common problems like electrical hum, mouth

problems, but also solve them with minimum

to their character. Changes in the background

noises, and unexpected mobile interference.

disruption to users’ workflow, leaving them with

ambience of each location provide additional

more time for creativity.

challenges for editors striving to create a smooth,

address the needs of these broadcast and video

consistent result in the shortest possible time.

post markets through innovative new solutions

And, as important as repair may be, there’s much more magic required to make the perfect-sounding

Companies such as ourselves are seeking to

that will enable users to speed up their workflows.

mix, whether it is matching dialogue recorded with

The broadcast news audio editor

These toolkits include the likes of ambience

different microphones, creating a room ambience

News is often breaking in frantic, uncontrolled, and

matching, EQ matching, automatic levelling,

across multiple edits by introducing the right kind

noisy environments. Being first-to-air is the primary

amongst other key developments.

of noise, or removing reverberation and smoothing

goal of any news crew, but the secondary goal is to

levels for the right balance.

capture the most accurate portrayal of the situation.

The perfect repair solution must reflect the

Often, interviews are conducted at the

Tools such as our own are built to be a companion for all DAW or NLE systems, so users can sculpt audio into professional-

adage that a good sound mix is as much about

scene, and so dialogue can come back to base

sounding deliverables. Just don’t expect

what people don’t hear as about what they do.

distorted or with hums due to equipment failure

them to transform your pumpkin into a

To understand the value-added role that audio

and no time to test the set-up before going live.

carriage at midnight.

TVBEurope 29

October 2014 www.tvbeurope.com

Audio for Broadcast

Andy Trott, Harman: “We are really hungry to innovate as a business”

sound of innovation

The

Andy Trott, vice president and general manager, MM&H SBU at Harman, spoke to James McKeown about Infinity, innovation and his commitment to the broadcast market. By Holly Ashford and James McKeown

What would you say is the essence of

So we looked at that and put a project together

their Mediornet boxes and take out the data

the Infinity core?

and that’s the essence of Infinity core.

stream and re-convert it to whatever it needs to

One of the key drivers in the broadcast industry

Intel had a strategy whereby it made every

is scalability and massing systems and channel

chip backwards-compatible. That means you

we developed an interface called A-Link, which

count. If you look at something like the Superbowl,

maintain software compatibility from platform

we refer to as ‘MADI on steroids’. With MADI,

there are over 1,000 channels, so the ability

to platform. It also means that as Intel brings

you’ve got 64 channels, with A-Link you’ve got

to process all of those audio channels is an

out the latest chip, which follows Moore’s law,

1,536 channels on a single fibre.

increasingly complex problem. At the end of

it means you can almost take out one chip and

the day, you’ve got to have the digital signal

plug in another and you’ve suddenly got (in

What are the specific audio challenges for

processing engine, and that’s the core.

theory) double the amount of processing power.

broadcasters carrying out live productions

As more and more channels are required to

across multiple venues?

there’s the surface, the core and the input and

be processed by the broadcaster and mixed

[Broadcasters like the BBC] want to be able to

output sub system.

together and routed, we can adapt, and that

operate from one spot and control their system. It’s

means we’re putting all of our expertise in

the ability to handle a distributed network. It’s about

years ago was the fact that the DSP chips were

mixing platforms into the software that’s

connecting everything together and networking all

progressing on a linear trend. That means that

actually mixing them.

their audio, so if they lift up a fader in London, they

There are three elements to a mixing system:

What we noticed about three-and-a-half

every five years or so they bring out a new DSP

The surface of Infinity is all about redundancy.

be. We work with them to have this audio pipe,

can open a microphone in Manchester. The system

that has a level of processing benefit which is

More and more, the broadcast industry is

allows that to happen. We don’t want to limit the

significant, but not dramatic. If you do the same

requiring increased redundancy. If they’re mixing

way they want to work, we want to help them.

comparison on x86 chips, which are in standard

a live show, if anything goes wrong its big,

pcs, it does follow Moore’s law. With Moore’s law,

big trouble. We built in four CPUs into our

You were involved with the Olympics and now the

every two years you get a doubling of power, so it’s

latest Vista X surface.

Commonwealth Games. What other broadcast

an exponential curve.

Three-and-a-half years ago we said ‘wouldn’t

The third element [of Infinity], which is

projects are keeping you busy at the moment?

connectivity, was a relationship built with Riedel.

One of the wonderful things about being part of

it be great if we could get on the back of that

They handle data, and put it over a very high

Harman is we can do an end to end system, and

wave and do audio processing on an x86 chip?’

capacity fibre link which they can route between

ever increasingly complex systems as well.

30 TVBEurope

www.tvbeurope.com October 2014

Audio for Broadcast

Studer released its Vista V broadcast audio mixing system at IBC2014

When we go into a system, like one of the

At the end of the day, it’s all about experience.

stadiums in Brazil [for the World Cup], we can offer

We are really hungry to innovate, as a business.

a completely turnkey solution and that will be

We’ve got engineers, marketeers, product

tailored for whatever application we’re going into.

managers that are absolutely chomping at

As our CEO, Dinesh [Paliwal], keeps

the bit to get stuck in with Martin, AMX, with

reinforcing to us, a successful business is ten

whomever else we might buy.

per cent innovation, 90 per cent execution.

You can be sure that whenever there’s a space with a live sound requirement, Harman will be in there somewhere. We’re involved in a lot

We have this crowd sourcing capability

Sometimes we do have to try and calm

of very big church installs. These places have a

within Harman. We’ve got an Innovation

things down a bit as people are so

huge broadcast and post production facility as

Studio with 15,000 engineers and R&D people,

enthusiastic, but ultimately, you can

well, so they’ve almost got to have professional

innovators and inventors that can all contribute

have the best ideas in the world, but

TV-standard systems. It’s really big business.

and improve. A lot of this has come from our

unless you can put them into practice, it’s

corporate CTO, IP Park; he’s changing our

worthless.

We have OB truck projects on all over the world. One of the biggest projects we undertook

culture in terms of innovation. To pull people all

is for the BBC. The BBC is our largest customer

in one direction is quite a difficult thing and he’s

How prominent a focus do you now have on

worldwide: a lot of on-air consoles for radio

very successfully started to implement processes

the broadcast sector?

broadcast, including Vistas for shows like Strictly

to allow us to go in one direction. I went to a

Not only are we totally committed to the

Come Dancing.

corporate meeting in March and it was

broadcast market, we love the broadcast market.

The broadcast market gives us a completely

What was the impetus behind the partnership with Martin Professional?

Within the pro division, we want to expand beyond audio. We see audio, lighting and video as a ubiquitous system, it’s everywhere you go. We’ve

different spin on pro audio. Pro audio is quite

“Not only are we totally committed to the broadcast market, we love the broadcast market”

diverse: for example, you’re talking to the kids who want to be musicians, they want to play guitar and they want to record themselves.

That’s the first time they have an experience with

been going down this path for the last two years,

one of your brands. On the other hand, you’ve

looking at acquisitions in these areas. Martin is the

got the band on tour. They want to put on this

biggest, they are one of the best brands in the

fantastic show, so they’re really looking forward

market for lighting. When we acquire a business,

hugely inspirational, and it was all about

to anything new in terms of technology, but it has

we integrate it, and we have spent the last five

innovation. We are all so hungry for it and are

got to be hyper-reliable. The broadcast industry

years getting ready for this.

here because we love it.

gives us massive scale, reliability, and quality. Being

The whole game plan was that when we were

involved in all these different areas is a really good

ready we would start acquiring and bolting on

It must be quite a challenge to harness such

thing for us because instead of narrowing our focus,

those companies. We got ready for that point

an international pool of ideas...

we’re looking at the whole picture and each one

about two years ago and that is when we started

We spend half our time on conference calls, often

of these brings a unique element to our ability to

to get active in the acquisition world, the first one

in the States in the evening. They’ll have the screen

provide better solutions. The broadcast industry is a

being Martin. We’re also looking at technology

split with the UK, China, Switzerland, talking about

very important industry for us, and working with the

projects. What can we do with lighting and audio

different software – it’s amazing. It’s really exciting

people at the BBC is a joy.

that hasn’t already been done? We’ve got a

and just breeds innovation.

number of projects that we’re ‘blue skying’ – now

No idea is a bad idea, that is genuinely true.

You clearly love your job; that’s evidently a part

we own lighting, audio, what really cool stuff could

Even if someone comes up with something less

of the culture of this company...

we do? It’s about doing cool stuff to give the

than inspiring, it still sparks an idea that can morph

We’re in rock ‘n’ roll, let’s not forget – it’s such

viewer, the paying customer, a better experience.

into something completely different.

a great industry.

Infinity just got bigger

The Vista V expands the new Infinity Series with a compact, cost-effective console ideal for broadcast environments where space is at a premium.

Compact control surface - up to 52 faders and optional meter bridge

Expanded control surface - up to 72 faders (more on custom configs.)

Infinity Core - now available in 200, 400 and 800+ channels

When it comes to the serious processing power and bulletproof-reliabilty required by today’s broadcasters, the Studer Infinity Series sets a new standard with massive performance and aviation-class redundancy levels.

Now with a choice of three processing Cores and two class-leading control surfaces, Studer Infinity offers cost-effective broadcast mix solutions for any application, from OB Trucks through to TV and radio production facilities, with up to 800+ audio channels and over 5000 inputs and outputs via our D23m modular I/O system of analogue, digital and video interfaces.

Find out more at studer.ch

32 TVBEurope

www.tvbeurope.com October 2014

IBC Review

4K acquisition review IBC2014 Debate about the merits of phase 1 or phase 2 UHDTV aside, producers now have a wealth of options to accumulate 4K content today, writes Adrian Pennington

M

uch of the Ultra HD debate at IBC

With the business model on the transmission side still

centred on the merits and timing of

to be found, there are no shortage of options for

services delivering phase 1 UHDTV, by

shooting Ultra HD or 4K content (buyer beware: kit

general consensus less of a killer app than the more

marked with a UHD badge will probably be doing

full fat phase 2 version.

3840x2160 resolution, while 4K specced kit will

While phase 1 was approved by the DVB in July,

attain the slightly higher cinema 4096x2160 images,

phase 2, which provides for greater latitude for

but at IBC the evidence was this messaging can

colour and light as well as higher frame rates, won’t

be blurred). In this period of transition, the mantra

have trawled through the standards bodies until 2017.

from every exhibitor was ‘shoot HD now, record

As a matter of competitive necessity pay-

4K for the archive’ — an increasing demand from

TV operators BSkyB, BT Sport, Sky Deutschland

sports, drama and documentary producers and

and others will have launched services by then,

their broadcaster clients.

but they remain reluctant to invest for fear of underwhelming consumer response.

“We like UHD, and technically we could

“Interest in 4K acquisition is high because the format provides greater flexibility in recorded footage and in live, by being able to dive

“We like UHD and technically we could launch today but we also don’t want to jeopardise the market with a substandard service given the consumer experience with 3D” Stephan Heimbecher, Sky Deutschland

launch today, but we also don’t want to

into the image for zoom or replay,” was Andy

jeopardise the market with a substandard service

Bellamy of AJA’s take on it. When the first 4K UHD

given the consumer experience with 3D,” said

channels do launch in Europe towards the end of

Stephan Heimbecher, head of innovation at

2015, there should be a stash of content ready to

Sky Deutshcland who also co-chairs the EBU’s

fuel the pipe. Here are some of the technologies

dynamic range and other picture attributes.

Forum for Advanced Media in Europe leading

getting us there.

Nonetheless, the company was pestered by visitors asking about a 4K successor to the Alexa.

investigations into UHDTV. “The industry agrees on HDR and wider colour and HFR for phase 2 but we

Gold standard

need to address the detail and understand, for

ARRI proudly holds the gold standard for film and

deliver more dots on the screen?” said Stephan

example, ten or 12-bit. This is a very complex issue

drama imagery despite, or perhaps because of,

Schenk, GM, camera and DI systems business

with a wide variety of opinions.”

its insistence on marrying resolution with higher

unit. “There is no benefit if you can’t also deliver

“What is the point in making a camera just to

representation of skin tones, high light sensitivity and also on the cost of workflow. When we

Smart glass

are ready to release [a new system] it has to surpass the Alexa as it is today. Our sensor is still surpassing all the latest technologies. We are

Common to all these cameras is the glass, still

we’ll ever escape the fact that the camera is a

the most expensive part of the kit.

tool to manipulate light and a DP at the peak of

Blackmagic’s Tim Siddons says the growing number of acquisition concepts give filmmakers the ability to select exactly what they need, shot for shot.

much more gearing for phase 2 UHD.” Alexa is used in 80 per cent of Hollywood

their game is not somebody who just presses a

productions, the company said, the secret to

button. You need physical control over that light.”

which lay not in the number of the pixels but

He added: “Glass will always be an integral

in their quality. Nonetheless, it has yielded to

part of creating a look and feel, and so, unlike

demand from broadcast producers concerned

any other piece of kit, users have an emotional

to future-proof productions, and upgraded the

more electronics onboard, smaller sizes, higher-

relationship with their camera. Software

Amira to provide in-camera recording of 3.8K, as

resolutions, smarter cameras, but I don’t think

simulation of that will never be as good.”

near as dammit to the notional 4K goal, at up to

“In camera development, we are seeing lots

60fps to CFast cards in ProRes.

TVBEurope 33

October 2014 www.tvbeurope.com

IBC Review Stephan Heimbecher: “The industry agrees on HDR and wider colour and HFR for phase 2 but we need to address the detail”

ARRI is the camera of choice at the moment but we are bringing our 35mm Varicam look with very flexible gamma curves and a fresh palette of paint that DPs have not used before.”

Documentary producers can future-proof content using Sony’s PXW-FS7, designed for run and gun operation and use in harsh environments. The €8,000 XDCAM shoots 4K Quad Full HD1 in 60fps and 240fps HD at up to 14 f-stops, and had 200 orders taken by dealers including Visual Impact at the show.

Bolstering this new product is a shoulder mounted accessory for the F55, tailored for documentaries, and an upgrade to the F5 giving users 4K recording capability. Sony will also debut a 30-inch 30,000 4K OLED monitor come spring.

The Alexa too will now permit ProRes 3.2K recording which, according to ARRI, can be upsampled to 4K and UHD. For feature films, an up-sample to 4K can already be carried out after VFX and other post tasks have been completed at 2K resolution.

For certain fast-paced Amira productions, however, there may not be the time or resources for such processes in post, which is why a UHD output direct from the camera will prove beneficial.

That ARRI has a next-gen camera in the works is no secret. Solectrix developed the processing algorithms for the original Alexa and has delivered similar IP for its neighbour’s next generation camera.

Admitting that the company’s delay in getting a 4K product to market was in part due to “getting wrapped up in 3D commitments for London 2012”, Nigel Wilkes, group manager BC and IT systems, was pleased that Panasonic had the €24,000 Varicam 35 close to shipping.

By taking the semiconductor designed for its 3D cams (which recorded dual stream, one per eye) into the Varicam, Panasonic has enabled simultaneous recording of RAW 4K, compressed UHD 444 and high-speed HD as well as low res proxies to a specially developed €15k Codex recorder and P2 media. 240fps HD is achieved with a special high speed head costing €16k mainly for blue chip docs.

“If we had come out too early it would have just been a shoulder cam. What we are delivering today is the best specifications of any camera around,” he said. “We understand that

A two-piece mini 4K system (head and recorder) attached to a gimbal for aerial shooting by AltaSens

34 TVBEurope

www.tvbeurope.com October 2014

IBC Review Although AJA “has built hundreds and is

from MTF and Wooden Camera, and matte

have favoured 2/3-inch sensors which permit the

ready to go” said marketing manager Andy

boxes and focus controllers from Vocas. CION

use of their existing B4 mount HD lens inventory.

Bellamy of the CION, the company is not

supports 4K and 120fps, attributes tested for

The former’s SK UHD40004, which houses four MOS

accepting orders until the unit is 100 per cent

replay by NASCAR and Major League Baseball.

sensors, scored a mulit-million pound deal for the

ready. Quite what the hitch is was unclear

first 50 units from rental firm Gearhouse. It will use

but AJA has excited the industry with its

4K systems cameras

the new cameras to populate a new 4K OB truck,

non-proprietary design and the accessories

Finally, outside broadcasters like Megahertz, builder

as well as a 4K truck planned for North America.

are flooding in. These include an Alphatron

of a 4K mobile unit for BT Sport, have a choice of

The rest will be spread among its European

electronic viewfinder, lens mounts/adapters

4K camera technology. Hitachi and Grass Valley

operation. “It can output HD SDI for those not yet ready to transmit 4K but who want to build

ARRI Alexa 65 for 6.45k cinematography

a library of 4K footage,” said Paddy Roache, UK director and GM, in a familiar refrain. The camera was also tested by Sky at the Ryder Cup. Grass Valley’s LDX 4K/UHD camera is scheduled to ship

Despite being pestered by visitors keen to know

two cropped lower res recording modes;

at the end of the year with a clever deployment

where its next generation Ultra HD camera was,

1.78:1 (5120x2880) and 1.50:1 (4320x2880) and

of three 2/3-inch sensors each offset by half a

ARRI was on message at IBC: “We’ll only talk

generate less data.

pixel from each other. It then records 4:4:4 RAW

The camera incorporates a Codex recording

to say.” Having concentrated TV producer

engine, similar to the one built into the ALEXA

minds on 4K upgrades to the Alexa and Amira,

XT. Existing ALEXA XR capture drives support

the German developer quietly debuted a

recording from ALEXA 65 at up to 24fps, and

large format 65mm version of the camera

a 512GB media card will record around ten

capable of 6.5K resolution at Munich show

minutes in full open gate mode. A new set of

Cinec just days after IBC closed.

capture drives developed by Codex for early

Marketed as a speciality camera for large

2015 will offer 2TB of recording capacity, and

format cinematography or VFX background

be capable of 20Gbps data rates, enabling

plates, it will be available exclusively through

recording times of over 45 minutes.

ARRI Rental (price not disclosed).

ARRI executives have long maintained that

Two bespoke workflow systems, based on Codex Vault, have been developed — the

they would not release a native 4K model

Vault S and the Lab 65. Both can transfer, store,

until they felt that it didn’t compromise other

and review ALEXA 65 material on set, near set

characteristics, particularly the Alexa’s wide

or in a post facility. ProRes 4444 HD dailies

dynamic range.

masters can be generated in realtime for dailies.

So how does the Alexa 65 square up? At the

On the glass side, ARRI has rehoused

heart of the camera is the A3X sensor, three

Hasselblad lenses to work with the new sensor

times bigger than Super 35 (the size of Red’s

— eight primes ranging from 24 to 300mm

Dragon 6K chip).

and a 50-110mm zoom.

This has a 54.12 mm x 25.59 mm active

Additionally, a Vintage 765 lens range,

imaging area, which is even larger than the

originally developed to partner the ARRIFLEX

film gate of ARRI’s 765 65mm film camera. The

765, has been adapted for use providing a

maximum recordable resolution from the A3X

classic filmic look. Other lens and lens mount

is 6560x3102 photosites, with a dynamic range

options are being considered by ARRI.

greater than 14 stops.

signal and upconverts it for maximum quality.

Picture credit: Red.com, Inc

about a new camera when there is something

Large format designs like this hark back to the

Red Digital Cinema’s 6K Dragon sensor outputs 4K via a new broadcast module “The advantage is the same sensitivity, depth of field, and dynamic range as a regular 1080p

golden age of 65mm filmmaking in the mid-20th

camera,” said Klaus Weber, senior product

photosite technology as the ALEXA XT, therefore,

Century where the epic frame was used to lens

marketing manager. “You need to compromise

image attributes such as colorimetry and

films like Lawrence of Arabia. ARRI’s 765 film

for 4K whether or not you use a single large sensor

dynamic range will match well with any member

camera was more recently used for sequences

or three smaller sensors. A single-sensor camera is

of the ALEXA family. This allows productions the

in films like Far and Away, Sunshine and Gravity.

a compromise in terms of shooting angles, the use

option to mix a 35mm ALEXA XT with the larger

It’s also no secret that fellow film equipment

65mm format camera, without having to worry

stalwart Panavision is developing a digital 70mm

about adopting different workflows or any

camera. There is a view that if cinema exhibition

additional colour correction in post.

is to survive then immersive large format screens

felt by some live sports broadcasters in using

are the future.

the Sony F55 for 4K stadium work. Now they

The sensor design is based on the same

When recording full resolution Open Gate 6560x3102 ARRIRAW at 24fps, the ALEXA 65

Given the specialist application of the Alexa

of zoom lenses, and depth of field. It is ideal for film but not really for a live show.”

Weber’s words neatly sum up the reluctance

have options.

generates around 2.6TB of data per hour. This

65, ARRI is likely to continue to be pestered by

is almost three times more than an ALEXA XT

producers, cinematographers and press for news

will use it if the production suits, but shooting 2/3

in similar mode. Alternatively, it will support

of a separate 4K Alexa with Super 35mm sensor.

with 2K lenses is not good enough,” said Mark

“2/3 is nice to have in your arsenal and clients

TVBEurope 35

October 2014 www.tvbeurope.com

IBC Review

Germany’s Solectrix has collaborated with Codex to unite a custom-developed RAW recorder with two modified sinaCAM remote heads for ActionCAM

AJA’s CION supports 4K and 120fps Grinyer, Sony’s head of business development

“The approach not only transmits 4K

“4K opens up whole new possibilities for what can

for 3D, 4K and UHD. “You need a 4K lens.”

video live, but records Red code raw for

be displayed,” said Alan Piper, Red’s Europe MD.

Nonetheless, he hinted that a product along the

archive and accommodates a simultaneous

“You put a lot more information inside a

2/3 lines might emerge from Sony.

TX of HD,” said Nipros CTO, Sal Sandoval.

4K image such as immersive graphics and

Panasonic also showed a concept studio-

“We can switch the signal live for broadcast

have it readable.”

camera-in-box-style single sensor with a 2/3-inch

and we can put up to five HD sources at any

lens on the front. Expect more on this at NAB.

frame rate and any system frequency for

4K compact and POV

POV applications.”

Claimed as the smallest 4K camera, the Flare

The surprise in this category was Red Digital

Functionality was put to the test with Vizrt and

from IO Industries builds on the successful 2KSDI

to output 4K via a new broadcast module with

tracking specialists Ncam in a live rendering of a

and features a a Super 35 CMOS sensor with a

four 3G SDI outputs systemised by Nipros.

3D animation inside a live 4K feed.

global electronic shutter, and quad-link 3G/HD-SDI

Cinema which has enabled its 6K Dragon sensor

36 TVBEurope

www.tvbeurope.com October 2014

IBC Review outputs. It comes in interchangeable and fixed

2015. Asian demand is also encouraged by

lens versions, can shoot 60p and costs $8,000 but

government funding in Korea (via Kobeta) and

recording must be made via a separate field

Japan (NexTV), the latter focussed on chasing

unit such as Ki Pro Quad or Odyssey 7Q. “It’s

4K quickly to market with 8K in time for the

perfect for locked-off POV shots in vehicles or on

Tokyo 2020 Olympics. Indeed NHK plans to have

gimballs,” said IO’s Stuart Cranston. “Since it only

several 4K channels and an 8K test service up

weighs 600g you can easily put it on a jib.”

and running in 2018 to coincide with the FIFA World Cup in Russia.

Germany’s Solectrix has collaborated with

Consequently, NHK is rounding out its

Codex to unite a custom-developed RAW recorder with two modified SinaCAM remote heads for ActionCAM. The HD system has been adopted for

Two bespoke workflow systems, based on Codex Vault, have been developed: the Vault S and the Lab 65

acquisition armoury by incorporating the Super Hi-Vision chip into Hitachi (systems), Ikegami (shoulder mounted) and Cube (steadicam)

use as the satellite cameras in the Fraunhofer/ARRI/ Walt Disney hybrid 2D/3D and post S3D trifocal

mounted version with PL lens mount specced as

cameras. The Sony F65, built for cinematography

system because SinaCam image sensitivity blends

shooting 60fps 4K and HD at up to 240fps.

but already having seen high-speed applications recording 120fps World Cup Final action, is

well with the trifocal’s main Alexa camera.

AltaSens has also been busy with Bradley

While JVC focusses on the live streaming

Engineering to locate its 4K sensor, this time

earmarked for ENG use by NHK, upconverted

capabilities of its camcorders, it also showed several

with up to 72fps, in a remote controlled module

from the chip’s raw data. According to Sony’s

prototype 4K cameras built around a Super 35

based on Bradley’s dome-shaped Camball

head of AV media, Olivier Bovis: “There will be

CMOS chip capable of 12 or 10-bit depth made

camera head with a pan-tilt mechanism.

ramifications to our future product” as a result of Sony’s taskforce R&Ding 8K capture.

by sister company, AltaSens. These ranged from a compact handheld unit which uses Micro Four Thirds

Go 4K today, 8K tomorrow

lenses to a two-piece mini 4K system (head and

One of the drivers for 4K is consumer demand

World Cup and Wimbledon next summer.

recorder) which was shown attached to a gimbal

in the Far East where half the 30 million panels

1

for aerial shooting. Most notable is a 4K shoulder

sold worldwide will be in Chinese homes by

early 2015

Expect further NHK 8K tests at the Women’s

4K (4096 x 2160) shooting will be available by

TVBEurope 37

October 2014 www.tvbeurope.com

IBC Review

IBC Best of Show 2014 TVBEurope’s parent company, NewBay Media, carried out its first ever Best of Show awards programme for IBC in Amsterdam this year. The awards ran across the NewBay Media portfolio of brands, and here, we showcase the winning entries in the TVBEurope category

Accedo VIA Accedo Accedo VIA is an application solution enabling operators, media companies, and broadcasters to launch fullfeatured multiscreen services quickly and efficiently across multiple connected platforms, including PCs, mobiles, tablets, smart TVs, and game consoles.

ConeXia

Aspera

cent redundancy when catering for critical operations. ConeXia is also compatible with all AEQ-KROMA intercom panels, and expands the interface options with almost any telecommunications interface.

CION AJA Capable of shooting at 4K/UltraHD and 2K/ HD resolutions, CION is AJA’s new professional production camera that features an ergonomic design and offers in-camera recording directly to the Apple ProRes family of codecs, including 12-bit 444, for pristine image capture.

Enabling today’s growing demand for high frame rate

platforms may require different promotions, messages and consumer bundling.

Auto-scaling Transfer Platform

AEQ-KROMA The new ConeXia intercom system from AEQ-KROMA is a new global audio solution. ConeXia has the capacity of up to 1024 x 1024 cross-points and is based on a modular system of audio I/O cards. It has the ability to integrate intercom and broadcast audio sources into the same matrix, with 48kHz 24 bits sampling. Further, the system can be built for 100 per

Accedo VIA has been launched to solve complexity for Accedo customers, who are experiencing challenges in technical multiplatform delivery, as well as editorial challenges, where different

Aspera’s new Auto-scaling Transfer Platform automatically scales and expands transfer capacity of Aspera server software in cloud infrastructure, providing media companies with the ability to expand high-speed transfer capacity direct to cloud storage as needed, and leverage the most cost-effective infrastructure.

Companies can control and predict ingest, delivery, and distribution times, regardless of

media volumes, infrastructure distance, or network quality.

Built directly into the core Aspera transfer software stack, the platform automatically matches the actual transfer capacity with the transfer demand in realtime, based on user-defined criteria.

DaVinci Resolve 11 Blackmagic

support, CION allows users to output 4K raw data at up to 120 fps via 4x 3G-SDI outputs and can record directly to AJA Pak SSD media at up to 60 frames per second.

DaVinci Resolve 11 is a major upgrade to the Emmy awardwinning DaVinci Resolve colour correction platform, and comes with more than 70 new editing features including dual monitor support and familiar professional tools such as dynamic JKL trimming, audio crossfades and fully customisable keyboard shortcuts for faster editing.

There is also a new collaborative workflow toolset that allows an editor and multiple colourists to work on different workstations, sharing the same timeline and working in tandem as they complete shots.

38 TVBEurope

www.tvbeurope.com October 2014

IBC Preview

VB288 Objective QoE Content Extractor Bridge Technologies The VB288 Objective QoE Content Extractor is a server-based system that provides objective video and audio monitoring of MPEG-2, h.264/ MPEG-4 and h.265/HEVC streams, integrating monitoring of realtime streams and OTT services within a unique web browser-based remote video wall capability providing full view-anywhere visual status information.

In its latest version, the VB288 features onboard AES decryption, which means that the VB288 can provide full content extraction and

XStream EFS EditShare

packet inspection at any point, anywhere in the delivery chain, even when the signal is encrypted at the encoder stage.

EditShare’s XStream EFS is the newest member of the company’s shared storage product line, and is a powerful distributed, scale-out file system designed from the ground up for in-place, online editing in media intensive environments.

A single XStream EFS system can start as small as 128TB and scale up to many petabytes. All XStream EFS systems offer multiple layers of redundancy that can tolerate the failure of many hard disks, including the failure of an entire node.

Infinity Core Studer by Harman The new Studer Infinity Core is the x86based signal processing audio core with direct built-in AES67 interface. The Infinity Core delivers more than 800 audio channels with superb sonic quality, and more than 5,000 inputs and outputs.

The use of CPU-based processors suggests exciting possibilities for scaling up to even larger channel counts, and for running third-party algorithms.

MediaFirst TV Platform Ericsson Ericsson’s MediaFirst TV Platform is a softwaredefined, media-optimised platform for the creation, management and delivery of next generation pay-TV. The new end-to-end cloudbased platform embraces all content sources and delivery networks, equipping operators to deliver the most cutting-edge, large-scale video services to the billions of devices forecast to be connected by 2020.

VOS-Based Electra XVM Harmonic

LDX XtremeSpeed 6X ultra slow-mo camera system Grass Valley The LDX XtremeSpeed (LDX XS) from Grass Valley, a Belden Brand, comes packed with features that make this the most cost-efficient advanced imaging camera for live sports production.

This handheld ultra-motion camera provides sports directors and producers alike with seamless system integration into live

production workflows, the flexibility to move their ultra-motion cameramen close to the action to capture stunning live shots, and the same high performance and features as the LDX Series of advanced imaging cameras.

Harmonic’s VOS provides a common media processing platform, simplifying workflows and maximising flexibility for the deployment of broadcast and multiscreen services.

The software-based Electra XVM transforms content playout, distribution, and multiplatform service delivery by integrating realtime encoding, high-quality branding and graphics, and transport stream playout for broadcast and multiscreen services, providing video content and service providers with unparalleled function integration, increased operational flexibility, and unlimited scalability.

TVBEurope 39

October 2014 www.tvbeurope.com

IBC Preview

SK-UHD4000 4K Camera Hitachi Kokusai Electric Hitachi Kokusai Electric has developed the SK-UHD4000, a broadcast 4K Ultra HDTV camera system which can use the 2/3-inch B4 mount lenses used in conventional HD broadcast cameras.

The use of standard HD lenses with the SK-UHD4000 eliminates the need for special conversion adapters, and allows broadcasters to use existing lenses and shoot video in 4K resolution. The 4K Ultra-HDTV camera system is designed to provide solutions to the challenges of live outside sports broadcasts, such as sensitivity and depth of field.

mocha Pro Imagineer Systems mocha Pro by Imagineer Systems is the Academy Award-winning visual effects software package built on Planar Motion Tracking technology, a unique image analysis engine designed to reduce artist-driven manual post production tasks such as match moving, rotoscoping, object removal, clean plate generation and image stabilisation.

The new mocha Pro version 4 offers native Stereo 3D (S3D) workflow capabilities, advanced support for Python scripting and complimentary workflows with popular editing and VFX systems.

mc²36 all-in-one production console Lawo Lawo’s mc²36 audio console is a universal all-in-one mixing desk with a comprehensive feature set for use in broadcast, theatre, houses of worship, live and install applications, which offers value for money.

Its compact size, DSP micro-core (with internal 512x512 port audio matrix) and

integrated I/O make the new console suitable for permanent installations with limited space and for rental companies with an eye on transportation considerations.

40 TVBEurope

www.tvbeurope.com October 2014

IBC Preview xxxxx

Visual Computing Appliance (VCA) NVIDIA

EVO.Live Media Logic GmbH The EVO.Live console can switch between live and post production modes at the touch of a button, and is available in chassis, table-top or in-surface consoles, 12 to 60 faders, and scalable processing and I/O. It also can be used in a dualoperator configuration.

EVO.Live features Fairlight’s FPGA-based Crystal Core engine that delivers high channel and bus counts, low latency and exceptional audio quality. It offers enhanced production tools such as sound FX playout, multi-track recording and playing, external device control and full timecode capabilities.

The NVIDIA Visual Computing Appliance (VCA) is a turnkey appliance equipped with eight high-end NVIDIA GPUs to dramatically accelerate ray tracing, enabling users to interact with computer models of such high visual fidelity that it can eliminate the needs for physical 3D prototypes.

The scalable, network-attached GPU appliance is engineered and built by NVIDIA and designed solely to provide designers and artists with the fastest and easiest way to create photorealistic images of their creations.

Mosaic Piksel Piksel Mosaic unites all forms of content in one simple browsing experience, using a tile-based interface which retains a consistent lookand-feel playing to the individual strengths of the device used – TV, smartphone, laptop, desktop or tablet. Piksel Mosaic is built on context-based recommendations, intuitively pushing content to the user based on an understanding of what the user likes to access, when, and on what device.

Buzz Pixel Power Pixel Power’s Buzz is the smart entry point for adding social media to your broadcast. It allows users to engage with and take the measure of an audience, reliably moderate contributions from Twitter or other social media streams and then integrate the content within the Pixel Power graphics workflow.

Buzz software is a natural extension of the graphics workflow that was designed with non-technical staff in mind, with training requirements at a minimum.

TVBEurope 41

October 2014 www.tvbeurope.com

IBC Preview

StorNext Connect Quantum StorNext’s Pro Storage Solutions are specifically designed to enable the newest highperformance digital workflows and drive higher levels of efficiency for broadcasters and post production facilities.

StorNext Connect enables users to install StorNext software through an easy, selfguided interface; download software and

TM3-Primus RTW The RTW TM3-Primus is a multifunctional audio measurement unit featuring unbalanced RCA type 2-ch analogue and digital (SPDIF) interfaces. The unit is powered by a USB mains supply or the USB connection direct from a PC. The unit supports all widely used PPM and TruePPM measurements and scales.

Provided Loudness standards are: ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM, CalmAct. Level and loudness display with bargraph type or numerical readout plus MagicLRA type.

Web/OTT LIVE Subtitling Screen Systems A challenging, yet much sought after solution to subtitling live web video has been developed

by Screen Systems.

The solution adds low bandwidth timing information to the video stream and is used to synchronise subtitles to the frames of video the viewer is watching.

An advantage of the Screen solution is that the same general mechanism of image-based subtitles held on a separate server can be used for consistent broadcast quality subtitling of both Video on Demand and live web video.

upgrade StorNext clients and servers from a single screen; restart clients and servers and check the status on automated tasks from a single screen; and troubleshoot performance bottlenecks with realtime activity, performance and usage graphs.

42 TVBEurope

www.tvbeurope.com October 2014

IBC Preview xxxxx

Timecode Buddy :pulse

TVUPack TM8200 powered by Vislink Hybrid Technology Vislink and TVU Networks

Timecode Systems Timecode Buddy :pulse is an advanced piece of long range RF and Wi-Fi enabled timecode and metadata technology; a single box camera and production solution to streamlining production workflows.

In addition to the core technical functionality, Timecode Systems has also

included a range of user-friendly features to give users the best possible experience, including its size (94mm x 67mm x 23mm), its high resolution OLED display, flexible mounting methods, USB2.0 host ,and device and multiple powering options.

Connected Sentinel Player Viaccess-Orca Viaccess-Orca’s Connected Sentinel Player is a new multiplatform media player available for Android and iOS tablets and devices that include digital rights management (DRM) for premium VoD and live content.

Using the Connected Sentinel Player, service providers can distribute content securely to set-top boxes (STBs), tablets, smartphones, and PCs with a very short time to market.

Vislink and TVU Networks have joined forces to develop the TVUPack TM8200 that combines cellular, IP and microwave transmission technology in one compact backpack that delivers reliable, live, HD video picture quality on the go.

The TVUPack allows news broadcasters to transmit a live video stream from a remote location back to the newsroom using any (and all) 3G/4G, microwave, satellite, Ethernet, wireless and even Broadband Global Area Network (BGAN) connections simultaneously, dynamically aggregating all connections for maximum transmission throughput.

TVBEurope 43

October 2014 www.tvbeurope.com

IBC Review Peter Yabsley

Canon’s focus

on technical breakthrough Dual pixel seamless autofocus was among a number of products released at IBC by Canon Europe, as Peter Yabsley, the company’s professional products marketing team leader, told TVBEurope hile our inaugural Best of Show awards

W

as Peter Yabsley, professional products marketing

seamless autofocus. “This is a new sensor

highlighted some of the leading new

team leader at Canon Europe, explained.

technology that has been developed over a

year’s IBC, there were plenty of other companies

very practical for hand-held use; it’s lightweight,

demonstrating the latest in their range of gear,

compact but it’s got that servo drive unit meaning

on large sensor cameras, which are traditionally

equipment, and solutions.

that it can be used in a studio configuration, for

difficult tools to focus with because of the shallow

sports, outside broadcast, and is perfectly suited

depth of field. So this is a great addition for

for 4K production. It’s an exciting new step for us.”

C100 and C300 owners to make it easier to

products being showcased at this

One such company was Canon, which brought a number of new additions to Amsterdam

“It’s all about the operation,” he says. “It’s

number of years by Canon,” he said.

“It enables autofocus with any Canon EF lens

shoot with these cameras in a wider variety

including the latest in its Cinema EOS line-up. The CN 7X17 Cine Servo zoom lens is the first large

Technological breakthrough

sensor lens that Canon has designed from the

Yabsley moves on to what Canon sees as a

You can see more from Canon’s Peter Yabsley

ground up specifically for broadcast use,

technological breakthrough in its dual pixel

on the video section of the TVBEurope website.

of shooting situations.”

44 TVBEurope

www.tvbeurope.com October 2014

Feature

Entrepreneurial blueprint Louis Hernandez Jr, CEO of Avid, talks to James McKeown about leadership, where the industry is headed, and how his entrepreneurial background has put him in good stead to drive the company forward. By Melanie Dayasena-Lowe and James McKeown

In terms of your own perspective on where we are and where the industry is headed, what do you make of the current environment?

I think it’s undergoing some fundamental changes. Sometimes when you’re in the heart of the change you don’t appreciate how fundamental it is. The digitisation of the connection between the idea that you have

Interestingly, everyone’s talking about 4K within

“I don’t see enough leadership from the people on the floor here. I actually see more ideas from the clients than I do from my peers. That’s not normally the case and I’m not sure why that is”

their silo or device but it has to be solved in a more creative way. That just means we’re on to 8K and you throw everything out and do it all again. Other industries do it a lot smarter. We can do it a lot smarter. We can expect more and the clients should expect more.

to create content and the consumption of that

What challenges are you facing now in terms

content allows a much more intimate, more

of driving the strategy for Avid amid this

powerful, more economic connection. Every

evolving landscape?

other part of our lives is becoming digitised.

The good news is that media consumption of rich

I had the luxury of being on the board five years

The way you buy a car and the way you meet

media is rising rapidly so it’s a good place to be

before, so I was familiar with the company’s

people is being digitised, so why wouldn’t

if you know how to create content. The problem

strategy and got asked to be the CEO. There

media be digitised?

is you need to create great content more

are the same questions you would normally ask:

efficiently and you need to get more value out

who are we? How are we unique and different?

questions. Why do we need to be so siloed?

of every asset. That’s what Avid Everywhere was

How do we address the biggest pain points of

Why do we need to have so much proprietary

designed to address.

the industry? What I found is that we have a lot

For our clients it offers some fundamental

technology? Why do we have to have so

to be proud of and to build on, but we also have

much fragmentation and non-cooperation

There’s an understanding now of the change

between vendors, which is costing us 25 to 30

that’s taking place and that component parts

per cent extra? We think it is the most inefficient

of the industry are less afraid of that change.

helped to create on the editorial side. But just

deployment of capital of any industry. Why do

Is this something you are seeing?

as we reimagined how to create content, we’re

we have to live with this?

I don’t see enough leadership from the people on

now reimagining how to connect the entire

the floor here. I actually see more ideas from the

workflow between the creative process and

to ask questions about ‘how should we

clients than I do from my peers. That’s not normally

the distribution process. Now that it’s digitised, it

organise what technology we deploy and

the case and I’m not sure why that is. I think this

should, and can, be fully digitised.

who should we hire?’ The siloed approach

industry needs more leadership. I think the vendor

isn’t sustainable with the economics of today’s

community could do more to step forward and

they don’t have the luxury to just worry about

media industry.

create a path that makes sense for them and for us.

the digital channels and devices. They also

These changes are causing media companies

tremendous opportunity right now.

We have a 25-year heritage in a category we

Our clients have a unique challenge in that

TVBEurope 45

October 2014 www.tvbeurope.com

Feature have to worry about the terrestrial and heritage

front end with manufacturers and changing

business so they have a more complicated

devices on the back end. We can go through

set of questions. Coming in has been a lot

this endless merry-go-round of waiting for the

of fun because Avid is a very trusted and

next resolution decision to be made and throw

respected brand. It’s proven technology that

everything we have at it but with the business

has been part of the family for 25 years. Avid

dynamics it’s not sustainable. We have to think of

Everywhere is being adopted at such a fast

something different.

rate but it’s not because we’ve convinced

“We can go through this endless merry-go-round of waiting for the next resolution decision to be made and throw everything we have at it but with the business dynamics it’s not sustainable. We have to think of something different”

everyone it’s the only way to do things. From

What was your background prior to

conversations happening with clients for two

joining Avid?

to three years, they just didn’t have anyone

I grew up as a technologist. My father is

to attempt to put together a cohesive

a technologist and an educator and my

enterprise strategy. Since it comes from

mother is also an educator. My formal training

someone in the family, someone they know

is in economics and finance. I’ve worked

My interest in banking was that I wanted to have

and trust, it is being adopted at record rates

in sports and media, e-commerce and

an impact on social stability.

right now. The industry was looking for it and

banking technology.

I feel they were looking for someone in the

I was in the media area before in a start-up

My last company, Open Solutions, tried to find a way that we could share common standards

industry to step forward and say ‘here’s our

that grew very rapidly and went public in the

globally so it was easier. We’re serious about

take’ on how to move forward as an industry,

late 90s with digital distribution of content. I then

these types of technologies because we know

more than just in one of the silos.

went into the banking industry, which was

they work. ‘Open’ means inclusive and that a

interesting because it is by far the largest

community can work better with each other in

business of media, not just what’s the next

segment that deploys technology. It is roughly

a productive way. Even if that means it’s not

function or feature they need, or when and

three times larger than media but they had

always your product.

how they want to move to 4K. It’s much

1,500 fewer vendors and if you take the top ten

bigger than that.

vendors they equal about 50 per cent of the

as banking (it’s smaller and without those

We asked clients what’s important to their

There’s a lot to be proud of but there’s a

Coming here, where it’s not as regulated

market. In broadcast media, it’s a lot smaller,

pressures) was really shocking to me. There

lot changing within the family and we need

it’s only 15-20 per cent. By comparison, we

was so much pride in proprietary technologies

to do something more about it. 4K is a good

[media] spend a lot more time and energy just

that were disconnected. We’re trying to

example because the issue isn’t high resolution,

connecting all the parts. We estimate 25 to 30

make it harder for each other, and that’s not

in fact it’s going to keep changing. We’re in

per cent of budgets are wasted just putting

good for anybody.

a world where you need to create great

all the pieces together.

content and consumers are demanding

Part of it is the vendors, part of it is the way

What parts of your entrepreneurial

better viewing experiences, but the ease with

media clients run and part of it is the adoption

background do you bring to the role at Avid?

which you can create content today has

of technology. No matter how you look at it, it’s

I’ve started a few companies and I still have

increased the competition for viewership/

terribly inefficient. When you look at a return on

a few companies operating. When you’re a

listenership/advertising revenue. Content

invested R&D dollar, it’s poorest in our sector

disruptive innovator and taking on established

creation has gone up dramatically in the

and we can be more competitive as an industry

players, you learn what it takes to excite the

last 15 years but budgets haven’t. You have

in how we deploy capital in R&D. It has to be

senses on what’s possible in an industry. When

to do more with less. 4K is an example of a new

better than it is today.

you’re a larger, proven, established player, I’ve

standard being adopted for viewing, essentially for resolution, that’s changing codecs on the

I’ve mostly been an entrepreneur. I taught and also consulted for a couple of years at PwC.

also learnt what can happen if you become complacent. Avid has a unique opportunity

46 TVBEurope

www.tvbeurope.com October 2014

Feature because it has a rich heritage that was born

role and say that we can do more to the entire

Number two, we should both care about this.

out of reimagining how to create content and it

workflow. Now, our problem isn’t just creating

We have a chance to impact something that

really created a category.

content, it’s doing it in a more cost-efficient

impacts everybody. The social connectedness

way that fuses the creative process with the

and digitisation has made the world’s social

entrepreneurial company that created a whole

monetisation process. We’re re-embracing our

fabric stronger through media. You’re seeing it

new way to think. Like a lot of companies,

heritage of being an innovator. The board saw

play out all over the world.

over time you tend to stay where you began.

that linkage between my background and

The digitisation of the workflow: Avid can

what we needed now.

We, at our birth, were a disruptive

legitimately take credit for being the initial

What are the specific challenges you face as a company over the next 12 months

people that took film and converted it to a

What do you enjoy most about your job?

to two years?

digital file record when many hadn’t heard of

The most fun thing has been how willing our

Avid Everywhere was designed to meet the most

such a thing, and really led that to create this

clients are to share with us. Avid is in the middle

significant business needs of the industry. We

category. Since then, the rest of the workflow

of a transformation itself, trying to recapture the

conceptualised it in 2013 with a white paper

has become digitised but Avid stayed with what

imagination of the industry. We’re part of the

and launched it at NAB 2014.

it knew best. Now it’s trying to take that anchor

family. We want to help an industry that we’re excited about and care about.

The three things that excite me are, number one, that it’s a big challenge because we want to preserve our heritage and build on it in a way that solves the biggest business issues.

Number two, our clients and

Avid customer association.

The platform was designed to meet the challenges of the industry. How do we allow you to collaborate, create at a lower cost and get more value out of each asset by connecting the creative to the distribution process? The reaction

employees are fully engaged; one

and sales on this has gone crazy and it’s caused

thing that surprised me was how the

us to have more strategic dialogue with more

largest media companies in the world

large media companies than we had expected.

roll up their sleeves and share with us

It has caused us to engage in ways we

what their business problems are.

haven’t had to before.

The biggest thing, and probably

There are some new challenges and we’ve

why this effort is so important, and

had to adjust to this strategic dialogue. For

what’s always been the case with

instance, our cloud-based offering has exposed

media, is how it is part of our social

us to a whole new area of the market. The

fabric to educate, to connect, to

marketplace allows you to be social with others

delight and to inspire. In good times

and collaborate via the cloud. This is a new

and bad, this is the case. As we

concept for our industry.

become more globally connected, more organisations want to find their voice. That’s one of the reasons why

Part of the challenge is Avid Everywhere being adopted at a faster rate than we thought.

We wrapped our SDKs and APIs with an

media consumption is going up so much.

extendable toolkit and announced at NAB that

We’re working on something that is socially

it’s available to anybody for free immediately:

very important and has always been a big

customers, competitors.

piece of the fabric of our existence.

There are two things that I hope

Louis Hernandez Jnr

One challenge was Avid Everywhere: the platform and modules. The other was the

We thought we’d have to go and recruit people but in fact we had hundreds sign up

our clients are appreciating

immediately. Once you’re certified and you post

that’s happening. Number

it on the marketplace, when you sell something

one, the world is changing,

to my client, if it’s a certified connection we’re

they’re in some form of

guaranteeing it works.

adaptation and we just

Now that we’ve put forth this ambitious

want to help because it

strategy and there are working modules that

is happening to us too.

people are buying at a fast rate, I really thought it would take longer to get it going.

“The most fun thing has been how willing our clients are to share with us. Avid is in the middle of a transformation itself, trying to recapture the imagination of the industry. We’re part of the family. We want to help an industry that we’re excited about and care about”

The Avid customer association was formed by us for our community. It has an executive board of some of the largest media companies in the world, which governs six advisory groups (125 representatives). Their job is to represent the interest of three million end users who use our products. We’ve spent a ton on R&D.

TVBEurope 47

October 2014 www.tvbeurope.com

Feature “We have a responsibility to stand up and say ‘there’s a better way’, and that if we work together and collaborate we can help ourselves and our industry solve the biggest issues. We have to work together more”

I just want to get a better return on what we’ve spent by addressing the bigger business issues. I thought the biggest challenge was going to be getting people to understand what we’re trying to do.

Our proven trust and heritage has kicked in and they’re just happy that someone has attempted to step forward with a bolder strategy and it’s being adopted at a very fast rate.

Someone called us the most open, extensible platform on the planet. Clearly, now we’re leading the way on openness and flexibility, not only on the products/apps but in the way you deploy it. You should be limited by your own imagination/strategy, not by your own vendor telling you you can only deploy it one way because it’s more profitable.

How much of your operation do you devote to R&D? We’ve always been 20 per cent above market on spend. All I want is to get a better return.

We just announced our results recently. I think people were shocked by how the company has transformed economically because of all the excitement of Avid Everywhere. We have always spent a ton on R&D. We’ve had a fully engaged client community.

What is the message that the industry needs to be buying into?

The industry is in the middle of a transformation.

Clients should be expecting more. We only need a couple of vendors to join the movement to be more creative.

What industry has changed their delivery so you can now only be cloud? Or the fact we’re so fragmented. There are 1,500 main vendors here that have no interest in making these connect, everything is point to point. We have a responsibility to stand up and say ‘there’s a better way’, and that if we work together and

collaborate we can help ourselves and our

We have to work together more. We’re trying

industry solve the biggest issues. The issue isn’t

to take out this fragmentation that is costing

how do we do the next button or feature, it’s

us 25 per cent of the budget. Lets use that

how do we keep doing what we love to do

money instead to focus on what the joy is.

in a sustainable way.

The joy is in creating content.

48 TVBEurope

www.tvbeurope.com October 2014

Feature

Where were you on FDDay? UK broadcasters created the DPP to speed the transition to fully digital production. This month marked their deadline for moving to entirely file-based workflows, using the new DPP AS-11 standard. How did they do? Neal Romanek reports

Burrows, the DPP’s technical standards lead, and Channel 4’s CTO of broadcast and distribution.

Bigger post houses have been prepared for the new file delivery protocol, but many smaller producers and contractors, accustomed to

n 1 October, while the rest of the world

O

based delivery standard that was to be the new

delivering in ProRes or other formats, have been

was quietly going about its business,

common file delivery spec for the future, AS-11.

scrambling to manage the transition.

the UK broadcast industry observed

Since then, the DPP has been tireless in its

a momentous turning point. The first day of

educational efforts to prepare the industry for a

Assessing progress

October marked the end of tape forever and

tapeless world. Its day and night campaigning

So, one year after the DPP announcement, how

the beginning of a bright new era of file-based

has included a continuous stream of social

have the British broadcasters managed?

programme delivery. Sort of.

media messages, links to technical papers,

Last month’s IBC2014 featured a special session

A year ago, at IBC2013, the DPP (Digital

publications – including the Producers Guide to

by the DPP, which looked back at the past year’s

Production Partnership) announced that on

File Delivery – videos, and multiple seminar and

progress. The DPP was able to announce that

1 October 2014, UK broadcasters BBC, ITV

conference appearances (including TVBEurope’s

as of 1 October, both ITV and Channel 4 will

and Channel 4 would move to fully file-based

IT Broadcast Workflow). The conversation around

have fully transitioned, with file-based delivery

programme delivery, with other major broadcasters

the file delivery switchover date even has its own

becoming the default standard for all their

set to make the transition at best possible speed.

Twitter hashtag, #Fdday.

suppliers. In fact, the two broadcasters had

The DPP had set the stage for the transition back in January 2012, when it announced a UK file-

“It’s not just about producing a standard, it’s a huge business change programme,” says Kevin

already been taking file delivery for several weeks.

Channel 5 and BT Sport have also been expecting

TVBEurope 49

Kevin Burrows presented at a special DPP session at IBC2014 last month in Amsterdam

Picture credit: The IBC Daily

October 2014 www.tvbeurope.com

Feature the UK industry through. Earlier in the year,

(a Dalet company), Emotion Systems, Front Porch

working with the Advanced Media Workflow

Digital, Nativ, Nugen, root6, Snell, Sony, Telestream

Association (AMWA), the organisation created a

and Wohler Technologies. And at IBC2014, DPP

Compliance Programme, which aims to ensure

announced the first four companies that have

that suppliers are producing kit that can

passed certification — Cinegy, Dalet (AmberFin),

correctly read and process files which meet

root6 and Telestream.

the AS-11 DPP standard.

“We realised at the beginning of this year

Delivering the world

that, whilst we were making good progress

So, tape will be around for a bit longer in UK

with the manufacturers, this is still a complex

broadcast delivery – for a few weeks in some

area and our concern was making sure that

cases, months in others – but considering many

delivery of DPP AS-11 files for several

the files created would play back in other

UK companies have already been tapeless

months now. The BBC has begun to phase in

manufacturers’ devices.”

for some time, and that the UK is continuing to

file-based delivery from producers. BSkyB began

In March, the DPP began to put together a

expand as a hub for file-intensive international

accepting AS-11 deliveries from 1 October,

test centre, so it could analyse files from various

productions, it’s possible that next October

aiming to complete the migration to full-file

manufacturers and test products. “We came up

will find the UK a streamlined, fully

delivery by October 2015.

with a minimum criteria for compliance with our file

file-based ecosystem. The new AS-11 DPP

format,” says Burrows, “This isn’t to say we check

standard has attracted attention from other

finish line, “It’s gone as well as we could expect.

absolutely everything with that file, but there are

parts of the world. Burrows said, “We met at IBC

Obviously, for shows in mid-commission, there’s a

these 500 things you check when a file is delivered

with a few international broadcasters, from the

view to take concerning whether you disrupt the

or a file is created from a piece of kit. What we

US and Europe, and there’s quite a lot of interest

show half-way through the run or start it with files

do then is create a test report, which differs

from other people in adopting our standard or a

the next time up. We’re basically taking a very

depending on the type of product.”

version of it, because we’ve been through all the

The DPP’s Burrows says of the file-delivery

pragmatic approach to it.”The tape-to-file switch is not the only transition the DPP is shepherding

The DPP already has about 30 suppliers signed up for the programme, including Aframe, AmberFin

pain of getting there. They realise they need to do something themselves.”

50 TVBEurope

October 2014 www.tvbeurope.com

Feature

A time for reflection and celebration Dr David Wood, former deputy technical director of the EBU, takes a trip down memory lane with TVBEurope ahead of his Lifetime Achievement honour at the inaugural TVBAwards, in recognition of his outstanding career in the broadcast industry

One of the shifts has been the move of the development of new hardware video and audio systems from Europe and the US to Japan, Korea, and China. There are no manufacturers of displays and few of production equipment left in the ‘West’.

We are still witnessing major transitions in programme production technology – file-based workflows, IT programme production, and the use of commodity equipment for professional purposes. It has been a bumpy ride, and broadcasters still need to fasten their seatbelts.

Not exactly the birth of printing, as a generality, new eras in broadcasting do begin when the ITU, MPEG, and DVB agree common standards, but the impact of IP and the

Describe your early career, the composition of

— it takes a good engineer to write a report on

web is certainly of equal magnitude to the

the landscape at the time, and the problems

something they don’t”. This was my introduction

Gutenberg bible.

you saw that needed fixing.

to the world of committees and standards, which

I joined the BBC as a ‘graduate trainee’ in 1968

was to absorb the rest of my career.

from the Electronics Department at Southampton

In 1980, I joined the European Broadcasting

How have you changed as a person and professional during the course of your career?

University in the UK. At the BBC’s Ellis Island —

Union Technical Centre in Brussels. The fine EBU

I was privileged to lead standardisation groups in

‘Wood Norton’ — one of the BBC top brass told

chief engineer, Prof Henri Mertens, wanted the

the ITU, DVB and elsewhere. I learned by attrition

us that he felt sorry for us because (sic), “with

EBU ship steered towards a common world

that to reach common agreements you must

the start of PAL and SECAM colour TV, all the

standard for digital television – what a super

understand how the world looks from the point

challenging technical work has already been

challenge to have. He gave me a lot of freedom

of view of the different interests involved.

done”. Of course, it wasn’t true. I started work at

and much good advice. He told me that:

BBC Research Department (Kingswood Warren),

“achieving a common standard, even if not

in behaviour of people from different countries

the home of deep thoughts and gentile sports.

perfect, is 100 per cent better than no common

— there are different ‘conventions’ in different

standard at all”.

countries. Japanese people, for example,

After five years at the BBC in 1973, I joined the IBA (Independent Broadcasting Authority). One reason was because it was moving to its superb new premises just outside Winchester, Crawley Court. Also, the boss at Crawley was the great Howard Steele. His name sounded like a rock star. He was an inspiring leader, young and full of

believe that certain things are ‘impolite’ and

“The impact of IP and the web is certainly of equal magnitude to the Gutenberg bible”

energy and ideas. He died relatively young. They

they don’t say them. There are differences between Japanese, Chinese, Koreans, many European nations, Russians, and Americans. The point is that the discussion leader’s job is to be a bridge between the participants, and to sense where the participants are coming from.

broke the mould after Howard.

Soon after I joined, I was asked to work with

You need to also understand the differences

I have the honour of knowing many individuals We set up a ‘Task Force’ that harnessed the

who possess natural authority, who exude an

the IBA team developing Teletext. I didn’t invent

resources of the EBU and the SMPTE. To create

aura of decisiveness that leads people to agree

their Teletext — this was Peter Hutt and his

new standards, you do need some rules of

with them and support them. Among them are

guys. But I was asked to create and edit the first

procedure, but you also need imagination

Ulrich Reimers in DVB, Leonardo Chiariglioni in

live Teletext magazine. The service was called

and creativity.

MPEG, and Mark Krivocheev in the ITU.

‘ORACLE’, which is an acronym, and there will

In 1989, the EBU moved its Technical Centre

be a prize for someone who remembers what

(and me) to Geneva, Switzerland. Over the next

What have you enjoyed the most about your

it meant. Howard Steele was competitive and

25 years, MPEG made its mark, the DVB Project

career — what personal achievements have

he knew the BBC was developing in parallel a

started, the EU collaborative projects began,

given you the most satisfaction?

Teletext system called CEEFAX – he wanted to be

World Broadcasting Unions became more active,

Being part of the ‘drivers cab’ in the three stages

first. Our first live ORACLE service was at IBC

and well, there’s lots more that could be said.

of digital television standards must come near the top — SD, HD, and UHD — via Rec. 601, Rec.

in September 1974.

You mention some of the changes you have

709, and Rec. 2020. Incidentally, I always hoped

Dr Boris Townsend, who worked a lot in the EBU,

witnessed in your career — what in your view

that by including 1080p/50,60 in Rec. 709 in 1989

asked me to write a report on the new EBU ‘hot’

are the major milestones of this industry’s

we would see the decline of interlace scanning,

topic, Electronic News Gathering. I told him I

progression from the days of analogue and

un-necessary in an age of content adaptive

knew absolutely nothing about ‘ENG’. His words

‘traditional’ broadcast, to today’s digital realm?

compression, but it’s taking a long time.

ring down the decades: “Dear boy, anyone can

The world media industry has played ‘musical

write a report on something they do know about

chairs’ geographically over the decades.

One day my (rather Noel Coward-like) boss,

For the HDTV Rec., we added a 1080p/24 format in 1998, believing it could have a role in

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Feature productive. It’s also been a treat working

David Wood: “Broadcasting itself is riding stormy waters, and no one knows whether over-air broadcasting will be subsumed by internet delivery in the years ahead”

with Christoph Dosch from Germany in ITU-R Study Group 6.

How important a role do associations like the EBU have to play in the progression of this industry into the future?

It has always made sense for broadcasters to act together in matters of common interest.

The EBU’s national broadcaster members have so much in common, while at the same time they are not competing with each other. For an association, it’s a gift to have this arrangement.

Broadcasting itself is riding stormy waters, and no one knows whether over-air broadcasting will be subsumed by internet delivery in the years ahead.

What is your perspective of the industry of today, and where do you feel we are headed in terms of technological progression?

The rise of technical quality is inexorable, and eventually all displays from large screen sets to tablets will be 2160p. 2320p will take more time but we can be certain that it will happen.

Maybe it will be followed by an object wave 3DTV system. How will standards be developed in the future? Systems will be increasingly realised in software, a land where an ‘open source’ approach, rather than formal standardisation, may be king.

Finally, the TVBAwards Lifetime Achievement honour has been bestowed upon you by your peers for your services to, and impact upon, the broadcast media industry. What message would you have for those in this industry (particularly the new entrants) who are tasked with preserving its longevity for generations to come?

Every organisation, particularly broadcasters, needs to have a plan of where they want to be in five and ten years’ time — but a plan that is

the cinema industry. Hollywood then went into

were not managed, and we shot over the peak

constantly under review. We all need to have

action and developed the higher quality DCI

of the inflated expectations curve into the trough

our hand on the shoulder of something and

standards for normal movie making. I hope the

of depression. Eventually this will stabilise — so

someone in front.

Rec. 709 wake-up call helped them.

don’t give up yet.

Being in at the beginning of the DVB project

As chair of the EU Collaborative Projects

Secondly, each organisation should have to have some kind of ‘unit for the future’, where

in 1993 was another high point. When we

Concertation Group, I could see that Europe

your best people look ahead from the ‘engine

started, we thought it would be a three-year

overflows with great engineers and great ideas

drivers cab’, so to speak. Most of time, we are in

project, but it was so successful, and still

for advancing technology — we just have to

the ‘guard’s van’ looking backwards at what has

continues actively over 20 years later, with over

harvest and manage them.

happened — you need people looking forward

a billion DVB-based sets out there now.

I am a passionate stereoscopic

One of my favourite professional periods was when George Waters was my boss at the

for trends and tendencies.

If you do those things, you’re on your way. I

photographer. I did work to move 3DTV forward

EBU, following his term as DG of RTE. He was

know it’s easy to spend other people’s money

in the DVB Project. We agreed the 3DTV

a kind and generous guy, with a great new

like this. Forgive a guy who is just thrilled to be

standards the world needed, but expectations

idea every day — just what you need to be

asked for an opinion.

52 TVBEurope

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Satellite Focus

Satellite ready to tap into 4K IBC2014 was dominated by 4K/Ultra-HD, and nowhere was this more apparent than in IBC’s prestigious Hall 1, where the world’s satellite operators have their massive stands. Almost every one of them contained compelling demonstrations of their latest, sparkling 4K assets, writes Chris Forrester

perhaps even 5G, as well as digital compression, would still not make terrestrial networks perfect as a delivery mechanism. “No single technological answer ticks all the boxes,” he said. “But satellite is very strong and also represents value for money and maximum choice.”

T

ypical comments of the likely impact to

He added that by 2025 half of all screens and

come from 4K is this by Luxembourg-based

STBs would be for Ultra HD. “Ultra HD screens are

SES and its COO Ferdinand Kayser, who

already showing a similar price entry point and

said that SES is convinced that Ultra-HDTV will

price decreases, just as full HD screens did when

make a major impact, and that satellite will

first introduced. Introduction of the new [HEVC]

play a significant part in winning audiences for

compression format will require a new simulcast

4K viewing. “Satellite will be very relevant for

period to migrate from MPEG-4 to HEVC.

delivery in the future,” he said. Kayser bases his

Congestion-free viewing of Ultra-HD services is

argument on the challenges faced by IPTV and

a ‘sweet spot’ for satellite.”

(to a certain extent) cable delivery of 4K signals.

SES already has a number of demo 4K

Kayser expects some key European

channels on air, as has arch-rival Eutelsat. Indeed,

broadcasters to have 4K channels on air during

Paris-based Eutelsat has had test transmissions

2016. “The catalyst will undoubtedly be the

on air for more than a year. At IBC2013, the

UEFA European Football Championships and

company showcased a live 4K demo of that

that year’s Olympics from Brazil.” He said he

year’s San Marino Moto GP Championship.

expected some important pay-TV broadcasters,

Markus Fritz, Eutelsat’s commercial and marketing

such as Canal+, to start closing their Standard

development director, is anticipating an early

Definition services soon.

start. “In reality, many of our customers will find

He said that satellite was in place to ensure there was no “digital divide” and that viewers could watch 4K transmissions without buffering.

Kayser admitted that even the arrival of 4G and

Ferdinand Kayser admitted that even the arrival of 4G and perhaps even 5G, as well as digital compression, would still not make terrestrial networks perfect as a delivery mechanism

space on one of their existing transponders with us for the early transmissions. How will it start? It will be similar to the early days of HDTV; but first, the set-top boxes have to be available. In my view, there’s plenty of content about, and if you wanted us to find content for two channels, let alone a few hours in the evening, we could do it.

Certainly, filling four or so hours a day is not difficult.”

Intelsat was also busy a year ago (showcasing the live rugby union match between Saracens and Gloucester), and is already carrying 4K signals around the planet. A recent study from the company found that 23 per cent of its clients expect to launch 4K services within the next four years.

On air But hop to Japan and Intelsat has had a real – as distinct to a demonstration – service on air since June, using communications satellite TV channels of Sky Perfect JSAT Holdings. Moreover, the Japanese are promising far more. Japan’s government has confirmed its roadmap for the introduction of Ultra-HDTV in its 4K and 8K versions. Japan will use its ‘BS’ satellite channels for these debut services and as part of its build up to a widespread introduction ahead of the 2020 Tokyo Olympic Games.

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Satellite Focus Six 4K cameras were used and another four HDTV cameras had their signals up-converted to Ultra HDTV. Brian Sullivan, Sky Deutschland’s CEO, said: “By successfully broadcasting a complete Bundesliga match live in what was a true end-to-end test of the full Ultra HD production chain, it is clear that the day is getting closer

Bringing the benefits of an “all connected” future to all citizens requires networks capable of enabling and supporting all required broadband and video-related features

“I expect we will see a few showcase events on a channel, which will grow to a channel that has a lot of looping of content” Euan Smith

The country’s Internal Affairs and

None of Europe’s ‘big four’ pay-TV operators

Communications Ministry said the government

(BSkyB, Canal Plus, Sky Deutschland or Sky Italia)

would begin test broadcasting in 2016, when

have yet made an announcement regarding

Rio de Janeiro hosts the Summer Olympics, and

4K transmissions, although Sky Germany has run

when it will be possible to bring a top quality

upgrade it to full-scale broadcasting as soon as

tests on football coverage, a key driver for pay-

Ultra HD live sports production into consumers’

possible, according to local reports. By 2018, the

TV. On 26 April, it carried a Bundesliga football

living rooms. There are still a few things to take

roadmap calls for Japan’s public broadcaster

match in Ultra HD. The match, between Bayern

care of but I am very confident that we, as

to have its own dedicated 4K channel as well

Munich and Werder Bremen, was carried on an

the innovation leader, along with our partners,

as five commercial broadcasters to be

SES satellite at 50fps using the new High Efficiency

are on a very good path to revolutionising the

transmitting 4K channels.

Video Codec (HEVC) compression algorithm.

viewing experience.”

54 TVBEurope

www.tvbeurope.com October 2014

Satellite Focus looping of content. Over time, I can see this migrating to

4K comments from IBC

three, four or five channels and perhaps more.”

Both BSkyB and Sky Italia are investing in 4K content, being captured for their archive

SES is convinced that Ultra HDTV will make a major impact, and that satellite will play a significant part in winning audiences for 4K viewing

z “4K is a tidal wave” NBC-Universal z “4K is a natural evolution” BT Sport z “We are working to the 2015-16 season” BT Sport

and future transmission. BSkyB

z “The juggernaut is in motion” Arqiva

has worked for some years

z “There is an appetite for quality” BT Sport

with Atlantic Productions (for

z “The market will buy” Sony

both 3D and 4K shows) on

z “We are headed for 4K” BBC R&D

such award-winning hits as

z “4K is a no-brainer” DisplaySearch

David Attenborough’s Natural

z “We’ve brought everything forward by

History Museum Alive, shown last Christmas, and its latest

two years” NHK z “Blu-ray 4K by the end of 2015” CEA

Sullivan’s EVP of product and operations, Euan

4K production, Wild Flight. This year, Sky Italia is

z “4K has a momentum today” Sky Deutschland

Smith, went further, saying that Sky Deutschland

releasing a co-production (with Rome-based

z “HEVC is early in its life-cycle” Netflix

would have a test channel on air later this year.

DBW) of Puccini’s La Boheme, shot in 4K at

z “200 4K channels by 2020. 1,000 by 2025” SES

Asked what this work would lead to, Smith said

the spectacular Torre del Lago, near Pisa.

z “4K is a bit like an airline. HDTV is obviously

there was much more to Ultra HD than just a

There’s much more, in the form of sports of

economy class. Everyone has it and they

football game or two, however important they

course, and music, and natural history from

can fly anywhere in the world. But it’s nicer

were to subscribers. “I think it will go in much

the likes of the BBC’s Natural History Unit and

in Premium Economy where you can get

the same way as HDTV did initially. I expect we

Japan’s NHK, extreme sports from Red Bull,

UHD-1/phase 1. Then in first class, it’s UHD1-

will see a few showcase events on a channel,

and dozens more production houses now

phase 2. Of course, 8K then means you are

which will grow to a channel that has a lot of

gearing up for UltraHD.

in your own executive jet.” BSkyB

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Satellite Focus

Redundancy in your RF chain How far do you go?

Service level agreements (SLAs) have become increasingly demanding for many satellite operators, as telecom-style performance measures influence uplink and downlink teleports. Andrew Bond, commercial director at the RF Engineering company, ETL Systems, talks to TVBEurope about the challenges facing the satellite industry in meeting these sometimes onerous requirements What Satcomms areas have been affected by

What are the more

increased SLAs?

affordable ways

With the development of the mobile phone and

satellite operators

PDA market, streaming content to handheld

and broadcasters

devices is driving new requirements for phone

can improve their

operators and the satellite market. On a recent

redundancy?

trip to upgrade a satellite teleport in Hong Kong,

Managing single

I was surprised to see so many people watching

points of failure within

live feeds, especially as there are often stringent

a budget is a tough

service level agreements to ensure these

job for satellite RF

networks are always online. The result is that to

engineers. It is easy to

keep the official departments issuing the licenses

imagine the impact of

for mobile networks happy, these SLAs mean that

failure during a major

the satellite industry that delivers live content to

football match – where

the telecoms operators may have to comply.

millions of people may be linked to a single

What types of redundancy designs have you

feed – and as a result,

come across in global teleports?

the RF engineering

Installing increased levels of redundancy

mindset should be

within a satellite teleport or earth station can

to design reliability into the equipment. A balance of hot-swap

“The key challenge for many satellite teleports is to move away from passive splitters and patch panels and trust in improving software and hardware redundancy technologies”

dual redundant power supplies, control cards

Andrew Bond: “To keep up with demand, over 25 commercial satellites are being launched each year”

and RF hardware is becoming the standard in professional teleports and means that the

What will be the key challenges to overcome

important measures of mean time before failure

for satellite teleports when it comes to the

(MTBF) and mean time to repair (MTTR) are the

future of redundancy designs?

best we can achieve.

To keep up with demand for bandwidth and new types of modulation, over 25 commercial

Which direction do you think RF redundancy

satellites are being launched each year.

will take?

As a result, I believe the key challenge for

The pattern that I am seeing in the Satcomm

many satellite teleports is to move away

be a costly process, unless a combination of

market is the increased investment in monitoring

from passive splitters and patch panels and

intelligent software, RF detection and switches

and control software. The result is that a typical

trust in improving software and hardware

are installed. At the headend, we often see one

media company, with a number of different

redundancy technologies. Although this will

or two-standby motorised satellite dishes linked to

downlink and uplink teleports around the world,

require investment, the added benefit is the

redundancy switches, which are brought online

can monitor and control downlink content and

improvement in RF performance, such as

as a main feed fails. In addition, we often find

uplink transmission equipment from one central

noise, return loss, isolation, signal compression

that ETL’s RF matrix switches are used to ensure

location. We have had to respond to this by

and flatness for their signal chains. At the end of

that satellite feeds can be routed to any number

ensuring that all our RF distribution equipment,

the day, the satellite industry has to persuade its

of IRDs or modems, which again can be used

including fibre links, can be integrated

broadcasting customers that satellite is the most

in a 1:1 or n+1 redundancy design to back up

into these all-seeing networks via Ethernet

reliable, affordable and flexible way to deliver its

downlink equipment.

to provide peace of mind.

programmes to a worldwide audience.

56 TVBEurope

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Satellite Focus

Social TV

grips Europe

ounded in 2009 by Alexander Mazzara

Getting to know you

and TV industry veteran Kurt Schaad, the

The company produces the majority of its

concept for joiz was to create the most

content and has incorporated advanced

F

innovative social TV broadcaster and platform.

Mazzara has a background in journalism and

technological developments to serve its users across all platforms. “There are vendors that

has worked within the TV industry for Switzerland’s

make graphical interfaces, social media on TV,

largest broadcaster (SRF) and Germany’s RTL and

etc. That’s nothing. Our view is about the viewer,”

Pro7, so was well placed to enter the TV market.

says Mazzara. “We consider them first as viewers

The idea for joiz was to fuse TV with the web,

and secondly as loyal customers. The TV world is

social media and mobile platforms. In 2011,

sort of a B2B model. You produce content and

investors were secured to launch joiz for the first

go to a satellite/cable operator and those guys

time in Switzerland, followed by Germany in 2013.

provide content to households. The company

“When we started, second screen and social TV

Picture credit: The IBC Daily

Fresh from speaking at IBC2014, joiz co-founder and CEO Alexander Mazzara talks to Melanie Dayasena-Lowe about his plans for ‘Europe’s first social TV channel’

uses a customer relationship management

didn’t exist,” explains Mazzara. “Those days, it was

tool to better understand its viewers at home.

more about interactive TV. There’s a chance that

“E-commerce companies like Amazon are

people are using other devices while watching

already doing that. They don’t have content but

TV and the reason is that Wi-Fi is available for the

really understand their customers.”

Alexander Mazzara speaks at IBC2014’s ‘Interactive entertainment — You ain’t seen nothing yet’ conference session in Amsterdam on how to monetise big data

first time and there’s a huge chance of having interactivity with software, not with hardware. Many companies tried to do interactivity with another remote control or set top boxes and typically it didn’t work because in those days, interactivity was not fast enough. Right now with apps or websites you can do much more interactivity. You can create a community around a programme.”

reasons. For instance, during a McDonald’s ad,

“What we’ve tried to do in the last four years is to understand the ‘viewsers’ much better and to try to make a business model out of this”

So what is joiz? It’s a combination of a TV channel,

people can click and immediately get a voucher for McDonald’s. We also use it for cooking shows.

Viewsers can click the Red Button and receive the recipe immediately on their mobile phone.”

Following its success in Switzerland, last year joiz launched in Germany. “In Germany, we create about 85 to 90 per cent of the content

website, social network and mobile service, all

ourselves,” explains Mazzara.

offered as one entertainment proposition that At joiz, the company calls their viewers or users

Originality

‘viewsers’. Viewsers can create a profile on

The original programming is produced locally at the

Users can also watch a live stream of the

the joiz website, which enables them to take

company’s hi-tech studios in Zurich and Berlin. “The

channel (if based in Switzerland and Germany)

advantage of second screen opportunities such

studios are pretty similar. We learnt a lot from Zurich

via joiz.ch and joiz.de as well as via its mobile

as to check-in and comment on live shows, chat

and we tried to make it better in Germany. We

apps. There is also access to original content

with friends, review videos, submit questions to

typically have two main studios. One is a newsroom

(short videos as well as long-form programming)

studio guests and vote or take part in polls.

studio and the other is a virtual set. In both studios,

places young people at the heart of it. joiz can be viewed as a free digital TV channel.

via the websites and apps. The channels in both

Another way for viewsers to be involved is through

we produce daily shows, talk shows and live shows as well as people working outside on reports.”

countries are completely different operations.

the Red Button second screen feature, which

They share some programming but are produced

Mazzara describes as “a software Red Button that

In addition to the entertainment experience,

for Swiss and German audiences locally.

sits in the app”. He adds: “We use it for commercial

joiz is working with advertisers and sponsors. “The

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Satellite Focus The idea for joiz was to fuse TV with the web, social media and mobile platforms

services. Going forward, Mazzara sees TV as the

since we have such a broad distribution of

next big market. “I strongly believe the TV market is

our free-to-air channels in Germany and

in a big transition right now,” he concludes.

Switzerland. We’re seeing shifts in the

“It might come in the next five years. We get a lot of feedback from advertisers and agencies

shift from linear TV to multiscreen experience is already there. With customers like CocaCola, they understand that and try to do new things with us. Typically, what we do for them is branded entertainment. Not only do we develop a format idea for a campaign for them but we also leverage their needs with a multichannel approach. We try to create a format that works on TV, online, social media, etc.”

Growth plans With successful launches under its belt, joiz is eyeing up expansion plans in the UK, US and other territories. “We are looking for partnerships and are in negotiations with some of the players in the market. Both markets [UK and US] will be very interesting for us, but we’ll do it carefully.”

In addition to launching the joiz brand in other countries, the company is pursuing a new area for expansion with its proprietary and innovative technology framework. The interactive features of joiz, including its fully integrated second screen app, can work across numerous TV genres including news, sports and programming for kids. joiz Group is currently in discussions with several broadcasters and production companies interested in taking advantage of this opportunity.

“We’ve already signed some deals. We’re already in the phase where we are integrating the systems. The feedback is overwhelming.

It looks like we’ll be starting in Germany.

We understand the market here [in Europe] much better so it’s faster to implement with broadcasters,” he comments.

The company also offers several service packages to complement the licensing of its technology framework, including consulting, hosting and user verification, community management, media sourcing and support

consumption of media along with new platforms rapidly evolving.”

58 TVBEurope

www.tvbeurope.com October 2014

IP Forum

IP is the only way to go Philip Stevens moderates this month’s Forum in which issues relating to internet protocol (IP) technology are discussed

With its ability to carry signals from any point to any point within standard internet infrastructures, audio and video-over-IP will transform broadcasting. So, what are the challenges when it comes to IP technology? What are the latest innovations? And where next for this technology?

Those taking part are (in alphabetical order) Martin Dyster, director and head of audio, TSL Products; John Mailhot, product architect director, Imagine Communications; Kirstan Pepler, head of propositions, media sector, Easynet; Steve Plunkett, CTO, Red Bee Media, part of Ericsson; Robert Rowe, MD, live TV, Snell, a Quantel company; Arnhild Schia, CCO, Nevion; Garrick Simeon, MD, General Dynamics Mediaware; Lieven Vermaele, CEO, SDNsquare; Jan Weigner, CTO, Cinegy; Hiroshi Yamauchi, technology and business development manager, 4K IP production and optical disk archive, Sony Europe.

How does IP technology help the broadcasting industry?

Dyster: I can remember producing broadcast system designs where VT-based editing was cutting edge, serial control was a revelation and the parallel control cable infrastructure linking GPI ports and Boolean logic-based custom switching systems held together day-to-day operations across the entire broadcast facility. In the past two

Martin Dyster TSL Products

John Mailhot Imagine Communications

decades these ‘clunky’, over-complicated and inefficient systems have gradually disappeared

interchange. Signals are connected back to

to be replaced almost entirely with IP-based

a house ‘router’ and high-quality pixel-perfect

facsimiles. Where hundreds of kilometres of cable,

synchronous-timed signals are available. Except

thousands of connections and months of design

for cost and scalability, HD-SDI would live forever,

and installation once existed, now a few racks of

but as IP technology continues to improve, even

PCs, hundreds of metres of CAT5e cable and an

these uncompressed production infrastructures will

appropriate quota of Ethernet switches does the

find scalability and TCO benefits.

same job for a fraction of the cost and complexity.

Vermaele: IP technology will help us move

Mailhot: The economic scale of the IT industry,

into one end-to-end virtualised platform that

as compared to unique equipment for television,

will be software-based for all media processes

produces a very different leverage on its

and IP-based as one converged network for

technology supply chain. For the IT industry, this

all media workflows between these processes.

has produced a beneficial price/capability

If well designed, this will result in a format-

improvement of roughly twice every 18 months –

independent, vendor-agnostic, highly flexible and

this is seen across storage, computing, and also

scalable infrastructure. The creativity, speed and

networking. By contrast, HD-SDI was introduced

flexibility to set up, develop and offer new media

in 1995 and we are still using it today. For

experiences on these platforms will increase, while

uncompressed content, HD-SDI is still the standard

the cost and complexity decreases.

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October 2014 www.tvbeurope.com

IP Forum What is the biggest challenge when it comes to broadcasting using IP technology?

Mailhot: IP technology’s strength is also the

and effective workflow, rather than roadblocks

basis of its challenges. Take security: the core

on the path to IP. As with all technology shifts,

strengths of IP networks are the ability to freely

the biggest challenges are in overall cultural and

interchange assets, to allow any computer to

organisational change management. Often, the

reach, and control, any device, and to allow

unfamiliarity of the equipment and the technology

the interworking of equipment, assets, graphics,

and the changes with workflows require careful

and files across facilities. This also presents

planning, training, and consideration.

Rob Rowe Snell

Arnhild Schia Nevion

opportunities for operational errors and mistakes — or malfeasance — at a greater scale. A mis-routed RS-422 cable could create only a limited amount of damage, while by comparison an over-tired operator at a computer console could take down an air chain. Then there’s

“Any multiplatform strategy today is IPbased. So no IP equals no multiplatform” Jan Weigner, Cinegy

scalability even under duress. IP networks are

scale adoption of IP, particularly in facilities. The first is the timing. The best time to make the move is clearly when there is a need for new or upgraded facilities — moving to IP for the sake of moving may not make sense for many broadcasters. The second and most important obstacle to IP’s adoption within

designed to ‘find a way’ to get packets around

broadcast facilities is the lingering mindset of doubt.

obstacles. As we transition more and more time-

Schia: There are, of course, technical challenges to

Simeon: When it comes to technical change,

critical work into packet-based networks and

IP, especially when it’s used for the realtime transport

broadcasters tend to be cautious. Incumbent

routed infrastructures, allocating and managing

of content for live production. These challenges

technology, budgets and operational

bandwidth requirements in these second-tier

include variations in latency, the level of reliability

considerations all play a role in driving change.

connections will remain an important challenge.

and the management of the IP networks. The reality

Television has made the shift into the ICT realm,

Rowe: Ultimately, the biggest challenges are

is that these technical challenges have largely been

replacing many point-to-point intra-facility

small bumps in the road to a new, more efficient

overcome. There are two obstacles to the large-

connections with Ethernet and capitalising on

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IP Forum commoditised IP networks and hardware for

Workflow orchestration is paramount to any

file-based workflows and moving audio around.

baseband and hybrid IP-baseband network,

However, the technical impracticality of shifting

and is a key area in which we have

uncompressed video around using IP technology

accelerated our leadership.

during ingest and playout remains stark. Studios

Pepler: New camera developments are gaining

persist in working with uncompressed video

momentum, with the ability to deliver the output

because that is what they are used to. As well as

directly as an H.264 encoded stream, as well as

being a cautious bunch, broadcasters also have

traditional HD-SDI. This means the location need

long memories. It takes time for broadcasters to

only have an Ethernet connection and it removes

gain experience in working in all-IP and finally

the encoding from HD-SDI currently needed to

forgetting about how IP packet-based networks

convert the camera to an IP transport medium.

have lost data, suffered from jitter and caused

New encoding formats are required to produce

This has also led to the concept of virtual

pain in the past.

manageable video paths or streams across

networking, which complements the rise of virtual

Vermaele: The biggest challenge will be to

networks. With UHD containing more than four-

machines and cloud-based computing. Significant

change and adapt the common best-practices

times the picture detail, it also means traditional

advances have been made in high bandwidth

of IT and IP networking to the quality level

encoding can produce stream bitrates that

links and their processing in IP routing infrastructure.

broadcasters and media applications require.

become difficult to deliver at a competitive cost.

Links operating at 40Gbps and 100Gbps are now

Weigner: To educate the engineering staff and users. Change management. ‘Angst’ management.

Not an issue with the iPhone generation.

Yamauchi: One of the primary challenges when broadcasting using IP technology is ensuring a stable infrastructure and connection that is able to transmit large data files reliably. When broadcasting live over IP, this is even more vital and presents a challenge to ensure that there

“The technical impracticality of shifting uncompressed video around using IP technology during ingest and playout remains stark” Garrick Simeon, General Dynamics Mediaware

are no interruptions in the feed.

What are the latest innovations in this field?

Kirstan Peplar Easynet

Steve Plunkett Red Bee Media

commonplace, with work being targeted at higher and higher rate links. These high capacity IP links with routing infrastructure, coupled with softwaredefined networking, allow the high bandwidth media signals used in television production to be handled by off-the-shelf carrier grade IP routers.

Schia: Some of the most significant innovations are around the compression of video, where technologies are being applied to reduce the volume of data transported, with very low latency.

We are also seeing a great deal of innovation in

Plunkett: One of the most significant is the activity

the management of IP networks, which essentially

underway to provide an IP alternative to SDI.

allow non-experts from the broadcasters to be in

Standards such as SMPTE ST 2022:6, IEEE 1588 and

control of setting up and taking down connections

Mailhot: The current work is around the

advances in Ethernet switching infrastructure are

between virtually any location.

challenges of signal formats, timing, and control

being introduced into vendor products with the

Simeon: For us it has been ensuring all our ad

methodologies for moving uncompressed

potential to radically change how professional

insertion splicing and editing software is HEVC-

production-level video into an IP-streaming

media facilities are built and managed.

available for when broadcasters are ready to

signal flow inside the facility. Software defined

Rowe: The most significant innovations at the

convert, plus redefining our solutions using IP, such

networking (SDN), and software defined workflows

moment are around SDN that allows the control

as our transport stream delay with logo insertion

(SDW), are two areas where we, as a company,

infrastructure of IP networks to be abstracted away

and programme switching.

are focused right now. They provide the critical

from the underlying hardware. This allows a highly

Vermaele: Networking today is limited to the

control methods and the workflow optimisations

flexible lever in the operation and management of

functionalities given by hardware providers and

to achieve the promised savings.

traffic within the IP infrastructure.

the talent of implementations by the engineers,

62 TVBEurope

www.tvbeurope.com October 2014

IP Forum mostly providing connectivity and best-effort QoS.

equals no multiplatform. Now, more live formats

The most important evolution in networking is

will be added to the mix as well, for example

‘software defined networking’. The innovations lay

sports and concerts.

in pulling the network control and management

Yamauchi: IP technology is allowing broadcasters

away from the individual network devices towards

to transmit content from more locations, with

(and into) the intelligence of software applications

more information than ever before, which

that will manage in specific ways for definite

presents some enticing opportunities to monetise

business requirements. That is where we focus as

content. With remote IP production, for example,

a company with our GRID solution, to have one converged network with guaranteed performance for each workflow — file transfer, live SDI video and

Garrick Simeon Lieven Vermaele General Dynamics Mediawave SDNSquare

broadcasters can connect to more sports venues for live feeds. This is particularly important, as many broadcasters experience problems with the

centralised editing, and any kind of other IP traffic.

increased demand for, and number of, football

Weigner: The buzzwords would be SDN, AVB

channels they provide, due to a limited number of

and SMPTE2022-6, but ultimately they are not

OB vans. So, this is a clear example of how

necessary for the migration, but a sign of the

sales can be supported.

legacy SDI folks trying to save their bacon.

Is IP technology the future of broadcasting?

The real innovation is moving from dedicated hardware products to software-based products that can also run in virtual machines which, of course, inevitably lead to cloud-based applications. Here, cloud does not necessarily mean ‘public’, but could be a private cloud in a

Hiro Yamauchi Sony

Jan Weigner Cinegy

Dyster: Absolutely. We are at the tipping point between baseband and IP. At NAB, I heard the

broadcasters’ own data centre.

Pepler: There are three significant opportunities.

technology head of one of the world’s major

Yamauchi: Sony has developed a new AV-

First, IP allows for lowering the costs of creation

broadcasters declaring that he had purchased

over-IP interface. This converts video, audio,

as well as contribution and distribution of live

his last SDI router. With that announcement

and metadata into packets, enabling realtime

and file-based content. Secondly, broadcasters

still echoing around the halls of the Las Vegas

transmission between equipment via standard

are able to offer more flexible ways to both

Convention Centre, manufacturers of all

network infrastructures. Using this technology,

create and access the content they own. Lastly,

sizes must start investing their considerable

Sony configures IP Live Production systems in

consumers can have better access to content, in

development resources in creating and

order to increase operational efficiency and to

both the B2B and the B2C markets.

delivering next generation infrastructure solutions.

reduce system cost for broadcasting studio and

Rowe: The benefit of IP technology for monetisation

Pepler: Yes, without a doubt. Moving to IP v6 with

sports live production.

is mostly in the distribution end of the broadcast

built-in QoS and multicast-type distribution will

chain. The ubiquity of IP transport across both fixed

accelerate the adoption of this as a platform,

and mobile systems means that more and more

not only on distribution to the end viewer, but

customers have more and more access to media

also as methods of contribution.

when and where they want. The bi-directional

Plunkett: Yes, but getting to an all-IP

nature of IP connectivity means that more

broadcasting environment is complex and will

Dyster: Aside from simply monetising content

interactive viewing experiences can be delivered,

take time to be fully realised.

delivery, there are parallel opportunities to tailor

literally and figuratively connecting with one’s

Simeon: Absolutely guaranteed. Adoption of

advertising through consumer/viewer analytics and

audience. This connection can be monetised by

IP technology is causing a paradigm shift. It is a

personalised targeting. As somebody inclined to

offering innovations such as click-through purchases

change-enabler for allowing everyone to think

watch TV on demand or from the TiVo, I’ve become

of advertised or featured products or premium

differently about how we work with video. It will

quite adept at bypassing the commercials. I can

interaction with a show’s hosts.

free the industry from known technical hamstrings

imagine those days are numbered and my content

Schia: IP will be everywhere in the broadcast

and cost implications of always working in

provider is out there plotting new and devious ways

value chain and so will new opportunities for

baseband with uncompressed video.

to pitch products at me.

monetising content. Most importantly, IP brings

Yamauchi: The core benefits of IP production

Mailhot: When content is virtualised and no

flexibility to the creation and distribution of

are compelling: flexibility, mobility, and reduced

longer encumbered by, or restricted to, physical

content, which means it can be more carefully

operating expenses. Flexibility is enabled by the

plant, amazing things begin to happen. You can

tailored to the user. For example, Denmark-based

format tolerance of IP technology, which means

manage your advertising and air time much more

television broadcaster TV2 Denmark has adopted

that it’s already compatible with SD, HD, and 4K,

efficiently. IP technology and IT infrastructure

an IP-based network that not only enables each

and with any other formats the future may bring.

also enable television operators to reach more

region to contribute to each other, but can

Added to this, the design and configuration for

consumers with more content at lower cost-points

also select international content with a regional

IP-based systems brings another level of flexibility.

going forward. This ability to match specialised

interest, such as a local sportsperson competing in

The ability to execute IP production anywhere with

content to smaller audience fragments

a major sporting event like the Olympics.

a solid connection ensures that IP solutions are truly

at appropriate cost-points, as well as with

Weigner: Monetisation equals multiplatform. Any

mobile, and control and transmission over IP also

addressable advertising, is a key to monetisation.

multiplatform strategy today is IP-based. So no IP

helps to reduce operational expenditure.

What opportunities does the technology offer for the monetisation of content?

TVBEurope 63

October 2014 www.tvbeurope.com

IP Forum What is the next development when it comes to IP technology for broadcasting?

favourite show will become a thing of the past.

obvious cost of replacing existing, proven

PVRs won’t hold content locally, but in the cloud.

baseband technology for new IP-based

This benefits the broadcaster as they have more

technology. Rather surprisingly, there is some

control of the content recorded.

discussion about adopting proprietary solutions

Plunkett: The use of IP transport and

– for example, based on Ethernet, but history

Dyster: I’d like to think that the various

communication opens the door to the

has shown that industry standards ultimately

standards bodies are working to bring together

wider trends in the technology industry.

succeed, and in the domain of networks, the

manufacturers of IP technology to tackle

It will accelerate the use of software-

industry standard is IP.

interoperability of video-over-IP protocols in the

based infrastructure in many parts of the

Simeon: I expect it will be a large shift towards

same way that the Audio Engineering Society

broadcast chain and increase the use of

cloud-based operations including playout. We are

has championed AES-67.

virtualisation and ‘the cloud’. Collectively,

seeing components that will one day constitute not

Pepler: Easynet is working to provide an option to

these developments will change the broadcast

just OTT playout facility in the cloud, but also entire

a cloud-based DAM/CMS, with online burstable

environments that we have known dramatically.

linear playout facilities that scale as channels and

storage and archive, through the advent of IP. This

Rowe: The next major development is going

demand ebb and flow.

allows Easynet to take packages and live playout

to be the general deployment of IP streaming

Vermaele: The fundamental development will

directly into the DAM, available anywhere. Using

and IP routing for use in broadcast production

be to adapt the current methodologies applied

IP networks opens up new ways to leverage cloud

facilities. Some early systems exist today,

in IP networking; such as unreasonable over-

assets, with storage becoming the major area

however, the technologies have changed

provisioning or supposed QoS to cope with the

where broadcasters struggle to keep up with the

now to the point whereby much more efficient

requirements of the media industry. We believe in

amount of content growth. When networks finally

systems can be trialled that will lead the way into

software defined networking, applied for media.

move to IP v6, the way consumers can receive

the next generation of IP production facilities.

Weigner: Broadcast hardware is dead. IP means

services will change. Networks using IP v6 will

Schia: The area where IP is yet to make

commodity IT. The real benefits will be better

suddenly become a more ‘friendly’ environment

major inroads is within facilities like studios

workflows with automatic metadata acquisition,

for video and other media-related services. At the

and campuses. There is still quite a bit of

remote control and monitoring, and the ability to

consumer end, the need to ‘record to disk’ your

resistance in those areas, driven by the

run anything anywhere through the ‘cloud’.

64 TVBEurope

www.tvbeurope.com October 2014

Data Centre

Pay-TV operators are ready for big data

Pay-TV operators are ready for big data that can help them understand how their consumers are really behaving, writes Laurence Miall–d’Août, CEO of TVbeat

perators are not just distributors

O

Number of Croatian households measured by TVbeat = 300,000

anymore; they want to increase customer satisfaction. It is clear that

analytics and viewing data are becoming very

71%

Percentage of households tuning into HRT2 for the Brazil vs Croatia World Cup game

56%

Average household rating for Brazil vs Croatia

important for operators who want to stand out in a marketplace where competition is getting fiercer and consumers have more choice than ever before. Operators are beginning to develop an appetite for granular data that provides critical insights into how to satisfy their customers, as well as being able to anticipate the needs of their audiences, maximise opportunities for

Average viewing share for Brazil vs Croatia

77%

upselling, assess which content is valuable and optimise TV viewing data monetisation.

What our data has shown us

12%

Average viewing driven by mobile, PC and tablet in Croatia

Through our partnership with Hvatski Telekom in Croatia, we are currently measuring data from

How big data is changing the way that audience measurement can help pay-TV operators, broadcasters and media buyers

300,000 households. By processing this data,

Many channels are still underrepresented

use are small, meaning that discrepancies can

that show how big data is changing the way that audience measurement can help pay-TV

Another insight we gained is that many channels

especially for niche channels where viewers are

operators, broadcasters and media buyers.

in Eastern Europe are still under-represented

not truly represented. This is a problem for many

by current audience measurement systems.

channels globally, not just in Eastern Europe.

we’ve been able to identify a number of trends

Live TV is still important

For example, we learnt that over a two-week

One trend we have spotted is that for big TV events,

period, one of the largest international channels

such as sport, people still like to gather around the TV set and watch live. We premiered our first live TV ratings during the opening of the World Cup at NEM in Dubrovnik, Croatia. Our audience measurement of the Brazil versus Croatia game provided realtime insight into audience engagement, revealing that 71 per cent of all Croatian households tuned into HRT2 to watch the match at some point in the

be big and there’s a large margin for error,

It was interesting to read in UK media publication The Drum recently that niche TV channels are reconsidering current audience

“BARB is a mechanism which is designed and works for the five public service broadcasters.

If you’re below the one per cent audience share mark, you’re always struggling” Tim Kirkman, London Live

measurement, and the challenges they bring.

Tim Kirkman, chief operating officer of London Live, the local news and entertainment channel for England’s capital city, explained the struggle that the channel has been facing with its dependency on BARB ratings. “BARB is a mechanism which is designed and works for

evening. It was particularly interesting to see the

the five public service broadcasters,” he said.

increasing numbers of people that tuned in when

“If you’re below the one per cent audience

Croatia scored a goal. Across the evening, the

share mark, you’re always struggling. All minority

game itself had an average household rating of

produced a ‘zero’ rating for 2,500 advertising

or small TV stations have the same issues.

56 per cent and an average viewing share of 77

spots, according to existing measurement

For a good night of TV, I need to get ten BARB

per cent, making it the most watched broadcast

currency. By contrast, our own data

homes watching – I cannot. It’s not a

that TVbeat has analysed in Croatia in the last two

demonstrated that the zero rating for the same

sustainable model.”

years. Although TV viewing habits are changing due

channel occurred less than a hundred times over

to time-shift, multi-device and on demand, these

the same period. Zero ratings currently measured

platforms ensure that niche channels know

insights demonstrated that it is still important for

on channels are not representative of the wider

their real audience viewing figures and

pay-TV operators to analyse linear TV, especially

picture of who is really watching. The samples

understand how they can optimise monetisation

for live events.

that current audience measurement systems

with ad revenues.

Realtime audience measurement

66 TVBEurope

www.tvbeurope.com October 2014

Data Centre

Second screening grows, viewing activity remains disconnected New research from GfK, presented at the IBC conference, shows that while second screening is becoming commonplace with almost two thirds of viewers (64 per cent) using another device when watching TV, most people use the second screen for very separate activities. The way we are viewing content, however, continues to change as technology evolves, writes Christine Connor, research director at GfK s people own and use more devices,

A

supplementary activities are growing at a rapid rate (see chart 1). Research shows

that the biggest growth in second screening between 2013 and 2014 has been on laptops and netbooks, which has seen an increase of 18 percentage points, compared to smartphone and tablet — growing at 16 and 15 percentage points respectively.

But integrating watching TV with the activities

happening on other devices isn’t popular: only one

Chart 1: Second screening

Chart 2: SmartTV ownership continues to grow

Chart 3: Core internet devices

Chart 4: Smartphone and tablet value share

Staying connected

In particular, how people view catch up TV is

watching more programmes that I enjoy”

That’s not to say people aren’t adapting quickly to

changing. In 2013, 64 per cent of people had a

(36 per cent of 55+)

the smart TV environment. Six in ten (59 per cent) are

PVR (Personal Video Recorder) or other catch up

now using their main TV to access the internet via

service: in 2014 that figure had risen to three quarters

shifted viewing. Most (58 per cent) use it to watch

a variety of means, with 16-34 year olds more likely

(76 per cent). The majority (86 per cent) agreed

a pre-recorded programme and 46 per cent to

to do so at 78 per cent, and families also at 69 per

that “it matters little or does not matter at all” if I miss

view a broadcaster’s free catch up service, but

cent. Smart TV ownership continues to increase (see

a programme that I wanted to watch.

more people are watching content via other

fifth (20 per cent) of respondents said they would like the content viewed on another device to be displayed on the TV screen. The same proportion would like the websites for products, personalities or adverts just shown on TV to appear on another device automatically.

GfK predicts that smartphones will be the most owned smart device – more so than TVs, notebooks and tablets

chart 2 for penetration) with one in five (20 per cent)

Typically, the often ignored viewers aged 55

The TV screen remains the main device for time

devices such as computers and tablets.

now claiming to have a smart TV. However, it is the

and older are heavy users of the new ways to

need for a new TV rather than the smart features

consume content. Since acquiring a DVR

most owned smart device, more so than TVs,

that are driving choice, with 64 per cent citing this as

(Digital Video Recorder)/PVR:

notebooks and tablets. While viewing TV content

their main reason for purchase. There are still people

z 38 per cent of all respondents agree: “I am

on smartphones at present is not mainstream, this

(15 per cent) who own a smart TV but do not take

more satisfied as I can choose what to watch at

increase in ownership, and our desire to catch up

advantage of the connected environment.

a convenient time” (45 per cent of 55+)

on programmes wherever and whenever will mean

In today’s world, where consumers have more

z 37 per cent of all respondents agree “I am

that more and more TV content will be viewed

control over when and how they choose to watch

watching fewer adverts” (45 per cent of 55+)

on the small screen first, and broadcasters and

TV, media consumption patterns evolve rapidly.

z 32 per cent of all respondents agree: “I am

content makers need to be ready for that.

GfK predicts that smartphones will be the

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