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September 2016 www.tvbeurope.com

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Welcome

EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Deputy Editor: Holly Ashford hashford@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Group Managing Editor: Joanne Ruddock jruddock@nbmedia.com Contributors: Michael Burns, David Davies, George Jarrett, Adrian Pennington, Philip Stevens, Catherine Wright Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000

Transformation in the digital age IBC2016’s refreshed conference programme will shine some much need light on the change in our marketplace

I

f there’s one noticeable thing about

issue. Another area of fascination at the

this year’s conference programme at

RAI will be VR, and we have entrusted

IBC, it’s that it appears more serious;

Adrian Pennington to dig a little deeper

of greater substance; more pointed

into this disruptive technology in the

towards the tangible operational

main feature for this issue. We also begin

Digital Director: Diane Oliver

challenges businesses in our line of work

a series of essays on sustainability from

Human Resources and Office Manager: Lianne Davey

face. Not that previous programmes

BAFTA’s Aaron Matthews, as he spells out

Designer: Kelly Sambridge

have been lacking in this area, but

how the industry can better engage with

Head of Production: Alistair Taylor

there is a noticeable sense of advance

Sales Director: Mark Rankine

in the plotting of ‘who will be discussing what’ in

Managing Director: Mark Burton

Amsterdam. One need only dart a glance at the

have a new category devoted to Sustainability. The

US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072

keynote speakers to find some emphasis here: an

awards is our annual chance to throw a big knees-

impressive bunch spearheaded by Sir Martin Sorrell,

up for the sector, and in doing so recognise those

with a supporting cast that includes Academy

projects, businesses, and people who are making an

Award-winning director, Ang Lee and the revered

indelible footprint of their own in the market. Tickets

Lord Puttnam, CBE.

and tables are available at www.tvb-awards.com/

Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222 Circulation Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848

They are joined by business leaders such as Erik Huggers, president and CEO of Vevo; Shahrzad Rafati, founder and CEO of Broadband TV;

TVBEurope is published 12 times a year by The Emerson Building, 4-8 Emerson street, London, SE1 9DU England +44 207 354 6002

improving their environmental footprints.

This leads me to the TVBAwards, at which we

buy tickets, so get booking and join the fun as we pay homage to all that is great about our industry.

I hope you have enjoyed your summer, and I

and Christopher Whiteley, EMEA VP of business

hope you enjoy this issue, enjoy IBC, and enjoy the

development for Netflix. It’s a pretty comprehensive,

IBC Daily, which I am also overseeing this year. n

striking list, and you’ll be able to read all about the

James McKeown

insight and inspiration they serve up in our October

Editor-in-Chief

SECTION EDITORS

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03 TVBE Sep 2016 Welcome_v2_final.indd 1

Philip Stevens Production editor

Michael Burns Post production editor

George Jarrett Business editor

David Davies Audio editor

26/08/2016 15:32

4 TVBEurope

www.tvbeurope.com September 2016

In this issue

6

Opinion and Analysis

In the first of a new series on sustainability in the broadcast industry, BATFA’s Aaron Matthews highlights what we can do to tackle the global temperature rise

38

16

Feature

It’s still early days for virtual reality. Adrian Pennington traces the breakthroughs and hurdles for the disruptive technology

55

Business George Jarrett reports from the HPA Technology Retreat in Oxfordshire, the first such event to be staged outside the US

Post Production

61 Audio

64 TVBEverywhere

Michael Burns offers an overview of the post production kit on show at this month’s IBC

Cologne-based RTW celebrates 50 years in the audio metering business

Futuresource’s Carl Hibbert shares findings from the company’s latest Virtual Reality Report

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Opinion and Analysis

Planet placement success here,” suggests Winterwatch exec Tim

failed to produce environmental action plans

Scoones, “will not be worthy green programming,

that address the root of the issue. Considering

but bringing sustainability into the mainstream

what is at stake, it is simply not good enough.

and making it culturally normal. We’ll make that

albert seeks to lead the industry to a carbon

A

a reality with open industry-wide discussion.”

friendly future. The initiative has been well

By Aaron Matthews, industry sustainability manager, BAFTA s my colleagues and friends will attest,

On carbon reduction, the industry has broadly

received by some industry observers; “It is very

I am an upbeat person. I am, however,

sought to identify the footprints of individual

good indeed to know that there is a project

unable to describe the severity of the

productions whilst paying little attention to

preserving our resources, those which would

issues climate change will create for us without

the overall impact of our buildings and supply

otherwise have been replaced by yet more

using expletives.

chain. For me, this lack of oversight of the

depredations on the natural world,” says

So instead, I will describe the challenges we can expect before the end of the century: A global temperature rise between 2-6 degrees, bringing severe food shortages, extreme weather, mass extinction and global climate refugees estimated to number 200 million

legendary broadcaster and environmentalist

‘This is not polar bears - it is the only way to do business if we seek to preserve human culture and society’

by 2050. Damn! This almost certain destiny is

Our industry’s response to the above must be twofold. We must reduce our carbon footprint and we must also decide the role we want to

Part of albert’s aim is to identify green suppliers, another is to encourage a realistic conversation about the challenges we must address as an industry. Supported by an army of production managers, we have done some

unavoidable without the kind of effort so far proven to be beyond our capabilities.

David Attenborough.

great stuff on production. Our track record of broader agenda is the elephant in the room.

creating a more strategic approach at senior

We are not going to be able to recycle our way

levels, however, has been far from fruitful. Diary

out of this one!

cancellations have been frequent and industry

Credit where credit is due, some broadcasters

players have been hesitant to contribute modest

play in making sustainability a societal norm.

are really stepping up to the plate on carbon

To date, a handful of editorial pioneers have

reduction. Sky smashed its 25 per cent reduction

sums of money to support the work.

shown us what cultural leadership can look

target and I have every confidence it will reach

been handed a ‘get out of jail free’ card. The

like but broadly speaking, our output does little

a new ambitious 50 per cent goal. Conversely,

Paris Climate talks concluded with a partially

to promote a low carbon lifestyle.“The trick to

other broadcasters and many film studios have

legal binding framework, tasking each national

Quite remarkably however, it seems we’ve

www.MultiDyne.com

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TVBEurope

September 2016 www.tvbeurope.com

7

Opinion and Analysis over-deliver on a reduction strategy to be

editorial cultural leadership we would like to

our corporate sustainability objectives,” adds Bal

reviewed every five years. An international

show our audiences

Samra, managing director of BBC Television, “The

agreement of this kind has never been

Having recently surveyed the industry, gaining

wheels towards an environmentally responsible

reached before and will pave the way to

responses from CEOs and PMs alike, it is clear

BBC are in motion.”

international rescue. However well executed,

that individuals across the industry want action.

the plan won’t outline a suggested role of each sector - it is our responsibility to interpret and act on that ourselves. I believe we must collaborate and take the next steps, which are actually achievable: As individuals, we must state publically that

‘I believe that climate injustice is the greatest wrong of our time, we must think of it as we do slavery and suffrage’

whatever it takes, we all want a world where

productions, we will literally report ourselves into the grave. If we fail to inspire audiences to laugh, cry, gawk, and at the very least, understand climate change, then we will have let slip what is the nation’s largest hope at mounting an appropriate response. This is not polar bears

warming is kept below 2 degrees (or less) We must come together and look at the full

If, however, we continue to solely focus on mapping the carbon footprint of our

- it is the only way to do business if we seek to Ninety-seven per cent of our survey respondents

preserve human culture and society.

value chain of content production, distribution

want more action, citing access to green energy

and consumption, assess what is possible and

and a change to editorial portrayal of climate

more then you are not alone. We have collected

what our priorities should be. Moving the whole

change as priorities. Intention must translate into

signatures from our most senior industry peers

industry to 100 per cent renewable power is an

action. Talking about this inertia is ‘green dragon’

who recognise the need for change. They’ve

absolute priority

Deborah Meaden, “People shouldn’t feel tasked

pledged their support, but action must follow.

We must improve our carbon literacy rather

with behaving well, they need to be supported

If you, like me, feel that we could be doing

Climate injustice is the greatest wrong of our

than refusing to engage for fear of uncovering

in understanding the obstacles we are all facing

time. We must think of it as we do slavery

inconvenient environmental truths in our

and then get on and do it. The reality is that

and suffrage. These atrocities were overcome

professional and personal lives

those who don’t will risk feeling irrelevant.”

not by governments, but by grass roots

“We are looking for our suppliers to support us in

movements, and this gives me great hope. n

Crucially, we must decide the kind of

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8 TVBEurope

www.tvbeurope.com September 2016

Opinion and Analysis

The next gen goes live: Are we ready?

By Michel Bais, managing director, Mobile Viewpoint

I

t was a while ago when I read The Circle, the

everyone is being live streamed 24 hours a day.

operators we are now capable of sending HD

When Dave Eggers wrote the novel only three or

signals reliably. In our WMT transmitter backpack

four years ago, he could not imagine how close

we used to have six to eight SIM cards to make

he was to reality.

sure that an HD signal of a cameraman in the

Smartphones are capable now of filming in

field will make it to the news studio. But with the

novel by Dave Eggers. For the readers that are

clear and crisp 4K and the modern 4G networks

excellent 4G or LTE coverage available in a lot of

not familiar with this Orwellian bestseller: in the

transport the video streams to social media

countries, we now only need two to get an even

era in which the story is set, practically everything

platforms easily, to be viewed by millions.

better picture.

that happens in the world of The Circle can be

Consumers in 2016 expect instant live video

viewed on any device. In the story, millions of

when Coldplay performs at their local stadium,

with new processors, transmitters and encoders

small cameras make sure that everything and

a factory is on fire or a politician resigns. Not on

can be built in tiny cameras, just like those used

their TV, but on their smartphone or tablet.

The television set is now the second screen for

With 5G arriving in only a few years combined

in The Circle. And with super fast 5G networks, fibre and satellites are no longer needed to get

consumers and is being watched less and less.

Of course, linear television will remain the mass medium for the big events: news, sports and entertainment like The Voice and the Eurovision Song Contest. But what will be the effects of the improved technology and 4G networks on the

‘The costs of live broadcast will drop rapidly, and will be affordable or even free of use for new players’

ratings of daytime programming, talk shows, music programmes etc?

Networks worldwide are already experiencing great difficulty in keeping their audience, let

from A to B in 4K quality with low latency. The

alone finding new, younger viewers. Content will

way we transport live entertainment, sports and

reach its audience via the internet more and

news gathering will change, once and for all.

more, and television will be old school.

It goes without saying that the costs of live

User generated content has evolved to vlogs,

broadcast and connections will drop rapidly,

now watched by millions on YouTube. These

and will be affordable or even free of use for

programmes made for YouTube, Facebook and

new players. The Periscopers of today will be the

other social media will be the next generation of

broadcasters of tomorrow and bonding 3G, 4G

entertainment for the masses, and therefore of

and 5G to broadcast will be commonplace.

interest to broadcasters. To reach the masses the

It is our vision that our industry should embrace

public internet will become the most important

the YouTube generation and proactively help

infrastructure, for viewers and for broadcasters.

them turn their creative, niche content into

The public internet and mobile

high-end content for the masses. The millenials or

infrastructure have been used by broadcasters

generation X know how to reach their pals and followers, we know how to create better content

around the world for

for them. We know that a smartphone still needs

many years now.

a good microphone, additional lights and a rig

With the 3G networks of the telco

to make steady shots, not to mention the battery life required to film or stream 4K. We know how to broadcast, how to distribute content and how to use the internet in an efficient way. We should improve and customise the tools of the next generation and learn from them as well.

Combining our knowledge will benefit us all. n

08 TVBE TVBE Sep Viewpoint Opinion_v3 final.indd 10

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Opinion and Analysis

The virtual path to broadcast playout

By Don Ash, president, PlayBox Technology

T

has been reinvented, largely by telco

remote playout system can be located at the

service companies offering a wide choice of

broadcaster’s choice of remote playout centre,

programme channels bundled together with

typically a 24/7 service provider in whichever

telephone and broadband internet.

town, city, country or continent the broadcaster prefers. Management of programme schedules,

he introduction of direct-to-home satellite

Virtual playout

ad sales, media management and monitoring

transmission revolutionised the broadcast

The media industry today faces a further phase

can then be all performed in the usual

industry by opening up the airwaves to far

of transformation with the growing level of

way on the broadcaster’s premises, usually

more channels than were ever able to co-exist

interest in virtual broadcast playout: so-called

at its headquarters.

in the days of terrestrial analogue delivery. In the

‘cloud playout’.

US, this process stemmed from cable television

Virtual playout frees broadcasters from the

An easier route to air

operators who were already using satellites to

need to possess, operate and maintain their

A key advantage of virtual playout is set-up

send content to remote headends. Early direct-

own hardware. The savings in space and staff

speed. An efficient broadcast playout service provider using a universal television playout

to-home channels used lower power satellites which needed a large downlink dish. In Europe, the Astra 1A satellite was the first to provide medium power coverage across Western Europe, allowing reception via a dish of less than 1m in diameter. That was 1988.

‘Virtual playout frees broadcasters from the need to possess, operate and maintain their own hardware’

and streaming system, capable of continuous unattended operation, can make a 24/7 channel live in far less time than is needed for traditional server-plus-software or dedicated hardware systems. The actual time to put a new channel on air is reduced from months or

Nearly three decades on, television viewers

weeks to a matter of hours. Once a broadcaster

can today choose between a very wide range of programme channels and an unprecedented

overheads can be substantial, especially for a

is settled into this mode of operation, a new

number of content providers: digital terrestrial,

channel located in the centre of a major city.

channel can be activated within minutes. This

digital satellite and online. Cable television

Virtual playout is technically very elegant. A

level of flexibility also makes virtual playout an

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TVBEurope

September 2016 www.tvbeurope.com

11

Opinion and Analysis ideal basis for transient content streams such

processing electronics or other hardware to

operational expense service, virtual playout frees

as ‘red button’ channels created to provide

be available on the cloud server. A totally

a channel owner’s investment capital to meet

supplementary information during a specific

software-centric approach, however, allows

the overheads of originating, acquiring or refining

programme series or outside broadcast event.

for the provision of full-scale playout with

content. It additionally offers broadcasters a

graphics on any enterprise-class blade, rack or

basis for very cost-effective, space-efficient and

tower server. When funded by the client as an

reliable disaster-recovery. n

Until just a few years ago, the majority of programmes and commercials were delivered to site on video tape. This was slow, expensive and required ingest staff to maintain a variety of playback decks able to handle the various competing tape formats. With the almost global

‘With the almost global rollout of optical fibre networking, an increasing amount of content travels as data files’

HALL 10 B12

rollout of optical fibre networking, an increasing amount of content now travels as data files via an IP link from producer to broadcaster. Virtual delivery has thus become a core element of the virtual playout model.

The template model Operational simplicity is a vital aspect of broadcast network management. A properly designed virtual playout system enables television channels to conduct their entire operation (from content acquisition, refining and archiving, right through to playout) via a single highly-reliable media platform which can be accessed and managed from practically any location, at any time.

An essential element of this model is the provision of templates which customers can preconfigure to match their requirements, eliminating any need for subsequent manual interference. Flexibility is equally vital. Every clip in a playout schedule, except the one which is currently playing, needs to be accessible for trimming, editing or repositioning. Operators need the freedom to change playlist order on the fly using commands such as skip-to-next or jump. Changes must be achievable seamlessly without stopping the current playout session.

Most important of all is the need to accommodate live production. Multichannel broadcasters need to be able to schedule channels with local programming and advertising for specific single or multiple regions, rather than using multiple satellite feeds with ad insertion.

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HALL 10 B12

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12 TVBEurope

www.tvbeurope.com September 2016

Opinion and Analysis

A smooth transition to an IP-based workflow

By Bryce Button, product marketing manager, AJA Video Systems

of connectivity in your network infrastructure,

initial confusion and streamline the transition,

increased scalability and channel density,

making it even easier for facilities to upgrade

increased flexibility for working remotely, rich

their workflows.

future metadata possibilities, cost savings from

One common misconception is that shifting to

T

being able to keep more of your crew in one

an IP-based workflow requires huge, disruptive

he broadcast industry is in the midst of a

central location, and a larger world already

infrastructure changes. However, industry leaders

significant technological shift: the transition

attuned to IP interactions. Early adoption

are working together to achieve large-scale

from SDI to IP-based workflows. The

is underway, and recent advancements

interoperability and set industry standards and

benefits of switching to an IP-based workflow

from industry leaders, as well as collective

agreed upon roadmaps, thereby ensuring a

are readily apparent: an unprecedented level

approaches, are serving to further eliminate

more straightforward and efficient transition

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Opinion and Analysis than may have been the case otherwise. One

industry’s genes. Moving forward requires wide

workflows that require SMPTE 2022-6 with discrete

example is the Alliance for IP Media Solutions

adoption of standards to give broadcasters the

audio. VFS TR-03 will ultimately be implemented

(AIMS), which over the past year has aligned

comfort and assurance that the vendors they

as a standard down the line and improves

both broadcasters and technology vendors to

rely upon will be moving forward to support

on TR-04 by packetising video, audio and

promote open standards for IP-based systems.

these new ways of working. SMPTE and the Video

metadata into separate IP streams. This method

By maximising hardware and software interoperability and setting IP broadcast standards, facilities of all sizes now more than ever have a clear-cut, practical path for upgrading to IP and other technologies such as cloud-based production and distribution. Similar

will simplify the embed/de-embed path for

‘The broadcast world has something real to offer the IP space: respect for image fidelity and guaranteed delivery at low latency’

forward-thinking initiatives such as the ASPEN

In the real world, this transition will unfold gradually, but at an ever-increasing pace as the larger market forces that are already engaged in

the amount of network traffic generated by uncompressed video.

We’re following this recommended path suggested by AIMS, with current support for SMPTE 2022-6, and upcoming support for TR-03

Community, Sony IP Live, and the Joint Task Force on Networked Media (JT-NM) are also in place.

audio and SDI signals, in the end reducing

and TR-04 coming down the line via firmware Services Forum (VSF) have come together to

updates to existing IP hardware. This year

develop a roadmap that details the three-step

at IBC, AJA, along with many other broadcast

path towards adoption of IP workflows.

technology vendors, will underscore a

Today, as broadcasters consider transitioning

solid commitment to the promise of an IP

IP connectivity are not sitting idly by. For the most

to IP technology, the most widely used standard

future with early demonstrations of next

part, IP is already a reality for broadcast delivery;

is SMPTE 2022-6. SMPTE 2022-6 supports hybrid

phase AES 67 support.

it’s in everyone’s interest to move the production

IP/SDI systems and delivers the first step in a

process forward on this front while minimising

practical way forward.

interoperability obstacles.

The broadcast world has something real to

VSF TR-04 is the next recommended standard

With broadcasters, hardware vendors and software vendors working together to back IP, now is the time to seriously evaluate the switch.

that uses SMPTE 2022-6 for video with embedded

Solutions from almost all major vendors are widely

offer the IP space: respect for image fidelity and

audio, and AES67 for separate IP addressable

compatible thanks to cooperation and foresight.

guaranteed delivery at low latency. It’s in the

audio streams. As such, TR-04 is ideal for

So go ahead and embrace IP - it’s here to stay. n

www.asperasoft.com moving the world’s data at maximum speed

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Feature

MTV EMEA Awards 2016 Image courtesy of Mativision

Streaming the best seat in the house VR experimentation is turning to monetisation, with potential for pay-TV take off, writes Adrian Pennington

2017 by cinema motion-seat developer D-Box

2018. Facebook arguably kicked off the current

and The Virtual Reality Company, a producer

surge with its $2 billion purchase of Oculus Rift in

which counts Steven Spielberg as a shareholder.

2014. Since then, both Facebook and Google

Google is developing a cinematic quality camera with IMAX, which will use content

have developed an ecosystem for VR from camera rigs to distribution channels.

created on it to fuel a series of VR cinemas

In April, Google launched live-streamed

t’s still very early days for virtual reality

and other spaces it is launching this year, in

panoramic videos on YouTube, together with

(VR), and the breathless predictions for its

tandem with Swedish VR development company

a mobile app. Anyone owning a compatible

disruptive impact on everything from filmed

Starbreeze. VR’s breakthrough, however,

360-degree camera can now broadcast on

entertainment to journalism need reining

could lie in live events. Tests are focused on

Google’s platform. By the end of the year,

in. There is, though, undoubted excitement

overcoming technical hurdles like stitching and

Google will launch Daydream, an advanced

at the prospect of the new medium, with

latency while broadcasters work out how much

operating system for Android which will put its

experimentation taking place in many industry

to invest in live productions as the VR market

DIY VR experiment Cardboard into the shade.

verticals this year.

scales up.

Google says that Daydream-ready phones, as

I

While video games remain the big initial

Deloitte Global predicts that VR will have its first

well as a VR viewer and motion controller, will be

content draw for consumer VR, likely given

billion dollar year in 2016, comprising $700 million

a boost when Sony debuts Playstation VR in

in hardware sales and $300 million from content.

October, movie studios and filmmakers are

Worldwide shipments of VR hardware should

360-video. It has its own camera design pending

extending their ambition from short marketing

generate revenues of approximately $2.3 billion

and is working with VR camera makers like

promos to longer-form stories. A first feature-

this year, reckons IDC. CCS Insight forecasts that

Nikon to add Facebook buttons to cameras for

length VR action movie is planned for release in

24 million devices will be in consumer hands by

one click posting. There are rival VR streaming

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TVBEurope

September 2016 www.tvbeurope.com

17

Feature platforms too. Start-up LittlStar, backed by Disney, wants to be the Netflix of VR and has accumulated a library of professional content from Discovery, Showtime, online gaming giant Wargaming.net and fashion brand DKNY.

Monetisation While we can expect a deluge of usergenerated VR, pure play online platforms like YouTube and traditional pay-TV operators are more likely to use VR, initially at least, to build audiences and/or channel eyeballs to premium properties.

Sky is a case in point. Although yet to announce its commercial intentions for VR, one can draw the dots between its dedicated VR Studio, which has serially trialled sports including boxing and a David Beckham interview with

Deloitte Global predicts that 2.5 million VR headsets will be sold this year

VR developers Jaunt and LiveLike. Sky has also made F1 VR experiences with Formula One

Nation to broadcast “hundreds” of live musical

lounge so that users could choose to watch

Management and, since it owns UK F1 rights, it

performances in VR. NextVR will test both

the normal directed coverage or dip into an

would be no surprise to see it launch VR streams

subscription and single view pay-per-view models

immersive VR angle.

of F1 races next season.

this year, mostly for Live Nation properties.

“If we were to release a commercial live

The Netherlands’ VR producer Scopic has

“Most broadcasters don’t have an appropriate, ready-to-air platform for this

stream VR platform tomorrow just for the UK

launched a live broadcasting division called VBR.

technology so we are assessing how we might

market I’ve no doubt we’d get over 10,000

It has live streamed DJ Hardwell performing in

bring VR to market,” explained Deltatre’s chief

subscribers,” reveals LiveLike founder and CEO

Miami claiming the first-ever EDM VR livestream.

product and marketing officer, Carlo De Marchis.

Andre Lorenceau. LiveLike offers a white label

“VR is exploding,” says Scopic’s Leon Horbach.

VR platform including acquisition solution and

“If you have a good solution you can sell out

like pause and rewind, and also features user

mobile app. “Our data shows at least 50 per cent

your stadium 100 times offering VR as a premium

choice of POV angles and curated feed. It

of users are willing to pay for a VR app.”

seat in a concert hall.”

supplied services to Olympic Broadcasting

NextVR’s platform includes PVR functionality

Services (OBS) in Rio to stream three 360-video

He believes, though, that pay-TV operators will use VR as a “sweetener” to entice subscribers to

Production issues

views. This followed a first Olympic test at the

other pay packages, rather than as a separate

Live streamed VR trials at sports events have

Lillehammer 2016 Winter Youth Games.

revenue stream.

tended to offer a number of 360-video streams

In the US, production outfit NextVR has been prolific. As part of a five-year deal with Fox

Arguably the biggest production challenge

for users to toggle between at will, and an

is stitching the camera views together. When

integrated or directed VR feed.

stitching is performed manually on recorded

This was the case during the Euros, where UEFA

content, it usually leads to several hours, if not

at events including the US Open golf and at

employed Nokia OZOs in a closed test managed

days, of laborious processing. Cinema style VR

the Kentucky Derby horse race for NBC Sports.

by Deltatre. An app combined a 2D standard

creation reportedly costs $10,000 per finished

It also has a pact with events company Live

feed and VR 3D video bracketed in a virtual

minute including compositing and rotoscoping.

Sports, it has trialled multi-rig, multi-camera VR

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16 17 18 20 TVBE SEP VR Feature_V3_final.indd 55

when audio matters 05.08.16 15:38

25/08/2016 12:01

18 TVBEurope

www.tvbeurope.com September 2016

Feature

London-based company Mativision is behind the VR live stream of Muse live in concert Image courtesy of Mativision

That’s not feasible for broadcast, which is why

technology [Compound-Entropy Stereoscopic

difficult it will be to produce an engaging VR

VR producers have tended to devise their own

Encoder] and we combine that with view

experience,” suggests Karydis. “VR is good

technique. “We take advantage of the fact that

dependent streaming [also patented],” says

where there is action and interest all around. It

the cameras we use are not off the shelf but fully

Cole. “This allows us to send a low fidelity version

will be of little use in events where the action is

calibrated industrial units,” says Anthony Karydis,

of a full 360 environment and a high fidelity

concentrated in a restricted area. The rest of the

CEO, Mativision, a London-based company

version based on where the user is looking at

‘sphere’ will be pointless.”

behind the VR live stream of the MTV Europe

any one time. This technique greatly reduces the

Awards, and Muse and Sigur Ros concerts.

redundant information [outside of a person’s field

Distribution headache

of view at any time] which means we can get the

Aside from production challenges, there’s the

connected concurrent viewers is a problem

payload down.” However, bandwidth limitation

distribution conundrum of how to deliver the

facing all internet streamers which the data

is one reason why most sports productions

same content to different devices, whether

intensive nature of VR can exacerbate. NextVR,

have employed a 180-degree field of view.

head mounted displays (HMDs), 360-video sites,

for instance, captures 4K video from an eight-

“180-degrees defeats the purpose of VR video,”

or the burgeoning number of mobile apps. There

camera rig at 24,000 pixels horizontally and 6,000

argues Ben Duffey, CEO and founder Greenfish

are no VR standards. “One of the biggest issues is

pixels vertically at 60fps. This totals 6TB a second

Labs. “Some [sports VR tests] are only using 1-2

finding an encoder that encodes 360-video and

of raw data, yet NextVR claims its average

cameras and the rest of the space is just masked.

formats the streams correctly to be able to view

delivery to end-users is just 4-8Mbps.

It’s not true VR if you’re not fully immersed.”

it on multiple devices,” says Duffey. “Our tests

Delivering a reliable and constant stream to

“A typical Netflix [HD] stream is 8Mbps and we

LiveLike’s main application is a 180-degree

are all about finding the optimum resolution and

can deliver full 360 broadcast quality stereo video

field of view from a fish-eye lens attached

bitrate for distribution. We can create the feeds

at less than that,” claims Cole.

to a conventional broadcast camera with a

but it’s no good if the end user can’t see it.”

The firm achieves this, while circumnavigating

computer generated ‘VIP lounge’ rounding

Some VR streamers have devised their own end-

the real-time stitching issue, with its compression

out the viewer’s experience. It also offers full

to-end platform to get around this. “Developing

algorithm, first devised to broadcast stereo 3D.

360-video angles for viewers as part of the

our own players ensures total control right to the

“Our stereo compression is based on a patented

package. “The bigger the field, the more

delivery stage,” explains Karydis. “Our players are

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16 17 18 20 TVBE SEP VR Feature_V3_final.indd 56

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20 TVBEurope

www.tvbeurope.com September 2016

Feature very mature and rich in features; there is simply

usually consisting of multiple GoPros jury-rigged

with 360-media. Toward the high end, GoPro’s

no comparison with anything else in the market

together often with a tangle of wires, leading to

$15,000 16-camera Odyssey, co-developed with

today.” NextVR content, including for Fox Sports,

complicated setups and little mobility.

Google, is available for rent. Jaunt and Nokia

is only available over its own portal, which is

Sleeker versions are emerging from major

have technology aimed at filmmakers, the latter’s

available on most HMDs, but not Facebook

brands including, at the budget end, 360 action

OZO a $60,000 piece of kit with live broadcasting

or YouTube.

cameras like Samsung Gear 360, Ricoh Theta and

capability. Scopic’s Horbach says the OZO

Nikon Keymission 360. The $500 ALLie Cam was

produces “beautiful” images but its “render

business and technical reasons,” Cole explains.

the first to enable live streamed 360-video

times are horrible.” He understands Nokia is

“We can’t guarantee the compression efficacy

on YouTube.

working to address this.

“We don’t syndicate to other networks for both

or quality of our service on other platforms, and certainly not on YouTube or Facebook.”

GoPro’s six-camera Omni rig complete with

Facebook is planning Facebook Surround 360.

video stitching and live streaming software is

This 17-camera array (14 wide-angle cameras

available for $5,000 and the firm also has its own

plus a fish-eye lens on top and two more on the

Making VR social

“broadcast-quality” live-streaming system, LiveVR,

bottom) comes with software for live stitching.

VR may provide the ‘best seat in the house’, but

reportedly trialled at racing competitions MotoGP

The cameras use a global shutter and it will

it will be a fail for live sports if the experience of

and MotoAmerica. VideoStitch, which markets

apparently export video in resolutions up to 8K.

being there can’t be shared. The ability to share VR socially is reportedly key to Facebook’s R&D and is also seen as vital to other solutions. “We focus on the interactive element to give you the impression that you are there with friends,” says LiveLike’s Lorenceau. Later this year it

‘JPMorgan Securities forecast VR to be a $13.5 billion industry, shipping 89.3 million units, by 2020’

will enhance its platform with a live sharing

Applications YouTube and Facebook’s 360-video platforms will offer new channels for immersive ads.

“VR opens up new opportunities in advertising on multiple fronts,” says Ampere analyst Andrew White. “An entire industry is growing around

component, which will feature an avatar as a

promotional VR experiences. Due to its

physical embodiment of another VR user sitting

a stitching tool for live 360-video, has devised

immersive nature, VR offers the opportunity

on the couch watching the game with you.

a small 4K imager costing $3,600. The Orah 4i

for brands to touch consumers in ways which

consists of four fish-eye lenses attached to a Sony

were previously unthinkable.”

“The avatar will be head and shoulders and eventually hands but it’s not intended to be

Exmor image sensor, a standard tripod mount

Away from the consumer space there’s a

hyper-real,” says Lorenceau. “What’s more

and four ambisonic mics. An Intel CPU, Nvidia

whole host of verticals which are set to benefit

important is localised audio. If you turn your head

GPU, and a 120GB SSD are used for processing

from VR. These range from military simulation

a friend will appear a couple of feet away and

via a ‘stitching box,’ connected to the camera

to architectural or tourism fly-throughs. The use

they can chat to you [via HMD mic] as if they

by Ethernet.

of VR for education and training crosses many

were in front of you. Turn to watch the game and

The portable Eyse is a kickstarter-funded

continue to chat and the audio will simulate their

project due for release in October. It features two

direction to your left.”

110-degree cameras for capturing stereoscopic

sectors and will be especially strong in academia, energy and health.

On 14 April, the first live broadcast by VR of a

video. It also has bi-directional audio and can be

surgical operation was streamed from St Bart’s

social network in September and also has a plan,

mounted to a body harness or a drone. There’s a

central London hospital online via the website

in beta, to integrate APIs from gaming platforms

Wi-Fi connection for live streaming. Prices range

of Medical Realities, a company that uses VR,

like the PS4 into its platform. “It makes more sense

from $699 to $1,499 with 64GB of storage.

3D, and 360-videos for medical training. The two

NextVR will announce a partnership with a

Other production and post accessories include

360-cameras were provided by Mativision.

ability to port it to our platform than to have start

a Teradek links device for wirelessly streaming and

A one-minute delay was incorporated into

from scratch each time,” says Cole.

monitoring 360-video and an enhancement to

the broadcast in case of any complications

Adobe Premier making it easier for users to work

in the surgery. n

for users to create one avatar and have the

Gaming platform VReal is in beta with an attempt to enable any number of viewers to experience gameplay in VR from any angle, including that of the streamer’s point of view.

“The future of gaming is VR and the future of VR is social,” says CEO Todd Hooper. “The core of what VReal does is to re-render games in real time on each specific machine. That enables a viewer to feel that they are inside the game.”

He says it is technically not possible to do this with live action video.

Camera tech There are a myriad of VR capture rigs on the market with the newest exhibiting a step forward in design. VR capture 1.0 was typically unwieldy,

16 17 18 20 TVBE SEP VR Feature_V3_final2.indd 20

Bandwidth limitation is one reason why most sports productions have employed a 180-degree field of view

26/08/2016 12:48

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25/08/2016 16:11

22 TVBEurope

www.tvbeurope.com September 2016

Production

Size doesn’t matter Philip Stevens continues his mini-series about broadcasters working within a limited geographical area

in Switzerland. Being available in parts of neighbouring Switzerland means a further 13,000 households can be reached. There is also a potential global audience through the internet.

“We are probably the smallest national television

T

station in the world,” states Peter Kölbel, head

2008 from studio facilities in Schaan, a town 3.5km

Overcoming competition

“important occasions”, the team will leave the

from Vaduz, the capital of the small principality.

Located in the heart of Europe, 1FLTV faces

studio for the appropriate location.

competition from all the German-language

“Our main daily programme is the 60-minute

he tiny Alpine microstate of Liechtenstein,

of programming, and one of the channel’s

located between Austria and Switzerland,

presenters. “In all, there are just six of us involved

was the last country in Europe to get its own

in the production side of the operation.”

television station. 1FLTV went on air on 15 August

Broadcasting to the population of 37,000 in the

of the programmes are produced in 1FLTV’s single studio, but for what Kölbel describes as

German language, the station is licensed by the

channels in Germany, Switzerland and Austria.

topical production Liechtenstein Live,” says

Lichtenstein government, but owned by Austrian

Those channels are all part of the same basic

Kölbel. “This is then repeated several times during

businesswoman Beatrix Schartl.

cable package and available for free for viewers

the day to reach different audiences. In addition,

in Liechtenstein.

we have a full daily schedule of programming,

Initially transmitting for just one hour a day, the station now operates a 24-hour schedule.

Kölbel continues, “Our private television station

including 20 minutes of news, 20 minutes of

Programming is carried on the cable networks

represents independence and we make sure

talk, and 20 minutes of reportage, all of which

of Telecom Liechtenstein and TV-Com, as well

that the population of our country is able to hear

cover issues that affect Liechtenstein. That’s a

as on the Rii-Seez-Net Group cable network

about current regional and local issues.” Most

great deal for such a small team. The size of our

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22 23 TVBE sep lichtenstein Production_v4_final.indd 54

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TVBEurope

September 2016 www.tvbeurope.com

23

Production Control vision switcher in the control room.

days per week in Liechtenstein and two days

This provides an inexpensive solution for us.”

in Langenthal, where Schweiz5 is located,”

According to Simon Westland, head of sales

explains Kölbel. “We exchange our programmes

and marketing, EMEA, Blackmagic Design ATEM

and graphics by server. The graphic designer in

production switchers offer professional, broadcast

Switzerland can access our server system back in

grade production for live television programming.

our broadcast facility and create the necessary

“The ATEM CCU can be used across the range of switchers and means that broadcasters are Peter Kölbel conducts an annual interview with Hans Adam II, Prince of Liechtenstein

components for our productions.”

Programmes at 1FLTV are played out using a

able to handle multi-cam studio productions,

PlayBox Technology Airbox Streamer. This is an

even when working with a smaller production

all-in-one playout automation, server and DVB

team, with no compromise on quality,” he said.

encoder in a single unit. It comes configured

The ATEM Software Control panel is designed

either with a UDP streaming port or with a DVB/ASI

operation means that everyone needs to be able

with separate tabs, enabling the operator to

to carry out many functions, both in the studio

easily locate the functions needed for switching.

and on location.

For example, the switcher tab includes palettes

Making TV

“For our news and documentary stories, we use

for adjusting keys, transitions, media players

Beyond the television operation, Kölbel is able to

the video journalist system, and that works well

and so on. A dedicated tab for the audio mixer

reveal that the broadcaster has plans to launch a

for us. When it comes to the editing process,

control includes faders and meters for every input

local radio station before the end of 2016.

we have opted for Adobe Premiere, and we

and master level control. The settings tab allows

have been able to adopt a totally tapeless

the multi-view to be customised, while the media

challenge facing his channel? “With a limited

environment for the station.”

pool tab manages graphics.

size of population and businesses, the challenges

port, ready for DVB transmission.

On the subject of graphics, the Liechtenstein

So, what does Kölbel see as the biggest

are to make enough money by advertising,

Equipment fit for purpose

station has an arrangement with a sister

and dealing with customers who have no

He continues, “We use four Sony PMW cameras

broadcaster, Switzerland 5 (Schweiz5), for the

commercials. Despite our size, we are able to

in the studio and a Blackmagic ATEM Software

production of such material. “I spend two

fulfil our slogan, ‘We make television!’ n

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22 23 TVBE sep lichtenstein Production_v4_final.indd 55

IBC 2016 / Stand: 3.B67

25/08/2016 12:04

24 TVBEurope

www.tvbeurope.com September 2016

Production

The secrets of self-shooting Philip Stevens talks to those involved with combining two or more positions on a single camera shoot

T

here was a time when having a director or producer actually operate a camera on his or her own production would have been unthinkable. Apart from anything else, unions would have

taken a dim view of such practices. But things have changed, and now self-shooting has become a vital part of many directors’, producers’ and researchers’ CVs. So, with that in mind, what is the secret of success?

Matt Pelly has been a selfshooter since 2008

24 25 26 TVBE Sep 2016 Production_v2_final.indd 54

“For me, it would have to be adequate and thorough preparation,” states Mark Reeson, the trainer who runs self-

25/08/2016 14:29

September 2016 www.tvbeurope.com

ber 9 – 13 Septem D30 Hall 10, Booth shooting courses at London based

DSLRs using prime lenses or zooms

Pro-Motion Hire. “You must ensure

designed for stills systems - rather

you have all the right kit, a definite

than an all-in-one camcorder - as this

plan for the schedule and a clear

actually makes some aspects of self-

understanding of exactly what

shooting more challenging.”

footage is required from the shoot.”

David Hipkin, a self-shooting

The kit

producer and director with ten

Talking of cameras, and other

years’ experience, agrees. “Ideally,

equipment generally, what are the

it’s having a good plan so you know

most popular choices? “It really

what you need and what you want

depends on the project,” believes

to get. Sometimes you have to

Hipkin. “I’ve been using the Canon

improvise and work with the situation

C100 and C300 on quite a few things

as you find it. With that in mind,

recently. That’s because I appreciate

“It’s a highly prized skill in a world where mixing the technical with the personal is highly valued” Matt Pelly always have what is almost a set of

that they are designed as video

templates that you know will work for

cameras. That means you’ve access

different situations.”

to all the things you need right there,

Matt Pelly has been employed as

with well-placed buttons for zebra,

a self-shooting director since 2008. His

focus assist, and XLR inputs that

principle credits include 999 What’s

eliminates the need for separate

Your Emergency, Kid Criminals and

audio. With good lenses you have

Hunted, all for Channel 4, and Route

a nice 35mm sensor look with a

Masters for BBC2.

practical camera, and for quick

“I believe the secret of success is

turnaround the default colour profiles

to become technically proficient

look nice without too much work.”

enough so the camera skills become

with Pelly. “This is my preference

focus, white balance, framing and

because it was the first affordable

coverage,” Pelly says. “That means

large chip ‘filmic’ camera available

you can concentrate on often subtler,

to self-shooters. It’s also small and

more complicated skills of contributor

unobtrusive, which is great for

management, such as relationship

sensitive filming and interviews.

building and interviewing.” In order

I would consider the FS7, as

to be successful, clearly there are

ergonomically many prefer it.”

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The C300 is also a favourite

second nature, including exposure,

challenges to be met. For Reeson, the

Our robots in motion make your visions move

According to Reeson, there is an increasing trend towards both Sony FS7 and the C300 as the self-

achieve as a self-shooter.

Hipkin goes further. “When it comes to challenges, I believe the

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across all areas of the role. But beyond that, the greater demand for multi-skilled selfshooters, alongside a shift to large sensor cameras and

24 25 26 TVBE Sep 2016 Production_v2_final.indd 55

Many self-shooting directors are opting for the Sony FS7

25/08/2016 14:29

26 TVBEurope

www.tvbeurope.com September 2016

Production shooters choice. “However, I still think the Canon

useful to the self-shooter.” Reeson concurs.

getting experience and knowledge that will

XF305 and Sony PMW200 are well established.”

“Good directing is good directing. The thing

address those inadequacies.”

Reeson believes the modular cameras can

that changes with self-shooting is the amount

overcomplicate matters. “When you’re juggling

of pressure put on the director.” Pelly adds a

experience. “Get proficient technically by

many different roles, it’s less of a headache to

different perspective. “I find it can be a more

practicing on short films and just getting time

have a completely self-contained camcorder.”

intimate relationship without a cameraman. You

behind the camera in pressurised situations. It’s

can also work quicker and more efficiently.”

one thing doing a sit-down interview, and quite

“The thing that changes with self-shooting is the amount of pressure put on the director” Mark Reeson

Pelly equally believes there is nothing like

another thinking about changing lenses whilst

Standards

chasing a policeman.”

With the increase in the use of self-shooting, does

to become a good self-shooter. It’s not rocket

still see the same common mistakes crop up

science, but many people are scared off by

regularly. Most noticeably poor sound. That’s why

the technical aspects. Bite the bullet and learn

I would always recommend using a separate

it. It will always hold you in good stead, even

sound recordist, as welll as out-of-focus He continues, “When it comes to choosing a

and over-exposed shots. However, it

tripod I prefer a heavier model, like a Sachtler

does appear that there’s a levelling of

18. I find that the heavier tripods are much more

the standard of skills, as more and more

stable, and the level of adjustment is far superior

experience is gained in the field by the

with them when compared to the smaller, lighter

self-shooters that seem to be doing the

versions. However, it really depends on the nature

rounds currently.”

available, although he maintains that Sachtlers

when directing other cameramen, as they really appreciate that you understand light and lenses. So do it! It’s a highly prized skill in a world where mixing the technical with the personal is highly valued.” n

Pelly agrees. “I really believe that the

of the work that you’re involved in shooting.”

Pelly says he is happy to use whatever tripod is

He adds, “the best advice I ever got was

Reeson think the standards have improved? “I

quality of self-shooters is improving; that’s been the trend over recent years.”

always work extremely well. “I don’t tend to use a tripod a huge amount except for GVs,

Good advice

but a lightweight model is always useful for

Based on their experiences and observations

observational documentaries.”

of the current state of the technology and the market, what advice should be given to those

Different techniques?

planning a self-shooting career?

Whatever camera and other equipment is being

Hipkin says, “Don’t get absorbed in the

used, the technology must not get in the way

challenge of self-shooting and ignore

of the self-shooters primary role: directing. With

the other aspects of your role.”

that in mind, apart from the obvious fact that the

Reeson adds, “My advice would be

director is behind the camera, does a self-shooter

to pace yourself. You’ll be burnt out

direct the on-screen talent any differently?

quickly if you simply hop from one

“Not really,” says Hipkin. “It’s important to

project to another without allowing yourself time to rest and recharge. The

focus and attention and step out or at least

other thing I’d say is to build your skill from a

peer around from behind the camera. This is

solid foundation: avoid bluffing your way through

another reason why smaller, lighter set-ups are

obvious gaps in your skills, and concentrate on

2016

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26/08/2016 12:51

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28 TVBEurope

www.tvbeurope.com September 2016

Feature

IBC is here! We continue our look at what to expect at the show, speaking to a number of analysts and exhibitors before they arrived in Amsterdam

IBC focus

IBC is upon us! We continue our look at what to expect at the show, and spoke to a number of analysts and exhibitors before their arrival in Amsterdam

How will cloud adoption impact IBC exhibitors?

By Joshua Stinehour, principal analyst, Devoncroft Partners

I

n advance of IBC, Devoncroft Partners

adoption is not technical. Respondents to

models will depress recognised revenue given

published the 2016 Big Broadcast Survey

the 2016 BBS frequently cited frustrations with

the spread of sales over the subscription or

(BBS) Industry Global Trend Index. This annual

the inability of technology vendors to offer

usage term.

index reflects the most important technology

transactional purchase models allowing them to

The contrast in revenue models will mirror

trends in the broadcast sector cited by the

take advantage of the capabilities of virtualised

the realignment of vendor business operations.

global respondents to Devoncroft’s survey of

infrastructure. Much of the business value of

Amazon Web Services (AWS) refers to the

industry professionals, including many readers of

virtualisation rests in the opportunity to align

efficiency of its cloud platform as removing the

TVBEurope (thank you).

spend with technology usage.

‘undifferentiated heavy lifting’ for users. In taking

The index is a preview of the technology

The slow progress of technology vendors

advantage of the AWS platform or alternative

topics to feature prominently at IBC2016, and

to embrace new revenue models is

cloud platforms, a broadcast technology vendor

the implications of these trends for exhibitors

understandable. Transactional revenue models

will need to remove the ‘undifferentiated heavy

extend far beyond technology considerations. A

are a radical departure from traditional capital

lifting’ from its product offerings and business.

prominent example is the realignment of vendor

expenditure models.

This often translates to a meaningful restructuring

business models to deliver virtualised solutions in either public or private cloud implementations.

Cloud computing/virtualisation again ranked

There is a limited comparison to the earlier transition from hardware to software running

of operations.

Speaking at the Media Technology Business

on COTS hardware. The software transition put

Summit at the recent NAB Show, Ulf Ewaldsson

among the top five trends in Devoncroft’s

pressure on prices, as observed in the price

group CTO at Ericsson, outlined how Ericsson

BBS Index. While adoption rates are low, the

declines of post production solutions over the

transformed its operations over the past decade

ability to operate products in a virtualised

past decade. However, selling blended on-

to better align with market developments. In

environment was cited by BBS respondents as

premise solutions still preserved the substance of

each of 2014 and 2015 alone, Ericsson changed

critically important in the purchase decision

existing capital expenditure models.

out over 15 per cent of its workforce.

across several product categories. Meaning,

Even the units of revenue differ with

Transitions are often challenging. Though

although obstacles remain in deploying

virtualisation. One example is the encoding

the process is painful, virtualisation is worth the

virtualised solutions today, the flexibility to

segment, where emerging purchase models such

effort since it will lead to more predictable and

move to virtualised environments in the future

as per hour of encoded content foreshadow

profitable revenue streams for IBC exhibitors. I

is a factor in the current purchase decision.

a future transactional model based on per

look forward to reviewing the progress of the

One of the largest obstacles for further cloud

pixel encoded. In the short term, new revenue

vendor community. n

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26/08/2016 15:58

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Feature

Top trends for IBC

By Rags Gupta, general manager EMEA, Ooyala

I

f the pace of change in this industry is

audiences within the constraints of existing

any indication, the top trends at IBC2016

investments and legacy systems. Expect to see

may have emerged before the show.

cost-effective, media logistics solutions that

Notwithstanding the dynamism of the market,

work across systems and technologies within

there are a few patterns that we believe will be

current production operations. Further, expect

top themes in Amsterdam this year.

to see data-driven insights and analytics find a

Digital transformation including the journey from tape to IP based production workflows, leveraging cloud, on-prem and hybrid infrastructure continues to be a challenge for broadcasters and operators. Their disparate systems, siloed teams, lack of visibility and

The growth for AVoD services is accredited to

‘Expect to see a proliferation of services tackling the complexities of live streaming’ Rags Gupta, Ooyala

control, manual and inefficient processes has

media buyers increasingly shifting TV ad dollars online, even as SVoD has contributed the lion’s share of OTT’s growth thus far.

Set your IBC expectations to see solutions that let everyone, from broadcasters to publishers to niche startups, launch their own OTT, app-first

introduced risk into their digital supply chain.

experiences to reach targeted, niche audiences,

Moreover, the content boom has created waves

welcome home in production, bringing big data

in production teams in terms of complexity and

into the new territory in the context of the media

the requirements.

value chain. With the adoption of a media

months when it comes to the adoption of live

From Netflix expecting to surpass its $6 billion

with beautiful UIs that don’t break the bank.

There has been a sea change in the past six

logistics solution, production companies can get

programming by publishers of all stripes. Whether

original content budget, to Amazon doubling

content to market faster, improve syndication

it’s simulcasting linear feeds to streaming sporting

its production budget while tripling its original

workflows and have a single source of truth

events to ‘micro-casting’ via Periscope or

content, the pressure is on to produce, produce,

across entire operations.

Facebook, there is demand for programming

produce. Expect IBC to provide answers to

The shift to OTT is being experienced

like never before. Expect to see a proliferation of

these challenges, especially as production

throughout the world: Digital TV Research

products and services tackling the complexities

teams are between a rock and a hard place,

expects global OTT revenues to reach $65 billion

of live streaming. And there will surely be live

having to meet the demands of content-craving

by 2021, up 120 per cent from $29 billion in 2015.

streams of the show itself. n

Data is the new frontier

By Guy Bisson, research director, Ampere Analysis

I

BC has long been a reflection of TV’s

business future awaiting full immersion into a VR

In many ways, data is the new frontier in the

immediate future. And there’s a lot going

world. That’s quite a list.

TV industry. It’s not something that this people-

on in the TV business right now. SVoD players

There is one thing that links all of these

driven business has been used to dealing with,

are disrupting traditional pay-TV business and

changes. The trouble is, it’s not sexy, it’s not

or comfortable relying on. Yes, it’s accepted

rights models globally; advertising is getting

exciting, and few companies have yet to act on

that new players like Netflix make use of closely-

more targeted and more automated; channels and platforms are beginning to migrate to cloud distribution; social media platforms are getting into content distribution and, in some cases, acquisition; and in the TV production space, there is a widely-held belief that we are

guarded consumption patterns to target their

‘Many of the established players have been strangely silent on the use of big data’ Guy Bisson, Ampere Analysis

witnessing another ‘golden age’ of drama

out of tech-driven Silicon Valley, not Hollywood.

But many of the established players have been strangely silent on the use of big data. With a few exceptions such as Sky’s AdSmart, the old guard have yet to grasp the opportunities of mining

and reality TV. On top of these business changes, technology

own-production strategy. Netflix, after all, came

their own users’ data for strategic development. its potential for pushing the TV industry forward.

When they do, they may well find that staring

is leaping ever forward with the roll-out of UHD

It’s data. Data links all of these developments

them right in the face have been the answers

and the growing appreciation of the importance

because players all along the value chain

to questions like: Netflix, friend or foe? Skinny

of high dynamic range (HDR) to quality

are sitting on an unprecedented volume of

bundles, good or evil? Social media integration,

perception. And then there is the question of the

information on what their customers want.

now or never? And a lot more besides. n

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Feature

Taking TV quality to the next level

By Phil Layton, head of broadcast and connected systems, BBC R&D

T

hroughout IBC2016, there will be more HDR

perfect example of this. But we’re getting nearer

we’ve ever seen. The HLG specification

content on display than ever before. Those

to the resolution limit of the human eye. The

makes it relatively straightforward for major TV

of you attending will have the opportunity

original UHD standard acknowledged this and,

broadcasters to adopt HDR productions into their

to attend demonstrations such as ‘Better pixels

alongside introducing superior colour compared

existing infrastructure and workflows.

and more’, by the EBU and see the pioneering

to HD, it left the door open for improvements in

work of organisations around the globe to bring

the dynamic range of the images.

this technology to audiences.

It doesn’t feel that long ago that I was similarly

HDR can take advantage of a TV’s capability to show pictures in far higher contrast, meaning

At the BBC we distribute content to a range of devices, though our traditional TV channels, and to connected devices through our online services like BBC iPlayer.

enthused about HD. Advances in picture

pictures can give a better impression of

quality can be subtle yet profound, and when

sharpness, more natural brighter highlights and

considerable cost and complexity, so a new

I was working on the BBC’s first HD broadcast

mirror-like reflections extended detail in shadows

standard needs to be deployed as simply as

for the 2006 World Cup, I didn’t realise quite

and dark parts of the picture. HDR doesn’t give

possible. BBC R&D and NHK’s approach helped

how impressed I was at first. It was clearly an

you more pixels - it gives you better pixels.

guard against needless inefficiencies creeping

improvement on my trusty TV at home, but it was

In July, the International Telecommunications

Root and branch changes would add

into future HDR production. For example,

only after I’d grown accustomed to it that its

Union (ITU) took a huge step forward in making

because HLG uses characteristics similar or

importance struck me. When the time came to

this a reality with a new standard for HDR TV,

closely matched to current television, it ensures

return the prototype I was working with, I knew

known as the ITU-R Recommendation BT.2100.

future HDR programmes will also be compatible

that watching in standard definition would never

The standard includes two approaches: Dolby’s

with non-HDR UHD televisions. They are also

be the same. There was no going back for me.

Perceptual Quantization, and Hybrid Log-

straightforward to convert for distribution over our

I needed an HD TV. The move to HD saw TV sets

Gamma (HLG) developed by BBC R&D and NHK.

existing SD, HD and online networks.

jump from around 702 pixels wide to 1920 pixels,

HLG was developed to specifically address

and now many people are looking forward to a

the needs of TV broadcasters. It can help take

major milestone, and the inclusion of HLG means

similar shift in quality with UHD and a jump to 3840

TV quality to the next level, complementing

we can continue working with the industry to turn

pixels. Increasing the number of pixels in a TV set

the advances made in TV resolution to deliver

the potential of HDR into reality and, ultimately,

can improve quality for viewers, and UHD is a

the most life-like and atmospheric programmes

make TV even more real. n

The HDR-TV standard published by the ITU is a

Don’t worry, we can fix it in post

By Alan Wheable FISTC, MITOL senior technical author, Omnitek

W

ith so many choices for 4K/UHD

easily into existing infrastructures/workflow and

Perceptual Quantizer (PQ) and Dolby Vision dual-

content capture and delivery, getting

does not need to support additional metadata.

layer transmission which is already supported by

everything right from beginning to end

Significantly, only one version of a programme

consumer displays with Dolby Vision built in. This

is challenging. Will this be another golden era

needs to be made/broadcast, and this is

goes hand in hand with the next generation of

for post production, with the HDR choices of ST

backwards compatible with existing installations.

Blu-ray players, which will support Dolby Vision

2084 or Hybrid Log Gamma (HLG), colour space choices of BT.709, BT.2020, DCI-P3, ten-bit versus 12-bit? With the post workflow already quite well established, the ways of producing the picture that the viewer wants from the jigsaw of pieces provided have already been found.

and PQ 2084.

‘Will this be another golden era for post production?’

Alan Wheable, Omnitek

These days, content is captured using different

With the myriad of directions available in the industry today, the road ahead appears a little bit challenging. Hopefully IBC will be the opportunity for equipment manufacturers to demonstrate practical ‘glass to glass’ solutions.

At IBC2016 Omnitek is showcasing its new Ultra

devices that only offer limited HDR choices. If

XR, which provides a solution for 4K/UHD content

you know the target delivery format and route to

Cable and satellite broadcasters may need

monitoring, colour grading and program QC.

the viewer, you can set up and capture content

to adopt a similar approach until the number

Ultra XR’s picture monitor, 4K waveform

appropriately. If you don’t know, or the camera

of viewers with 4K televisions supporting HDR

monitor, vectorscope, BT.709/BT.2020 CIE

doesn’t support it, you need to capture as ‘raw’

increases. OTT providers, who are not constrained

gamut charts, video timing, audio meters and

to allow the decision to be made later. Terrestrial

by traditional broadcast infrastructure, are

video/audio status instruments allow SD to 4K

broadcasters are favouring HLG as it fits more

favouring ST 2084 because it provides the

analysis as standard. n

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tvbeurope_august2016.ai 1 04/08/2016 18:16:29

Taking content further Globecast increases broadcaster’s profitability by providing highly efficient media management, distribution, monetisation C

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Feature

UHDTV test and measurement

By Paul Nicholls, director, PHABRIX

I

BC is always an important show for us. As the

instruments applicable to the needs of today’s

industry continues to shift, particularly with the

broadcast engineers, which remain easy to use,

emergence of UHDTV and IP infrastructures,

we have a welcome chance for a lot of interaction, providing feedback on current trends in the industry.

It is important to remain current and applicable to the many customer markets we support, be it broadcast engineering,

‘It is important to remain current and applicable to the many customer markets we support’ Paul Nicholls, PHABRIX

MCR, OB facilities and importantly broadcast manufacturers. We are constantly asked to offer a lead in the understanding and presentation

focussed and cost effective. At IBC this year we

of new formats that enter broadcast so

are introducing a new product, the PHABRIX

understanding over 1,000 new formats

Qx designed to meet the need for compliance

introduced to support UHDTV and IP is certainly

verification for UHDTV and IP standards.

a challenge.

With many broadcast manufacturers

Users need instruments that can present

developing solutions and introducing state of the

information easily and clearly with tools no more

art equipment, the Qx has a combined suite of

than two button presses away from the main

tools for both analysis and generation. n

menu. Organisations should design and provide

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IT’S WHAT’S BEHIND THAT KEEPS US AHEAD

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But that’s not all that keeps us ahead.

Because G&D don’t just provide systems, we deliver solutions. KVM solutions that are tailor-made to meet your specific needs.

Our broad portfolio allows us to combine products and systems to cover any application. Our expertise in all areas ensures your G&D solution is right for you

in every way – from design to planning, from installation to technical support.

Versatility also plays its part in keeping us in front. For instance, we offer systems for a wide range of different video standards – digital or analog – with bandwidths up to 4K (incl. Full HD, 2K and Ultra HD).

The power to deliver the perfect KVM solution.

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Feature

Device dilemma: consumption patterns create challenges for the industry

G

By Rita Quigley, associate director, media and entertainment, GfK

fK’s recent international ViewScape

content on a larger screen is obviously a more

with greater ease. Viewers are being given

study noted that mobile devices are

enjoyable and rewarding experience and if the

more opportunities to influence the content

chosen more frequently by 18-24 year-

TV set isn’t an available option, then a laptop/PC

that is produced, as illustrated by Amazon

screen serves as a satisfactory alternative.

asking viewers to vote on which pilots go on to

olds in the UK than older age groups as a means of watching video content (24 per cent vs 15

The prominence of laptop/PC consumption

production of a full series.

per cent). However, it is in the use of laptops and

among the 18-24 cohort in particular creates

desktop PCs where the real distinction lies, with

challenges for both exhibitors and visitors to IBC,

late-teens and early-twenties continue to be

far more 18-24s consuming content via these

not least in the transmission of advertising to this

manifested as these young consumers age?

devices, compared to the wider population.

hard-to-reach and high-value audience, but also

Will later life stages and the impact of families,

With fewer young adults owning a TV set,

in maximising opportunities to engage with them

combined with more ownership of TVs and

and those who do own one more likely to be

in ways which the industry may not have had the

control over what’s watched, lead to the current

sharing it and therefore less likely to have total

opportunity to in the past.

18-24 age group changing their consumption

‘control of the remote’, it’s not surprising that

Producers and distributors are able to broaden

Will consumption patterns established in the

behaviour to a more traditional model? Or will

they choose the next-largest screen to watch

the range of content available and cater for

they continue to be heavy users of PCs and

their chosen content, especially as 73 per cent

niche interests as well as mass audience appeal,

laptops for on-demand services, and in this

of the material they watch in that way consists

while also allowing this group of viewers to

eventuality, how will the industry adapt and grow

of TV programmes and movies. Watching such

discover, select and curate their viewing portfolio

to meet this trend? n

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25/08/2016 14:36

TVBEurope

September 2016 www.tvbeurope.com

37

Feature

Multiscreen playing catch-up

By Giles Cottle, customer product and analytics director, Genius Digital

T

here is an irony to data and TV being both

operators who claim: ‘We have the data, now

valuable insights about their customers. Perhaps

greatly undefined areas, but also having

help us understand what to do with it’. Some

the most interesting conversations we hope to

considerable hygiene factors. When Genius

of those key needs, acquisition, retention and

have, at a show that is ostensibly focused on

Digital began, a need for collecting set-top

upsell, aren’t new, but perhaps the need to

technology, are the ones which are not about

box data appeared on numerous RPSs. Now,

address them is. After all, the news that Netflix

technology. We hear more and more about

it is something that the majority of operators

is expanding its coverage globally means

operators wanting to better instigate a data

are doing themselves. But what is separating

that there are a lot of operators with a big

culture into their business; how to get the business

the runners from the riders? Collection from

competitive threat in their market.

actually using data effectively, as opposed

multiscreen devices is the key. We still see large

We also see operators looking beyond

to simply talking about in in presentations and

operators using different systems to collect

this into the more advanced uses of data:

from numerous devices and STBs, and there are

double blind matching, integrating return-path

inherent technical and operational challenges

data with DMPs/DSPs, viewer ascription models

this year’s show about our big passion of the

around that. To get any operator serious about

that take household viewing to individual-level

moment: why companies should hire ‘data

using big data, it is vital to have a holistic view

viewing, etc.

artists’ rather than ‘data scientists’. Data scientist

of the customer, typically achieved via a single

What these kinds of conversations go to

management slides.

We hope to be able to talk to operators at

may be the job title de-jour, but there’s an

system, rather than a number of disparate,

show is the continued level of ambition that

awful lot of art that goes with the science. At

cobbled-together options.

operators have when it comes to utilising data,

the centre of any data-based decision making

The type of conversations we expect to be

the varied directions that operators want to

is a human being, and all the viewpoints, bias,

having more of at IBC will mostly be focused on

go in when it comes to generating real and

experiences and personality that make us tick. n

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www.tvbeurope.com September 2016

Post Production

Storage features large in Amsterdam A

Michael Burns offers an overview of the post kit on show at IBC2016

ll eyes are on Amsterdam as IBC2016

UHD and HDR, it’s no great surprise to find that

selection of clips, restoring for edit, integration

storage is much in evidence, but there’s also

with Avid and Adobe editing systems, and

room for plenty of cloud-connected apps and

comprehensive approval criteria within a

post workflow solutions.

framework of controlled user access rights.

TMD is showcasing OnPoint, a cloud-based

It can handle large volumes of content,

kicks off, and we’ve got a taste here of

production asset management application

offering creation and fulfilment of wish and make

what’s on show at the RAI for the post

designed specifically for creative services firms

lists, while access control allows facilities to work

and post facilities. It supports the browsing and

quickly with sensitive material, said the company.

production market. Given the industry focus on

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Post Production A combination of Flow and Vidcheck’s Vidchecker file-based quality assurance solution will be introduced by EditShare. Full integration of the QA tool from Vidcheck with the Flow production asset management platform will create a system which can process, inspect and, where necessary, repair 4K, HD and SD content.

EditShare is also showcasing its Flow Story remote editor, based on the engine of EditShare’s Lightworks editor. The company claimed that unlike traditional NLEs, Flow Story provides remote and secure access to on-premise stored media directly through any internet connection. It offers users the ability to package content for finishing, delivery or playout, and includes integration with Audio Network, which allows users to browse and add MP3 audio files directly to their sequence.

The company is also showing new options for the XStream EFS distributed shared storage platform. The newly desgined XStream EFS

EditShare is also showcasing its Flow Story remote editor

SSD comes in 8TB, 16TB and 24TB chassis

Marquis Broadcast is launching Parking V5.

the addition of Avid workspace synchronisation,

configurations, scaling from single servers to

Designed to aid Avid edit storage, Project Parking

which allows workspaces or selected folders

multi-node clusters, capable of providing a large

can archive, move and restore Avid projects,

on a source Avid system to be synchronised to

number of Petabytes of capacity, according

and analyse and manage media to optimise edit

workspaces in a second location, as part of

to the company. Elsewhere in the halls of IBC,

storage. New functionality in Parking V5 includes

disaster recovery preparations.

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42 TVBEurope

www.tvbeurope.com September 2016

Post Production There’s sure to be a buzz around Avid’s MediaCentral Premiere Pro Connector

Avid itself wasn’t giving much away before

formats such as 4K, said the company. Also on

an elegant dashboard that further simplifies

IBC, but there’s sure to be a buzz around the

show is the AWS Cloud Connector Plug-in which

archive procedures with sophisticated tools for

MediaCentral Premiere Pro Connector, a panel

enables Amazon S3 or Glacier storage to be

archive and restore functionality, system health,

within Adobe Premiere Pro CC. The panel

used like an on-premise array. It enables AWS

monitoring, analysis and more.

enables a roundtrip workflow with Avid’s asset

Glacier to be used as a low cost and scalable

management systems by connecting a Premiere

alternative to LTO, said Blue Lucy.

Pro editor to Avid Interplay. Using the panel,

Primestream is demonstrating the latest

FlashNet now also supports DPX-format assets, a standard format for cinema-oriented media, while the latest version of the FlashNet API now

Premiere Pro editors have access to production

features of its dynamic media management

supports REST. Also new is FlashNet’s ability to

assets and associated metadata across Interplay

solutions including VR/360 workflows,

allow users to allocate a pre-defined number of

Production and Interplay MAM systems using MediaCentral UX. They can import and edit Interplay basic and advanced sequences in a variety of Adobe supported formats directly from Avid shared-storage workspaces. Premiere

‘Given the industry focus on UHD, HDR it’s no great surprise to find that storage is much in evidence’

Pro editors can also export the active sequence

drives within their library for a specific role, such as archiving Avid jobs only, or restoring/archiving material at a certain time of day. SGL is also using IBC to introduce FlashNet Lite, its new entrylevel software solution. FlashNet Lite provides the full FlashNet solution but is restricted to a single

from Adobe Premiere to Interplay Production or

server node.

Interplay MAM in the format and resolution of

enhancements to 4K, MXF workflows, metadata

the user’s choice.

logging and enhanced integration with Adobe,

of storage workflow systems, including Project

HDR and VR editing tools are already

Tiger Technology is demonstrating a full range

Avid and Apple NLEs. FORK v5.5 and Xchange

Serve, a stand-alone workflow controller that the

in evidence in the Creative Cloud suite of

v5.0 demos will highlight tools for edit-while-

company claimed will turn any NAS into an ISIS

applications from Adobe, so expect more of

capture workflows with XDCAM, ProRes and AVC-

or XSan. The company’s Tiger Project Series offers

the same during its previews of the next set

Intra, as well as archival workflows with object-

full Avid file system emulation with bin locking

of updates for Premiere Pro, After Effects and

based storage solutions to support sports, news,

and dynamic volume size, as well as support for

Media Encoder. The company is also showcasing

entertainment, and corporate video operations.

third party creative apps.

updates to audio tool Audition, as well as Adobe Stock, Anywhere and Adobe Primetime.

The Blue Lucy team is demonstrating its BLAM

A new version of content storage management

Still on shared storage solutions, Facilis is

system FlashNet is the central focus for SGL.

showcasing its Flash/SSD technology, which it has

Designed to integrate seamlessly with MAM

incorporated within the TerraBlock Hybrid24 and

Core MAM product, as well as a range of more

or automation control systems to provide

SSD8 products. The company said it significantly

than 30 plug-ins that enable operators to build

improvements to workflow efficiency, FlashNet

increases the available shared bandwidth

a customised platform. One such is the Adobe

now supports reading and restoring from

for heavy 4K+ production. Storage capacity

Premiere Plug-in, which enables access to all the

SMPTE’s Archive eXchange Format (AXF). This is

increases have also been announced across

core asset and workflow management features

being demonstrated for the first time in Europe,

the model line, while high bandwidth

of BLAM from within the Adobe NLE. The plug-in

as is the new Infinity user interface, which is

connectivity options being shown include

also enables a hi-res/low-res workflow to allow

being incrementally rolled out over the next six

32Gbps Fibre Channel and 40Gig Ethernet,

flexible operations, particularly for large file

months. SGL said the UI provides customers with

as well as internal 12Gbps SAS controllers, all

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ow ava i

lab

le

Celebrating the success stories in the production, management, and delivery of media content

SPONSORSHIP OPPORTUNITIES Peter McCarthy, Sales Manager +44 (0)20 7354 6000 Email: pmccarthy@nbmedia.com

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44 TVBEurope

www.tvbeurope.com September 2016

Post Production of which will deliver increased speed and

support workflows beyond video editing, such as

800 port, one Gigabit Ethernet port, two 3.5-mm

performance, claimed the company.

animation, rendering, compositing, finishing and

audio inputs, two 3.5-mm audio outputs, and

colouring, said the company.

two Thunder-bolt 2 interfaces, plus the space,

Facilis is also showing the FastTracker application, designed for cataloguing, searching

Sonnet is going for speed in the storage stakes,

and viewing many media types within Facilis

with its new Fusion Thunderbolt 3 PCIe Flash Drive.

Shared Storage, including all major QuickTime,

The pocket-sized solid-state storage device in

MP4 and MXF codecs, along with DPX and

a fanless aluminium enclosure is capable of

TARGA image sequences. Facilis is also featuring advanced workflow-enabling technologies, including shared VR/360 video workflows using Adobe Premiere Pro CC. Additionally, the SyncBlock Archive suite is shown with LTO7 support and automated Cloud backup to

mounting support, and 6Gbps interfaces for one or two internal SATA drives.

Toshiba is demonstrating several new products, including a system with SAS SSD of 4GB/s bandwidth and 16TB+ capacity in a small

‘Cinegy is previewing 8K-capable versions of its products that it said would enable early adopters to start trials now’

Amazon S3, Microsoft Azure, or Dropbox.

desktop PC form factor. The company claimed this would offer quiet, low-power operation, and would be ideal for 4K-RAW content post production in an office or studio environment.

Toshiba is showcasing systems with the new PCI-Express NVMe SSDs connected. With this

More storage is available at Quantum (Stand

technology, storage is directly connected to the

7.B26), where it will be demonstrating its Xcellis-

transferring data at speeds of over 2,100MBps,

CPU, opening up a whole new world of editing

based solution that includes combined hybrid

and is equipped with 512GB of flash storage.

and post production performance, according to

flash and disk storage to meet requirements of

Sonnet is also unveiling the first product in a

the company.

animation and VFX workflows. The company

new series of Thunderbolt 3 pro media readers.

said it was taking advantage of flash technology

The SF3 Series - CFast 2.0 Card Reader features

is previewing 8K-capable versions of its products

to deliver the performance needed for

a 40Gbps Thunderbolt 3 interface and dual

that it said would enable early adopters to start

frame-based animation workloads while also

CFast 2.0 card slots. These features enable the

8K trials now. The ‘core’ of Cinegy’s 8K IBC demo

providing - on the same storage platform, the

reader to ingest from both cards simultaneously

is the company’s Daniel2 GPU video codec,

connectivity and access essential to stream-

at concurrent data transfer speeds up to

designed for recording from camera sources,

based editorial processes. Quantum claimed

1,100MBps, claimed Sonnet. There’s also a new

editing, post production, and playout. Being

that Xcellis optimises the way storage works so

configuration option for the company’s docking

totally GPU-based, Cinegy claimed Daniel2 has

that performance is high for both large and

station for computers with Thunderbolt ports. The

no dependence on legacy codec architectures

small files, and is not limited to large sequential

Echo 15+ Thunderbolt 2 Dock features four USB

and can decode up to 1100fps in 8K, using an

files. The enhanced capability enables Xcellis to

3.0 ports, two 6Gbps eSATA ports, one FireWire

off-the-shelf, sub-€1,000 PC. n

Stepping over all the buzz around 4K, Cinegy

VR editing tools are already in evidence in the Creative Cloud suite of applications from Adobe

38 40 42 44 TVBE Sep 2016 IBC Post Production_v3_final.indd 44

25/08/2016 15:32

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Feature Panel: How market conditions are shaping longterm business strategy

Experimentation is needed The afternoon of the second annual TVBEurope 2020 conference promised further innovative insight on all things broadcast, and it didn’t disappoint, reports James Groves

need, how many cross points - to one where you know how many users you’ve got, but what is your peak load? How much processing power do you need? It’s a major new challenge.”

Taking a look from the clients’ perspective,

F

ollowing a lunch break came the second panel of the day, moderated by conference chairman John Ive:

‘Broadcasting in the software-defined age’.

He was joined by Bogdan Frusina, founder and

“We need a blend of the understanding of industry and the flexibility of IT” Mark Wilson-Dunn, BT

CEO, Dejero; George Boath, vice president,

Wilson-Dunn added, “Software-defined networks are not new. We’ve been building them since 2004. Clients want their networks to be cheaper, but they want to do more with them, and it’s a minefield because the standards are only just emerging. We need a blend of the

international sales, Telestream; Mark Wilson-Dunn,

understanding of the industry and the flexibility of

vice president, BT Media and Broadcast; Ali

the IP transition has changed the outlook of

Shah, Technical Group member, DPP; and

the industry. Boath explained, “The transition

IT, and neither should be denigrating the other.”

Sylvain Thevenot, managing director, Netgem.

is coming from a system where it’s very easy

the telco industry’s transition to MPLS networks,

The panel opened with a reflection on how

to know your figures - how many hours do you

pondering if there were any lessons to be learnt

Ive looked to Wilson-Dunn for an insight into

OPEN

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Conference 8 – 12 September : Exhibition 9 – 13 September RAI, Amsterdam

IBC2016 Conference Speakers Announced Transformation in the Digital Era Keynotes:

Sir Martin Sorrell CEO, WPP

Ang Lee Film Director

Shahrzad Rafati Founder and CEO, BroadbandTV

Other Speakers Include:

David Puttnam CBE President Film Distributors’ Association

Alex Mahon The Foundry Content and Production

Dominique Delport Havas Media Group Keynote

Kevin Baillie Atomic Fiction IBC Big Screen Experience

Spencer Stephens Sony Pictures Entertainment Business Transformations

Hendrick McDermott NBC Universal International Platform Futures

Erik Huggers Vevo Keynote

Upgrade to a conference pass now for access to these sessions!

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Feature for broadcast. Wilson-Dunn stated, “Take a

happening in ways that the content creators or

Following a question from the floor regarding

deep breath and do it. If we hadn’t done that,

consumers don’t even realise. We need to really

whether Facebook Live and Periscope qualify as

we wouldn’t have had the revolution in MPLS

help those decision-makers in our organisations

‘broadcast’, Frusina wrapped up a productive

networks, which really kind of runs the data

understand what is the right choice to make at

session: “ It’s going to provide different mediums,

industry now.

the right time.”

and as broadcasters, we would be foolish not to

Shah then pointed out that despite the title

Ive moved onto the subject of the cloud,

take advantage. It’s another audience that we

of the session, the panel had covered many

questioning whether recent developments are

don’t have today, so that’s another viewer. It’s

different aspects of what the industry is currently

simply a ‘stepping stone’ to adding more to

up to the business folks to figure out to monetise

going through, rebranding it ‘Broadcasting

the cloud. Frusina took what he called a ‘weird

that I think it’s an opportunity rather than a

in the internet-defined age’. He explained,

definition’ of the cloud, stating, “The cloud is a

challenge. Change will happen. You have to

“The developments in the internet have really

more effective way of using CPU, storage and

embrace it, and if you

transformed the relationship between the

bandwidth. More people use it, but if they don’t

refuse, why bother?”

content creator and the content consumer.

use at the same time, it delivers different peak

What we shouldn’t forget in all of this is that that transformation is often

times, which allows for more efficient use of that same CPU.”

Panel: Does new media technology deliver an acceptable ROI to broadcasters?

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TVBEurope

September 2016 www.tvbeurope.com

49

Feature Next came a presentation, delivered by Andy

Russell Grute, managing partner, Broadcast

by other broadcasters – can we license a linear

Beale, chief engineer at BT Sport: ‘Does UHD

Innovation; Simon Frost, head of media

broadcast channel that might go online in a

provide the complete picture?’

marketing and communications Ericsson; Neil

couple years time – the breadth of what you

Maycock, EVP and general manager, media

mean by an agile software licenses is quite broad

Analysing the necessity of UHD content across all devices, Beale stated that, despite bringing

if you start considering those other shifts.”

“For broadcasters, it’s now an age to get your share” Russell Grute, Broadcast Innovation

the ‘very best quality sport’ to customers with large screens, a major benefit of UHD, yet to be seen in broadcast, is small screens. He said, “The first thing people say when they watch certain content on their phones is ‘wow, that’s poor quality’. We need 4K video for more than just broadcast TV. “

Looking at the development of content engagement and delivery as a whole, Whistler explained that the industry has moved ‘well beyond’ the delivery of anytime, anywhere content, and that, instead of ‘putting content on a platform and waiting for customers to come’ the current model of engagement means that

Summarising the outlook on the future of UHD, Beale responded to concerns that UHD

software solutions, SAM; and Michael Harrit, head

potential customers have access to media

of market, media solutions, Sony.

24/7, and the question is, “How does a media

could be another 3D, saying, “Companies are

Whistler kicked things off, commenting that

now launching UHD services everywhere. That

businesses need to “move to a more software

the point at the right moment, rather than just

answers the question for me. TV prices have

and services-centric model.” He explained that

passively putting it out there and hoping that

plummeted to the point where you can’t really

companies are suffering from a financial hit by

they find you?”

buy a large screen TV now that isn’t 4K. The

building commoditised IT systems, in terms of

technology is already out there in the market.”

source materials and the ever-falling need to

insightful debut, added, “The challenge now

deliver hardware.

is that everybody is trying to cover everybody

John Ive again took to the stage to moderate the third panel of the summit: ‘How market

Maycock expanded on Whistler’s point,

conditions are shaping long term business

noting BBC Three’s migration to online as a prime

strategy’. Contributing to the panel were Martin

example. He said, “It’s a high level of software

Whistler, and entertainment 1lead, EY; IBC Dailymedia ad ContentAgent.qxp_Layout 05/08/2016 12:42 licensing Page 1 agility. We were asked the question

company actively engage with a person at

Grute, returning to TVBEurope 2020 after an

else’s business model. For broadcasters, it’s now an age to get your share.”

The summit moved on to it’s penultimate session of the day, delivered by NEP Netherlands’

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50 TVBEurope

www.tvbeurope.com September 2016

Feature help me to flex?” Taylor then chipped in on the struggles of such a major industry transition, and its effects on ROI: “Change is a cultural barrier.

Nobody likes change, and the biggest problem in all of these projects is not the technology.

It’s the people. One of the biggest statements you will hear when deploying a project – on the operational side – is ‘well, we’ve always done it that way’. That barrier needs fostering. Unless you bring people on board to start with, you don’t get that ROI you need.”

Asked about Ericsson’s outlook on the change, Plunkett explained that, in broadcast, the vendor community creates a single type of product, which is bought by a broadcaster, allowing companies like Ericsson to “act as a proxy” for that broadcast. In the telco industry, however, he said “There are two categories: enterprise products and service provider products. It makes Peter Bruggink, NEP

Russelll Grute, Broadcast Innovation

ROI that little bit more complicated.”

Griffiths expanded on Plunkett’s point from

CTO Peter Bruggink: ‘IP-based live production: a

Plunkett, CTO, broadcast and media services,

an industry-wide point of view, stating that

working example’.

Ericsson; Tom Griffiths, director of broadcast and

the move from bespoke hardware solutions to

distribution technology, ITV; Tony Taylor, founder

what is ultimately “software running on quality

an infrastructure where we could centralise a lot

and CEO, TMD; Sinead Greenaway, director

hardware” has “fundamentally changed” the

of the resources and use those either locally or at

of operations and technology, UKTV; and Ben

way that the industry works. He explained that,

a sport or event location.”

Davenport, director of marketing, Dalet.

in the past, a relationship with a supplier wasn’t

Bruggink explained that NEP “wanted to build

Bruggink went on to say that NEP’s Cloud

Grute got the discussion started by asking

necessary, as “what the hardware was going to

Production offers a more sustainable environment

the panel what should be considered when

do was fairly static, but software doesn’t work

in which large trucks and crew vans are no

looking to build a strong ROI. Greenaway

like that.”

longer needed, where there is “complete

explained UKTV’s outlook, stating, “We ask very

control” over the production processes.

simple questions. Does it grow SOCI? Does it help

second annual TVBEurope 2020 conference,

The infrastructure is monitored by NEP’s

It was then time to draw the curtain on the

us to grow our VoD footprint? Does it underpin

with chairman John Ive concluding,

software monitoring tool GrandCentral, and,

our IP growth strategy? She stated that she

“Experimentation is needed. We’re moving into

using this, NEP Netherlands can process HD 1080i,

was “very engaged” with the opportunity of IP

unchartered territory and words like ‘agility’ and

1080p and UHD, as well as future formats such as

and virtualisation because it’s “not about

‘collaboration’ must be taken to heart. It’s been

HFR and HDR.

straight ROI”.

said many a time but I think it really applies here:

The final panel of the day, moderated by

She explained that it’s no longer about

sometimes we overestimate the rate of change,

Russell Grute, asked the question: Does new

spending more or less money, that it is “actually

and underestimate the impact. The impact

media technology deliver an acceptable ROI

about us looking at our portfolio and thinking, if I

will be great, but there are some fantastic

to broadcasters? Grute was joined by Steve

did more, or less, could I have arrangements that

opportunities for those who embrace it.” n

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TVBEurope

September 2016 www.tvbeurope.com

51

Opinion & Analysis Opinion and

Asset management, workflows and scalability TVBEurope chatted asset management with Paul Wilkins, director of solutions, marketing, TMD Is asset management now a stable, proven sector of the market?

It is continuing to change dramatically to match the seismic shifts in the industry. Asset management was an unfortunate necessity.

Once we stopped storing content on tapes and film cans and put it onto servers and archives, then we needed to know where everything was. To help us find the content, we added some descriptive metadata to make searching for content more powerful. Then we added some technical metadata, so we knew whether we could use the content straight away or if we had to process it.

Essentially, the first generation of asset management systems were simply databases.

Today, that is certainly not the case.

How has asset management developed?

The leap forward was the realisation that

Paul Wilkins, TMD

metadata could be used not just to inform,

metadata, made decisions on what it found,

to know if it has passed the quality control stage.

but to control.

and updated the metadata when a process

Before an automated workflow can move the

was completed.

content to another process, it needs to query the

As the technological platform became more connected and software-oriented, it became possible to develop workflows that queried the

51 52 54 TVBE Sep TMD Opinion_v6_final.indd 10

To give a very simple example, when a new piece of content arrives in a system, you need

metadata, asking if it has passed QC, to which there are three possible answers: it has not been

01/09/2016 12:00

52 TVBEurope

www.tvbeurope.com September 2016

Opinion and Analysis to QC; it has been to QC and passed; or it has

processing by discrete pieces of equipment:

better done by a machine. If it can be described

been to QC and failed. As a result of this query,

for the first time the user is in charge, not

in metadata, then it can be automated. This

the workflow will branch in one of three ways.

the hardware.

allows very sophisticated workflows indeed to

In a software-defined architecture, these

Broadcasters and content companies should

be created, for instance, querying the rights

decisions can be made without the need for

be looking to automated workflows to improve

management system to discover which platforms

operator intervention.

operational productivity, through automating

a piece of content can be published on, with

repetitive tasks and thereby releasing staff to

perhaps a priority system to push content

perform creative and fulfilling work.

through transcoding farms to get popular

Is that the role of the workflow engine?

Many talk about workflow engines, but there is no need to think of it as a separate layer.

Automated workflows are all about intelligently reacting to, and creating, metadata, so it is absolutely logical to put the workflows where

content online faster.

‘The leap forward was the realisation that metadata could be used not just to inform, but to control’

you have the metadata – in the asset

A broadcaster might want its main evening news packaged and online within a few minutes of its live transmission. Automated workflows would need to check if all the content can be put online. The workflow from broadcast to online has lots of decision making points.

management system.

What is the significance of automated workflows?

Can automated workflows take over complex decision making?

Are the systems becoming more complex in order to support these rich, sophisticated workflows?

Software-defined workflows allow broadcasters

You can look at decision making in two ways:

In one way, yes they are. The metadata schema

to state what is required in terms of outputs,

those questions that can be answered by

has to be extremely flexible, in order to be sure

letting the underlying technology do what is

facts, and those answered by opinions. If it is

you have captured all the information.

necessary to achieve it. There is no need for

an opinion, it is an engaging and stimulating

broadcast workflows to be defined by sequential

job for a human operator. If it is a fact, then it is

51 52 54 TVBE Sep TMD Opinion_v6_final.indd 11

We can now implement very sophisticated functionality in a way that is simpler to maintain,

01/09/2016 12:00

Summary

The IBC Daily Executive Summary is now a firmly established addition to the Preview and five live show editions of The IBC Daily.

Corporate advertising in this year’s Executive Summary gives you exposure to the most senior and influential broadcast and media professionals post IBC. The Executive Summary Issue reflects and continues the thought leadership generated at IBC. We will interview some of the world’s most influential media business thinkers and publish that insightful content in both digital and print formats in 2016. This issue will provide a unique vehicle that captures the most innovative and provocative discussions from the international ‘brain trust’ gathering in Amsterdam in early September.

This will be sent out to all VIPs from the IBC Leaders’ Summit in an exclusive preview mailing before being sent to 5,000 further hand-picked VIPs from the 2016 visitor database. It will also be sent as a digital magazine to all our IBC attendees post show.

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54 TVBEurope

www.tvbeurope.com September 2016

Opinion and Analysis more resilient and faster in operation. The

on comprehensive metadata, so the asset

though, we have moved to a more IT industry-

modern way of developing rich functionality is

management system is inherently the best host

wide standard, AMQP, the advanced message

to break the totality down into small elements.

Developers talk in terms of micro-services and containers. It’s now a powerful development tool and essential if you want to be truly cloud native.

How do micro-services work in practice?

queuing protocol. AMQP is an open standard for

‘We can now implement very sophisticated functionality in a way that is simpler to maintain, more resilient and faster in operation’

It breaks the full functionality of a computer

passing business messages between applications or organisations.

Broadcast infrastructures are increasingly becoming software-defined architectures running on COTS hardware, and we should take the benefit of robust and readily-scaled protocols like AMQP.

system down into a series of small, clearly defined tasks. The data is passed from one micro-service

for the SOA, and a micro-services architecture

to another in a standardised form. It means

like UMS is the best technical underpinning

What are your final thoughts on the future of asset management?

that each micro-service is complete and self-

for the SOA.

Efficiency and productivity depend upon

contained, so the whole platform becomes

automation at every level, and that in turn depends upon accurate metadata, collected

Yes. It is a two layer system in the classic

SOA needs a common language. Is FIMS (Framework for Interoperability of Media Services) having an impact here?

SOA format of commands in a standardised

FIMS was a remarkable achievement in opening

to maximise their use and their revenue potential.

language going around a media message bus,

up the concept of SOA and standardised

With the capability of tight integration into an

sometimes called an enterprise service bus (ESB,

messaging buses. We continue to monitor

enterprise resource planning system, the asset

calling up functionality as required.

the work of FIMS, and we continue to support

management should be regarded as a key

Large-scale automated workflows depend

it if that is what our users require. In general,

commercial tool. n

much more resilient.

Is this a service-oriented architecture?

51 52 54 TVBE Sep TMD Opinion_v6_final.indd 54

and curated to ensure the consistent application of workflows. Scalable, flexible and cost-effective systems will protect the assets and make it easy

26/08/2016 15:26

TVBEurope

September 2016 www.tvbeurope.com

55

Business

HPA lauds a great new toolbox George Jarrett reviews the first HPA Technology Retreat to be staged outside the US. Everything film and TV professionals know and love was shaken by the immense potential of VR and AR

T

expensive to create, and that there

Measurable milestones is one

are major differences between 360

thing we are going to instigate,

video and true VR. Due to being

and we are advancing a much

so big at the box office, the stars of

more rigorous training programme

the show were Dory and Mowgli,

for committee chairs, so they

and the HPA knows that a good

understand the process better.”

he Hollywood Professional

VFX monsters, and the enormity

toolbox is the end purpose of all the

Alliance (HPA) brought

of Netflix were matched to the

technology it musters.

its legendary technology

important background influences of

One of the biggest issues facing the industry is finding young talent.

“Currently we have a basic relationship with universities, mostly

VR, and the fact that Netflix applies

SMPTE plans pipeline for new talent

hardened professionals could

180 automated inspections to any

Barbara Lange, executive director

technical people to join SMPTE.

spout, question, listen and verify

file it receives.

of SMPTE and the HPA, explained

What we need to do, and we have

how they interrelate: “HPA is a

an initiative at board level,

retreat to remotest Oxfordshire and

ACES and IMF, the raw potency of

created a giant bubble in which

to their hearts content. Evidence

Every time someone in the

about encouraging young talented

that the HPA is a truly class act

innovation zone (exhibitors) said

subsidiary of SMPTE, but only for

is to do much more in the areas

came with the fact that Pixar had

‘HDR is a game changer’ people

legal purposes. SMPTE is designated

of internship and mentoring,”

as 501C3, which is an educational

says Lange.

“In future, there will still be the need for TV channels if they are delivered like BBC Three” Peter Wilson, HDDC

not-for-profit organisation, whereas association like NAB. There are

BBC Three is the online model to follow

benefits for both versions, so we

Peter Wilson commented first on the

have kept two legal entities.”

ITU HDR standard matching of PQ

HPA is 501C6 - a not-for-profit trade

Standards bodies have come under pressure to accelerate due

and HLG technologies.

“It looks like there will be at least

been unable to find a hi-brightness

around nodded sagely. They then

processes. “There are things that

the two fundamental systems

capable screen in the US to deliver

worried about sensitivity issues with

we need to change and adjust.

going around; one being pushed

Finding Dory at full potential, but

cameras: higher frame rates mean

Obviously we want to follow the

towards packaged media, and the

they managed to at the end of

less integration time and higher

due process because it is the whole

other towards live and TV channel

15 B roads. Then there were the 26

resolution means smaller

benefit of a standards operation,”

production,” he said. “We hear

surround speakers and seven sub

photo sites.

said Lange.

that everything is going to be on

woofers. The enormity of the now

The issues raised also included

“We really don’t have great

the internet, and that’s true, but it is

finite Game of Thrones and wonder

the notion that VR is isolationist,

metrics in measuring the process

moving very slowly, and it is not true

of its green screen shoots and

that digital actors remain too

and how long a standard takes.

for millions of people who don’t get

55 56 59 60 TVBE sep 2016 Business_v7_final.indd 55

25/08/2016 16:38

56 TVBEurope

www.tvbeurope.com September 2016

Business a big enough bandwidth. “In future,

other challenge technologically is

there will still be the need for TV

the set construction. Building digital

channels if they are delivered like

actors is too expensive to even try

BBC Three,” he added.

it. There are 80 digital Mowgli shots

The back compatibility aspect of the BBC HLG system was one of the many reasons Wilson is producing

in the movie, and they are mostly stunt work.”

Pre-lighting was shown to be the

a UHD primer. He explained, “Most

backbone of the movie. How did

people have no clue about how

Valdez rate 48fps and HDR? “We

these things work and interrelate

tested 48 and are not fans. It feels

in real life. There is a whole lot of

like America’s Funniest Videos. But

stuffing out there which has been

HDR is a game changer. When I

based on heavy marketing for

see something 24fps with HDR, I see

certain technologies.”

beautiful movement of the camera,

One area is 4K cameras and the 4K raster. “The Arri 65 may break the mould, but that is a big budget

MPC’s Adam Valdez talked about the kinematic wonder of Disney’s Jungle Book

I have a visual experience that is incredibly immersive,” he said.

“We had to think about that

movie camera, not a TV camera.

from the beginning. The very basic

There are very few cameras that

issue is I had to light before we

get near to filling up the energy

shoot the kid: I had to know where

spectrum of 4K, so it will be possible

he is,” he added.

to do the old Snell & Wilcox trick

Using a clip, he said, “This is the

and upgrade from a low spatial

moment when he walks from down

resolution,” said Wilson.

the light out into the sun. That’s a lighting cue effectively, so spatially

Putting audiences in the real outdoors

it has to be correct when I shoot it.

MPC VFX supervisor Adam Valdez

doing beforehand - how do I get

talked about the kinematic wonder

a DP to engage? Most don’t know

of Disney’s stereo movie Jungle

exactly how to work with CG.”

It means I need to know what I’m

Book, for which he oversaw the over 2,000 hours of data and 240

The octopus that nearly broke Pixar

million render hours. MPC needed

Cynthia Slavens, director of studio

800 people on the project, and

mastering and operations, told the

deployed 500 at peak times.

story behind Pixar’s high brightness

production of 1,200 shots requiring

The aim in shooting tons of

“It is important for us to recognise that the lines are getting blurred. The dynamics of the film industry are squeezing down” Adam Valdez, MPC

3D movie Finding Dory. This was

blue-screen with the live actor

another example of the ‘luxurious

Finding Dory is full of animation

UHD means to content makers.

playing Mowgli, was to put cinema

timelines’ Pixar has used to create

advances, one being an ocean

Moderator Richard Welsh asked

audiences in the real outdoors.

its 17 releases. “We have four to five

exhibit in which 16,000 fish are the

his speakers if there is a consumer

“You have VFX so you can see

year production timelines for each

perfect way to mix crowd and

demand for UHD.

what the movie is, then you have

project,” said Slavens. “It is 13 years

individual animation. On the issue

the editing and you have a studio

since Nemo was released, and the

of how Pixar handles consumer

“We have somewhat abused the

director. In 20 months, you don’t

technology is much more robust.

demand, which works at less

privilege of the consumers’ good

have a lot of time if you compare

One of the new characters is Hank

than four to five minutes, Slavens

nature over time to such a degree

it to many animated feature

the seven-tentacled Octopus.

said, “We are engaged in a bit

they might now be slightly sceptical

schedules. It is important for all of

He has 4,000 articulation points,

of a pseudo arms race between

about what they are being offered,

us involved in post to recognise

which was such an extraordinary

theatrical and home. People are

and may be dubious about making

that the lines are getting blurred.

challenge for our animation team

buying for home and for their

the investment,” she said.

The dynamics of the film industry

that the eventual Blu-ray release

pockets, so we are simplifying the

are squeezing down,” he said. “This

will have the element ‘The octopus

processes and pipelines around

new technologies and reap the

was one of the very first films we

that nearly broke Pixar’.

these new delivery channels.”

benefits as much as they add

worked on for Disney. For CG fur we

“Many sequences in the film

Slavens was first to respond:

“We are going to employ these

plusses to the story telling. If they are lacking in that respect we are

we were able to make: depth in 3D

We only have so much bandwidth

cracked yet, but we may see

space and the 14-foot candles of

A session called ‘Ultra everything’

adopted 4K as part of our pipeline

something new with Dory, and the

increased brightness,” she added.

was designed to explore what

because, for the past decade, we

tested some tools. Water simulation

benefit from both creative choices

is still something nobody has totally

55 56 59 60 TVBE sep 2016 Business_v7_final.indd 56

not going to do it; we have not yet

25/08/2016 16:38

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Connect with the key players from the Professional Audio industry Over 60% of ISE visitors are responsible for purchasing audio systems

The presence of professional audio at ISE represents a success story within the wider context of the show’s year-on-year growth.

ISE is now the world’s largest AV systems integration show, with over 65,000 visitors participating. It is a key destination for those interested in the latest audio technologies, audio training and education opportunities.

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TVBEurope

September 2016 www.tvbeurope.com

59

Business have been testing consistently and the content does not require it.”

Steve Beres, vice president of media and production operations with HBO, said, “We only have so much bandwidth to do anything.

It is vitally important to understand if a technology is a benefit to our content creators.”

Kate Wendleboe, head of business strategy with BT Media, talked about the group’s heavy investment in 4K. “We really have to be able to plug everything together because there are so many moving pieces, especially when you are dealing with live content. UHD has been technically driven to start with, but we are now seeing a consumer demand pulling it out again,” she said. “We believe in the worth of our investment, but that’s where standards come in and interoperability is crucial to making sure we can throw it all together.”

Andy Quested, head of technology

“We have somewhat abused the privilege of the consumers’ good nature over time to such a degree they might now be slightly sceptical about making the investment” Cynthia Slavens, Pixar

ticket,” he said. “We try to fit with the cultures of different sports, from F1 to football, and 360 is ideal for goal replay.”

Callum Rex-Reid, head of

for BBC UHD and 3D, played a

strategy, M-, said, “360-video is

huge role in giving the world the ITU

about rotational freedom and it

HDR standard. Pondering whether

is, do we need a new production

Jeremy Lanier, offers what he called

is brilliant for social group sharing.

specs are helping or hindering, he

language? Richard Nockles,

an authentic, ‘at the stadium’,

The cutting edge of VR gives much

answered, “It is right that standards

creative director of Sky’s VR

stating that LiveLike’s 180-degree

more: you can move forward,

are really well researched. Some

Studio, said, “It started very much

view and 3D suite processing does

back, left, right and underneath. It’s

technologies get pushed too early.

in the gaming industry, and when

more than putting a viewer inside

about being able to translate that

Now we have drip changes like

Facebook bought Oculus, the

a 360 video. “You have the golden

absolute freedom of movement.”

apps, and we have to get the

whole industry went crazy.”

balance right. A stable framework

VR is a new and totally different

is well discussed. We need much

way of engaging with audiences

faster standardisation, but the

– a new genre. Nockles showed

changes in technology are difficult

some of his own work and VR

to keep up with.”

coverage of sporting success

Beres added, “The idea of a current filmmaker creating the next state of the art film in VR is probably

achieved by boxer Anthony Joshua and cyclist Chris Froome.

He went through a host of

less likely than someone who has

camera options and the use of

never made a film before, because

zip wires, explaining that having a

the technology and ambition is so

straight horizon is key to keeping

radically different.”

people from reaching for sick bags.

Most interesting was the notion that

Another way of engaging

cameras can be hidden, and the

A fabulous session on emerging

very capable stitching software he

media technology was a refreshing

uses to stretch six images around a

escape from talking about what

virtual sphere.

we know.

Fronted by Simon Gauntlet of the

Let’s optimize multiplatform scheduling Stand 3.C59 – Hall 3

Book a demo or appointment at mediagenix.tv/IBC2016

“I can adjust the cameras and adjust the horizon. The algorithms

DTG, it started with the suggestion

also allow me to grade and colour

that horror and porn have rushed

correct. There are no rules with

into VR and AR. The big question

VR,” he said. CEO of LiveLike VR,

55 56 59 60 TVBE sep 2016 Business_v7_final.indd 59

THE FUTURE IS CONTENT-CENTRIC

SCHEDULING THE FUTURE TOGETHER

25/08/2016 16:39

60 TVBEurope

www.tvbeurope.com September 2016

Business A Retreat attendee trials Dell’s VR technology in the Innovation Zone

media is fantastic’. I am hooked

facilities. It is a significant impact

on the Google Paint Program,” he

on their delivery costs. “We were

said. “There are so many tools that

following the studios’ work (already

need to be developed to make this

standardised by SMPTE), and saw

end of the world work. Those will

they had the same problem.

come quickly because there is so

They had to deliver different

much development cash being fed

master versions.”

into the VR world.”

The problems arise around the codec (IMF is locked to JPEG 2000

TV to borrow from Hollywood

as it stands) and the metadata

The EBU is pushing hard to establish

into a plug-in system that enables

a TV industry version of the

the carriage of different types of

Hollywood studios’ integral master

metadata schemers, including

format IMF, but problems have

archiving functions.

to be overcome. “Every time you

schema, which needs to morph

Explaining that automation, QC,

generate a new outlet version, it

system integration and transcoding

Steve Schklair, CEO of 3ality, put

confused with the content. You

is a new master struck. It is a new

requirements will also be discussed

some brakes on the enthusiastic

put a headphone on somebody

representation of a certain piece

at an upcoming plug-fest based on

start to the discussion: he had

and after 60 seconds they remove

of content,” said EBU programme

a prototype codec implementation

prospered through the three years

the headset and say it was the

manger Hans Hoffmann.

(AVC-1) and EBU Core Metadata,

during which 3D was the next best

coolest experience ever. If it was

thing for TV. “

that incredible, why not watch the

with broadcasters who are

to meet the needs of the broadcast

full thing? I have seen some things

not getting any more money

community IMF has great potential,

through headsets and I go ‘this

for production and technical

but we need more flexibility.” n

I come at VR from a sceptical viewpoint. The medium has been

55 56 59 60 TVBE sep 2016 Business_v7_final.indd 60

“This has a substantial impact

Hoffman said, “As a potential spec

01/09/2016 12:02

TVBEurope

September 2016 www.tvbeurope.com In association with

61

Audio

Audio metering past, present and future As Cologne-based audio metering giant RTW’s 50th anniversary year draws to a close, CEO Andreas Tweitmann and head of product management Michael Kahsnitz talk to David Davies about landmark products, technological trends and future plans It’s a tough ask, but if you had to select three milestone products that, to a greater or lesser extent, have defined RTW, what would they be?

done with the EBU (European Broadcasting Union) and ITU to implement the loudness regulation in the broadcast domain.

have to be the initial Peakmeter,

To what extent would you say the core vision of RTW has changed over time?

which was made available in

Tweitmann: I can only speak for

1971 and really marked the start

the period since 2007 when I took

of the professional recording and

over the company, but I would

broadcast business for RTW.

say the core vision, which is to

Kahsnitz: The first one would

“We have had a great 50th anniversary year, but now we are firmly focussed on the future and we are looking forward to the next 50 years” Andreas Tweitmann, RTW

be the leading company in the

COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE

the BroadcastMonitor series, which

audio metering world, remains

Let’s not leave money on the table

included AES/EBU inputs and digital

unchanged.

After that I think I would highlight

outputs, and was really a big step forward for us.

More recently, the introduction

What has definitely developed over the last few years is the whole software side of the business.

in 2000 of the Surround Sound

For more than 40 years we were

Analyzer was significant as the

basically a hardware developer,

industry began to embrace

but in recent times we have moved

5.1. In addition, I would highlight

into software development and

the ongoing work that we have

into processing as well.

61 62 63 TVBE Sep 16 Audio_v2_final2.indd 54

Stand 3.C59 – Hall 3

Book a demo or appointment at mediagenix.tv/IBC2016

SCHEDULING THE FUTURE TOGETHER

26/08/2016 15:29

62 TVBEurope

www.tvbeurope.com September 2016

Audio RTW now has extensive support for 5.1 workflows, but what do you think is likely to be the future for surround and immersive audio in more general terms?

In association with

Andreas Tweitmann, CEO, RTW

Michael Kahsnitz, head of product management, RTW

Tweitmann: It is clear that we are in a period of transition where no one is quite sure what the future will be. I think there is an obvious trend towards [the immersive technologies], but there are a number of options - NHK with 22.2, Dolby Atmos, 3D audio – and no one is quite sure which ones are going to be widely adopted. So the challenge for us as a metering company is to try and stay one step ahead of the changes.

Kahsnitz: Ultimately, it comes down to where the consumer industry is going. The demand for immersive audio will be driven by consumers and how many people are in a position to have the equipment in of the distribution chains, making

of course you have the well-

How would you assess the current state of play with regard to the issue of loudness control and the implementation of the EBU R 128 Loudness Recommendation?

documented issues relating to

Kahsnitz: For us as a company,

different operating circumstances,

compression and distribution. One

it led to the development of a

so the perfection of that system

thing with 4K is that it might have

whole new generation of metering

was undoubtedly a landmark moment for us.

their homes. And for that to happen

are still going through important

people must feel that it offers a

early phases. With IP audio, for

definite improvement in terms of

example, there are a lot of different

sound and effect.

technologies for people to choose from. With 4K, the core standards

it easy to control the dynamics for whatever content you are delivering or whichever device it is being distributed to. It was

What impact do you think emerging areas of developments such as IP audio and 4K will have on the market over the next few years?

are still being established and

less resonance with younger people

products, commencing with

Tweitmann: Well, they are definitely

as they are now watching so much

the CLC (Continuous Loudness

More generally, R 128 was

fast-moving areas and they are

content on their mobiles where

Controller). What we tried to do

obviously a big step forward for

going to have an impact, but

the benefit [of higher-resolution

with that product was to provide

the broadcast industry, but as a

again, it could be argued that they

formats] is going to be limited.

the best dynamic structure to each

member of the EBU PLOUD group

61 62 63 TVBE Sep 16 Audio_v2_final.indd 55

a great challenge to maintain that dynamic structure through

25/08/2016 15:45

TVBEurope

September 2016 www.tvbeurope.com In association with

Audio

I can confirm that the work is very

CLC01 provides the first OEM

much ongoing. Earlier this year the

hardware for the CLC algorithm

EBU released a supplement to R 128

that RTW developed in cooperation

called s1 version 2-0 that specifies a

with the German Institut für

special set of loudness parameters

Rundfunktechnik (IRT). The CLC

for short-form content such as

signal processing algorithm allows

advertisements, promos and other

users to constantly control and

audio programme segments of

regulate to a given programme-

short duration. The V2.0 of the

loudness value and definable

regulation also puts an emphasis on

loudness range with minimal

the permitted maximum short-term

obstacles for unknown, live content.

loudness and no longer includes the

We will show for the first time a

“I can only speak for the period since 2007 when I took over the company, but I would say the core vision – to be the leading company in the audio metering world – remains unchanged” Andreas Tweitmann use of the maximum momentary

loudness meter designed for the

loudness limit. There are also

music industry market called

almost brand new distribution and

MM3, and will also be introducing

reproduction guidelines (EBU Tech

a new software version (4.0) for

3344) version 2-0 that are

our Loudness Tools and Mastering

now available.

Tools software, as well as the new version (1.5) for TM3-Primus and

Finally, what can you tell us about your plans for IBC2016?

USB Connect. Finally, we will draw

Tweitmann: We will be showcasing

series products.

our full range of monitoring and

63

attention to our TouchMonitor instruments and SurroundControl We have had a great 50th

metering software and hardware

anniversary year and it’s been a

devices, as well as our new audio

welcome opportunity to take stock,

processor hardware, APRO-CLC01,

but now we are firmly focused on

for Continuous Loudness Control

the future and are looking forward

(CLC). The combination APRO-

to the next 50 years! n

Audio at IBC NEWS of new product launches gracing the halls of IBC2016 continued to flow in as this issue of TVBEurope went to press.

From Wisycom comes the MPR50-IEM receiver, which was specifically designed for professional in-ear monitoring applications and includes a user-friendly interface featuring popular components favoured by established Wisycom users.

Fresh elements for this receiver include a new ENS compander that caters to live and music shows and broadcasts by ‘significantly increasing’ the quality of audio transmission during the transfer of complex data, such as high dynamic audio inputs.

It promises to be a particularly significant show for CoachComm professional products division Pliant Technologies, with the introduction of the first Pliant product since the division was announced. The wireless intercom system CrewCom is based on a new technology platform that is said to offer ‘the industry’s highest user density, unparalleled range, and scalability.’

Features include compact professional full-duplex wireless radio packs and multiple simultaneous frequency bands.

Wohler Technologies is among the many companies responding to the increasing demand for IP-based solutions with the launch of the iAM-MIX multichannel audio monitor and mixer, and the iAM-AUDIO audio monitor. A

platform for eight- or 16-level control out of the box, audio-only monitoring, iAM-MIX integrates with popular A/V router solutions to push and pull channelname data. The iAM-AUDIO introduces touch-panel interfaces to allow intuitive command and control of the unit and new I/O options, including Dante and Ravenna.

Sound Devices meanwhile is showcasing its 688 mixer/recorder with MixAssist and Dugan automixing capabilities. The inclusion of these features is said to be in line with Sound Devices’ commitment to ‘giving production sound mixers the tools they need to help them mix in increasingly complex production settings’, with the intention being to make the 688 the ‘go to’ automixing tool for field production applications.

Finally for this round-up, DPA Microphones, which is exhibiting in conjunction with Dutch distributor Amptec, is showcasing its ability to provide microphones that can support all manner of broadcast applications, ranging from studio and OB van to the lone journalist working in the field.

Specific products available to demo at the show include the d:screet Miniature Microphone, the d:fine Headset Microphones, the d:dicate Recording Microphones, the d:facto Interview Microphones, and the mobile d:mension Surround Solution.

VOD IS THE NEW LINEAR Let’s unify the workflow

Stand 3.C59 – Hall 3

Book a demo or appointment at mediagenix.tv/IBC2016

SCHEDULING THE FUTURE TOGETHER

61 62 63 TVBE Sep 16 Audio_v2_final.indd 55

25/08/2016 15:45

64 TVBEurope

www.tvbeurope.com September 2016

TVBEverywhere

Mainstream VR - virtually a reality?

Carl Hibbert, associate director, entertainment content and delivery at Futuresource, reveals insights from the company’s latest Virtual Reality Report and shares its vision of where the potential opportunities lie for the technology

and it doesn’t become a novelty feature. One aspect of this has been the curation of episodic content, in some cases attracting major industry names. Jaunt’s six-part series Invisible counts

Bourne Identity director Doug Liman and Oscar

V

irtual reality is still in its infancy but is

one again been diverted to hardware. Although

nominated screen write Melisa Wallack among

already attracting significant investment

understandable, this hardware is not going to last

the production team.

from major tech players including

long without an ever-rising amount of compelling

Google, Facebook and Samsung. This big spend

content to view. Thankfully, the past few months

is matched by big ideas as Zuckerberg, along with others in Silicon Valley and beyond, seek to utilise VR and AR to create the computing platforms of the future. The vision and potential opportunity is much wider than just watching

‘A major focus must be on ensuring consumers keep returning to VR and it doesn’t become a novelty feature’

a video or playing a game: it’s social, it’s

There are counter arguments to potential success of VR which must be considered and addressed. One of the most important is monetisation of content. Currently, content is mainly free to the consumer (and rightly so) as the industry seeks to drive awareness and secure consumer buy in. Advertising is currently the main source of income, bringing revenue back into

communication, it’s productive, it’s creative and

the industry for reinvestment.

much more besides, most of which has not even

have seen a rising number of investments and an

been thought out yet.

array of big hitters venturing into VR content.

Alongside a growing range of applications is a

Major content producers including Disney, Fox

Getting consumers to pay for content will add further stimulus to make content, and therein lies another risk - content being made

broad spectrum of available headsets, from £10

and Discovery are taking initial steps into utilising

for making’s sake. Poor quality content, as well

cardboard boxes that turn your smartphone into

VR as a promotional tool for traditional content

as user experience on first trial, jeopardises VR’s

a headset through to the £700 fully immersive

and also experimenting with monetisation.

longevity and consumer potential for returning to

VR headsets requiring thousands of pounds

Pay-TV platform Sky has invested over £1 million

the technology.

worth of PC processing power to function.

into US-based VR pioneer Jaunt, and in March

There is more than just user hype behind

Low-cost options offer the ability to attract and

this year announced the launch of its own Sky

VR, and considering the potential beyond just

familiarise the mass consumer, high-cost solutions

VR production facilities. When added to recent

entertainment and the opportunities presented

supply the early adopter segment and bring

announcements that Spielberg is venturing into

by AR (just consider the overnight success

revenues into the industry for further curation

VR, along with Star Wars (both in video and

of Pokémon Go!) the technology looks to

and development.

gaming), people are getting excited.

have longevity. All of this, however, will hinge

To date, much of the investment has centred

VR should not be considered a replacement

on continued investment from the industry

on equipment and hardware. In the top 20 VR

for traditional TV and video. It’s a new platform, a

in ensuring that the proposition continues to

related Kickstarter projects (the original launch

new opportunity for consumer engagement and

evolve with lighter, less intrusive headsets and

pad for Oculus), 17 are hardware related and,

should be treated as such. It’s also not a platform

increasingly compelling content to grab and

of the $4 billion plus being invested, much has

for all genres, but where it works, it can provide

maintain the consumer’s attention. n

Projected global VR revenues (USD Bn) Games/Video

innovative, creative genres are key in the near-

What do they want to do?

term; short films, music videos, documentaries

Hardware

will all work extremely well, if done correctly.

8

Playing Video Games

42%

Watch Movies

42%

As much as immersive feature length films would/will be a fantastic experience, there are still many issues to resolve, both from a

6

© 2016 Futuresource Consulting Ltd

10

a compelling and immersive experience. Short,

production perspective and the consumer hardware limitations of wearing a heavy bulky device over a long period. But let’s remember

4

Watch TV Shows/ Music Videos

36%

this is first generation - there’s a huge amount of development and innovation to take place

Watch Sports

32%

in camera technology and creative techniques

2

in addition to new generation headsets on the horizon from Google, Samsung and others.

0 2016

2017

2018

2019

2020

28%

For the industry as a whole, a major focus must be on ensuring consumers keep returning to VR

Games (PC/console/mobile) and video advertising will be an early catalyst to VR-associated content growth High-end headsets, combined with rising availability of smartphone powered headsets will sustain hardware revenues

64 TVBE Sep2016 TVBEverywhere_v2_final.indd 32

Watch Adult Content

Series 1

Futuresource ‘Living with Digital’ Consumer Research, Dec16 Base: USA, those aware of VR (1,038)

25/08/2016 16:08

TVBEurope

September 2016 www.tvbeurope.com

65

Data Centre

VR and the Future of Experience

By John Watton, EMEA marketing director, Adobe

interviews with technology experts and

W

UK adults.

engage with and how they engage with them.

extraordinary and the scope for technologies like

In order to stand out, there is an ever-increasing

VR to play a leading role in this transformation is

need for brands in all industries to create

absolutely enormous.

quantitative research online with over 2,000

ith digital change accelerating,

What we found was truly remarkable:

consumers are now more selective

the appetite for people to have deeper,

than ever about the brands they

more meaningful experiences with brands is

compelling experiences that enable them to engage with their audiences more meaningfully and personally.

Adobe and Goldmiths University recently set out to investigate how emerging digital technologies are impacting customer

Our findings identified five fundamental rules

‘Brands need to ensure they not only create immersive experiences, but also socially meaningful content’

of engagement which brands and businesses should consider when it comes to creating customer experiences in an increasingly digital world: empathy, serendipity, privacy, reciprocity, and adaptability.

experiences, and how brands can harness

Empathy refers to the need for digital

these technologies to further improve their

experiences to be meaningful, and to connect

engagement with customers and stay relevant in

technologies: virtual reality, artificial intelligence,

with people emotionally and more broadly,

this new world.

wearables, augmented reality and the internet

with the capacity for technology to ‘achieve

of things. The study employed a mix of research

a social good’. Thirty-two per cent of research

methods, including workshops with consumers,

respondents said that a great experience is one

We focused our research, ‘The Future of Experiences’, on five important emerging

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

Feature

Editorial Close date

Advertising close date

• Audio for broadcast • IBC Best of Show Winners • IP technology

23rd September

16th September

November

• Post-IBC acquisition focus • Remote production

21st October

13th October

December

• Media Asset Management • M&A business review

11th November

4th December

October

Exhibitions present at •TVBAwards

For all advertising and sponsorship opportunities, contact the sales team: Europe Peter McCarthy: +44 (0) 20 7354 6000 pmccarthy@nbmedia.com TVBE Editorial Planner 2016 half page.indd 1

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Richard Carr: +44 (0) 20 7354 6000 rcarr@nbmedia.com

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USA Mike Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv 26/08/2016 09:41

26/08/2016 15:30

66 TVBEurope

www.tvbeurope.com September 2016

Data Centre Connecting to others and to yourself

In terms of privacy, over half (52 per cent) of those surveyed agreed that a good digital experience empowers them to use technology to not only connect to the world, but disconnect from it to enjoy private moments and exploration.

Wihen is came to reciprocity, our research found that people were willing to accept artificial intelligence into their lives, providing the applications provided helpful, practical, personal and progressive experiences.

On adaptability, it was found that brands must adapt to provide seamless, integrated

52%

experiences across products and services.

say good digital experience empowers people to use technology to not only connect to the world, but disconnect from it too around them. This shift in perspective is

one that was personal.

an essential element of empathy. connections between people, comes down to

anywhere else, which was often recognised

the content that is displayed or engaged within a

by the research respondents. As one of them

VR setting. This is where brands have the biggest

put it: “My hope would be that out of the

opportunity: They need to ensure they not only

myriad possibilities enabled by VR, we see the

create immersive experiences, but also socially

emergence and flourishing of applications that

meaningful content that enables connections

achieve social good. If, through this technology,

between people. Understanding this difference

people could more easily experience and come

between an immersive experience and an

to understand what others are experiencing,

empathetic one is key.

tolerant and empathetic place.”

VR’s ability to enable empathy is fundamentally

the preference.

We hope these findings fills you with courage

Its other main element, the ability to enable

VR to influence experiences is greater than

perhaps the world could become a more

revealed that face-to-face transactions, in lieu of say, computed-generated service, still remains

that is meaningful, with 19 per cent stating it was Empathy is an area where the potential for

That being said, 35 per cent of respondents

and hope for the Future of Experience and what this means for the consumer market. n

“

The next rule of engagement, serendipity, refers to the massive potential the technology has in terms of harnessing discovery and surprise.

linked to its ability to shift technology users from

This was hugely reflected in our survey, with 64

simply staring and swiping screens to having

per cent of respondents confirming that a good

new experiences that enable them to exercise a

digital experience is one which allows them to

greater sense of personal agency on the world

discover new and unexpected things.

Seamless experiences

Our research shows people want experiences facilitated by technologies that enhance the flow and meaning in everyday life. The call-to-action is for experiences that are empathetic, learning, and adaptive. Emerging technologies are opening windows into previously unimaginable experiences where the machines and code have as much responsibility as people in promoting and amplifying the best qualities of our humanity

Dr Chris Brauer, head of innovation at Goldsmiths, University of London, who led the research study

85%

switch devices during online tasks

6.1 connected devices

on average in Europe

65 66 TVBE Sep Adobe Data Centre_v5_final.indd 47

40%

say companies do a good job at providing consistent and personalised experiences across platforms

26/08/2016 15:30

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