APRIL 2014
Stream-Power at Protel We are here at Protel Auckland for a demonstration of Livestream with Mark Hall from Corsair Solutions. I spoke with Mark after a full-on hour demonstration. Mark also did the same demonstration at Protel’s Wellington Office.
Vol 201
Mark: It streams to www.livestream.com Now depending on the account you have, even if you have a free account, you can then share that feed and someone can watch it on a smart TV, say through a Roku or their iPad or their Android or their computer.
Ed: Mark, I have to say that my brain has been rather taxed today listening to all this new technology. This is an area that I’ve avoided as much as possible, all this internet stuff, but well, you’ve got to learn these things and I must say I’ve learnt an awful lot today. Now just give us a very simple view of the Livestream products. My understanding is that you’ve got two paths here. The first one is a single camera streaming solution so run us through that first? Mark: Our single camera solution would be the Livestream Broadcast, which is a complete HD live video streaming device without the need for a PC. Ed: This is just a little red box, runs on three AA batteries or an external power and it takes an HDMI feed in?
Mark with the Livestream control system.
Mark: That’s right, and it delivers via the Ethernet, on a WiFi network or USB 3G/4G modem.
Ed: So livestream.com is a server that is run by Livestream so, if you take the free account, all you’re paying for is your own Telco provider for the data that you’re uploading to it, then what happens?
Ed: So you’ve got all of those options and that then streams that output from your camera to where?
Mark: That’s correct … livestream.com is a website and it has the content delivery network behind
Mark: It has full TVR and video on demand support, so they can easily watch it from the start. You can also upload a video that you’ve done elsewhere and anyone can view that stream or video on demand as needed. Ed: And in that free version it’s sitting there for 30 days? Mark: That’s correct – unlimited event pages (*one event at a time.) Unlimited viewers and storage ( storage of media is only kept for 30 days ) check out the various plans http://new.livestream.com/plans Ed: So signing up for a free account provides anyone with the opportunity to try this, see how it works and then find out the advantages of the paid upgrades. Certainly, the advantages from what you showed us today were considerable – especially the ability to make it private so that nobody else can see, and also the ability to put it on your own website? Mark: Yes, that’s correct. Once it’s out there, you can stream to wherever; with some of the more premium accounts, you can lock it down so it’s not visible on livestream.com; you can embed that in your website, you can password protect it, you can control the embedding location, so if someone has it on your website .com/videos – if they try and share that and embed that somewhere else, you can control where that’s played from so no one else can play it back on an external site. There is a lot of flexibility about that. Ed: And the video quality is up there – I mean, we’re talking maximum upload speed of 2.3meg per second? Mark: So the broadcaster will do up to 2.3meg. It will do either a constant bitrate uplink or an adapted bitrate uplink, so we can use anything. The red box in front of the camera is your streaming device - not large but very powerful.
that which hosts the video content and the live stream. You can actually view that on livestream.com or you can send that link out and someone could just open up the email or you can share it via Facebook or Tumblr or Twitter or even embed it on your own website. Ed: So you can tell a whole lot of people that this is coming, here’s the link so that they can be prepared, for example, at 2 o’clock in the afternoon, to go to this link, log in and they can watch that live stream? Mark:
Yes that’s correct.
With a free account, they need to actually log into it but, with the basic business accounts, you don’t need a password. So you can send that link out and you could have ten people or 10,000 people viewing that stream and you get no overages i.e no excess usage charges for the number of viewers viewing that stream. Ed: And if they’re half an hour late because the car broke down?
As I demonstrated a short while ago, my mobile phone is a wireless hotspot, or if we had a very high speed connection we could have a constant bitrate 2.3meg 720p stream going out which looks very, very good. Ed: And in all of this, the only cost is actually buying the little red box? Mark: That’s right, so it’s quite exciting for us, because Livestream offer a complete end to end solution. I suppose the only thing that’s missing is your internet connectivity. Someone can buy one of these devices, whether it’s a church, whether it’s a business, and they can stream. Apart from the stream that’s going out, which can be viewed by an unlimited number of viewers at no cost, it will also store the event for 30 days, so that event can be playable back for 30 days even on the free account. Ed: In fact, you don’t actually have to use a camera – you could stream this out off a timeline with an HDMI output? Mark: That’s correct. So there’s also producers tools which work on platforms like the Mac, you can use say Face Time and stream to the Livestream platform more on page 6
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with Face Time, or you could even use your mobile phone and have that streaming live into your Livestream account in addition to the broadcast, so it’s very, very flexible. Ed: So this little red box must be very expensive if it offers all of those things in one? Mark: No, it’s actually not very expensive. It has a list price of around about AUS$700 including GST. Some of the features which make it very appealing – it has things like you have your three AA batteries, whereas other systems that are more expensive have internal batteries that are non-removable, when they go flat, you know, you’re cactus. So here you can easily change the battery.
ATEM to get your camera feeds into the Livestream Studio software, but then you have all this functionality that’s coming from the Livestream Studio software, so four simultaneous streams out, Picture in Picture, four ISO simultaneous records, tallies, all the features that we have run through would be available to you. Ed: But rather than you build up your own system, you’ve gone one step further and built up a nice little suitcase with a lot of Blackmagic in there, but it’s all guaranteed to be working together? Mark: That’s correct. So as you saw, we had the HD500 being displayed. The HD500 is a truly portable system. It has an inbuilt screen, it’s got inbuilt stands and it comes with a carrycase that’s actually flight friendly, which is quite unique compared to other systems around. It is a complete solution for the Livestream platform. You just give it your camera inputs and you can do four ISO records as well as four streams out. Those streams do not have to go to Livestream alone. We can go contribution quality through say to Jigsee, YouTube live, we can go to Akamai, Wowza – and a variety of different platforms; we’re not limited to where we go. We can also go to a backup publishing point and even have backup hardware units as well. Ed: And there’s bigger versions than this, but certainly this little HD500 shows what’s in there, so as well as having five camera inputs, you can of course feed in … does it have an internal storage where you can put some video in for playback?
Some of the interested who attended the show at Protel in Auckland.
Ed:
Was that “cactus”?
Mark:
Like “dead in the water” or “dog meat”.
Ed: Ahhh, must be an Australian-ism. Alright, so that’s the single one, and then, to really blow your mind, there are studio options? Mark: Yes well, we have the Studio software that is available for purchase by itself, that works with virtually any Blackmagic device, whether it’s a Blackmagic Intensity or a Thunderbolt or USB3 device or even an ATEM that enables you really to get the most out of your Blackmagic devices. Ed: So you’re talking about a Blackmagic device inside a PC, a laptop or something like that? Mark: Yes, but also a USB3 device or a Thunderbolt. It doesn’t have to be inside a PC, it could be a portable device that’s attached to your computer. So this software works with that and uses a Blackmagic device as an input. Ed: Okay, so in summary, with something like an ATEM television studio from Blackmagic and a laptop, you can load the Livestream software into the laptop and whatever the Blackmagic device does, you can use its features to stream out the video onto the Livestream server? Mark: That’s correct. So if you took, for example, say a Livestream, say an ATEM, you would be using the
Mark: Yes it will store roughly about 20 hours of 1080i at 100meg of storage in there. So apart from doing those four simultaneous records onto the internal storage, we can also store onto – go to a USB drive or an eSATA or a USB3 or a LAN location. We are not limited exclusively to what’s in here. That’s a very stable portable system. Ed: And the system shown here is connected up to a 4K Sharp monitor, so you’ve got a huge desktop that you can have a whole lot of displays on and do all your switching and set things up and put in your graphics. It really is a little television studio isn’t it? Mark: We have it set up here on a 4K monitor, and we’ve reversed the screen, so we’ve got the 4K monitor displaying the main studio screen with your preview and your programme and all your graphics in your media. We’re actually using the HD500 as a multi viewer and we’re showing the streaming status and the amount of viewers on there and our various camera feeds. In addition to that, we can run up to four multi screens out, so they can be different combinations of programmes and previews and recording with all our audio levels and our markers, tallies and our names.
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And we also have this connected up to a Sony Broadcast LMD-A220 monitor with a programme out. So we can have SDI or HDMI programme out as well. Ed: And a final word from Ken – Protel, you’re a reseller of this product and obviously the place to come to see it. There’s lots of streaming product out there, how does this fit in the offer Ken? Ken: Wow this is a fantastic product and it’s not just a streaming product, it’s actually a television station in a box and it does a heck of a lot more than I thought it would do now that I’ve seen the full demonstration, particularly in the graphics side and the fact that you can ISO record on some of the boxes. It‘s going to be great for sports; for a small TV station setup, it’s amazing. Some of the customers who came today have specific requests for live events and it doesn’t solve everything, but boy does it go a long way. Ed: But we are looking forward to some upgrades at NAB I understand? Ken: Yes, I’m looking forward to those; there is already a new software upgrade with more features I’ll be loading shortly.
Ed: And one of the benefits of you being a representative of this and other product is that people can come and talk to you and go through their requirements and see what fits? Ken: Yes exactly and you can see that, just by being here, we’ve got multiple Sony and Canon cameras attached to it, so we can actually offer the whole package and cater to suit the customer. Ed: And the really good thing is that you actually have one here? Ken: Yes we have an HD500 as a demonstration product so those interested can take a close look and see what they think. Ed: Well that’s the good thing about being here on the ground isn’t it, people can actually come and see it Ken? Ken: Exactly and we can have it up and running connected to a source and they can have a fiddle with it. Ed: There’s nothing like a … no, I’ll stop there. Anyway for those who want to see the product in the flesh call Ken at Protel on 09-379-1432 and arrange a demonstration or ask for New Zealand pricing. NZVN
And Still the Tributes Flow ...
How many glasses of wine does it take to get a steady selfie? Page 8
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Coffee with David Louise, you’ll be pleased to know David Colthorpe is not dead – in fact, he’s sitting opposite me. David: I’m not dead, hello Louise, how are you? And I must say I did appreciate your comments in the last issue; that was very kind of you. So here I am. I haven’t been anywhere, we’ve been working away doing what we do … I’ve just sort of re-engaged with Grant and thought it might be time to get back into the fold. So that’s what I’m about today. Ed: But you won’t be visiting Louise and delivering tapes anymore? David: Ed:
Sadly I won’t have to take the risk …
... of losing your wheels in Mt Wellington?
David: Of losing the tapes. That’s rather unkind … she was rather depreciative before of her socioeconomic area which I think is totally … Ed: Don’t dig too deep David – I live in the same suburb. Anyway, the title for this is not “Tea with Mussolini” but “Coffee with David” and we’re here talking with David Colthorpe today as he’s resurfaced on NZ Video News because we’ve finally convinced him that the company he represents in New Zealand should really have a profile with our readers. We’ve heard the name Tectyl before David, but we always thought it was a car underbody protectant. Is that what you’re selling? David: Ed:
(sigh) This is Techtel …
Oh sort of with a hyphen in it, like K-Tek?
David: No, there’s no hyphen – Techtel. been around a while, 26 years actually.
We’ve
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I really wanted him to point at the coffee but he’s wise to me now.
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Ed: I know there are some very big products that Techtel represent here in New Zealand, that are in the major broadcasters and I suppose the grandest would be Harmonic? David: Yes, Harmonic is very significant in our offering. We have set up a joint venture with Harmonic Inc. in the US and represent Harmonic throughout Australasia. Ed: What are the sort of products that make Harmonic so significant in our industry? David: I guess the summary for Harmonic is that they’re an organisation that creates the new wave of products that are delivering “the new services to the new screens” – that’s the best way I can describe it. So the streaming services that you might view on tablets, your phone, or other devices, and also the new digital over-the-air services. TVNZ’s DVB headend is an example of a Harmonic installation in New Zealand. Ed: So growth?
it’s
obviously
an
area
of
David: It’s a huge area of growth. Everybody is now moving towards, or investigating their options for, delivering into that IP space rather than conventional broadcast delivery. Ed: So it must be a sign of confidence in Techtel that Harmonic have taken on this relationship, because being such a major player in the delivery industry, they wouldn’t take on a company that wasn’t sound and going to represent their products well? David: Certainly, in fact, that underlines a bit of what Techtel is about inasmuch that we come from an enterprise IT kind of mindset rather than, perhaps, the traditional broadcast vendor mindset. That’s obviously a very good fit to these new types of technologies. Ed: Okay, so obviously there are some other big products there, but in the broad realm of the NZ Video News readership, there are a couple of products that we talked about that you think that more people might be interested in? David: Yes, we represent products from TVLogic, the video monitor manufacturer, and also yellobrik from LynxTechnik, which is a German manufacturer of very good quality glue products, and both these are very much worth investigating. Both these manufacturers offer products that are really good value, very high spec, very good quality with excellent quality assurance and – important these days – prompt delivery. I recently went to Seoul to have a look through the TVLogic factory and attended some training there and they’re a most impressive company. A very meticulous, very credible company indeed; as is LynxTechnik – they’re a German company and you can just imagine what their equipment is built like. It really is absolutely staggeringly high quality … Ed:
Yes, I’ve got a German wife.
David: Well there you go, she’s also built well is she? Oh, I guess we’ll have to change that.
Ed:
No, no, we don’t change anything David.
David:
Oh that’s new is it?
Ed: So anyway, we’re going to hear a lot more about those at NAB, because we’ll be doing stand visits to TVLogic and LynxTechnik and bringing those to you in the May and June issues. Now, tell me about purchasing – you’re obviously here on the ground, you don’t have a showroom, you don’t keep all these products in your backroom, how are people going to go about getting their yellobrik’s or their TVLogic monitors? David: So specifically for LynxTechnik and TVLogic, we have set up reseller arrangements through the normal channels in New Zealand; Protel, DVT, AVA, A2Z and also through the Techtel New Zealand Webshop. We have a simple but, I think, quite effective Webshop for online purchases for these types of products. The point to make about using our Webshop is that there are real humans behind there, so if you do place an order on the Webshop, which you may find convenient just from the point of view of using a credit card or just for speed and ease … Ed: Or you’re Christchurch?
not
in
Auckland,
Wellington
or
David: You may not be handy to a dealer, or maybe you just prefer to do it that way – you will get an almost immediate contact from a real flesh and blood person, somebody who you can talk to. Someone with a phone number and an email address where you can actually track the progress of your order and take up any issues you may have. Modern logistics makes the stock location – be it Sydney, Auckland, or a manufacturer’s warehouse – almost irrelevant, so order fulfilment is pretty efficient. Ed: But there are benefits also of going through the dealer?
Page 12
David: Of course, it may be part of a larger project with that dealer; it may be that you have account terms that you wish to utilise; obviously you have a relationship which you will value with a dealer too. So there’s a different model there and one that we fully support. Ed: And there shouldn’t be much of a price difference either way, so it’s really your choice as to the model that you want to use in purchasing equipment? David: It is, it’s really over to the customer’s own preferences, yes. Ed: And are you happy being on your own looking after New Zealand? David: Well, I’m not really “on my own” as I have my reseller and support partners here in New Zealand and there is a big team back in Australia. What inspires me is that this structure provides flexibility allowing us to adapt to individual customer’s requirements. After all in the end it’s still very much a personal business, you’re on their premises talking to people, that’s the way it works isn’t it. Ed:
Oh it’s about relationships David?
David: Hasn’t it always been about relationships? Of course it has. Nurture your relationship with David by checking out Techtel products by visiting your favourite dealer or by visiting the Techtel Webstore at shop.techtel.co.nz NZVN
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Fast Delivery on the Web We are at TVNZ with John Foggo, Platform and Content Operations Manager. We are not in TVNZ’s Hobson Street HQ but in a temporary location shared by curiously competitive neighbours. Ed: John, I understand you look after things digital at TVNZ? John: Yes that’s right – I look after the operations for Digital Media, which means content production and also the platform that the teams use to produce that content – mostly John with Samsung TV demo unit. focused around video content, but a bit of image John: I guess that’s no secret. We quite enjoy it and text content as well for publishing to the websites here in the new building for Telecom, but we’re really and the apps. looking forward to the new version of TVNZ HQ for sure. Ed: You’re not actually sourcing any of this content – somebody’s providing material such as the daily programming or special things and then you’re repurposing it for web release?
Ed: But you must make sure that those Telecom people don’t get a look in here because they’re planning to offer a VOD service too, aren’t they?
John: Exactly. So I look after both the News and On Demand output for digital media at TVNZ, but 99% of that content is produced by the broadcast systems and teams we have here.
John: Yes. There have been a few big announcements in the market related to On Demand and the VOD space as we call it – ShowMe TV recently was announced. But to be honest, we’re really focused on what we’re doing as the market leader for VOD in New Zealand.
This includes everything from the cameramen in the field for News through to the acquisition of our entertainment shows from our distribution partners. So more often than not, what you see on our digital services is exactly what you’ve seen, or will see, on air as well. Ed: Are you doing that delayed TV ONE minus one hour – is that you? John: No, actually, that’s organised by the broadcast operations guys. Anything that you see on the TV through your Sky box or through Freeview, that’s all broadcast operations; anything you see from TVNZ that is on your PC at home or your Apple iPhone or iPad or your Android device, that comes from my department.
Ed: Well hopefully it’s improved, because I do remember, John, that in the early days when TVNZ On Demand was announced, I went on at home and I just kept getting this little buffering circle when I was trying to watch something … and I gave up thinking “hmmm ... they need to do something.” I presume you have by now? John: Yes we have and we would put our hands up and say that those early days were really hard. I think we were quite ambitious with what we were trying to do. I’ve been here for three of those five years, but inherited some of the issues that were still around in terms of video playback and buffering.
Ed: Now it would seem mildly suspicious to some people that, on the outside of the building here, there’s lots of big Telecom signs and then there’s a little TVNZ sign. Is there something in that, some rumour that I could spread?
We knew the user experience wasn’t perfect. I think if you were in central Auckland with a really great internet connection, you were pretty good; if you were in the regions it was really difficult to watch.
John: I think that rumour’s already been spread. No, no big announcements there. For the Aucklanders who live close by who have been past TVNZ, it’s a very different looking building now. The satellites are still on top, but there are very few people left inside. The entire building is being refurbished. The business areas for TVNZ, aside from News and broadcast operations, are now based here in the Telecom tower; they had some space for us, so we’re here renting for two years.
John: Those on dial up had no chance to be honest, and will still struggle a bit often, but we’ve worked really, really hard on video delivery in particular.
Ed:
Bit of spare money from SKYCITY I presume?
Ed:
And those on dial up?
About 2½ years ago, we changed a couple of really important pieces of that puzzle, and one was to go with what’s called an outsourced video partner, an OVP. This company called Brightcove is based out of Boston in the US, and also Akamai is our distributor. So Brightcove is responsible for receiving and transcoding
Page 15
all of our video for web distribution. We send them a master file that comes out of our broadcast system. We send it across to the States, they turn out all the renditions required to help you receive it at home. Akamai, the guys that actually do that delivery, are a massive CDN ( Content Distribution Network.) Ed:
So how long does that take?
John: It can vary. Obviously, we have content of all sorts of length for On Demand – it can be as quick as a 30 second promo, or it can be a 2 hour coverage of America’s Cup. Most people reading your publication will know that that’s the major determining factor in how long encoding takes. The system we had at TVNZ prior to that was very much a series of desktop encoders based inside the building with a lot of human intervention. So it took far, far longer to do it without the help of Brightcove in the old days. It was also more prone to error, so not only would you struggle at home to receive the file because the encoding was not great, but the distribution on one of our local CDNs wasn’t up to scratch either … to be honest, sometimes we would get it wrong too, so we would be encoding the wrong file for the wrong show, just because humans make mistakes. Ed: So if you go to TVNZ On Demand, are you getting it from the States, from a server there, or is it somewhere in the Cloud? John: The simplest way to say it, is it is in the Cloud – it’s distributed across Akamai’s edge servers within New Zealand, and they have quite a few of them.
Ed:
So it is coming from New Zealand servers?
John: Yes, region by region you’ll have access to the closest local version of that file, and particularly after it’s been viewed a number of times, Akamai do some pretty magical things … a lot of what they do is a bit of a dark art if I’m honest. But they are able to distribute your content based on usage patterns as well, so where content’s being consumed in certain parts of the world, and then region by region, they can make sure that there’s content primed and ready to go. Ed: That’s really the crux of why I’m here. In the production and postproduction worlds now we’re being asked more and more to do things for the web and it’s always been a case of choosing the right codec to distribute that. I guess you’re in discussions with your providers to come up with a range of codecs – what are the sorts of things you look for to provide material that’s not going to have that little buffering circle when somebody tries to watch it? John: Yes, that’s a constantly evolving discussion. When we started, and when you would have tried to watch On Demand, we were serving only Flash files. I guess it was Macromedia Flash and then Adobe Flash and we quickly knew that Flash wasn’t the format we were going to continue with necessarily … Ed:
Because a particular “fruit” wouldn’t play it?
John: Exactly. That was probably the big announcement and obviously that had repercussions for everyone in the industry. So with Brightcove’s help, we
Page 16
moved to a range of different codecs. We send them quite a simple file. As I said earlier, it comes out of our Broadcast MAM, we run a version of Vizrt’s Ardome broadcast playout system. My team have access to that system and, based on the schedule and the available rights for the content, just pull down files and get those transcoded out of the broadcast system. The file that that system creates is just a 720p H264 MP4 file, quite a common file codec now for transport. That’s the file that we deliver via a fast delivery service called Aspera across to the States and that’s where Brightcove’s encoders do the work. Ed: So we can do that ourselves … I know with Adobe Premiere, I have a huge H.264 list including that 720p capability, so that’s a pretty good standard is it? John: It is. It’s widely used. Apple pushed it quite hard for a period there, particularly as an output for iPhones and iPads. I’m not saying it’s necessarily a favourite in the broadcast industry itself, because it can
minutes now. So we’re turning a pretty hefty encode around quite quickly with the help of some internal systems we’re running, and also Brightcove’s help. Unfortunately, maybe a year ago, that used to be more like an hour to two sometimes, just depending on how busy people were. Ed: But can’t you do those things progressively – I know that in some situations when an OB truck is receiving a transmission, it can actually put that material on the timeline while the file is still being delivered, and they can start editing that file as it grows. Is that what you’re looking at doing for the future? John: Yes, I’ve seen some of that stuff displayed at the likes of NAB and it’s really impressive technology. I know there are people in Europe using that form of delivery; “live to VOD” encoding, meaning the user can actually watch a file as it’s being delivered to them, as it’s being delivered out of broadcast. That would be our goal for sure. We want to make sure our news is out as quickly as possible online and we also want to make our entertainment shows available fast. Ed:
But they’re not so time dependent surely?
John: They’re not at all. There are some local productions which can deliver close to the wire because of the way they’re shot. New Zealand’s Got Talent, which is really popular for us, is an obvious one where you’re dealing with a live production which can go through an edit quite quickly and then be turned around on the day and delivered to us quite late. But generally, we’re publishing content up to two weeks out in advance, so we have quite a nice buffer of let’s say 80-85% of our content is all ready to go at any one point in time. Ed: Okay, now in terms of delivering this through TVNZ On Demand, how many levels of compression do you offer; is it an automatic pick, your device, when it logs in, does it pick the right one or do you have to do it manually? How does that work?
Neighbours for now.
… I’ll go on record and say it’s not my forte, but I understand it can be a long encode as well, compared to others. It does a very good job of retaining quality for the size of the file, but it is a highly compressed file as well for the quality you’re getting. Ed: So if you wanted to go up from there when you’re doing the encode on your own machine, rather than make the 720p file, you could do the 1080p? John: Absolutely and we are actually in discussions about maybe improving the source file we deliver to Brightcove. The one thing we have to be cognisant of as well, is transfer times and speed across to their transcoders, so that may not matter for content we have delivered weeks in advance, but it does matter for things like the 6pm bulletin, which we have to produce every single night, and that needs to get up really, really quickly. Ed:
So how quickly does that get out?
John: We’ve made some big strides there. We’re getting the 6pm bulletin, which is an hour episode without breaks … we’re getting it up within 30-45
John: It’s a little bit of both. Let me start with your first question. We have a list of almost 20 versions we create now, “renditions” as we call them, and they can range all the way from round 180-200 kilobits per second which is a very small file, all the way up to 1500kbps. That may not sound like a lot to some of your broadcast readers, but delivering that over New Zealand’s internet landscape is … Ed: Well that’s your neighbour’s problem isn’t it really – I mean, you can blame them, we all do? John: We think we’ve hit a sweet spot, and it really does depend on the device you’re using, so for each – let’s say for your desktop or for your phone or for your tablet, we have a series of about 6-8 versions. You start very small and, obviously, the frame size decreases as the bit rate decreases and it goes all the way up to 720. At the moment, we don’t have any plans to go much higher in terms of quality. We’re looking quite hard at the big screen experience and the Samsung TV app we have and the PlayStation 3 app, and are thinking about that, but we also have to be really aware that our customers are concerned about their data-caps. We have a couple of ways of tackling that, and one is to make sure that our compression is of great quality and we’re not delivering too many bits over their pipe, but
Page 18
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also we’re trying to educate them as well, because in fact you can consume a lot of video content with the compression that is out there now, and not use a helluva lot of your data cap in the process. So we’re actually in the market running campaigns to educate people, plus there’s a section on our site where you can calculate how much you might use should you watch 10 episodes of Shortland Street, and that sort of thing. It’s surprisingly little to be honest. Ed: So how does the customer choose the codec that they’re watching? John: The codec that is used is actually determined by the device that they’re looking at … and one important thing to note, as well as the codec, is we have to protect our content as well, so we use DRM ( Digital Rights Management ) technology on top of the codecs as well. So for our desktop service, we use Adobe Access; for the handsets, the phones, the tablets we use Google Widevine, and we’re looking at some other codecs based on where we might go in the future as well. We essentially have to say to our distributors, “we are delivering to this new device and we’re going to use this file type and this DRM type, is that compliant with your requirements?” There is a back and forth process with them to try and decide whether that is, and generally, especially working with people like Brightcove, we have our hands on the best DRM available. So the device itself is the determining factor as to what file you receive when you watch our pictures.
Canon Professional Services News Thought that you should all know that there is a special service for Canon camera owners available locally. We understand that there are enhancements to this service in the planning stages and we will let you know as soon as they are finalised but, for now, here is what Canon have to say on their CPS. Ed “Canon offers CPS to our Professional Photographic community. By being a member we offer up to 5 working days turn around; where this cannot be achieved a loan unit is offered. For us to be able to keep this level of service we do have criteria in play which requires a minimum of two 5D bodies and lenses. At times, turnaround times can be impacted by third party company involvement, such as insurance companies. To help support those that buy locally, we offer a two year standard local warranty on selected product including DSLR, Lens, Video and Cinema. We always welcome feedback and are always reviewing our programmes and initiatives to further continue to improve and enhance our offering to both professionals and consumers.”
Ed:
Ed: Is there any way that you can follow the example of MotoGP? Since Sky dropped the ball and didn’t buy the rights to MotoGP, I’ve been watching it online, and at certain times of the day, when the usage is heavy, I get the low quality, I get 360p. Then through the transmission as more becomes available, it increases – it might be up to 480, and when it’s really clear I’m getting 720p and it’s lovely. But it’s an automatic change, depending on what else is being used. Can you do that too? John: Yes, that’s exactly what we’re doing and it’s a complex mix of the device you’re using and the network; so it assesses things like the screen size and the CPU power of the device but also, like you say, the network conditions around you as well – and that’s why we create those eight files per device. So it’s a combination of all of those factors and the customer is then served the file that works for that moment in time. We’re actually a fixed bit rate player on our desktop site still. If you go to the PC site, you get to choose. You can choose anywhere from 300 kilobits all the way up to 1500Kbps, and about 50% of our traffic is still through that site. So we know our users are used to that, we know that a lot of them will just have it set at the quality of the setting they want, so we’re not that keen to change that at the moment, but as we go to new devices like the iPad, the iPhone and Samsung TV, then yes, we’ll let Akamai and Brightcove make the decision as to ( like your MotoGP example ) which file should be given to you at a certain point of time, to make sure that you don’t get that spinning wheel, but you get the best picture available that your TV, or iPad or phone can handle at that time. Ed: And this of course works for other streaming services. We’ve recently been shown, by a number of vendors, box streaming services, so that our programmes can go out to niche audiences. I guess that setting up for receiving those is pretty much the same as setting up for receiving TVNZ On Demand. So what are the sorts of things that a user can do to maximise their viewing experience? One, I guess, is spending a little bit more on your broadband and going from ADSL to VDSL, or maybe even fibre, but what else can they do? John: Well that’s probably the number one thing you could do. I personally think ADSL and VDSL are pretty good for the major regions; it’s certainly not my area of expertise, but I’m not going to be jumping on fibre anytime soon – I can’t where I’m living unfortunately, I’m not on the roll-out map yet … Ed:
Madeleine Furley Public Relations & Communications Consultant Canon New Zealand Ltd (09) 926 9352 | 021 448 336 | 28 The Warehouse Way Northcote Auckland | PO BOX 33 336 Takapuna | www.canon.co.nz
Are the codecs all H.264?
John: It’s the base codec that we use with Brightcove and there will, in the future, be a few different ones, but generally yes, it is. So we’ll create a master set of renditions and that will then be used by the devices.
Talk to your neighbours.
John: Yes. You know I feel like we need to be certain we do a fantastic job of making sure we have the right set of compression and renditions to deliver to the entire population of New Zealand, not just to the major centres. So that’s where we put a lot of our focus – and I get a lot of support from technology here at TVNZ to test out those lower bit rate ranges to make
Page 20
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sure that the picture quality is acceptable, and sometimes really good. You know, it’s never going to be HD when you’re serving 300, 400 kilobits a second, but the compression methods are improving all the time and it’s amazing when you compare to what a Flash file of 300K used to look like 5-6 years ago versus now. So obviously you can pay more for your broadband, but there are other factors too – your device might be a bit old, the PC you’re watching on might not actually be able to cope with it from a CPU point of view and, as you pointed out with MotoGP, there are some periods in the daytime which are just Some of the TVNZ Platform and Content Operations team - and props. really tough. We see a huge amount of contention from about 7pm all the way to essentially a great relationship that they have built up about 10.30-11 at night, every night and that’s when over time with our distribution partners. We’re really, everyone’s jumping on TradeMe, trying to get Netflix really lucky to benefit from the Warners and Disneys down from the States and jumping on our service as and the ITVs to get such great content. It’s the stuff well obviously. So that’s a tough time often to watch that Kiwis love to watch and we’re just giving them streaming TV over the internet, so if you can avoid another screen to watch it on. those really heavy times and watch say on Saturday or Ed: So there’s a future – this is going to get bigger Sunday morning, like we’re seeing more people doing, and better and we’re going to see perhaps less then you’re probably going to get a better looking broadcast and more internet? picture over your pipe. John: It’s an interesting discussion isn’t it, Ed: Or those of us who work from home, we can because the lean back TV experience is a special one watch in the afternoon, while the kids are still at and I don’t think we’re trying to replace that. I myself school? do it as well. You know, I kind of look at it in a different way and think that, as we just said, it’s all content and John: There’s a lot of university students out TVNZ accepts that there are different ways to deliver it. there using our services … So we accept that the broadcast delivery platform is Ed: Oh no, there couldn’t be, not for education, no, one way of doing it, but then there are loads of other no, no. Now you mentioned Netflix … isn’t that a dirty ways our users or customers want to consume content. word around here? But, at the end of the day, it’s still the same content John: Well you know we hold Netflix up as a bit of we’re putting out. The broadcast business is a massive a shining example in many ways … business obviously for us – there’s an easy statement to make! We look across the business in how we acquire Ed: So you can learn from your competitors? and commission content and the reality is that we want John: Absolutely, and we’re not naïve, there are to provide the choice for people. People love television, lots of international people out there doing an awesome and we see IP-delivered content as complimentary to job and we aim to be as good as them and we think television. It’s not a competition. At the end of the day we’ve done a pretty good job so far. we want people to watch more TVNZ content. We can’t Ed: But you couldn’t have the same content as them, force the user behaviour; we can help shape it a little could you? bit, but it will be consumed one way or another, so we John: No, and I’m sure this isn’t a surprise, want to lead that and try and make sure we’re giving it content is essentially what makes these services. to them in a variety of ways. Ed: Content is actually what makes most things in our industry John. Some people do forget it, you know they go for the sparkle, but it’s actually what’s there that’s most important.
Ed: And you’re not buying bandwidth that we used to use our radio mics on are you?
John: Yes, you can have the best built app and an amazing interface and a great delivery network, but if your movie catalogue is C List and the shows aren’t what TVNZ has for example, then you’re going to struggle, there’s no doubt about that. We, in Digital Media owe a huge amount of thanks to our friends in the TV Teams, as we are heavily reliant on what is
Ed:
John: there.
No, there are no dark secrets going on It’s the neighbours.
John:
It’s the neighbours you refer to!
Ed: We’ll send them a message tied to a dead cat shall we? John: involved.
Page 22
There you go – I couldn’t possibly get NZVN
What’s New to Hire? We are at NZCameraHire and Michael Zahn is showing us some new equipment that he’s got for hire. Ed: Michael, you’ve added some new cameras since we last spoke and I guess the top of the fleet must be the Sony F55? Michael: It is indeed the Sony F55 which is quite a nice little big camera. You can make it a really big camera if you put the R5 RAW recorder on the back and a great zoom lens on the front. Ed: And this is a camera you use yourself? Michael: I have used it a couple of times, yes. It’s still early stages; people are Michael with his “pride of the fleet”, a Sony F55 with all the trimmings. still getting used to that camera and its capabilities, but now with quite a few Ed: But basically you’re very happy with your choice? other people having invested in F5s, production Michael: I’m very happy with the choice of the F55 companies are more aware of the F5 and the F55 being camera and so are my clients who have hired it. They out there, so it’s being used more in actual productions. are happy with the images that they’re getting out of it, It has kind of replaced the F3 as the camera of choice. and so far, so good. Ed: You obviously had a choice between the F5 and Ed: Are any of them struggling with the cinema look the F55 – why did you go for the F55? as opposed to the video look? Michael: The F55 has a slightly better sensor, it uses Michael: Well some people think that Sony has more a global shutter, so unlike most CMOS cameras there is of a video look, but with the latest S-Log3, they actually no problem with image skew or flash banding. The quite closely matched it to the ALEXA cinema look. other major extra features that the F55 offers is the That I think is what draws people to use the F55 now ability to record compressed 4K footage internally and it and it’s an easy to use, well-built product. So that can shoot at up to 240 frames per second while the F5 definitely helps putting the camera out into the market only manages 120fps. The F5 can only record HD and and, being lighter than the ALEXA is good, especially if 2K internally. you’re doing handheld and the Sony quality is also Ed: S-Log? something to think of. Michael: I’m not sure if there was such a difference in S-Log software for the F5 and F55. I think there must be some strange rumours out there.
Ed: Now talking about quality, there’s quite a number of 4K cameras out there on the market – some very large ones and some very small ones, even little pocket
Page 24
something like the Zeiss Ultra Primes which I have quite a range of. At the moment there are 9, there’s a 10th coming, or the Fujinon Cabrio 19 to 90mm and 85 to 300mm zoom lenses, or Zeiss High Speeds which I have as well – so there’s definitely a good selection to go with the F55 camera. Ed: And that was it, you made a decision, to not only get the camera, but the glass to go with it? Michael: Well if you’re shooting on a high quality camera in 4K, you don’t want to put cheap lenses on it, because glass is actually your most important part in capturing the image. If you have nice clean high quality glass that has a perfect image throughout the whole frame, then you do get the perfect image on your camera as well. Ed: When you say perfect image across the whole frame, are you saying that the focal point is matched to the surface of the sensor, so you don’t get any blurring at the edges especially?
Michael and soundie Peter Kraan on location in Christchurch.
cameras from Blackmagic, but I guess there’s one big difference that people might overlook in choosing a 4K camera – what would that be? Michael: Can you put decent glass on it? Decent glass, yes, you’ve got to have some good quality glass,
Michael: Well some of the cheaper lenses that you get, they might be sharp in the middle, but then you’re looking at the outside, on the edges of the frame and
Page 26
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they’re suddenly all soft and yes, if you have decent glass like the Ultra Primes or Cabrio then you definitely get the right image in there. Ed: Right, so we’ve got the glass sorted, the other thing I noticed on your website, is that the cameras all seem to be shoulder mount ones, or little handheld cameras. You don’t appear to have any SLR style. Is there a reason for that? Michael: I do have one DSLR which is the 5D Mark 3, but I only bought it because I actually needed a camera for my own photo taking. So no, I wasn’t going to compete with all the other 5Ds that are out there. My thoughts are that, if you’re shooting video, you should use a decent video camera rather than a stills camera that is video capable. So therefore, all the cameras you see there are actually proper video cameras and they deliver. You have the choice right from a top of the line handy-cam style camera like the Canon XA10 or 25 to the well established work horse like the EX3 or the new follow up which is the PMW300.
Ed: Oh don’t say that, they’re very robust. one myself.
I’ve got
Michael: Oh they’re very good cameras, but I think there are a lot of other cameras that deliver higher image quality. Better they don’t have their own tapes anymore, so you don’t get dropouts with memory cards, you just stick them into your computer and you’ve got it all digitised right away. Ed: Oh well, you’re entitled to your opinions. Tape has its place and I’m not going to be dragged into these sticky things just yet you know. Let’s move on. In other areas, what else do you spend your money on – is it just equipment that you want to use yourself and then, because you’ve got it and you’re not using it all the time, you offer it for hire, or do you buy gear specifically for the hire market? Michael: Well obviously, me being a working DOP, yes, there’s a lot of equipment that I buy that I basically use on my shoots and then make available through NZCameraHire, but there are other times such as when a customer says we are kind of needing this and that. Is there any possibility that you may invest in that? But in the end, I always seem to be working with those pieces as well. Like some of the latest purchases that I made – Lockits, so if you want to lock down camera timecodes together, we’ve got them available; plenty of monitors right up to 26 inch, because people are always looking for a great on camera monitor or a nice big client monitor; auto prompters are very popular because people can operate it themselves – I’ve got the reasonably simple operating software. There’s a professional version as well, but I wouldn’t trust that one with anyone other than with one of my professional operators.
This is a great camera for everyday shooting and it can record in 50Mbps. And then there are the top ends with Super35 sensor like the FS700, F3 and the F55. Ed: And I’m very pleased to see you’ve still got some HDV cameras there – obviously it’s a format that’s not dead? Michael: To be honest, I actually got a hire tonight for the Z-7P but I think the format is definitely on its way out because I haven’t had many enquiries for the HDV cameras lately. Ed:
When was that – you didn’t come to me!
Ed: Oh yes I did – but it was nearly three years ago. I didn’t need your PD150 however. Michael:
Ed: In terms of purchasing this equipment ( and I’ve had many discussions over the years with various people I’ve interviewed ), you have a choice of buying locally or buying it from the internet. What’s your take on this, how do you operate? Michael: Well cameras I buy from New Zealand because then I can get them serviced here.
Well I needed one a while back Michael?
Michael:
But for dry hire, I do have a simple operating version where people can just hire the kit and set it up themselves. Often people don’t have the $7800 that is required to book a system with an operator, so they just dry hire a small or big auto prompter kit and do it all themselves.
Yes, I think that’s also on the way out now.
I had one client who has been recording on the PD150 for the last 15 years, ever since it came out and the last hire was late last year. We got talking about his hire and he said he thinks he has to move onto HD now because everyone else has moved on. So I think, yes, that camera is definitely one for the scrapheap.
I’ve just added a Canon C300 to my camera stable because so many people asked for it and I know it will be looked after locally. If one of my Sony cameras did break down ( which they don’t actually ), then I can go to the Sony Service Centre here and have it fixed within a day or two. Ed:
And also they’ve got loan cameras haven’t they?
Michael: They do have loan cameras and they’re very helpful in those aspects, so that’s why I really appreciate the local service. But for a lot of other things that don’t need servicing, like a shoulder rig or a
Page 28
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