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October 2016
80 years of
High Definition A landmark anniversary for BBC Television
IBC2016 conference report • OTT and the Rio Olympics • Setting the sustainability agenda
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October 2016 www.tvbeurope.com
TVBEurope
Welcome
EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Group Managing Editor: Joanne Ruddock jruddock@nbmedia.com Contributors: Michael Burns, David Davies, George Jarrett, Philip Stevens, Chris Forrester Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000 Digital Director: Diane Oliver
3
IP as an enabler he handshakes, the photo calls, the
T
EBU, AMWA,
press conferences: they were all there
the VSF,
in abundance at IBC this year; a fair
SMPTE, AIMS, AES and IABM in support of the newly
proportion of them geared around that word,
facilitated zone at IBC, in answer to user demands
again: collaboration.
for a common set of protocols.
Action shot from The IBC Daily office
There have been – and remain – many and
In this way, IBC engineered an industry first,
disparate attitudes towards the application of IP
but from here the sight of these bodies standing
in our sector, but what struck me most readily in
shoulder to shoulder on common ground will
Amsterdam was how IP has seemingly proved to
become more… well, common.
Human Resources and Office Manager: Lianne Davey
be a prime catalyst for true industry collaboration.
Designer: Kelly Sambridge
And hence the thrust of this preamble: we’ve all
The IBC Daily, which was a thoroughly enjoyable
talked about IP being an enabling technology,
and rewarding experience. I’d just like to take this
but in terms of commonality of purpose for entities
opportunity to thank every single person involved
Managing Director: Mark Burton
within the market, I believe it’s proved to be an
in the process, be that in the realm of writing,
US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072
enabler for industry unity, corralling manufacturers,
proofing, editing, design, production, photography,
service providers, standards bodies, and happily,
videography, printing, uploading, delivery, finance,
end users. AIMS has lead the charge with this;
logistics, and much else besides. Between us, we
Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222
vocal and visible like never before on the show
managed nearly 50,000 show copies, containing
floor of the RAI. One moment of potentially
608 pages, more than 1,500 unique pieces
historic consequence was captured when IBC
of editorial, composed of more than 303,000
CEO Michael Crimp gathered together an
words. I’ll spare you the man-hours, but everyone
unprecedented roster of leading standards bodies
involved should feel vastly proud of the effort and
to support the IBC Interoperability Zone. The photo
endeavour they’ve invested in this process. I hope
call, which we captured exclusively for The IBC
you enjoy this BBC Television anniversary issue.
Daily, brought together leading members from the
James McKeown, Editor-in-Chief
Production Manager: Alistair Taylor
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Another first in Amsterdam was my editorship of
SECTION EDITORS
NewBay is a member of the Periodical Publishers Association © NewBay 2016. 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. Allow eight weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197 Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA
Philip Stevens Production editor
Michael Burns Post production editor
George Jarrett Business editor
David Davies Audio editor
4
TVBEurope
www.tvbeurope.com October 2016
In this issue
Opinion
6
Ross Video CEO, David Ross, looks back on an eventful IBC2016 that offered a snapshot of the present and a glimpse of the future direction of the industry
14
‘No good will come from it’
November marks the 80th anniversary of the very first high definition television broadcast from London’s Alexandra Palace. Philip Stevens charts the early days of BBC Television
21
The AR-t of the possible
BT Sport’s Chief Operating Officer, Jamie Hindhaugh, speaks exclusively to TVBEurope about augmented reality in the broadcast studio
32
28 Feature
51 Feature
Business
Was Rio 2016 the opening ceremony for OTT? LiveU and Akamai offer their perspective on the OTT revolution
IBC conference wrap up: Chris Forrester reports from a conference that included heavyweight keynote speakers
Business editor, George Jarrett, gets the lowdown on the transition to IP and the ‘fascination’ with VR from Sony’s Adam Fry
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6 TVBEurope
www.tvbeurope.com October 2016
Opinion and Analysis
The future is here David Ross, CEO of Ross Video, reflects on IBC2016 and the “exciting and challenging time” for technologists in media production and distribution
BC is always an excellent place to get a
conversion for those that
snapshot of the present, as well as a glimpse
have been waiting to
into the future direction of the industry. As
make the switch, whilst
I
William Gibson famously said, “The future is
also accommodating
already here, it’s just not evenly distributed.” As
those looking to convert
a technology provider to the broadcast and
from earlier generation HD
production industries, our job is to help our clients
technology to today’s state
through a series of technological changes,
of the art.
making things better at every step. Today, with transitions happening on so many fronts, there has never been a more exciting and challenging time to be a technologist in the world of media production and distribution. When I reflect on the show from a live production perspective, three main themes emerge: better pictures, connectivity enhancements and software, workflow and virtualisation.
Better pictures We sometimes forget that there is still a segment of the global production market that has yet to make or is still in the transition to HD technology. What a great time to do that! HD has never been more affordable or more capable. Things that used to be expensive and difficult just five years ago have now become easy and affordable. There are a whole new wave of HD products sweeping the industry, making HD production a no-brainer and offering an easy
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8 TVBEurope
www.tvbeurope.com October 2016
Opinion and Analysis As the speed and capacity of the computation
Whatever connectivity camp you happen to be
Many software technologies are now able
engines used to process real-time video
in, the coax and ďŹ bre cabling you install today
to be virtualised. Broadcast and production
increases, UHD technology continues to become
will have utility in the future.
is somewhat late to the game in terms of
more and more practical for live production.
data centre and cloud-type deployments. Virtualisation can be deployed today for
production gear as we were back in around 2000
Software, workow and virtualisation
with HD. Things appear to be moving even faster
Software has become the key to virtually all
automation and other platforms. Watch for more
today, so watch for UHD to close the gap very
technology at IBC. Even dedicated hardware
advancements in 2017 as it continues to extend
quickly as technology evolves.
platforms and robotic cameras depend on
its application to real-time processing.
We’re now at a similar stage with UHD live
extensive software to make them perform.
Connectivity advancements Connectivity, both SDI and IP, continues to advance, with 12G SDI a mainstream attraction at IBC2016. The IP plug-fests,
your newsroom editorial, MAM, editing,
All this software drives streamlined workows, which continue to evolve, providing better
“Waiting for next year’s technology means you will miss out on this year’s beneďŹ tsâ€?
tools for your production team and enabling the automation of mundane tasks. Production productivity is increasing at a dramatic pace,
demos and the IBC IP live production studio
helping broadcasters maintain and extend
show that IP is just on the verge of becoming
service while grappling with ďŹ scal challenges.
viable. The AIMS IP community added many members, including Ross Video and our newly
This shift has been happening for decades, and
The time is now
acquired IP technology company Coveloz,
is only going to accelerate. Companies such
The broadcast and production technologist has
with an impressive plug-fest that showed IP
as ours have been able to take technology
never had a bigger set of tools and options to
interoperability is starting to come together.
from other industries and adapt them, through
make new, exciting and powerful systems for
While still in the realm of early adopters, there is
software, to broadcast and production. A
the creative and operations teams to exploit.
no denying that IP is something to keep an eye
prime example is consumer gaming technology
Waiting for next year’s technology means you
on, and potentially start experimenting with.
becoming hyper-realistic virtual sets.
will miss out on this year’s beneďŹ ts. „
Eclipse HX: Adaptable Broadcast Intercom $_; ‰ouŃ´7 o= 0uo-71-v| ruo7†1াom bv 1_-m]bm]Äş ;‰ ‰ouhYo‰v -u; 0u;-hbm] 7o‰m |u-7bাom-Ń´ 0-uub;uvÄş $_; -0bŃ´b|‹ |o -7-r| t†b1hѴ‹ |o m;‰ 1oll†mb1-াom u;t†bu;l;m|v bv r-u-lo†m| |o ‹o†u ruo7†1াom v†11;vvÄş $_; 1Ń´brv; * 7b]b|-Ń´ l-|ubŠ bm|;u1ol voŃ´Â†ŕŚžom bv _b]_Ѵ‹Ŋruo]u-ll-0Ń´; -m7 ;Š|;mvb0Ń´;ġ ruoˆb7bm] - u-m]; o= v;1†u; -m7 u;Ń´b-0Ń´; 1oll†mb1-াom orাomv =ou |-hbm] ‹o†u bm|;u1ol -m‹‰_;u;Äş $_; 1Ń´brv; * lÂ†Ń´ŕŚžĹŠ1_-mm;Ń´ (ĹŠ";ub;v h;‹Ŋr-m;Ń´vġ ];m|ĹŠ lo0bŃ´; -rrġ ";ub;v bm|;u=-1;v =ou †mbˆ;uv-Ń´ 1omm;1ŕŚžÂˆĹŠ b|‹ -m7 bm|;]u-|;7 u;;"r;-h ‰bu;Ń´;vv 0;Ń´|r-1hv ;m-0Ń´; ‹o† |o -11;vv 1oll†mb1-াomv =uol ˆbu|†-ѴѴ‹ -m‹ rovbাom bm ‹o†u bm|;u1ol m;|‰ouhÄş ;uvom-Ń´bÂŒ; ‹o†u ollv voŃ´Â†ŕŚžom ‰b|_ 1Ń´brv; *Äş !;-1_ †v |o7-‹ =ou lou; ro‰;u=†Ѵ voŃ´Â†ŕŚžomvÄş ‰‰‰ĺ1Ń´;-u1olÄş1ol
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10 TVBEurope
www.tvbeurope.com October 2016
Opinion and Analysis
Moving sustainability up the agenda By Bal Samra, BBC managing director of television
ou don’t have to be a green person
Y
to understand why we must behave responsibly, and principally at the BBC it
is about innovation and efficiency. Contributing to a more sustainable world is core to the values of the corporation and we do this with targets, industry partnerships and engaging our
HIGNFY achieved a threestar rating in Bafta’s albert certification scheme
communities with the key issues. Our targets help us monitor progress, but I don’t believe these have been the primary driver for change. Initiating a common industry approach to sustainable production has fuelled much of the progress we have seen internally at the BBC and it is crucial in achieving more. Fantastic change can be achieved when working with industry partners; we believe more can be done by working collaboratively rather than imposing carbon reduction targets. Since commissioning albert, the carbon calculator, in 2010, we’ve made it an integral part of our inhouse programming and have also encouraged 60 indies to voluntarily submit their production
(not hardware) that is a key component of
about climate action, and as the direction of
footprints to us. We will continue to collaborate
technology upgrade. Software is within the
travel points increasingly towards a sustainable
on sustainability; albert is a sustainable
scope of the BBC and we will continue to
future, organisations are encouraged to take it
production certification scheme we helped
develop ours in a way which can lead to a
more seriously. All organisations must be more
to create, and it is now widely in use across the
reduction of e-waste.
self-conscious and embed sustainability into
BBC and the rest of the industry. I’ve a feeling that a supportive and progressive roll-out of our sustainability initiatives has achieved greater uptake overall.
everyday decisions. Despite not being a hard-
“The BBC is under no illusion about the length of the journey ahead”
The BBC has a responsibility to ensure that
line on green issues, I do hold an environmental consciousness. We live out of London, we plant trees every year, we do this because we enjoy it; doing your bit for nature is an intrinsically
audiences can enjoy content in the least
satisfying thing to do.
impactful way and we understand how changes
I recently supported the re-procurement of our
The BBC is under no illusion about the
to our output are reflected by changes in our
playout services, an integral part of our content
length of the journey ahead, however. We
audience’s technology. The switch to digital
distribution which consumes a great deal of
understand the challenges climate change
created a huge amount of e-waste. This is a
energy. Discussion around the carbon impact of
will pose to our operations and existence;
big problem which the industry needs to avoid
the tenders received was an absolute priority.
restricting the resources we need to serve our
replicating on future technological changes.
No longer are deals solely struck on economics
audiences content. But the wheels towards an
Although it is hard for an organisation like the
or quality; we are looking for our suppliers
environmentally resilient BBC are in motion, both
BBC to intervene in the consumer electronics
to support us in our corporate sustainability
in-house and with key suppliers. Sustainability
market, we notice that increasingly it is software
objectives too. There is now a political urgency
needs to be moved up the agenda.
www.tvbeurope.com October 2016
12 TVBEurope
Opinion and Analysis
We can really fix it in post By Alan Wheable, senior technical author at Omnitek
existing infrastructures/workows and does not
layer transmission that is becoming the de-
need to support additional metadata. The time,
facto standard adopted by manufacturers for
production and cost savings of making only
consumer 4K displays and devices. However, the
one version of a programme that is backwards
viewer of devices, with Dolby Vision built in, will
t IBC there was a constant stream of
A
visitors to the Omnitek booth looking to solve the current 4K HDR grading
challenges facing many post houses. Typically, when a scene is lit, a test frame is captured to establish the ‘black’, ’80 per cent’, ‘white’ and ‘spectral’ levels using test charts and tools such as SpyderCUBE. The material is
not see the full beneďŹ t as the currently available
�Current 4K displays are between 700 and 1,000nits, where theoretically, 10,000 is the ideal�
captured ‘raw’ by the camera, but with these
4K displays are between 700 and 1,000nits where theoretically 10,000nits is the ideal. IBC showed the framework for a practical ‘glass to glass’ solutions with individual manufacturers demonstrating that they are creating the building blocks that will eventually provide this. At IBC, Omnitek showcased its new Ultra XR, a solution for 4K/UHD content monitoring, colour grading and
reference levels established the material can be
programme QC. Ultra XR’s picture monitor, true 4K
graded appropriately to suit the chosen delivery
compatible with existing installations outweighs
waveform monitor, vectorscope, BT.709/BT.2020
colour space and PQ/HLG.
the end user experience offered by PQ.
CIE gamut charts, video timing, audio meters
IBC conďŹ rmed that terrestrial broadcasters are still favouring HLG as it ďŹ ts more easily in to
OTT providers continue to favour PQ/ST 2084, with its support for Dolby Vision’s dual-
and video/audio status instruments allow SD to 4K analysis as standard. „
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14 TVBEurope
www.tvbeurope.com October 2016
Picture credit: BBC photograph
Feature
Musical film and theatre actress Adele Dixon performs Magica Rays Of Light for one of the first BBC TV broadcasts
No good will come from it
broadcasts, which would continue to run
With its 80th anniversary in November, Philip Stevens looks back to the start of BBC Television and leaves the reader to decide if the headline is appropriate
over the next six years. Initially, though, there was a serious hurdle. Television requires two transmitters – one for sound, one for vision – but there was only one
L
et’s face it; early descriptions of television
six radio manufacturers to stimulate the sales of
transmitter operating at the BBC’s London site.
were not very complimentary. Philo
radio sets. Five years later, it became the British
As a result, these early ‘programmes’ involved
Farnsworth, credited with creating the first
Broadcasting Corporation under the stewardship
two minutes of picture, followed by two minutes
of John Leith.
of sound; a sequence that repeated during each
fully electronic system, is reported to have said to his wife during the couple’s honeymoon in
broadcast. Sorry, nothing new when it comes to
1926, “There’s another woman in my life, and her
audio delays!
name is Television.” Two years later, C P Scott, editor of The
Manchester Guardian newspaper, declared, “Television? The word is half Greek and half Latin.
”The first public high definition television programming began when the BBC launched a service from Alexandra Palace in 1936”
The following year, a second transmitter was commissioned, with both picture and sound capable of broadcasting simultaneously. In the late spring of 1930, the first television play was transmitted. The Man with a Flower in his Mouth
No good will come from it.”
was selected because it required just three
Then, in 1934, Isaac Shoenberg, another of
characters, contained a good number of long
television’s pioneers, uttered the historical words, “Well gentlemen, you have now invented the
It was in 1929 that the BBC first became involved
speeches and demanded very little action.
biggest time waster of all time. Use it well.” The
in the development of television. John Logie
The actors, who wore a bizarre blue and yellow
occasion was the successful demonstration of
Baird convinced the corporation to allow him
make-up to accommodate the deficiencies in
electronic television.
to use the London radio transmitter – which
the 30-line system, slid into a static seat in front of
was unused from late evening to mid-morning
the single camera at the appropriate moment to
years later, the first public high definition television
the following day – to experiment with his
deliver their lines.
programming began when the BBC launched
mechanical scanning system. The key to the
a service from Alexandra Palace in north London
system was a large spinning disc consisting of a
own studio in London’s Covent Garden, but by
on 2 November 1936. But that is getting ahead
spiral of holes around the circumference. Light
the end of 1932, the BBC had built a studio in
of the story.
passed through these holes to reach a light-
the basement of Broadcasting House, and had
sensitive photocell. In this way, the image to be
taken over programme making. This meant that
Pioneering 20s
televised could be scanned and broken into
regular daily transmissions were now practical,
The BBC – the British Broadcasting Company –
the 30 lines of transmission format. By the end of
and these programmes were watched by
was founded in 1922 by a private consortium of
the year, the Scotsman was producing frequent
several thousand enthusiasts who had bought
Despite these unhelpful comments, two
These early broadcasts originated in Baird’s
16 TVBEurope
www.tvbeurope.com October 2016
Feature the forerunner of today’s receivers: Baird Televisors. These programmes continued until 1935, when the system was shut down to prepare for the launch of the first regular ‘high-definition’ service in November 1936.
Electronics emerge While all this was progressing, an electronic system was being secretly developed by Marconi-EMI. Towards the end of 1932, EMI approached the BBC to demonstrate a five-inchsquare CRT receiver capable of receiving 150line mechanically generated transmissions. At that time, however, the system was only capable of telecine operation. A further development allowed EMI to pitch a 120-line all-electronic system to the BBC. However, those early electronic transmission demonstrations were disappointing. Their mechanical transmission system was transmitting at 180 lines and the electronic images, initially, were not as good.
Fortunately, by April 1934, it had significantly better results. EMI built a vision mixer with six channels; two telecine and four Emitron cameras. This allowed the company to locate cameras both in its studio and outside its Hayes
Picture credit: BBC Photograph
“By the end of 1932, the BBC had built a studio at Broadcasting House and taken over programme making”
The transmitter atop Alexandra Palace became a symbol of the BBC TV service
factory, and provide a telecine input for a demonstration to the BBC. Alongside the work of the engineering staff, credit must go to those early electronic camera operators. The cameras had optical viewfinders, meaning that the images were upside down. When a person moved to the left, the image appeared to show action to the right. When a person stood up, the image moved down in the viewfinder. It was quite a challenge. It is also reported that early vision mixers had a two and a half second delay between fading up a camera
Preparing for launch Meanwhile, the government decided that the Baird mechanical system – now upgraded to 240 lines – should be tried against an electronic 405line format developed by EMI. After a six-month trial, a decision would be made as to which would become the permanent format.
Picture credit: BBC Photograph
source to the action actually taking place.
The radio transmitter that enabled Baird to provide test TV signals overnight
18 TVBEurope
www.tvbeurope.com October 2016
Feature While the rivals honed their respective systems,
A change of schedule
for two weeks, with the competing systems
the BBC searched for a suitable site for studios
Although the official opening date had been set
alternating on a daily basis. The Baird mechanical
and a dedicated television transmitter. Although
for November, the BBC came under considerable
system had to make do with one camera
not its first choice, the iconic Alexandra Palace
pressure to produce demonstration transmissions
to record the show. On the other hand, the
was selected. One significant advantage was the
some three months early and beam them
electronic studio would make use of two mobile
fact that it was on top of a 300-foot (90-metre)
to the Radio Show at Olympia. That would
and one fixed camera.
hill. Engineers had decided that to ensure
enable manufacturers displaying their latest
broadcasts could be viewed within a range of
products at the event to convince the public it
two systems. Central to both was a ‘flying spot
25 miles using a 34 thousand watt transmitter, the
should purchase these new television receivers.
scanner’. Here, the scene was scanned with
To be precise, Baird Television employed
aerial had to be 600 feet (180 metres) above sea
a spot of light, while photocells collected the
level. Opting for Ally Pally (as the site became
light reflected back from the subject. However,
affectionately known) meant that a tower of just 300 feet (90 metres) was needed. The 55,000 square feet section of Ally Pally leased by the BBC was not in the best state of
“I found an old tyre, no roof, no doors and I could see the sky” Desmond Campbell, BBC
the scanner was extremely sensitive to red light, so when an announcer appeared in the appropriately named ‘Spotlight Studio’, he or she required a special type of make up, comprised
repair. Desmond Campbell, a lighting engineer
of black lipstick and blue eye-shadow, placed
for the corporation, was reported as saying, “I
on a pale face.
found an old tyre, no roof, no doors and I could
The show was broadcast in the main studio,
see the sky. The smell of cat in the old banqueting
Manufacturers were understandably concerned
where the Intermediate Film Technique was
rooms nearly made me sick and the whole thing
that with nothing to show on the screens, there
employed using a conventional film camera
looked the most dreadful mess.”
would be very few takers for this new piece of
to record the action. The film passed through
living room furniture.
the developer and a cyanide-based fixer, the
To overcome the mess, conversion work began in early 1935. It was truly pioneering work. After all,
As a result, a variety show was hastily compiled.
image scanned with the flying spot under water.
no high-definition TV studio existed in the world
Titled Here’s Looking At You, and produced by
It was soon obvious that the less cumbersome
from which experience could be drawn.
Cecil Madden, it was transmitted twice a day
electronic system was easier to control.
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20 TVBEurope
www.tvbeurope.com October 2016
Feature That initial burst of activity over, preparations
cameras in an outdoor location. Despite the
viewers saw the announcer in the studio moving
could resume for the regular service, which
infancy of the television service, an impressive
models along a representation of the course.
started at 1500 hours on 2 November. The
number of Outside Broadcasts were transmitted
opening ceremony actually took place
in the first two years or so. For example, two
come a long way in those early years, but that
twice; first on the Baird system in Studio B and
cameras were employed to enable viewers to
progress came to halt as Europe prepared for
then in front of Marconi-EMI cameras occupying
watch a part of King George VI’s Coronation
war. On 1 September 1939 at around 12:15
Studio A. Even in 1936, repeats were the
Procession in May 1937.
hours – after a Disney cartoon – the transmitter
order of the day. It is estimated there were around 20,000 homes
Despite showing a very small section of the event, it took eight miles of cable to feed the
Development in television production had
at Alexandra Palace was shut down. The service would not be resumed until June 1946. Of course, there have been monumental leaps
with a television (ten-inch screens were the norm)
camera signals back to base. Other OBs included
within a 35-mile range of Alexandra Palace.
a visit to Wimbledon a month later and the
in technology since that time. Without television,
That was a good number, considering those first
FA Cup Final between Preston North End and
we would never see history being made live.
receivers cost about £100, the same price as a
Huddersfield Town in April 1938.
Moon walks, space stations, human endurance
small family car.
Obviously, resources were limited and when the 1938 Oxford and Cambridge Boat Race
under pressure, famine, conflict, life-saving medical procedures.
Programming
was televised, only the finish could be shown.
So, has good come out of it? Is television the
After the opening ceremony, there was an
Necessity is the mother of invention, however,
biggest time waster ever created? Each has his
interval of five minutes followed by a ten-minute
and throughtout a high proportion of the race,
or her own opinion.
edition of British Movietone News.
Picture credit: Reproduction of image by permission of telent Technology Services
At 15:30, a 30-minute variety show featuring musical comedy star Adele Dixon, comedians, Buck and Bubbles, jugglers, The Lai Founs and the BBC Television Orchestra was aired. This programme was directed and produced by Dallas Bower who, like many of the BBC’s early recruits to the new service, had come from a career in films. Bower is credited in some sources as the originator of drawing up studio floor plans for live broadcasters to enable camera moves to be plotted in advance. At 16:00 hours, transmissions closed down until 21:00, when a further hour of programming commenced, including a film about the launch of the TV service, Picture Page, and a rerun of the British Movietone News. The following day saw another two hours of programming split into two segments. The programmes included a display by champion Alsatians from the Metropolitan and Essex Canine Society’s Show, and The Golden Hind, in which a bus driver describes how he built a model of Drake’s famous ship. Interestingly, in those early days, television actors were paid less than those on radio. The reasoning was along the lines that radio had a bigger audience and that television only showed the actors in miniature.
Baird abandoned It soon became clear that the electronic system was far superior and the decision was taken after just three months to drop the Baird mechanical format. Its last transmission was at the end of January 1937. One distinct advantage of the electronic system was the ability to use its more mobile
The latest in OB technology – 1930s style
TVBEurope
October 2016 www.tvbeurope.com
Feature
The AR-t of the possible TVBEurope speaks to Jamie Hindhaugh, chief operating officer at BT Sport, about the use of augmented reality at the broadcaster’s studio T Sport is headquartered in what was the
B
International Broadcasting Centre for the 2012 London Olympics and Paralympics.
The centre includes a large L-shaped studio, designed to present multiple sports events simultaneously. The main stage of the studio includes a giant 4K projection screen on one wall, multiple smaller screens and a large glass floor with LED under-lighting which can simulate the playing area of whichever sport is being present. Augmented reality (AR), using a tailored version of Ncam camera tracking technology, is a central part of the channel’s output. As well as HD services, BT Sport launched a 4K service for major events in 2015. TVBEurope: What is your background? How did you get to where you are today? I worked at the BBC for 18 years. My last role was as head of production for London 2012, for the Olympics and the Paralympics. During that time, I was approached by BT to help set up BT Sport. They had acquired some rights to Premier League Football, and needed to move quickly. How did BT Sport come about? In the summer of 2012, BT acquired the live rights for 38 games of Premier League football, to start the following August. The aim for BT was to develop a portfolio of products to drive
Jamie Hindhaugh, BT Sport
21
22 TVBEurope
www.tvbeurope.com October 2016
Feature better engagement with its audience. By launching a big sports proposition and tying it into broadband, it offered a new proposition for audiences, not least because the television was offered free along with the broadband. The remit I was given was to develop high quality content with new ways of engaging audiences, and bringing sports back to the masses as an affordable proposition, to widen the reach of sport in the UK. What is the BT Sport attitude to using advanced technologies? When you are launching into what is an established market with very credible competition, and you are looking at sports audiences and their hunger for new ways of
Augmented reality in the BT Sport studio
looking at sports content, innovation must be at How did you get involved with Ncam?
are doing around 360-degree AR, colour depth
We are at the cutting edge, from being the
We first met Ncam at IBC, and we talked to them
and shadow, means it looks even more real. The
largest LED-lit studio in the world to the first 4K live
in the same way that we talked to other camera
3D stuff that Ncam does is very exciting.
sports channel. Our credibility comes not from us
tracking people. We scared most of them off
It’s how our talent can interact with the AR in
being new, but by being sure we have a superior
because we have a 14,500sqft studio and we
a much closer way. I want to see players coming
product. We have to reflect what our audiences
wanted to be able to use AR in any part of it, as
out of the 4K screen on the wall to scale, to
expect and want.
opposed to the common fixed space. Constraints
stand next to our pundits. We are looking for an
like that were going to be a non-starter for us.
even more immersive feeling. This is not about
How do you use AR today?
We wanted something that was freely moveable.
gimmicks, it is to make the analysis even clearer.
When we got the exclusive rights to the
The way Ncam engaged with us as a customer
Champions League, we absolutely wanted to do
reassured me that they understood the
us. They may be developing new things for the
it justice. We wanted our studio presentation to
requirements, particularly the editorial demands.
feature film market, but they are never shy of
the heart of what you do.
What I like is that Ncam is bringing ideas to
asking if they can try something that they think
take the next step up. We wanted to see what we could do around editorial, and what we
Have their been any system enhancements?
might work for us. That is the way we are going to
could do with the look and feel of our analysis
The glass floor meant that Ncam had to rethink
stay ahead of the game.
and presentation.
their system for our studio – they had to turn it completely upside down, as we use the lighting
What advice would you give to someone
but more importantly, it’s delivering what our
grid for the reference points. Ncam quickly came
looking to start a career in live production?
audiences want and expect. AR is a really
up with the solution and they made it work: their
You’ve got to be able to work hard, and you’ve
interesting part of that.
agility in doing that was phenomenal.
got to be able to make decisions quickly, and
It’s about leading the way and innovating,
The art of the possible in AR is enormous, but
The heart of what they did was listen to us and
you’ve got to want to do the best you can. If
just because you can do something doesn’t
what we wanted to achieve. They shaped that
you can do those, and you’ve got some self-
mean you should. There should always be an
around the art of the possible. They adapted their
confidence, then you’ll be fine, but it’s hard work.
editorial driver. My view was to have AR, but not
technology to work within our environment, and
It’s not about chasing the glory. Production is
for audiences to realise it. I didn’t want things
they supported us all the way through, and still
about teamwork and you have got to reflect
swooshing in and out, I didn’t want screens
do. A lot of our success is due to the way we
that. You’ve got to work as part of a team;
appearing for the sake of it. I simply wanted to
work together, having very open conversations
you’ve got to allow other people to have extra
enhance the editorial. That’s a big challenge
about what is possible to push the boundaries
things you don’t have.
as people can get carried away with things
in live coverage.
like AR. Audiences should be able to watch our
One of the key aspects is the way we use AR in
Who or what is your inspiration?
programming without AR; the quality needs to be
a physical environment, with our LED-lit glass floor
David Bowie. You look at him over his career and
enhanced by it.
alongside 4K imagery to get our analysis across.
not only was he always creative, but he always
UEFA said that this is the best Champions League
reinvented himself to continually challenge and
coverage in the world.
engage audiences. That is pretty much what we
What were the challenges in implementing it?
do in television.
Our glass floor was a big challenge, due to the fact that we had no points of reference for the
What is next for AR? What technologies would
cameras to track. The real challenge, however,
you like to see come from developers?
What are your hobbies outside work?
was making AR a fundamental part of our
That is a really interesting question. For me, it’s
Primarily my family. But I do run. Music is a huge
editorial output.
building on what we do. Some of the things they
passion, not least Bowie!
TVBEurope
October 2016 www.tvbeurope.com
Production
Being second is proving a winner deal since then, with ‘second screens’ becoming
Philip Stevens investigates the increasing use of streaming to second screens
a ‘first screen’ under certain circumstances. This is especially true when it comes to integrating programming with social media outlets such as Facebook and Twitter. “We’ve seen streaming go from strength to strength in the last few years,” states Jake Ward,
W
hether it is described as social
business development director at Groovy Gecko.
television, interactive TV, or enhanced
“By 2020, about 80 per cent of all traffic on
viewing, there is no doubt that
the internet will be video streaming, so this is a
second screens are rapidly becoming part of the broadcast scene. What’s more, it is now
wonderful time to be alive and in this industry.” In April, Groovy Gecko began a partnership
a medium that broadcasters and production
with Facebook to integrate with its live video
companies are taking very seriously.
application programming interface (API). This
Of course, the initial concept was simple. While
offers content providers the ability to stream
viewing programmes on one device, normally
videos live into a Facebook player. Integrated
a traditional television set, extra contextual
with the API, Groovy Gecko delivers a console
information and material was displayed on a
which content providers can use to set up each
companion device, such as a smartphone or
video to be streamed into the platform. Ward
tablet. However, things have moved on a great
continues, “I think one of the biggest things for
NEW
Simon Farrant, Opta
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23
www.tvbeurope.com October 2016
24 TVBEurope
Production action or incident. This creates the opportunity for all kinds of interactive experiences, from
Opta’s performance data is collected live and delivered to a variety of applications within seconds of an action or incident
tactical analysis apps and websites to social networks and fan communities.” He states that editorialised sports data is very important for social media. “We’ve seen that with our own Twitter feed. We editorialise detailed data in a way that is engaging for the majority of football fans, while still ensuring the accuracy and legitimacy of the information. That method of making complex data more accessible has influenced broadcasters to use similar concepts for their showcase football programmes. We’re able to provide production teams with real time updates or milestones that will be interesting to fans, but in a way that allows them to decide for what platform it would be best suited.” There is a danger that too much data can swamp presenters and pundits, so mining
me that has changed over the last three years is
“The Food Revolution is a worldwide initiative
this idea of social streaming directly to Facebook
being spearheaded by Jamie Oliver,” says Ward.
and Twitter. We started working with Facebook
“With 41 million children under the age of five
about two and a half years ago and, almost
overweight or obese, it aims to provoke debate
since day one, the viewing numbers and the
and inspire real, meaningful, positive change
amount of content that people are watching is
in the way children access, consume, and
much higher than ordinary webcasts.”
understand food. Our broadcasts from around
“Broadcast media is developing so quickly that it will be a very wise person that can predict the way forward at this moment” Jake Ward, Groovy Gecko
the globe included cooking demonstrations
Referendum responses
from chefs in different locations showing healthy
He reveals that in the three months to July this
nutritious food. It shows how social media is
the facts has become an essential on-screen
year, the company has delivered more than
an extremely powerful tool for reaching large
broadcaster’s skill. That’s where technology
100 live streams to Facebook Live. One of the
global audiences.”
plays an important role. In reality, it is a mix of the broadcasting company’s output and raw
recent high-profile projects involved the UK’s referendum vote in June. “We worked with ITV
Data sheet
News on offering value beyond what was going
Beyond politics and general programming, sport
So, what of the future? Ward believes that, in
out on traditional television. Our team was at ITN
is a key player in the second screen experience.
time, social media providers will need to consider
headquarters, where a Facebook and Twitter
Comment and minute analysis about a
whether or not they become broadcasters in
section was set up as a separate production unit
player’s or team’s performance have become
their own right. “That’s going to be interesting.
in the basement. Here, we had guests in a video
commonplace in today’s sports programmes.
There is the advertising model to consider. At
booth whose output was supplementing the TV
As fans become more tactically savvy, shallow
present, there is no advertising on Facebook
programme going out on the main channels.”
observations by pundits are quickly dismissed,
Live, and if it is carrying a transmission from a
even ridiculed, on social media.
traditional broadcaster, then the commercials
As guests came in to the booth, their contributions were made live on the ITV News
That situation has led to the need for in-depth
information that data providers can contribute.
are cut out. That advertising situation will
Facebook page. Those guests included Alastair
data relating to both individual and collective
change, you simply cannot ignore that there is
Campbell, Neil Kinnock, Joan Bakewell and
performances in a wide variety of televised
a potential for a niche audience of two to three
Tony Jones. Questions came in via the ITV News
sporting events. UK-based Opta is one of the
billion. It could be, for example, that a news story
Facebook page and were moderated in the
foremost providers in supplying that data for
carried on a main bulletin could be expanded
video booth. “Even at 3.15am, when Campbell
first and second screen applications. “We have
through a second screen once the programme
appeared on the stream, there were 20,000
relationships with all the major broadcasters,
has finished. Or the stream could be grabbed
viewers to second screen,” states Ward.
both in the UK and throughout the world,” states
during the live programme and extended there
marketing manager Simon Farrant. “They want
and then on the second screen for those who
Varied production
the maximum amount of data in order to provide
need more details. It’s really exciting.”
Beyond the political arena, Groovy Grecko has
the best services to their viewers. As Opta’s
streamed Jamie Oliver’s Food Revolution live into
performance data is collected live, it is delivered
so quickly that it will be a very wise person that
the chef’s Facebook page.
to a variety of applications within seconds of an
can predict the way forward at this moment.”
He concludes, “Broadcast media is developing
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26
TVBEurope
www.tvbeurope.com October 2016
Production
Small is still
Picture ©: Visit Faroe Islands
beautiful Philip Stevens completes his mini-series on geographically challenged channels by looking at two broadcasters àdio i Televisió d’Andorra, (Radio and
Broadcasting 24 hours a day via the web and
When it comes to coverage of sporting and
Television of Andorra – RTVA), is the public
cable, ATV has an audience outside of the
other events, ATV operates its own outside
service television and radio broadcaster
country for Catalan speakers.
broadcast unit.
R
in the European Principality of Andorra. Both the
“Because of our size, we share a great many
“We can connect six cameras, which is
television channel, ATV, and the radio station,
resources with our radio station, especially when
generally sufficient for the work we are called
RNA, broadcast in Catalan.
it comes to journalists. That makes sense when it
upon to cover,” states David Ramos, head of the
comes to the economies of size,” states Mujal
operations department.
“Although radio broadcasting began in 1989,
Alongside the traditional television service,
the television channel didn’t start transmissions until 1996,” explains Xavier Mujal, ATV’s general manager. “In the early days, all programming on both RNA and ATV was produced by independent companies. In 1997 Organisme de Ràdio i Televisió d’Andorra (ORTA) began producing all of its own programming. ORTA was
“Working in an area as small as ours is a challenge, based on the critical mass and the small audience” Xavier Mujal, ATV
the station offers an online channel. “Our aim is to publish on-demand programmes of own production that mirror the country today and its evolution,” says Mujal. “The different channels, together with programmes, allow us to provide ATV on-demand, and make specific content
replaced by the current organisation, Ràdio i
easily accessible to everyone. RTVA does this
Televisió d’Andorra, in 2000.”
in collaboration with various organisations within Andorra, with the goal of disseminating
Andorra’s population, approximately 85,000, is located in an area of 181 square miles, and is
Equipment
audio-visual content and projects produced
positioned in the Eastern Pyrenees mountains.
ATV operates two television studios equipped
throughout the country.”
Due to its Spanish and French borders, ATV has
with a mixture of cameras. However, all are
to compete for viewers from channels operating
operated by robotic control from the production
Focusing on the Faroes
in both countries.
gallery, and the galleries are fitted with Snell &
Situated in the heart of the Gulf Stream in the
Wilcox and Tricaster vision mixers.
North Atlantic, the Faroe Islands lie northwest
“Working in an area as small as ours is a challenge, based on the critical mass and the
“Those switchers suit our purpose very well
of Scotland and halfway between Iceland and
small audience. We meet it by ensuring that
as our directors carry out their own vision
Norway. The archipelago is composed of 18
local information is of interest to the public. The
mixing. On the audio side, we have Soundcraft
islands covering 545 square miles. The population
remote control does not understand localism! All
and Yamaha consoles. For graphics we use
is just over 48,000.
neighbouring stations are our competitors. There
Photoshop, 3D Studio and Inscriber,” states head
is a competing offer via DTT, and again through
of the technical department Joan Ruiz.
the fibre optic telecommunications company
He explains that ATV is completely tapeless,
“Our TV service started back in 1984,” explains Dia Midjord, CEO of Kringvarp Føroya (The Faroese Broadcasting Corporation), the body
that distributes throughout the country and
with all programme departments using Sony
responsible for both radio and television across
charges for its services,” says Mujal.
Vegas as the preferred editing system.
the islands. “Before that time and during the
TVBEurope
October 2016 www.tvbeurope.com
27
Production build up to the start of our own programming, Faroese people had radio news and a bit of Danish TV news.”
KVF operates from these studio facilities in the capital of the Faroe Islands, Tórshavn
Initially, the station was known as the Faroese Television co-operation. However, in 1984, the name was changed to SVF, Sjónvarp Føroya, while the existing radio station was called ÚF, Útvarp Føroya. Later, these two operations were joined and now function as one station called KVF. The operations are the only public service
Providing local news is a vital ingredient in the ATV mix
stations in the Faroese, financed mostly by a broadcast licence. Today, seven transmitter sites carry the television programmes via DTT.
hours are Dagur og Vika (Day and Week), kids
On the audio side there are Studer 3000, Yamaha
TV, and some cultural and sports broadcasting.
and Soundcraft consoles. We are completely
Competition and cooperation
KVF has a long history of interaction with various
tapeless, and use Premiere Pro and Wavelab
“There is cooperation between the TV and
Danish TV stations, an arrangement which is
for editing. These are used for both news and
radio operations,” states Midjord. “Sometimes
ongoing. In recent years, the station has gained
general programming needs.”
programmes are aired on both radio and
access to documentaries from other Nordic TV
TV, mostly concerts. We face competition for
stations in an agreement that allows channels in
installed a semi-automated newsroom system
satellite channels that are readily accessible
the area to share material.
from the same manufacturer. Six ENG crews are
on all the islands. In fact, viewers can see up
“We operate two television and two radio
KVF uses Vizrt for graphics applications and has
employed throughout the islands, with three
to 100 different channels or more. This is a very
studios in the capital of the islands, Tórshavn,”
big challenge for our station, because we only
reports Midjord. “We have opted for Sony
being dedicated to the news operation.
broadcast two hours each day during the week.”
cameras, and use Tricaster 8000 and FOR-A
small station, we work hard to ensure we provide
The main programmes during these broadcasting
Hanabi HVS-390HS vision mixers in the galleries.
the best possible service to these islands.”
Midjord concludes, “Although we are a very
28 TVBEurope
www.tvbeurope.com October 2016
Feature
NBC alone delivered almost three billion minutes of live streaming in Rio
Rio 2016
The opening ceremony for OTT? As Rio 2016 drew to a close, TVBEurope spoke to industry specialists LiveU and Akamai to investigate how the OTT revolution is impacting the biggest stage of them all Olympic games ever. It has been reported that NBC alone delivered almost three billion minutes of live streaming during the 2016 Rio Olympics. While NBC featured select games from Rio for prime time viewing, they gave audiences the ability to go online and watch the full extent of sports and competitions round the clock. This gave viewers the freedom to watch what they wanted, how they wanted. But they weren’t the only ones streaming, or vying for attention, with unique live content and news surrounding the 31st Summer
By Avi Cohen, LiveU COO and co-founder
Olympics in Brazil.
The technology behind the shift In the past, when planning major live events
L
ive video has become one of the most
such as the Olympics, broadcasters
effective ways to stand out and connect
would have to jump through hoops and
with an audience, and Rio 2016 exemplifies
spend significant dollars on technology
this change more than any recent event. There is
and resources needed to go live. When
no question that this was the most live-streamed
we look back at the Olympics eight and
STREAMING THE GAMES LiveU’s Olympic Coverage, then and now
TVBEurope
October 2016 www.tvbeurope.com
29
Feature even four years ago, the to-do list and budget
Our first key Olympics deployment was at the
dedicated private fibre lines, broadcasters
process was quite extensive. The only way to
2008 Beijing Olympics. At that time, video-over-IP
leased bandwidth that could be used for live
transmit – if they were not using IP – would be to
was still in the early days, and many broadcasters
shots, as well as other uses such as email and
lease dedicated bandwidth from the site (Sochi,
were hesitant in committing to the technology,
file-based workflows. Broadcasters could stream
London, etc) directly to their production facility
concerned that it wasn’t reliable enough, and
direct live shots over the public Internet, rather
in their own country. This would entail either
preferring to stick by their satellite connection. For
than needing private bandwidth. Alternatively,
leasing private fibre lines for a private, physical
example, the first bonded field unit ever used at
they were able to use their field units to transmit
link from the remote location all the way home
the Olympics was the LiveU LU20.
wirelessly from cell networks in-country back to
or planning SAT times.
the US or other locations around the world. At
All of these resources were needed to capture most shots from the games, and they definitely didn’t allow for a lot of creativity; companies had to plan where their broadcast or report was set up in order to have this physical
“Live streaming will play an integral role at the upcoming PyeongChang 2018 Winter Games”
link. This meant that being able to run after
this years Games, LiveU had 75 international broadcast customers in Brazil who streamed almost 6,000 hours of live video in total.
Where do we go from here? The forecast for live streaming at the next
a story – or get more creative shots from the
Olympic Games looks promising. It’s evident
surrounding areas – proved both too difficult
At the time, it was considered groundbreaking
from the increase in the amount of live content
and too costly to perform.
technology. It supported six cellular modems,
shared and the large viewership numbers that
but the average uplink speed was only 1mbps
live streaming will play an integral role at the
due to the cellular infrastructure at the time.
upcoming PyeongChang 2018 Winter Games.
The move to video-over-IP and bonding technology over the past eight years has
By London 2012, the move to IP bonding
New and upcoming products will allow for
send extra video teams and reporters to cover
was well underway, with network connection
wireless H.265 HEVC live video transmission, and
more and more events at the Olympics, as
speeds allowing for HD live video transmission
new VR live-streaming technologies will bring
opposed to being confined to a static location
at 3mbps. LiveU field units were able to provide
viewers even more engaging content wherever
with an expensive satellite truck or fibre line.
more flexibility and options. Instead of leasing
and however they choose to watch.
created the opportunity for broadcasters to
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30 TVBEurope
www.tvbeurope.com October 2016
Feature connectivity, the proliferation of mobile and
options to catch that amazing moment wherever
connected TV devices, social coverage and
we are, it’s no surprise that we stray from the living
immersive experiences. In parallel with the
room, confident that we won’t miss a thing.
attention to online viewing, industry observers
chosen device, so we have to continue invest
the games on linear TV had dropped significantly
to ensure that HD – and soon 4K – streams can
in comparison with previous years, typically by a
be confidently delivered at scale as even more
ten to 20 per cent average.
millions of viewers tune in online.
In reality, what we experienced is a new viewing
By Michael Fay, vice president of product and operations, media, Akamai Technologies
T
“What we’re witnessing is that even the Olympics is not immune to the underlying behavioural changes taking place”
he records set by sprinters, swimmers, rowers
model that’s taking hold. For Rio, it was immersive,
and all the other outstanding athletes in
high-quality digital experiences, all the time.
Rio were not the only ones broken during
That’s particularly true in high-viewing regions,
the games. Digital viewing also made its mark
like the US, where just a week into the action,
by racing ahead of most expectations. Akamai
viewers had streamed over two billion minutes of
supported the streaming activities of over 50
video. That doesn’t make a statement about the
different broadcasters and partners that had
linear TV experience, but it does suggest how the
rights to the games, giving us unique insight into
games and other events may be viewed going
the event’s viewership. We also scored some
forward.
personal bests ourselves. In just the first three days
We have seen the explosion of connected TV
of Rio, we delivered more video traffic across the
and mobile devices along with the high quality
Akamai Intelligent Platform than for all 17 days
of video available online. As a result, linear TV
of the London Games in 2012. By the closing
viewing for all types of content has shifted to on-
ceremony, the Rio Games had become the
demand consumption. This is especially true for
largest live sporting event we have ever helped
millennials and younger viewers.
to deliver, surpassing even the 2014 World Cup. As anticipated, these games attracted a vast
Sports fans won’t settle for lower quality on their
pointed out that the number of people watching
While the summer games are still the greatest quadrennial sports spectacle, what we’re
audience consuming digital streams on a wide
witnessing is that even they are not immune
variety of devices. The big enablers included
to the underlying behavioural changes taking
the many streaming options, robust broadband
place. When so many of us have a multitude of
Over 10,000 athletes competed at Rio 2016
AN ELEMENT OF STREAMING While audiences followed Olympians’ performances this summer on screen, TVBEurope kept a close eye on the technical triumphs happening behind the scenes. We couldn’t have gotten much closer than Rio itself, with the honour of embarking on a two-day trip to Brazil to discover how Elemental was powering the 2016 Games. Brazil’s biggest multi-channel broadcaster and content provider, Globosat, had selected Elemental video processing to stream live coverage of the Olympics – as well as VoD content – to an estimated 50 million subscribers. To achieve this, explained Roberto Primo, CTO, Globosat, at the broadcaster’s facility in central Rio, a “lab of connectivity” was created. He explained, “We receive a number of sources of content from the OBS, which stays in the international broadcasting centre (IBC), and is delivered to two POPs in Rio. One is our sister company Globo. com, which is responsible for delivering our IP content to our subscribers, and the other is our studio in front of the Olympic park.” Transmission from the IBC to the Globosat facility was via IP. The workflow employs both HD-SDI and SMPTE 2022-6, a standard for transporting high bitrate media signals over IP networks, to deliver 1.6gbps streams for each channel over standard fibre. Globosat added eight HD channels to its output and an additional 40 services. Elemental Live software encoded the content for live OTT delivery, including content broadcast in 4K. Elemental Live also recorded and trimmed catch-up content for distribution over VoD platforms such as Net Brazil, with video network management system Elemental Conductor also used in the workflow. With the additions, a total of 16 HD channels made up Globosat’s output. A further 60 different channels were available via the “beautiful” SporTV Rio 2016 app, said Sam Blackman CEO and co-founder, which connected viewers to content “on a massive scale”. Blackman also claimed – perhaps controversially in a room of multinational journalists! – that the app is “significantly better than what you get in many other countries”. Elemental, according to Blackman, has a “long history in innovation in the sports arena” and powering Rio this year was “yet another success” to add to an archive Blackman touched on during the event: winning the BBC contract to stream London 2012; live 4K UHD HEVC transmission of the Osaka marathon in Japan; the use of Elemental Cloud for the 2014 football World Cup; and powering all of BT Sport’s streaming of 4K UHD content via the channel, to name but a few. Elemental’s core purpose, explained Blackman, has been “to perfect the media experience and migrate from the traditional linear world to the multiscreen world”. In partnering with Globosat this summer, the company has more than served this purpose; in helping to widen accessibility of the Games with a proliferation of channels made available “anytime, anywhere”, and in “unifying summer’s biggest sports events on multiple axes.”
i eb
W rs na
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32 TVBEurope
www.tvbeurope.com October 2016
Business
IP, VR and sexy workflows George Jarrett talks to Sony’s Adam Fry about the transition to IP, and the ‘huge surge of noise’ triggered by the fascination with VR dam Fry, vice president of Sony
A
Professional Europe, is one of the coolest Joe Cools around. With live sports now
providing 90 per cent of top rated shows, his previous executive connections with Pulselive and Hawk-Eye Innovations, along with his instinct for creating fan engagement initiatives, make him the ideal strategist for the transition to a market dominated by opex and services on the one hand, and IP, VR, 4K and cyber security technologies on the other. Fry served as managing director of Pulselive
when Sony acquired it in 2011, working closely with major sporting organisations such as World Rugby, The Premier League, Expedia, ESPN and SAP. Punting a ball into the wider market, has Sony re-defined itself already, or is it about to? “We have had a direction of travel for a number of years. We recognise that the media business is transforming faster than it ever has,” says Fry. “IP is becoming more of a reality, which gives us an impetus to move. On the back of that there will be both fresher hardware coming into the market, in addition to many more softwareenabled solutions. “We have built a strategy to move ourselves into being a services and solutions business, as well as a hardware business. It will be a long
integration to rental and transmission. This is
opportunity to look at our portfolio and bring new
time before cameras move into the software
surely the growth area.
service options to the market.”
domain,” he added. “They are processors. There
“That’s right. The reality behind this is the
are different workflows coming into play, both on
number of dynamic changes caused by the
models, or different combinations of hardware
These could simply be different finance
the solutions side and in services too.”
big entrant competition that’s come into the
and software. It could also imply a switch to
broadcast content business,” says Fry. “With
cloud-based services whilst maintaining the
Opex is the new obsession
things moving a lot quicker, people do not want
people with the right skills, as opex become
The IABM currently values the market at $49
to make very large capital investments. They
the new obsession.
billion, and while acquisition accounts for nine
want to buy services on an OPEX model, which
per cent, some 55 per cent is identified under
allows them to move and adapt as fast as the
cinematic prowess alongside its broadcast kit, but
the services banner, everything from systems
market does. That gives companies like Sony the
this time (at IBC) the focus was purely broadcast.
Sony has had a long period of matching its
TVBEurope
October 2016 www.tvbeurope.com
33
Business “That’s a fair reflection. Clearly there is a lot
built into your solution architecture. The bespoke
sports federations. “All this is increasing fan
of cinematography still out there, and the F65
IT solutions we are building are always resilient. If
engagement. More content viewers leads to
and F55 are doing very well in that market, but
you get an attack or a crash, they close half the
more subscriptions, driving more money back
the broadcast market is now very focused on
system down and open it up on the second half,”
into the industry, and creating a virtuous circle,”
IP and live, and it is moving very quickly in new
he adds. “This way you can sustain your daily
says Fry. “That’s when you get something like
directions,” says Fry. “The show reflected that,
processes. Disaster recovery is what pretty much
the HDC-4000, which brings super slo-mo to
and our stand certainly reflected where the
every customer is asking us for right now, whether
more and more sports. With the four hours of HFR
focus of the industry is now.”
it is a physical disaster or a cyber attack.”
recording you could leave the camera to record a full football or rugby game.”
“There are many other apps where VR could have an impact on our lives”
Increasing fan engagement
The strength of interest in VR already suggests
Looking at Sony thoroughly requires a segment-
it will not peak and fade like 3D TV did, and
by-segment approach, so live sports and the 4K
many people at IBC had it in their top three
buzz make for a good start.
technologies to follow.
“The consumption of live sports and events
“That is a really interesting subject. Having
is really driving the market. We are bringing out
been there with 3D and all the other trends,
“We built a data centre because that is what
the technology for creating the best content
we are now in dialogue with multiple content
users are talking about: putting apps in a data
production around live sport, but on top of
producers and the biggest broadcasters,”
centre environment.”
that we have the Hawk-Eye division,” says Fry.
says Fry. “They have their own thoughts about
“Hawk-Eye is officiating in many live sports,
the potential for VR in the broadcast media
cyber security. “The banking industry moved
which is game-changing in its own right because
markets, but there isn’t an answer yet. Lots
online quite a few years ago, and there are
it changes the dynamics of many games,
of people are experimenting with VR and
still breaches there, so this industry has some
including tennis and cricket.”
360-degree productions right now, and we
Fry also heard a lot of discussion too about
catching up to do,” he says. “You need to be able to count on resilience and back-up being
Pulselive is something unique to Sony, a company that offers digital management to
Viewers are Listening™ .
have the Playstation 4 console which has its own VR headset.”
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34 TVBEurope
www.tvbeurope.com October 2016
Business In fact, Sony has shown the big broadcasters a set of developments for VR that it has not spoken publicly about yet. The issues concern what the content will be and who is going to consume it, whilst considering how will it be delivered, rather than just single headsets. Perhaps young talent will make the first VR blockbusters, with no connection to the broadcasters. “There is a huge surge of noise around VR, specifically what people expect of it. There may be an ‘out of left field’ approach and that will bring people to thinking about delivery, what apps and content are going to be the most engaging,” says Fry. “People have thirsty appetites around VR, and I just look at media and gaming and the spread of entertainment experiences. VR can go beyond that into areas like active learning. There are many other apps
Hawk-Eye in action
where VR could have an impact on our lives.” “People are changing specific workflows in a
Sony has got a great deal of value from the
VR as a tool of torture
market that is moving very quickly,” says Fry.
IP centre it opened at Pinewood Studios, in
On a trip to the Sony headquarters in Japan, Fry
“The creatives and the technologists should be
terms of identifying what skills and technologies
had a VR content experience that was at first
working hand-in-hand and really understanding
have to prevail.
invigorating, but quickly became threatening
what it is they are generating, what they are
and quite frightening, so do not rule out VR
trying to create.”
becoming a tool of torture. What about the nonbroadcast markets: corporate, houses of worship, and training? “That is a very significant portfolio in Sony. We
“We like to think we are at the forefront of educating and being involved in the technology discussion. We already see a lot
“There are many other apps where VR could have an impact on our lives.”
of PLC organisations where people are testing the IP technology in small environments,” says Fry. “Most have got big projects where it is
are very lucky that we go from everything for
already earmarked for delivery. It is not a case
the consumer all the way up to the very highest
of if, it is only a case of when. Quite a number
levels of the professional spectrum. Almost
of broadcasters are already looking at new IP-
everyone is a content maker now and as we
It is only a case of when
go forward, looking at our other technologies,
Sony has its solution architects and tech teams,
“There is an interesting dynamic around
everyone can become their own broadcaster,”
and these have spent a lot of hours looking at
remote production and low-cost production,
says Fry. “For me that is a very significant part of
what the user is really looking to achieve either
which can move the market quicker. There will
the market, and we will have to keep pushing
creatively or operationally. Fry does not believe
certainly be more content production on the
the boundaries of content production, and keep
we have a talent shortage.
back of it,” added Fry. “We expect to see a
pushing the boundaries of camera technology.”
“We get it. We get exactly the sound you are
based infrastructures.
lot more live sport and events, and a lot more
In a market where nearly 40 per cent of
looking to create. We understand the video
content coming from the mid-tier production
vendors are not in profit, and the stress of the
image you have in your mind, and we can
people, who will see a great opportunity.”
transition has hit industry performance, what USP
deliver that. That’s a very real thing,” he says.
does Sony carry forward?
Everyone identifies a key thing for moving IP
“I see a lot of young people who are very
on from phase one. “Network access is one of
“We are very strong in the media industry,
open-minded, who pick up both the technical
the hurdles to get over,” says Fry. “There are a
and we have a very strong backbone around
side and the creative side very quickly. You only
couple of ways it can become better and one is
our camera technologies, which will continually
have to look at Pulselive, where the average
obviously 5G. You may be able to get a decent
evolve. There are more things to come around
age of staff is 24 and the MD is 28. They work with
amount of bandwidth or reserve an element
the development of that technology, but the
the Premier Leagues of this world. They deliver a
of bandwidth. In Locarno we showed that a
future is more around the different workflows that
great result because they are open minded, and
full production in the cloud is absolutely viable.
emanate around the different types of content
working with the content owner and the image
There may be some changes you would make
production,” says Fry.
they want to create.”
around your production techniques, but low-cost
Using value ads, Sony expects to lead its
Fry believes a lot of young talent has already
production is possible in the cloud today.”
customer base through managing assets better
shown itself to be adaptable. He says, “We have
in the context of re-purposing and monetising.
got the two worlds of IT and media, which are
include real-time voting on Match of The Day.
Off sped the man whose sports initiatives
With workflows suddenly becoming a sexy
somewhat traditional in many ways. The hybrid of
“The market will move because it will say by using
subject, people will want them controllable day-
that or the merger needs a lot of creative talent
IP, we can do a lot more production than we
on-day, depending on job and app.
both technically and design wise. It is out there.”
would have been able to afford to do before.”
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36 TVBEurope
Post Production
Team players
A number of product releases at IBC, as well as recent projects, indicate that remote, collective working is the future for broadcast post, writes Michael Burns
he direction of travel in the world of politics
and collaboration. Blackmagic gives editors
or communicate via a real-time chat server
may be heading towards disunity, but
and colourists the ability to work together on
with fellow creatives. However, significant
the focus is most definitely on greater
Da Vinci Resolve, while Fusion Studio includes
advancements in virtualisation, media asset
Generation multi-user management software
management and cloud-based technology,
and a bin server to let all users share and
as well as demands from live production
and Avid offer their Anywhere and Interplay
see common assets that are needed for
– particularly sports – are both enabling
Central workflows respectively for large facilities
collaborative VFX jobs.
and driving a much greater emphasis on
T
collaboration in the world of post production. Collaborative editing isn’t that new. Adobe
and enterprise customers, and Forbidden’s Forscene is built for cloud-based remote editing
Some ‘collaboration’ is nothing more than the ability to swap files in interchange formats
sophistication in collaborative workflows in post production.
Save the Date IBC2017 Conference 14 – 18 September 2017 Exhibition 15 – 19 September 2017 RAI, Amsterdam
Where the entertainment, media and technology industry does business
IBC.org
www.tvbeurope.com October 2016
38 TVBEurope
Post Production The key thing is real-time sharing of media and project files, but even that’s not a totally new concept. Built on a legacy of collaborative production workflows, the current version of Lightworks (v12.6) from EditShare offers the ability to share media, bins and edits in real time, with full permissions control over which user has read and write access. It’s the only such system that currently supports Mac, Windows and Linux, and it works on any network storage. At IBC2016, this direction continued with the release of Flow Story from EditShare. With an editing engine derived from Lightworks, Flow Story connects to EditShare Flow databases and servers to allow real-time collaboration with other users of Flow systems, such as Flow Browse and Air-Flow. Users can work remotely via an internet connection, and so connect from
Matt Sanford, EditShare
anywhere to on-premise media servers. Projects, clips, sequences, markers and metadata can be updated and synchronised in real time, or when reconnecting to the internet after working offline in standalone mode. Matt Sandford, Flow Story product manager, EditShare, says, “Flow Story delivers all of the features and functions you’d expect in your professional editing application, combined with the ability to connect to your on-premise storage
system in a box for small facilities and
offer third-party solutions like axle Starter, giving
and access media assets when needed.”
workgroups. At base level (currently priced
customers a cost-effective, easy-to-use media
at €10,500, or £7,900) it consists of a 20TB Avid
management tool at no extra cost.”
AAF support for interchange files in Flow Story offers roundtrip workflows with other NLEs
Nexis Pro 24-client server for shared storage,
Teamwork was also central to Adobe’s IBC
and DAWs, added Sandford. “Thanks to the
three perpetual Media Composer licences,
presence. While still touting its enterprise-level
advanced roundtrip support, Flow Story fosters
and two axle Starter licences to manage all
Adobe Anywhere real-time collaboration system,
a much faster and more collaborative edit,
shared assets via a browser-based interface.
the company was previewing an upcoming
review and approval process, with full Flow
More comprehensive Team Bundles also include
iteration of its Creative Cloud video tools, and
MAM integration.”
audio and video hardware interfaces, and
the focus was on the soon to be released Team
Pro Tools software.
Projects. Bill Roberts, Adobe’s senior director
Available as a module of EditShare’s Flow
of professional video product management,
media asset management solution, Flow Story isn’t quite what you’d call an ‘off-theshelf’ solution, but it’s another indicator that collaboration is fast becoming the norm. Avid is obviously keen on creatives working together. Its release of Avid Cloud Collaboration for Pro Tools earlier this year saw multiple Pro
“Flow Story fosters a faster and more collaborative edit, review and approval process, with full Flow MAM integration” Matt Sanford, Editshare
said the development was in response to the experience the company has had with Adobe Anywhere on-premise clients. “These are the people who installed an Adobe Anywhere server in their facility,” Roberts explains. “What Team Projects does is offer many of the same
Tools users able to work together on cloud-based
capabilities, but is now offered as a cloud
sessions, known as ‘projects’. Collaborators
service. This allows simultaneous access to projects: no longer do you have separate
can share audio and MIDI tracks, edits, mix changes, as if they are working together in the
“To succeed in today’s challenging media
project files everywhere,everyone is tied into a
same studio; though only two simultaneous users
environment, creative teams need integrated
shared team project. That gives you history and
can work on a shared project at a time. The
workflows that enable them to create and
conflict management.
company explored a similar capability with video
collaborate more efficiently,” says Alan Hoff,
when it launched Media Composer Cloud, which
vice president of market solutions at Avid. “With
of the workflow,” he continues. “If you think
offers sharing of assets and media from remote
Avid Nexis Pro Team Bundles we’re offering a
about an After Effects artist creating a motion
users all working together on a central Avid
complete end-to-end workflow at an affordable
graphics, or VFX shot that’s going into a Premiere
Interplay Production system.
price, giving creative teams the tools they need
Pro timeline, those two creatives can work at the
to complete projects on time and on budget.
same time and continue to iterate on their work.
With Avid’s unrivalled openness, we’re able to
We’re really excited at being able to take this
The company used IBC to showcase its new Avid Team Bundles, basically a collaborative
“For video users, this is a really important part
October 2016 www.tvbeurope.com
TVBEurope
39
Post Production complex task and turn it into something that’s
he revealed. “As well as people from large
feedback at the show, which would go towards
really as easy as just turning on a server.”
companies stating how well it would play
refining the release version, but if the reception it
with their editors.”
and the other moves towards collaboration we
Roberts adds that Team Projects works very well with the proxy workflow technology introduced by in the last Creative Cloud
Adobe Teams is still a work in progress. McSweeney said that he had received a lot of
saw at IBC are any indication, working together is definitely the future path for post production.
update back in June. “Working with proxies allows you first of all to reduce your storage footprint,” he says. “If you combine that workflow with native media directly into the system and proxies, and have those proxies synced to a location such as our Creative Cloud file folder, it allows you to have this lightweight media available anywhere you want to edit, and by working with Team Projects it has the intelligence to look at all of the media and where it is, and make sure that your final project is fantastic.”
“The thing people really like is the history slider. Nothing is ever lost” Dan McSweeney, Adobe
“We had people stacked four at a time here, every day,” Adobe lab systems engineer, Dan McSweeney, told me on the company stand in IBC’s Hall 7. “The key thing that is drawing the attention here is that it’s already built into Premiere Pro. “Once you have your Adobe Creative Cloud ID, and someone invites you to a Team Project, you can log in with Prelude, Premiere Pro or After Effects, or all three,” he explains. “As soon as the media is available for everyone, they can work with it right away. Two After Effects editors, one of them doing shapes and motion graphics and one of them doing type, can be sharing their changes back and forth. Meanwhile, they’re also sharing that work with the Premiere Pro editors, and those people are taking that comp, putting it in the sequence, and sending comments back and forth.” “The thing people really like is the history slider,” he adds. “Using this, they can go back through every edit of that project and revert it. Maybe after working on a project for three weeks you find that you like that old historic one after all you can bring that version of the sequence back into the current project. Nothing is ever lost.” Adobe product manager Michael Lewis observed that the buzz created around Team Projects at IBC2016 had been ‘from individual to enterprise.’ “We had people saying, ’I could see how I could use that on my own for versioning’,”
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40
TVBEurope
www.tvbeurope.com October 2016
Feature
TVBEurope Best of Show Awards winners The 2016 staging of IBC in Amsterdam was, by all accounts, a roaring success, with record numbers coming through the doors of the RAI, and a large volume of extremely happy exhibitors manning their stands. Some of the happiest of that bunch, we’ve grown to learn, are those in receipt of a Best of Show award from TVBEurope, and this year proved no different. Here, in no particular order, we provide a rundown of 2016’s award winners, and why the judges reached their decisions
COMPANY: ADB GLOBAL | PRODUCT: GRAPHYNE2
Judges comments “Of all the attempts I saw at IBC to reduce the complexity for consumers in choosing content, this was the most successful”
COMPANY: ACCEDO | PRODUCT: ACCEDO CREAM
COMPANY: ASPERA | PRODUCT: FASPSTREAM SOFTWARE
Judges comments
Judges comments
“Potentially, the killer application to drive non-digital natives to IPTV platforms. Allows ‘linear TV-like’ user experience, including some very nice ‘tricks’ to make the inexperienced user feeling comfortable in finding and selecting the programme to view”
“This solution is particularly beneficial for today’s video internet demands, where video is produced everywhere and the consumer’s appetite for live and interactive second-screen video is explosive”
MORE WINNERS Company: AppearTV Product: ABR Server
Company: Axon Product: Synview 4K and IP multiviewer
Company: Cobalt Digital Product: SCTE 104 insertion and processing options
Company: GatesAir Product: Maxiva UAXTE UHF transmitter
Judges comments: “What’s cool about this is how scalable it is – all the way up from a single server”
Judges comments: “A single field latency multi-viewer system that offers external looping for an unlimited amount of input channels”
Judges comments: “Generates and inserts five of the most widely used SCTE-104 messages into baseband SDI as triggered by an automation system. Initially built to solve a problem for a customer, but is now in wider demand. Only one of its kind”
Judges comments: “‘What! A transmitter?’, I hear you say. But this one is special. It achieves 40 per cent efficiency, which is outstanding. It integrates newly developed exciter technology, meaning that the same unit can be used in any geographic region. The efficiencies that this enables are major. Something the industry has been calling for, for ages”
October 2016 www.tvbeurope.com
' COMPANY: ELEMENTAL TECHNOLOGIES PRODUCT: HDR VIDEO PROCESSING
Judges comments “In my mind, HDR is a more important technology than 4K. Elemental have been clever in navigating the current lack of standardisation�
COMPANY: EVS | PRODUCT: XT4K
Judges comments “This one is quite simple: a UHD live production server that enables users to replay 4K and HDR content with EVS’ signature speed and reliability. Already, it is being used by BT Sport to televise Premier League football�
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22!/0 .,,*0+1(2#/01%)1,- , ) 0*). 22"0+ 0/',2-02,-1+%1/%, $ 2 2 ! 2 2
COMPANY: GRASS VALLEY | PRODUCT: ITX ON-DEMAND
22 ./2 2'1-*+ 2) )(.,
%#$ "#&' '! &' 22 *#/.20&-*)2 #/*%2 ! 21+%2 $ 2)1'./12 )1#(., 22$0 2 $.1) 2"0'&(*1+22 2 2 " 2 1/ 2 &&/0 .% 22 '&1)- "/ , 21+%2" -2 $.,*,-1+22! $2 ./,*0+2 0/2 0 2 .'&./1- /.
Judges comments
&'$&# " $"% ' &# "!&' $%' #% " &' '!% &$&' % $"%
“Time-shifting/VoD are the future, and this is an impressive way of automating the VoD process that shortens the time taken�
22 *#/.20&-*)2-./'*+1-*0+2 1+%2-00(*+ Company: Grass Valley Product: GV Korona K-Frame S-series production switcher
Company: Guntermann & Drunck Product: DP-Vision-IP
Judges comments: “Powerful, flexible and scalable solution. Very good UI, which is the same across the entire platform: once operators are trained, they can use any model, ideal for multiple studio facilities�
Judges comments: “I liked how this new product gives KVM a new lease of life by following where the broadcast industry is headed and enabling the use of KVM over IP
22 2 2! 21,,.'#(*.,2*+2 1/*0 ,2(.+ - , ' ' "$ &# Phone: +41 21 695 16 00 Fax : +41 21 695 16 02 info@lemo.com "0+-1)-2 0 /2(0)1(2&1/-+./20+2 & % !%
42
TVBEurope
www.tvbeurope.com October 2016
Feature Company: Harmonic Product: VOS 360 Judges comments: “I was impressed by how this enables simple, fast, highly costeffective launch of OTT services”
COMPANY: MAKE.TV PRODUCT: STREAMING MEDIA TECHNOLOGIES
COMPANY: PAYWIZARD PRODUCT: PAYWIZARD AGILE
Company: Litepanels Product: Astra Soft Bi-Color 1x1 Judges comments: “Light, efficient, fully dimmable LED panel. Designed for portability and performance. Controllable via a great smartphone app (bluetooth), featuring total control over dimming and colour temperature, as well as very effective colour matching tools” Company: Lynx Technik Product: GreenMachine Judges comments: “This is a new approach to the broadcast glue challenge. Rather than being a fixed application specific box, greenMachine is a combination of general purpose hardware, downloadable APPs for customisable functionality and powerful control software” Company: Sony Product: Media Backbone Hive
Judges comments “In terms of disruptive technologies they don’t come much bigger than this. I would imagine that this platform will make most broadcasters and facility owners shudder. Make.tv call it a virtual OB truck. I would call it a virtual TV station”
COMPANY: SAM PRODUCT: LIVE TOUCH 4K
Judges comments “Integrated CRM and billing solution, focused on attracting potential customers, retaining them and, in case, winning them back”
COMPANY: SOFTATHOME PRODUCT: LIVEBOX FOR ORANGE
Judges comments: “Thanks to Hyper Convergent Node technology, it has the potential to make genuine tangible improvements to the news and sport production process” Company: Stream Circle Product: Stream Circle cloud-based playout Judges comments: “Unique package of cloud-based playout services for a low monthly subscription price” Company: Telestream Product: Telestream Cloud Judges comments: “Cloud is flexible and scalable by nature, but this is a step ahead. Features a very simple and effective UI. Priced per minute of video output, cuts capex barriers out while ensuring the same quality of Telestream file-based encoding solution” Company: Telestream Product: Wirecast Gear Judges comments: “Ready-to-go streaming station, suitable for live events production. Portable, easy to use and aggressively priced. Excellent after sales service options”
Judges comments “A highlights and replay system that takes HD sports workflows in to 4K elegantly and easily. It’s fast and easy to use, yet offers sophisticated highlight capabilities including integrated editing as standard. This is a really intelligent system solution to 4K sports TV”
Judges comments “This was a stunning demonstration. I can’t recall an important feature that the Livebox doesn’t have”
COMPANY: V-NOVA PRODUCT: PERSEUS
COMPANY: VERIMATRIX PRODUCT: VERSPECTIVE
Judges comments
Judges comments
Company: Timecode Systems Product: SyncBac Pro Judges comments: “Burns timecode into GoPro footage, allowing it to be Integrated into a professional production workflow. Multi-camera shoots can be synced via long range wireless RF. Saves huge amount of time in post” Company: Vinten Product: Vantage Compact Robotic Head Judges comments: “Designed to turn D-SLR and ENG cameras into fully remote controlled studio cameras. Camera and Lens agnostic. Impressive capabilities, very compact size, fully integrated into Vinten control software”
“Allows suitable smartphone video consumption under 2.5 G (GPRS/ EDGE) mobile coverage. Very effective compression technique”
“There’s a huge amount of data washing around out there, and this is a really compelling way of enabling operators to do something profitable with it”
TVBEurope
October 2016 www.tvbeurope.com
43
In association with
Audio
AMPing up Le Mans TVBEurope speaks to Xavier Fontaine, audio engineer of AMP, a French OB company, about the challenges involved in delivering 24 hours of Le Mans Can you give us an overview of
with M-S stereo mics, and the
the audio topology at this year’s
garages with hidden lavalier mics,
Le Mans?
heavily protected against rain and
There are 70 mics covering the
moisture. We use 130 channels in
race, most of them placed directly
total; some mics are patched to
on cameras. There are 27 around
several different channels, which
the track, 19 on the pit lane (on
are parts of different mixes. The pit
cameras or hidden in front of
lane is an independent signal (with
garages), and 14 on-board in cars.
its own mix), which is integrated in
The other mics are ambient mics
the main signal when needed.
used to catch crowd noise and ‘air’ to fill the gaps in the general mix. Depending on the focal length
Can you describe the signal path from trackside to broadcast?
of each camera, we use short or
A monomode optical fibre mesh is
long shotgun microphones. The
shared by audio and video across
handheld cameras are equipped
the site.
Xavier Fontaine, AMP
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White papers, webinars, opinions, blogs, case studies, tutorials and more. 5L^)H` *VUULJ[ UV^ VɈ LYZ L]LU ^PKLY JVU[LU[ MVY P[Z YLNPZ[LYLK \ZLYZ PZ LHZPLY [V UH]PNH[L HUK WYV]PKLZ \ZLYZ ^P[O KLKPJH[LK ^LLRS` UL^ZSL[[LYZ VɈ LYPUN H KPNLZ[ VM [OL SH[LZ[ JVU[LU[ HUK JHYLM\SS` selected content from its themes of the month. Why join NewBay Connect? Free and easy to use: stay informed with the latest industry white papers, opinion pieces, ^LI ZLTPUHYZ HUK JHZL Z[\KPLZ [OH[ HɈ LJ[ `V\Y business and your career. Categorised content All material is organised into clearly referenced, specialist areas. Customised search @V\ JHU X\PJRS` SVJH[L [OL PUMVYTH[PVU YLSL]HU[ [V your business or area of interest. Tailored email alerts 5V[PÄ JH[PVUZ ZLU[ [V `V\ ^OLUL]LY [OLYL PZ HU update within your chosen areas. Dedicated weekly newsletters Visit www.newbayconnect.com to register, browse and download content for free today.
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TVBEurope
October 2016 www.tvbeurope.com
45
In association with
Audio
Anticipation builds ahead of the 2016 race
Most microphones are plugged
hence the choice of mics placed
having to divide staff into different
from the video router, and GPI in
into cameras, so their signal is
on cameras. They give depth to
teams dedicated to one specific
the console system.
embedded in the video from the
the picture by accentuating the
task, or to one local area of the
camera. As the OB van video router
distance between the car and
circuit. Due to the rain and the
very user friendly. During the first
is fully processed, there is no need
the camera.
length of the race, there was a
qualification session we were
real need for servicing (such as
able to easily fine-tune levels and
mics are very immersive and give
replacing a wet microphone or
timing for each channel in order to
or wireless. In the first case, they
the driver’s point of view, which can
an intercom device’s battery),
guarantee smooth transitions.
are plugged into monomode
be very spectacular, especially
and the distances meant having a
fibre links; in the second, they
in cases of accidents or a battle
multiple local teams to solve any
Was this your first time mixing
are received by our RF MCR
between two cars.
problems quickly.
on a Calrec console? How did
of external de-embedders. Cameras can be either wired
The on-board RF cameras and
(with the use of remote antennas dispatched around the track, also using fibre links).
The autofader interface is
it compare with other audio
“The most important thing is that audio always follows the picture”
consoles you have used? The system is very powerful; the ability of merging two routers via
The garage mics are connected
a Hydra2 link brings power and
to local preamps and embedded in each covered garage. Preamps
They also allow the most passionate
It was a big task for the RF team to
convenience; it is very easy to
and embedders are located in an
viewers to hear and recognise
operate so many RF links (cameras,
set up and allows the sharing of
underground gallery, which runs
the sound of the engines running
microphones and intercom
physical resources between the
underneath the garages to allow
at high speed. We receive radio
systems), over such a distance and
OB’s two consoles. In fact, the final
the technicians access in case of
communications from 18 teams,
in an overcrowded RF environment.
user doesn’t really need to know
any problems.
as well as the race director’s
to which console core any given
announcements, which are
This was the first outing of the
resource is actually attached to.
intercoms are routed through a
pre-selected and replayed by a
Millenium 12 truck, the first AMP
This feature is completely new for
Dante Network with I/O devices
specific operator. They shed light
Visual TV truck built with Calrec
us, and it has really simplified the
placed wherever signal transport
on the race events and explain the
desks. Which features on the
OB van’s engineering.
is needed, or in one of our three
main teams’ strategies.
desks made your job easier?
Non-embedded audio and
Calrec Hydra2 stage boxes, all
The Apollo interface is very easy
The relationship between the
to use. I appreciate the ability to
connected via monomode
What challenges did you
picture and the sound is very
arrange the surface layout as I
optical fibre links.
encounter and how did you
important. As there are a large
want. As there are lots of physical
overcome them?
number of sources, we needed to
controls, it is possible to have a
Motorsport is a fast-paced sport.
Set-up is huge in terms of quantities
automate the mixing. We used the
layout where everything is in direct
What techniques do you use to
of signals, but there are three
autofaders feature a lot, combined
access, which is very convenient.
relay this to the viewer at home?
main challenges: the distances,
with the Ember+ virtual GPIO. This
The Artemis is more compact,
The most important thing is that
the weather conditions and the
last feature was very useful to avoid
but the big TFT touchscreens
audio always follows the picture,
duration of the event. This meant
the need of a large number of GPO
bring added visibility. We used
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TVBEurope
October 2016 www.tvbeurope.com
47
In association with
Audio the second console – the Artemis
were using their video stageboxes
‘autofaders’ and the ‘automix’ works
(audio and video), have all
– to premix and monitor the
(the video router is a Riedel
very well on commentary position’s
been specially desgined for
commentary positions given to
Mediornet system). We added
functionalities, which allowed us
these different uses. Technically,
different broadcasters. This was
“Rocknet” I/O modules to avoid
to lighten some mixes. In terms of
we use VSM to control all of
mixed by a colleague who was
using a pure audio stagebox.
resources, the number of groups
the equipment. It means that it
not part of the engineering project, and therefore didn’t know the Calrec consoles at all. After a two-hour explanation about the
is easy to modify the low level
“The system is very powerful; the ability of merging two routers via a Hydra2 link brings power and convenience”
system philosophy and the desk
infrastructure by adding or changing equipment, which will bring new resources or a new format of inputs and outputs.
ergonomics, he was able to do his
Provided all of your equipment
task; it shows that the console is
We received the audio from
and mains available is no longer
is connected together with a
easy to understand and operate.
the RF and on-board cameras
the limitation it used to be on
large amount of tie lines, VSM
embedded in the video, so we
some older systems. It is
provides the ability to route a
Audio networking is prevalent
exchanged a MADI link with the
now possible to build huge
signal from one point to another
in modern large scale sporting
RF MCR in order to transit back-up
configurations which are very
without considering its full path.
events. Have you utilised high-
and ancillary audio.
simple, without diverted routes.
For example, a signal can come
Yes, we have used high-density
The race was over 24 hours (as
How has the truck been
the video router, pass through
signal transport. Firstly, inside
the name suggests), how did you
designed to withstand the
the console and be fed to the
the OB van we have four MADI
cover all of it?
ever-changing demands
intercom matrix for listening
tie-lines (256 audios in and out)
We had four audio people
being put upon broadcast
purposes with only one patching
with the processed video router.
inside the OB van, two mixers,
infrastructures?
action on a VSM X-Y panel.
All the audio from and to video
a guarantee and an intercom
The design principle for the truck
equipment (Mics on cameras, EVS
operator. In fact, we relayed at the
was to be as modular as possible.
for many audio links, such as the
and VTRs, embedded feeds, etc)
consoles every two hours in order
The truck’s working areas have
ancillary audio monitoring inside
pass through these tie lines. They
to stay focused. During the night,
been designed to be able to
the OB van, which allows us to
are totally transparent for the user
from 11pm to 6am, a dedicated
accommodate a variety of
easily modify the infrastructure by
since we pilot the consoles and the
team came as reinforcement
different uses.
adding or removing devices.
video router with VSM.
allowing us to sleep a little bit
density signal transports?
All the tie lines between the
embedded in a video, from
more than two hours.
console and the intercom matrix
For example, it is possible to
We also chose to use Dante
This monitoring can now be
use one area for video shading
stretched by adding Dante
or as an EVS room, or as an
monitors to extend possibilities
(transiting IFBs PGMs, commentary
As viewers increasingly
audio editing room. The furniture,
in one area, or add a new area
position’s ‘on air’, etc) are made
consume content in a variety
the cabling and the monitoring
outside the OB van.
with a Dante network. There is also
of methods, combined with
the Hydra2 link between the two
the clean feeds that are fed to
consoles’ cores.
other broadcasters, many more
Outside the OB van, in the Le
mixes are required. How do you
Mans set-up, we have built a Dante
manage to provide mixes for so
network using part of the fibre mesh
many different outputs?
to transit the audio and intercom
The Millenium 12 has two separate
signals from different points of
audio rooms, which allow us to mix
the race circuit. This is managed
two different programmes at the
by an audio MCR built aside the
same time, such as an international
OB van, which was in charge of
feed and a host broadcaster signal.
routing these signals to the proper
Thanks to Calrec’s consoles
destinations. The Millenium 12,
having two real monitoring
being part of this network, had
sections on one desk, it is possible
a Dante link set up between the
to have two mix engineers on
Apollo core and the MCR.
the same console; one using the
We also used three Calrec stage
speakers, and one equipped with
boxes on Calrec’s Hydra2 transport,
headphones (with full monitoring
linked by monomode optical fibre
capacity including PFLs). This is
to the Apollo core positioned in
very useful in cases of a ‘dirty’ and
different locations in the pit lane.
a ‘clean’ feed with different EVS
When our video colleagues had to transmit or receive signals and
playouts or multilateral interviews. Furthermore, the use of the
THE FUTURE IS CONTENT-CENTRIC Let’s optimize multiplatform scheduling www.mediagenix.tv
www.tvbeurope.com October 2016
48 TVBEurope
In association with
Audio
Smaller, better, faster, stronger…? Technologies geared towards immersive audio and flexible new mixing solutions featured among the audio highlights at IBC2016. David Davies reports
O
Many observers believe that
to position sources in a sound
NGA will first impact the home
environment and apply spatial
environment in a significant
processing to them, such as
way via soundbar technology,
rotation, focusing and masking.
and in this spirit Fraunhofer
These audio plugins carry out most
ver the last few months
audio production side, these
IIS also showed a prototype
of the processing, from capture to
there has been a growing
included the Jünger Audio MPEG-H
soundbar designed for 3D audio
output on speakers or headset.
clamour around the
Audio Monitoring and Authoring
playback without the need for 3D
Unit (AMAU), which adapts
loudspeaker system installation.
topic of Next Generation Audio (NGA): the increasingly prevalent catch-all term for immersive audio, personalised audio and other technologies set to enhance the home viewing experience. While there were a number of relevant
Jean-Yves Aubié, manager of the advanced media coding lab at b<>com, commented:
“With broadcast environments now servicing multiple platforms and applications, it is no surprise to find many manufacturers focusing on the inevitable call for increased flexibility”
launches at IBC2016, it remains
“The production of audio content in Ambisonic format is a major challenge in the development of immersive content, particularly in virtual reality and 360 video. With this software suite, we offer
to be seen quite how imminently
an effective, professional-grade
this revolution is going to hit.
today’s 5.1 consoles for immersive
Elsewhere on the show floor,
solution that can be fully integrated
What was more widely apparent
audio production and allows
Merging Technologies presented
into most audio post production
was an ongoing emphasis on
broadcasters to audition MPEG-H
the latest version of its Pyramix
workstations on the market.”
(re)configurable solutions and
Audio in the plant as it will be
DAW, which incorporates audio
general ease of implementation
reproduced on viewer’s devices.
spatialisation plugins (High Order
Customisable consoles
Ambisonics) from b<>com, a
The ability to configure and
Audio Designer (SAD) plugin,
French institute of research and
reconfigure broadcast consoles for
which is a tool for surround and
technology. In order to enable the
a variety of different applications
developments around NGA, not
3D sound production on ProTools,
adoption of Ambisonic technology
has been a major focus of
least from Fraunhofer IIS, which
and broadcast encoders from Kai
by professionals, the teams at
console design over the last few
showed a number of products
Media and DS Broadcast, which
b<>com developed a software
years. That emphasis was again
and technologies related to
support MPEG-H Audio and were
suite that can be incorporated into
in evidence at IBC2016, not least
MPEG-H Audio for immersive and
demonstrated as part of a 4K live
post production workstations. The
from Studer by Harman, which
personalised audio. On the 3D
broadcast chain.
suite will allow content creators
showcased the new Glacier Series
as part of fast-moving and changeable workflows. Nonetheless, there were notable
Also on show were the Spatial
October 2016 www.tvbeurope.com
TVBEurope
49
In association with
Audio
Eric de Bruyn, MD, ASL Intercom; Riedel founder Thomas Riedel
of Customizable Broadcast Audio
business up for sale, Blackmagic
Meanwhile, the emphasis on
With so many broadcast
Control Surfaces.The offer includes
Design revealed that it had
delivering cost-efficient and easy-to-
environments now needing to
two streamlined modules, namely:
purchased the Australian brand.
setup intercom products continued
service multiple platforms and
the Central Screen Module with a
(Blackmagic Design also
with the latest partyline products
applications, it is no surprise to
vibrant display for assigning and
confirmed its acquisition of keying
from RTS. The new beltpack models
find so many manufacturers
accessing graphical user interface
specialist Ultimatte during IBC).
BP-4000 (single-channel version)
focusing on the inevitable call
and BP-5000 (dual-channel version)
for increased flexibility and rapid
controls; and the Fader Vistonics
“Fairlight creates the world’s
Module, providing simplified tactile
most powerful digital audio
come with a ‘plug and play
deployment. Looking further ahead,
control for quick multitasking and
software and hardware for video
concept’ designed to help rental
it will be interesting to see how
featuring Studer FaderGlow for easy
production,” said Grant Petty,
companies and large broadcasters
widely NGA audio technologies
function or channel identification.
Blackmagic Design CEO. “The
improve their performance and
are adopted – and more to the
Each module is a self-contained
exciting part about this acquisition
save time and money. They feature
point, quite how seamlessly they
unit that connects to the Studer DSP
is that it will add incredibly high
smart power technology, with power
can be incorporated into existing
Core via TCP/IP. There is also an
end professional audio technology
consumption said to be significantly
workflows. It seems a fair bet that
intuitive multi-touch GUI, making
to Blackmagic Design’s amazing
reduced in comparison to previous
IBC2017 will offer plenty more clues
it possible to address different use
video products.”
RTS beltpacks.
in this regard.
cases and deploy the console in various configurations
Intercom innovation
throughout a facility.
Indeed, IBC2016 turned out to be
“Today’s on-air and production
quite rich in acquisition news, with
environments require dynamic
Riedel Communications confirming
flexibility, but the static physical
its purchase of two intercom
controls on large consoles often
manufacturers: ASL Intercom,
go unused and take up valuable
which is perhaps best known
real estate,” said Richard Morson,
for its ASL FLEXUS system; and
product manager of broadcast for
Delec Audio- und Videotechnik,
Harman Professional Solutions.
which has a notable presence in
“The Studer Glacier Series
stage management and live-
eliminates the constraints of
entertainment intercom.
physical consoles by enabling
Riedel also highlighted another
facilities to deploy customised
significant development involving
control surfaces that only include
an agreement with Cisco, whereby
the necessary controls.”
they can explore new ways to use
Remaining on a console ‘tip’,
the Cisco Media Blueprint platform
it was in this area of the market
to enhance their respective
where one of the most notable
businesses. “It’s all about ensuring
acquisitions announced during
interoperability and our products
the show was made. A few months
talking to each other,” said
after Fairlight announced that
founder Thomas Riedel during his
it had put its audio technology
company’s IBC press event.
COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE Let’s not leave money on the table www.mediagenix.tv
www.tvbeurope.com October 2016
50 TVBEurope
In association with
Audio News update
Audio apppointments By David Davies
René Mørch returns to DPA Microphones
Gerry Forde, Rycote
anish pro-audio
D
manufacturer DPA Microphones has
announced the return of René
New COO for Rycote
Mørch (pictured right) to the fold in the role of product manager. Mørch previously worked for DPA from 2006 until 2009 as research
dvanced microphone
A
pleased to welcome Gerry to
windshields and suspension
the Rycote team, and his role will
systems developer
include taking overall responsibility
serve as the bridge between the
excited to continue this prosperity
Rycote has announced the
for leading the sales department
sales, marketing and research and
with René. We look forward to
appointment of Gerry Forde as its
and dynamically driving sales,
development departments. He will
leveraging his knowledge and
chief commercial officer. Forde
in line with our ambitious growth
gather information from the market
experience in the field to maintain
has previously run his own pro-
strategy over the coming years.
through internal and external
DPA’s position as an industry leader.”
audio and MI distribution business
These are exciting times for us,
sources, and will be a part of the
in Ireland, but most recently has
and bringing Gerry in to this senior
team that decides short- and long-
working for DPA Microphones,”
held a series of senior positions at
role demonstrates our long-term
term product strategy.
says Mørch. “My position links
Sennheiser, including sales and
growth ambitions.
marketing director at Sennheiser
“Gerry has extensive knowledge
and development manager. As product manager, Mørch will
“We are thrilled to bring René
René Mørch, DPA
“I am so happy to be back
the commercial and technical
back in this new role,” says
part of the company, which is
UK and business strategist for the
and experience in this industry,
Thorsten Reuber, interim CEO of
exactly where I love to work. I look
Global Pro Division.
and his significant commercial
DPA Microphones. “DPA has been
forward to using my knowledge
expertise and leadership will
experiencing exceptional growth
of audio to assist a company
appointment, Rycote CEO Simon
enable us to deliver on our
and success in presenting new
that sets the highest standard for
Davies remarks, “We are very
business ambitions.”
products to the public, and we are
microphone technology.”
Commenting on the
October 2016 www.tvbeurope.com
TVBEurope
Feature 55,796 people attended throughout the six-day conference and exhibition in Amsterdam
The IBC2016 wrap-up By Chris Forrester
services. By 2015, the concern was no longer about how many pixels might be on the screen, but the quality of those pixels, and how quickly HDR, wider colour gamut
loughing through a zillion
and higher frame rates could be
press releases, sitting through
utilised. The 2015 show also analysed
a few dozen conference
the cloud and IP.
P
sessions and attempting to walk at
This year’s show saw IP move
least some of IBC’s 15 innovation-
into the mainstream, with seemingly
filled halls takes a little organising,
entire halls devoted to IP-based
as well as luck. This year’s IBC
technology, not to mention a dozen
was crammed with fascinating
conference sessions on the topic.
information, blessed with the
One session asked whether IP was
presence of some of the industry’s
‘the Emperor’s new clothes’. The
brightest folk, each keen to impart
answer from a talented group of
their knowledge. Back in 2014, the
skilled professionals was that IP
year’s hot topics were undoubtedly
should be a key ingredient in every
4K and all its planned iterations,
broadcaster’s strategy. Michael
whilst traditional broadcasters cast
Harritt (marketing director of media
an anxious eye on the potential
solutions, Sony Professional) said
impact of Netflix and other OTT
that, for him, IP was an enabler
VOD IS THE NEW LINEAR Let’s unify the workflow www.mediagenix.tv
51
www.tvbeurope.com October 2016
52 TVBEurope
Feature
435 speakers took part in more than 100 sessions
for 4K video, rather than an ‘either/
time needed to establish a new TV
sports events, such as this year’s
spent (engaged with media) is the
or’, and that it offers the means to
channel with software that’s been
SuperBowl, were already wholly
correct metric, then how do you
start working differently, for both
pre-tested and pre-integrated, and
dependent on ethernet. “Today’s
equate a typical 40 minutes spent
remote production and live video.
highly automated. Even better, in
challenge is that it is pretty much
reading a newspaper, with the
“It is more than just streaming. For
two to three years when we need
single vendor solutions. Thanks
three seconds spent ‘watching’ an
many clients it is a paradigm shift,
to update that software again, we
to the now 54 members of the
online ad which perhaps has the
changing the entire infrastructure
can add functionality and new
Alliance for IP Media Solutions
audio turned down? This cannot
and taking broadcasters to the next
(AIMS), I want to walk into my
equate with a 15 or 30-second ad
generation in a unified way.”
facility in 2020 and see a complete
on TV.” Sir Martin also argued that
data centre that’s wholly working
Channel 4 should be privatised.
with IP.” The RAI also hosted its
This, however, was not the view of
Simon Reed (managing director, Evertz) argued that IP is a huge enabler for the industry. “We have been locked into dedicated
“For many, IP is a paradigm shift, changing the entire infrastructure and taking broadcasters to the next generation” Michael Harrit, Sony Professional
hardware, and it is hugely difficult to break out of that model. We must get rid of SDI, and move to a data-centric approach. IP will also allow broadcasters to move at the pace they want, and to start competing with the likes of
fair share of headline speakers.
another UK establishment figure,
Netflix and Amazon by launching
Sir Martin Sorrell, of ad-agency
Lord David Puttnam, who said it
giant WPP, told delegates to be
would be profoundly wrong to sell
very wary of the likes of Google,
the publicly-owned broadcaster.
new channels effortlessly.” Steve
Michael Harrit, Sony
Plunkett (chief technology officer of broadcast and media services,
benefits. None of this is possible
Facebook, and other ‘technology’
Lord Puttnam was also critical of
Ericsson) explained that his
without IP.” Another session heard
players, which he argued were not
how public broadcasters covered
company was originating some
Thomas Edwards (vice president
technology companies, but media
the news and politics in general. He
500 TV channels, most of which
of engineering and development
players. “They have advertising
stressed that he wanted Europe’s
had been built with traditional
for Fox Network’s engineering
inventory which they monetise.
TV channels to spend more time
facilities. “We’d like to do a few
and operations) tell delegates
These two cannot be both referee
on explanation, and not simply
things to dramatically reduce the
that few might realise that major
and player. If you believe time
following the money.
October 2016 www.tvbeurope.com
TVBEurope
53
Feature He praised George Clooney’s
To help this process, Vivendi was The Future Zone at IBC2016
Oscar-winning movie Good Night,
investing€35 million each year in a
and Good Luck, where the real-life
new series of ten-episode shows,
hero of the film, journalist Edward R
each episode of ten minutes
Murrow (speaking in 1958) argued
duration, which consumers can
that “unless TV started again to
view while waiting for a bus or sat
teach, and to illuminate, and to
on a train. “We will formally launch
inspire then it was no more than
the shows at MIPCOM, and they’ll
merely wires and lights in a box.”
initially be available to out LATAM
Also tapping into the threat from
users on 11 October. One new series
GAFA (Google, Apple, Facebook
every week. They are addictive,
and Amazon) was Dominique
original and international.”
Delport (global managing director
Visitors to IBC’s ‘Future Zone’
at Havas Media and chairman
would have been impressed by
of Vivendi’s content division).
the number of VR and 360-degree
He said that the mass-marketing
exhibitors, and by NHK’s ‘pull-
ad-based TV model, which had
down’ 130” roll-away OLED screen
been a winning formula for retail
displaying the wonders of the Rio
for 50 years is no longer relevant. “Unfortunately the party is over. We are all moving to this directto-consumer world. There is no European equivalent [to GAFA] and
“I want to walk into my facility in 2020 and see a complete data centre that’s wholly working with IP” Thomas Edwards, Fox Network
Olympics in 8K. NHK is planning a 2018 introduction for 8K ‘Super HiVision’. NHK’s roadmap extends well beyond the 2020 Tokyo Games, and to 2030 for “three dimensional TV”.
to compete with these giants we
No doubt a suitable IBC topic for
have to link with Europe’s telcos.”
the next decade!
2016 will see an even greater commitment from TVBEurope to cover more of the pressing areas of concern, challenge, and opportunity within our burgeoning marketplace. The biggest change for this year will be the introduction of new sections to enable us to provide greater coverage to specific business areas. Our Workflow section will now be divided into two new sections: Production, and Post Production. We will also be introducing a new Business section to follow the increasing acquisition and investment activity permeating the sector, and are also introducing a dedicated Audio section to bring regular insights and updates from an often overlooked strand of our industry. These new sections will be manned by a team of section editors.
EDITORIAL PLANNER 2016 Issue
Exhibitions present at
Feature
Editorial Close date
Advertising close date
November
• Post-IBC acquisition focus • Remote production
21st October
13th October
December
• Media Asset Management • M&A business review
11th November
4th December
For all advertising and sponsorship opportunities, contact the sales team: Europe Peter McCarthy: +44 (0) 20 7354 6000 pmccarthy@nbmedia.com
Richard Carr: +44 (0) 20 7354 6000 rcarr@nbmedia.com
USA Mike Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv
www.tvbeurope.com October 2016
54 TVBEurope
TVBEverywhere The Content Everywhere Hub at IBC2016
IBC Content Everywhere review IBC Content Everywhere made its fourth appearance at the RAI in September, and its growing coverage of OTT, cloud services and digital marketing didn’t disappoint, writes James Groves
Volans, speaking at his 12th IBC conference, noted, “TV has been an integral part of our life for several generations. When TV came along, there were dire predictions for cinema, but it still thrives. The TV ecosystem still has a great deal of
T
he IBC Content Everywhere Hub has
creators, brands, corporations, artistic and
its own dedicated stage in Hall 14 in
educational institutions and even individuals
Amsterdam, hosting a programme
the opportunity to build their own, potentially
answer’ and ‘that is the answer’. We do not have
global, audiences.
the answer. The industry shift changes the media
of presentations and debates around the key issues of multi-platform, interactive and
value and relevance.” Høibraaten explained, “We say ‘this is the
itself, not just how it is delivered. What we need
The human race is changing
to do as an industry is very open: experiment.
Despite agreeing to partake at the eleventh
There are no true solutions: the only thing we
distribute and consume video content online,
hour, Helges Høibraaten, CEO, Vimond Media
know is that people have a fundamental need
which is having a dramatic impact on the
Solutions, stole the show at the panel discussion:
for content.”
broadcast and digital media landscape.
‘Evolving legacy practices for an OTT world’.
immersive content. This year, the Hub focused on the ability to
He continued, “TV is serving this need at the
Broadcasters are now moving to significantly
Moderated by Ian Volans, producer of the
moment, but it won’t be the same way in the
expand their audience reach by live-streaming
IBC Content Everywhere Hub panel session
future. We used to have to walk up to each other
their programmes to smartphone, tablet and
programme, the panel otherwise comprised
to communicate. We got phones, then mobiles,
computer users and offering video-on-demand
of Corry Siegers, manager, programme data
then smartphones, and then the human race
catch-up services. New OTT video platforms are
services, Bindinc/The European Metadata
itself changed. We use our fingers to talk. We no
offering their viewers alternatives to traditional
Group; and Sebastian Stehn, sales manager,
longer meet up. Brains are changing because of
linear television channels, giving content
Norigin Media AS.
the mobile phone. What is socially acceptable
October 2016 www.tvbeurope.com
TVBEurope
55
TVBEverywhere has changed. The TV change can be something
Cloud Video; and Russ Kennedy, vice president
Netflix mobbing to the cloud, people can move
similar. It could change everything.”
of product strategy and customer success, IBM
feeling secure, which may not have happened in
Cloud Object Storage.
the past. The ability to scale up and down when
When asked if OTT will change the creation process, Høibraaten said, “I strongly believe we will see that happen, and I think we already are. Pewdeepie is huge in my household, for example, and that didn’t even exist ten years ago. Reality TV was the first revolution where TV brought something new to the table. When radio arrived on TV, there was nothing new for decades. It takes time.”
you need, being able to handle the capacity
“There are no true solutions: the only thing we know is that people have a fundamental need for content” Helges Høibraaten, Vimond Media Solutions
One could only wish Høibraaten had a mic to
quieter periods; it’s huge.” Quereuil stated that the promise of the cloud, in terms of flex and cost, was “too big to ignore”, noting, “The security of the cloud is much higher than what a single company or single client can possibly do by themselves. The cloud is on every single booth throughout Hall
drop with the closing thought of the discussion,
7. The question of connectivity is now answered
“Statistics can only tell you how successful you were, not how successful you will be.”
of huge things and then dialling back down for
– it’s now much, much better.It enables smaller Referring to IBM’s acquisitions of Clearleap
companies to do something that they could
and YouStream as prime examples, Henderson
never do before, and offers the opportunity for
Resistance is futile
explained that the company focuses on ‘a lot of
them to disrupt the industry somewhat.”
Volans then moderated another insightful session:
premium video’, noting, “Online video isn’t new.
He concluded, “Resistance is futile, cloud is
‘Streaming Video: Challenges, opportunities
We didn’t invent it, we just work to take it to the
here to stay.”
and what’s to come’, hosted by IBM. The panel
next level.”
comprised of Chad Andrews, associate partner,
When Volan spoke about the changing
Controlling every aspect
M&E Sector; Francois Quereuil, senior director,
attitudes to cloud, after an initial resistance,
One product that caught the eye this year was
worldwide marketing, Aspera; Hillary Henderson,
Henderson replied, “Security was a huge
the Vimond Platform, a self-proclaimed ‘global
senior director of strategy and product, IBM
concern, but as customers see companies like
solution for new challenges’.
Visitors pile in for a record-breaking IBC
www.tvbeurope.com October 2016
56 TVBEurope
TVBEverywhere The broadcast-grade solution is comprised of
towards OTT services providers are also
Full one-to-one addressability is supported
a suite of software application engines and
becoming more complex.”
and has contributed to view-through rates
modules to help content owners, broadcasters
of ad breaks surpassing 98 per cent across
and content distributors ‘efficiently manage’
Yospace’s customer base; a figure Yospace
online video services for global audiences. The Vimond Platform offers an environment for managing and delivering multi-format OTT services, with full facilities for all creative,
“Connectivity offers smaller companies the opportunity to disrupt the industry” Francois Quereuil, Aspera
claims is significantly higher than the average for traditional linear television. Yospace added that it has proved, through a succession of major live events, that
logistical, and business aspects of the operation.
personalisation can be combined with reliability
It controls every aspect, from ingest and
at scale to support audiences counted in millions,
encoding through to conditional access to business intelligence reporting.
the most recent being Channel 4’s coverage of Miguel Silva, CCO, Vimond Media Solutions,
Its feature set was created to ‘fit the needs’
explains, “The primary use here is sports content,
the 2016 Paralympic Games. David Springall, CTO, Yospace, says, “In a
of international customers with different,
where you really need to get content out before
world where online-only providers are posing
personalised requirements. The platform can be
anyone else does.
a significant threat, broadcasters have an
used to manage multiple audio tracks, multiple
“Nobody ever has to worry about files again.
languages, multiple content sources and multiple
This makes it an extremely easy-to-use tool.
subtitles all on the same service.
Everything can be automated, and everything
The company says, “In this industry, we all
can be integrated.”
fight together to offer the end user of a VoD
opportunity to place themselves ahead of the curve when it comes to monetising live simulcast.” Whether you’re an innovator in digital marketing, social media, content personalisation or cloud services, the IBC2016 Content
service the best online experience; diverse and
Moving ahead of the curve
Everywhere Hub provided something for
user friendly. But with such a dynamic evolution
Also on show was the Yospace dynamic ad
everyone. Expectations will be high once again
of consumers online behaviour, of markets,
insertion platform, which allows server-side ad
as IBC looks to raise the bar ahead of its 50th
target audiences, the demands of broadcasters
replacement in live simulcast.
anniversary in 2017.
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October 2016 www.tvbeurope.com
TVBEurope
57
Data Centre
Point of view Count this as one giant congratulations. A slap on the back. Get yourself a cup of coffee on the house, writes Rags Gupta, general manager, EMEA, Ooyala. Whether you’re a broadcaster, OTT provider, or a content owner going over the top direct to consumers, you’ve earned (at the very least) a big smiley face
W
hy? Your customers – by and large – are happy with you. A recent survey from JD Power found that customers
of SVoD services are far more satisfied with their services than pay-TV subscribers… much, much more. The survey found SVoD users gave streaming companies an average 823 points (on a 1,000-point scale) for performance and reliability, content, cost of service, ease of use, communication, and customer service. Compare that to the most recent JD Power study of pay-TV customers. Last September, the organisation found that customers rated their pay-TV service at 723, an improvement of just 12 points from the previous year. OTT providers and content owners are seeing just the opposite. CBS All Access and Showtime each have more than one million subs, Sling TV is nearing that number, while Netflix and Amazon battle it out on a global scale with tens of millions of subscribers. Worldwide, the streaming industry is seeing phenomenal growth, both in the number of subscribers, and the number of services that are rolling out. This quarter’s video index delivers deep insights about the business of streaming, looking at power AVoD, SVoD and TVoD users. Power users visit your platform most often, watch the most video and watch on devices that are often
Video advertising trends
different than less engaged customers.
Programmatic continued to gain traction
On an AVoD news site, for example, users visit
globally as more publishers made more quality
37 per cent more during the workweek than
content available, whilst open-market RTB deals
on weekends and use computers to consume
continued to grow. CPMs also grew across the
content for longer periods, compared to the
board, with second-price auctions moving up
average user who uses a mobile phone.
to $19-$21 CPM.
Visitors to an AVoD entertainment platform on Thursdays and Fridays watch 17 per cent more
Mobile video
content than they do Monday to Wednesday,
Fifty-one per cent of all plays are now mobile,
and 37 per cent more than they do on
an increase of 15 per cent from a year ago
Saturday and Sunday.
and a huge 203 per cent from 2014. Plays on
A total of 76 per cent of power users on an
smartphones increased ten per cent from a
SVoD platform visit two to three days a week,
year ago, with tablets increasing 51 per cent
with peak viewing occurring Friday and Saturday.
in the same period.
Mondays see the least traffic from power users.
TIME WATCHED BY DEVICE AND VIDEO LENGTH
It’s a heady time to be a streamer. But, as the
TVoD sees its slowest traffic early in the week and
industry becomes more crowded, delivering
an explosion of streaming on weekends: about
quality and reliability will become more critical;
13 times more than weekdays.
knowing your audience, even more so.
• Short-form video (0-5 minutes) dominates share of viewing time on smartphones at 55 per cent. • Medium-form video (5-20 minutes) earns 18-20 per cent of viewing time on smartphones, tablets and computers. • Long-form video (20 minutes or longer) makes up almost all viewing time on set-top devices (92 per cent) and 46 per cent of tablet time. • 98 per cent of video plays on mobile devices are on iOS or Android.
IOS OR ANDROID • iOS owned 52 per cent of video plays on smartphones. • 91 per cent of videos viewed on tablets in Q2 2015 were via iOS, but Apple’s share has declined to just 65 per cent a year later. • Users watch video for longer on iOS devices than on Android devices, but the gap is narrowing slightly.
www.tvbeurope.com October 2016
58 TVBEurope
Data Centre
Let subscribers know You can go your own way By Bhavesh Vaghela, chief marketing officer, Paywizard
Let your subscribers go
Using available subscriber data to understand
A fact of life for every operator is you can’t stop
customer behaviour can enable operators
everyone leaving. While using data effectively
to determine why a customer is leaving and
he choice of pay-TV options available to
can help an operator to pre-empt a customer
make them a tailored offer that will keep them.
consumers today is staggering. Over the last
who is exhibiting signs of dissatisfaction from
This could be a lateral change in package or
decade, the number of subscription-based
leaving, if a subscriber cannot be swayed to
upgrade that better meets their needs, or even a
services across cable, satellite and more recently,
stay, it is critical to make sure they leave on good
downgrade that suits their current circumstances.
the internet, has exploded, fed largely by the
terms by enabling an easy exit.
Giving subscribers the power to press pause
T
on their subscriptions to deal with changing
boom in OTT delivery. This diversity in content, combined with the trend towards consumers employing more of a ‘dip in, dip out’ approach to TV services, means pay-TV providers need to work harder than ever to ensure customers stay
“Giving subscribers the power to press pause on their subscriptions is one of the most effective ways to minimise churn”
circumstances, such as a prolonged holiday or a house move, is one of the most effective ways to minimise churn. Additionally, if the decision to leave is made in the middle of a monthly billing cycle, then the last few weeks of a subscription
loyal. To stem churn and build enduring subscriber
cycle are crucial. Proactive engagement at this
relationships, it is vital for pay-TV operators to move beyond simply providing service and
A straight forward process can allow an operator
collecting payment.
to keep the door open for a return. After
point can stop customers leaving.
that, insight into their previous behaviour and
The power of knowing the customer
A data-driven CRM strategy
circumstances can provide the background
Effectively managing the ‘leave’ and ‘win back’
A recent focus group study, conducted
an operator needs to know when to try to
decision moments is all about having the ability
by Paywizard in partnership with Decipher,
tempt them back.
to identify and assess those subscribers who
demonstrated that to engender customer
essentially have a foot out the door - or have
loyalty, pay-TV operators need to deliver the
Winning them back in the right way
already gone through it - understanding their
best customer service experience to subscribers
Successfully executing a ‘win back’ offer again
circumstances, and then dealing with them
through key ‘decision moments’ in their customer
depends on utilising insight on viewing habits,
in a way that maintains a positive customer
journey. These ‘moments’ are the stages across
preferences and personal circumstances
relationship and goodwill.
the subscriber TV lifecycle that heavily impact
gained from subscriber data. This information
consumer satisfaction, and are identified as:
equips operators to make highly targeted
‘find’, ‘join’, ‘consume’, ‘upgrade’, ‘downgrade’,
and personalised offers that present an
‘bill’, ‘leave’, and ‘win back’.
improved fit for departed customers or
Two of the most challenging of these moments are the ‘leave’ and ‘win back’ stages. To
better value than they had before. If a subscriber decides to come back,
successfully navigate these decision moments,
then the re-signing process should be
pay-TV providers need to use insights gleaned
streamlined. Operators can classify leavers’
from subscriber data to understand patterns
accounts as dormant, which makes
of behaviour and circumstances to pre-empt
reactivation fairly simple, with customer
customers from churning. This helps to establish
preferences, recommendations and profile
a proactive customer relationship management
details retained. Subscribers can pick up
(CRM) strategy, which prevents wavering
exactly where they left off, maintaining a
customers from leaving, and arms operators with
positive customer relationship.
the knowledge to woo back departing customers.
xxxxx
the ‘leave’ and ‘win back’ moments, pay-TV
Be flexible to changing xxxxx circumstances
operators are able to create positive customer
With more subscription options than ever
experiences that forge stronger bonds with
before, consumers have greater power
subscribers. The research highlighted that if pay-TV
over how they watch content, and have
providers can proactively manage consumers in
increased the tendency to ‘dip out’. As
danger of leaving, or those that have already left,
a result, flexibility is increasingly critical to
the relationships remain salvageable.
the success of traditional pay-TV providers.
By managing customer activities during
Bhavesh Vaghela, Paywizard
IN
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