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Business, insight and intelligence for the media and entertainment industry

April 2017

Acquisition feature and NAB preview


Perspectives on UHD | Mobile World Congress | News infrastructure

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April 2017


Welcome EDITORIAL Content Director: James McKeown

Welcome to tomorrow

Editor: Jenny Priestley Staff Writer: James Groves Contributors: George Jarrett, Neal Romanek, Philip Stevens

If NAB and IBC stand as the industry’s totemic vantage points from where we gauge industry progress, then MediaTech 360 is the bridge that knits together the underlying discussion

Sales Manager: Peter McCarthy +44 207 354 6025 Senior Account Manager: Richard Carr +44 207 354 6000 Digital Director: Diane Oliver Human Resources and Office Manager: Lianne Davey Head of Production: Alistair Taylor Managing Director: Mark Burton Designer: Kelly Sambridge


e are particularly fond of buzzwords

seeks to address those business challenges by

in this industry. No doubt, we will hear

looking at the existing pain points while identifying

plenty of them in and around the

the opportunities presented by the evolving

Las Vegas Convention Center during NAB. Their

marketplace. Disruption, transformation, and

application can take many forms; some to offer a

evolution will be prevalent themes throughout.

token of accuracy as to the current shape of our

The centrepiece two-day summit takes place

business, others to present grander impressions –

at London’s Millennium Mayfair on 7th and 8th

US Sales: Michael Mitchell +1 (631) 673 0072

the bigger picture; tomorrow’s world, and so forth.

June, and we invite all industry stakeholders to

Japan and Korea Sales: Sho Harihara +81 6 4790 2222 PRINT SUBSCRIPTIONS NewBay Subscriptions: The Emerson Building, 4-8 Emerson Street London - SE1 9DU

include disruption, transformation, and evolution


Three of the more ‘leaned upon’ themes – individually and collectively relevant to the state

future of our sector. This April issue sees me officially hand over the

of our current market, and the path to its future

reins of this publication to our new editor, Jenny

bearing. Indeed, they are themes common to

Priestley. Henceforth, the words in this preamble

entities that touch any part of the media and

will belong to Jenny’s refreshing perspective on

entertainment spectrum – good old trade press

our business. It’s certainly an exciting time to be

like us included.

joining this marketplace as a journalistic type,

Ours is an industry in the grip of profound

TVBEurope is published 12 times a year by by NewBay Media Europe Ltd, The Emerson Building, 4th Floor, 4-8 Emerson Street, London SE1 9DU

come and be a part of the discussion on the

and it’s with some excitement that we both look

change, whether on an infrastructural,

forward to bringing you the best coverage of our

operational, or strategic level, and the

dynamic sector. n

manifold. Our MediaTech 360 event in June NewBay is a member of the Periodical Publishers Association

James McKeown

complexities inherent in that change are

Content Director, NewBay


© Copyright NewBay Media Europe Ltd 2017 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording or any information storage or retrieval system without the express prior written consent of the publisher. The contents of TVBE are subject to reproduction in information storage and retrieval systems. Allow eight weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197

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Philip Stevens Production and Post editor

Neal Romanek Technology editor

George Jarrett Business editor

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TVBEurope April 2017

In this issue


Opinion and Analysis

Production and Post


Philip Stevens takes a look at TRT World, Turkey’s international news channel

Niall Duffy, CMO at Vurtual AI and MediaTech 360 chairman, shares his views from TVBEurope’s cloud storage session at BVE. Quantum’s Christo Conidaris and Hackthorn Innovation’s Steve Sharman also weigh in on the debate

10 Feature

We ask five industry figures whether 2017 could finally be ‘The year of UHD’





April 2017

TVBEurope Advertorial


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ience Agile field-to-aud re tu uc news infrastr


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George Jarrett speaks to Roger Morris, Elstree Studios managing director, about a raft of industry issues in the production sector

20/03/2017 18:18


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TVBEurope April 2017

Opinion and Analysis

To cloud or not to cloud?

This year’s BVE was a hugely successful event, with an impressive array of keynote speakers and conference sessions populating the week. NewBay’s partnership with BVE meant that the TVBEurope and TV Tech Global brands were highly visible during the week through the production of the BVE Show News, moderation of the Screen @ BVE on day two, and producing a cloud storage session in the Post and Workflow theatre. Here, we get the views of the speakers from that session, moderated by MediaTech 360 chairman, Niall Duffy, who gets us started…


he ‘Future of

limitations, it was an easy format to store, handle

and secondly that the key to keeping storage

Storage’ debate

and archive and had an expected lifespan

simple was more intelligence in the software

at BVE highlighted

considerably longer than today’s spinning disk

layers. The reality is that despite the hype

a paradox of modern

formats. And as Quantum’s Christo Conidaris

around cloud storage, the choice of any

technology: storage

quipped “there are three certainties in life:

storage infrastructure is dependent on the

ought to be very simple;

death, taxes and you will lose data.”

workflow driving it.

simple to access, simple

From a moderator’s perspective, this was one

If we don’t understand our workflow, then

to manage, and simple

of the more lively sessions I have had to manage

we are liable to make the wrong decisions

to decide on which

and one where I had to do the least work! From

with storage. More intelligent media

media to use. But it

Hackthorn AI’s Steve Sharman’s opening gambit

management software can help in this, as

turns out that doing ‘simple’ well can be very

of “storage is boring”; to Christo Conidaris’ view

we can increasingly utilise cost-driven rules to

complex. Changes in technology have brought

that storage was the most exciting infrastructure

optimise the cost of that infrastructure.

more choice and, in theory, the opportunity to

component because our valuable content

financially optimise the cost of storage platforms.

depended on it; there was a very diverse set of

MediaTech 360

But we now face bewildering choices of different

perspectives. ITV’s Richard Sendall presented

The culmination of the constant change in

storage types: various categories of performance

a view of the modern broadcaster’s approach

technology in broadcast has finally made

disc, SAN and NAS systems, MAID archives, data

that emphasised the need for governance

us realise that we need a much broader

tape systems such as LTO and Enterprise Tape,

and robust processes to avoid a ‘data swamp’.

perspective on our industry; this is not just IT in

a variety of different cloud storage platforms,

Magenta’s Tim Burton offered some very

broadcasting, it is digital disruption in media

optical disc and now solid state storage. Modern

practical real world approaches to hybrid

production and distribution. The MediaTech 360

storage strategies need to consider all of these

storage platforms utilising cloud.

event reflects this change and emphasises the

technologies and crucially needs to be updated

For all of the diversity, the panellists all

need to move from a narrowcast view

coalesced around two key concepts: the most

of broadcast to a 360 view of media

critical aspect of any storage infrastructure

management, and it’s a great honour to be

are higher, as while videotape had many

strategy is not the technology but the workflow,

involved in this inaugural event. n

Christo Conidaris, sales director, EMEA, Quantum

commoditised, this will become the norm. Two

option and budget for cloud storage. But more

clear use cases seem to be dominating cloud

importantly we can help customers move and

consideration: archive storage and offsite

manage the content to and in the cloud itself.


leveraging the cloud makes the most sense for a

must consider five key factors in selecting and

t Quantum, we

couple of reasons: one, data is stored in a data

migrating data. These are:


centre that is geographically separated from

l Ongoing data transfer volume

that all forms

customers’ datacentres, so data is protected

l Expected frequency of ongoing data usage

of storage bring

against local disasters, and two, archive and DR

l Data recall performance requirements

benefits to different

data is rarely accessed. In general, customers

l Application integration

parts of the business. This is normally driven by

need a better understanding of what the cloud

l Ongoing management

cost and performance criteria. With respect

will really cost and make 100 per cent sure that

to the cloud we view this as just another tier of

they are not paying too much for the application

The cloud is an optional tier that may – or

storage. One with pros and cons, and one that

they intend to use cloud storage for, we have

may not – make sense in the context of

has great benefits for certain use cases and

seen pricing models vary considerably between

your performance and cost – and security –

workflows. But as we embrace the cloud, there is

the large public cloud providers and this can

objectives. If on-premise disk or tape makes more

clear and resounding feedback from customers

make or break the overall cost of ownership

sense for you, it’s ok to ignore the cloud (at least

that being cloud-agnostic is just as important as

model. Quantum can help to estimate what

for now). But if you find the economics of the

being application-agnostic for a storage provider

cloud storage costs will be by month and by year,

cloud cannot be ignored, then it’s time to add it

like Quantum. As cloud storage becomes more

helping our customers explore the cloud as an

to your storage tiering options. n

to reflect differences in price and performance. With the demise of videotape, the stakes

6 7 TVBE Apr17 Cloud Opinion_v2 JGJMcK_final.indd 10

storage for DR. These are the use cases where

Customers planning to move to the cloud

20/03/2017 15:44


April 2017


Opinion and Analysis Steve Sharman, director, Hackthorn Innovation


started my part of our BVE panel discussion with

There is evidence of consensus about what

Finally – and as always in our business –

perhaps prudent rather than cutting-edge looks

workflow remains king. Investment in any

like for now – say UHD rushes on-premises, VoD

form of infrastructure has to meet our

assets shared in the cloud - giving us models to

needs and keep pace with change, so

build on. Early adopters are already all-in on the

having media management and workflow

public cloud, giving much to observe and learn.

systems directly interacting with storage

We’ve still got challenges, of course. As

platforms via APIs is key to moving from

suppliers and consultants, we’ve got to get so

dumb buckets to flexible and cost-effective

a slightly tongue in

much better at explaining the value of different

business systems.

cheek observation of

storage approaches, and how best to assemble

the overwhelming dullness of storage as a topic,

them – customers find us confusing and too

governance’ where we have a holistic

only to be sorry 30 minutes later that we hadn’t

focussed on widgets. We need to be able to

view of what we own, where it is, and how

had a lot longer! Rather than the usual focus

model cloud OPEX as well as we can price tin.

much it will cost us to process and distribute

on technology, it’s clear that the panellists are

We’ve got to get as good at putting together the

it, will be a crucial differentiator in a world

now all involved in a very different conversation

right commercial and operational model as we

where we’re looking to wring the last drop

with their bosses, suppliers and customers: what

are at building the tech – any solution can fail

of value from content, and squeeze operating

are the objectives of our business in the short,

hard if not architected correctly. Finding the right

models for efficiencies until the pips squeak.

medium and long-term, and what’s the right

people to keep things running and evolving is

Again, the skills to define and optimise workflows

blend of solutions to meet those objectives? To

hard, especially given a climate of industry IT skills

are in short supply, and the market looks to

hear rational discussion of public cloud versus on-

shortages. We can scale those scarce skills when

be wide open for AI-based solutions to step in

premise solution as a value-based proposition –

we have storage solutions taking advantage

and fill that gap.

“we’ll select the best for the job based on the use

of growing investments in AI, by putting the

case and commercials” – rather than a narrow-

complexities of configuration, tuning and

storage – a vital component of our businesses –

minded boxes-or-clouds slanging match, marks

management into the ‘hands’ of machines – the

is fundamentally changing for the better.

a critical shift in our relationship with the business.

true promise of ‘software-defined’ storage.

Not dull. At all. n

This transformation to ‘digital content

The way we’re thinking and talking about

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8 TVBEurope April 2017

Opinion and Analysis

Monetising the Six Nations with dynamic ad insertion Paul Davies, communications and marketing, Yospace, explains how the advent of dynamic ad insertion (DAI) for both VoD and linear TV means broadcasters can target advertising to specific demographics


age, that sort of thing, and we can crossreference that with the socio-demographic categories. Then there’s also location – we’ve got different streams for Aberdeen, Dundee, Glasgow and Edinburgh, and that means that

he way we watch TV is changing. More of

Brunier, business owner for the STV Player, which

we can target young students in Aberdeen,

us are realising the opportunity to stream

delivers STV’s live streaming. “But for when we

for example, or we could target affluent

our favourite sporting events on our laptops,

have live sports events going on, that audience

males in Glasgow.”

tablets and smartphones. Take Six Nations rugby fans, for instance. They no longer need to be at home or in the

becomes more male, and in the case of the Six Nations, more affluent.” DAI also helps broadcasters achieve

If this is the level of effectiveness that STV with DAI can achieve during the Six Nations, you can imagine how beneficial it could be

pub to watch a live game, and cheer their

multiplatform reach. By stitching in advertising

on a wider scale. Whether it’s a Premier League

respective countries on. Instead, they can

on the server side, the solution reduces the

game or the Olympics, DAI allows broadcasters

simply live-stream it from wherever they are.

amount of work required in the player on the

and advertisers to pinpoint the specific

All of the major broadcasters in the UK now

user’s device, which in turn reduces the amount

demographics that tune into each event,

live-stream their channels online, giving viewers

of app/player management by the broadcaster.

and deliver relevant advertising.

an unprecedented level of freedom to watch

STV Player with DAI has been steadily rolled

whenever and wherever.

out across a wide range of platforms/devices,

and the adverts more effective, DAI can

including most recently on Amazon Fire – so no

ultimately lead to even higher CPM [cost per

matter what device viewers are watching from,

thousand] rates for ad spots in live compared

Meanwhile, broadcasters have successfully found a way to effectively monetise their channels when viewed online, and in the last 18 months or so, all the major providers in the UK have launched dynamic ad insertion (DAI) for live streaming. Unlike previous client-side ad insertion solutions, which have become notorious

As the targeting becomes more accurate

to VoD. This equals a big win both for

‘DAI ensures a long-term business case for live TV’

for their clunkiness, server-side DAI inserts the

broadcasters – they’re able to successfully monetise their live channels online – and advertisers – they reap the rewards of having their products seen by an engaged and interested audience.

adverts into the stream before it’s delivered to

“We’ve definitely seen an increase in value

the player, which results in a single, seamless

through targeted advertising,” Brunier says.

stream that plays out without any of the usual

STV can be confident that it’s delivering the right

“Although I think that we still need to educate

buffering or delays. Add to that close integrations

adverts to the right people.

the market on booking targeted inventory,

with the broadcaster’s playout systems to

With DAI, the broadcaster is able to efficiently

there’s been a significant increase in our CPM.

ensure frame-accuracy, and viewers are often

capitalise on scenarios such as the one

If you sell targeted inventory around something

completely unaware that any change has taken

Brunier explains above, where they see a high

like the Six Nations, for example, you have a very

place. In other words: it is broadcast TV, and not

concentration of a certain demographic tuning

captive audience and the targeting becomes

just another video.

in to an event like the Six Nations.

very beneficial. I’m not sure if we would be

With an excellent user experience ensured,

Once it has identified that demographic

live-streaming at all if we didn’t have DAI as a

broadcasters are able to capitalise on the many

by utilising the customer data, STV is able to

benefits of online advertising, such as catering to

deliver adverts that are more targeted to that

the demographics of the audience tuning in to

audience, and therefore of more interest to

streaming the Six Nations and other sporting

the Six Nations by delivering targeted advertising

the viewer. If they’re noticing a more affluent

events, it’s up to broadcasters to seize the

that is much more likely to be of interest to that

audience tuning in for the Six Nations, for

opportunities available to them. Thanks to DAI,

segment of viewers.

instance, they can choose to include more

the likes of STV can deliver the right advertising

adverts for cars or watches.

to the right audience while providing a seamless

“If you look at the traditional audience of the ITV/STV network, it’s more skewed towards females and an older audience,” says Remi

08 TVBE Apr17 YoSpace Opinion_v2 JGJMcK_final.indd 10

“Because viewers need to sign up to use the STV Player, we have access to their gender,

solution for monetisation.” As more viewers move towards live

user experience, ensuring a long-term business case for live TV. n

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10 TVBEurope April 2017


UHD Ultra-high demand? Ultra-high definition (UHD) has been around for a number of years. But with UHD TV set prices on the downward spiral, and an increasing number of broadcasters committing to UHD content, could 2017 finally be the year of UHD? TVBEurope asked five industry figures for their take on the state of the market... By Thierry Fautier, vice president of video strategy, Harmonic, and president-chair, Ultra HD Forum


from HDR (HDR10/HLG) to NGA (MPEG-H/DTS-X/

diversity in HDR choice. HDR content that

ATMOS) and HFR (non-backward compatible

was previously only available on-demand will

or temporal scalable). We expect the ATSC3.0

become more widely available in 2017 for live

will provide a standard at NAB 2017 with similar

broadcast and unicast delivery to connected

technology directions.

TVs. This should lead to a broader adoption of

The next step involves testing whether these

HDR TVs by consumers.

recent survey of global video service

specifications are compatible with UHD HDR

providers by SNL Kagan and Irdeto

sets. In 2016, the UHD Forum performed several

multiple infrastructure changes before they

revealed that the pay-TV industry is

Content providers will be required to make

HDR interoperability plugfests on its Guidelines

can start delivering UHD with HDR. The most

fully committed to delivering 4K UHD content

for Phase A, including a trial with DTG and a

obvious modification involves upgrading

and services. Some 96 per cent of respondents

German TV platform in December 2016. This

cameras, grading and playout servers to

believe that a majority of consumers and video

was the first time a large-scale HDR test was

support HDR. On the audio side, content

service providers will adopt 4K UHD TV by 2020,

performed successfully.

providers will need to invest in immersive

with 88 per cent saying they will launch 4K UHD content by 2020 and 78 per cent by 2018. In Europe, there was an increase in SDR UHD

Next, content providers will begin producing

audio technology.

HDR content. HLG seems to be the chosen HDR path for broadcast applications

services launched last year, especially after

addressing legacy UHD STBs and TVs, while

the conclusion of UEFA Euro 2016. UHD services

HDR10 is preferred for non-backward

were introduced by KNP in the Netherlands, Sky

compatible applications where either the STB

in the UK, and PT and Vodafone in Portugal.

is capable of downconverting to SDR or a

‘The second phase of UHD will provide consumers with a much more immersive video and audio experience’

unicast scheme is used.

UHD, HDR and consumer device compatibility

demonstrate real-world use cases with

Many video content and service providers

additional complicated workflows, including

Contribution and primary distribution systems

believe that HDR will drive mass deployments

backward compatibility with HLG, SDR/HDR and

that support NGA audio and UHD HDR using

of UHD. Backward compatibility will be key

HDR/SDR conversion in the headend and STB/

the HEVC Main 10 422 standard will also

to the success of UHD HDR. On the set-top

TV, 1080p vs UHD, and UHD adaptive streaming

be needed. Additionally, the UHD Forum is

box (STB) side, all DVB Phase 1 STBs should be

with HDR to connected TVs amongst others.

recommending that service providers start

At NAB 2017, the UHD Forum will

able to be upgraded via software to support

deploying UHD Phase 2 STBs.

models need a software upgrade path to

Content production progress and requirements for UHD/HDR


support these specifications.

Looking at UHD content production, live

The second phase of UHD, with HDR

processing has become more streamlined

and NGA, will provide consumers with a

these issues in collaboration with content

over the last year, despite still being in SDR.

much more immersive video and audio

and technology providers. The UHD Forum

Many content providers are starting to use

experience, driving the global adoption of

developed a series of Guidelines, published

IP technologies to gain operational and

Ultra HD. As industry groups like the UHD Forum,

at NAB 2016 for HDR (HDR10/HLG) and Next

cost efficiencies. For OTT delivery of VoD

DVB and ATSC continue to make progress

Generation Audio (NGA). The DVB also

applications, there appears to be a split

on defining specifications for UHD production,

released an UHD-1 Phase 2 specification in

between using HDR10 and Dolby Vision.

delivery and consumer device compatibility,

November of last year, which defines all of the

This could be extended to live use cases

they will help to bring a superior television

important parameters of UHD service delivery,

where unicast is being used, allowing more

experience to viewers. n

HDR10 and HLG. Likewise, 2016 HDR TV

Industry groups are working hard to resolve

10 TVBE Apr17 Feature Harmonic_v2 JGJMcK_final.indd 10

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TVBEurope April 2017


TV is the tip of the iceberg in UHD By Steve Plunkett, CTO, broadcast and media services, Ericsson

The challenges are various. With 4K it’s largely

maintain artistic intent. Rendering on the display

about sheer size – bitrates range up to 12Gbps

device requires additional information to be

in its baseband form, such as that used in a

presented, and multiple techniques are available


broadcast facility, down to about 25Mbps for

such as PQ and HLG. This presents compatibility

V, and the TV industry, has changed a lot

an individual compressed stream to a consumer

challenges to the CE manufacturers, who

in recent years. We watch an increasing

device. That’s a great deal of bandwidth to deal

must be able to accommodate the different

amount of content on smaller screens, such

with as a stream or to store as a file.

approaches and standards based on vendor

as mobiles, tablets and laptops, including over

Across the industry, facilities have had to be

one billion hours per day on YouTube – mostly

upgraded, capacity increased. This comes at a

additional complexity to broadcasters who need

created by non-traditional producers. In a world

crucial time, when the migration from SDI to IP is

to incorporate these new formats alongside their

with more small screens, more personalised

still a work in progress and difficult decisions need

existing HD and SD outputs.

viewing, how does the big screen in the living

to be made as to whether to push forward with

room compete?

high bitrate IP links, or be conservative and use

questions to one side – does the viewer care

quad 3G-SDI infrastructure.

about the quality and presentation of their

It needs to up its game, present sharper, more beautiful pictures in a larger format and with great sound. Much like cinema has competed with TV, by creating more of a spectacle. This is where UHD fits in; the premium experience. And with a lot at stake across the industry on its success, it has made steady progress over the

‘There are still a number of technical, creative and financial hurdles to overcome to make UHD the next standard definition’

past couple of years.

specific implementations. It also creates

However, if we put these behind-the-scenes

content? Consumer research suggests that we like better pictures – it drove the migration to HD and seems likely to do the same for UHD. That is why the new entrants, such as Netflix and Amazon, are commissioning all new material as UHD native. The transition from SD to HD is likely to be longer than that from HD to UHD. The

The initial focus on increased spatial resolution,

cost premium of UHD TVs is dropping fast, and

4K, has been augmented by HFR, HDR, WCG

In the file domain, choices also need to be

buyers will be looking for UHD material where it is

and NGA. Standardisation has followed suit, with

made with regards to codecs and bitrates. UHD

available, putting pressure on content producers

the DVB’s UHD-1 Phase 1 specification being

material can range from 150Mbps to 500Mbps

and broadcasters to respond.

extended to include HFR, HDR and NGA in the

– large files, with all the storage, processing and

recently published UHD-1 Phase 2 version. The

data transfer overheads associated.

UHD Alliance produced the UltraHD Premium

But 4K is just one aspect of UHD and many

It is over ten years since Sky launched their HD services in the UK. During that time, HD has become the standard, rather than the premium

brand to help consumers buy new TV sets with

believe that HDR, in particular, brings greater

product. It is not unreasonable to assume the

confidence, and without having to rattle off the

visual impact. The increased range between

same transition for UHD. There are other, more

many acronyms of UHD to a sales assistant in

dark and light provides a new palate to work

recent, considerations too. VR places our screens

their local retailer.

with. Combined with the wider colour gamut

millimetres rather than metres from our retinas.

of UHD, standardised in BT.2020, this is less of an

HD looks rather poor at that distance, just as

bringing UHD content into the sort of mainstream

infrastructure challenge than a creative one.

SD does now on our 60“ TVs. If that format is

position that HD holds today. Everything from

How can artists best exploit this format to deliver

successful, then 4K is a basic requirement.

the cameras, distribution links, production tools,

a richer experience to the audience?

codecs, storage and graphics systems – along

This requires new craft skills, from set lighting to

creative and financial hurdles to overcome

with the creative and engineering skills that go

colour grading in post production.

to make UHD the next standard definition,

But the TV itself is only the tip of the iceberg in

with them – are having to evolve to feed those screens with worthy content.

12 TVBE Apr17 Ericsson feature_v3 JGJMcK_final.indd 10

From a technical perspective, there are considerations in the compression process to

There are still a number of technical,

but we seem to be making reasonable progress to achieve that goal. n

17/03/2017 15:41

䈀爀漀愀搀挀愀猀琀 圀愀瘀攀昀漀爀洀 刀愀猀琀攀爀猀椀稀攀爀 昀爀漀洀 伀洀渀椀琀攀欀

猀甀瀀瀀漀爀琀椀渀最 戀爀漀愀搀挀愀猀琀 瀀爀漀搀甀挀琀椀漀渀Ⰰ 攀渀最椀渀攀攀爀椀渀最Ⰰ 伀䈀Ⰰ 漀瀀攀爀愀琀椀漀渀猀 愀渀搀 挀漀渀琀爀漀氀 爀漀漀洀猀

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眀眀眀⸀漀洀渀椀琀攀欀⸀琀瘀 簀 猀愀氀攀猀䀀漀洀渀椀琀攀欀⸀琀瘀 簀 ⬀㐀㐀 ⠀ ⤀ ㄀㈀㔀㘀 ㌀㐀㔀 㤀  

new tvbe template remade.indd 1

21/03/2017 19:11



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13/03/2017 14:12 13:19 21/03/2017


April 2017



How close are we to a widespread UK rollout of UHD channels? By Nick Moreno, head of strategy, satellite and media, Arqiva

consumers will have to interpret the difference

pay for that upgraded viewing experience?

between 4K, UHD and HDR sets themselves – a

The main barrier to mass linear channel UHD

near impossible task.

rollout, therefore, comes down to broadcasters’ current inability to make a positive business case –


the fundamentals of which are unlikely to change

ust a few years ago, some analysts

The next challenge is penetration. The good

any time soon for the majority of broadcasters.

predicted the widespread roll-out of UHD

news is that today, virtually all TV sets on sale in

channels as early as 2016. Now in 2017, it


the UK are UHD-, 4K- or HDR-capable, so once

UHD success

is clear that simply hasn’t happened, despite the

we get rid of older sets (in the usual five to seven-

Having said all this, there are areas where a

industry having seen strong traction of UHD in a

year refresh cycle) we will approach very high

positive business case for UHD already exists:

few key genres.

levels of UHD set penetration.

However, before we assess the progress that

Certain programmatic genres, such as natural history and high-end drama, are already

has been made, we need an honest assessment


expensive to film and have long shelf-lives, making

of why relatively few UHD channels are being

Reaching 100 per cent penetration of UHD-

investment in UHD shooting a more feasible

broadcast anywhere, let alone in the UK, and we

capable TV sets means nothing unless consumers

option, given the opportunity for content to earn

as an industry must be realistic about the barriers

have UHD channels to watch. The majority

revenue over a long period of time. Whether

standing in UHD’s way.

of channels – regardless of platform – are still

there’s enough content to sustain entire genre

broadcast in SD, with a minority being in HD and

UHD channels remains to be seen, but individual


a tiny handful of UHD channels. But channel

UHD programmes or series can be distributed on

The initial challenge UHD faced was how to

count is merely a symptom of the greatest

a VoD basis, with monetisation via the usual

generate demand, considering many viewers

challenge that widespread UHD adoption

SVoD or AVoD models.

were unable to see a difference between HD

faces – the business case.

and the first generation of UHD sets that hit the

Sport is the one area we have seen significant linear UHD traction, and there are two main

market a few years ago. With the average size of

Cost versus revenue

reasons for this. Firstly, the majority of sports are

UK TV screens still relatively small, discernibility was

Broadcasters incur a series of costs across

watched on a big screen (either at home or in

practically impossible unless viewers were sitting

the entire media management, playout and

venues such as pubs) where the jump in visual

incredibly close to their sets.

distribution value chain when upgrading

quality is readily apparent and the sporting

broadcast standards. Compressed files are

viewing experience is significantly better in

generation UHD TVs is a lot better than those early

typically three to four times larger for UHD than

UHD than HD. Secondly, many viewers are

models, with far brighter and sharper picture

HD. While new compression techniques will

already happy to pay to watch top-tier sports,

quality even on smaller screen sizes. Discernibility

reduce this ratio, the post production phase, for

so monetising a UHD sports channel isn’t much

will continue to improve and so this issue will

example, will require between ten to 35 times

of a stretch. At Arqiva we’ve already seen a lot

eventually become redundant.

more storage for uncompressed UHD files than HD.

of interest from sport clients for UHD distribution,

Thankfully, discernibility on current third

When upgrading from HD to UHD, broadcasters

and 2017 could certainly mark a significant step


therefore need to make substantial investment

Related to this issue is the TV industry’s ability

in updating legacy infrastructure and adding

to agree on UHD standardisation. The UK has

new capacity. For commercial broadcasters,


only just started to reach some level of

this increased cost has to be offset by additional

Though positive developments continue to push

understanding on this, thanks to the tireless work

revenue, and it’s this that many struggle to find.

UHD’s progress, the main barrier to widespread

of bodies such as the DTG and DPP. However,

Some platforms may be able to bring in

forward in this regard.

adoption of UHD linear channels remains the

there is still a lot more work to do, and there are

revenue by adding UHD channels to their highest

absence of a positive business case – and this

major debates going on as to what qualities –

subscription tiers, but how much of that will trickle

won’t change in the short-term. The industry

pixels, frame rates, colour gamut etcetera – count

across to broadcasters through carriage fees?

must be honest about this ‘elephant in the room’

more than others.

Will advertisers pay more for putting an advert

and instead focus on the areas where there has

on a UHD channel (which initially may have low

been substantial traction so far, striving to deliver

wants the purchase decision to be as easy as

viewing figures)? Will an average viewer ever

a superb UHD experience to viewers in these

possible. If we can’t get industry consensus

value watching their favourite soap on a UHD

areas and so building up an underlying consumer

on standards and what products to ship, then

channel (versus HD/SD) enough that they will

appreciation for what UHD can truly offer. n

Nailing this is crucial, as the average consumer

15 TVBE Apr17 Arqiva feature_v3 JGJMcK_final.indd 8

17/03/2017 15:44


TVBEurope April 2017


Compressing UHD to reach a broader audience By Fabio Murra, senior vice president, marketing, V-Nova

However, there is still a fundamental problem:

speed is around 6Mbps. Even in mature markets

bandwidth. Many major operators have already

such as the US and most of Western Europe,

recognised this issue within contribution networks.

this still only rises to around 15Mbps, according

Broadcasters and satellite operators including

to Akamai. Considering that Netflix, the most

HD TV has gone from the wish list to

Eutelsat, RAI and Sky (with particular focus

prevalent UHD service, recommends speeds

the company roadmap for a large

on sporting events and UHD channels) have

of at least 16Mbps to reliably stream its UHD/4K

swathe of the TV industry. The consumer

already utilised newer compression technologies

content, it’s clear that the situation for UHD

spending cycle, which now has UHD TV – at

in an effort to squeeze UHD format content down

at present is untenable. Even as broadband

least in developed markets – as the standard

networks designed for HD.

networks ultimately get faster with more fibre, the


new living room purchase, is slowly creating a

Yet, contribution networks that are in the

majority of homes with UHD-capable devices.

control of operators are a relatively easy first

intersection of two other trends: more capacity

Alongside this, cable and satellite operators such

step in solving the bandwidth issues that a true

will fuel higher demand for better services that

as Europe’s Sky with its Q set-top box (STB), and

end-to-end UHD content flow generates. More

are themselves ever increasing in richness.

Comcast with its almost launched Xfinity UHD

problematic is the last mile. With fibre to the

capable STB, are setting up the conditions for

home still less than one per cent of the global

gamut (WCG) will further improve the life-like

wider adoption from subscribers.

broadband market, the global average internet

quality of services.

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16 17 TVBE Apr17 V-Nova Opinion_v3 JGJMcK_final.indd 10

20/03/2017 15:46


April 2017


Feature However, the data requirements for adding

encodes lower levels of detail of a given subject,

Although still early in the cycle, the lack of

HDR alone adds about 20 per cent to the

progressively adding greater detail within the

dominant standards and technologies gives

bandwidth overhead of a HEVC encoded

same file or stream, as required.

pioneers in this space an opportunity

stream. Netflix, which has also pioneered HDR

The additional benefit of this approach is

to explore new ways of generating and

content, suggests that 25Mbps is now a minimum

that there is no bandwidth overhead when

distributing content that does not rely on

requirement for its HDR service.

implementing HDR. It can also be deployed for

legacy compression technologies.

The triple challenges of moving to UHD, HDR

both contribution and distribution, preventing

For UHD to truly go from early adopter to

– and to a lesser extent WCG – goes beyond

the operator from being forced to implement an

mass market, content owners and TV and

bandwidth, but extend across the workflow.

artificial conversion, which introduces complexity.

VoD service providers need to make the

From content creation, through distribution and finally to the STB: each layer adds complexity, especially as encoding may change across the different steps. This complexity is at odds with an industry that is beginning to coalesce around the

transition easy for consumers and provide a

‘The early adopters that start to build an end-to-end ecosystem will stand to gain the biggest share of the market’

notion of workflow interoperability. Instead

quality of service that matches the current expectation. A subscription-based service that is unable to adapt to the available bandwidth constraints of the customer, but instead expects the consumer to carry the burden of upgrading broadband connectivity

of the traditional silos that are built around

or purchasing specialist third party devices

a particular codec, architecturally the

Yet the UHD and HDR transition that is currently

for UHD content access, is not building a long

media content industry is gravitating towards

impacting the market could be a relatively

term and viable business model.

software-centric solutions that can flexibly

simple hurdle compared to what’s coming

scale from HD to UHD/4K and throughout

further down the road. The interest showed in

technologies are the critical element in the

contribution and distribution to connected

high definition virtual reality and

journey towards a richer and more engaging

devices and STBs. This shift sits well with the value

other 360-degree technologies potentially

UHD and HDR future. The early adopters that start

offered by compression technologies that move

impacts devices, bandwidth, and content

to build an end-to-end ecosystem will stand to

to a hierarchical model – meaning that it first

production workflows.

gain the biggest share of the market. n

It’s clear that next-generation compression moving the world’s data at maximum speed

16 17 TVBE Apr17 V-Nova Opinion_v3 JGJMcK_final.indd 11

20/03/2017 15:46


TVBEurope April 2017


Bringing UHD to life: A case study By Ian Trow, senior director, emerging technologies and strategy, Harmonic


consumers with a wide array of linear 2160p60

Ultimately, Harmonic and NASA were able

video content on various TV and internet-

to recompress the agency’s two NASA TV

connected devices, capturing the breathtaking

channels, and free up a substantial amount

beauty of the space programme.

of bandwidth in order to deliver NASA TV UHD on the same satellite segment. The UHD

he global market for UHD TVs is projected

Deployment challenges

channel is delivered at 13.5Mbps compared

to reach 102.8 million units by 2020, and

A major challenge that NASA and Harmonic

with other UHD demo channels that have

the United States is ranked as the fastest

encountered during this project was how to

been demonstrated in the industry, which

growing market, with a projected CAGR of

deliver two existing HD channels alongside the

required 50-100Mbps.

61.9 per cent over the analysis period, per

new UHD channel, utilising the space agency’s

Global Industry Analysts.

existing bandwidth.

To meet the growing demand for UHD TV,

Prior to the deployment of this new TV

The workflow Delivering NASA TV UHD has been a collective

NASA and Harmonic recently embarked on a

channel, a lab was set up for complex

effort. NASA provides all raw video footage

historic journey that ended with launching the

bandwidth and reallocation testing. In the

and imagery for the channel, and Harmonic

NASA TV UHD experimental channel, the first

lab, Harmonic and NASA determined that

provides the end-to-end UHD video delivery

consumer UHD channel in the US. Powered by

they could reduce the bandwidth and the

system, post production services and manages

an end-to-end UHD delivery system from

settings for each channel up to a certain

the playlist, which then plays out from NASA’s

Harmonic, NASA’s video channel provides

point without degrading the video quality.

contracted hub for NASA TV provided by

18 19 TVBE Apr17 NASA Feature_v3 JGJMcK_final.indd 8

20/03/2017 16:00


April 2017


Feature Encompass in Atlanta. In addition to supporting

have been launched; however, many of

remembered forever for solving the

the development and testing, Encompass

these are limited rollout or proof of concept.

bandwidth issues involved with UHD

handled managing NASA TV’s teleport

The introduction of HDR is expected to

delivery and bringing unbelievable,

equipment, provisioning satellite capacity, and

be the big impetus to drive widespread

never-before-seen footage of space

providing 24/7 uplink and monitoring.

adoption of UHD. NASA TV UHD will be

to homes in crystal-clear quality. n

Working together, Harmonic and NASA were able to launch the channel quickly. The entire process from proposal to signal on-air only took a few short months.

The solution NASA TV UHD is powered by an end-to-end HD and UHD video delivery system from Harmonic that includes Harmonic’s Ellipse 3000 contribution encoders, ProView 7100 integrated receiver-decoders, MediaGrid shared storage systems, Polaris playout management, Spectrum X advanced media server systems, Electra X3 advanced media processors, ProMedia Origin packager and streaming video servers and the NSG Exo distributed CCAP system.

‘NASA TV UHD will be remembered forever for solving the bandwidth issues involved with UHD delivery’




At the heart of the solution is Harmonic’s Electra X3 advanced media processor, the industry’s first converged media processor for UHD content with live, full-frame, full-GOP UHD encoding. By supporting resolutions of up to 2160p60 (HEVC Main 10) for broadcast and OTT multiscreen delivery, the Electra X3 enables NASA to deliver superior video quality at minimum bandwidth.

Conclusion Until NASA TV UHD launched, little content had been produced and delivered in UHD. Pay-TV operators faced a handful of issues, from finding an end-to-end UHD delivery system to maximising bandwidth efficiency. Moreover, traditional service providers faced stringent content licensing requirements. NASA is fortunate that content delivered on NASA TV UHD is license-free. Collaborating together, Harmonic and NASA have provided the broadcast industry with a real-world success story for delivering 2160p60 video in the most bandwidthefficient manner possible. Since NASA TV UHD was created, over 50 UHD channels

18 19 TVBE Apr17 NASA Feature_v3 JGJMcK_final.indd 9

20/03/2017 16:00


TVBEurope April 2017

Production and Post

TRT takes on the World Philip Stevens looks behind the scenes at Turkey’s news channel


TRT World broadcasts in the English language to provide Turkey’s view and interpretation on current issues

Further outreach

Alongside satellite transmissions, TRT World is

To help achieve that goal to an even wider

also available via DTH, cable, fibre, IPTV, OTT

audience, TRT announced in January that it

platforms and web streaming.

had signed a new agreement that put TRT

Eren continues, “This will mean that TRT World

World on ten additional satellites. This multi-year

can be viewed all over the world in a total of

urkey’s national public broadcaster TRT

agreement was signed with Globecast and

190 territories via Turksat, with additional major

(Turkish Radio and Television Corporation)

Turksat, Turkey’s first and only satellite operator.

broadcast satellites operating across Europe,

traces its history back to May 1964. Three

According to Turksat’s general director

Middle East, Asia Pacific, Africa, Australia and

and a half years later, on 31 January 1968, its

Cenk en, the satellite operator has been

the US. This expanded reach has already begun,

first TV transmission was aired. Today, TRT has

working extensively with Globecast to provide

and will be completed in the coming months.”

evolved into a network of 14 TV channels,

the technical broadcast solutions needed to

16 radio stations, and various web platforms

achieve this expanded global delivery.

transmitted in 38 languages worldwide. Its most recent channel, TRT World, was launched in 2015 to provide what it describes as ‘new perspectives on world events’ to a global audience. “Throughout history, Turkey has hosted the collaboration of many civilisations, and has long been a hub where

“We aim at to inspire and contribute to making a difference to the world in which we live” Ibrahim Eren, TRT

The news channel, which broadcasts in full HD, operates out of a studio within TRT’s headquarters in Istanbul. In addition, there are international studios in London, Washington DC and Singapore. “We currently have over 700 employees representing more than 30 nationalities dedicated to content and news reporting,” Eren adds.

ideas, information and trade intersect,” explains Ibrahim Eren, TRT’s deputy director general, and

“Globecast is providing worldwide connectivity

The facilities

TRT World’s chairman. “TRT World broadcasts

and uplink distribution services using its unique

Mohammed Akhlaq, director of technical

in English, and our news platform allows us to

reach to access the ten satellites,” says Sen.

operations at TRT World, provides more details

offer Turkey’s view and interpretation on current

“As Turkey’s first and only international satellite

of the production facilities. “In the studio, we

issues with an important contribution to showing

operator, Turksat is playing an important role in

use manually operated Sony HDC-1700 and

the human perspective on international news.

TRT World’s satellite agreements with Globecast.

HDC-1400 cameras. Sony was also our choice

We aim at to inspire and contribute to making a

With this agreement, TRT World will strengthen its

when it came to selected a vision switcher –

difference to the world in which we live.”

position across the globe.”

a 3 ME Sony MVS-8000.”

20 21 TVBE Apr17 TRT World Prod_Post_v3 JGJMcK_final.indd 54

20/03/2017 15:48


April 2017


Production and Post “Other equipment in use within our galleries

The Avid system is also capable of acting as

include a Lawo MC266 audio mixer, Clearcom

a disaster recovery back up, should the main

Eclipse HX for comms, and Vizrt for graphics.”

production system fail.

He continues, “We looked at several newsroom systems before deciding on iNews.

Upcoming expansion

In our view, it is one of the market leaders

Eren says that TRT World’s expansion plans do

in news production systems. iNews is well

not end with extra satellite capacity. “We are

supported and has been in the market for

expanding our operations and are planning

a number of years, and for that reason a

to build full broadcast centres in London,

large number of journalists are familiar with it

Washington DC and Singapore. These centres

functionality. In addition, it uses plugins to allow

will have fully integrated production systems

for full integration within Vizrt. The journalist can

with desktop and social media functionality,

now write his or her script and create lower

along with multiple studios in London.”

thirds, full frames graphics as well as video

He adds, “TRT World is a multimedia channel

wall images which are templates within the

which will be transmitting via traditional

system. This leaves our dedicated graphics

methods, as well as the web. Online, there

department to focus on creating bespoke –

Kamali Melbourne is one of TRT’s presenters

are articles and vodcasts, which means our

packages and programmes. We also have a

the go. Digital media and social media are

Avid systems are in place within TRT World’s edit

number of Avid Media Composers for breaking

key areas which TRT World are embracing to

suites. “Grass Valley Stratus and Edius edit suites

news, packages requiring special treatment

allow our audiences to access our content

allow us to carry out full desktop editing and is a

and for craft editing on high end programming

and digest our news when, where and how

scalable system to provide us with future growth

where the original rough cut may have been

they want to view that material whether via

potential. We use desktop editing for all news

completed by the producer.”

TV, mobile or tablet.” n

and stunning – visuals.” Akhlaq reveals that both Grass Valley and

audience can take the news with them on

NAB C6015

20 21 TVBE Apr17 TRT World Prod_Post_v3 JGJMcK_final.indd 55

20/03/2017 15:48


TVBEurope April 2017

Production and Post

Firefly Cinema enables on-set to edit suite colour workflow

Director of Photography Laurent Dailland working on A History of Love

As broadcast and OTT TV continues to move toward UHD and HDR, colour workflows are becoming increasingly important considerations. Philippe Reinaudo, CEO of Firefly Cinema, looks back at its work on A History of Love


irefly Cinema was used in the production

Arterton, Elliott Gould, and Sophie Nelisse.

of Radu Mihaileanu’s latest feature film,

Throughout the production, a system running

A History of Love (L’Histoire de l’Amour),

Firefly’s FireDay digital dailies colouring tool

to manage the digital cinema colour

was set-up close to the camera to provide a

workflow, from on-set dailies through to the

live grading preview on a reference monitor

finishing suite, ensuring a consistent colour

in the video village.

process throughout the production and post

Director of Photography (DoP) Laurent

“Just a few years ago, there wasn’t really

Dailland explains: “The fact that FireFly

a great solution for an end-to-end colour

Cinema offers a complete suite of products

workflow. But now, it’s really unacceptable

French theatres on 9 November 2016, is

is very unique. It ensured that decisions we

to start a film project without having one in

an internationally co-produced romantic

made about the look whilst on set were

place. It’s the only way for both the DoP and

drama film directed by Radu Mihaileanu (The

carried all the way through the post and

the director to be sure that the creative

Concert), starring Derek Jacobi, Gemma

finishing processes.

decisions they make on set are faithfully

production of the movie.

The History of Love, which opened in

22 23 TVBE Apr17 Firefly Prod_Post_v3 JGJMcK_final.indd 54

20/03/2017 15:50


April 2017


Production and Post the finishing process. Once they received the RAW files and metadata from Éclair Group – the lab that worked on A History of Love – and the EDLs from the film editor, the team at IKE NO KOI used FirePost to conform the edit decisions against the original RAW files from Eclair. Throughout the conform process, they also applied the dailies’ colour grading using the settings from the shared database. Using FirePost, the colourists were able to view the edit suite files side-by-side with the RAW files and ensure a good match to the look from post. By doing this at the start of the finishing process, IKE NO KOI was able to ensure visual continuity for the director and the DoP: the look they saw on the first day of finishing was the same look that they saw carried through to the final film.” Using FirePlay,

Dailland to playback and tweak settings on

in the edit suite. In fact, except for any

Firefly’s on-set playback and colour tool,

his own laptop in RAW format, using a copy of

changes during the post finishing process,

Dailland was able to check the colour grading

FirePlay Free. This way, he was able to make

it was the look that the director and the

even when he was not on set. The data

adjustments and save his new colour grading

DoP established and approved on set. This

wranglers simply exported a few stills from the

decisions back to the project database.

approach provided the team at IKE NO KOI

RAW video clips along with the colour grading data on a USB drive every evening, to allow

22 23 TVBE Apr17 Firefly Prod_Post_v3 JGJMcK_final.indd 55

IKE NO KOI, a Paris-based DI & VFX studio for feature film, TV and commercials, handled

with the ideal starting point to the artistic process of finishing. n

20/03/2017 15:50


TVBEurope April 2017 Image courtesy of Tom Chandler

Production and Post

Fourth year in a row Philip Stevens finds out what is required to produce the Boat Race OB


he contract to technically produce the

The pursuit vessels provide superb action pictures of the race

positions and specifications change each

Using IP

season, but on the whole, the main cohort of

All cameras are controlled over IP at one central

35-40 cameras remains intact. The big story

location at the OB hub in Putney. The robotic

of 2015 was the addition for the very first time of

on-board cameras are also wholly controlled

the live women’s race on the same tideway

and shaded from the same hub. The same is

course as the men.”

true for the aviation and flotilla mounted

Varsity Boat Race between Oxford and

gyro stabilised Cineflex cameras, provided

Dramatic coverage

and operated by CTV’s flown camera experts

Outside Broadcasts in 2014. According to Bill Morris,

Additional on-board technology was mounted on

Aerial Camera Systems.

international business director, it had long been an

the women’s boats and the mesh re-configured

ambition to provide the facilities for this historically

to take this expansion. In 2016, the women’s race

in Putney, the other beyond the finish at Mortlake.

important and much-loved part of the British

brought high drama as the Cambridge women’s

The show is produced in the Putney OB with the

calendar. “The contract had been won primarily

boat gradually sank in the turbulent water but the

finish content being collated in the Mortlake OB.

based upon – at the time – the ground-breaking

crew continued to maintain their stroke, eventually

A number of remote IP inject points along the

use of IP to seamlessly gather the huge amounts

crossing the finish line, an incredible achievement.

course form the network nodes from which data

Cambridge for the BBC was awarded to CTV

of data from along the four-mile river course. CTV,

Morris continues, “The water-based competition

There are two main OB locations, one at the start

and RF is both gathered and transmitted. The BBC

in partnership with their broadcast technology

boats – and the flotilla cameras with their related

also produces an international broadcast from a

colleagues at Presteigne, had designed an RF

audio and communication requirements – remain

separate production area, catering for the vast

and data mesh that would allow unbroken, full

the largest challenge of the OB operation, with

number of international territories that broadcast

telemetry coverage at ground level, giving the

much planning and effort going into the detailed

the event in their own countries.

production team continuity of signals from all

execution of these most immediate of shots.

cameras for the first time in the history of the race.”

The real story is, of course, the crews themselves,

the race, in conjunction with Pinpoint to illustrate

Morris says the system worked very well in the first

Delte Tre provide the main graphic content for

and our ability to bring back the vivid images

real time data from the competition boats. Avid

year, and from that foundation, the operation has

and the visceral sound of this most combative

Edits are networked with EVS to provide a freely

been refined year-on-year to become the well-

of competitions is core to the success of the

accessible resource of content that is shared to

tailored, bespoke operation of today. “Camera

BBC’s coverage.”

create the emerging stories from the race.

xxxxx xxxxx

24 25 TVBE Apr17 BoatRace Prod_Post_v3 JGJMcK_final.indd 54

20/03/2017 15:52


April 2017


Production and Post “IP was the big story at the start of the new era of

He goes on, “Having said that, you never know

Mix of equipment

the BBC Boat Race production, and it has rightly

what can happen in a live OB environment. For

He continues, “We use Domo RF equipment for

remained high on the priority scale for both this

instance, there is a limit to what can be done on

nearly all of the RF facilities based on the water,

event and many more strands that are serviced by

competition boats once they hit the water. We

including 16 NetNode mesh units and 32 ProRXB

CTV Outside Broadcasts,� states Morris. “All new OB

mitigate this by using high-quality components that

receivers. In addition, we use Vislink for most of

builds now have IP at their core, and despite some

are proven to be as reliable as possible.�

the radio cameras on the shoreline.�

inevitable first generation technology teething

Presteigne provides special cameras to secure

There is a mixture of Tait base stations and

pains born from establishing a new workflow, within

RF connectivity, but the one annual challenge

Motorola Handhelds for RF production talkback,

a few years it is likely that we will all look back

tends to be the shortage of RF bandwidth.

and IP trunked Hytera systems for engineering

with rose tinted spectacles to the days when we

However, that challenge is overcome with early

communications. BT provides Gigabit IP

transported video signals around on copper.�

planning and close liaison with Ofcom and other

connectivity between river nodes and to the

regulatory bodies.

BBC Network, with the mesh equipment providing

Providing IP

Ransome says that the most innovative

wireless connectivity between sites, in case any

Mike Ransome, CEO, Presteigne Hire, takes up

development has been the move from

the story. “This will be the fourth consecutive year

analogue to digital provision – and the ability to

problems should occur.

Presteigne has provided the wireless solution for

automatically switch between sites. “We will be

iconic 19-minute race that has a unique character,

the Boat Race for CTV. We also provide technical

using again a multiple node system, both for the

in many ways perfectly suited to both CTV and

assistance for CTV with the IP connectivity required

water-borne broadcast sources, mesh control, and

Presteigne in terms of production and technology.

from their inter-site IP suppliers. It’s a big job, one

a miscellaneous facilities layer. The nature of having

Our solution offers multiple levels of redundancy

of the biggest of any year, but CTV has done a

cameras, sound, and presenters working up and

using reliable, trusted equipment from a variety

brilliant job for several years now. Any challenges

down a river over a large non-cabled area means

of manufacturers, which we combine to provide

they have had, or that we have helped to work

the use of RF is essential and has always been used

a seamless production package – at least

through, are typically long-gone, or certainly

for any source that can’t be cabled practically or

that’s what CTV has said to us. I expect to

nothing we can’t remedy very quickly, having

safely – such as, for example, RF cameras being

keep this particular partnership afloat for

been there before.�

required to work safely in the riverside crowds.�

many years to come.� n

Ransome concludes, “The Boat Race is an

5.5 & 7 inch FULL HD Waveform LCD Monitor

SINCE 1996

Your best camera mate

xxxxx xxxxx

5 SWIT Electronics Co., Ltd.



24 25 TVBE Apr17 BoatRace Prod_Post_v3 JGJMcK_final.indd 55


Las Vegas, Booth No. C9908

Singapore, Booth No. 6R3-01

20/03/2017 15:52


TVBEurope April 2017

Production and Post

Artistically challenging A

Philip Stevens takes a close look at Sky’s highly successful painting challenge series

Landscape artists use weatherproof pods for their work

sections,” states Morris. “In addition, there is one further floating camera, a Steadicam and a jib which provide additional footage. And above each easel, we attached a camera which

s a programme, the concept is simple.

captures the time lapse content that helps us

Bring together a number of professional

show the development of each work as the

and amateur artists in a competition with

artists’ progress.”

a significant commission as a prize for the winner. Yet the production of Sky Art’s Portrait Artist of

Monitoring each camera

this is shot in 4K – on Portrait, which is shot in HD, we

the Year and Landscape Artist of the Year is far

Output from each manned Sony PDW-F800

only produce around 2.2TB per programme.”

from straightforward.

camera is fed back via a radio link to what

“We came up with the format some time

Lighting for a programme involving artists and

Morris calls “the video village”. This is a control

sitters is a challenge, says Morris. “Artists want

ago and this year we are making series four of

centre located within the building where, as

the light source to be from one side and for it

Portrait Artist and the third series of Landscape

series director, he can monitor what his teams

to be fairly harsh. In the first series, we tried to

Artist,” explains Southan Morris, series director for

are capturing. Morris will also direct the

accommodate that requirement, but found

production company Storyvault Films. “Although

introduction, links and conclusion with presenters

shooting difficult. If the sitter is too harshly lit, then

the aim of both series is the same – to find the best

Joan Bakewell and Frank Skinner, discussions

everything in the background is blown out.”

artists in the opinion of our three judges, Tai Shan

between judges and other highlight sections

Schierenberg, Kathleen Soriano and Kate Bryan

of the programme.

– the nature of portrait painting and landscape

There is also a problem with ambient light coming from windows in the roof of the building.

Unit manager Alison Brodie adds: “The

Problems posed by this aspect of the lighting

painting are different, and require specific

output from the time lapse cameras cannot be

have been overcome by changing the time of

production techniques.”

monitored, but we need to check them every

the year when shooting takes place to when the

20 minutes or so to ensure that the artist has not

sun is not so high.

Morris and his team work closely with the Wallace Collection in London, and that has now

moved the easel, or that any obstruction has

become the venue for the Portrait Artist series.

appeared. We use Canon 5D cameras because

have come up with some compromises that

Here, a specially constructed circular set that

they have proved to provide the best quality

create a much better solution. But the results

incorporates three different areas is used to

for this type of work. We did try another camera

show that our work has been well worth the effort,”

accommodate three ‘sitters’ – an array of actors,

system, but there were problems with lenses

emphasises Morris.

musicians, authors and TV personalities – whose

and iris control. We record raw footage from

portraits will be painted by the nine artists that

these cameras.”

have been selected to take part in each heat.

“As the programmes have progressed, we

He goes on to say that the other major challenge in shooting an ‘as live’ programme with

She says that cards from all cameras are sent

artists and sitters in a relatively confined space is

Viewed from above, the set looks like a round

to the video village for ingesting during the day.

sight lines. “We spent a lot of time getting the set

cake divided into three segments.

“On Landscape, we have four laptops connected

right for all concerned, but with sitters looking out

into the drives with at least two layers of backup to

of the set, and the artists looking in and judges

and we assign a producer/director, camera

ensure nothing is lost. In all, around five terabytes

coming by and commenting, eye lines have to

operator and sound recordist to each of these

of content are ingested for each programme as

be considered very carefully. Where the judges or

“Three artists work in each of the three areas,

xxxxx xxxxx

26 27 TVBE Apr17 Prod_Post LandscapeArt_v2 JGJMcK_final.indd 54

20/03/2017 17:29


April 2017


Production and Post the overall timetable for editing is six weeks for

Morris concludes, “They’ve been wonderful

each programme. We stagger the start of each

projects to work on. Theres a fantastic atmosphere

programme so that the series editor is not running

with the presenters, judges and crew working

between suites overseeing several programmes at

extremely well together. it’s a well-oiled machine

one time,” says Brodie.

with a team of truly professional people.” n

NAB 2017 | N2927 presenters are involved, I sometimes shoot certain sequences twice to ensure that the finished result always looks polished.”

Looking at the landscape That consideration is less of a problem on the sister series Landscape Artist of the Year, where the locations offer far more space in which to work. These programmes are an evolution from the Portrait Artist of the Year series and not only involve a number of artists selected by the judges, but also ‘wildcard’ entrants. These are members of the public who attend the shooting days at the various locations around the country in the hope of catching the judges’ eyes and being invited to take part in future heats. “For Landscape, we have eight artists working from specially constructed pods,” explains Brodie. “The wildcard participants work in a different area, but still within the selected locations. Obviously, there is more space in which to shoot the programmes, but it also means we have to bring in all the support; generators, catering trucks, marquees. It’s a sizeable operation.” Brodie says that a typical schedule involves a Sunday. The next day is taken with camera blocking, shooting GVs and footage obtained from a drone. “Because these venues are open to the general public we cannot do any aerial shooting until after 6pm, when the visitors have left to ensure that this is carried out safely.” Tuesday sees production on one programme, while a second at the same venue, but with a different backdrop, takes place the following day after an overnight relocation and re-rig of the pods and technical areas. Brodie states, “We start at 7am and, although


IP/SDI & HDR Test & Measurement


setting up the pods and other constructions on

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we do have a few breaks, we go on until 7pm. Of course, weather comes into play with Landscape – and although we have needed to cope with wind and rain, we have never lost a programme.” Editing for both series takes place at Sky’s facility in west London. “We have three Avid suites, and

26 27 TVBE Apr17 Prod_Post LandscapeArt_v2 JGJMcK_final.indd 55

20/03/2017 17:29


TVBEurope April 2017


In association with

4 by IV Leading our acquisition feature this issue is Christina Fox, who takes a look at the Canon 5D Mark IV


he new Canon 5D Mark IV is the latest update to this influential DSLR. It was the 5D Mark II that gave us a high quality

stills camera that could also do HD video. Videographers who couldn’t afford a full-frame sensor camera (with interchangeable lenses) suddenly had the chance to make the video they had dreamed of, with the shallowest depth of field possible. So, is the Mark IV still the dream camera? Well, there are quite a few improvements, but there are still a few things missing. The full-frame sensor has 30 megapixels Off the Mark: Canon’s upgraded 5D Mark IV

and offers 4K video recording at 24p, 25p and 29.97p using Motion JPEG. While at Full HD (1920x1080) 24p, 25p 29.97p, 50p and 59.94p

noticeable. Using a tripod is recommended.”

dual pixel data and make micro-adjustment

are all available, and recorded using ALL-I or IPB

In photo mode, the camera can record three

of the focus using the depth information

compression. Those MJPG files are big (almost

raw and eight JPEG quality settings, which can

contained within the file. It effectively allows

500Mbps) filling a 32Gb card with eight minutes

be recorded on one or both cards separately or

you to slightly shift the focus on a still image.

of video. The camera can also do high frame

simultaneously. In photo mode it can shoot 7fps,

I’m sure this will help a few desperate

rates of 100 frames per second and 120fps, but

which should cover most action shots except for

photographers salvage an almost-there

at 720p. Colour sampling at 4K is YCbCr 4:2:2

the faster sports.

image that would have been unusable.

(eight-bit) and HD is YCbCr 4:2:0 (eight-bit).

The camera takes CF CompactFlash and SD/SDHC/SDXC cards and thankfully the same

Keep in touch

pixel region of the sensor, which is about the

batteries as its predecessor - but if you need

The touch-sensitive live view screen gives an

size of an APS-C or Super 35mm sensor. The

more shooting time the camera can be used

alternative way to move around the menu

result is a crop factor of 1.64x; so choose your

with Canon’s BG-E20 battery grip.

and other onscreen options. It was also nice

The camera’s 4K capture uses a 4096x2160

to be able to swipe and pinch your way

lenses carefully.

Focus overload

through recorded images and video just

in 25p or 29.97p (IPB) HD recording. However, this

There are a bewildering number of ways to

like on a smartphone.

is not the usual flavour of HDR with log gammas

configure the autofocus. In fact, AF takes up

and flat images requiring work in post.

59 pages in the manual. The camera has iTR AF

Q button), together with the touch screen, made

The camera does offer HDR recording, but only

The quick control menu (accessible via the

(intelligent tracking and information Auto Focus),

changing settings simple. I could quickly change

videos, one optimised for highlights and the other

which makes following faces and getting them in

frame rates, white balance, audio volume, swap

for shadows. Then, similar to how HDR is achieved

focus nice and easy. Not only does it look at the

cards and focusing modes.

in stills photography, the images are combined,

face it looks at its colour too, using both to hold

in camera, to give the best of both. For those

focus, so you can keep your shallow depth of

IV is on its compatibility list. It is possible to

who can’t afford to grade, this is an interesting

field while following a moving face. Plus, there is

simultaneously see the camera’s output on a

way to get HDR.

touch screen focusing – making focus pulling as

monitor (via HDMI) and the camera’s screen

simple as pointing.

(which wasn’t possible with older models). The

It does this by recording two interleaved

However, the manual warns that: “Since multiple frames are merged to create an HDR

One novel feature is the Dual Pixel Raw photo

Atomos fans will be pleased to see the Mark

camera’s screen will show recording settings,

movie, certain parts of the movie may look

shooting. If you shoot in the highest quality

while your monitor will only show a clean image,

distorted. During handheld shooting, camera

Raw setting and use Canon’s Digital Photo

perfect for recording to a remote drive. However,

shake may make the distortion look more

Professional EOS software, you can access the

do note that 4K images are not available via

28 29 TVBE camera review Technology_v3 JGJMcK_final.indd 54

20/03/2017 15:57


April 2017



In association with

HDMI. So 4K recording will be on the internal

There is also FTP/FTPS support and GPS for

The 4K pictures look great and the 30 megapixels

cards only. And, there is no doubt that if you are

geotagging your shots.

will keep photographers happy too. But, if

using this camera primarily for video you will still

The camera’s start/stop recording can be

you are starting from scratch it is an expensive

want to use a monitor. Canon still has not given

synced with an external recorder using the HDMI

option for a low-budget videographer at £2,915

us peaking to help with focusing or zebras to

and enabling in the menus.

excluding VAT. The lack of zebras or waveforms

help with exposure.

There is now an in-built intervalometer for

Also, an articulated screen would have been helpful for those low/high angle shots. However, I gather this could have made the

and no log gamma profiles is an oversight not

timelapse fans, and it is good to see that rec run

made by its rivals. The crop factor in 4K shooting

and free run timecodes are available.

will cause some frustration. If video is your primary

The ISO has a good range from 100-25,600, but

reason for buying a new camera then the Sony

camera less weatherproof. Canon does boast

going into the menus you can extend the range

A7S is smaller, lighter and great for low light

it has a tough magnesium alloy body and

to 102,400 or you can limit the auto ISO to keep

shooting (£2,207 ex VAT) while the new Panasonic

improved weatherproofing. The downside is

within your preferred quality threshold.

GH5 (with XLR audio adapter) should also be

that it is a heavy camera (only 75g lighter than

There’s not much to say about the audio

its predecessors), but it will survive physical and

features of the camera. It does have a 3.5mm

the GH5 does have a smaller (Micro Four Thirds

environmental abuse. However, internal heat

microphone socket for recording scratch audio,

sensor – 2x crop).

from processing overload can cause these

plus a headphone socket. But, anyone doing

cameras to overheat and stop recording.

any serious shooting with this camera will, I hope,

created the whole low-cost market for high-

be using a separate audio recorder.

quality video shooting using a DSLR. However,

Stay connected

on your watch list (£1,695 ex VAT) – although

The 5D Mark II could be said to have

rivals have now caught up, and in some respects

It has built-in Wi-Fi and NFC to connect to your


exceed the Mark IV. However, if photography

smartphone or laptop. With Canon’s app you

There is no doubting that the Canon 5D

is your primary need for the camera, and video

could remotely control the camera’s features

Mark IV is a great camera and if you already

secondary, you should take it for a test drive

and controls, including focus, using a touch

have invested in Canon lenses, batteries and

and experiment with grabbing stills from the

screen phone or tablet. For those that prefer

accessories it may be a no brainer if you

4K video, and you may find that this could be

to be wired, there is a USB 3.0 socket.

are looking to upgrade.

the camera for you. n



The new Telemetrics PT-HP-S5 robotic pan tilt head lets a single operator produce high quality content with lower production expense and limited space. This 5th generation robotic camera system offers a wide range of super high dynamic speeds, and a load capacity of up to 40 pounds. The PT-HP-S5 design also features advanced servo technology for ultra-smooth motion and silent operation. It’s perfect for box-style cameras that effortlessly glide through every production.

Lower Cost Operations and Smooth, Reliable Performance … That’s Telemetrics. 201.848.9818 • • PTHPS5_TVBE_HalfHoriz_0317.indd 1 28 29 TVBE camera review Technology_v3 JGJMcK_final.indd 55

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April 2017



In association with

Tailoring to unique needs Our acquisition and NAB feature incoporates the news and views of a variety of manufacturers who will be showcasing their wares in Las Vegas. Here, James Eddershaw, managing director, Shotoku UK, talks to TVBEurope about the ever-changing trends, challenges of the broadcast industry

How much of your business is non-broadcast? Are you seeing a growing demand for your expertise from different industries? The definition of ‘broadcast’ and ‘nonbroadcast’ has shifted significantly. For example, a global corporation may build and operate

What are the greatest technological

a broadcast facility today with equipment so

challenges in your area of the market?

sophisticated it would be on par with national

Providing high-performance (precise, smooth

stations of just a few years ago.

on-air motion in seven axes), easy-to-use and

A large segment of our business has always

exceptionally reliable 24/7 camera support at a

been in government TV services for televising

price that makes the return on investment quick.

of parliaments and legislatures, which have the same demands for quality and reliability, but are

How are your customers’ demands changing,

not traditional broadcasters in themselves.

and how much of that feedback informs your product development and R&D activity?

What are you showcasing at NAB?

Our R&D activity is very closely driven by

We always have three key areas of focus at

customer demands, as with any successful

the show: robotics, manual camera support

company. Every customer is different with unique

and VR/AR tracking. For robotics we will be

needs, while the core applications are generally

in the long term. These demands have been

bringing SmartPed, the very latest fully robotic

very similar. The trick is to develop features and

consistent over many years, but recently, the

studio pedestal, following an amazingly

functionality that closely match a particular

pressures of competition from the numerous

successful debut year with large high-profile

customer’s needs, but at the same time will

disruptive entrants into traditional national news

installations including facilities in Canada, UK and

provide benefits for a wider audience, making

broadcast markets has relentlessly increased

Europe. We’ll also have plenty of exciting new

the product better for all users.

demand for quality content, while costs have to

announcements at the show regarding tracking

be significantly reduced.

solutions for manually operated cameras.

What changes/trends/developments in the

Robotic camera systems have been used

industry are having the most dramatic impact

in news productions for decades, so it is not a

What is your business focus for the

on your business?

radical shift in the production process, but the

remainder of the year?

Generally speaking, our customers have

need for more automation, more advanced

Simply to continue doing what we do best

two simple goals: to generate high-quality,

features for complex live on-air productions, and

– enabling our clients to produce great

informative and compelling programmes, and

near-perfect reliability in 24/7 operations result in

programming through advanced camera

manage costs so that their business (whether

systems that are far more advanced, yet simple

support product developments and strong

publically or commercially funded) is sustainable

and reliable in operation.

technical support. n

COLBALT A multitude of product debuts COBALT will be introducing a vast array of

encoding capacity supports four audio PIDs

12G-SDI and/or add four HDMI 2.0 inputs. The

new products at NAB. It will demonstrate

– up to four stereo or eight mono channels. It is

multiviewer modules are cascadable, meaning

FAST-Stream, which combines FAST (frame-

designed to make the 9223-A8 a cost-effective

users can expand the system as 4K production

accurate SCTE 104 trigger) insertion with

solution for broadcast-contribution scenarios.

and broadcast becomes widely adopted.

enhanced HLS SCTE 35 streaming on a single

Another brand new product being

Last but not least, visitors can see the new

platform. According to the company, the

demonstrated will be the 9971-MV-4K-SH

9904-UDX-4K-12G UHD 12G/3G/HD/SD-SDI up/

system is a comprehensive solution for providing

UHD Hybrid HDMI 2.0 and 12G-SDI input and

down/cross converter. The 9904 can up-convert

HLS streams with frame-accurate boundary

output multiviewer. The multiviewer’s UHD

3G/HD/SD-SDI to UHD, providing either quad

points complete with the SCTE 35 metadata

output is available via 12G-SDI and HDMI 2.0

3G-SDI-based square division or two-sample

contained in the associated manifest file.

concurrently, designed to make it a cost-

interleave formats or optional ST 2082 12G-SDI.

effective means of leveraging consumer-

The unit can also perform the reverse in down-

H.264 3G/HD/SD-SDI/CVBS video and eight-

grade 4K monitors. The input stage accepts six

converter mode and has two HDMI 2.0 outputs

channel audio encoder. The enhanced audio

3G-SDI signals, with an option to upgrade to

for monitoring. n

Also on show will be Cobalt’s new 9223-A8

31 32 33 TVBE NAB news Technology_v2 JGJMcK_final.indd 54

20/03/2017 16:06

32 TVBEurope April 2017


In association with

QUANTUM Maximising efficiency FOLLOWING exhaustive real-world 4K testing,

large- and small-form-factor disk drives,

Next up, Quantum will showcase new

Quantum will unveil new 4K reference

as well as a variety of array configurations

capabilities that allow multiple StorNext-

architectures, scaled for facilities small to

and a full complement of compressed and

powered collaborative workflows located

large. In the testing, say Quantum, all Xcellis

uncompressed 4K formats. The resulting

anywhere around the world to access the same

solutions “easily handled” intense 4K workloads.

reference architectures have been tuned to

archive target. As a result, say Quantum, any

The testing included characterisation of

deliver predictable stream count workloads for

user within a StorNext environment can access,

the full range of 4K formats.

browse and pull files from the shared archive.

Quantum will also demonstrate how Xcellis

The company will highlight its newly released

leverages the power of StorNext and the

FlexTier cloud access feature, designed to make

performance of all-flash arrays to get the most

it easy to integrate existing public cloud storage

out of both technologies.

accounts and third-party object storage

The company says that Xcellis maximises

(private cloud) into a StorNext environment and

efficiency when it comes to the most

into familiar media workflows. FlexTier currently

demanding of workflows, with use cases such as

supports Amazon Web Services, Microsoft Azure,

color correction or high-end compositing and

Google Cloud, NetApp StorageGRID, IBM

finishing deriving the greatest benefit.

Cleversafe and Scality RING as archive tiers. n

TELESTREAM Capitalising on Facebook Live TELESTREAM will be demonstrating how the

while Lightspeed Live Capture can

professionals to easily posts video, text and

Vantage Media Processing Platform has

independently ingest multiple channels

images to multiple social media destinations

been designed to streamline operations and

of SD or HD or a single channel of UHD.

including YouTube, Twitter, LinkedIn, Google+,

create new revenue streams by orchestrating

Streaming live content via Facebook has

discrete tasks. Vantage allows users to ingest,

become a critical method connecting with

Media Solution, say Telestream, helps bridge

edit, transcode, QC, package, monetise, and

viewers. Telestream says that it addresses that

the gap between social media and traditional

distribute their media. It currently supports HDR,

need with Wirecast Gear, its new turnkey

broadcast departments, allowing both groups

UltraHD and 4K and IMF.

system optimised to run the company’s

to maximise efficiency. n

A particular focus for Telestream at NAB

popular Wirecast live streaming production

will be live video streaming. The company

software. Featuring Facebook Live as a

plans to show how to achieve enterprise-

streaming destination, Wirecast has also

class live capture and content streaming

been designed to allow users to create and

with its Lightspeed Live Stream and Lightspeed

stream high-production value broadcasts from

Live Capture applications. Lightspeed Live

their computers to their Facebook timelines

Stream is designed to solve the problem of

with a few clicks.

preparing real time content for adaptive bitrate live event and live linear streaming,

Vimeo, Facebook and Brightcove. Social

The company will also showcase its Social Media Solution, which enables marketing

TMD Enhancing asset management TMD will bring three new software ‘bolt-ons’ to

Media Misr provides integration with third-party

which the company says provides tools for

its MAM systems to NAB. These enhancements

scheduling systems, automatically generates

managing the production supply chain

can be added to any of TMD’s media service

workflows based on those schedules, reports on

from commissioning and ordering through

applications – including Media Packages,

missing content, and manages cache storage

programme delivery. TMD’s Mediaflex-UMS

Media Misr and Media Lines – to expand

for transmission-ready content for playout

Analytics, which are fast reporting, workflow-

their functionality.

systems. Media Lines provides management of

data dashboards with real-time analytics to

scheduled recordings of live feeds.

monitor operational efficiency and quickly

Media Packages provides workflow management for the creation and delivery of packages to non-linear, OTT platforms.

31 32 33 TVBE NAB news Technology_v2 JGJMcK_final.indd 55

TMD also plans to demonstrate a new media service application for media logistics,

identify bottlenecks, is also expected to be on show. n

20/03/2017 16:06


April 2017



In association with

TOOLS ON AIR This just:in IN RESPONSE to the rapidly increasing

available for Mac. Linux systems also are

importance of Linux systems and 4K video in

very cost-effective.” ToolsOnAir’s new system

broadcasting, ToolsOnAir has unveiled just:in

employs a single-rackspace appliance that

linux, a hardware/software solution for Linux

can ingest up to eight channels of HD or two

that can ingest multiple 4K video streams, as

channels of 4K video. The computer sports two

well as HD streams. As with the Mac version,

10Gb (RJ45) network connections; two PCIe

just:in linux can automatically divide ingested

slots for video cards, fibre channel cards, a GPU,

video into multiple files, including timecode

a RAID with replaceable hard drives; and

and file-naming, and settings can be saved as

a redundant power supply. An optional

presets. Supported codecs in version 1.0 include

NVidia graphics-processing unit is available

ProRes, XDCAM HD422, AVC-I, and h.264.

for generating the h.264 preview on the

“Just:in linux isn’t a port of just:in for Mac but

graphics card.

a new product, created from the ground up,”

engine, ToolsOnAir’s just:connect, a

Mattia Varriale.

scheduling application, and the user

“The two versions have the same user

The latest just:in linux is “a new product, built from the ground up”

31 32 33 TVBE NAB news Technology_v2 JGJMcK_final.indd 56

Software modules include the Linux

says ToolsOnAir head of sales and marketing

interface. In just:connect, users can set up

interface and can work in tandem but just:in

the video device properties, save capture

linux offers more capabilities in a smaller

and destination presets and use them on

form factor because we can provide more

all channels, and create file-naming

powerful hardware for the Linux platform than is

conventions. n

20/03/2017 16:06

5th – 9th June 2017, Central London, UK




MediaTech 360 is a week of live events that brings the industry together to unearth the opportunities presented by our evolving marketplace. Comprised of the centrepiece two-day summit; a series of affiliated webinars, roundtables, and briefings; the 2017 TVB Awards; and our broadcast pro audio evening, PSNPresents, MediaTech 360 offers an exclusive thought leadership programme that explores the brave new world of media and entertainment.






MediaTech 360 Kick Off Webinar


OTT Breakfast Briefing

Closing Webinar

PSN Presents & Opening Drinks Reception

MediaTech 360 Summit Day 1

MediaTech 360 Summit Day 2


Brought to you by:




#mediatech360 MediaTech360 DPS.indd 1

@MediaTech360 20/03/2017 09:04

DAY 1 – 7TH JUNE 2017

Day 2 – 8TH JUNE 2017




Opening Address: Market Analysis – Facts And Figures


Morning Keynote: State Of The Market - Industry Outlook Beyond 2020


Keynote Panel Discussion: The State Of The Market


Panel Discussion: Hot Or Not – Top Tech Trends Through To 2020


IP Interoperability Update – A Common Roadmap


Panel Discussion: What Does AI Mean For Broadcast?


Panel Discussion: IP, Standards, Industry Collaboration


Keynote Panel Discussion: TV Is Not Dead; It Is Reborn


Live IP A Case Study


Keynote Panel Discussion: Beyond Broadcast – What Are The Strategies?


Panel Discussion: E-Sports and Broadcasting - The New Frontier?


Closing C-Level Panel Discussion: Operational Challenges In The Market


Panel Discussion: Managing The Impact Of Disruptive Technology - AR, VR, UHD, IP, Cloud


Keith Underwood Director Of Strategy And Technology Channel 4

Daniel Toole Executive Partner - Media And Entertainment Industry Leader Europe IBM

Jamie Hindhaugh Chief Operating Officer BT Sport

Steve Plunkett Chief Technology Officer – Broadcast And Media Ericsson

Michel De Wolf Director Dwesam Engineering Bvba

Mark Harrison Managing Director Digital Production Partnership

Niall Duffy Chief Marketing Officer Virtual Ai

Jon Watts Managing Partner And Co-Founder MTM

For Speaking Opportunities: Hannah Tovey +44 (0)20 3889 4920

For Sponsorship Opportunities: Pete McCarthy +44 (0)20 7354 6025

View the full agenda online at: MediaTech360 DPS.indd 2

20/03/2017 09:05


TVBEurope April 2017


In association with

Talking heads David Workman, director of sales, Telemetrics, looks at the evolution of robotic camera heads ahead of this year’s NAB What are the greatest technological

cameras, lenses, teleprompters, and other

to large national assemblies with hundreds of

challenges in your area of the market?

peripherals. One major feature that has come

cameras. The Telemetrics Legislative package

All vendors in the ‘broadcast equipment’

of all this feedback is the unique ‘dual cradle’

has interfaces to gated microphone systems

market are highly influenced by continually

configuration of the PT-LP-S5, which provides

to automatically select camera positions

changing standards and new technologies.

mechanical isolation between the camera and

based on the speaker, and we’ll also trigger

At first glance, it might not be obvious that the

teleprompter; this keeps ‘teleprompter wobble’

the graphics systems to bring up a lower

transition to 4K or IP-based video would affect

from shaking the image. Customers also said

third with the speaker’s name. Also included

a robotic camera head, but we still need to

they wanted easier set-up, so we’ve added

is comprehensive switcher control via an

pass the signal through the head, whether

features that help balance the head easily

automation interface, so a separate switcher

it is SDI, fibre, or IP, and having a stable and

and quickly, and indicator lights have been

operator isn’t needed.

precise robotic platform becomes even more

added to provide feedback if the load is out of

important with higher resolutions. In addition,

balance during operation.

we’ve made updates to our control system to

‘Camera robotics improve the quality and consistency of a production, and reduce operational costs as well’

provide intuitive user interfaces for new camera

What changes/trends/developments in

features such as HDR, HFR, etcetera. This has

the industry are having the most dramatic

required significant engineering resources

impact on your business?

and a high level of co-operation with other

The market opportunity for robotic camera

manufacturers; we all need to share protocols

heads is tied directly to the customers’ need

What do you believe will be the main talking

and work together to ensure the interoperability

for new cameras. As new standards evolve,

points emanating from NAB?

of products.

broadcasters need new cameras – and

The big issues right now are ATSC3, channel

they usually look for ways to improve other

repacking, and the results of the spectrum

How are the demands from your customers

facets of their production and workflow at

auction. On the production side, we expect

changing, and how much of that feedback

the same time; camera robotics are a natural

to see continual advancements in virtual

informs your product development and

extension of that. Camera robotics improve the

set technologies. Virtual sets and virtual

R&D activity?

quality and consistency of a production, and

enhancements on physical sets have gone

Broadcasters are producing more news and

reduce operational costs as well. In addition,

from being a niche technology to a must-have

sports programming; this is what generates

broadcasters are always looking for ways

tool for many broadcasters. As the virtual set

the largest amount of revenue for local

to differentiate themselves – and by using

platforms have improved, it has mandated

stations. This is important to Telemetrics, as

keyframe-based motion control, they can

improvements in the robotics as well. This is a

our products are primarily designed for live

create ultra-smooth camera moves for a more

challenging production environment where

‘on-air’ productions such as news and sports.

dramatic feel. This need that broadcasters

Telemetrics excels, as we have a significant

The design of the S5 product line, the newest

have for unique, complex, and ultra-smooth

lead on the mechanical precision and camera

generation of Telemetrics camera robotics,

on-air camera moves has helped us achieve

stability needed for 4K virtual production.

was highly influenced by feedback we

record sales this past year. What are you showcasing at NAB?

received from customers.

‘It might not be obvious that the transition would affect a robotic camera head, but we still need to pass the signal through it’

How much of your business is

Telemetrics will be showing two new additions

non-broadcast? Are you seeing a

to the S5 family of products, and some very

growing demand for your expertise

exciting new robotic control options.

from different industries? Although broadcast remains our primary

What is your business focus for the

market segment, Telemetrics has seen steady

remainder of the year?

growth in the government, military, corporate,

The focus this year is to continue our push into

education, medical, stadium, and HOW sectors.

APAC, Latin America, and the Middle East. The

High-end robotic Pan/Tilt camera heads need

The Telemetrics Legislative software package in

interest in these regions has been very high for

to have ultra-smooth motion, while at the same

particular has been very popular. This product

the past few years, but economic conditions

time be fast, precise, quiet, and cost-effective.

allows a single operator to run the video

and budget constraints have delayed many

Additional feedback from our customers

production for government meetings of all sizes

projects. We are finally seeing some of these

has led to better integration and control for

– from local city councils and state legislatures

projects come to fruition. n

36 TVBE NAB news Technology_v3 JGJMcK_final.indd 54

20/03/2017 17:04

TVBEurope Advertorial Supplements

April 2017

Agile field-to-audience news infrastructure How to retain (or even re-acquire) news audiences of today‌ and tomorrow In association with

s Sony Supplement_Apr17_v2 JGJMcK_final.indd 30

21/03/2017 11:04

ii TVBEurope April 2017


In association with

The search for the lost audience

Why unified content platforms are providing a helping hand


f you work in TV news, you will be aware

operandi, refreshing newsroom systems and

allow its regional teams to tailor it for their

of an indisputable trend, one that threatens

investing in dedicated online and social media

audience, across all platforms, evolving the

your very livelihood: your audience is

teams and tools in order to get news out quicker

story whilst it develops. And this includes mobile

and onto more platforms.

journalists, out in the field, who can collaborate

declining. Regardless of the great work you do, times have changed. The way we consume news has evolved.

While this has plugged the gap it has also resulted in an inefficient news operation that

with the rest of the team using the same resources and tools.

Where the nightly television bulletin or the

works in silos. Different teams using different

hourly radio report would traditionally provide

systems and different resources, producing

Hive is a network production system that is

the most complete – and often the only –

variations of the same content for different

built on a future-ready UCP. Customisable,

source of current affairs, information is now

outlets. This results in work and technology

cloud-native and scalable, it can be

available almost every second of the day

being unnecessarily duplicated. It is not just

deployed on-premise, in the cloud or in a

from thousands of sources across a myriad

inefficient. It is also very expensive.

combination of the two.

of platforms and devices. From live streamed video reports and tweets to

Faced with all these hurdles, broadcasters

At Sony, that UCP is Media Backbone Hive.

Featuring a host of built-in tools and

usually have two options: continue to lose

compatible with third-party ones, it allows

constantly updated live text reports, it is possible

their audience or spend more money trying

journalists, producers and editors to collaborate

to find out what is happening from Aberdeen

to keep them.

from wherever they are in the world, ensuring

to Zambia at the touch of a mobile, tablet

Fortunately, there is another way. It is

that they are first with the story across online, TV

or smart TV. And more often than not, it is the

possible to entice back that lost audience

and radio. No more silos. No more duplication.

online world that gets the story first with television

and have a lower cost base and fewer silos. It

And a lot more flexibility. In today’s fast

broadcasters then providing context, detail and,

requires a unified content platform (UCP) that

turnaround world, this agile, efficient and

it must be pointed out, accuracy.

links everything and everyone within a news

adaptable approach to news production could

organisation together.

be the difference between locating that lost

The millennial generation, in particular, look to the Internet and apps first. According to Ofcom,

Imagine this. A TV station needs to cover a

audience and losing it forever. n

the UK’s communications regulator, more than 60

fast-breaking story throughout Europe. Without a

per cent of 16-24 year-olds get their main daily

UCP, with news teams and journalists working in

Your Journalists can grow your brand and

news fix that way.

isolation, it would be complex, time-consuming

increase audience share by simply having

But this is not a big lift and shift away from TV and radio to online. Nearly 90 per cent of British

and costly. With a UCP, however, the TV

access to the right tools.

station can share content and stories and

Find out more:

people aged 55 and over still get their news from the TV, for example. Instead, it is a general dispersion of the audience across the different platforms. Ofcom suggests that the average consumer now uses 3.5 different sources for their news. This democratisation of news provision might be great for those of us keen to know what is happening in the world – and for those viewers looking for alternative points-of-view – but for broadcasters it has become a real headache. Not only are they competing with each other they are also competing with these new and often quicker sources of news. It has led to a general reduction in viewership. Those viewers that have moved away are now considered ‘the lost audience.’ In an attempt to entice them back, broadcasters have changed their modus

Sony Supplement_Apr17_v2 JGJMcK_final.indd 31

21/03/2017 11:04

Building successful collaborations to tell your story first Mobile Journalism (Mojo) empowers news journalists; giving them the tools and technology to record, edit, transfer or broadcast live from wherever they are and under any conditions. But even with improved network connectivity, collaboration between Mojos and the newsroom has always been limited. Until now. Using the remote toolsets within Sony’s Media Backbone Hive, and embracing cloud computing, journalists can collaborate with each other, and the newsroom, sharing and using centralised footage, graphics and more, from wherever the story breaks.

Media Backbone Hive

Contact us today to find out more

WINNER Sony Supplement_Apr17_v2 JGJMcK_final.indd 32

21/03/2017 11:04

iv TVBEurope April 2017


In association with

Agile, flexible and cost-effective: why Hive is ideal for modern day news production In the ongoing search for TV news’ lost audience, a unified content platform could be the answer. Here are five reasons why you should choose Sony’s Media Backbone Hive. 1. Hive will make you more productive

Making use of hyper converged node technology

broadcast production system for news and sport. Built on the latest data centre class technologies,

Adopting Media Backbone Hive will improve

via customisable dashboards at the front, Hive

and capable of embracing the benefits of cloud

business operations in a myriad of ways. It will

streamlines, and provides control of, the news

computing, it includes a rich toolset, open APIs

make it possible to deliver more content, in the

production operation. It integrates with third-party

and various customisation capabilities.

correct format, to more destinations with fewer

tools, provides flexible file management capabilities

resources. It will make it possible to attract new

and offers built-in applications of its own.

Sony’s Media Backbone Hive is a highly scalable

When injected into the heart of a production

in the back-end, and providing operations analysis

ecosystem, it offers flexible and powerful workflow

audiences and retain current ones while enticing

and content management capabilities and the

back those lost viewers. It will even allow breaking

newsroom computer system (NRCS), across import,

ability to streamline a news operation, removing

stories to be published when the content supplier is

production, publishing, planning, archive and

silos and eradicating duplication.

a member of the public.

playout. By combining NRCS control with networked

Importantly, it makes it quicker and easier for

Hive oversees all the elements that connect to a

Crucially, because it is entirely software-based,

news production capabilities, it simplifies the task

journalists, editors and producers to collaborate,

it also allows users to respond rapidly to changes in

of getting news out quickly to multiple people, on

regardless of where they are in the world, allowing

business demand and to optimise costs and avoid

multiple devices, from anywhere in the world.

them to be the first to tell their stories using social

inflexible capex investments.

media as well as TV and radio.

Journalists can read the wires, pull video, edit it, collaborate with remote correspondents and other

Hyper converged nodes provide extreme

2. Hive will remove your silos and streamline your workflows

resiliency and make it possible to dynamically

In an era when the public can get their news

scale storage and processing, whether on-premise

from many different sources, the fact that Hive’s

work that’s increasingly the norm such as creating

or in the cloud. And, because it is all software-

publishing capabilities serves both traditional TV

different versions for different media. And they can

based, Hive provides the chance to reduce

playout as well as social media, web and mobile,

do it without the need to waste time jumping from

upfront costs and adopt an opex model instead.

is absolutely vital.

one system to another.

Hive is also reliable, flexible and cost-effective.

Sony Supplement_Apr17_v2 JGJMcK_final.indd 33

journalists – just like a traditional NRCS operation – but now they can take it much further. They can also do all the additional production

21/03/2017 11:04

TVBEurope v

April 2017

Supplement 3. Hive will help you to make the most of the cloud (and you can do it your way)

on stories. Users ingest footage once and

Hive is a scalable journalist-centric software

and reporters in the field, both locally and

layer that can be deployed on-premise or

around the world.

it isthen simultaneously available to all relevant journalists including mobile journalists

in the cloud: or straddle a hybrid of both. architecture, different elements can be

5. Hive will allow you to adopt an ‘expand or kill’ strategy

deployed in different locations, as appropriate.

Because Hive makes use of the inherent

Because it is built around a distributed services

In some cases, it may be that a broadcaster

scalability and flexible economics of cloud

is willing to jump straight to the public or private

computing, once the platform is in place,

cloud, but that may not be practical or cost-

users can add temporary applications for

effective. In that case, a hybrid approach, with

specific events such as a sports tournament

some elements on premise, some in the cloud,

or a political event.

might be more appropriate.

A type of agile prototyping, this allows

This allows users to benefit from the same

a news organisation to try something new,

technology that the cloud uses, giving them

measure its success and then either expand it

the same levels of flexibility and platform

or kill it, depending on how well it is received.

functionality, but have it hosted on premise or

All without spending huge sums of money.

in the hybrid configuration of their choosing.

Traditional newsroom systems cannot do this.

The important thing is that the broadcaster

Agile, flexible and cost-effective, Hive is

can pick an approach is best for them, taking

much more than just an enhancement to the

into account the key cost: bandwidth.

newsroom. It’s a fundamental change in news

This flexibility is absolutely ideal for modern

production architecture. Hive will improve your business by

news production.

streamlining your workflows, bringing your news

4. Hive will make it easier for you to collaborate

teams and journalists closer together and

By adopting a unified content platform, online,

kill strategies. With a hybrid cloud approach,

TV and radio news teams can work together

you can realise cost benefits too.

making you agile enough to adopt expand or

under a single umbrella system, allowing them

To find out how Sony’s Media Backbone

content. This not only reduces duplication

Hive can help you to streamline your

and negates the need for separate systems

news production operation, go to

and technology, it allows greater collaboration

e Agil

Isolat ed


d pee ry s live de

Re Op mo tim te ise l

In cr e ed as

d cte e n on

borative Colla



to search, access and make use of the same

Audience Reach

Increasingly, success is far more about intelligent platforms and business agility than about managing and delivering media assets. The winners are those businesses that can combine increased content collaboration (across teams and remotely) with greater flexibility to quickly adapt to new trends with an open infrastructure

Sony Supplement_Apr17_v2 JGJMcK_final.indd 34

Hive: how does it work? • Integrated assignment and planning tools within Hive automatically send assignments directly to the news crew or a mobile journalist’s camera, linking and structuring key assets • Web-based dashboards provide operational insight, real-time business intelligence and remote monitoring and support • With its multiple ingest capabilities, Hive intelligently routes video inputs to the right places, making a proxy instantly available to all users • Hive automatically updates newsroom systems with new content, linking key metadata to news content • Full integration with wireless cameras enables journalists to begin editing with proxy footage as soon as it’s shot. Packages can then be switched to using high res files once they’re available • Because Hive is file agnostic it will handle any file type, format or resolution, whether it is video, audio or other types of data • Hive offers simple and advanced logging options to allow users to add markers in real time, building metadata that’s immediately usable • Journalists can quickly search the entire newsroom system to find what they need – whether current or archived content, or material arriving in the moment • Stories can be created wherever they are needed, in a web-based environment, or remotely in the field

21/03/2017 11:04

vi TVBEurope April 2017


In association with

Tech innovation: CCTV case study

China’s CCTV is leading the way in news production modernisation, making use of the public and private cloud and a unified content platform to create a global collaboration network for its journalists When it comes to innovation within news

overseas in English, French, Spanish,

success criteria – making best use of the

broadcasting and production, China is

Russian and Arabic. Offering news,

benefits of both technologies whilst avoiding

currently ahead of the game. In a market

documentary, comedy, entertainment

the inherent limitations – utilising a software

where the lines between linear TV and the web

and drama programming, it has a

platform that is easily deployable in both

are at their most blurred, the broadcasters and

combined audience of more than one


service providers are constantly seeking out

billion viewers.

new ways to efficiently and cost-effectively

CCTV’s news operation consists of 31

Liu Wanming, technical director of news at CCTV says, “The globalisation of news requires

attract and retain an audience.

Chinese journalist stations, two overseas

a global perspective delivered with local

This is epitomised by the national

branch stations, five overseas central journalist

understanding. Our goal is to give immediate

broadcaster China Central Television

stations and 63 overseas journalist offices.

access to content from across all of our regions, from a wide range of creative toolsets,

“Providing the easiest access to content securely requires a single platform capable of running in private environments and public cloud natively. Our ability to reduce costs while ensuring scalability and flexibility is absolutely critical to the success of this project” Shi Qiang, CCTV

to enable this localisation of stories for the audience and their devices.”

What is the solution? Partering with Sobey for the HQ system in Beijing, CCTV has opted for Hive, the unified

(CCTV). CCTV has a vision for a new global

What is the challenge?

news production operation that is a step

CCTV plans to adopt a global collaboration

ahead of anything else in the broadcast

platform that allows it to produce TV and

technology in the back-end, and providing

market, using both public and private

new media content at the same time across

operations analysis via customisable

cloud to create a worldwide collaboration

its global output. The requirement is for a

dashboards at the front, Hive streamlines and

platform for its journalists and bureaus

collaborative network that is accessible by

controls a news production operation.

across the world.

all of its offices and locations, and allows

content platform. By making use of distributed micro-service

Through the use of published APIs many

them to share and exchange content and

different types of creative and authoring tools

Who is CCTV?

access scheduling and planning functions.

are integrated onto the Hive back-end. For the

The Beijing-based public national broadcaster

High availability is key. The effective adoption

first time journalists from different groups and

CCTV operates 43 TV channels including five

of both private and public cloud is a critical

experiences can access the same content, at

Sony Supplement_Apr17_v2 JGJMcK_final.indd 35

21/03/2017 11:04


April 2017


Supplement the same time using their toolsets to craft their

training and support cost with this single overall

The journalist-centric network production

story, tailoring it to their particular audience

architecture and yet ensuring the scalability

system, built on a unified content platform and

or device. Each journalist will have a number

and flexibility to decide where to place the

utilising hyper-converged node technology,

of different toolsets available to him or her,

platforms and which partners to work with is

is suitable for any broadcaster or other media

including Web Editing; WeChat Authoring;

absolutely critical to the success of this project.”

organisation looking to improve the way they

Craft Editing; an Omni-Media Web Portal;

work and attract new audiences.

Image Authoring; H5 Mobile Authoring; SNS

When is it happening?

Authoring (Weibo/Twitter/Facebook/Youtube);

By the time you read this, CCTV Beijing

and APP Authoring.

will be operational. The network will be

With the private cloud, operating as a data centre on-premise, managing metadata and both proxy files and high-resolution footage,

implemented in a phased fashion, in two stages. Phase1 will include the construction of

facilitating content sharing and new media

CCTV’s headquarters in China complete with

production. The public cloud will then contain

private cloud and public cloud capabilities.

a synchronised version of the private cloud that

This will initially support new media production

has mirrored metadata, the proxy files and on-

only with TV news being produced using a

demand high res.

legacy system.

Using public cloud service in China the public

“Hive marries the technology of the internet economy, cost effective speed and flexibility, to the quality, governance and collaboration of broadcasters systems” Richard Scott, Sony

Richard Scott, head of Sony Media Solutions

Phase 2 will see an enhancement and

said, “The issues being addressed by CCTV are

cloud repository will allow journalists to access

scaling of the headquarters so that it can

uppermost in the minds of all of our customers;

content, handle User Generated material and

support both TV production and new media

collaboration, governance, the ability to tailor

produce new media output locally, and then

production simultaneously.

the stories to the local audience and get those

distribute it across social media. Irrespective of where the journalist is based, they will be able to build an Edit Decision List

The first CCTV China elements are due to

stories to that audience on their preferred

go live in February 2017. The American and

device. The commercial reality of multiple

European region will follow up later this year.

teams working on or across different systems and waiting for content to be copied cannot

(EDL) and create a news story package using footage and data gathered from anywhere

Bringing Hive to Europe

around the world. The initial work will be done

Although China is a very different market,

using proxies that are then published back into

with different considerations and priorities,

economy, cost effective speed and flexibility,

the main system and re-linked to the high-res

Europe can potentially glean a lot from

to the quality, governance and collaboration

footage. Journalists could also be download

CCTV’s experience.

of broadcaster’s systems.”

clips and control and manipulate them locally. CCTV project manager, Shi Qiang stated

carry on indefinitely. “Hive marries the technology of the internet

The adoption of a global collaboration network could bring huge efficiencies and

To find out how Sony’s Media Backbone Hive

that: “Providing the easiest access to content,

streamline workflows for news production. These

could help your broadcast news operation

securely, from literally anywhere, requires a

are benefits that all broadcasters crave.


single platform capable of running in private

That is why Sony is bringing the same

environments and public cloud natively. Our

innovative back-end architecture to Europe

ability to reduce engineering, integration,

in the form of Media Backbone Hive.

CCTV HQ (Beijing) Private Cloud

Public Cloud

Europe Region Public Cloud

America Region Public Cloud

Private Cloud


Private Cloud

Asia Pacific Region

Public Cloud

Sony Supplement_Apr17_v2 JGJMcK_final.indd 36

21/03/2017 11:05 Sony Supplement_Apr17_v2 JGJMcK_final.indd 29

21/03/2017 11:04


April 2017



In association with

DEJERO The latest in IP connectivity DEJERO is attending NAB 2017 to showcase

network of multiple IP connections with

Dejero will also showcase the recent

its latest developments in the field of IP

the necessary bandwidth and reliability

enhancements to its LIVE+ Multipoint cloud

connectivity for electronic newsgathering

to enable bi-directional data transfers

service. Broadcasters and media organisations,

(ENG) and remote broadcasting.

from newsroom and production systems.

say Dejero, can now share live HD content

The solution includes in-vehicle equipment,

simultaneously across multiple locations and

Gateway solution enables news crews

cellular connectivity services, cloud

between different entities anywhere in the

to access media assets, research stories,

management, and support.

world. New capabilities include multichannel

Debuting at NAB, Dejero’s new LIVE+

and transfer large files by providing fast,

New capabilities of Dejero’s LIVE+ EnGo

reliable, and secure access to the public

mobile transmitter will also be showcased at

audio and closed captioning. Group and single event point-to-multipoint packages are now

internet and private networks in the field.

NAB. Key features include a user-accessible

available in addition to a fully customised,

Leveraging patented network bonding

SIM module, global roaming packages, and

unlimited use package for multipoint-to-

technologies, the solution creates a virtual

the ability to transmit multichannel audio.

multipoint content sharing scenarios. n

CHIMERA Broadening support BUILDING on the Chimera Lightbanks for the

Universal Mounting Brackets. Like the rest

Sized to slide into the ARRI SkyPanel S120-C

ARRI SkyPanel S30 and S60 Tech Lightbanks,

of the models in the Chimera Tech Lightbank

accessory slot, the system comes with Lightbank

Chimera has broadened support for ARRI’s

series, the Chimera Tech Lightbank for the

body and mounting frame, full diffusion front

professional SkyPanel LED lighting systems to

ARRI Sky Panel S120 is constructed from

screen, 1/2 and 1/4 grid front screens, 1/8 grid

the largest available model in the line, the

durable, secure and long-lasting fabrics

inner baffle for extra diffusion, and a storage

ARRI Sky Panel S120 Tech Lightbank, and the

and materials.

sack to safely port the whole kit. n

37 38 39 TVBE NAB News Technology_v2JMcK_final.indd 54

20/03/2017 16:05


TVBEurope April 2017


In association with

LAWO Virtualising radio studios LAWO will present a white paper at NAB entitled ‘Virtualising Radio Studios: Broadcasting + IT = AoIP 2.0’, co-authored by Michael Dosch (pictured right) director of virtual projects, and Stephan Türkay (pictured far right), senior product manager, Radio On-Air. Türkay said, “It’s only natural that radio wants to take advantage of today’s PC platforms. We eliminated tape machines and carts 20 years ago in favor of PCs, and PC power has doubled many times over since then, but we still use it in the studio just for playout! There’s a lot we can do with that power.” “Virtualisation has been a dominant trend in IT over the past years,” notes Dosch. “IT has found that moving processes to Virtual Machines results in more scalable systems, more

“That’s why we refer to virtualisation as ‘AoIP

discuss the computing power now available

reliable infrastructure, and systems that can be

2.0’”, Dosch says. “The first wave of AoIP united

to broadcasters, examine already-existing

quickly diagnosed and administered remotely.

physical devices – the mixing console and

software tools that can be used to shift studio

Moving audio mixing, codecs, phones, audio

audio peripherals – via Ethernet. The second

infrastructure from racks to the cloud, and give

processing and other tools out of hardware,

wave will take the software apps that replace

real-world examples of what such convergence

and into the virtual domain along with playout,

those physical devices and unite them, using

looks like in modern broadcast plants.

will help broadcast studios to become more

IP inside a virtual machine environment.”

reliable, serviceable, and scalable too.”

In their white paper, Dosch and Türkay will

The paper will be presented during the ‘Radio Technology’ session at on 23rd April. n

TELEMETRICS The fifth generation of robotic camera heads TELEMETRICS is introducing its new PT-HP-S5

operation for broadcast quality on-screen

three network ports; and a web application

robotic pan tilt head as the latest addition to

results. The camera includes variable speeds

for simple control for configuration and health

its highly successful S5 robotically controlled

(up to 100 degrees/sec for both pan and tilt);

monitoring. An additional feature warns

camera series.

LED status indicators for system power and

operators if load balancing and power issues

The PT-HP-S5 camera head is suited for

health; fully featured internal servo with support

are detected – preventing costly down time.

daily use in studio applications where mid-

for key-frame motion and on the fly motion time

to-heavy weight payloads of up to 40lbs are

changers; dedicated push buttons to drive on

robotic camera systems from Telemetrics, which

required. It includes Telemetrics advanced

any axis and set soft-limits; embedded red and

has more than 100 years combined experience

servo technology that supports quiet on-air

green tally; embedded network switch with

serving the broadcast industry. n

The PT-HP-S5 represents the fifth generation of

IMAGINE COMMUNICATIONS Enabling evolution IMAGINE Communications will showcase its

Versio and Zenium, that are designed to

all media and business operations. The Imagine

latest product and solution innovations aimed

enable media companies to construct and

Communications booth will also be the venue

at helping broadcasters and other media

evolve their workflows at their own pace and

for ImagineLIVE Power Sessions, with topics

companies advance to or accelerate the

in step with market demands. The company

ranging from ground-breaking implementations

adoption phase of the modernisation of their

will also demonstrate the comprehensiveness

of next-gen technologies to new product

production, playout and distribution facilities

of its end-to-end portfolio, which spans ad


at NAB 2017.

management, linear and nonlinear, broadcast

Imagine will shine a spotlight on its modulebased platforms, such as Selenio One, xG,

37 38 39 TVBE NAB News Technology_v2JMcK_final.indd 55

Imagine Communications will also host a

and OTT – including ATSC 3.0 – and enables

webinar entitled ‘What are Microservices – and

integration capabilities across workflows and

Why do they Matter?’ on 16th March. n

20/03/2017 16:05


April 2017



In association with


investment in critical areas such as

Key spokespeople will present how

advertising, immersive technologies

the company is helping customers to reduce

Transforming television

and 5G, offers all industry players the

complexity, significantly drive down cost and

opportunity to differentiate, compete

respond to the rapid rate of change across

and realise their potential.”

TV and media. n

ERICSSON will illustrate how it is “transforming television and empowering the next generation of TV providers” through its portfolio, service expertise and unique position at the intersection of software, cloud and IP, data and analytics, and 5G and mobile. Throughout the show, Ericsson will demonstrate how it believes it is maximising the value of programming and enabling innovative technologies (such as AR, VR and HDR) to enhance features and create content-rich, discoverable and immersive viewing experiences.

“TV and media is undergoing an unprecedented transformation” Stella Medlicott, Ericsson It will show how it is enabling rich TV Anywhere and OTT services by delivering all business processes, content rights, consumer authentication and advanced analytics. The company will also highlight how its deep expertise in pure software-based and dedicated ultra-high performance hardware compression can offer industry leading, end-to-end solutions to drive video delivery performance and efficiency. Stella Medlicott, vice president, marketing and communications, media at Ericsson, said, “TV and media is undergoing an unprecedented transformation, driven by the cloud, the shift to mobility and global connectivity. The growth of virtualisation has helped the industry to move towards the adoption of an agile core, through software-centric and globally available media, while data-driven, personalised and targeted smart media is enhancing content discovery. The combination of our global business platform, our transformation expertise and ongoing

37 38 39 TVBE NAB News Technology_v2JMcK_final.indd 56

20/03/2017 16:05

40 TVBEurope April 2017


Redefining mobile TV Meanwhile, Julia Lamaison, research and

Evolving ecosystem

insight director at Gfk, says: “It’s not just about

Mobile TV, over the last 12 months, has become

TV any more, it’s about video content, some of

part of the whole evolving ecosystem of video

which is what we consider to be traditional ‘TV’

content distribution, continues Lamaison. She says:

content, but most of which is short form content,

“Our ability to view mobile video is now less limited

obile World Congress has once again

more suited to a mobile experience. There is

by our location or device access, and more by

been and gone in sunny Barcelona.

an explosion of video content being made

the time available to view. That’s why viewing clips

This year, mobile TV was a topic that was

available for and consumed on mobile devices,

and short form video lends itself so well to mobile

notable at the show for its absence; almost. It is still

whether that is live breaking news clips, viewing

as it fills those times when previously we might

important, but it is now becoming part of a larger

of yesterday’s goal of the day, or clips uploaded

have read a paper or even talked to someone!”

ecosystem, rather than a topic on its own.

to the variety of sites and apps from YouTube to

Heather McLean reports from MWC 2017 on the state of mobile video


On whether the term ‘mobile TV’ is still applicable today, Chem Assayag, executive vice

Facebook, Snapchat and Twitter.” Mobile TV used to be defined by the technology

Things have been evolving over the past 12 months, says Plunkett: “In addition to increased viewing hours, we have seen the emergence

president of marketing and sales at Viaccess-

used to deliver it, with operators and broadcasters

of high resolution, high frame rate screens as

Orca, tells TVBEurope: “Mobile TV as a dedicated

investing in dedicated technologies and

VR-capable devices. Google’s Daydream VR

set of broadcast technologies like DVB-H or

standards, says Jack Kent, director at IHS Markit’s

platform is the most recent example of this. Many

MediaFLO is dead. It’s important to remember

technology team. He adds: “Globally, broadcast

had scoffed at the benefits of higher pixel density

that with mobile TV, it’s all about delivering video

mobile TV never really took hold because of the

on small screens, pointing out the practical limits of

on any type of device, including smart phones

different local standards, dedicated handset

the human visual system and diminishing returns for

and tablets. A better term to describe today’s

technology needed to receive the signal, and

increased pixels per square inch. However, mobile

environment might be TV Everywhere, with mobile

the challenge for service providers of how to

VR has highlighted the quality limits of resolutions

TV falling into that category.”

monetise the proposition.

such as 1080p when a display is placed millimetres

While the average viewing time on fixed screens

“The alternative was for mobile operators to

from our retinas and magnified.”

has dropped some 2.5 hours per week in the past

launch linear unicast services using 3G (and

four years, the average viewing time on mobile

then 4G) networks using customers’ mobile

Assayag also points to VR: “There’s been an

devices is up by four hours a week, equalling a

data,” Kent continues. “Here, the challenge

acceleration of 360-degree VR videos available

total net increase of 1.5 hours per week [Ericsson

for operators was around content and

on mobile devices. We can expect that to grow

ConsumerLab TV & Media Report 2016].

monetisation, rather than just technology.

as the technology matures and high speed mobile

Mobile operators that didn’t have their own

networks become commonly available.”

On trends over the past year in mobile TV,

Changing terminology

access to premium content struggled to provide

Steve Plunkett, CTO, broadcast and media

a compelling catalogue to consumers; the rise

tablets and smart phones is growing, Assayag

services, Ericsson, states: “Mobile viewing is now

of TV everywhere pay-TV services and cross-

observes: “In January, Gartner said it expects

part of a more diverse audience behaviour, where

platform online subscriptions also limited the

shipments of tablets to only register 0.34 per cent

content availability across a range of devices has

opportunity to charge customers extra for

annualised growth, going from 196 million in

become the norm. The term mobile TV means

mobile access. For this reason, there isn’t

2015 to 198 million in 2018. As the tablet market

something very different today, and TV on mobile

really much ‘mobile’ TV any more, it is all

begins to slow down, the main driver for mobile TV

devices is a much better definition.”

part of a wider cross-platform proposition.”

consumption will be smartphones.”

Also, the split between video consumption on

From left to right; Steve Plunkett, Ericsson; Chem Assayag, Viaccess-Orca; Jack Kent, IHS Markit; and Sebastian-Justus Schmidt, SPB TV

40 41 TVBE Apr17 TVBEverywhere_v4 JGJMcK_final.indd 32

20/03/2017 16:15


April 2017


TVBEverywhere Battle stations

We’ve seen a number of examples of untariffed

more classic broadcasters are under pressure.

As to how the battle between mobile operators,

bundled access to operator content on mobile

OTT providers themselves are under pressure as

OTT content providers and broadcasters is

networks recently, so the mobile operators may

content from broadcasters and content creators

shaping up in the mobile TV space, Kent says

hold a stronger hand than previously thought.”

are the largest cost factor in any OTT service, while

these strategies are very dependent on the type

Assayag comments: “Broadcast operators see

mobile operators also want to have a share of the

of operator. “Multiplay operators with their own

mobile as an evolution of their traditional offering

premium pay-TV proposition will likely focus on how

on the main TV screen, whereas mobile operators

to deliver that content to their mobile customers.

see TV on mobile as the natural way to compete

What’s coming?

Mobile-only operators, or those without a strong

in the content space. According to a 2015 study

On what she expects to see happening over

premium TV proposition, often choose to partner

from IAB, video is on the rise with 35 per cent of

the next 12 months, Lamaison says: “Mobile

with OTT services to provide premium content

respondents viewing content on mobile devices.

viewing will continue to expand, but it will live

bundles to drive customer retention or push

Consumption is even higher in the UK at about 40

alongside traditional forms of viewing content. We

people on to higher tier plans.”

per cent. Winning the smart phone screen battle

would thus expect to see the mobile operators

may shape the entire video industry in the future.”

expanding into areas that offer more flexibility to

Plunkett comments: “Mobile is now a core part of any content provider’s offering. Most mobile

Sebastian-Justus Schmidt, co-founder and

business,” added Schmidt.

move content between devices and to provide

operators are becoming content providers,

head of corporate development at SPB TV,

consumers with ever more flexibility and choice.

some are even becoming broadcasters; and

adds: “Between mobile operators, who build

Social TV will also expand as the plethora of

broadcasters are seeing rapid growth in OTT

the connective infrastructure, and broadcasters

choice overwhelms us.

based content delivery. The real driver today is

who sit on content creation and traditional

the consumer, who expects access to all content

ways to reach the customers, the OTT providers

had content delivered via easy to find channels

via their mobile devices. But while content is

shorten the connection towards the user and

at set dates and times, so content providers will

increasingly being ‘freed’ from broadcast delivery

new business models.

also have to find apps and navigational devices

networks, mobile network bandwidth is most definitely not free, either to provide or consume.

“The way users interact with and consume content has already changed and more and

“Viewers are essentially lazy; we’ve traditionally

that make it easy for us to remain lazy, yet find the content we like,” Lamaison concludes. n

EDITORIAL FEATURE THEMES 2017 2017 will see an even greater commitment from TVBEurope to cover more of the pressing areas of concern, challenge, and opportunity within our burgeoning marketplace. Our dedicated team of writers and contributing editors will continue their exclusive coverage of the shifting media and broadcast sector and will this year be bolstered by a new Technology section, run in association with our sister brand, TV Tech Global. More content, more insight, more ways to reach our loyal audience.




• TVBEurope Strategy Week preview • NAB review • Live production: Cricket: The Ashes

• TVBEurope Strategy Week preview • Live production: Rugby: the Lions tour of New Zealand • Lightweight cameras for location work

• Live production: Athletics: The World Championships • Specialist camera systems for sports coverage • Virtualisation and playout




• IBC thought leadership insight • Virtual sets • Test and measurement

• IBC show issue: thought leadership insight and product showcase • OTT insight • IP: the latest perspective

• Broadcast audio: IBC review • Best of Show winners from IBC2017 • Remote production

For all advertising and sponsorship opportunities, contact the sales team: Europe Peter McCarthy: +44 (0)20 7354 6025

TVBE Editorial Planner March 2017 half page.indd 1

40 41 TVBE Apr17 TVBEverywhere_v4 JGJMcK_final.indd 33

Richard Carr: +44 (0)20 7354 6027

USA Mike Mitchell +1 631 673 0072

17/03/2017 13:18

20/03/2017 16:15

42 TVBEurope April 2017

Business Pic © BBC

A small industry at the top end George Jarrett talks to Roger Morris, MD at Elstree Studios, about a raft of production industry issues, the biggest of which is the need for industry apprenticeships


He is trying to build a creative hub much in the way that Pinewood’s production village works. Elstree also runs an incubator system to enable small production companies to grow. Back on his business tactics, Morris says: “We

oger Morris, managing director of Elstree

TV Centre have been very impactful on the TV

have been very opportunistic. Elstree is not the

Studios, works on the front line of television

business. In film, Warner Brothers’ opening of

biggest set of stages in the UK, so we target certain

and movie production day in and day out.

Leavesden has had an amazing impact, because

types of production. We use both the George

He is in his tenth year at a facility that film historians

it gives a great deal of confidence to the shooting

Lucas stages for film and drama. The Crown is there

and Strictly Come Dancing fans have good

of movies,” he adds.

at the moment, and in the other stage we will have

reason to revere. Morris started his long media career running the

He has heard and read tons about cyber security, and says: “You can be cracked internally.

Strictly Come Dancing.” He continues:“We realised that the smaller

Notting Hill Herald free newspaper with a cousin

There are people called data wranglers, who are

stages are ideal for films, what people call

and graphic designer (and future actor) Alan

often badly paid juniors, and they are handling

middle ranking at £3 million-£100 million. We did

Rickman, and after his tenure at The London Film

amazingly valuable rushes, data and information. I

Paddington, which was not a huge budget film,

School he made a lot of music films for Top of The

am sure it is another weak spot in post houses and

plus The Danish Girl, and we had Last Days on Mars.

Pops, The Old Grey Whistle Test, and Virgin. Then,

VFX houses.”

Commercials historically slot into the little holes in

commissioned personally by Jeremy Isaacs, Morris directed the very first programme broadcast on Channel 4 – Max Wall at The Garrick Theatre.

Security, rather than cyber attack, is the name of the game at the studios.

the schedule, but we have so much regular work now it is hard to fit commercials in.”

“The paparazzi is always trying to get in, as are members of the public,” says Morris. “I knew one

Crafting talent

the Power Station music channel, which eventually

producer/director who was so paranoid that when

The creation of the Elstree UTC suggests

shut when Sky and BSB merged.

artists came into read a script they would go into

Morris believes the industry has a shortage of

a locked room, read, put the script down and lock

craft/skill talent.

He garnered studio experience when he started

Asked what changes had caused the biggest impacts over the past few years, Morris says: “From

the door as they left.”

a technical aspect it has been the changeover

“The problem is that there are no major training schemes from the broadcasters or the major post

from film to electronic cameras, and also the

Hard to fit commercials in

houses. There should be apprenticeships, but the

speed with which films are released. The editing

The mix of work in terms of genres is always going

problem with feature films or TV series is that the

and special effects processes are much quicker

to vary in the life of a bunch of stages. What has

companies will be set up as a special purpose

now. Another big technology change has been

Morris wanted to achieve?

vehicle,” says Morris. “To take someone for that

the introduction of LED lighting. “On the production side, I would say that the outsourcing of big shows and the closure of BBC

42 43 TVBE Apr17 Business_elstree_v3 JGJMcK_final.indd 54

“I have tried to make sure we are a multimedia

period does not fulfil the apprenticeship criteria.

site in that we do features, commercials, TV shows

You almost need something like a McDonald’s

light entertainment, and drama.”

star system, where you do three months with one

20/03/2017 16:17


April 2017



Roger Morris, managing director, Elstree Studios company, then three months with another. You

stuff you realise that they have cut a few corners,

Big Brother). It is a collaborative thing and we know

finally graduate as a star apprentice and you have

and that it was not done that efficiently. With any

our place in the structure,” he says.

worked with many experienced people.”

film you could save yourself money.

He adds, “We are trying to combine

“It is very interesting that the dubbing sheet

After so many productions have come and gone, which did he love the most? He says: “The

conventional education with internships within the

comes as a horizontal document, whereas the

Voice. It was brilliant. The team that produces an

industry. It is all behind the camera; technical skills

budget tends to be a vertical piece of paper. And

LE show is one of the things I always tick a box for:

in sound, cameras and lighting. We also cover

the trouble with the budget is that post is at the

the team that produce Strictly is fabulously well

theatre with set design, make-up and wardrobe.”

bottom, and titling and sound at the very bottom,”

organised and really great to work with, and the

he adds. “You tend to scrimp on those things

team that produced The Voice (prior to it moving

and Ravensbourne, but worries for The London

having overspent on earlier things: I have always

to ITV) were just the same.”

Film School because it has been so dependent on

said the budget should be a horizontal document

international student income. Apprised of the new

because all the stages are important. Sound can

Beware politicians making decisions

NFTS Production Technology MA course conceived

very often make or break a production.”

What trading or political impacts does Morris

Morris is full of praise for the National Film School

by John Maxwell Hobbs, he says: “Fantastic. We really need that. We are now a hi-tech digital industry but there is not enough training for engineers. Things still need tweaking, unravelling and unblocking. There are so many elements

“British film production has been slowing down, and it is purely to do with international economies”

have a political element to it, unless it is openly political programmes or current affairs. Politicians he says. ”Unfortunately sometimes they do not

their programmes. Morris has the huge privilege of standing at the

proper units, and you see the same faces every

back of the studio during rehearsals – be it for Let It

time. It is actually quite a small industry at the top

Shine, The Crown, The Chase, or Pointless.

end, and as far as the skills are involved,” he adds.

“Production is associated with earning money, and communicating with audiences. It does not

latch onto our industry because it is high profile,”

where people are taking risky short cuts to make “We tend to be working with people who are

expect to come into play?

“They are all fantastic shows, slick and

understand the impact of their decisions. “One has to try and look ahead because we have to invest over long periods of time. We are low technology, and if you build a stage you are

“You see the same lighting cameramen, lighting

professional, and the one everybody forgets is Big

directors, and editors being used; they are at

Brother. That is a really sophisticated bit of 24/7

the top of the game, but there should be some

production work,” he says. “Regarding training,

that his new tax relief for films was being abused,

incentive to lock into apprenticeships to bring new,

Endemol Shine has brought more people into

so he changed it. It meant that instead of 150

younger people up through the ranks.”

the industry than any other company. It always

films on the slate, there were suddenly only 50,”

employs young people because a lot of the jobs

says Morris. “It was such an impact on the industry,

around Big Brother are quite regimented.

and similarly, the industry is cranked up at the

The budget should be horizontal A lot has changed and people have to

“I have met so many people over the years of

understand that in order to produce movies and

that show who have come out into the industry.

top TV shows efficiently, there is a strict discipline

Endemol Shine has been a great place to learn

to every stage.

your trade,” he adds.

“The clients we tend to have are all top-end and

How does Morris define what he offers? “We are

expecting it to last 30 years.” He continues: “In 2004, Gordon Brown decided

moment to do a lot of films that come in through US investment. “British film production has been slowing down, and it is purely to do with international economies,” he adds. “There is a certain size of production

very disciplined. They have the right people on

a studio facility provider. We have our relationship

where they sell the international rights, and make

board: big units, big crews and everything else,”

with BBC Studioworks for providing the TV

money. Anything lower than that, and the risk of

says Morris. “When I see some of the low budget

technology, or with an OB company like Visions (for

not making money increases significantly.” n

42 43 TVBE Apr17 Business_elstree_v3 JGJMcK_final.indd 55

20/03/2017 16:17


TVBEurope April 2017


The Turning Forest began as a BBC R&D research test material

Venturing into VR T

Chris Pine, senior scientist for audio, BBC R&D, looks back at the company’s first public VR project

Listener Experience at Home, an EPSRC-funded

A small team of researchers from BBC R&D and

collaboration with three UK universities as part

the S3A project supported producer and sound

of the BBC Audio Research Partnership. Three

designer Eloise Whitmore to create the mixes.

short spatial audio dramas were commissioned

These are now publicly available as the S3A

as test material for research experiments and

Object-Based Audio Drama dataset for research

also to demonstrate the compelling immersive

purposes, stored using the Audio Definition

he Turning Forest is an enchanting fantasy

experiences that this technology can achieve.

Model standard.

story created using cutting-edge objectbased spatial audio technology. It began

The aim was to think about spatial audio from

The principle of object-based media was

the very beginning of the production, rather than

applied in the project. This involves representing

as research test material, but went on to become

simply to remix an existing programme. Writer

your content as a set of separate assets with

the BBC’s first publicly-available VR experience.

Shelly Silas was given the task of creating short

rich metadata that describes how they are

BBC R&D won the Achievement in Sound award

stories that would make full use of the creative

composed to deliver the content experience.

at the TVBAwards 2016 for the production. I was

potential of the technology.

This has the advantage that the composition or

the director of sound on the project. The initial production was part of a project called S3A: Future Spatial Audio for an Immersive

44 45 TVBE Apr17 BBC Audio_v3 JGJMcK_final.indd 54

The dramas were mixed using a custom

rendering of the content can adapt to needs

object-based spatial audio system and

and desires of the user and the resources and

monitored on a full 3D system of 34 loudspeakers.

conditions in their environment. Much as HTML

20/03/2017 16:23


April 2017


Audio and CSS allow for responsive page layouts

At the time, BBC R&D were leading a series of

production workflow is a better fit. The major

in a web browser. With object-based spatial

VR productions to help us to understand the

workflow challenge was how to create and edit

audio, the idea is that the 3D scene can be

technical and editorial challenges involved.

the spatial audio scene within a conventional

described in metadata and then rendered to

The use of spatial audio within commercial VR

audio workstation and then bring this into the

the desired reproduction system. The advantage

was still in its early stages and good content

game engine. We had to create a number of

is that the content is produced and delivered in

examples were rare. Although our audio

production tools to achieve this.

a single format, rather than requiring a separate

research team had already done some

mix to be created for each system, from stereo

production prototypes with live music and

the spatial audio for headphones in real-time.

up to 22.2. The Audio Definition Model is a recent standard published by the ITU, which allows for representation of advanced audio formats

We used our custom binaural engine to render

360-degree video, we decided that The Turning

This was built into the audio workstation and also

Forest was great material to demonstrate the

the game engine as a plug-in. This renderer has

power of spatial audio in VR storytelling.

also been used in linear broadcast productions

We began to work with the Melbourne-based

to create a spatial headphone mix, such as BBC

including object-based spatial audio. This can be

agency VRTOV to turn The Turning Forest into a VR

Radio 4’s Fright Night Hallowe’en dramas and the

stored within standard Broadcast Wave Format

experience. Director Oscar Raby and his team

BBC Proms concert series.

files and provides a means for archive and

did a wonderful job of bringing this fantasy world

exchange in broadcast production. BBC R&D

to life with computer graphics in a game engine.

synchronised to the workstation. It sent the head-

maintains an open-source software library for

But we had the challenge of integrating the

mounted display orientation to the binaural

handling of ADM BWF files.

spatial audio into this experience

engine and displayed the sound source positions

The recording involved both studio and location work. While some of the recording techniques were quite conventional, such as for the dialogue and foley, we also took a trip to Cheshire to capture an authentic surrounding

‘The Turning Forest was great material to demonstrate the power of spatial audio in VR storytelling’

We also built a VR video player, which was

on top of the video. Whilst refining the sound mix in the workstation we rendered a spherical video of the graphics to monitor against. The transfer of the object-based scene from the workstation to the game engine was achieved using the Audio Definition Model. The audio

forest ambience. We rigged a 20-microphone array to get a recording in full surround with

In VR, sound is presented over headphones

and metadata was exported to a single BWF

height. Several different 3D mic arrays were

and the sense of space must be realistic and in

file and we built a plug-in for the game engine,

actually compared to find the technique that

correspondence with the visual scene so as not

which could import the sound objects and their

gave the best results.

to destroy the illusion. We use binaural techniques

animation data from such a file.

We were thrilled with the results of these

to simulate a virtual acoustic environment,

Our custom-built tools allowed us to achieve

productions, but particularly The Turning Forest,

mimicking the auditory cues present in natural

an efficient workflow for creating cinematic

which takes the listener on a magical journey

hearing. Real-time digital signal processing

VR with complex and immersive object-based

with a young child who encounters a mysterious

creates a headphone signal from the source

spatial audio. Since we began The Turning

creature in the woods.

audio and the spatial scene data. To allow the

Forest production, tools for creating VR audio

listener to explore the virtual world, their position

have emerged on the market with some of the

performance of actor Graeme Hawley,

and orientation, provided by the VR headset,

same features described here. However, they still

Eloise’s fantastic sound design, and a beautiful

also need to be taken into account and the

don’t support object-based audio, mostly using

original score by composer Jon Nicholls

processing needs to respond rapidly to changes.

ambisonics, which means that the listener cannot

The charming story, the captivating

all combined with the spatial audio to

For fully-interactive VR games, the audio

freely move within the sound scene. Perhaps

create something quite special. It felt a

production workflow is similar to conventional

in the future if audio workstations and game

shame for it only to be used for research

computer games. The Turning Forest is a

engines support the Audio Definition Model, then

and internal demonstrations.

narrative-led story and so a cinematic post

this will become standard practice. n

Visit us at

SGL has an established history serving the archive needs of broadcast facilities around the world.

SGL’s solutions continuously evolve with your business. All our latest developments will be on display at NAB Show.

Join us to discover more about FlashNet Infinity, new FlashNet Lite, our cloud archive solutions and much more.


T: +44 (0)1489 889930 | E: | W:

Global leaders in Archive & Storage Management

44 45 TVBE Apr17 BBC Audio_v3 JGJMcK_final.indd 55

20/03/2017 16:23


TVBEurope April 2017


Quality never goes out of style The new CEO of DPA Microphones, Kalle Hvidt Nielsen, is devoted to continuing DPA’s mission of providing the highest quality mics in the business. The former CEO of Bang & Olufsen talks with Neal Romanek about striking a balance between reliability and innovation

than willing to pay a very high price for the product. Everyone in the industry knows that the microphone is a key factor in the final sound quality. If we continue to create good products, we can still stay where we are in providing for the top end.

In September 2016, you took over from interim

We are putting more focus on installation now

CEO Thorsten Reuber, who had filled the gap

too. In December we brought out some table-

going to expand there even further. Over

after Christian Poulsen’s departure in January.

based stands and ceiling mountings for different

the next two years, we expect to double our

How have your first nine months been?

installation applications.

expenditure on R&D. Part of that is to develop

Prior to taking over at DPA, I was in a semi

But I think there is already plenty of room in

We spend quite a lot on R&D. And we are

new technologies to ensure we can make more

conductor business called Topsil, but before then

these segments. I don’t think we need to extend

consistent, higher quality and more reliable

I was CEO at Bang & Olufsen, and I spent ten

into new ones. We can grow deeper into these.

products; even more than we do today.

Kjær, who were the mother of DPA. So there are

What are some of the big issues for you

not only internally, but also in cooperation with

several things in this business that I find familiar.

years at sound measurement company Brüel &

And we have a number of projects running, in broadcast?

universities and research institutes to develop

Obviously the striving for optimal quality is

There’s a lot of change going on now. There

new technologies and methods.

there, both from my time at Bang & Olufsen and

was a guy from a news station who showed

at Brüel & Kjær, both in the quality of the surface

me a clip he had recorded of the refugees

DPA has always pushed for education in

construction and in the features.

travelling through Europe on the motorways. He

the industry, with its “Mic University” on

compared it with a clip of another journalist who

the DPA website, for example. Do you see

Will things continue as they were at DPA? Or

had been standing right beside him, who had

that effort continuing?

are you looking at radical changes?

done her report using only an iPhone. Once it

I think that’s important. It’s not that we

The overall direction and positioning will be the

was broadcast, you could barely tell that her

should take it on our shoulders to educate

same. I’ve had an extremely positive experience

report wasn’t filmed on a professional camera.

the whole world, but many people, if they

when I’ve gone out and visited users and dealers and the market in general. There’s a high degree of appreciation of the products. We are considered a high-end brand with high value and that’s something we will continue with. Microphones will continue to be our focus

“When they switched to DPA microphones, at first they thought there was a failure in the connection, because there was no hum whatsoever”

area. But we are looking at bringing out

Fairly soon, we will bring out a new

look at two microphones and think they’re the same. And if they don’t understand the differences, they will inevitably end up with complaints from their customers. We hope to make people understand what is important in a product, enabling them to choose the right

something more solution-based where the microphone is a part of the solution.

don’t understand acoustics and sound, will

microphone solution. What he pointed out is that picture isn’t the

With our education programme, the aim is

biggest concern any more, it’s sound. He said

not to sell DPA products as such. It’s to make

product which will be a connectivity product

at his station, when they have complaints about

sure people have a better understanding of

for microphones. We think it’s something that

technical issues, 90 per cent of them relate to

their requirements for a microphone. In some

could open new market opportunities and

sound, and of that 90 per cent, most relate to

instances, maybe this educates a customer

also increase the value of our microphones

speech recognisability. Sound levels are another

that they can could use another product than a

for customers.

big factor. We think our technology is in a very

DPA, but that’s not the big deal; we want to

good position to assist in both those areas,

make sure our customers are knowledgeable

through an analogue wire. We think there are

especially as people get more and more

enough that they can choose the right

some other opportunities to expand that in this

mobile in their work.

microphone for their need.

The quality of lower-end microphones is

Are there any other new additions to the

getting better and better. Are you feeling any

DPA team?

Are you looking at expanding into

pressure with that lower end rising? How do

We just brought on a great new guy for

any new markets?

you keep ahead of that cheaper competition?

technology and R&D, Michael Langager

We see ourselves as being in several segments.

We are well aware that you need to provide

Jensen. He used to be the head of product

Live broadcast and studio are the main areas.

value. But we feel that our customers are more

management and R&D at Bang & Olufsen.

Right now, DPA microphones are connected

new digital age, with more flexible and higher quality connections.

46 47 TVBE Apr17 DPA CEO Audio_v2 JGJMcK_final.indd 54

20/03/2017 16:27

TVBEurope Supplements

April 2017


The latest in set-top box, IPTV, OTT, hybrid DVB and smart home solutions

In association with

i - viii TVBE Abox Supplement Apr17_v1.indd 29

24/03/2017 13:01

ii TVBEurope April 2017


In association with


outside the box

The changing demands in user behaviour and content consumption have brought a diversity to the modern day media landscape that requires a more holistic solution than the traditional STB alone, writes Oliver Soellner, member of the management board at ABOX42


he continuing rise of IPTV is transforming

video services in mature markets. In developing

what was a purely linear product into a

countries, adaptive streaming technologies

complete TV experience, which includes

and highly efficient video codecs will help to

live TV, on-demand services and third-party

deliver compelling TV services to new markets

content. This new world of connecting the

and regions.

TV to the internet means opportunities as

Given these trends, companies already need

well as challenges for operators, developers

to be thinking about upcoming hardware and

and integrators.

solutions that will allow them to deliver more

No one needs to be reminded that there are

innovative and feature-rich products, and their

a lot of changes going on in the content delivery

outlook needs to be global and adaptable. In the

sector. But a careful analysis is essential in building

Asia Pacific region, for example, you see some

a roadmap for the future. Right now, there are

operator requirements for Android, for defined

three main players who are looking to change

application support, which you might not see as

their game and take advantage of all that

much of in other regions.

IPTV has to offer. First of all, cable operators want to upgrade

Operators also need to be ready for UHD

‘Emerging markets bring new opportunities. Though there are challenges of infrastructure in some cases, many new markets aren’t encumbered by legacy systems and broadcast chains’

content, which may not be available in bulk now,

their TV service offering to a more modern and

but is just around the corner. Within a year or so,

rich service, featuring live TV (DVB) enriched

4K content will be made more widely available

and options across to all operators. In the last

with IPTV or OTT channels, nPVR and VoD for a

by broadcasters and content providers. New

fifteen years, traditional TV products showed very

complete first-screen offering. These operators are

STB’s will need to be adapted for the HEVC/H.265

few real innovations. In the last two to three years,

looking for an upgrade from a legacy system to a

streaming format for highly efficient video

this has changed dramatically. Now operators

modern interactive TV solution.

decoding (a new standard which reduces the

need to think about how their product offerings

required bandwidth by 40 per cent).

and TV services will continuously evolve over the

There are also IPTV operators who need to

Ultimately, the end user wants a feature-rich

next five years and decide on a solution which is

solutions to a modern solution with interactive TV

product that offers a range of services and just

not closed, but allows them to follow technology

features, a modern UI for a top user experience

one set-top box in the living room, and this is

innovations, without having to reinvent a solution

and a rich feature set, including HbbTV, nPVR,

what we have to provide, no matter where the

over and over again.

nTimeshift, VoD, third-party services such as

customer is.

switch from first or second- generation IPTV

The software solution is key to this strategy, and platforms need to be flexible enough

YouTube and Smart TV applications).


to accommodate varying global operator

operators, for example – who are looking to enrich

The days of hardware-centric set-top box

demands. Momentum is shifting from project-

their service offering with a TV proposition. These

solutions are long gone. What’s required now is a

based proprietary software to a cross-platform

are looking for innovative solutions, even fully

sophisticated software concept which can deliver

software concept. This can be helpful to operators

hosted and managed.

operator-grade products with a Linux operating

in replacing existing first or second-generation

system for a fully controlled environment, and also

IPTV solutions, or by helping a customer to


operator-grade Android for certain markets and

provide compelling solutions in mixed network

From a technology perspective, it seems clear

market segments where Android is of relevance.

environments (cable, DSL, fibre) with a unified user

that the growth in bandwidth will drive high quality

It is still a challenge to deliver all new technologies

experience and product approach.

And there are the new OTT players – mobile

i - viii TVBE Abox Supplement Apr17_v1.indd 30

24/03/2017 13:01

TVBEurope iii

April 2017

Supplement ‘Companies already need to be thinking about upcoming hardware and solutions that will allow them to deliver more innovative and feature-rich products, and their outlook needs to be global and adaptable’ could roll out a customised IPTV service within a quarter, with the essential ingredients operated by the set-top box company and its partner. There’s no hardware investment for the IPTV solution itself, no maintenance and no major development needed from the operator side. The only thing required of the customer is to roll out the set-top box hardware and do the marketing for the service and the billing. Whether it’s telcos, new entrants such as FTTH operators, DVB-C customers who want to upgrade their networks to more interactive features or pure OTT customers who do not own the networks and want to start a TV proposition on top of an existing infrastructure, the transport infrastructure is ultimately not important. Customers have the ability to offer the same TV packages independent of the network infrastructure that they use.

Emerging opportunities Developing markets bring a host of new opportunities. Though there are challenges of infrastructure in some cases, many new markets aren’t encumbered by legacy systems and Set-top box companies can no longer be hardware providers; they need to be total set-top box solutions companies, which encompasses hardware, software and services. New partnerships are key as well, allowing sharing of skills and services, eliminating the burden of a single company trying to do everything itself. A combination of hardware platforms, software and solutions will offer extra flexibility and ultimately a

broadcast chains. There is the potential for huge

‘Set-top box companies can no longer be hardware providers; they need to be total set-top box solutions companies, which encompasses hardware, software and services’

comprehensive set-top box solution to customers.

growth in Asia, Africa and South America. There are a couple of countries in Africa that are especially of interest and there are an increasing number of requests for both Hybrid and IPTV solutions. There is an upcoming programme in three African countries where a mobile provider is aiming to provide TV services over mobile networks with an LTE/4G router providing Wi-Fi in the end users’ homes, since broadband internet with landlines is not

Fast and flexible deployment

widely deployed.

This new cross-platform approach allows for fast

DRM, playout to set-top boxes. It ended up

and flexible deployment via IPTV and can open

being a complex project with twelve months’

customers around the world means not just an

up new opportunities for customers. It becomes

development time or more, and a lot of cost

improvement in business. It also sets the stage

simpler to augment services or quickly add types

and frustration.

for an incredible new flexibility in how TV is

of services for existing customers. In the past when most operators moved

With a more flexible software-based system

Our ability to provide new services to

distributed and watched. New types of channels

and intelligent partnerships with existing platforms,

will begin popping up, which could never exist

into IPTV, there were normally a few different

a kind of ‘one-stop-shop’ for operators can be

in the old model, with regionalised or specialty

stakeholders involved: providers for the

provided, which eliminates those complicated

content finding audiences who have yet to

middleware, the head-end system, transcoding,

moving parts in the delivery chain. The customer

be properly served. n

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24/03/2017 13:01

iv TVBEurope April 2017


In association with

Smart solutions for the smart home Solutions showcase: ABOX42’s all-in-one smart set-top box solutions for IPTV, OTT, Hybrid-DVB, and smart home solutions


BOX42 has been active in the operator

Smart home solution

detection, smoke-, fire-, gas-sensors, water leak

and service provider segment for more

The ABOX42 dotIO smart home products and

detectors, motion sensors and smart power

than eight years, providing modern and

services are the logical next step for ABOX42,

plugs are already available. There is also

advanced set-top box solutions with a wide

extending the capabilities of the ABOX42

interactivity with sensors such as cameras with

range of hardware products, a comprehensive

set-top box product lines for new smart home

optional intercom functionality (microphone

software stack and a total lifecycle

business models.

and speaker) via Wi-Fi.

management solution for both hardware and

Our expertise in hardware engineering,

software. In 2016, ABOX42 entere¬¬d the smart

software development, total lifecycle

home/smart living product segment, providing a

management, and service delivery are a solid

ABOX42 dotIO Lifecycle Management for the Gateway

complete white label solution for operators.

foundation for the delivery of total solutions in the

Operators can ensure that their products

smart home sector.

in the field are healthy and up-to-date by

In the last 12 months, we’ve seen a lot of changes and new market dynamics. It is great

ABOX42 dotIO provides all essential hardware,

using Abox42‘s reliable Lifecycle Management Solution.

to see that ABOX42’s set-top box platform

cloud and mobile components to offer

approach is adopted by more and more

compelling smart home services to the end users.

operators who are looking for a modern,

Operators can quickly roll out innovative services

ABOX42 dotIO BigData

future-proof, managed and feature-rich set-top

as an extension of their existing service offerings

A range of IoT back-end services in the

box platform. From a product perspective, we

and multi-service bundles. This new service allows

cloud enable communication with the

successfully introduced our new advanced IPTV

any operator to generate additional revenue

ABOX42 H38 Smart Home Gateway in order

and Hybrid UHD line M50 as well as our new IPTV

streams within the customer base, acquire new

to collect sensor data and user activity from

and Hybrid HD line Z38 with best in class price-

subscribers and reduce churn. All ABOX42 dotIO

ABOX42 dotIO mobile applications. ABOX42

performance ratio.

services and components are fully integrated

dotIO Cockpit acts as the data storage

and can be easily deployed without project

back-end by aggregating and securely storing

Set-top box solutions

risk, all within a short timeline as another turnkey

this information flood.

The TV market was once a straightforward

solution. Components of the solution include:

landscape, but the recent growth of new internet technologies has seen the internet and TV rapidly converging. ABOX42 recognises that this convergence is

ABOX42 dotIO Smart Home Gateway

ABOX42 dotIO real-time Cockpit The dotIO is the state-of-art cloud front-end to the ABOX42 dotIO BigData cloud. The Cockpit

The ABOX42 H38 Smart Home Gateway is the

offers full transparency of the system status, all

opening up many opportunities for established

Central Device of the Solution and processes all

Gateway and sensor data for customer care and

operators as well as for new market players. In

Information that is provided by the connected

provides a real-time of the SLA of the end-to-end

the IPTV segment, there is a large demand for

devices (Sensors). With a powerful core ARM

system for operators’ product management.

upgrading from existing solutions to modern,

processor with 1GB RAM, the ABOX42, this

latest generation IPTV solutions, which require

new platform interacts with all the latest

set-top box platforms with the latest technologies

communication standards connects with various

ABOX42 dotIO mobile applications

and the most advanced features.

sensors in the household for a complete new

The Smart Home solution is designed as a

set of services. H38 supports Thread, RF4CE,

service for end users, operated simply with

technologies, ABOX42 has established itself as a

Bluetooth 4.0/BLE, Wi-Fi extensions and the

a fingertip via mobile devices. The end user

leading player of next generation IPTV, OTT and

latest ZigBee 3.0 standard.

gets to use the ABOX42 dotIO Smart Home

In this changing world of TV and new Internet

Hybrid-DVB set-top box solutions, which include:

Service via mobile apps for iPhone and Android smartphones which allows the user

• Set-top box devices

ABOX42 dotIO Smart Home Sensors

• Software stack/SDK

The data gathered by the ABOX42 H38 Smart

installation and configuration. With a strong

• Total lifecycle management

Home Gateway platform is delivered by different

background in user interfaces and behaviour,

• Services

sensors which provide data for essential Smart

ABOX42 provides a hands-on experience for

• Solutions

Home services. Sensors for door/window open

maximum customer satisfaction. n

i - viii TVBE Abox Supplement Apr17_v1.indd 32

to interact and entirely manage his service

24/03/2017 13:01

ABOX42 dotIO Operator Smart Home Solution

New Business Opportunities for Service Providers with ABOX42’s Operator Smart Home Solution new tvbe template remade.indd 1 TVB-Europe-SideApp-226x296.indd 1

24/03/2017 14:08 24.03.17 14:26

vi TVBEurope April 2017


In association with

Executive perspective TVBEurope speaks to ABOX42 CEO, Matthias Greve, about the challenges common to media companies seeking to integrate multiscreen OTT services as part of their offering How do you reflect on 2016 as a period for the

the set-top box industry also has to change to

traditional broadcast media industry? Was it a

a modern platform approach, to allow itself to

period of growth, challenge, stagnation?

deliver a diverse product with multiple services.

2016 showed that the change in the TV industry is continuing and accelerating. What we see

Are operators more educated about OTT/IPTV

is a clear shift to IPTV and multiscreen services.

service offerings, or is there still an education

Non-linear watching of TV content is exceeding

process to go through? Do they understand

live TV viewing as soon as the rights for nPVR and

what they need, and the benefits?

catch-up TV are available. Furthermore, OTT

It depends on the region and market. For

services are getting more and more popular,

example, in mature markets where TV/pay-TV

so people are no longer satisfied with live TV,

has played an important role for decades,

but increasingly are looking for OTT content

operators are quite experienced. Nevertheless,

(TVoD and SVoD).

it is quite hard for them to move from a legacy solution to a modern TV proposition. Competition

What are the most commonly asked

from multinational telcos forced national and

questions from operators when discussing the

regional operators to think about differentiation

migration of their services to a multiscreen/

and changes, but it often takes quite some

hybrid TV model?

time until decisions are made, since these often

We see two main directions:

mean a technology change. In emerging

A) Operators who traditionally are on cable or

markets, the knowledge about modern OTT/IPTV

”We believe that in a few years, people will focus even more on ‘content of interest’; independent from the source, time, and place”

terrestrial have to introduce interactive feature

solutions is not always very high. For operators,

(hybrid and multiscreen) to stay competitive

this bares the risk that if they are not well guided

with modern IPTV services. It is obvious that a

by potential suppliers, they are not fully aware

pure live TV proposition without interactivity and

of what they require, and what they need to

on-demand services are not working any longer

be careful about. We try to aid this process

to keep customers satisfied. Multiscreen comes

by informing the operator how a modern TV

along with the new viewing behaviour, where

solution should look, and what the essential

security solution (CAS/DRM, software-based

users do not want to be limited in what, when

ingredients are.

versus card-based, upgrade possibilities). When

and where to watch.

it comes to operators looking for UHD content What are the key challenges in this

and services, it can still be a challenge to get

IPTV solution need to upgrade to a modern and

space that are adding to the complexity

clarity regarding the security requirements that

more advanced solution, allowing the operator

of multi-service propositions, particularly

need to be followed, and if their target solution is

to introduce new services like catch-up TV,

during the transition phase?

future proof. Since UHD content is still very rarely

nPVR, nTimeshift, restart TV, VoD and famous OTT

In many cases, the transition from traditional

available, there is not yet a very clear picture,

services like YouTube and Netflix. We hardly see

DVB (where CAS was mainly card-based and

but on the other hand, operators are looking for

any new project where these new features and

security was hard to maintain and upgrade) to

a future proof set-top box platform and security

services are not required. As a consequence,

IP (IPTV) means a re-evaluation of the content

solution, which can work for them long term.

B) IPTV operators who are running a legacy

i - viii TVBE Abox Supplement Apr17_v1.indd 34

24/03/2017 13:01

TVBEurope vii

April 2017

Supplement operators that we hear more and more is to “keep the customer on HDMI 1” – this means it is a threat if customers use OTT services and get dragged away from the operator TV solution. As a consequence, the operator has to offer a feature-rich solution providing access to live and non-live broadcaster services, as well as third-party OTT services. As a company providing smart home solutions, what are your thoughts on how connected world technology will impact the broadcast space? On a consumer level, it’s far easier to estimate, but will there be a material effect on how broadcasters and content providers approach their business propositions? From a user perspective, it’s pretty clear what will happen; end users are open to new services that offer real value to them. Smart home services are a new field, but are obviously gaining more and more interest. It is not about complex products and geeks, but about clear benefits for end users, which they are willing to pay for. From an operator and broadcaster point of view, it is important to look at these new services, since they can help to increase customer loyalty, reduce churn and offer additional revenue possibilities. From our perspective, Smart Home services are very complementary to TV and broadcast services aiming to get a bigger footprint in the end user’s home. Finally, the wider media and entertainment industries are in the grip of real change and advance: what do you believe will be From ABOX42’s perspective, how much

rich, evolving software stack – which is cross-

the biggest talking points between now

of your innovation and R&D processes

platform compatible – offering all main features

and the year 2020? And secondary to that,

are informed by the demands of

consistently throughout its range of products

how different will our industries look in five to

customers, and how hard is it to keep

and generations. Together with ABOX42’s total

ten years’ time?

yourselves at the pioneering edge of

lifecycle management solution, operators are

If you look back ten years from now, TV was

technological advancement?

provided with a solid foundation for a future

quite simple and purely linear. The change has

For more than eight years, ABOX42 has been

proof, secure and upgradable TV service.

happened so fast that no operator nowadays

a pioneer and front-runner in the industry,

can ignore the need for multiscreen and non-

developing and introducing new technologies

From the customer’s perspective, the move

linear services. We believe that in a few years,

and solutions. It is in our DNA to keep innovating,

to (or addition of) OTT/IPTV solutions is fast

people will focus even more on ‘content of

and we believe there are still many changes

becoming a critical business strategy, but

interest’; independent from the source, time,

ahead in this fast-moving TV market. If we look

how and where will operators see the ROI?

and place. The more content is made available,

at TV solutions five years ago and compare

There is no other way than to follow the market

the more important content discovery and

them to what is required today, it is very obvious

trends. It is obvious that the way to consume

accessibility functionalities become. The TV

that this industry has changed a lot, and still will

content has changed a lot, and there are

world will not be the same in 2020, and viewing

change a lot in coming years. Right from the

many new players entering the content/service

behaviour will continue changing towards

start, we focused on a platforms and products,

business. Customers want to enjoy these new

completely personal content consumption.

instead of a project approach. This means

services, so as an operator, you can decide

Nevertheless, there will still be iconic events

ABOX42 is driving the development roadmap of

either to accept this and follow the customers’

(for example, in sports), which people will

its products and has achieved a very feature-

requests, or try to stay out. One request from

continue to watch live. n

i - viii TVBE Abox Supplement Apr17_v1.indd 35

24/03/2017 13:01


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Set-Top-Box products and compelling solutions, suitable for any operator, city carrier or ISP project requiring a modern, future proof and high quality solution from a mature supplier.

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Complete Product approach incl. Hardware, Software, Licenses, Certifications & Services

24/03/2017 24.03.17 10:21 14:13


April 2017




We’re also bringing on a number of technical experts for supporting sales and for R&D. We’re increasing the team there quite a bit. What are you hearing from customers right now? What do they want most? One thing I hear a lot is reliability. If you have the product it should work and it should work every time and it should be consistent. And speech recognisability through the microphone, especially in broadcasting, is very important. I heard a fantastic story from a West End theatre in London about their switch to DPA microphones. There were two things: before they switched, when they wanted to hear whether the microphone connection was working with one of the artists, they just turned up the mixer and they could hear the hum. When they switched to DPA microphone, at first they thought there was a failure in the connection, because there was no noise whatsoever.

“Over the next two years, we expect to double our expenditure on R&D”

The other part was that with the microphones they had used before, if they had one artist wired up with a microphone, they could work fine with the mixer and making adjustments, but if the microphone went sour and they had to replace it, they would have to recalibrate. But with DPA, every microphone sounds the same. That’s something we put a lot of effort into, and it’s one reason our cost may be slightly higher than our competitors. We do immense testing, and we scrap a lot of our capsules because they have to be exactly inside the specs and those specs are very tight. Are there any plans for changes or expansion at the DPA factory in Asnæs, Denmark? We have scaled up quite a bit, so we have had to streamline the manufacturing and rearrange things inside the buildings. But we have not yet moved outside Asnæs. So how does it look for the future? There will be some significant products coming out over the next year, and products of a slightly wider variety, things that go beyond the typical analogue connections for our microphones. And, of course, we’ll continue a full focus on the segments we’re already in today and we’ll be loyal to our traditional brand promise of very high quality, very high reliability, and very high sound quality. n

46 47 TVBE Apr17 DPA CEO Audio_v2 JGJMcK_final.indd 55

20/03/2017 16:27

Wednesday 7th June 2017 I Millennium Mayfair Hotel, London


The TVBAwards are back!

S E I R T EN ! N E P Onter) e NOW ree to


This year’s ceremony takes place at the Millennium Mayfair Hotel, London on Wednesday 7th June 2017 as part of MediaTech 360. Do you know any individuals or companies pushing the boundaries in the production, management, and delivery of today’s media content? Enter them for a TVBAward 2017!


ne: eadli d s e i 017 Entr pril 2 A h t 6

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April 2017


Data Centre

What’s the future for mobile video consumption? By Jean-Marc Racine, senior vice president, Cartesian

What are the top three barriers to watching on-demand TV shows and movies on a smartphone when on the move? Audio or video experience


Availability of content

e partnered with Mobile World Live to survey players across the ecosystem to

Battery life

better understand mobile video trends

and determine the priorities for the various players involved. While nobody would dispute the claim

Device storage limits Preference for watching video as a family/group

that mobile video has the potential to grow,

Mobile data charges

the study makes it clear that the path is fraught with obstacles, including handset limitations, infrastructure challenges and costs.

Network performance Uncomfortable to hold for a long time 0

There is clearly an appetite for increasing the role that smart phones play in consuming video,








Source: ‘The future of Mobile Video’, Cartesian and Mobile World Live

both inside and outside the home. Across the

lead and also launch services with zero-rated

professionals cited battery life ahead of mobile

entire ecosystem, players are looking to operators

video streaming. Beware – this whole space

data charges and network performance. When

to take the lead in growing this opportunity, with

has a big caution sign hanging over it, due to

it comes to watching linear broadcast TV, 71 per

61 per cent of survey respondents claiming that

net neutrality regulation and the end of EU

cent say data charges are the biggest barrier, just

operators are best placed to drive development

roaming charges.

ahead of battery life and network performance.

over the next five years – far ahead of video

With regards to the actual content viewed on

The key factors that will drive video consumption

service providers (24 per cent) and mobile device

mobile devices, 41 per cent of our respondents

outside the home were found to be improved

manufacturers (seven per cent).

believe that on-demand TV shows and films,

mobile infrastructure, 5G and cheaper data plans

offered by the likes of Netflix and Amazon, will

including zero-rated video.

Looking across the pond at developments in the US market, operators have invested

see the most growth in mobile audiences over

extensively in video convergence through

the next five years.

acquisition – for example, AT&T purchased DirecTV in 2015 and Verizon bought AOL in the same year – which shows that while convergence did not deliver in its first attempt in the year 2000, it may well be on the horizon again.

Across all countries, 82 per cent of respondents agree that content viewed on smart phones in the home will increase over the next five years.

‘The path to mobile video is fraught with obstacles, including handset limitations, infrastructure challenges and costs’

The reinvigorated LTE-Broadcast standard

However, opinions differ in ranking devices used to watch video. As expected, the majority of respondents in developed countries cited TV as the number one device for video in the home, with other devices well behind. However,

will also play an important role in driving mobile

respondents in developing countries viewed the

video over the next five years, according to over

At Mobile Word Congress 2017, Netflix CEO Reed

market differently – smartphones were ranked as

a quarter of respondents, who view it as more

Hastings stated that the firm is well prepared

the number one device in the home for watching

important than faster speeds and availability.

for this surge, due to its ongoing investment in

video followed closely by TV.

Since LTE-Broadcast is best suited for live and

the latest codex technology, as well as its video

linear broadcast, viewers will likely require large

distribution platform, which will deliver optimum

top three barriers to watching video on mobile,

data allowances.

video quality even at times of low internet

63 per cent of respondents highlighted the audio

connection speed. Linear broadcast content, by

and video experience on phones. Surprisingly,

content (where video consumption is excluded

contrast, is considered least likely to undergo the

given the availability of Wi-Fi in the home, nearly

from the monthly data allowance) is widely

most growth in mobile viewership.

a third of respondents place mobile data charges

Consequently, zero-rating of data charges for

believed to be a critical service development

While video accounts for the largest share

For in-home viewing, when asked about the

in the top three. Battery life is also a challenge,

that will drive mobile video, winning 47 per cent

of traffic on today’s mobile and Wi-Fi networks,

but only a smaller number say storage limits are a

of our research respondents’ votes. These services

the survey unearthed several obstacles to more

barrier, reflecting the trend towards streaming.

are being closely monitored given the popularity

widespread use of phones for watching video

of T-Mobile’s Binge On service in the US. It is

content. When asked about the top three barriers

bright future for mobile video, but one that will

possible that European operators will follow their

to consuming video on the move, industry

require ongoing effort to secure. n

49 TVBE Apr17 Cartesian Data Centre_v2 JGJMcK_final.indd 46

The findings of the study point to a potentially

20/03/2017 16:30


TVBEurope April 2017

Data Centre

The state of SVoD By Jim O’Neill, principal analyst and strategic media consultant, Ooyala

As the SVoD market grows and matures, so do

And make it easy to unsubscribe. Do this without

customer expectations. Customers expect an

bombarding them with multiple screens asking

experience that offers more than the traditional

for their details.

lean-back TV experience. Personalisation, easy

Users expect a range of features and

discovery, the ability to navigate on a TV via a

functionalities from online video, so putting

ot long ago, online videos were limited

single source without having to change inputs,

them front and centre at all times is crucial

to 480p windows on computers,

and access to a huge amount of premium

for the success.

and content was largely short clips

content on multiple devices are the least


of dancing dogs, or cats on skateboards. Videos that collected several thousand views

that is expected.

Defending an old business model

Ironically, to keep up with the high demand

SVoD services launched by TV platforms or

were considered successful, yet they were

and new trends, traditional TV is now adopting

broadcasters can struggle, due to the fact

not monetised and had a shelf life of mere

the very technology it is being replaced by.

that they often are beholden to old business

weeks. Even when streaming premium content

More of today’s TV viewers can watch on-

became more common practice in households,

demand content on multiple devices when

it was still seen as complementary to traditional

and where they want to, and even catch their

pay-TV services.

favourite shows offline on mobile devices.

Today, consumers are embracing premium, long-form online video - especially via

For new providers in the market, we suggest avoiding the following common mistakes:

‘By keeping the wishes of the customer in mind, many common SVoD pitfalls can be avoided’

subscription video-on-demand (SVoD) services - as their new source of video entertainment. However, despite a couple of global players

‘As the SVoD market grows and matures, so do customer expectations’

Unrealistic expectation of rapid subscriber growth New SVoD providers often enter the market

models, technologies and processes that never

with unrealistic expectations of rapid subscriber

truly allow the new service to evolve. Avoid

growth. What they don’t realise is how long it

getting stuck in this net by embracing the

takes to build a loyal, engaged and sizeable

economics of SVoD and taking advantage of

audience. Avoid setting unrealistic expectations

new technologies.

by having achievable goals instead and define currently owning most subscribers, more content

as looking at metrics like engagement and

Reluctance to experiment and pivot

providers are making their assets available

subscriber satisfaction instead of subscriber

New devices demand new business models

online, and the SVoD sector is seeing dramatic

and revenue growth in the early stages of

that may have different economics and

audience growth, aside from that shown by

your service.

measures of success. SVoD services need to

success beyond subscriber numbers – such

keep in mind that they are dealing with the

major players such as Netflix and Amazon Prime.

Trying to be like Netflix

digital distribution of content to new mobile

50 per cent growth in revenues by 2026 due to

Once local and targeted SVoD services reach

devices, and they are very different than

growing calls for high-quality VoD. In emerging

a stage where subscriber numbers become

traditional TVs. To avoid this mistake, conduct

markets, the rate of adoption is expected to be

significant, they sometimes attempt to emulate

tests, monitor data and experiment with every

even greater. In Asia-Pacific, for example, the

dominant players by building a large, non-

aspect possible of your SVoD service, and go

number of SVoD subscribers grew by 34 million in

differentiated content library with no specific

with what works.

2016; Digital TV Research expects this number to

target audience. For most viewers, it’s a strategy

double in the next five years. In Latin America,

that doesn’t connect; they have Netflix, they

success of SVoD services by considering what

subscriber growth between 2015 and 2021 is

don’t require a clone company. SVoD services

made pay-TV services prosper. They offered

The industry is expecting to see more than a

forecast to be at least 160 per cent. While many new subscribers will initially sign with established services, an increasing

xxxxx should identify the specific niche they want to xxxxx

Perhaps it’s good to think about the

audiences unique, differentiated content and a

grow in and size their audience on national,

technologically superior experience. They didn’t

regional and global levels.

rely on existing business rules, and they placed a lot of emphasis on the customer experience. This

number will look to a wider range of offerings. For example, while Netflix had increased its

Annoying your customers

approach is still relevant today and can prove

subscribers by 327 per cent by the end of 2016,

Consumers value the ability to add and drop

successful for new SVoD services. By keeping the

Digital TV Research reported a growth of 1,187

services at ease. Make it as easy as possible for

wishes of the customer in mind, many common

per cent of subscribers to other services.

them to register, pay, and consume content.

SVoD pitfalls can be avoided. n

50 TVBE Apr17 Ooyala Data Centre_v2 JG_final.indd 46

20/03/2017 16:35

YOUR ROADMAP FOR THE GLOBAL MEDIA ECOSYSTEM Africa ■ Asia-Pacific ■ Europe ■ Middle East ■ The Americas ■ January 2017

China goes 4K September 2016

case studies ■ user reviews ■ analysis ■ thought leadership ■

Will eSPORTS save TV? Jan/Feb 2017

magazine ■ newsletter ■ digital content ■ events ■

Buyers Guide: News on the AIMS in Japan Apps for audio Front Lines 01 TVTG FC_v2.indd 1 @tvtechglobal


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12/01/2017 12:14

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OTT & streaming

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Big Screen focus 10/02/2017 15:55

For more information contact: Neal Romanek

Pete McCarthy

Richard Carr

Editor Tel: +44 (0) 207 354 6002 Email:

Sales Manager Tel: +44 (0) 207 354 6025 Email:

Senior Account Manager Tel: +44 (0) 207 354 6027 Email:

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