TVBE April 2015 digital edition

www.tvbeurope.com

Business, insight and intelligence for the broadcast media industry

April 2015

Defining our field of vision Evaluating the UHD ecosystem Internet of Things Women in broadcast Set-top box IPTV supplement Imagine where you could take your business... if technology didn’t stand in your way.

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TVBEurope 3

April 2015 www.tvbeurope.com

EDITORIAL Executive Editor - James McKeown jmckeown@nbmedia.com Editor - Melanie Dayasena-Lowe mdayasena-lowe@nbmedia.com Senior Staff Writer - Holly Ashford hashford@nbmedia.com NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002 Contributors - Chris Forrester, David Fox, David Davies, Dick Hobbs, John Ive, George Jarrett, Adrian Pennington, Philip Stevens, Catherine Wright Head of Digital - Tim Frost Human Resources & Office Manager - Lianne Davey Head of Design - Jat Garcha Editorial Production Manager - Dawn Boultwood Senior Production Executive - Alistair Taylor Publisher - Steve Connolly sconnolly@nbmedia.com +44 207 354 6000 Sales Manager - Ben Ewles bewles@nbmedia.com +44 207 354 6000 Account Manager - Richard Carr rcarr@nbmedia.com +44 207 354 6000 Managing Director - Mark Burton US Sales - Michael Mitchell Broadcast Media International, PO Box 44, Greenlawn, New York, NY 11740 mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales - Sho Harihara Sales & Project, Yukari Media Incorporated sho@yukarimedia.com +81 6 4790 2222 Fax: +81 6 4793 0800

Welcome

Defining our field of vision Exploring the challenges facing the widespread adoption of UHD e may be far from any widespread

W

SMPTE’s recent

adoption of UHD, but what we do

seminar that sought

have widespread adoption of is the

to provide insight

understanding of the numerous obstacles that

on how to navigate

must be overcome before we see the onset of a

the UHD ecosystem.

fully UHD-enabled ecosystem for TV production.

This issue seeks to assess some of those

Elsewhere, we continue our

challenges: whether sufficient infrastructure is in

spotlight on females

place; the dearth of content being readied for

in the media and

this medium; the need for standards; issues of

entertainment

piracy; the shortage of video-centric equipment

industry with a

at the acquisition stage; and more besides. The

feature highlighting

Circulation NewBay Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK

perspectives we’ve assembled for this edition offer just a snapshot of the hurdles we as an

personalities who have provided inspiration for

Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848

industry acknowledge to be standing in the way

women throughout the sector. Sophie Wilson

of progress. With Gartner predicting that a third

offers her personal account of the pioneers

of all TV sets produced will be UHD by 2018 (as

whose efforts and contributions deserve

John Ive points out in his contribution), the race

recognition for the example they set to others.

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

will be on to ensure that an enabled ecosystem is in place before long.

The scale of the operation required to make

a selection of

The Internet of Things is also back on our radar, as we look at the business case for media entities seeking to cash in on the coming connected

this happen is not lost on anyone, which makes

world. No doubt, we’ll be hearing much more

the thrust of discussions at our TVBEurope 2020

about all of these themes at NAB, and I look

© NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free.

conference even more pertinent, as companies

forward with interest to learning the nature of

continue to define their strategies to encompass

the insights being delivered and debated at this

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

ISSN 1461-4197

UHD, IP infrastructures, and beyond.

year’s show. See you in Vegas!

As part of this feature, we also attempt to

James McKeown

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

demystify UHD Phase 1 and 2, and report from

Executive Editor

4 TVBEurope

www.tvbeurope.com April 2015

In this issue

40 In search of deďŹ nition We invite a selection of perspectives from across the industry as to the current barriers to the widespread adoption of UHD, covering areas such as infrastructure, piracy, and content creation

Feature

37

Sophie Wilson, director of sales and marketing at PHA Media, draws attention to the hugely successful women in our industry and recognises their important contributions to the broadcast sector

29 Supplement: Set-top box solutions for IPTV/OTT and hybrid This issue’s supplement, in association with ABOX42, looks at set-top box solutions for IPTV/OTT and Hybrid DVB, and the rigours involved in upgrading first generation IPTV solutions to the latest, third generation systems

6-8 Opinion and Analysis

53 TVBEverywhere

Setting the stage for consistent loudness worldwide. By Patrick Waddell, SMPTE fellow and manager, standards and regulatory at Harmonic

The changing behaviour of TV viewers. Dr Andreas Schroeter, co-founder and COO at wywy, examines the shift in TV viewing habits

55-58 Virtual sets forum

As Virtual Reality is becoming more commonplace, so there is a growing need for greater understanding of the technology. Just what are the challenges? Do enough designers understand what is required? Philip Stevens moderates

55

20 The Internet of Things

62 Data Centre

What does IoT really mean to the media and entertainment industry and what should service providers be doing to cash in? Adrian Pennington reports

Perceptions of the public cloud: a third of UK firms ban staff from using public cloud services, reports Connected Data

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6 TVBEurope

www.tvbeurope.com April 2015

Opinion and Analysis

Setting the stage for consistent loudness worldwide

By Patrick Waddell, SMPTE fellow and manager, standards and regulatory at Harmonic

at -30dBFS (decibels relative to full scale) or

audio loudness: the ITU-R BS.1770 standard

lower to avoid digital clipping.

released in 2006. Extensive testing by the ITU

All of these factors led to the inconsistent channel-to-channel and programme-to-

found matching results for human subjects and the BS.1770 algorithm.

programme loudness levels that irritated viewers he roots of the loudness drama reach back

and ultimately led to loudness mitigation

Perceived loudness

into the days of analogue television, when

recommendations and regulations. Within the

The ITU had created ITU-R BS.1770 to document

media consumers used mono-only TV sets

industry, frustration was fueled by the lack of

two critical audio measurements – objective

with tiny speakers. At the time, few broadcast

a loudness measurement method that was

multichannel loudness and accurate true peak

stations bothered to wire for stereo; audio was

reliable and matched to human hearing, as

levels – and establish a loudness measurement

a bit player while video took centre stage. The

well as the absence of an agreed upon set

unit expressed as ‘LKFS’ (level, K-weighted,

shift to digital audio changed this dynamic,

of interoperability points that could facilitate

against full scale), with the ‘K’ algorithm

opening the door to stereo and multichannel

program interchange.

accounting for the emphasis the outer ear puts

T

audio. Because even the least expensive

In the US, the ATSC addressed this problem

on low frequency (as documented in ISO 226,

home theatre-style sound systems offered

by establishing the S6-3 ad hoc group in 2006.

which updated 1930s research by Fletcher and

vastly better performance than analogue

This ad hoc group worked for close to two years

Munson at Bell Labs). A ‘gating’ function was

equipment, consumers began to invest in

before it presented a draft of what became

later added to BS.1770 to ensure that periods of

digital entertainment systems. At the same time,

A/85 to its parent Specialists Group, S6. S6 in turn

silence and low-level signals would not yield a

broadcast networks increasingly were converting their audio and video infrastructure to digital (often along with their conversion to HD).

Management of analogue audio had been straightforward, but digital audio was another story. Analogue television audio had less than 40dB of dynamic range. With the shift to digital, the dynamic range of audio extended to more than 100dB, giving the creative community

too-low measure of perceived loudness.

‘A/85 was written to ensure that digital television provided uniform subjective loudness for all audio content, across and within channels, with a focus on the spoken word’

the opportunity to produce television content

‘true peak’ measurement is necessary to measure potential digital clipping. With reliable measurement of true peaks in the digital domain, operators can operate much more reliably in the upper range of digital levels.

In providing a method for measuring true peak levels, BS.1770 also made it possible to set an accepted level (-24 LKFS) for

that could compete aurally with dramatic stories in the cinema.

While time-averaged measurement is key to loudness measurement, an accompanying

presented that draft to the ATSC Technology

program interchange. (The -24 LKFS value

and Standards Group (TG1) for balloting.

is suggested by A/85 and the ITU’s BS.1864

noise floor is no longer coupled to signal level.

Following the resolution of ballot comments, it

Operational practices for loudness in the

However, without meaningful signal alignment

was balloted at the membership level in 2009,

international exchange of digital television

levels built into the AES3 digital audio standard

and then published as ATSC Recommended

programmes, and the EBU suggests -23 LKFS.

(or other standards) to dictate interoperability

Practice A/85, Techniques for Establishing

A tolerance of ±2dB renders this 1dB difference

points and lacking an accepted and accessible

and Maintaining Audio Loudness for Digital

virtually negligible.)

loudness measurement method, sound mixers

Television. (A/85 has just won a Technology

and their producers used levels that varied

and Engineering Emmy Award).

Another positive change has been that the

by 30dB or more. Operators thus faced the

A/85 was written to ensure that digital

In 2010 the EBU PLOUD (production/loudness) group published its Loudness Recommendation EBU R128, which provides European markets

challenge of dealing with inconsistent levels from

television provided uniform subjective loudness

with a method for measuring and normalising

content suppliers, and advertisers had to spend

for all audio content, across and within channels,

audio using loudness meters instead of just

money on mixing commercials multiple times,

with a focus on the spoken word. It also

peak meters. Offering a series of documents

often with varying results, to meet the differing

examined audio measurement, production,

that are somewhat in parallel with A/85, but

program delivery specifications for each network

and post production monitoring techniques,

with a broader scope and focus on the full

and distribution mode (over-the-air, cable, and

recommending methods for controlling loudness

audio signal rather than specific elements,

satellite). Though operators could place audio

with an eye toward effective content delivery

this recommendation was designed to help

material almost anywhere within the 100dB

or exchange. It also formally adopted the first

users overcome the limitations of conventional

range, many chose to ‘play it safe’ and run

international standard designed to measure

audio metering.

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8 TVBEurope

www.tvbeurope.com April 2015

Opinion and Analysis

Loudness control

and inefficient proposition if you plan to measure a 30-minute documentary in real time.

Edit-based software solutions, capable of being

By Jon Schorah, director, Nugen Audio

used directly in the NLE timeline, were quickly developed to remove this handicap.

Since the initial introduction of loudness

The time constraint of having to measure the

recommendations in 2010 (EBU R128 in Europe)

entire section of audio has been significantly

and 2011 (CALM in the US), our understanding

alleviated by the use of faster-than-real-time

and adoption of loudness normalisation in

tools within the NLE; however, there is still

practice has come a long way. What was

significant room for improvement.

initially designed as a method of measuring

As well as workflow challenges, the loudness

and mitigating irritating loudness jumps

legislation itself has continued to evolve.

between commercial and programme content

Released last year, the new supplement EBU

has evolved into a set of tools and techniques

R128 S1 introduces alternative short-term

that are able to address many other areas

or momentary loudness delivery criteria for

of audio quality – including those related to

commercials, promos, and other short-form

dialogue intelligibility, listening environment,

Jon Schorah, Nugen Audio

and data compression side effects.

Of course, it has not all been smooth

content. The consumer is also demanding audio that is ‘fit for purpose’ be it high-quality 5.1 audio

sphere so that programming could be

for the home cinema or consistent audio with

sailing. Initially, there was a rush to ‘solve’ the

broadcast as intended, rather than be subject

distinct dialogue for consumption in a mobile

loudness puzzle using real-time processing.

to the vagaries of ‘blind processing’.

environment. These diverse demands again

Whilst this did indeed provide compliant

Five years ago, real-time standalone

place increased pressure on budgets and busy

audio, the overall effect was something of

hardware metering was something of a

a disappointment in terms of audio quality.

default solution in broadcast circles. Loudness

Therefore, loudness compliance began to

measurement was based upon measuring the

updates to its loudness metering and correction

move into the creative post production

entire programme content – a time-consuming

tools at the 2015 NAB Show.

Today in Europe and North America, the standards

standards and recommendations to help prevent

and recommendations addressing loudness

loudness issues as they complete their transitions

measurement are fairly complete, and channel-to-

to digital.) For production, post production,

channel variation has been improved dramatically.

and broadcast facilities – particularly smaller

(Countries around the world are using the same

independent companies – the remaining challenges

production schedules.

Nugen Audio will be releasing significant

‘Today in Europe and North America, the standards and recommendations addressing loudness measurement are fairly complete, and channel-to-channel variation has been improved dramatically’

have to do with establishing proper audio monitoring environments and selecting loudness control tools that don’t stomp on dynamic range.

In the US, A/85 provides detailed guidance (and even downloadable test signals) that help users to align their audio rooms. In Europe, valuable practical guidance is available via EBU R128related documents, but it is critical that readers drill down through these to get the full picture necessary for proper implementation. In fact, as the audio industry and larger broadcast industry move forward, education and training will be the most important steps towards ensuring that digital audio is being produced, handled, and broadcast in a way that meets consumer preferences, as well as providers’ and broadcasters’ operational, compliance, and business requirements.

10 TVBEurope

www.tvbeurope.com April 2015

Opinion and Analysis

The drive for CD migration How a deliberately-scratched CD can improve your audio library migration, by Christophe Kummer, managing director of NOA Audio Solutions

continually searching the market and testing models from many manufacturers.

We have evolved a rigorous procedure for this, using a specially-created test CD that contains not only audio content, but all of the

ost broadcasters have CD libraries

preserved as part of the archived copy of the

types of subcode information that CDs use.

with many thousands of discs – some

recording, and if the drive can’t read it, that is a

But further than this, the disc also contains

upwards of a quarter of a million. As

headache for the archivist.

deliberately added damage in the form of

M

is generally acknowledged now, CD is not a

So the archive operator is left with two

CNC routed scratches and a black arrow

permanent medium, so broadcasters are moving

questions: will the drives I use be able to read all

on the playing surface: this simulates the

these considerable assets into safer archival

the required information (as well as the audio)

type of wear and tear typically sustained

storage. Transferring such a large volume of

reliably from discs that may not be in good

by a well-used disc. In our tests, we’ll often

content to a future-proof archive would be

condition, and what happens when they can’t?

take 20 currently-available drives, and we generally find that only one or two can

a big undertaking in any circumstances, but there are reasons why it’s rather more difficult

Parallel ingest

really survive the test CD and deliver a good

than might be thought.

Of course, if we listen to a CD and hear a glitch,

quality transcription.

First let’s look at the medium itself: CDs are

we can see at what point it occurs,

The next stage of the testing process is to

either commercially produced, or created

and take note. But no migration operation

test another ten of the successful models to

by the user on CD-R discs. CD-R dye fades

of any size can afford to have an operator

check if performance is consistent across

fairly rapidly and the data burnt onto the

listening to every disc as it’s being ripped.

the manufacturing run. If it passes our criteria,

disc becomes more problematic to read.

So even with the cheapest approach (with

we then buy in bulk order to keep in stock.

Commercial CDs are longer-lasting (research

several computers operating at once with

But we have to be quick because any one

by UNESCO and others puts the life of a CD at

ripping software) parallel ingest is required in

CD drive is usually only available for around

between three and 20 years) but they are likely

order to get through the volume of material,

three months before the specification changes

to have been in daily use in production, and

with a single operator able to feed a handful

and then we have to begin the testing

therefore to have sustained damage that will

of machines. Any errors in this kind of set-up

process over again.

limit their useful life. These factors make both CD-R and commercial CDs difficult to process through a bulk migration operation.

We’ve all been in restaurants or shops where the music betrays its CD origins by skipping irritatingly. It’s even more annoying if the

“When you want to migrate CDs, you are faced with a very wide choice of drives, but those that are currently available are almost all focused on multimedia applications, and reading DVDs. Their performance with audio CDs is often not so good”

staff are too busy to change the disc; but imagine that problem multiplied by several hundred thousand – the kind of numbers faced by anyone trying to migrate a

are usually reported without precise location

Of course there’s a price to this: the time taken

broadcaster’s CD library.

information, so the operator then has to reload

to source and test these drives, plus the costs of

the CD and listen explicitly to it to find the

keeping them in stock for years, means that the

with a very wide choice of drives, but those that

errors. The throughput with this approach can

authorised drives we supply to customers with

are currently available are almost all focused

never be very high – even assuming good

the CD Lector system is not the same as

on multimedia applications, and reading DVDs.

performance from the CD drives. But that’s a

the price of an off-the-shelf, untested drive.

Their performance with audio CDs is often not

big assumption because of the way drives have

But with drives of authenticated performance

so good. It’s an IT process to grab an audio CD,

changed since the heyday of CDs. When drives

CD Lector users typically get through 500 CDs

and theoretically it should be a simple one, but

can’t read the stream they apply some type

a day, aided by the precise location data the

unfortunately there is a lot more to it than first

of interpolation, and with today’s drives this

system provides when a stream error occurs,

meets the eye.

has now been oriented more towards the DVD

which allows the operator to remedy the

industry rather than the audio. They are also of a

problem quickly.

When you want to migrate CDs, you are faced

CDs contain important non-audio information such as the ISRC codes that tag the recordings

different quality due to the mechanical stability

with international recording numbers for royalty

of the laser on the drives.

payments, and lots of other information such as emphasis flags. This information has to be

To source high performance drives for use with our CD Lector systems, we are

Transcribing 350,000 CDs in two years with two eight-drive systems is quite normal performance with well organised metadata if you choose your drives carefully.

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12 TVBEurope

www.tvbeurope.com April 2015

Workflow

News from Ukraine

Philip Stevens takes a look at one of the latest 24-hour news channels to be launched

elevision in Ukraine can be traced back to

a transmission via satellite,” states Tetiana

Role defined

the beginning of February 1939 when the

Pushnova, executive producer of Ukraine

The channel states that its primary focus is on

first broadcast was originated in Kiev. That

Today and a former chief editor of TV news

providing broad information pertaining to the

transmission lasted just 40 minutes and featured a

programme TSN at Ukrainian TV channel 1+1.

conflict in Ukraine as well as other current events

portrait of politburo member, Sergo Ordzhonikidze.

“Those first transmissions simply displayed a test

in Eastern Europe and post Soviet states. It also

card, but included a scrolling text that provided

covers economic, cultural and sports news.

T

Hostilities in Europe then prevented any further progress and the population had to wait until November 1951 before regular programming restarted – again from a studio in the capital, Kiev. Since then, in keeping with many other countries, Ukraine has seen a series of other developments in the broadcasting field with an increasing number of channels being introduced

“For us, as one of the leading Ukrainian media companies, it is important to provide the international community with access to the real facts and events in Ukraine, Russia and the CIS” Oleksandr Tkachenko, 1+1 Media

– the latest of which is free-to-air English language 24/7 news outlet, Ukraine Today.

Launched in August 2014, Ukraine Today is a part of one of the biggest Ukrainian media

information on how to receive the new channel.

“For us, as one of the leading Ukrainian

groups, 1+1 Media.

Ten days later, on Ukrainian Independence

media companies, it is important to provide

Day, we had our official launch and started

the international community with access to the

broadcasting news content.”

real facts and events in Ukraine, Russia and

“We began broadcasting on 14 August 2014, with a live stream on our website and

April 2015 www.tvbeurope.com

TVBEurope 13

Workflow

Tetiana Pushnova: “Nowadays SNG trucks are replaced by internet delivery lines more and more. But because Ukraine is at the stage of war, we still need to have SNG and DSNG for satellite broadcasting to remote regions”

14 TVBEurope

www.tvbeurope.com April 2015

Workflow Journalists from the Ukraine Today convergent newsroom workflow and finally for playout. To ensure a seamless workflow throughout the new production, connections to third-party systems are provided.

Integrating Vizrt’s graphics system, Autocue’s Teleprompter and Imagine’s MAM and playout enables the journalist to cover the whole news workflow from the initial concept right through to broadcast from inside of OpenMedia NOW. Pushnova goes on to say that the whole operation has been tapeless since day one.

“Thanks to the new Diva video archives management system developed by Front Porch it

the CIS,” states Oleksandr Tkachenko, the CEO of 1+1 Media.

To fulfil those objectives the channel began its

‘The OpenNow newsroom system provides Ukraine Today with a flexible editorial workflow and rundown management’

was a simple move to tapeless broadcasting and archiving technology. It also saves a lot of time because all routine processes connected with archiving, restoring, and transcoding are now fully automated. When it came to editing, we bought a system from Imagine Communications, which we consider to be the most powerful, advanced and

programming in a style similar to Euronews – with

reliable system that perfectly fits our requirements.”

clips of news stories accompanied by voice over commentary. However, within a month, Ukraine

The studio is equipped with six Sony HDC1700

Today started to generate a limited amount

cameras that are manually controlled. Although the

comprises a Nexio playout server and a Velocity

of live content.

facility has been built with a transition to HD in mind,

editing system.

Pushnova continues, “After we launched Ukraine Today in August, we also implemented a convergent newsroom in September. In order to fully integrate convergent technology into the workflow,

the channel continues to provide output in SD only.

The gallery is equipped with a Grass Valley Karrera vision mixer and Studer audio console.

“We opted for the Grass Valley switcher because

That purchase from Imagine Communications

She reveals that discussions were carried out with respect to journalists performing editing on their laptops, but it was decided to postpone any decision for the time being and allow editing to

combining broadcast and other media production,

we have complicated vision mixing tasks and

we deliberately delayed the launch of the website.

these systems are very powerful and best suit our

We were the first in Ukraine to introduce this

production needs,” explains Pushnova. “We are

centre in Kiev, Pushnova says that the channel

technology for the production of television news.”

also planning to use virtual reality sets, but have not

is determined to use the internet as a system

yet implemented that option.”

for translations and live broadcasts. “Nowadays

She adds, “We have also implemented several online projects, such as Ukraine Today Revolution

The control room is equipped with a Vizrt

be carried out by dedicated staff.

As far as getting content back to the studio

SNG trucks are replaced by internet delivery

with an alternative view of Euromaidan history

Multichannel system for graphics production. The

lines more and more. But because Ukraine

and a website profiling Ukraine’s ‘cyborg’ soldiers.

system simplifies the playout of playlists, and combines

is at the stage of war, we still need to have

These are designed to show the Ukrainian reality

pre-scheduled, timecode-based playlist operations

SNG and DSNG for satellite broadcasting to

to the world community and present it in detail.”

with the possibility of adding real-time 2D and 3D

remote regions.”

The first of those projects features the Euromaidan

graphic effects and powerful branding capabilities.

Ukraine Today broadcasts can be seen via

Revolution which allows international audiences

In complex environments the application helps to

the Eutelsat Hotbird satellite and through internet

to explore the impact of the historic events which

centralise the entire workflow on to one desktop.

streaming. News updates are at official website

have transformed Ukraine over the past year. While

The broadcaster has selected the Annova

www.uatoday.tv, on Facebook, Twitter, YouTube,

Cyborgs (cyborgs.uatoday.tv) provides an overview

by OpenMedia newsroom system. “We made

and via Android and iOs applications. The output is

of the Battle for Donetsk International Airport

that choice because at the moment it meets the

also available on Samsung and LG Smart TVs.

and profiling of the iconic ‘cyborg’ soldiers of the

requirements of a convergent newsroom. It means

Ukrainian army.

that it can simultaneously impose the news on all

Looking ahead

media platforms that we have in our group.”

“At present we only broadcast in the English

Studio facilities

The system provides Ukraine Today with a flexible

language, but we have a strategy to introduce a

The channel is staffed with both Ukrainian and

editorial workflow and rundown management. In

Russian version later in 2015,” says Pushnova. “But

international staff and broadcasts from the 1+1

order to support production planning of videos,

there are no plans to launch on pay-TV channels

Media Group’s specially configured newsroom,

a special workflow of timing placeholders was

in the foreseeable future.”

with live Ukraine Today programmes originating in a

implemented in OpenMedia NOW, with a list of

160sqm studio. Building and equipping the facility was

all videos to be produced for a day. Inside such a

are in the pipeline for the future. “We have

overseen by Ukrainian systems integrators including

list, the journalist is able to create a story element

ambitious plans despite our TV centre already

ComTel, Mak-House and IT-TV, working alongside

with timing placeholders that serve as a storyboard

being number one in Ukraine. Those plans call

German, Canadian and Norwegian developers.

for the editor. Once the editor has published

for considerable investment in equipment of our

the completed package, it can be called up in

studios and the determined development of

OpenMedia NOW and used in the further editorial

Ukraine Today in general.”

As well as the output for Ukraine Today, the studio serves other companies in the 1+1 Media Group.

She concludes by revealing that other plans

16 TVBEurope

www.tvbeurope.com April 2015

Workflow oran Radman was appointed by

G

the Croatian Parliament as director general of HRT (Hrvatska radiotelevizija,

the Croatian public service broadcaster) in November 2012. According to the Croatian Radiotelevision Act, the director general has no direct editorial and programming powers, but has overall responsibility for the legal, financial and other business management prerequisites needed for the successful fulfilment of HRT’s public role and services, including the content production and broadcasting on all platforms – television, radio and digital media. This responsibility is shared through the organisational structure which includes four assistant directors – for programme, production, technology and business – and 17 editors-in-chief

Goran Radman: “We are now broadcasting in full 16:9 format, introduced end-to-end tapeless in news production while preparing for it at central production facilities in Zagreb and the rest of HRT by the end of 2015”

of all programme channels (four television, 12 radio and one combined digital content output, including web and mobile services).

“After my student days I became a freelance journalist and co-founder of a number of independent magazines, TV and radio stations back in the early 1980s,” explains Radman. “My television career highlights were in 1987 when I became the general manager of Television

Meeting the Croatian challenge

Zagreb, and in 1990, as the executive producer of Eurosong, the Eurovision Song Contest in Zagreb.

“In 1992 I moved into the private sector and IT. Most significant was my Microsoft career, where I started off as Croatia’s country manager in 1996 and ended up in late 2008 as Microsoft president for Eastern and Central Eastern Europe. I returned to Croatia and moved into the academic sector to become a lecturer and the Dean of Vern University, the largest private applied sciences institution in Zagreb. With the end of my term in

Two years on since his appointment as top executive of HRT in Croatia, Goran Radman talks to Philip Stevens about the challenges of the job, the restructuring plan and his vision

the Dean’s office, and after almost two decades in private sector executive roles, I’m back in a public position to carry out plans for restructuring and reshaping HRT.”

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TVBEurope 17

April 2015 www.tvbeurope.com

Workflow Balancing the budget

there are numerous international IPTV and cable

radio audiences, but also to the growing number

He reports that the list of priorities was extensive

channels. If we want to remain relevant to our

of younger and technology savvy individuals

when he took up the position, but of special

users, we constantly have to deliver added

who prefer internet communication.”

concern was financial stability.

value services and premium national content in

“For some years HRT had accumulated a huge financial debt and scored multi-year and growing negative balance sheets and poor business results. In addition, liquidity issues posed severe risks to basic operations, so we had to recover and reverse that trend instantly. I’m glad to confirm the measures we undertook paid off quickly. Settling the tax and loan dues, reducing the operating costs and improving efficiency helped us return to profit in 2013 and 2014, and we look forward to continuing positive business results.”

The second priority was reshaping the traditional media silos and bureaucratic organisation into a multimedia, functional and responsible public business-minded enterprise. The successful organisational reforms undertaken during 2013 enabled HRT to quickly refocus its new management on strategy and development, rather than legacy issues.

“My third priority was modernisation, especially technology modernisation, since most of the business and production equipment and infrastructure were outdated, mostly more than 20 years old. However, investing courageously in financially restricted conditions is a risky and challenging task, but I’m glad to confirm we have made a big step forward and are close to a complete end-to-end tapeless production environment.”

Multimedia moves The overall restructuring programme that began in August 2013 is due for completion towards the end of 2017. Radman says the plan is designed to cope with the demanding and rapidly changing social, technological and media environments, while still focusing on high public value that the broadcaster brings to Croatian society.

“Our new multimedia-oriented functional organisation follows the key business activities to create a workflow environment in which creative personnel and external partners would be able to focus on content, regardless of the distribution platforms, while editors focus on interacting with audiences and understanding media landscape demands.”

He continues, “Like other public broadcasting services in Europe, we are competing for national audiences in an open, globalised and highly saturated media market. Dozens of local, regional and national commercial television and radio stations get access to homes, and

Croatian, not only to our traditional television and

Internally, that means there is a growing pressure on journalists and producers to adapt

18 TVBEurope

www.tvbeurope.com April 2015

Workflow Maintaining momentum

faster to those challenges, to learn and perform new cross-media technology and social communication skills, and finally to accept and absorb the new media culture. One way of moving forward is the evolution from a traditional single-media reporter into a multimedia video journalist (VJ).

“Two years ago we had only a few VJs on board, today there are dozens of them. Media

‘HRT has restructured its satellite operations, launched an experimental OTT service, reorganised its international and national correspondents’ network and modernised most of the regional production sites across Croatia’

Despite the significant changes within the HRT operation, some challenges remain. Radman cites the continued reduction of the workforce and completion of technological modernisation process as the biggest. He says the operating costs have to stay under 95 per cent of total revenues, in order to achieve sustainable development. And the successful introduction of

convergence was only a buzz phrase a few

new technology will be the key driver of further

years ago, but it’s in the mainstream news and

labour restructuring. Among other challenges is

other productions today. The news convergence

strengthening the broadcaster’s market position –

has been enabled through the integration

international and national correspondents’

to achieve the stated goal of growing total media

of radio and television NRCS tools that had

network and modernised most of the regional

reach to at least 40 per cent of the population.

previously been separated. Now, all our

production sites across Croatia. “We are now

journalists share the content, regardless of the

broadcasting in full 16:9 format, introduced

many more challenges yet to come. However, my

platform. But they are still physically separated.

end-to-end tapeless in news production while

vision is a simple one: HRT as a modern Croatian

We are preparing major investment in the

preparing for it at central production facilities

and European public service broadcaster, with

integrated newsroom by the end of 2015. This will

in Zagreb and the rest of HRT by the end of

high levels of social value added, of programme

enable us to produce more, better quality and

2015. This is a key milestone towards the

relevance and reach, technologically advanced

more accurate content across media platforms

introduction of HD. We are now ready to

and financially stable. In-depth transformation of

with optimised use of resources.”

address competitiveness issues: programme

HRT is a serious undertaking, but the first two years’

Radman goes on to report that HRT has

quality, market outreach and general

results are encouraging. Regardless of challenges

restructured its satellite operations, launched

audience trust issues we’ve cumulated

and, sometimes, even obstacles, I’m determined

an experimental OTT service, reorganised its

through the transition years.”

to continue and complete this process.”

“But,” reflects Radman, “I believe there are

20 TVBEurope

www.tvbeurope.com April 2015

Feature

The real value of the Internet What does the IoT really mean to the media and entertainment industry and what should service providers be doing to cash in? Adrian Pennington reports

T

he goal for the Internet of Things (IoT) is to connect as many devices as possible so they can be used together in new

ways. By some accounts it’s a huge untapped opportunity. Analyst IDC reckons the global IoT market will exceed $7 trillion by 2020.

Wearables are a subset of IoT and the market for Microelectrical Mechanical Systems which power them will be worth $22 billion by 2018 (according to the MEMS Industry Group).

Cisco talks of the Internet of Everything which encompasses the Internet of Things to suggest an approach that connects not just things but people and processes.

“There are a lot of things in flux,” says Guillaume De Saint Marc, senior director, chief technology and architecture office at Cisco.

“You could talk with different people at Cisco and receive different standpoints.” As more home devices become IP enabled, the value in

Cisco’s demonstration of the connected home of the future at the IBC Content Everywhere MENA event in Dubai this year actually connecting them will depend upon how they make our lives easier, more interesting, more secure, and so on. But how can the broadcast and media industry cash in?

The intersection of IoT with connected entertainment is already underway. Indeed, entertainment is arguably the first sector to push a digital ecosystem closer to consumers. Tablets, smartphones, STBs and connected TVs are early arrivals into the digital world of things.

“There is clear overlap between IoT and connected entertainment, at least at the device level,” says Steve Plunkett, CTO, Red Bee Media. “As they are joined by your fridge, toaster and doorbell they bring something extra to connected entertainment – context.

Context today is narrow, focused on previous media consumption patterns within online video platforms. IoT could provide more insight and context (i.e. just arrived home, later than normal, midweek, so don’t recommend a three-hour movie). There are many open questions of course around data sharing between devices and platforms to be resolved first.”

TVBEurope 21

April 2015 www.tvbeurope.com

Feature

of Things

entertainment is accelerating in the same

IoT future

direction, most of the core underlying

Since network service providers (telcos, pay-TV

infrastructure is now common to all types

operators) are already providing entertainment

and classes of smart home and connected

services into the home, is there is a business

entertainment services,� he says.

opportunity if they can leverage this shrewdly?

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home and solutions integration at Technicolor. “Someone is ringing the doorbell? Let’s display the image via a pop-up on TV. Your set-top-box could start recording your favourite TV show if your smart watch indicated you are stuck in the trafďŹ c.â€?

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telecom operators’ playbook for years, says Simon Trudelle, senior product marketing director at Nagra.

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22 TVBEurope

www.tvbeurope.com April 2015

Feature “This is not a natural evolution of TV Everywhere

The important thing, he stresses, “is to plant a flag

strategy,” advises Saint Marc. “It needs thought,

somewhere in the universe of things and begin

focus and investment. First, they have to continue

experimenting.”

to invest in the cloud. A lot of the business intelligence for IoT will be housed there. Security of

Multi-device UEX

the home gateway is another significant issue and

In order to scale the connected home, the user

an elegant and very powerful way for providers to

experience (UEX) has to be extremely seamless.

capitalise on their already considerable investment

This is a big headache, but one where service

in security for set-top boxes.”

providers, working with technology partners, should

CE vendors are of course well placed because

still have the edge.

their huge marketing budgets allow them to

“You want all those connected things to work

educate the masses about connected objects

together because you are just in one environment,”

and services. But who wants to give all their data to Google? Who has only Apple products?

Service operators are also interested in playing a key role in this space and are going to do it by providing services across the multiple devices that people already own in a non-proprietary fashion.

says Saint Marc. “A classic example is using the TV to

Benoit Joly: “[IoT] is a fantastic new playground for developers and provides new business opportunities for service providers”

Steve Plunkett: “If we end up with fragmented groups of devices living in isolated islands of connectivity within our homes then this will inhibit the usefulness of IoT”

adjust lighting or heating or monitoring the baby.”

4K TVs with larger screen real estate are perfect for displaying both entertainment and IoT services. Vendors see strong potential for consumers to get an efficient and intuitive ‘dashboard’ view of their IoT services.

“They have made their customers move

“Seamlessly integrating services that are

to connected entertainment, and they can

media and network access services revenues

continue to do so with IoT,” says Joly. “How

that incumbent operators currently enjoy, there

accessible at a click of the remote gives an

are they going to do it? We think TV is still their

is definite potential for accelerated growth at

edge to the service provider, as such integration

best ally. Everyone knows how to use a TV.

some point in the next 18 to 24 months.”

actually brings extra convenience that

Not everyone knows how to install and use a

As it is the case for media entertainment

consumers tend to value,” says Trudelle.

today, however, owning the network or the STB

Instead of having several user interfaces which

connected to the main TV is no guarantee that

forces users to quit the content they are watching in

It’s all about service

consumers will buy new types of services, or

order to navigate other menus, Technicolor’s system

What puts such service providers in pole position

actually buy these services from their incumbent

also keeps content first, always on screen.

over consumer electronics brands like Apple,

broadband or TV provider.

connected thermostat device on its own.”

Samsung or even over Google is this service

A good strategy for TV and internet service

Expanding TV applications

aspect. True, these companies have begun re-

providers could be to start with an OTT service

A piece of digital entertainment should be

orientating their service provision, differentiating

linked to several connected objects. One user

considered a ‘thing’. Is there an opportunity for

themselves on innovation, scale and consumer

interface, one dashboard for everything, and

broadcasters/content owners to capitalise on IoT?

reach but network service operators have been

available on TV as well.

dealing with in-home customer service for years.

“For advanced IoT services, like home security,

Technicolor’s digital life suite of apps (IZE),

“First and most obvious is to use the increased context provided by IoT data to better recommend

for example, is an open source IoT platform

what to watch,” says Plunkett. “In this scenario,

home safety, home automation, energy

aggregating different services. Explains Joly: “Each

the content itself and the viewing experience is

management or e-health, the installation and

of these services is delivered by a digital concierge

unchanged. The second scenario is to use IoT data

usage remains deeply integrated into the home

(the Nurse, the Doorman, the Caretaker, etc) as

to change how the content is experienced. For

environment and usually require an installer to

you know them in real life. So you know exactly

example, if the motion sensor or door sensor detects

come on site and handle the ‘last mile’ of the

which service you are subscribing to, and you can

you have left the room, the programme could

service,” outlines Trudelle. “This is obviously an

add services as you need, you just pay for what

automatically pause until you return.”

area where broadband service providers are

you use, exactly like in real life.”

traditionally very well positioned.”

If this card is well played, he continues, “this

Nagra’s advice to service providers is firstly to invest in market intelligence and

Similarly, a toy Dalek in the living room could be activated to move in familiar Dalek fashion by an audio trigger embedded in an episode of Dr Who.

can form a natural extension to the ongoing

consumer research to build the business case;

media gateway deployments and which can be

and secondly “not be distracted by gadget

Fragmentation or glue?

increasingly positioned as a monetisation anchor in

applications that may not have a sustainable

IoT will remain a pipedream if the network to

the connected home.”

business model over time.”

connect devices and people cannot handle the

Nagra suggests such advanced services could

Any working business model is likely to be

traffic. Dramatic increases in global mobile traffic

bring extra monthly ARPU in the range of €10 to

similar to those that already exist on the web.

are widely anticipated, with an estimated 50

€35, for a penetration of five to 30 per cent of the

“Paid-for services where the consumer, perhaps

billion connected devices in play by 2020. Cisco

subscriber base in advanced markets.

as an increment to an existing bill, buys products

predicts an 11-fold increase in global mobile

that support their IoT existence, or free-to-use

data traffic between 2013 and 2018.

“This is a significant opportunity for service

To fulfil a growing interoperability need, the

providers despite the regional volatility factors

services that exchange consumer insight (sold to

built into these estimations,” says Trudelle. “While

advertisers etc) for IoT support and experiences,”

emerging IoT is awash with standards. Some,

ARPU may only add up to a fraction of the

informs Plunkett.

such as AllJoyn, Homekit and OSGi are driven by

TVBEurope 23

April 2015 www.tvbeurope.com

Feature CE vendors or CE-driven industry consortiums like

a lot of perfectly mature standards ready,” says Saint

together and yet be simple and secure for the end

DLNA and UpnP. ZigBee is a wireless protocol that

Marc. “It’s not happening as an ecosystem but as

user. It will take a few years before we get there

links appliances and sensors and operates from

a sum of independent and successful applications

and the only way it’s going to happen this decade

tiny amounts of power. The similar Thread standard

at the device level. What needs to emerge is at the

is through open source momentum and from the

boasts membership from Samsung, ARM and Silicon

platform level. It will need to connect everything

wider development community.”

Labs. The Open Internet Consortium (OIC), which includes Intel, Cisco and General Electric, is working with Linux on open source software project, IoTivity.

Technicolor is a founding member of the AllSeen Alliance (with Microsoft, Sony, Panasonic, LG, Cisco and Qualcomm), contributing Qeo, an open source software language for connected objects.

Technicolor’s IZE ‘digital life dashboard’ is designed with the Allseen IoT framework in mind to ensure interoperability between all connected devices used to operate it.

All these standards aim to define a platform environment for integrating other devices and systems delivered by non-tech companies, such as electric switches and sensors. Specific industry standards may also emerge for some vertical ecosystems, typically in the energy management and home automation space.

“This is not a natural evolution of TV Everywhere strategy. It needs thought, focus and investment” Guillaume De Saint Marc, Cisco

“For service providers, this clearly means that extending their offering with smart home services will require new skills, first and foremost to find out which vendors are the right partners to choose to be successful in this new evolving environment,” says Trudelle.

It is in the consumer’s interest that all of their connected devices can interact via a common platform – the network effect of IoT is an important part of its future promise.

“If we end up with fragmented groups of devices living in isolated islands of connectivity within our homes then this will inhibit the usefulness of IoT,” says Plunkett. “This can be achieved through the use of open platforms that all devices connect to.

One way to achieve this goal is through the use of standards so that all manufacturers can build common/compatible device side implementations.

The risk is that standardisation can be a slow process and this may create the conditions for proprietary platforms to emerge in the lead.”

In Cisco’s view the key ingredient to any IoT success will be IPv6, the latest version of IP. “We have

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TVBEurope 25

April 2015 www.tvbeurope.com

NAB Preview

Industry comes to life in Vegas

Zylight debuts Newz on-camera LED light Zylight Zylight is introducing the Newz compact oncamera light designed for broadcast news and other run-and-gun shooting applications.

The variable white light includes brightness settings from tungsten (3200K) to daylight (5600K), while a unique articulated arm design allows shooters to easily adjust the height and angle of the light.

Designed primarily for ENG, the Newz includes custom barn doors and provides a 60-degree beam spread at full width half maximum

Picture credit: John Staley

It feels like NAB 2015 has been looming on our horizon for some time, but now, it is finally here. We’ll be reporting on the key trends and thought leadership emerging from this year’s event in our May and June editions, and we begin our NAB coverage this issue with a sneak peek at some of the key announcements being generated from the showfloor (FWHM) for a soft falloff around the edges. With quantum dot technology and proprietary LED chips, the fully dimmable Newz delivers a very high quality of light for true colour reproduction on par with the company’s flagship product, the F8 LED Fresnel. The Newz has an MSRP of $429 and will be available in May. Zylight is also presenting the F8-200 LED Fresnel, a new fixture with twice the brightness of the original F8. The F8-200 collapses to less than five inches thick for easy transport, features an eightinch (200mm) SCHOTT glass lens to maintain single shadow traditional Fresnel beam shaping, and a patented flat focusing system for spot and flood operations.

C8043

26 TVBEurope

www.tvbeurope.com April 2015

NAB Preview

Riedel presents cutting edge comms Riedel Riedel has launched its new MediorNet device that will add increased flexibility and convenience to the acclaimed MediorNet real-time network.

Also on show is the new RSP-2318 Smartpanel (pictured), which offers features and capabilities that will enrich the user experience and change the way broadcasters and AV professionals communicate. As a control panel designed to serve as a powerful multifunctional user interface, the Riedel device boasts a unique feature set that includes three high-resolution, sunlight-readable, multi-touch colour displays; premium quality stereo audio; a multilingual character set; and 18 keys in just 1RU. These features make Riedel’s new Smartpanel a powerful user interface that can be further expanded through the use of apps. Riedel’s

first app for the RSP-2318 turns the Smartpanel into an innovative and smart intercom panel.

The Tango TNG-200 represents Riedel’s first network-based platform supporting RAVENNA/AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible,

power and convenience,” explained Thomas Riedel, CEO of Riedel Communications.

Riedel is also presenting the STX-200 professional broadcast-grade interface, which brings any Skype user worldwide into the professional broadcast environment. Licensed

by Microsoft, it meets broadcasters’ increasing

cutting-edge solution for a variety of communications scenarios.

“NAB sees the introduction of a brand new member to the MediorNet family.

Making their North American debuts, our innovative new Tango platform and Smartpanel represent the cutting edge of communications interfaces, with powerful features that will provide unprecedented

need for a reliable single-box solution that enables them to bring live contributions from reporters and viewers into live programming.

Other products on display include Artist, Performer, and Acrobat Intercom Systems; RockNet Audio Systems; MediorNet and MediorNet Compact; MediorNet MetroN Core Router and Virtual Control Panel (VCP).

C4937

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

TVBEurope 27

NAB Preview

The transition to an IP future Quantel/Snell Quantel and Snell are demonstrating a complete IP system including routing, production switching, processing and playout. The companies are also showing how to transition from today’s SDI world into an IP future with modules for Sirius 800 routers and Kahuna switchers and a hybrid SDI/IP control system that enables current products to work across both worlds – eliminating the cost and disruption of a complete lift-out.

There are a raft of new developments across routers, switchers, channel-in-a-box and news production that ensure customers can get the best out of their existing infrastructure while they transition to IP. NAB is the showcase for the Morpheus and ICE enhancements, which deliver a sophisticated on-

screen presence more efficiently, and adaptive cadence detection on Alchemist OD will streamline filebased conversion workflows.

Other developments on show include advances in 4K; Pablo Rio handling 8K 60p in real time; enhanced team-working with QTube; and the new LiveTouch (pictured) sports highlighting system with integrated editing, enabling more sophisticated and engaging sports coverage, more quickly and easily.

“NAB 2015 is the first opportunity for Quantel and Snell to demonstrate the breadth and depth of our complete product range,” said Martin Mulligan, sales director. “The raft of new products and developments on show will simplify, streamline and even transform workflows, enabling our industry to transition to its IP future.”

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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).

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28 TVBEurope

www.tvbeurope.com April 2015

NAB Preview xxxxx

Dynamic Ad Insertion technology Telestream Telestream is hosting the company’s first Dynamic Ad Insertion (DAI) technology showcase, featuring the newly released Vantage DAI software solution. This will demonstrate an end-to-end file-based workflow encompassing video, audio and metadata transformation that delivers on the promise of increased ad revenue within a fully automated and scalable software system.

The introduction of DAI on a broad scale requires a strategic approach. “Dynamic Ad Insertion for VoD empowers content owners to generate new revenue streams from VoD content. This requires coordination between the content creator, the distribution network, and the agency managing ad campaigns. Our goal is to scale the output volume and maximise profitability for content owners, while ensuring system extensibility within the existing partner ecosystem,” commented Jim Duval (pictured), director of new products at Telestream.

Creating a normalised platform for advanced ads requires the right balance of process automation, scalability and human interaction. A system that provides a single connection point between the content providers, ad serving platforms and MVPDs is critical to the success of any DAI strategy.

Doing this with a single interface for every service provider makes the solution scalable.

“Throughout North America, we have partnered with major broadcasters and cable TV MVPDs on DAI architectures that

enable them to realise the promise of DAI,” explained Duval. “We have collaborated with the pioneers of the cable DAI initiative and have now succeeded in deploying a business focused solution. In Vantage, we have developed a workflow automation platform that is proven to achieve outstanding results in DAI applications of various size and scale.”

At NAB, Telestream is demonstrating how Vantage takes previously transmitted content and digitally prepares it for the insertion of new commercials and all associated metadata in preparation for re-transmission over a VoD cable network. The system automates the content and metadata formatting and delivery and integrates directly into the DAI ecosystem, so that DAI is achieved in the most efficient and costeffective way. “We worked out the essential workflow elements some time ago,” explained Duval. “The quantum progression that you will see at NAB this year is how Vantage makes the whole process much more handsfree and cost-effective without requiring wholesale infrastructure replacement.”

“NAB 2015 will be a key strategic milestone for Telestream in terms of introducing DAI – we can demonstrate to content owners and cable TV MVPDs a resilient and reliable toolkit which will help them evolve and extend their business models, creating major new revenue streams, which is something fresh and new in our industry in recent times,” stated Paul Turner, VP of enterprise product management at Telestream.

SL3305

Aspera shares cloud expertise Aspera Aspera is sharing its expertise in cloud-based workflows and is showing its complete portfolio of high-speed file transfer software and automation solutions.

The new capabilities of the Aspera Transfer Platform allow media enterprises to efficiently transfer, synchronise and stream content of any type, resolution and size across cloud and on-premise systems at global distances, enabling them to handle today’s increasingly complex production workflows. These include Aspera Drive (pictured) and Aspera Drive for Mobile, which is designed for content producers, creative teams and other end-users of the Aspera Transfer Platform, Aspera Drive for Windows and Mac allow them to remotely browse, drag-and-drop transfer, sync and exchange person-to-person rich media content and files directly from the desktop.

The latest version of the Aspera On Demand Platform supports the transfer and synchronisation of the largest UHD files or millions of small files direct to cloud storage and integrates with major cloud storage providers.

SL9110

www.tvbeurope.com

TVBEurope Supplements

April 2015

Smart set-top box solutions for IPTV/OTT and Hybrid DVB In association with

In association with

30 TVBEurope

Supplement

Setting the top standard for connected TV As IPTV moves from purely linear products to a complete TV experience, Oliver Soellner, VP of business development and sales at ABOX 42, outlines what is required from today’s set-top boxes t’s true: there is nothing as permanent as

To make their operations successful and cost-

change. And right now nowhere is that more

effective, those companies already providing

true than in the field of set-top box (STB)

their customers with hybrid DVB projects must

I

solutions for IPTV, OTT and hybrid DVB. The brave

demand from manufacturers of STBs, and

new (well, relatively new) world of connecting

associated equipment, innovative upgrade

television to the internet is presenting a whole

solutions which capture the best of traditional

host of new opportunities – and yes, challenges –

linear TV and combine it with the exciting – some

to those operating in that environment.

might say, thrilling – functionalities of network

The industry has witnessed transitions from a purely IP approach to the development of

‘There is an urgent requirement for upgrades that incorporate the modern third generation solutions for those companies already operating in the IPTV environment. And that means equipment that supports all the major standards for both streaming and applications’

PVR, VoD, catch-up TV and third-party services.

And the onus is surely on those equipment

hybrid smart STBs. These bring together traditional

providers, because the emergence and

DVB with IP-based services and apps. And

expansion of OTT services is only set to continue,

of local and specialist channels to be accessed by

such developments are essential in today’s

and those who fail to meet the challenge –

the worldwide audience.

maturing market.

whether STB makers or service providers – will

But whatever the scenario, smart STB platforms

surely fall by the

are essential for the advancement of today’s

wayside.

versatile viewing experience, combining

Of course, one of the advantages for

traditional TV services with all that the internet can readily provide.

new entrants in the market is that they

Generation gap

can build on all the

So, what are the demands on STB manufacturers?

development work

To begin with, there is an urgent requirement

of the last few years

for upgrades that incorporate the modern third

and use OTT to deliver

generation solutions for those companies already

services without

operating in the IPTV environment. And that

actually incurring the

means equipment that supports all the major

expense of owning

standards for both streaming and applications.

or building a network

The first generation IPTV was mainly used in

infrastructure. Such

DVB STBs with native DVB GUI and certain IPTV

services can be

extensions. The second generation offered

deployed globally

embedded middleware solutions with first

on an extremely

interactive functions like network PVR, VoD

cost-effective basis,

and custom implementation of apps. Now, the

enabling a whole host

third generation solution allows operators and

TVBEurope 31

April 2015 www.tvbeurope.com

Supplement

systems integrators to quickly build modern and

STBs in the field? This second point is becoming

requirements of demanding IPTV, OTT and hybrid

advanced IPTV solutions. These latest generation

increasingly more important for modern operators.

DVB services. A smart STB product line should

platforms are designed around HTML5 and

Another question might be: “What is your

offer the best price-performance and latest

open standards, meaning operators are not

experience in adaptive streaming, HbbTV and the

technology for even the most challenging IPTV,

restricted to a proprietary STB platform. Utilising an

integration of multiple third-party TV apps that will

OTT, hybrid DVB and cloud TV services.

open approach allows the ready integration of

help in the speedy development of services?”

functionality such as third-party VoD applications

And, of course, we must never forget ‘the

In fact, the latest solutions in this everexpanding – and innovative – field allow

and cloud-based services and provides complete

cloud’. Does your potential supplier offer a

operators, perhaps for the first time, to provide

control over user interface and upgrades.

unique collection of software as a service (SaaS)

a full TV experience to television receivers over

facilities for the installation, deployment and

unmanaged internet lines.

Next, it has to be recognised that not all operators have the same requirements in order to fulfil the service to their customers. So, manufacturers must provide units that can readily be customised to meet unique demands. Put another way, today’s STBs need to offer ‘smart’ solutions. And alongside that, bearing in mind the

‘The onus is on equipment providers, because the emergence and expansion of OTT services is only set to continue, and those who fail to meet the challenge – whether STB makers or service providers – will surely fall by the wayside’

amazing speed at which this section of the media industry is expanding, the ability to produce such solutions must be just as rapid. So, short production cycles are essential.

operation of the STB deployment in the field and

At the end of the day, the user of IPTV, OTT and

to upgrade the functionality of those deployed

hybrid DVB services must be in a position to

Qs and As

services over time? Of course, those companies

enjoy the same TV experience that is available

One of the keys to finding the right provider

operating with existing networks do not need to

with traditional DVB-C or multicast IPTV. In

of such equipment is to ask some pertinent

switch to new technologies overnight. However,

reality, viewing must be a seamless experience,

questions; and then demand proof that the

the time will come when changes will prove

whatever the source of the programme.

responses can be fulfilled.

necessary in order to provide customers with an

For instance, it is worth asking for examples of

Whatever solution is employed, the OTT DVB

almost limitless choice for special interest ‘niche’

solution must technically combine features

how economical and short set-up times have

channels. And those extra channels will provide

required for television using OTT protocols and

already been achieved right across Europe

added income for the operating company.

market-proven standard headend systems over

utilising that supplier’s kit.

public internet. Such solutions will allow operators

Single application

to build and quickly roll out third generation

IPTV set-top box platform, which is not only offering

Modern hardware platforms are designed

HTML-based IPTV services. And that will provide

the latest technology on the hardware side, but

to meet today’s requirements from a single

consumers with what they expect – make that,

also provides a complete solution to manage the

application project up to complex project

demand – from their viewing experience.

Or how about enquiring about an innovative

In association with

32 TVBEurope

Case Study

Telecom Liechtenstein’s IPTV network upgrade was enhanced to offer a complete multiscreen solution

Next generation IPTV

and Swiss broadcasters z Support of third-party VoD services for SVoD and TVoD solutions z Support multiple DRM Systems for telco grade security and Hollywood approved content security

Telecom Liechtenstein’s IPTV refresh provides a recent case study of the work being done by ABOX42 in upgrading first generation IPTV systems to third generation interactive solutions

z End-to-end lifecycle management and software as a service of the set-top box for secure updates and upgrades in the field z The user interface, middleware and headend

T

elecom Liechtenstein, member of the

TV solution, Telecom Liechtenstein could manage a

Telekom Austria Group, wanted a complete

smooth transition to an advanced TV solution that

upgrade of its existing first generation IPTV

allows them to outperform all traditional TV offerings

Zattoo’s key features

provided by cable operators or ISPs.

z Rich multimedia EPG

system in order to provide a platform for a new,

are provided by Zattoo as a fully managed service

z Network PVR

complete multiscreen experience.

ABOX42 features

z Network time shift/pause TV

had to be seamlessly upgraded to a third generation

z Latest generation set-top box hardware

z Restart TV

IPTV proposition with advanced first screen features

(ABOX42 M20-series) for advanced operator

z Seven-day catch-up TV

(provided by a modern STB platform) in combination

requirements and with advanced performance

z Unified UI for first and second screen

with a full multiscreen offering for mobile devices.

z Modern HTML5 GUI (supported by the ABOX42

z Mobile applications including full

By choosing ABOX42’s Smart STB platform in

Developer IDE/SDK/Toolkit)

PVR management

combination with Zattoo’s managed B2B Multiscreen

z Support of HbTV Applications from German

z Branded UI for all screens

To facilitate this, the first generation IPTV network

ABOX42´s advanced Set-Top-Box Solutions for IPTV/OTT & Hybrid

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TV Connect, London Booth #78 28. - 30. April 2015 ABOX42´s Industry Breakfast Crowne Plaza Hotel 29. April 2015 8:30 - 10:00

OPX TV Services

Smart SDK & Developer Program

Modern and comprehensive OPX TV client and OPX Cloud TV services for IPTV, OTT and Hybrid operator projects.

Advanced ABOX42 Smart SDK speeds up customers development of IPTV Apps and IPTV & OTT projects

TV Connect Asia, Singapore 12. - 13. May 2015

CommunicAsia, Singapore 02. - 05. June 2015

ANGACOM, Cologne 09. - 11. June 2015

ABOX42.com

In association with

34 TVBEurope

Supplement

Chief

executive

perspective Matthias Greve, CEO and founder of ABOX42, concludes our supplement by reflecting on the advances made in set-top box (STB) and IPTV solutions, and how his company’s business has adapted to changing market demands

been offering a full range of hybrid smart STBs that can combine traditional DVB with IP-based services and apps. On the product side, we started with an advanced SDK that allows operators and application developers to create applications and

What was the catalyst behind the

Has the company’s strategy changed since that

company’s birth?

initial founding stage?

We have been providing B2C products in this

From a technical perspective our vision is still

providing a comprehensive solution with our OPX

industry for many years, during which time many

unchanged. We wanted to move the project-

TV services, the full TV user interface, and our

international operators have approached us

driven business of STBs, where every operator

OPX middleware and backend services.

looking for more advanced smart STB platforms,

project brings with it specific requirements for a new

directly because of our activities in the B2C

‘smart platform’ approach, to one where ABOX42

a development environment for a modern TV

segment. More and more of these operators

develops a unique hardware platform which can

service or as a total solution to quickly deliver

were demanding modern and consumer

be shared by many operator projects with minimal

new TV services with essential TV features.

oriented products with more advanced features.

adjustments. You can compare our approach

At the same time we recognised initiatives like

with the transformation from embedded feature

What are the specific and most complex

HbbTV (bringing new services to TV) gaining

phones to modern smartphone platforms, where

technical challenges you have faced in

ground in mature markets, so we decided

the software is making the difference, all based on a

developing next generation IPTV solutions?

to form ABOX42 as a manufacturer of latest

powerful, scalable and mature hardware platform.

When we started ABOX42, we built up the

generation smart STBs for the global operator and telco market.

We started with an IP-only approach, focussing on IPTV and OTT projects. Lately, we have also

integrate mature TV applications.

Since the end of last year, we have also been

Our Smart STB platform can now be used as

ecosystem with key stakeholders such as chip set vendors, middleware providers and factories,

TVBEurope 35

April 2015 www.tvbeurope.com

Matthias Greve, CEO and founder, ABOX42

Supplement

and we are still a high volume, project-driven business. Over time, we have redesigned the entire supply chain and manufacturing process to be able to handle continuous supply requests and demand from operations in new businesses.

With regard to engineering, we design hardware as well as the entire software platform in-house, with the aim of having the most modular and agile software platform, which can easily be adapted to operators’ requirements.

What type of advances are we seeing with the latest generation of IPTV and STB solutions, and

“For existing operators, the key advantage in using OTT/IPTV technologies is that they can now react to market needs and launch new features and services more quickly over time”

how different and developed are they from their

How markedly do you think the TV industry as we

first generation iterations?

know it today will change in the next five to ten years?

Consumers in the future will demand much more

The first generation of IPTV products worked like a traditional DVB receiver with IP input. The user

who want to access domestic content from

control of where and especially when they watch

interface was ‘hard coded’ and the services very

wherever they are.

their preferred content. So, I believe that time shift,

For existing, well-established operators, the

network PVR and full catch-up TV for all channels will

brought new features, but were still built as

key advantage in using OTT/IPTV technologies

be mandatory for viewers in a couple of years. What

embedded middleware solutions, meaning that

and modern solutions is that they can now react

is also pretty clear is that once TV habits change

any changes for operator projects were hard to

to market needs and launch new features and

and people start to explore new ways of consuming

do, very costly and time consuming.

services more quickly over time. Within traditional

content, there is no way back. Users come to expect

DVB networks, the rollout of new services took

these new features and the freedom of watching

built around HTML5 and open standards. Our

years. With OTT/IPTV delivery and a modern smart

preferred content at any time.

customers are not tied into a proprietary STB

STB platform, it is much more cost-effective; since

platform. With this open approach, our operator

internet technologies are built for easy and cost-

is a TV rights issue as the technical solutions are

customers can integrate third-party VoD

effective scalability and can be used even in lower

already in place today.

applications, cloud-based services and other new

bandwidth networks, thanks to highly efficient

functionality into their platform very quickly. The

streaming formats (eg HEVC) and adaptive bitrate

What should media entities be factoring in to their

operator has full control over the user interface and

technologies (eg HLS or MS Smooth Streaming).

business models and strategies to ensure they

limited. The second generation of IPTV solutions

Our new third generation platform is completely

How fast these new technologies are launched

remain competitive and relevant in a future digital,

upgrades of their services.

Where do you see the next innovations in the

mass-IP-enabled marketplace?

Where do you think the broadcast market is in its

IPTV/OTT/cloud TV space?

Since the user wants to decide when, where and

understanding of the true meaning of IPTV and

For ABOX42, the next innovation will be integrating

what they consume, TV operators need to be more

OTT solutions?

DVB into OTT/IPTV. Operators with existing networks

flexible with time shift, network recording and catch-

Many operators and broadcasters have a good

do not have to switch entirely to new technologies,

up TV. When the user gets such a diversity of access

understanding of the advantages of OTT and IPTV.

but can gradually extend their service offerings.

to TV content (e.g. Netflix), the operators have to

Nowadays, everything is possible in a technical

For example, a cable operator can use the hybrid

deliver a competitive solution, where the user can

sense as the market continues to prove, so the

DVB platform to offer new services via IP. The linear

decide according to his or her preferences.

operator is now more able to concentrate on

television is still distributed via DVB-C. Network

shaping its business model around its services.

PVR, network time shift, restart TV and catch-up

Coming back to the company’s progress, and

are provided via the IP connection. Even now it is

your role within that, what elements of ABOX42’s

Do you think that OTT is seen by some to be a

possible to freely mix DVB and IP live TV channels

development to date satisfies you the most as

greater advantage to new entrants to market?

in the same channel list, without any difference

founder and CEO, given the increasing rate of

Naturally, it offers great opportunities for new

in terms of user experience. Operators can have

change in the industry, and the competition

entrants, but equally, it opens up new avenues of

an unlimited number of special interest channels,

you face?

exploration for broadcasters. Where do you see

which do not occupy bandwidth on the DVB-C

We are very happy that our decision to build a

the true business benefits of OTT and IPTV for both

network, but only use bandwidth when accessed

flexible software foundation for our Smart STBs

incumbent operators and new entrants?

by the user. These new services mean new income

and our modular cloud TV/SaaS platform was

For new entrants in the market, the advantage

streams for operators and a unique service offering

exactly the right decision at the right moment in

of OTT is the ability to deliver TV services without

in competitive markets.

time. Our customers need flexible solutions and

owning or building a network infrastructure and

Also for DVB-T/T2 markets, hybrid DVB is a great

a solid hardware platform that can be deployed

with very little fixed costs. New services can be

way to extend services. DVB-T is used for free-to-

quickly. We get more and more enquiries from

deployed cost-effectively on a global scale – an

air channels and pay-TV can be handled via the

operators who consider current suppliers too

example of which is Ethnic TV – where local TV

internet. We see more and more projects that

inflexible to handle projects in the new fast

channels can be broadcast worldwide to people

make use of a ‘best of both worlds’ strategy.

moving consumer environment.

INVITATION

ABOX42´s

INDUSTRY BREAKFAST 29 APRIL 2015 08:30-10:00 CROWNE PLAZA HOTEL - next to ExCeL London / TV Connect hosted by

INVITATION Visit ABOX42´s Industry Breakfast during TV Connect 2015 in London.

during the

ABOX42 Partners:

Hosted by ABOX42, key stakeholders of our industry will share their experience and future view on modern first screen Set-Top-Box platforms, new multiscreen TV solutions and the challenges of a fast changing TV landscape.

REGISTER TODAY www.abox42.com/industrybreakfast industrybreakfast@abox42.com

ABOX42.com

hosted at

ABOX42´s Industry Breakfast 29 April 2015 - 08:30 - 10:00 Crowne Plaza London - Docklands Royal Victoria Dock, Western Gateway, London, E16 1AL

TVBEurope 37

April 2015 www.tvbeurope.com

Feature

Ten inspirational women in the broadcast industry Sophie Wilson, director of sales and marketing at PHA Media, draws attention to the hugely successful women in our industry and recognises their important contributions to the broadcast sector

T

his year’s January edition of TVBEurope

have inspired me throughout my career a voice

outlined some sobering statistics

and show how, through their success, they are

surrounding gender imbalance in business,

bucking the broadcast business trend.

citing the 2013 Interbrand annual list, which

The gender imbalance in broadcast was discussed at BVE in a session hosted by Sadie Groom, far left

Anne-Louise Buick, head of portfolio marketing, Ericsson TV Compression

of Brightcove, estimated the even bleaker 1:50

Abigail Walmsley, sales manager, SES ASTRA

female to male ratio in the broadcast industry.

Walmsley’s technical

of the industry is as broad

With the gender pay gap at an all-time low,

knowledge and business

as it is deep. In the time that

according to the CMI’s National Management

tenacity, combined

I’ve known her, she has led

Salary Survey 2014, members of the sisterhood

with her ability to read

the marketing drive at IP

revealed that only 19 per cent of FTSE 100 board members are female. Sue Thexton, SVP

could be forgiven for thinking that all is doom

people and understand what their business

and gloom.

objectives, are what makes her, in my eyes,

Buick’s technical knowledge

technology manufacturers, vendors and manufacturers

‘the full package’. She describes being sales

to the broadcast industry. Her ability to understand

has not simply survived, but thrived in the

manager at SES ASTRA UK as her “ideal job” and

and explain the often complex product portfolios

broadcast industry, I wanted to paint a more

spends most of her time in high-level negotiations

she looks after is always something that I have

positive picture. Throughout a ten-year career

with current and potential clients who want to

admired about her, as well as her brilliance with

spanning everything from licensing, production,

rent space on SES transponders. With millions of

building relationships with stakeholders at all levels.

playout and satellite through to transcoding,

pounds at stake, Walmsley readily admits that

advertising, transmission, digital and post, I have

this is what makes her career so stimulating.

TV Compression, Buick says: “Compression

encountered many talented women touching all

“I’ve always loved the cut and thrust of selling.

performance (delivering unrivalled video and

areas of the broadcast chain.

You have to know your product inside out and

picture quality at optimum definition, while

backwards, as well as the technology that

protecting bandwidth) is the absolute mantra

agency that is 60:40 weighted towards women,

enables everything to happen.” As one of a very

within the Ericsson TV Compression business. This

and the only employer that I have ever worked for

small minority of women working in this side of the

belief and investment in quality over bandwidth,

to have a female member of the board, I thought

business, Walmsley has inspired me by smashing

achieved through an established, market leading

that the time was right to give ten women that

the satellite industry glass ceiling.

product portfolio is a marketer’s dream.”

However, speaking as a woman who

Now in the fortunate position of working for an

Now head of portfolio marketing at Ericsson

38 TVBEurope

www.tvbeurope.com April 2015

Feature Clare Bramley, independent broadcast media advisor

Emma Riley, head of business development, dock10

has turned from gamekeeper to poacher. Now

With over three decades

I came across Riley when

channel launch services: securing Ofcom licences,

of broadcast experience,

she was head of production

liaising with platform providers, arranging playout

Bramley’s success in vast

technology across Tinopolis

and capacity, setting up scheduling systems,

technical and operational

Group and was impressed by

dealing with PRs and advertising sales houses, and

management roles, while

her commitment to finding

acquiring or commissioning content. In her words

remaining a brilliant down-to-

new workflows to maximise

“from the moment you hear the words ‘I want to set

earth person, has inspired me

content output. With ten

up a TV channel’, a new adventure begins”.

enormously. Following a career in TV production,

years of production experience under her belt,

marketing and as CEO of a number of start-ups

Riley worked on some very high profile projects but

to her compliance roots, delivering training courses

building a business plan that supported the

moved into a more technical role after working on

and workshops in countries as far flung as Pakistan.

government’s Local TV vision, she co-founded

a file-based production in 2009. Today, Riley has

Comux UK, the local TV multiplex operator based

become the go-to person for her ability to apply

in Birmingham.

technical solutions to the creative process, heading

running her own business, she offers a wide range of

Over the last 12 months, Brewer has gone back

beating the BBC’s proposal. Within nine months, the

dock10’s post and technology services and leading

Lesley Marr, COO, Deluxe Media Europe, member of the IBC Conference Committee, UK Screen Association board director

new network was operational, and today 16 local

them through to launch.

I first saw Marr speak about the

Comux was rewarded with £25 million of funding,

broadcasters are currently on air, with many more to

up the dedicated development team across

Riley feels strongly about encouraging more

opportunities and challenges

follow. With the network built, she was the obvious

women into roles traditionally occupied by men

facing manufacturers on a

choice to manage the launch of Birmingham’s Big

within the industry. “Female producers outnumber

panel at the IABM annual

Centre TV, which went on air this February. Bramley

men and the quality of UK TV output is a credit to

conference in 2013. Bright,

says she loves a challenge and that “assembling a

their hard work. However, in roles where creative

articulate and an eloquent

brilliant team, making the technology do you want it

people operate technology, men are not just the

orator in technical and

to do and getting the content right is the key to the

majority, they are dominant. Few women are senior

operational granularity as well as macro industry

success of a well managed media business.”

in large indies and even fewer sit on the board of

trends, Marr stood out for me as a rarity: a C-level

any broadcast company. I believe we need to

exec for a top company who is also female. I later

encourage women, both at the bottom and at the

spoke with her and she said that while sitting on

top, to strive not to accept the status quo.”

stage, she had counted five women among

Debbie Mason, founder and CEO, MasonMediaMatrix With over 25 years of experience, Mason’s phenomenal entrepreneurial success makes her a great role model in commercial production. Mason cofounded Kudos in 1991, one

the predominantly male audience, one of

“Female producers outnumber men and the quality of UK TV output is a credit to their hard work” Emma Riley, dock10

which was me.

As COO for Deluxe Media Europe, along with a skilled team of over 300, Marr is responsible for running the operations and technology teams across multiple sites for broadcasters, studios, and production companies. Her career started in

of the leading UK indies that was later acquired by

production, followed by creative post and VFX.

the Shine Group in 2007 for $60 million. She went on

After working at Quantel she held several senior

to form a joint venture with Elisabeth Murdoch in 2006 to launch PTV in the US. As MD of Digital Interactive Television Group,

management positions in broadcast operations at

Helena Brewer, founder and managing director, Redberry Media

Sky and Technicolor and has sat on the board of the IBC Conference Committee for a number of years.

Mason created and launched the BAFTA-winning

Since our paths first crossed

first fully interactive TV channel in the world,

in 2007, the year that BSkyB

especially women, to help develop their careers,

AVAGO, which was sold to Gala Bingo in 2006 and

closed the EPG gates,

particularly in the technology implementation

went on to launch in excess of ten channels onto

Brewer and I have worked

operational management side of broadcast.

the Sky platform. After a recent stint at HandMade

together on numerous

Films, Mason has returned to MasonMediaMatrix,

channel launches with her

the digital media consultancy she founded in 2005

providing indispensable

Sadie Groom, managing director, Bubble & Squeak

specialising in developing brand concepts for

advice on everything from teleshopping to script

Groom tells a great story of

global multi-platform exploitation.

development. The line that I often quote about

how, at the age of eight, she

Mason’s philosophy for success is “you must

Brewer is that she contributed to the first Ofcom

saw a businesswoman in full

be true to yourself” and she gives women in the

Broadcast Code, having transferred from the ITC

shoulder pads eating on her

industry three pieces of advice: “Remember that

at an interesting time when five regulatory bodies

own while going through some

we are the smart ones: we don’t need to keep

became one. She held a number of diverse roles

paperwork. Her mum said how

proving ourselves to others. Age is a great thing:

throughout her career at Ofcom.

lonely she must be, while she said: “I want to be

it gives you wisdom and knowledge. Always look outside the box!”

However, there’s a big difference between writing and issuing the rules and applying them, and Brewer

Marr is passionate about supporting young talent,

her when I grow up”. Taking this ambitious streak throughout her career, Groom founded Bubble

TVBEurope 39

Feature & Squeak, a PR, marketing and

each customer, building a core

events company specialising in

relationship and affinity with their

the broadcast industry, in 1999.

brand, while matching the right

Groom’s dedication to relentlessly

workflow and technology for

encouraging women to play

each individual project. Jones

a major role in the industry has

is a great inspiration, not just for

been a massive inspiration to me.

calm and thorough leadership

“I meet women all of the time

and direction, but the fact that

who are very well qualified but

she is one of a very small minority

don’t have the confidence to put

of women occupying such a

themselves forward,” she says. “This

senior role in the operations side of

is something I want to change as

broadcast technology.

“I meet women all of the time who are very well-qualified but don’t have the confidence to put themselves forward” Sadie Groom, Bubble & Squeak

in the industry are ‘PR girls’ who

Tess Alps, chair, Thinkbox

scan badges at tradeshows and

A fellow of the

organise parties.”

RTS, a member

well as the perception that females

Groom is on the board of

of BAFTA,

Women in Film and Television

Women in Film

and participated in its mentor

and Television

scheme, and has facilitated panels

Outstanding

on women in broadcast at IBC2014

Achievement

and BVE 2015.

award winner 2007 and Haymarket’s 2013 Media Industry

Sally Jones, playout manager, Globecast

Leader of the Decade, Alps truly

I have

speaker who is able to deftly

watched

respond to increasing attacks on

Jones become

TV, I have witnessed Alps explain

instrumental

how TV is changing at events, on

in the

various platforms and in print over

construction and growth of

the last ten years.

is a doyenne of the broadcast industry. A lively and quick witted

Globecast’s central media

After university, Alps fell into

hub, taking the leadership

advertising by accident, ending

reigns for media management,

up as an ITV sales director before

VoD preparation and playout

joining PHD. In her 13 years there,

operation. This has led her to

she played a variety of roles

actively overseeing the launch of

including setting up Drum, one

more than 80 channels since she

of the first and most successful

joined in 2006. One of Jones’ skills

brand content specialists. She left

is her ability to engage with all

in 2006 to set up Thinkbox as its first

areas of the business, recognising

CEO. Thinkbox is the body owned

the synergy between commercial,

by the UK broadcasters whose

technical and operational teams.

role is to help advertisers get

She is an intuitive manager who

the best out of today’s diverse,

has fostered a team of 30 talented

multi-platform TV. Much of her

and motivated individuals. Jones

career has been spent trying to

recognises the different priorities

get money from brands into the

and technical requirements of

broadcasting ecology.

40 TVBEurope

www.tvbeurope.com April 2015

Feature

In search of definition The challenges facing widespread adoption of UHD Our TVBEurope 2020 conference on 30 June will bring together some of the leading lights from the world of 4K and UHD to discuss the current business case for UHD acquisition, production and delivery, and identify the strategic imperatives for companies at all stages of the production chain as we head towards 2020. Ahead of the conference, we begin the UHD debate by inviting a selection of perspectives from across the industry as to the current barriers to the widespread adoption of UHD, covering areas such as infrastructure, piracy, and content creation. By James McKeown, executive editor, TVBEurope One key challenge the industry faces in bringing

motion. However, the challenge facing the

Matthew Goldman, senior vice president technology, TV compression at Ericsson

about true 4K UHD is ensuring that quality of

industry is to bring this about while managing

content is preserved throughout the various stages

significant additional costs for production and

of delivery. To ensure the requisite high level of

post production.

picture quality, acquisition/master 4K UHDTV video

Another possible development could come

compressed signals require 4:2:2 chroma sampling

in the form of high dynamic range (HDR), where

Ultra high definition (UHD)

and 10-bit depth for all content. This ensures

a viewer can distinguish a wider range of detail

can be described as an incremental set of user

consistency of colour fidelity through the many

between the darkest and brightest images.

experience improvements. The first is one of

encode, decode and re-encode stages, and

Unlike humans and modern cameras, today’s TVs

simply more pixels. 4K delivers twice the number

through multiple editing stages.

do not have a huge perceptual dynamic range.

of horizontal pixels and twice the number of

Higher frame rates than those used for

For example, this can affect the way in which

vertical pixels, but what about improving the

standard definition (SD) and 1080i HD are

objects within dark shadowy areas appear on

quality of each pixel itself?

required to represent fast motion, such as is

screen during a sunny outside broadcast.

In order for UHDTV to truly take off, the TV

common with sports, without excessive motion

Further exploration into the development of

industry must deliver enhanced services to

blur or motion judder. Large 4K UHD screens

this area is important because HDR may turn out

consumers and offer genuinely enhanced

necessitate 50-60 frame rates at present because

to have the greatest impact on the TV viewing

images. The reason that 4K UHDTV offers

there is more spatial movement for the viewer.

experience. Unlike 4K spatial resolution, HDR’s

the potential for a more immersive viewing

Higher frame rates help to compensate for the

perceptual benefit is not limited to 4K spatial

experience is due not only to the higher image

greater angular change caused by fast motion

resolution or large screen size; it has the necessary

resolution (four times more than HDTV) but also

displayed on these larger screens, ensuring that

versatility to enhance the picture quality on

a range of other factors which include higher

visual artefacts are minimised.

a tablet or mobile phone, as well as the main

frame rates (double that of today’s 1080i HDTV),

The future may dictate higher frame rates of

living room TV. If the TV industry does opt to go

wider colour gamut and higher sample bit depth

up to 120fps in later phases of the technology,

down the path of HDR (and this appears to be

(10-bit versus today’s 8-bit).

as this will further enhance resolution on fast

the trend), 10-bit sample depth (as opposed to

TVBEurope 41

April 2015 www.tvbeurope.com

Feature today’s use of 8-bit sampling for TV signals) is the

times as much spatial resolution and twice the

UHD/4K (leaving 8K for the longer term future), there

minimum necessary to represent HDR.

temporal resolution compared to HD, making a

are significant obstacles in both the acquisition and

total of 80 times the processing power compared

distribution of this higher resolution content.

Just as the human visual system recognises a wider dynamic range than current TV, it can also see a wider colour gamut than the colour

to HD MPEG-4 AVC. It’s clear that the industry needs to address a

One of the main challenges in acquisition is that, at the moment, there is a shortage of

space currently used in HDTV, Recommendation

number of factors and bring them together in an

video-centric UHD cameras on the market

ITU-R BT.709. UHDTV colour space is defined in

end-to-end ecosystem to enable consumption

that can be used in television production. The

Recommendation ITU-R BT.2020; it reproduces a

expectations to be met with dramatically

UHD/4K cameras that are available are designed

greater range of colours than current HD colour

enhanced user experiences, and to allow a large

more for use in filmmaking. When it comes to

space (Rec.709) and this will give more realistic

array of new business models to be brought into

television production, however, there are different

colour perception.

this next generation of television.

challenges and, as a result, different facilities are needed. One of the key differences is the not-so-

There are still a number of other technical

to happen in order to enable 4K UHDTV to the

John Ive, director of business development and technology, IABM

home/consumer devices. Its arrival has helped to

Acquisition and distribution

solve a number of compression issues by offering

There is every indication that

of terrestrial, satellite and cable broadcasters have

the potential to halve the bitrate of H.264/MPEG-

UHD/4K television is here to stay and will not be

HD-SDI infrastructures that cannot be used for 4K/

4 AVC, making the delivery of ‘true’ 4K UHDTV

consigned to cinema-only applications, as with the

UHD video. As a result, new standards would be

a realistic prospect. Ericsson lab research shows

likes of 3D. From the television manufacturers’ point

required, which would then necessitate further

that a high performance encoder that can

of view, they are well poised to take advantage

infrastructure changes. This leads in to the obstacles

achieve a halving of existing bandwidth takes

of the trend, with Gartner forecasting that by 2018

associated with distributing the content. Terrestrial

about ten times the processing power than that

at least a third of television sets produced will be

broadcasters face challenges in both the current

of MPEG-4 AVC. For 4K UHDTV, there is also four

UHD. However, while broadcasters are focusing on

transmission format, as well as the bandwidth with

barriers to overcome, including cost and bandwidth efficiency. It is therefore the case that implementations of HEVC encoders need

humble zoom lens. Live television production relies on large zoom lenses but these become difficult to manufacture, and tend to increase in both size and expense as the resolution increases.

Another challenge lies in the fact that the majority

42 TVBEurope

www.tvbeurope.com April 2015

Feature which they broadcast (spectrum). As it stands,

pose a serious threat to Hollywood and regional

disrupting the pirated stream while the game is still

many are grappling with space constraints in

producers. The advent of expensive premium

on. Hollywood studios have already been using

broadcasting HD so adding 4K/UHD content is not

UHD content makes improved content protection

forensic watermarking heavily in pre-release

currently viable.

all the more important for the studios, prompting

scenarios for about ten years; subsequently,

them to mandate a higher level of content

they also mandated the technology for digital

Alex Terpstra, CEO, Civolution

security in last year’s MovieLabs specifications.

cinemas. With the UHD revolution upon us, the

Preventing piracy of

traditional solutions such as Conditional Access

TV and streaming to ensure the safety of their

Ultra HD content

and Digital Rights Management have become

valuable content. Operators are advised to take

A recent report from

insufficient in this connected world. Operators

this requirement seriously, to ensure that they

Bloomberg stated that

will need to implement additional content

will have access to the best content on offer

usage of illegal movie

protection solutions, especially for the highest

in the era of UHD.

streaming website Popcorn Time in the US

value programmes such as new studio releases

has tripled between July 2014 and January

and premium sports programming.

The MovieLabs specifications confirm that

2015, and now accounts for one-ninth of all

By ensuring that operators can trace each

studios are repeating this playbook for pay-

Chris Wagner, executive VP marketplace strategy at NeuLion

torrent traffic in the country. Popcorn Time

(UHD) content copy to its original subscriber

also got a mention in Netflix’s January letter to

recipient, forensic watermarking provides the

shareholders, which stated that ‘Piracy continues

missing piece of the content protection puzzle.

Filling the UHD content void

to be one of our biggest competitors’. Through

It enables operators and service providers to

The price gap between

ubiquitous broadband internet, video streaming

pre-inform subscribers that their content copy

HD and UHD screens is falling every week and

technologies and inexpensive OTT boxes or free

was made unique and can be traced back

UHD screens are beginning to fly off the retailers’

smart TV apps, these illegal alternatives now

to them at any time, discouraging subscribers

shelves. But once you’ve got your beautiful new

enable a high-quality experience on consumers’

from illegally re-distributing their content. In case

UHD screen home, what can you watch? The

brand new UHD TV set sitting in the living room.

of premium sports programming, this tracing

same old TV shows delivered via OTT, which you’ve

These references show that piracy continues to

operation can even be done in near real time,

probably already seen in HD, just won’t cut it.

EDITORIAL PLANNER 2015 2015 will see TVBEurope attend and cover more of the key events on the broadcast media industry calendar. Following the successful redesign of TVBEurope, we have developed a more comprehensive list of features for each issue over the coming year, and will be launching a dedicated section covering the latest developments in OTT, multiscreen, and TV Everywhere: TVBEverywhere. Our Opinion and Analysis and Features sections will deliver the big stories every month; Workflow will continue our bedrock coverage of UHD, 4K, IT/ IP infrastructures, and pre and post production insights; and our Business section will provide a regualr analysis of the marketplace, and all of the key M&A activity. Our Audio for Broadcast coverage will now be present in every issue and major sports/live broadcast events will be reported on throughout the year.

For all advertising and sponsorship opportunities, contact the sales team: Europe Ben Ewles: +44 (0) 20 7354 6000, bewles@nbmedia.com, or Richard Carr: +44 (0) 20 7354 6000, rcarr@nbmedia.com, USA Mike Mitchell +1 631 673 0072, mjmitchell@broadcast-media.tv

Issue Date

May

June

Exhibitions/ Events Coverage

• NAB review • TVBE conference review

• Angacom focus • TV Connect insights

September

• IBC preview

• IBC show issue

December

Sports/Live broadcast

• Satellite TV focus • Audio for broadcast special • Sound mixers forum

• Sound mixers forum

• 2015 UK election

• OTT multiscreen • Acquisition focus: lighting for TV

• Audio & outside broadcast

• Summer of sport OB focus

• Mics/ monitors/ consoles

• Wimbledon 2015

• Broadcast graphics forum • IBC product preview

• Quality control forum • IBC show issue: product showcase

• Audio for broadcast special • IP technology forum

October

November

Audio for Broadcast

• Channel in a box forum • Broadcast 2020: visions of the future

July

August

Feature

• TVBAwards

• Acquisition focus: all encompassing • Transcoding forum

• Media Asset Management forum • Archiving and storage roundtable

• Broadcast audio feature

• Rugby World Cup 2015

TVBEurope 43

April 2014 www.tvbeurope.com

Feature Having worked with some of the most prominent

most consumers, OTT in 4K is going to become

‘wow factor’ in UHD at 50/60fps and 10-bit colour

names in global sports and entertainment to

more and more important to consumers who

on the high bandwidth content used in demos in

offer 4K content on any internet-connected

want something great to watch on their new

the store. However, the only beneficiaries of an

device, we see premium sports content being

UHD devices. This creates a perfect opportunity

on-going fragmentation of UHD features will be the

a key driver for OTT and VoD service providers,

for sports rights holders to make a mark before

faster movers in OTT, such as Netflix, who can more

and allowing consumers to watch live and

the rest of the content world gets its act together.

easily deliver content in multiple formats to suit the

on-demand games and footage from the NBA,

end device. To retain a role in the development

Graham Cradock, co-founder and CEO, Xylostream Technology

of UHD, the broadcast and TV industry need to

overcome before sports can move wholesale to

In my view, the industry

encoded video at today’s UHD spec provides

4K. For example, rights contracts may have been

has built up a strong and

both an initial ‘wow factor’ for consumers as

negotiated without mention of 4K coverage and

recognisable brand in UHD

well as a strong platform for the next few years

some re-tooling may be required to enable 4K in

but unfortunately is yet to reach consensus on

while the industry standardises the even more

the distribution chain, particularly in acquisition.

a standard ‘set of ingredients’ for the future

immersive facets such as HDR and HFR which will

offering, which is causing delay and confusion.

be applicable to some content but probably

NFL, NHL and more in 4K will be an important and highly sought after differentiator in this competitive market.

However, there are still some hurdles to

Yet, there are many promising signs. The technology exists today to stream live video

We are now at a crossroads where the options

rapidly establish a standardisation pathway so that transmissions can begin but include a roadmap for incorporating the new features. Properly

unnecessary for much of the viewing experience.

from the event in 4K and deliver it to consumer

are to either add value to the Ultra HD brand

devices (we recently live streamed an NBA game

with HDR and HFR beyond 60fps, or use each

lies in the selection of appropriate encoders

in 4K at 50fps over the public internet at 15Mbps

feature independently, potentially fragmenting

because this is the last point in the chain that

using DivX HEVC with MPEG-DASH), and it’s up

the market and creating further confusion. I see

affects viewers’ picture quality. Preserving the

to the content industry to use these tools to offer

the strong consumer response to UHD TV sets in the

‘wow factor’ of current or indeed future UHD

consumers the UHD video services they crave.

market as confirming a significant interest in UHD

is simply not possible if the encoder itself is

With broadband speeds steadily increasing for

and that consumers are perceiving a significant

compromising picture quality.

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44 TVBEurope

www.tvbeurope.com April 2015

Feature

Immersive audio commentary in several languages, ambient

Audio development is finally catching up with immersive visual experiences in cinema, UHD TV, mobile and virtual reality, writes Adrian Pennington

sound or sound effects.

Fraunhofer also demoed a prototype of a 3D sound bar, enabling consumers to experience high quality immersive audio without the complexity of adding new speakers.

Historically the audio broadcast chain

udio has always been an emotive part

A

The UHD Alliance which formed in January

of the TV and cinema experience and

includes studios (Disney, Fox, Warner Bros.),

was designed around a pre-defined listening

for too long a neglected one. For film

consumer electronics brands (Samsung, Sony,

set up and environment; stereo speakers in a

directors like George Lucas, a movie is 50 per

Panasonic) as well as Dolby and Netflix. Its goal

quiet environment. However, audiences are

cent composed of audio; for Danny Boyle the

is to establish standards around UHD. The focus

no longer consuming content in this way,

soundtrack comprises 70 per cent. Audio in

has been on high dynamic range, but its remit

but increasingly on mobile phones, tablets

theatres is gradually being transformed to match

includes 3D immersive audio too.

and headphones.

projection with investment by exhibitors in

Innovations

area too, not least by the BBC where research

immersive sound systems like Dolby Atmos

Dolby’s is not the only approach. DTS is about

is intended to establish a data driven future

and Barco Auro.

to launch its own object-based audio format

audio format. Unlike stereo or 5.1, such a format

Moves are now afoot to bring home audio

for home and theatre called DTS:X. It reportedly

would be abstracted from the listening system,

quality on a par with the pictures displayed on

has manufacturers including Krell, Anthem and

using a combination of scene description

larger UHD screens, although the 40-year-old

McIntosh onboard plus many of the brands

data and audio data, for example audio files

5.1 surround-sound format has considerable

already signed to Atmos.

accompanied by data describing their position

There is considerable development in this

the higher-fidelity of digital 3D and 4K cinema

in space or movement.

life in it yet.

Feeding into this, BBC R&D has been

Atmos is an object-based audio format that adds dedicated height channels to the usual surround sound channel mix. Each piece of audio is encoded as a sound object targeted at a specific point in three-dimensional space and rendered to fit the equipment and the room. Atmos has been licensed by

‘For film directors like George Lucas, a movie is 50 per cent composed of audio; for Danny Boyle the soundtrack comprises 70 per cent’

investigating binaural (or spatial) audio for some time. This is a production technique that mimics natural hearing cues created by the head and ears. Unfortunately current binaural systems, according to the BBC, have quality issues that do not allow the audio to

AV vendors who are including it in home

be adequately scaled up to a broadcasting

cinema receivers and processors. Among

standard; at least, not yet.

Unsurprisingly Fraunhofer, developers of the

them are Denon, Marantz, KEF, Onkyo, Yamaha and Pioneer.

DTS:X is based on Multi-Dimensional Array (MDA)

mp3 standard, are also active here. Its Cingo

an open object-based audio creation and

software is embedded in smartphones including

speakers, many of them mounted in the ceiling

authoring platform which supports both channel

Google Nexus devices, to deliver a surround

to work with Atmos. Home cinema enthusiasts

and audio objects and adapts to any speaker

sound listening experience over stereo speakers

may have set-ups which work with seven to

quantity and configuration.

or headphones. At CES it introduced a height

Cinemas require at least 36, and up to 64

eight speakers but most of us make do with the

At CES 2015, visitors to the Fraunhofer IIS booth

component and its work with the Samsung Gear

in-built television set speakers with the possible

saw progress in building a new audio system

VR headset to deliver 3D spatial sound that

addition of a sound bar.

based on the recently completed open MPEG-H

incorporates head movements.

An Atmos soundtrack can be squeezed

Audio standard and promoted by Fraunhofer,

On that note, Sound Labs is marketing

onto a Blu-ray disc or into the existing Dolby

Qualcomm and Technicolor as the MPEG-H

what it bills as the first smart 3D audio

Digital Plus technology used by streaming

Audio Alliance.

headphones. Neoh uses motion sensors that

services including Netflix, which means an

The system includes object-based audio

deliver multipoint sound sources in 360-degrees

existing Blu-ray player or streamer should be

that allows viewers to adjust the sound mix to

‘comparable to the latest generation of

able to handle it.

their preferences, boosting hard-to-understand

cinema surround sound’. The headphones are

dialogue or creating a ‘home team’ mix of

targeted at virtual reality applications and are

Age of Extinction and Gravity are being

sports broadcasts. The institute has developed

also fitted with head tracking sensors, which

mastered in immersive audio, and these can

a prototype encoder for live broadcasts from

Sound Labs claims can interpret even the

also be repackaged for the home complete

stereo up to 3D sound in 7.1 with additional

smallest movement to recreate realistic

with Atmos soundtrack on Blu-ray Disc.

tracks for interactive objects including

three-dimensional sound.

A growing number of movies like Transformers:

46 TVBEurope

www.tvbeurope.com April 2015 “We look for a different set of challenges, and the Ryder Cup had the issues of multiple cameras, very long cable runs, and a hostile environment” Chris Johns, Sky

Feature

SMPTE seminar shines a light on UHD George Jarrett reports from SMPTE’s Navigating the Ultra High Definition (UHD) Ecosystem seminar held at EEF’s Broadway House in Westminster in February

T

he vexing issues around navigating the

“Dynamic range is complicated, both hard to

UHD ecosystem would seem like nothing

define and agree. The issue is to replicate part of

if consumer sets all required advances

shooting with what you see at home,” said Johns.

upgradable for small cost increments.

At a SMPTE seminar designed to evolve into a training course, Sky chief engineer Chris Johns

“The work is just starting. Sky has four Mistika systems but no monitor to assess the output.”

Referencing the NITS scale issues, Johns’

began a look at UHD essentials, standards

presentation partner Prinyer Boon, engineering

supporting UHD deployment, and acquisition,

director at Dolby Europe, added: “There are health

post and sharing UHD content with the assertion:

issues around brightness. Does photosensitive

“We need a ‘wow factor’. With 3D you could

epilepsy (PSE) enter the frame again?”

see it and with HD from SD you could detect the difference, but what is it now? It is the realism: we want to feel part of it. We want the 4K feel.”

On the trek to what makes the quality experience, we have to consider viewing distances (from 1.5 screen height to 0.75 screen height with UHD 2) and then start with resolution. Johns quoted an EBU test that identified a difference perception over HDTV of ten per cent. The big negative was that resolution difference was hardly

“It would be interesting to do a very dark lighting test. Plenty of work needs to be done because we want to be pixel perfect. Every time we do a trial we learn something new, and for every trial we have new technology to deploy” Chris Johns, Sky

perceptible at 2.7 metres.

This equates to confidence limitations and the recognition that resolution alone is not enough and might not justify the 50 per cent

Beware the staccato effect

increment in data rate.

Johns moved to frame rates and shutter angles.

Johns stated, “We want better not more pixels,

“Shutter angles create crisper pixels. Shutter is good

higher pixel depth,” and he moved onto NITS

but you can get a staccato effect (juddering) so at

rated lighting differences in images.

Sky we will not use more then 180 degrees.”

Chris Johns: “The elements for UHD are coming together in small steps. We need more and better pixels, HFR, HDR, more colours, and immersive audio”

“We have got to get closer to speculative

His reference evidence here was a BBC

The rationale for enhanced colour gamut is key.

highlights. Dolby’s Pulsar, (with its 4,000 NIT peak

document based on 750fps: this proves that

We need to go beyond standards as they exist to

output) is used by the Hollywood post houses, but

shuttering can sharpen high motion shots, but

offer wider and more vivid colours.”

content viewers are bright and what we really

comparisons between 180 degrees and 270

want is the blacks blacker,” he added.

degrees confirm 180 is obviously better because

big minus area and currently tests are all based

of the shape of the pixels.

around REC 709. UHD cannot exist and grow

Carrying black levels through the ecosystem and adopting OETF as the curve replacement takes us

Johns added: “Shutter is crisper but there is the

into a new world where the changes are subtle but

bigger gap, so it could cause judder. And light

profound. ADR luminance plus natural luminance is

issues impact on shuttering as a value.”

a range we are missing out on, and this led Johns to

Next came the colorimeter issues. “Eyes see

The bad news is that grading screens are a

without HEVC and the data rate will jump at each perfection level.

Johns said. “The elements for UHD are coming together in small steps. We need more and

luminance levels. Direct sunlight is 1.6 billion NITS and

colours we have got to create to match. We

better pixels, HFR, HDR, more colours, and

sunlight on clouds is equivalent to 1 million NITS.

need to push colours outside REC 709.

immersive audio.”

TVBEurope 47

April 2015 www.tvbeurope.com

Feature UHD is cumbersome to rig Johns covered the issues around acquiring, shaping and sharing UHD content using Sky’s multi-vendor supported experimental shoot at the Ryder Cup at Gleneagles.

“Sky wanted to accelerate the use of UHD,” he said. “The things we learnt were that single sensor cameras reduce the depth of field; there is no 4K viewfinder and no trust in focus, so we only used it to rack through to the point of focus; we worked with REC 709 and had to manipulate that range; and, there was the question of how do you manage the live image not to lose anything in the shadow areas?

“The free roving radio camera was a challenge for the 4K bandwidth required. An F-55 was cannibalised and a runner collected the card. This is nothing like the desired live fibre link,” he added. “UHD is cumbersome to rig.

Conversion was out of sync by one frame and we only spotted one quadrant out of sync once the image moved. Log and RAW capabilities, and grading are all desired.”

He also referred to the quad issue reducing mixer capabilities, file transfer to post taking ages, and the bit rates (Sky stuck to 120).

“HEVC was still young, and although the

Turf war number one

companies. It is only recently that people

gold action impressed there was no wow factor.

Boon is a system architect with strong

realised we live in one big world.”

You know what you can get away with now

connections to ETSI and the DVB. His core

He reviewed the status and essence of

as you know the bit rates. We have got to

message up front was that there are mountains

literally every standards initiative out there –

find fast download ways to make it work in

to work through in terms of code and specs

in the process raising the prospects for object

production,” he said.

to comprehend UHD systems. Standards-wise,

audio, and the need of a new baseband spec –

there are different gaps, and interchange and

and concluded: “Colour gamut and HDR

and docs and the dynamic range can be fixed

interoperability are the drivers.

are complicated discussions, but hopefully

in post with a grade, but this does not apply to

the technical specifications will be cleared

live production. Sky wants the RAW footage, but

in mid-2016.”

there is a plethora of camera out formats.

“The UHD ecosystem turf war number one concerns all the standards organisations that control all the interfaces,” he said.

“There are eight organisations involved

The UHD ecosystem must be a collaborative

Large sensor cameras are great for movies

“A lot of work in the standards industry is still

development. Referencing Android he

trying to find where the best images come from,

and a lot of these were set up for giving

added: “It takes an organisation of that

and the consumer probably doesn’t want 4K.

a commercial advantage to indigenous

size to go it alone.”

He wants better pictures,” said Johns.

48 TVBEurope

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Feature Flip around the natural order

HFR and HDR will transfer to mobiles. It is easier

This led to the subject of camera ranking on the

to put the interfaces into the home than putting

issues of resolution, sensitivity, noise, exposure

them into a broadcaster. Flip around the natural

range and recording format; the EBU, Sky and

order of things,” he said.

the BBC are leading a project to define what a

Talking again about Sky’s trials, he added: “You

camera has to be.

would not use the same sport twice. We look for

The purpose of perfecting the course

a different set of challenges, and the Ryder Cup

continued with a section on NHK and 8K and

had the issues of multiple cameras, very long cable

things such as 4K offline, and the scary factor of

runs, and a hostile environment,” said Johns.

transferring data around. A number of company

“For UHD production sport is the worse case

white paper submissions were mixed in, along

scenario, and if you can do a live sport event in

with discussion about Bayer filtering, using proxies

UHD everything else becomes a little easier. I am

to create an EDL when you have RAW, AVB

not sure anything we have seen so far has had

over Ethernet, and gamut mapping algorithms

the wow factor, even the World Cup with Sony.

(there are three new SMPTE projects for large colour volumes).

Johns mentioned a task force on networked

Prinyer Boon:“Colour gamut and HDR are complicated discussions, but hopefully the technical specifications will be cleared in mid-2016”

media production flow, and issues around mixing

It looked good, but there is always one step we need to take.”

As a potential course, ‘Navigating the UHD Ecosystem’ was incredibly dense and the

UHD metadata. The seminar wrapped with a

fast maturing BBC project for the IP delivery of 4K.

insertion of many commercial white paper

look at DVB-S2X, new work by the Pro MPEG

Netflix is a big player and big influence (and will

elements was confusing. But the return of a

Forum, HEVC dual-layer coding (to fill in the HDR

use Dolby Vision).

SMPTE structure in the UK three years ago after

element), a paper on HEVC and HDR as that

Johns suggested we should look to Sky and

dual layer submitted by Vanguard/Dolby (bit

the BBC for the wow factor. “There is constant

leaders like Johns and Boon, suggests the

stream data): HDR is data movement intensive.

experimenting and with HDR and HFR we are

course can be created and kept fresh

Upcoming is the DVB profile of MPEG-DASH, the

closer to the consumer than ever before.

with standards updates.

an 81-year gap, and the support of industry

TVBEurope 49

April 2015 www.tvbeurope.com

Feature

Demystifying UHD 1 and UHD 2 Figure 1: Relative images sizes

By Alan Wheable, senior technical author, PHABRIX Ltd

Figure 2: UHDTV1 and UHDTV2 formats supported by PHABRIX Qx

ust when you thought 450-plus video

J

z UHDTV1 (defined in SMPTE ST 2036-1 “Broadcast

many other RF factors becoming important. With

production, distribution and transmission

Television”) is 3840 pixels by 2160 lines with a 16:9

high speed optical data transfer, factors such as

formats were enough, some bright sparks

aspect ratio. Typically originating as 4K at 4096 x

reflectance (optical return loss), cable quality

came up with a whole batch more under the

2160 (defined in SMPTE ST 2048-1 “Digital Cinema”)

and optical coupling become important.

‘UHDTV’ banner. On the serious side though,

with a 19:10 aspect ratio. For 4:2:2 at 50fps the

standards bodies such as SMPTE and ITU are trying to

data rate is 8 Gbps.

2160 and 1080 line source image and ancillary

keep ahead of developing 4K and 8K technologies

z UHDTV2 is 7680 pixels by 4320 lines (originating

mapping for 12G SDI.

from TV and professional camera manufacturers

as 8K at 8192 x 4320). For 4:2:2 at 50fps the data

who want to give consumers the best possible user

rate is 33 Gbps.

experience (or ‘wow factor’: see Figure 1).

As UHDTV1 and 2 are broadcast initiatives we will ignore the wider issues of programme

Figure 2 shows how the data rate increases

quality, and focus on the infrastructure requirements within broadcast itself. The UHDTV1 and UHDTV2 initiatives correspond to the 4K

Square Division versus 2 Sample Interleave

dramatically depending on the format, bit depth

Some early adopters have employed a Quad Link

and frame rate.

(4 x 3G-SDI) implementation to transfer the image

distribution to the end user via transmitter, cable, satellite, IP technologies and picture compression

Note that SMPTE ST 2082-10 includes both

as four quadrants of the 3840 x 2160 image using

‘One significant challenge for Phase 2 will be the conversion from one colour space to another’

the Square Division approach instead of using the two sample interleave method defined in all UHDTV specifications. The 2 Sample Interleave method uses four sub images and alternates the samples

equipment being developed now and 8K

every two pixels and every line instead of splitting

offerings being designed for delivery over the

the image into four quadrants (see Figure 3).

next five years. These are being introduced in three different phases:

Physical interfaces

Improved colour dynamic range

Phase 1: 4K images up to 60fps and ITU-R BT.709

There are a number of physical interfaces

Phase 1 of 4K and UHDTV1 uses ITU-R BT.709

Colour Space

available that employ both existing 3G

YCrCb, RGB or XYZ colour spaces typically

Phase 2: 4K images up to 120fps, High Dynamic

technologies as well as new 6G and 12G

associated with HD-SDI, 3G-SDI and 2K-SD

Range and ITU-R BT.2020 Colour Space

technologies in combinations such as 4 x 3G-SDI

formats. Phase 2 requires a new colour space

Phase 3: 8K images up to 120fps

(SMPTE ST 425-5 and ST 242), 2 x 3G-SDI (SMPTE

model (ITU-R BT.2020) that extends the existing

ST425-3), 1 x 6G-SDI (SMPTE ST2081-1, 10), 2 x

colour gamut and allows a more realistic colour

the number of pixels, lines, frame rate, colour

6G-SDI, 2 x 6G Fibre, 4 x 6G-SDI, 1 x 12G-SDI (SMPTE

rendition to coincide with next generation

space, colour component sample rate (i.e. 4:2:2,

ST2082-1, 10), 2 x 12G-SDI, 4 x 12G-SDI and 1 x 12G

cameras and screen technologies. This will be

4:4:4, etc.), the data rate, the data link type

Fibre, to mention just a few being considered.

mandatory for UHDTV1 at frame rates above

The UHDTV1 and UHDTV2 video formats define

(copper or fibre) and number of links which results

With these technologies come more

in a large number of possible combinations. But

challenging physical connection requirements.

what does this all really mean in practice?

For example, 6G-SDI and 12G-SDI connectors

60fps and for UHDTV2. This will also require a new Colour VANC Packet ST 2048-1 (see Figure 4).

The basic differences

specialised, with the higher SDI clock rate

Greater number of potential audio channels

Fundamentally, the technical differences are

problems like return loss, connector shape,

The new physical interfaces specified for UHDTV1

physical image size and raw data rate:

connection tightness, cable bend radius and

increase the number of potential audio channels

and cables are high specification and more

50 TVBEurope

www.tvbeurope.com April 2015

Feature Copper versus fibre?

When SD-SDI was first devised as an interface to carry a square wave signal over 75 Ohm coax, the cable infrastructure and equipment suddenly had to handle frequencies up to the 7th harmonic (945 MHz) of the fundamental frequency. With the advent of 12G-SDI this would suggest a frequency of 42 GHz. In practice, however, the cable drivers themselves will not be able to deliver this, so the signal will effectively be almost sinusoidal.

The data rate of the SDI interface affects how far the signal can be carried. Equalisers available today typically provide the following performance using Belden 1694A cable: z SD-SDI is 450m z HD-SDI is 220m z 3G-SDI is 180m

Figure 3: Square Division versus 2 Sample Interleave

z 6G-SDI is 90m z 12G-SDI is 60m

that can be used. For example:

on how flexible equipment manufacturers

z 4 x 3G-SDI supports up to 128 audio channels

will make their products and what the

at 48kHz

industry requires. Support for 22.2 surround

to distribute UHDTV signals using copper cable. With

z 12G-SDI supports up to 128 audio channels at

sound (included in SMPTE 2036-2) is one

copper links, the physical infrastructure

48kHz (or 64 at 96kHz)

configuration being considered, and in

itself – i.e. patch bays, connectors and patch

addition, object-oriented audio is

cables – will have a dramatic effect on the quality

another hot contender.

of the SDI signal which will further reduce the overall

In practice, how these additional audio channels are going to be used is dependent

As you can see, it may not always be practical

TVBEurope 51

April 2015 www.tvbeurope.com

Feature distance. Early adopters experimenting with 12G

each organisation and by the industry as a whole.

high resolution, high frame rate and high dynamic

using Belden 1694A cable have had consistent

One significant challenge for phase 2 will be the

range. With the later schedules for phase 2 of

and useable results with 3G and 12G connectors.

conversion from one colour space to another.

UHDTV1 in 2017, I personally wouldn’t rush to

Fibre distribution may be the only viable approach

The whole drive from equipment manufacturers is

buy a 4K television just yet (I remember buying an

for anything other than local interconnection of

the ‘wow factor’, which is considered to require

HD Ready TV just before Full HD arrived).

devices, as 12G single mode fibre distribution today will allow UHDTV1 signals to be sent up to 2km.

Note that multimode fibre distribution is limited to approximately 100 metres. The interconnection of choice may be down to budget.

Conversion and interconnection Like the introduction of 3G, there will probably never be a single format or interface in use within broadcast for UHDTV1 and 2, so early adopters will have to manage the conversion between formats and interfaces at each stage in the production process.

Although some of the proposed interfaces and standards are technically possible, they may in practice be too expensive or impractical at this time. Very early adopters are using square division format over 4 x 3G interfaces, as this can be achieved using existing infrastructure. As equipment using 12G technology becomes available, this approach will be superseded. Fibre is likely to be adopted for long distances and copper for local connections as this provides the simplest connectivity at each broadcast stage.

There will be interconnected islands of copper, fibre and IP within the broadcast chain where there are implementation cost and technological advantages to do so. Techniques such as Mezzanine Compression, typically with a fourto-one compression, may reduce the need for high bandwidth links. And like 3G-SDI, people will choose the formats and interfaces that best suit what they are trying to achieve artistically and technologically. However, this potentially makes life challenging for everyone downstream who will have to ‘shoe horn’ all of the potential formats into the chosen distribution format adopted by

Figure 4: Improved colour dynamic range

TVBEurope 53

April 2015 www.tvbeurope.com

TVBEverywhere

The changing behaviour of television viewers Dr Andreas Schroeter, co-founder and COO at wywy, examines the shift in TV viewing habits

T

V is no longer regarded as the ďŹ rst screen in the home, but this does not mean it is dying a death. The television screen is still the

or because the TV content is ‘not interesting

Screen agnosticism

enough’ to hold their attention (28 per cent).

From mobile devices to smart TVs, consumers

In addition, almost one in four (24 per cent)

are watching TV across a wide array of screens.

Europeans are now media-meshing – using a

These connected devices provide consumers

mobile device to gather more information

with a platform to stream TV content or SVoD

about the programme they are watching – and

and VoD at the click of a button – freeing them

14 per cent use these devices to interact directly

from restrictive TV network timetables. A quarter

with TV content.

of worldwide internet users now stream video

So what does this continual and signiďŹ cant

online daily via a digital device.

evolution of TV consumption mean for brands?

The future of ads

place where families tend to gather, although TV consumption has changed signiďŹ cantly since the

‘Almost one in four (24 per cent) Europeans are now media-meshing – using a mobile device to gather more information about the programme they are watching’

proliferation of mobile devices.

TV viewing habits have evolved from ďŹ rst screen dedication to general screen agnosticism, with nearly two thirds of audiences (64 per cent) now using a mobile device while watching TV. This surge in multiscreen usage and increased demand for content consumption has led to a

Distracted TV audiences – who multi-task and screen-stack while watching TV or during the adverts – are making advertisers work harder to capture and retain audience attention. Advertisers need to adapt and shift to reect the changing behaviour of viewers. As a result, advertisers are utilising video advertising to capture online viewers’ attention on platforms such as YouTube, and similarly brands are

boom in consumer multitasking, with over half

adopting TV syncing technology to recapture TV

(56 per cent) of second screeners actively using

viewers’ attention on second screen devices. The

smartphones, and a third (31 per cent) using

ads synced to the second screen – which often

Open all hours

contain interactive elements – allow media-meshing

The sheer volume of accessible, online content

consumers to interact and engage directly with

Europeans will own mobile devices. Last year

24 hours a day is driving TV viewers to increasingly

brands, helping to drive uplift and awareness.

almost 140 million Europeans used smartphones

watch digital media when, where and how they

to access digital media content and more

want. Subscription Video on Demand TV (SVoD)

devices will only serve to further fuel the evolution

than 50 million used tablets. Consumers are

and Video on Demand (VoD) has also fuelled the

of TV consumption, as well as content syncing

increasingly media-stacking – using multiple

dramatic change in TV consumption, with more

technologies, to retain viewer attention. As

screens while watching TV for unrelated tasks

than 59 million European households expected

a result TV viewing behaviour will continue to

– to ďŹ ll time during ad breaks (42 per cent),

to subscribe to SVoD services by 2020.

change as we know it. „

tablets, while simultaneously watching television.

By 2017 it is anticipated that 417 million

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TVBEurope 55

April 2015 www.tvbeurope.com

Virtual Sets Forum

The reality of virtual sets As Virtual Reality (VR) is becoming more commonplace, so there is a growing need for greater understanding of the technology.

Just what are the challenges?

Do enough designers understand what is required? And beyond that, what are the next innovations?

Those giving their views on these and related topics are (in alphabetical order) Mark Bowden, senior product manager at ChyronHego; Thierry Gonzalo, product manager, Brainstorm Multimedia; Haim Halperin, virtual studio, augmented reality, and tracking product manager, Orad Hi Tec Systems; Luke Harrison, technical product marketing manager, RT Software; and Gerhard Lang, chief engineering officer, Vizrt.

This month we return to the increasingly important topic of virtual reality. Philip Stevens moderates the forum of industry experts

What is the most challenging aspect when it comes to creating a VR broadcast environment?

Gonzalo: As the technology has matured, VR sets evolved from being very ‘computer like’, meaning the intentional display of the fact that they have

Thierry Gonzalo, Brainstorm Multimedia

Haim Halperin, Orad Hi Tech Systems

been created digitally, to seamlessly combine virtual sets with synthetic imagery, 3D graphics and real characters. So now, with the latest advances in

Halperin: Today’s multi-channel, multi-

workstations and GPU technology, the challenge is

platform environments hold many challenges

more on the creative side – to be able to replicate

and simultaneously many opportunities

reality in a realistic manner. But this also involves lens

for broadcasters. Changes in technology

calibration, lens emulation, advanced rendering

mean that broadcasters encounter constant

and careful perspective matching between

movements in multi-format intelligent

all elements, adding depth of field and other

capabilities. Many broadcasters produce and

advanced effects to simulate reality.

present shows in SD, and many have switched

56 TVBEurope

www.tvbeurope.com April 2015

Virtual Sets Forum to producing in HD 720p or 1080i. Broadcasters

cost, infrastructure and

are constantly fighting to deliver native HD

support point of view.

content and blend multi-format capabilities.

Lang: You can

What do you see as the most important innovation affecting VR in recent years?

The future integration with 4K compression

divide the challenges

techniques, impressive as it is, will increase

related to VR

the demand from broadcasters to expand

broadcasts into those

Bowden: The biggest innovation is the ability

their capabilities even more. The demand for

which are creative

to move away from cameras that are on fixed

innovative real-time virtual studio graphics

and those which

pedestals. We are now seeing VR on Steadicams,

capabilities, with enhanced photorealism,

are technical. A

jibs, and even ‘sky-cams’. The ability to work

continues to grow.

successful virtual set

with these cameras and offer a much freer

depends a lot on the

and broader perspective is opening up a new

creative ideas and

degree of VR usage in live productions.

Harrison: Finding designers that understand real-time remains a challenge. Whilst there is a glut of skilled 3D designers in the industry, they do not always have enough experience of real-time

Luke Harrison, RT Software

delivery. But perhaps the biggest challenge is

how valuable they are for telling a story.

These ideas need to

Gonzalo: Apart from the continuous increase in processing power and image quality, possibly one of the most significant developments was the

moving to photorealism, which is still beyond a

translate into stunning graphics, camera angles

introduction of Brainstorm’s patented TrackFree.

lot of VR systems despite the massive increase

and storytelling in general. Technically speaking,

This is a camera-tracking independent technology,

in render capabilities over the last five years or

cameras, tracking systems, keyers, lighting and

which combines in a single virtual camera the

so. Sets rendered in post for film, or even games

the overall green screen studio need to operate

precision and higher quality of the most complex

can look fantastic, but maintaining this at frame

with accuracy and stability. The challenge is

tracking system with the flexibility, freedom and

rate is still a challenge. The other issue is probably

to get all the small parts working together. If

ease of use of modern trackless systems like EasySet

the challenge of image-based tracking.

any one of these parts fails, the result will be

3D. TrackFree can use both internal chroma keying

Removing the need for expensive electro-

a domino effect which will lead to a less than

software and external chroma key hardware –

mechanical sensor systems is desirable from a

impressive end result.

even in the same production.

TVBEurope 57

Virtual Sets Forum Harrison: The advent of GPU

of the rendering platform and

processing has greatly increased the

the 3D graphics software, the

ability to provide more sophisticated

more advanced imagery will be

keying, rendering and tracking.

achievable in real time. Realism is

The developers at RT Software

about advanced rendering and

have been squeezing hardware

precise perspective matching, so

performance for all they can by

the more power we have, the more

using a lighting technique called

polygons, textures, effects and

Physically Based Rendering (PBR)

impostors we will be able to include

which can mimic tiny surface details

in a scene in real time.

and complex lighting based on

Halperin: The heart of virtual

real world physical properties. The

studio production is its rendering

advent of image based tracking

platform. Orad’s HDVG video

allows camera movement to be

rendering platform allows the

recognised without the need for

broadcaster to easily render

mechanical sensors allowing VR or

sophisticated graphics whether

AR to be used in situations otherwise

used for background/foreground

impossible – on a stadium spider

or the videos used inside the

cam, for example.

set. The HDVG that is equipped

Lang: The most important

with standard high quality PC

innovation we’ve seen is probably

components offers a dedicated

the way rendering power has

I/O board designed for real-time

changed. It’s now faster and more

graphics and establishes a direct

powerful at the same time as

connection between the I/O board

becoming increasingly affordable.

and the graphics board.

We’ve also been impressed with

Lang: Choosing a rendering

the many types of tracking systems

platform does make a big difference

which have become available.

so making sure the right one is

These advancements have made

in place is important. Our focus

the use of virtual set technology

when developing Vizrt’s rendering

much more accessible and resulted

platform, Viz Engine, was always on

in more interest for broadcasters

building a platform that’s fast to work

to use this as a storytelling tool. This

on and with which to make updates.

has grown more predominantly

But something that might be even

in sports and news production. It

more important in a rendering

should definitely also be mentioned

engine is that we’ve got great built-in

that we now have 4K immersive

video support for clips, live video and

production from a one-box solution.

streaming sources that renders out

This means we can handle live

the virtual set in real time. So the Vizrt

video, graphics and keying from

platform is really directed towards

a single box.

content producers that handle live

How important is the choice of rendering platform?

dynamic content.

How crucial is lens calibration?

Bowden: For us, it’s very important.

Harrison: Lens calibration is

We have a deep level of integration

extremely important and often

between all our platforms that

glossed over by end users and

enables them to pass data from

even some suppliers of VR. Each

virtual worlds into the real world and

lens has its own characteristics

back again. To achieve this, we lean

which vary not just between lens

heavily on the implementation of our

models, but also between each

own protocols in all of our software.

lens, and furthermore, may change

Gonzalo: The more powerful and efficient the combination

over time and use. RT Software’s lens calibration process allows the

58 TVBEurope

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Virtual Sets Forum VR software to accurately ascertain the field of

environment – black, white and everything in

view (FOV) of the real lens and the lens distortion

between. A useful tip is to check your scene in

characteristics at that FOV. If the FOV is incorrect,

black and white, if possible, to see how your

then the virtual objects will appear to drift in

values are working. Lastly, design with the brand

relation to real objects as the lens is panned or

in mind keeping your colours to a handful

zoomed. Lens distortion is greatest at the edges

making sure they work together, and keep the

and corners of the frame. If this distortion is not

noise down. Unless you want the viewer to look

compensated for accurately, then drift will be

at something that is not the presenter, keep the

increased as virtual objects approach the edges

animated elements to a minimum.

and corners of the frame. For drift-free VR and, more importantly, AR – virtual objects in a real

Gerhard Lang, Vizrt

Mark Bowden, ChyronHego

Lang: Getting the idea right is of course crucial. If the basic idea is not entertaining or aids storytelling, a virtual set will be of little

scene – the lens calibration needs to accurately describe the FOV and the distortion characteristics

Lang: Portable VR has become something that

help. The graphics themselves need a high

across the complete range of zoom and focus

producers want more and more and it’s already

degree of sophistication. One of Vizrt’s newest

of the lens. The rendering software needs to

available with Vizrt products. Fox, for example,

implementations helps by integrating with

render the scene accordingly taking this FOV and

has produced some stunning visual images using

Maxon’s Cinema 4D, making it easier to design

distortion into account.

Vizrt tools twinned with Ncam tracking systems.

sets within the programme.

Lang: Lens calibration is crucial in order to

Ncam provides tracking information from two

What is the next major development on the VR front?

get the motion and zoom levels of the camera

small cameras that are fixed to the main camera.

to match up with the graphics. If it’s not done

This has been a huge advancement in making

right the result won’t look very good. Vizrt has

the total system more portable and flexible. Users

developed some great tools for speeding up

are no longer dependent on tracking systems

the process of calibrating the lenses. These

that take lots of time to install. When the tracking

Bowden: I believe that we will continue to see

solutions provide good calibration and speed up

system is mounted on the camera itself it’s quicker

the proliferation of more intelligence in VR and

set-up time.

to start using virtual elements together with a live

in studios in general. Depth-sensing cameras,

camera feed. You can now also run Viz Engine on

cameras with an awareness of their location in

a laptop which gives you a very strong rendering

the studio and what they’re ‘looking’ at, and

capacity with attached Matrox video cards using

intelligent switchers will all enhance the world of

a thunderbolt connection.

VR over the coming decade.

Just how realistic is ‘portable VR’ – the ability to create VR in any environment?

Bowden: It’s realistic with the right support. As these systems become more embedded into and on to cameras, we will see VR and AR move

Are there basic considerations to which designers of VR environments need to adhere?

Halperin: We believe that making VR light, compact, scalable and more affordable is what the future has in store. Adoption of 4K is another important challenge. We have challenged ourselves and our technology providers to continue and improve camera tracking technologies, as this,

to domains in which they previously would have been impossible. One example in which AR is

Bowden: Yes. The most important tenet of VR is

along with expanded graphics capabilities, are the

already being deployed very quickly is on the

to make it look real. Anything that is designed

heart of the VR revolution that took broadcasting

sidelines of stadiums during breaks in play. Our

to ‘trick’ or ‘fool’ the viewer should be as

by storm over a decade ago. Integration with

Virtual Placement software enables this with no

photorealistic as possible. Once you start to

multiple systems that are part of the production

setup time and no sensors on the camera.

move away from a realistic look and feel you risk

workflow requires greater flexibility, and a wider

losing credibility with viewers.

range of choices to display and manage content

Gonzalo: Not many years ago this was an impossible task, but today all we need is

Gonzalo: In Brainstorm, we work with Real

will be key to future developments.

Harrison: Firstly, the move to floating point

Trackfree and a fixed camera. Furthermore, with

Time Virtual Sets. One of the big advantages of

a tracking system based on image recognition,

our software for VR designers is that objects and

frame buffers allows set rendering to provide

such as Ncam, any environment is valid for VR

textures that are placed on the background of

10- or even 12-bit resolution. This, combined with

or Augmented Reality.

the environment need less polygonal resolution

a full shader-based pipeline, paves the way to a

than the ones placed at the forefront.

fully photo realistic set. Secondly, image-based

Halperin: Given the right technology, portable VR is definitely a possibility, though not for

Harrison: Yes, there are basic considerations.

camera tracking, with either the aid of targets in

every type of environment. Perhaps it is more

Technically, you should try and keep the polygons

the camera’s field of view or existing set features –

appropriate for small/mid-sized broadcasts

low, although tOG-VR makes an efficient use of

the AR case – negates the need for sensors on the

that are searching for a high-quality, low-

the GPU there is no point in taxing the renderer

camera. Whilst such systems currently exist, none

maintenance virtual studio solution. Orad’s

with something that you will never see. To create

are yet completely 100 per cent reliable. Vendors

Virtual Studio in a Box solution offers just that. It

a feeling of reality, keep virtual objects located as

such as RT Software are looking at object tracking

is able to manage four live cameras, provide

they would be in the real world, use foreground,

to allow presenters to seamlessly merge with the

programme and preview, and manage all

middle and background objects to create depth

virtual environment by automatically altering

types of tracking technologies, integrated

and pay attention to the scale of objects. You

keying priority as they move in front and behind of

chromakey and internal delay.

want good white and black values in your virtual

virtual objects using depth keying.

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60 TVBEurope

www.tvbeurope.com April 2015

Data Centre

Taking a multi-dimensional view of the customer experience respondents stated that they would switch

Amdocs looks at how telcos/cable TV companies compete on customer service with OTT players

mobile subscription plans for a plan that included additional communication services (e.g. home, internet, TV) with almost the same number of respondents saying they would switch if they were able to choose the bundle components.

espite the competitive challenges

z

from over-the-top (OTT) players, the

unclaimed: Although more than half (52 per

vast majority of consumers still favour

cent) of respondents subscribe to four services

D

The multi-play opportunity remains

‘traditional’ service providers, according to

(broadband, TV, mobile, fixed line), only one per

recent research by Amdocs, a provider of

cent has a single quad-play provider. Triple-play

customer experience solutions. It also shows

penetration was also low (nine per cent).

that while customers value their service

customer care/experience (89 per cent) and

z

providers’ customer experience, network quality

high-quality internet connection and coverage

the 62 per cent of respondents with a mobile

and brand reputation, churn remains high within

(59 per cent) as the top reasons for their

internet plan, 71 per cent use Wi-Fi more

the industry.

endorsement, 50 per cent of respondents said

frequently than their mobile connection.

The Amdocs Customer Experience Spotlight

they had been with their current service provider

Carrier-grade Wi-Fi will drive loyalty: Among

“With changing customer expectations

2015, an independent research study conducted

for less than a year.

and the ever-increasing threat of disruptive

by IE Market Research (IEMR) on behalf of

z

Customers prefer ‘traditional’ service

competitors, service providers are required

Amdocs, highlights the importance of providing a

providers: 80 per cent of respondents would

to adopt a new strategy by taking a multi-

superior customer experience in order to retain as

not consider switching to OTT disruptors if these

dimensional view of customer experience,”

well as attract new customers, such as including a

players offered mobile connectivity. The top

said Chris Williams, head of global marketing

carrier-grade Wi-Fi strategy to combat the threat

reasons were: privacy and security issues, lack

at Amdocs. “By leveraging their customer

of emerging players in the mobile market and

of trust and potential network quality issues.

experience strengths and exciting customers

offering multi-play bundles to win market share.

Global variations were significant: the majority

with innovative, personalised and multi-play

The global survey was conducted among 8,450

of APAC and emerging markets were more likely

bundles, as well as shaping the quality of

consumers in 17 countries.

to consider OTT disruptor services, while mature

network experience through real time network

markets in Europe and North America proved

visibility and control carrier-grade Wi-Fi

more loyal.

strategies, service providers have a tremendous

While 63 per cent of respondents stated they

z

opportunity to lead in the new world of

would recommend their service provider, citing

personalised services: More than half of the

Key findings include: z

Churn persists within service provider industry:

Customers desire innovative and new

customer experience.”

is the leading media brand for suppliers to the European broadcast and media market and is a proven partner in delivering the very best in news, analysis and debate to the key decision makers in the broadcast industry.

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62 TVBEurope

www.tvbeurope.com April 2015

Data Centre

Perceptions of the public cloud it via public cloud. Worse, an additional 19 per

employee behaviour that puts sensitive company

cent could not be certain whether this had

data at risk. Penalties to staff are serious, yet the

happened to their business or not.

need to share files across different devices is

The survey results go on to reveal that little is

leading them to break company policy and put

being done to protect organisations or staff

their jobs on the line. The survey highlights how

espite one third of UK firms banning public

against careless behaviour.

important it is to address this dilemma before

cloud from the workplace, its use appears

z

more company data is lost or exposed.”

endemic, unmanaged and unstoppable,

which believe they are at risk, have not added

One third of UK firms ban staff from using public cloud services, reports Connected Data

D

Nearly half (48 per cent) of those companies,

according to a new survey commissioned by

guidelines to a staff manual

Transport to the private cloud

Connected Data.

z

The survey coincides with the UK launch of

The survey of 100 UK businesses revealed stark concerns about the safety of the public cloud

Even fewer firms provide training (36 per

cent) or tools (39 per cent) on the topic of file

Transporter for Business, the industry’s first

and data sharing

private cloud appliance from Connected Data.

services, such as Dropbox, Box and Amazon for sharing confidential data. However, despite this caution, the findings demonstrate that most employees’ activity via these platforms generally goes unmonitored and unchecked in 64 per cent of businesses.

The vast majority (90 per cent) of IT decision makers believe that sharing sensitive data in the public cloud poses some level of risk.

However, despite this inherent mistrust, only one third (33 per cent) have banned staff from

Transporter for Business allows users to sync

“Private cloud solutions enable companies to take full responsibility by protecting their sensitive data whilst enabling their employees to do their jobs as efficiently as possible” Dr Geoff Barrall, Connected Data

and share files privately. By offering employees the cloud features they enjoy and require, Transporter eliminates the temptation to use unauthorised public cloud solutions that could put sensitive business information at risk.

Transporter for Business enables organisations to keep cloud data on-site without having to pay recurring monthly fees, manage storage capacity limits or replace legacy storage systems. Available in a variety of configurations

using public cloud. Of the firms that do ban the

ranging from 8TB to 24TB, it delivers a fast and

use of public cloud at work, over half (58 per

secure private cloud experience through intuitive hardware that is fully controlled by the end user.

cent) admit they would not know whether their employees are using it anyway.

Other key findings include: z

Staff at UK firms who break rules about public

Transporter for Business enables up to 150 users

cloud usage in the workplace could be in for a

per device to create and share company files

big shock. More than a fifth (22 per cent) of the

with an unlimited number of colleagues, all in

questioned believed that public cloud services

firms interviewed said staff would be instantly

complete privacy. All products in the Transporter

were being used by some proportion of their

dismissed for using public cloud while 40 per cent

for Business family also work together, so

workforce regardless of company policy (with 29

would issue staff a written warning.

businesses can simply add new Transporters to an

Over two thirds (69 per cent) of businesses

per cent suspecting over half their employees of

The survey also looked at the drivers behind

doing so)

cloud usage. It found that the main reason

z

employees risk using the public cloud is because

More than a quarter (27 per cent) rank use of

existing network when additional storage or user capacity is needed.

Barrall concluded: “Whilst we know employee

public cloud as the greatest risk to their company

they need to access files across devices (54 per

behaviour cannot be changed overnight, there

data, above lost devices (25 per cent), hacking

cent). Ease of use was considered the second

is a way to keep data safe and give employees

(14 per cent) and malicious staff behaviour (18

highest driver (48 per cent).

the work tools they need. Private cloud solutions

per cent) z

Dr Geoff Barrall, CEO of Connected Data,

enable companies to take full responsibility

commented, “While we shouldn’t be overly

by protecting their sensitive data whilst

of UK firms admitted they had lost or had

surprised at the levels of mistrust in public cloud,

enabling their employees to do their jobs

confidential data exposed due to staff sharing

we should be concerned by a growing pattern of

as efficiently as possible.”

Meanwhile, well over a tenth (13 per cent)

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