www.tvbeurope.com
Business, insight and intelligence for the broadcast media industry
January 2015
Mobile TV The growth in video streaming and LTE Broadcast
Robotics forum Virtualised playout Designing for augmented reality Imagine where you could take your business... if technology didn’t stand in your way. An all-new blueprint for managing, moving and monetizing video content is here. an evolutionary path that aligns current investments with the network of the future.
Find out more. imaginecommunications.com Š 2014 Imagine Communications
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January 2015 www.tvbeurope.com
EDITORIAL Executive Editor - James McKeown jmckeown@nbmedia.com Editor - Melanie Dayasena-Lowe mdayasena-lowe@nbmedia.com Staff Writer - Holly Ashford hashford@nbmedia.com NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002 Contributors Mike Clark, Chris Forrester, David Fox, Mark Hill, Dick Hobbs, John Ive, George Jarrett, Heather McLean, Adrian Pennington, Philip Stevens, Reinhard E Wagner Head of Digital - Tim Frost Human Resources & Office Manager - Lianne Davey Head of Design - Jat Garcha Editorial Production Manager - Dawn Boultwood Senior Production Executive - Alistair Taylor Publisher - Steve Connolly sconnolly@nbmedia.com +44 207 354 6000 Sales Manager - Ben Ewles bewles@nbmedia.com +44 207 354 6000 Account Manager - Richard Carr rcarr@nbmedia.com +44 207 354 6000 Managing Director - Mark Burton US Sales - Michael Mitchell Broadcast Media International, PO Box 44, Greenlawn, New York, NY 11740 mjmitchell@broadcast-media.tv +1 (631) 673 0072 Japan and Korea Sales - Sho Harihara Sales & Project, Yukari Media Incorporated sho@yukarimedia.com +81 6 4790 2222 Fax: +81 6 4793 0800 Circulation NewBay Media, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF, UK Free subscriptions tvbe.subscriptions@c-cms.com Subscriptions Tel +44 1580 883848
Welcome
Broadcast on the move The latest from the world of mobile TV, virtual reality, and robotics obile TV; virtual reality; robotics: if it all
M
sounds a bit turn-of-the-century science fiction (probably starring Tom Cruise
and Will Smith), then it’s probably because even as recently as ten years ago, much of what we now take for granted from our mobile devices was still the stuff of theory, innovation labs, and tomorrow’s world. No more is this the case. Much of today’s research will point to the continuing relevance of the TV set as part of the every day consumption of content, and while the age of linear TV as a social event on the family calendar has been almost entirely filtered down to live events and sport (the forthcoming UK general election, and last year’s FIFA World Cup being prime examples), the pervasiveness of smart TVs and the increasing use of games consoles as a secondary, if not primary set top box, has helped to preserve the TV set as the predominant focal point of consumption. The continuing mobilisation of this point of
the increasing importance of LTE Broadcast in
consumption gives us some food for thought:
our feature article. We will also be monitoring
how will generations far beyond our current
this space at regular intervals in our new
field of vision be consuming the content being
TVBEverywhere section, which launches this issue.
TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London, N1 8LN, England
delivered to them? What will be the delivery
NewBay Media is a member of the Periodical Publishers Association
delivery channels erode as consumers are able
TVBEurope are looking forward to bringing you
to piece together their own viewing schedules?
the best coverage of our evolving sector
This could be deemed the science fiction of our
over the coming year.
channels? Indeed, will the requirement for
It just leaves me to wish you all a fine and prosperous start to 2015, and all of us here at
I sincerely hope you enjoy this issue, and as
© NewBay Media 2014. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualified persons residing on the European continent. Subscription is free.
present, but the insights we are able to glean from the current mobile TV environment offer a
ever, if you have any feedback or suggestions,
Allow 8 weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
glimpse of how that future could be shaped.
please feel free to contact me directly.
Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA
peering into the growth in video streaming and
We tackle the mobile landscape in this edition,
James McKeown Executive Editor
4 TVBEurope
www.tvbeurope.com January 2015
In this issue
35 Mobile TV Heather McLean looks at the growth in video streaming and the importance of LTE Broadcast for mobile TV
Feature
38
Melanie Dayasena-Lowe talks to QuickPlay Media’s Mark Hyland on the latest innovations in mobile video content, monetisation opportunities and trends in mobile content
14
12-17 TVBEverywhere
Miles Weaver, Piksel’s innovation programme strategist, takes a look back at the predictions he made for 2014, gives his verdict on their accuracy, and recaps on the industry’s important developments
6-10 Opinion & Analysis
42 Robotics Forum
Sue Thexton, senior vice president of Brightcove in EMEA, assesses the landscape for women in broadcast, and asks why there remains an imbalance in the ratio of males and females across the sector
Robotic systems have been around for some time, but the technology is ever improving as demands increase from broadcasters. Philip Stevens moderates this month’s discussion
Presenting parliamentary proceedings To commemorate 25 years of broadcasting the UK parliament, Philip Stevens traces the history and reviews the challenges
21
38 Feature
50 Data Centre
The question taxing the minds of broadcast CTOs is whether virtualised playout is as secure, as highly available, and as cost effective right now as existing hardware-based provision. Adrian Pennington reports
Abigail Cruz of SNL Kagan puts the spotlight on Poland’s burgeoning OTT market where domestic broadcasters have started leveraging online catch-up TV services to increase and diversify viewership
6 TVBEurope
www.tvbeurope.com January 2015
Opinion and Analysis
Balanced broadcasting Why aren’t we there yet? The equality of women in our industry is an issue I’ve been passionate about for most of my career. While, very fortunately, I have never experienced any gender discrimination – and have been given the chance of a rewarding career full of opportunity – the reality is, not all of us have. By Sue Thexton, senior vice president of Brightcove in EMEA.
computer science as a subject that is more accessible to all.It’s important for the growth of our country In fact, a recent report by O2 estimated that 745,000 additional digital workers are required by 2017 to power the UK economy. The only way to make this work is to get more women involved, and it has to start early in the
L
ooking at the bigger picture, according
Percentage of female board members in FTSE100 companies
to statistics provided by the United Nations, the male/female ratio in the UK is edged
by women. Similarly, female graduates from the
pipeline. Even as parents, we have a responsibility to take action and not think in gender-specific ways, in order to ensure a balanced and productive future workforce and industry.
19%
Leading the change
outnumber their male counterparts; yet women
At Brightcove, we believe that if you’re not
remain starkly under-represented in the business
satisfied with the current situation, it’s important
world. Think that’s an over-statement? Think again.
to take action. As the age-old adage goes:
Source: Interbrand
majority of universities throughout the country
Worrying statistics In 2013, Interbrand released its annual list of most valuable brands and found that the average percentage of female board members in FTSE100 companies was an underwhelming 19 per cent. Looking for a silver lining, the same study concluded that the figure rose to a cheery 22.7 per cent when
Percentage of females in senior management roles
considering the top seven FTSE100 brands. Unsurprisingly, but no less alarming, a recent Grant Thornton International Business Report
if you’re not moving forward, you’re moving backward – and that’s something we just can’t settle for when it comes to gender equality. That’s why we’ve created the Brightcove Women’s Initiative Program, which is designed to support the community of women at Brightcove by providing a way for its members to ask questions, get advice, share new experiences, broaden their skills and stay connected. We do this via attendance at relevant industry
24% Source: Grant Thornton International Buusiness Report
drew similar conclusions, noting that within the
conferences and through speaker opportunities
companies researched, of those working at senior management level, only 24 per cent were women. Worse still, experts have revealed that these statistics are unlikely to change until 2075.
Broadening the technical broadcast board Unfortunately, the broadcast industry doesn’t
and lunches with key women in leadership both inside the company, as well as out. We’re a company that’s proud to be breaking the mould. In Europe, we’re at a 50:50 staff gender ratio and today the majority of our European board of directors are women. But we can’t change the industry alone. Long gone are the days when women in our industry were to be seen and not heard. Nowadays, we know that
exactly go against the trend. In fact, in spite
The recruitment of women to work in technical
women are as capable as men of everything from
of numerous initiatives to even the playing
roles has always been a challenge and it often
broadcasting to business; so why are we still letting
field, the male/female ratio of those working
stems back to lack of encouragement in the
the limited minds of the past define the brightness
in broadcasting has remained stagnant. And,
school system. However, it’s great to see that
of our future?
when we drill into the more technical side of our
the UK government is taking IT seriously – take
industry, things tend to get a whole lot worse.
the recent news that it is introducing coding
steps and actually implement some
In fact, during my recent visit to IBC in
to students as young as five, for example.
policies and activities that will change
Amsterdam, the ratio of women to men seemed to me to be alarmingly like 1:50.
I really do believe that the government needs to continue to do more to welcome
So, why don’t we all take a few more
the numbers around women in our fantastic industry.
8 TVBEurope
www.tvbeurope.com January 2015
Opinion and Analysis
Broadcast must meet IT for audio over IP Pieter Schillebeeckx, product director, TSL Products, outlines the considerations for broadcasters that are planning to make the move to audio over IP
to play, but the majority of the TV broadcasting infrastructure is based around video with accompanying audio. It has taken a long time but in HD/3G-SDI we
roadcasters face a host of challenges –
need to converge in the not too distant future.
finally have a method of keeping 16 channels
and opportunities – in the move to audio
When talking about moving over to an IP-
of audio ‘perfectly’ in sync with video all in one
over IP. They have identified the benefits
based broadcast infrastructure, one of the key
signal. Broadcasters won’t want to lose that in the
that audio over IP has to offer and are now
benefits put forward is the cost reduction that
switch to IP for the sake of a new shiny format.
looking at how best to exploit them. If we look
can be achieved over the current ‘proprietary’
This means that the radical shift to IP within the
at areas where organisations have been using
infrastructure. Although this is largely true, the cost
TV broadcast infrastructure – one where IP, not
audio over IP up to now, it has largely been to
savings only really start to become significant
SDI, forms the backbone – will only occur once
replace something like MADI – a single cable or
once the broadcast infrastructure shares the
both the audio and the video are carried over IP.
single point-to-point connection. While audio
same infrastructure as the business network used
Due to the large amount of bandwidth required
over IP is useful for these situations, it is only
for tasks such as email and web browsing.
for uncompressed video, the price of the IT
B
infrastructure required will need to fall further in
scratching the surface and doesn’t take into account the real capability of the technology –
What about the pictures?
and that is largely due to infrastructure issues.
As a manufacturer of equipment for TV
order for it to become a viable alternative.
broadcasting – an industry currently built around
Broadcast-specific tools
Broadcast must meet IT
HD/3G-SDI infrastructure – it would be wrong to
Despite audio over IP being entirely IT-based
Until now the business infrastructure and the
discuss audio over IP without at least considering
in nature we still require broadcast-specific
broadcast infrastructure have been very separate
audio/video over IP (or Ethernet). Clearly, there
hardware and software for it to form a complete
worlds. While they might not necessarily end up on
are some key elements of the workflow within TV
workflow. It is imperative to consider elegant
the same network in the short term, they will
broadcasting where audio over IP has a big role
audio monitoring solutions that are designed specifically to be part of the infrastructure. These are now starting to reach the market: earlier this year we launched our first AVB audio monitors, and we are planning to launch audio monitors to support audio over IP during 2015. Broadcasters also need to look at how to incorporate control of audio over IP networks into a wider broadcast control system. In the future, there may no longer be a traditional video or audio router to control but we will still require quick, easy ways of making virtual cross-points. Fault-finding in an IP world also requires a different approach with tools that understand the broadcast requirement, not just IT. These tools will also help to analyse the network at an IP level and find potential bottlenecks before they occur. The challenges of fully exploiting audio over IP are substantial, but there are also significant benefits to be had by sensibly combining IT with broadcast infrastructures. The next step is for manufacturers to offer the right tools that will ensure IP can become an integrated part of the broadcast workflow.
10 TVBEurope
www.tvbeurope.com January 2015
Opinion and Analysis
Scoring a live sports revolution By Michelle Munson, president, CEO and co-founder of Aspera
and produce from international locations. The broadcast workflow for each match involved capturing live video feeds from up to 24 cameras, which were in turn transferred in real time using high-performance Aspera WAN transport from the
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sports broadcast of 2014 z Germany’s win over Portugal reached 26.4 million on ARD in Germany, the largest 2014 TV sports audience recorded z The match between the USA and Ghana
ive sports events are the showcase for much
stadia to the Amazon S3 storage facility in Dublin.
was watched by 11.1 million on ESPN in the
of the broadcast production innovation we
Feeds were immediately processed into multiple
USA, setting a new record for ESPN coverage
see today. The demand for high quality,
formats and bit rates through a scale-out cloud
of a men’s FIFA World Cup match z Over 50 per cent of the global audience
low latency video content delivered instantly
video platform, creating a range of online viewing
to viewers in the stadium and around the world
formats for delivery to regional broadcasters and
watched coverage online, at home or
is changing the whole broadcast model. Aside
streaming to online viewers around the world.
on-the-go
from the live coverage, to survive and prosper,
Using this platform, the first clips were available
broadcasters now have to deliver extra content
within approximately three minutes of an event
– including highlights packages, pre-edited
taking place, and at least three angles were
Moving content at the speed of light
segments, analysis and interviews – to TVs,
provided at that time allowing more assets to
During the tournament, a staggering 27TB of
computers and mobiles.
build up later.
video data were moved in just under 14 hours.
Viewers are clearly ecstatic by this new content anywhere, anytime world. But for broadcasters, distributing all of this live content to production centres across the globe in
‘The adoption of second screen devices allows viewers to multi-task’
A winning combination This new solution illustrates the very real benefits of a cloud-based content delivery
seconds has placed a huge burden on their
workflow for live event broadcasting. For
creaking networks. Data has never been so
broadcasters and content delivery networks, it gives them the opportunity to distribute and
large, complex and challenging to transport, store and manage effectively. So broadcasters
For audiences, this was a revelation. They could
monetise their live content more efficiently
are looking carefully at their infrastructures,
enjoy live and near-live coverage from any
than ever before. The cloud has proved an
assessing alternatives to allow them to
laptop or mobile device, and from multiple
effective method for transferring varying
outsource their infrastructure and not worry
camera angles. Rather than having to settle
levels of content and facilitating multimedia
about capital expenditure, management and
for one live feed from the central production
solutions for audiences worldwide. A universally
maintenance. Cloud-based infrastructures,
site, the architecture gave large and small
accessible cloud-based platform to manage,
with their built-in flexibility, scalability and
broadcasters (with rights to the televised
transport and distribute HD video content
cost benefits, are becoming attractive and
content) access to all live camera feeds from
provides improvements across workflows,
viable propositions.
the game – and not just one live stream from the
from transport and ingest all the way through
game’s central production site.
to electronic news gathering (ENG). Cloud
Delivering the first cloud-enabled World Cup
Record-breaking audiences
sophisticated IT infrastructures and costly
By far the most watched sporting event ever,
The tournament drew far more viewers than
hardware, especially in cases of short duration
the 2014 World Cup marked a milestone in
any other sports event in history: a staggering
events and periodic spikes in activity that
live event broadcasting. For the first time,
3.2 billion people tuned in, and over 900 million
can be difficult to predict.
breakthrough cloud-based IT technologies
watched the final. In addition, over 750,000
enabled broadcasters to record, distribute and
people were watching the game during
accessing and interacting with live sports
monetise this event worldwide, and offered
a typical minute online through services
content, wherever they are, whenever they
audiences a much better viewing experience.
provided by each network.
want. There is a huge demand amongst
The stats were mind-blowing:
consumers for an integrated experience,
z 42.9 million watched Brazil and Croatia on
bringing additional content and social
Traditional methods for distributing content simply couldn’t have handled the volume of
infrastructures also eliminate the need for
For viewers, it’s opened up new ways of
content. So broadcasters and technology
Brazilian channel TV Globo, the highest sports
engagement into the programming. It’s
vendors joined forces to develop a sophisticated
broadcast of 2014
important to remember that audiences are
cloud-based content delivery workflow. This was
z England and Italy’s opener attracted
no longer passive. The adoption of second
the first ever large-scale cloud-based system
14.2 million on BBC1 in the UK and 12.8 million
screen devices allows viewers to multi-task
for high resolution end-to-end live streaming to
on RAI 1, the highest TV audiences in both
and ultimately signifies a change in live sports
second screens. The flexibility was critical to the
countries in 2014
viewing which requires broadcasters and
nature of the broadcasts, especially as bursts
z 34.1 million watched Japan play Ivory Coast
of activity can be difficult to predict, transport
on NHK, twice the size of the next biggest
technology vendors to provide more engaging content than before.
12 TVBEurope
www.tvbeurope.com January 2015
TVBEverywhere
Content Everywhere round up Melanie Dayasena-Lowe rounds up the latest Content Everywhere news, including how piracy is being fuelled by the rise in OTT delivery, and the latest research from ITU’s annual Measuring the Information Society Report
Piracy has become a massive business in its own right, fuelled by the rise in OTT delivery
industry is offering a credible legal alternative,” said O’Connor. As the industry gears up for content delivery in 4K, UHD broadcasters are required to have a watermarking strategy of content protection, as already mandated by MovieLabs and the Hollywood majors for
port is the most valuable content that
S
the industry delivers, worth £16 billion ( 20 billion) this year, a £2 billion increase
on 2013. Coupled with the proliferation in connected devices and the exponential growth in broadband speeds, by any metric (data per second, tweets per minute, app downloads)
premium recorded content.
“If they can’t determine what is legal then the biggest issue we face as an industry is offering a credible legal alternative” Rory O’Connor, Irdeto
Over three billion people are now online Over three billion people are now online and information and communication technology (ICT) growth remains buoyant in just about every
the market for multiscreen sports is growing at a
country worldwide, according to ITU’s annual
phenomenal rate.
Measuring the Information Society Report.
Yet because of its profile as the world’s
The latest data shows that internet use
premium content, its use – or misuse – is also
continues to grow steadily, at 6.6 per cent
thrown into sharp relief. Piracy, for example,
tipping point where OTT becomes bigger
globally in 2014 (3.3 per cent in developed
has become a massive business in its own right,
than broadcast.
countries, 8.7 per cent in the developing world).
fuelled by the rise in OTT delivery.
“How do they find pirated content?”
The number of internet users in developing
At least 180 countries have bandwidth
asked O’Connor. “Through social media.
countries has doubled in five years (2009-2014),
speeds that allow them to view HD content,
We disabled Facebook pages in Australia
with two thirds of all people online now living in
including Greenland where piracy has been
promoting illegal sites to two million followers
the developing world.
detected in areas which are not served by
and another 199 streams of FIFA content
broadcast networks.
illegally streamed on YouTube.”
In North America, the Far East, and
However, consumers are confused. Many
Of the 4.3 billion people not yet using the internet, 90 per cent live in developing countries. In the world’s 42 Least Connected
Western Europe, the number of devices
cannot tell the difference between a website
Countries (LCCs), which are home to 2.5 billion
now exceeds the number of set top
offering legal streams and websites hosting
people, access to ICTs remains largely out of
boxes which, for Rory O’Connor, VP,
pirated content. “If they can’t determine what
reach, particularly for these countries’ large
services, Irdeto, means we’ve reached a
is legal then the biggest issue we face as an
rural populations. “ICTs have the potential to
TVBEurope 13
January 2015 www.tvbeurope.com
TVBEverywhere make the world a much better place – in
of Korea. The IDI top 30-ranking include
particular for those who are the poorest and
countries from Europe and high-income
the most disenfranchised, including women,
nations from other regions including
youth, and those with disabilities,” said ITU
Australia, Bahrain, Canada, Japan,
secretary-general Dr Hamadoun I. Touré.
Macao (China), New Zealand, Singapore
“This important report is a critical part of the
and the United States. Almost all
global ICT development process. Without
countries surveyed improved their IDI
measurement we cannot track progress,
ranking this year.
which is why ITU gathers ICT statistics for 200
In terms of regional comparisons,
economies across over 100 indicators.”
Europe’s average IDI value of 7.14 remains
In the mobile cellular segment, the report
well ahead of the next best-performing
estimates that by the end of 2014 there
region, the Commonwealth of Independent
will be seven billion mobile subscriptions,
States (CIS: 5.33), followed by the Americas
roughly corresponding to the total global
(4.86), Asia and the Pacific (4.57), the Arab
population. But it warns against concluding
States (4.55), and Africa at 2.31.
that everyone is connected; instead, many
By the end of this year, almost 44 per
users have multiple subscriptions, with
cent of households globally will have
global growth figures sometimes translating
internet access at home, up from 40 per
into little real improvement in the level of connectivity of those at the very bottom
cent last year and 30 per cent in 2010.
Internet use continues to grow steadily, at 6.6 per cent globally in 2014
of the pyramid. An estimated 450 million
In the developed world, 78 per cent of households now have home internet
people worldwide live in places which are still
a composite measurement that ranks 166
access, compared to 31 per cent in developing
out of reach of mobile cellular service. Denmark
countries according to their level of ICT access,
countries, and just five per cent in the 48 UN Least
ranked top in ITU’s ICT Development Index (IDI),
use and skills. It is followed by the Republic
Developed Countries.
14 TVBEurope
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TVBEverywhere
Peering back into the looking glass
A 2014 retrospective Earlier this year Miles Weaver, Piksel’s innovation programme strategist, penned his thoughts on what 2014 would hold for the future of TV. As we enter the early days of 2015, he takes a look back on those predictions and recaps on the industry’s important developments Prediction: Don’t expect this to be the year of 4K Verdict: Correct The expectations for the emergence of 4K as
‘There simply isn’t anywhere near enough dedicated content for the 4K format yet. That’s a major problem, because no one’s going to buy a 4K set if there isn’t anything to watch on it’
‘the next big thing’ fell resolutely flat. So flat that by the time of September’s IBC in Amsterdam, it was quite apparent that the buzz around 4K had become just another cutting-edge curiosity.
on recapturing the core gamer market, both
market (though I still think Beamly is on borrowed
My feeling is that there are two things that
machines are moving ever closer to achieving
time trying to compete as the TV’s social network),
contributed to 4K’s failure to break through into
the hallowed status they both desire.
and the smaller entities that were cluttering and
the mainstream: price and content. Even at sub-
confusing the market were snuffed out.
and the prospect of replacing your entire movie
Prediction: Second screen will finally find its footing Verdict: Wrong
Prediction: Netflix will decide net neutrality Verdict: Ongoing
collection in order to justify the purchase of such
It’s incredibly disappointing for me personally to
In January, when the DC Circuit overturned open
an expensive bit of kit isn’t one that people relish.
not see this prediction ring true. After a promising
internet rules, I wasn’t expecting the argument
Plus, there simply isn’t anywhere near enough
year in 2013, second screen seemed poised to
over net neutrality to still be running a year later,
dedicated content for the 4K format yet.
finally emerge as a mainstream television viewing
but the Federal Communications Committee
That’s a major problem, because no one’s
habit. Alas, the necessary standardisation and
(FCC) has been dragging its feet in sorting things
going to buy a 4K set if there isn’t anything to
stabilisation of a fragmented second screen
out. Shockingly, Netflix bowed to pressure from the
watch on it. And if no one’s buying 4K sets, then
market failed to materialise. There are simply too
major Telcos by paying its way to faster connection
there is no impetus to make 4K content. It’s a
many apps for too many content types, many of
speeds, but it is still leading the charge to get the
vicious circle that will remain a big issue for the
which deliver half-baked ideas and quick cash-
FCC to make clear rules protecting net neutrality.
format in the near future.
in attempts over meaningful interaction that
The fight is still ongoing, but with the amount
engages users.
of pressure coming from every major internet
$1,000, people simply aren’t spending that much on luxury goods like new TVs at the moment,
Prediction: Games consoles will get much closer to becoming set top boxes Verdict: Correct
organisation, and with a record number of replies during the FCC’s open comment period, it seems
When I made this prediction I was thinking
Prediction: Twitter will finally kill off other social TV apps Verdict: Correct
about Microsoft’s goals for Xbox One to
In the social TV realm of the second screen, there
want him to do, rather than his former employers (he
become the entertainment hub of the living
were some positive changes, and a prediction
was head lobbyist for the cable and Telco industry).
room. I wasn’t expecting Sony’s PlayStation
that was pleasingly accurate. After an extended
So that’s how my predictions panned out:
4 (PS4) to be factored so heavily into the
period of having simply too many social TV apps
3.5/5. Not too shabby I think. But there were
conversation, but its flawlessly executed strategy
for the second screen, Twitter (and Tumblr) finally
some other major developments that happened
to shift units to gamers before moving into the
got around to killing most of them off this year.
this past year that deserve mentioning as well.
general entertainment realm has seen that
Zeebox rebranded to Beamly in an attempt to
happen. While the apps themselves may still
shed its “male geeky” (their words) image and
Wearables became a thing
be trickling onto each system, both Xbox One
focus on growing its female user base, while
With 4K faltering and the mobile market looking
with its new TV tuner and PS4 with PlayStation
GetGlue changed to tvtag and Viggle refocused
surprisingly stable (the only major event of the year
TV are swiftly making moves to become the
itself to centre on marketing and rewards. These
was Apple’s iPhone 6/6 Plus unveiling), it fell to
go-to place for any kind of video content. While
were the relative successes, where the bigger ‘me
the wearables market to provide the biggest shift
things haven’t moved as quickly as I thought
too’ social TV entities rebranded to bring distinct
in how we interact with the digital world. In May,
they would, mainly due to Microsoft’s focus
features to other areas of the second screen
Google finally made its much-hyped Glass headset
that the right side will hopefully prevail. All that’s needed is for Tom Wheeler to do what the people
TVBEurope 15
January 2015 www.tvbeurope.com
TVBEverywhere
Hyper-personalisation became the next step in user engagement
available to the public. Smartwatches proved to be the major talking point from January 2013’s Consumer Electronics Show with Samsung and LG rolling out the first (poorly implemented) consumer versions, followed by Motorola’s flagship Moto 360, all supported by Android Wear – Google’s
‘Hyper-personalisation gives users the opportunity to access all their content in a manner that works for them’
The emergence of hyper-personalisation – the ability to offer extremely targeted recommendations to users that go beyond simple viewing histories, leveraging user behaviour, device, and location
push for dominance in the space. Meanwhile in
data to deliver content that is relevant to users
September, Apple unveiled the Apple Watch,
at that given time – cannot be ignored. Hyper-
successfully pushing awareness of smartwatches
personalisation gives users the opportunity to access
into the mainstream. (Much like it did with tablets,
all their content in a manner that works for them, no
smartphones and portable music players. RIP iPod
on the streaming front until recently, when
matter what they’re doing, creating a feedback
Classic.) We’re at the start of a very long journey for
HBO and CBS both announced on-demand
loop of analytics and understanding for suppliers,
wearables, but the opening steps generally seem
streaming services that would be free from any
and ease and convenience of use for users that will
to be headed in the right direction.
cable provider or network subscription. Does
remain mutually beneficial. I see this as the future of
your cable provider not offer HBO? Doesn’t
user engagement and multiscreen consumption, for
The move away from cable has finally begun
matter, you can get it on-demand. Alone, the
all content, including video.
This shift began early in the year with the WWE
to break through to the mainstream, but with
pans out for the video and media market but
Network acting as the world’s first dedicated
names like HBO and CBS – names everybody
one thing is clear: finding cost-efficient and
OTT network. This upset a lot of apple carts,
knows and that warrant mainstream coverage –
seamless new ways to bring personalised content
from pay-per-view distributors to networks
leading the pack, it won’t be long before other
to consumers will continue to influence how the
themselves. Things then went relatively quiet
networks follow suit.
industry shapes itself and evolves.
WWE Network would not be potent enough
It will certainly be interesting to see how 2015
16 TVBEurope
www.tvbeurope.com January 2015
TVBEverywhere A hybrid satellite network not only helps with the quality of delivery, but also provides media companies with more flexibility
A shift in streaming Taking linear TV over the top
By Peter Ostapiuk, vice president, media product management, Intelsat
uring what many are calling a seismic
viewers and digital advertisers. Today, the
How do you manage your distribution in an
shift in the media landscape, pay-TV
focus is mostly on the technical challenges
‘unmanaged’ IP network environment?
operator Sky Deutschland recently joined
that lie ahead.
D
the list of major players in the media industry
If these questions are left unanswered, viewers may find themselves not receiving the highquality, reliable TV viewing experience they
everywhere. Sky Deutschland revealed it is
Ensuring current technical and economic concerns do not pose a barrier to long-term growth
launching an OTT TV service that will be available
Given the behavioural patterns of millennials, this
to fully scale and capture the growth this new
to non-subscribers paying on a monthly basis
move to linear streaming was inevitable. But as
landscape presents.
without an ongoing contract. Other recent
viewers look to optimise the flexibility and cost of
announcements include HBO’s standalone
their media consumption, some significant technical
streaming service for viewers who do not
and economic questions must be addressed if
High quality, exciting and reliable content, regardless of screen
currently subscribe to pay-TV; Univision’s live and
broadcasters and programmers are to achieve a
The number of viewers watching content via
on-demand streaming; CBS’ digital subscription
multiscreen service offering that can scale, deliver
linear streaming and OTT remains relatively low
live streaming and on-demand services; and
a quality viewing experience and strong return on
compared to the number accessing content via
Turner’s expansion of its TV Everywhere offering
investment. This raises a number of questions: How
traditional linear channels, so quality and reliability
in Latin America.
fast will subscribers jump to linear streaming services?
are not a huge issue.
that have announced long-term strategies for giving viewers what they want: more content
The announcements, all within a two-
expect, digital advertisers will become disgruntled and media companies may not be in a position
Can the current infrastructure scale to meet new
However, according to research by the
week time frame, continued to build on the
bandwidth demand, or does high volume, linear
European Audiovisual Observatory, there are
momentum around the ‘age of multiscreen’.
streaming cross a network breaking point? Can
more than 3,000 on-demand audiovisual services
That said, the recent coverage did not address
quality and reliability be maintained with a large
in the European Union. And in the US, Morgan
all the technical and economic challenges that
linear streaming viewership, a particularly important
Stanley predicts OTT-only households will climb
broad adoption of OTT and linear streaming
concern for advertisers? What are distribution
from eight million in 2014 to 14 million by 2020.
may cause for broadcasters, programmers,
costs in this new business model?
With that in mind, Viacom’s ‘TV Here, There, (Not
TVBEurope 17
January 2015 www.tvbeurope.com
TVBEverywhere Quite) Everywhere’ study, cited that the some of
offer a compelling value proposition for those
media companies with more flexibility in terms of
the main barriers for consumers to adopt OTT and
broadcasters and programmers migrating to
the modes of transport with its end to end solutions,
live streaming as their main form of content viewing
linear streaming. The attributes that have allowed
and provides predictable distribution costs. For
are technical in nature, including loading/buffering,
satellite to scale in the past remain relevant today.
example, current CDN unicast focused delivery
and crashing/freezing.
For example, a hybrid satellite solution is a perfect
business models rely on bits delivered per user that
complement to fibre and cable infrastructure,
are variable attributes. Satellite distribution enables
supplementing current content distribution network
content owners to deliver linear multicast streams
From a business model perspective, this could provide a huge issue for media companies. According to emarketer, advertisers are expected
close to last mile networks and relies on fixed
to increase their digital advertising spend as a
throughput for the broadcast.
percentage of their total advertising dollars from 28.2 per cent in 2013 to 37.2 per cent in 2018. Mobile advertising spend will rise from 5.7 per cent in 2013 to 26.4 per cent in 2018 while traditional TV advertising spend falls from 38.1 per cent in 2013 to
‘Just as the traditional business model is changing, so must the distribution model, and today’s satellites are poised to deliver’
Lastly, outside of developed markets, the broadband infrastructure necessary to host multiscreen devices is not there. Satellite provides broadcasters and programmers an opportunity to take OTT/linear streaming to those markets given
35.7 per cent in 2018. If the quality of the content
our track record of delivering high quality, reliable
suffers, advertising revenues for media companies
content. This could be particularly interesting in Latin America, where the 2016 Olympics could test many
could be negatively impacted. (CDN) and fibre networks limitations. Satellite also
new forms of content delivery, such as 4K UHDTV.
Satellite positioned to help broadcasters and programmers
has a long track record of delivering large scale transmissions that are high quality, reliable and
can be a growth opportunity for media companies,
Just as the traditional business model is changing,
secure. These service attributes are critical to
we believe it will be complementary to linear TV and
so must the distribution model, and today’s
advertisers that are shifting to digital and mobile
drive more eyeballs to traditional. One thing remains
satellites are poised to deliver. As rapid changes
advertising. A hybrid satellite network not only
certain – satellite will be there to ensure reliable,
continue to take hold, hybrid satellite services
helps with the quality of delivery, but also provides
secure and high quality delivery across all screens.
While linear streaming is gaining momentum and
2015
Join us at
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TVBEurope 21
January 2015 www.tvbeurope.com
Workflow
Presenting parliamentary proceedings To commemorate 25 years of broadcasting the UK parliament, Philip Stevens traces the history and reviews the challenges t was way back in the 1920s that the idea of
Today, all the proceedings of the House of
broadcasting United Kingdom parliamentary
Commons are carried live by the BBC Parliament
proceedings was first put forward by the BBC.
channel, with coverage of additional aspects
I
Then, as on several other occasions over the
of the work of Westminster shown at other times
following four decades, the proposal was rejected.
on the 24-hour outlet. Additionally, Parliament
Eventually, in 1975, the first live transmission from the House of Commons was heard – on radio only. It had long been felt that the presence of
Senior director Linda Nash directing proceedings with the team in the House of Commons TV gallery
streams all the available televised coverage
director of Bow Tie Television, which first became
live via parliamentlive.tv.
involved in parliamentary broadcasting in 1990
Separate arrangements are in place which
and holds the current contract. Bow Tie Television
cameras would change the character of the
allow access to the coverage to other license-
is part of the NEP Worldwide Network, and
debating chamber for the worse – and Members
holding broadcasting, web-based and print-
alongside work at the UK parliament has similar
of Parliament, in the main, subsequently voted
based media organisations.
contracts with the National Assembly for Wales
against extending the coverage to television.
in Cardiff, and the Greater London Authority
Regulated by rules
at City Hall. The contract for audio coverage
November 1984 cameras were finally allowed in
“Those first transmissions from the House of
is separated from the visual content and the
the House of Lords. Five years later, permission
Lords involved three manned Ikegami cameras
current holder is Westminster Sound. “From the
was given for a trial period of televised
directed from a portacabin located in Black
outset, some very specific rules of coverage were
coverage in the House of Commons, with
Rod’s Garden on the south side of the Palace of
in place – primarily stating that only the person
permanent access granted in 1990.
Westminster,” explains Duncan Smith, managing
speaking would be featured, with no cutaways
However, pressure continued and in
22 TVBEurope
www.tvbeurope.com January 2015
Workflow a PC-based database that Bow Tie Television
colour balance and operation of the tape decks.
designed, installed and maintains, showing a
At present, all recording is carried out locally on
photographic portrait of the member or peer and
Betacam SX tape. Being inside the room means
the place in which they normally sit.”
that there can be no audible communication
In addition to his or her normal duties, the director or caption operator is responsible for working a live metadata enhancement system
Steven Reid using Bow Tie TV’s bespoke single operator webcast system (SOWS) used to webcast Committees
between the director and camera operator – resulting in some ingenious sign language. “When Portcullis House was being designed,
for parliamentary signal distribution. Designed
separate control rooms were incorporated
and built by Bow Tie, it streams data to a
to allow production to be handled outside of
bank of teletext encoders via timer-controlled
earshot of the committee. Three such control
switches. The multiple outgoing feeds then
rooms are now utilised,” reports Smith.
have appropriate and synchronous metadata
One further area of coverage involves the Grand
associated with each channel, which is decoded
Committee Room where MPs debate additional
by users as required. This system operates 24/7,
issues outside of the main House of Commons
allowed except as they might pertain to
the only human interface being the director or
Chamber. Five robotic cameras are employed –
reference to another member. The only transition
assistant who calls up pre-loaded text, or adds
again with one director and a camera operator
allowed was a cut.”
information live.
covering all production activities. A duty engineer
Since then, the rules have been modified
In 2002, the original Sony BVP-7 chamber
somewhat – for example, mixes can be used on
cameras were replaced with Thomson 1657
ceremonial occasions – but the output remains
split head ‘Sportscams’, providing widescreen
closely monitored.
pictures in SD.
covers each committee shift and ensures the technical set-up of each room is achieved.
Web coverage “With full TV facilities being available to a relatively
But with limited space in the chamber it
In the summer of 2010 the robotic systems in
was obvious that, if the experiment was to be
both chambers were switched to Shotoku, while
small number of committee rooms – and the
converted into full coverage, robotic cameras
the Thomson 1657 cameras were replaced by
increasing use of the internet for online viewing
would need to replace the manned units,
Sony HDC-P1 HD models.
– it was decided in 2007 to install unattended
and it was at this stage that Bow Tie Television became involved. Once the trial in the Lords was completed and the decision taken to continue with the coverage, five robotic Sony BVP7 cameras with the triax back split were installed under the seats in the balcony above using a Radamec system. The momentum for this change came from Steve Fox, one of the founders of
“We have worked with parliament to develop a single operator system that centres on a small vision switcher and remote control panel with Panasonic dome cameras to allow one operator to control the whole set-up in some of the committee rooms” Duncan Smith, Bow Tie Television
Bow Tie Television. Once the decision taken to continue with the coverage, the portacabin was replaced in 1992 by a control room located in a nearby
Today, the set up at Westminster probably
systems in a further ten rooms,” states Smith. The
parliament building.
constitutes the largest number of robotic cameras
unattended systems that Bow Tie installed in the
in use at one facility – a total of almost 40 channels.
period 2007 to 2009 use Sony BRC SD cameras. A
“This was something of an achievement –
system was built that interrogates the Glensound
to install cables that would control cameras between 500 and 700 metres away, but it worked
Commitment to committees
audio data and uses a set of tables to drive the
and still does,” emphasises Smith.
Alongside coverage of debates in both
cameras and shot sizes and makes a vision switch
Houses of Parliament, the work of Select and
to select the shot. So successful has the project
Standing Committees are also featured.
been that now a total of 20 of the committee
When coverage was extended to include the House of Commons, eight robotic cameras were installed. Like the House of Lords coverage, the
Initially, seven committee rooms in the Palace
rooms have the unattended systems. So, what of the future? “We have worked with
control room was – and still is – manned with a
of Westminster were cabled to allow cameras to
director/vision mixer, two camera operators
be installed. This has since been extended to a
parliament to develop a single operator system
and an engineer.
further two rooms in the Palace and another five
that centres on a small vision switcher and remote
in Portcullis House, opened by Her Majesty the
control panel with Panasonic dome cameras to
Queen and Prince Philip in 2001.
allow one operator to control the whole set-up in
Identifying the members “One of the challenges our directors and camera
The initial installations saw production and
some of the committee rooms,” says Smith. “This offers a service that is midway between
operators face is getting to know more than
technical control of the coverage handled from
600 MPs and hundreds of peers by sight and the
within the room itself. The director and one camera
an unattended operation and the full manned
area of the country they serve,” declares Smith.
operator sit at a specially designed trolley which
production facilities used from the start of
“In the Commons, members are referred to by
accommodates the vision mixer, racks, tape
parliamentary broadcasting. This is an exciting
their constituency. In order to help with speedy
machines and the robotic controls for the three
development that will be rolled out in the not
recognition, each control room is equipped with
cameras. The director is responsible for vision mixing,
too distant future.”
24 TVBEurope
www.tvbeurope.com January 2015
Workflow Harmonic orchestrates playout with Polaris
Automation in a
virtual environment The question taxing the minds of broadcast CTOs is whether virtualised playout is as secure, as highly available, and as cost effective right now as existing hardware-based provision. Adrian Pennington reports
T
Andy Warman: “While virtualising control is possible today, achieving a standards-based approach remains challenging”
he industry is in the early stages of its
device,” recommends Andy Warman, director
Most vendors have declared their roadmaps
transition to common off-the-shelf IP
of product management, Media Servers and
and some existing capabilities. But the question
playout automation platforms, but the vast
Storage, Harmonic.
taxing the minds of chief engineers and CTOs is
majority of systems will continue to need some form of dedicated hardware for some time. The pressure on current approaches is
The benefits of playout in the cloud can be
whether virtualised playout is as secure, as highly
itemised as follows: Greatly reduced capital
available, and as cost effective right now as
investment; reduced operating costs in staffing
existing on-premises playout provision?
driven by increasing demand for non-linear
and distribution contracts; greater visibility of
consumption and further complicated by
assets and channel outputs; quick channel
and implementation, the security and reliability
“There is no reason why, with a good design
the need to target more and more devices.
launch to market; flexibility (such as pop-up
of a virtualised system cannot match a more
“Content creators need a simplified and unified
channels around major events); reduced
traditional hardware based installation,” says Steve
workflow for creating and publishing content
geographical constraints; and erosion of
Plunkett, CTO, Red Bee Media. “But the way you
irrespective of its distribution method or target
traditional distribution barriers.
achieve these goals are different. Virtualisation can
TVBEurope 25
January 2015 www.tvbeurope.com
Workflow lead to more efficient utilisation of the underlying
the major risks broadcasters face in moving to
Private data centres
hardware and, when combined with appropriate
virtualised playout is a skills shortage.
Security and network infrastructure constraints
management tools and procedures, can drive
“At the moment, a lot of the skills
make the public cloud a non-starter for naturally
significant savings. However, this is not necessarily
associated with broadcast are very
cautious media operations. Most broadcasters
a default outcome so the system must be
traditional, so it’s essential you have the
prefer to talk about private data centres which
dimensioned and deployed correctly.”
right talent in your engineering team,
can also be geographically independent so they
people who are comfortable with managing
have all the potential benefits of cloud without
a virtualised IT platform.”
the security drawbacks.
In many ways this is business as usual for new technology deployments. Broadcasters will evaluate and test the virtualised equipment in a setting that is representative of its particular production environment and operating models; then look for other reference implementations for assurance of the production grade readiness of the products. There are other considerations, though, to prepare for migration. “Do you have the skills
“At the moment, a lot of the skills associated with broadcast are very traditional, so it’s essential you have the right talent in your engineering team, people who are comfortable with managing a virtualised IT platform” Maurizio Cimelli, Deluxe
in-house to manage the underlying virtualisation platform (including the hypervisors and virtual machine management)?” quizzes Plunkett. “Will your vendors support the implementation you
A lot of companies, he says, are hosting
“At present, dedicated broadcast hardware
intend to deploy? Have you agreed where the
their content and technology out of
is necessary for playout automation as existing
support boundaries sit, so that when something
office buildings or basement server rooms,
broadcast infrastructures simply can’t deal
goes wrong it is clear what your own and your
which are not designed to deliver the
with the processing demands of software-only
vendors’ responsibilities are?”
same benefits and features that data
structures and IP signal paths,” reports Karl
centres can in terms of security, availability
Mehring, head of product architecture, TV
and disaster recovery.
Everywhere at Snell.
Maurizio Cimelli, who runs Deluxe’s cloud infrastructure LeapCloud, concedes that one of
26 TVBEurope
www.tvbeurope.com January 2015
Workflow and just as that took years to happen, so will
goals,” says Warman. “While virtualising control
the move to IP. A full IP infrastructure that will
is possible today, achieving a standards-based
support virtualised playout is several years off.
approach remains challenging.”
Although you can now start investing in this new infrastructure, there’s some life left yet in
Server vendors respond
dedicated broadcast hardware.”
So standalone video servers will continue to find
Another factor that can affect the use of
facilities, but there’s no denying that the advent
delivery. Broadly speaking, it is necessary to
of remotely-located data centres that handle
deliver every frame on time, every time. However,
much of the same playout functions is slowly
IT systems such as database servers, email,
eating into sales. Server manufacturers like
and other services typically are held to lower
PlayBox, Grass Valley, Avid, Snell and Imagine
standards with respect to response time.
Communications need not fear Cisco, HP,
Meeting frame-accuracy requirement is a
“But as IP adoption continues to grow, so less
IBM and other large IT vendors as long as they
challenge but an end is in sight that could allow
are able to execute on their software-based
for a common time base in a virtual infrastructure.
product roadmaps.
The next hurdle is that of managing control itself.
Don Ash: “Cloud technology is currently treated with caution by many broadcasters, mainly because of security concerns regarding content”
a home in broadcast and content distribution
pure IT solutions is the real time nature of video
“The specialist expertise within the
Already, various de facto standard mechanisms
broadcast vendor community is unparalleled
and protocols (eg, VDCP, CII, SCTE 104/35) exist
and provides a clear competitive advantage
to solve problems of one sort or another. But
against more general vendors,” says Plunkett.
typically they do not address the needs of the on-
“However, as the industry migrates to
air chain itself and all of its sub-elements.
generic hardware and virtualised platforms,
“If a number of these needs cannot be
partnerships with such vendors might make
and less dedicated hardware is required. It’s
bundled together, then vendors create
sense to ensure the software only products
as big a shift as that from analogue to SDI,
proprietary control mechanisms to achieve their
are optimised.”
TVBEurope 27
January 2015 www.tvbeurope.com
Here’s what some vendors and playout services are up to: z Red Bee Media, an Ericsson company, has been developing its playout offering to take advantage of virtualisation and has production systems that are either partially or fully virtualised. Those that are fully software-based today
Picture credit: Red Bee Media
Workflow
serve more basic channels, says Plunkett, but as the broader vendor community transitions to software based products, it plans to take advantage of those for a client’s benefit. z Ericsson’s Next Generation Playout offers managed or hosted playout services. It gives broadcasters access to major data centres worldwide, with signal distribution through hundreds of co-located carriers, distributors and connectivity providers. This network, coupled with a software-defined workflow, helps broadcasters to overcome the geographic dependencies that have previously limited playout. “Over time, we expect a general decline of appliance-based video servers, as softwarebased products become more potent, and
The industry is in the early stages of its transition to common off-the-shelf IP playout automation platforms
also as IP transport moves towards software defined networking,” says Joachim Bergman, head of operations and global solutions, Ericsson Broadcast Services. “This means that the function of a traditional video server will become open and can be moved into normal IT-based hardware platforms, run on commercial off-theshelf products or even in the public cloud.” z Snell and Quantel engineers have already announced a number of new products in this
“As IP adoption continues to grow, so less and less dedicated hardware is required. It’s as big a shift as that from analogue to SDI, and just as that took years to happen, so will the move to IP” Karl Mehring, Snell
area including ICE OD: a software-only version
while moving to the cloud at their preferred pace to match their changing business needs.” z Harmonic’s Polaris Advance is an integrated channel playout automation system, which has been designed with technology from Pebble Beach Systems, the company Harmonic owns a small stake in. “We provide serial and GPI control to provide legacy support on both the video I/O devices and on Polaris automation systems,” explains Warman. “Once the dependence of
of its Channel-in-a-Box. “ICE OD will provide all
these legacy interfaces can be removed, and
the essential broadcast channel elements such
“The virtualised route ensures we are able
pure IP control can be used, users are ready to
as video server, master control, graphics and
to have control from any secure location,
take the first logical step to virtualising playout.”
captioning in a scalable, software-only solution,
and we’ve made sure that our content and
z PlayBox Technology has for many years been
capable of running on generic servers or cloud-
technology is housed in the right environment,”
software centric and for IP playout requires no
hosted virtual machines – again, realistically, in a
explains Cimelli.
specific hardware. Its products run on COTS
private data centre,” explains Mehring.
z Imagine markets the Versio playout server,
hardware, with an interface card only required for
either standalone or as a cloud-based solution.
SDI or ASI output. It is currently testing products for
equation as far as the playout operation is
Going beyond basic server, graphic branding
virtual cloud playout that it says will bring playout
concerned, but equally important is flexibility in
and automated playout features, Versio offers
as a service to broadcasters and content owners.
terms of control,” he adds.
graphics, DVE and mix effects, combined with
Pre-introduction is scheduled for NAB 2015 with a
z Deluxe LeapCloud (rebranded from Deluxe
Imagine’s automation and server technology.
planned launch date around IBC2015.
“Virtualisation takes geography out of the
MediaCloud) is offered as a complete broadcast
“Meeting customers’ business goals for their
“The future for playout via dedicated hardware/
playout out-sourcing solution, or as a platform-as-a-
cloud and virtualisation initiatives requires
servers looks set to remain the preferred option
service and has four main elements: a virtual MCR
a solution that goes beyond simply running
for large-scale broadcasters who want to retain
to monitor, control and record contribution and/or
playout servers in the cloud,” says Stephen Smith,
tight control over their core infrastructure,” says
distribution networks within a browser environment;
Imagine’s CTO for Cloud. “The optimal solution
PlayBox’s Don Ash. “Cloud technology is at present
web-based asset management; a software-based
is a unified software and IP-based platform
treated with caution by many broadcasters, mainly
playout platform and tools for delivery.
designed specifically for the cloud and virtualised
because of security concerns regarding content.
environments. It must also integrate seamlessly
Broadcasters are also cautious about using private
broadcasting, with the potential to interface
with customers’ on-premises playout systems
cloud services. When the service is made fully
to media assets and create a television station
in hybrid architectures to enable customers to
secure and cost-efficient, then this could become
anywhere in the world,” states Deluxe.
continue to leverage their existing investments
an attractive option for content owners.”
“Together, this brings a totally new way of
28 TVBEurope
www.tvbeurope.com January 2015
Workflow
World Volleyball Championships get Global Production value Camera-wise, the truck can currently field up to 30 Grass Valley LDK 6000/8000 cameras. Regarding on-going technical equipment upgrades to implement the company’s corporate policy for optimising production facilities, Global Production administrator Stefano Bianco explains, “We recently also replaced the van’s DiGiCo D5 audio console with an SD7 and integrated the truck’s Riedel Artist intercom system with other panels: now, every one of our production team’s 24 on-board work positions has its own Artist panel.” The 31-strong Global Production technical team included a producer, video engineer, sound engineer, two audio assistants, 13 cameramen, a Jimmy Jib op, three camera control ops, four EVS ops, a video console operator, an audio console operator and three video assistants.
The K2 Dyno Replay’s optimised ANYSPEED technology, specific for the super slow motion 6x, enabled full use of the dynamic ranges of playback speeds
For the Milan finals, Global Production used the new GVG XtremeSpeed 6x camera, which won NewBay Media’s TV Technology Europe Best of Show award at IBC2014 after being judged by a panel of engineers and industry experts on the
Italy hosted the 17th edition of the FIVB Volleyball Women’s World Championship from 23 September to 12 October 2014. This edition of the tournament, staged since 1952, was held in the cities of Bari, Milan, Modena, Rome, Trieste and Verona. Mike Clarke reports
criteria of innovation, feature set, cost efficiency and performance in serving the industry. Only a small number of products were selected to receive a Best of Show Award from among hundreds of new products in competition.
T
urin-based Global Production, whose
positions. For the finals of the high-profile event, the
high-profile sports coverage in recent years
company’s flagship OB6 van was integrated with
has included the 2006 Winter Olympics,
Grass Valley’s award-winning LDX XtremeSpeed 6X
Beijing Olympics and the World Alpine Ski
camera system HFR camera, which took its place
Championships, covered the championships on
alongside ten Grass Valley LDX 80 Premiere HD
behalf of Infront, which was in turn engaged by
cameras, two Sony HDC 3300R HD SSM cameras,
the FIVB (Fédération Internationale de Volleyball).
three GoPro Hero 3 HD micro cameras (one
Following continental qualifications, with a record
mounted on the microphone boom, with a small
141 teams taking part, 24 teams competed for
IDX radio transmitter, to hear the trainers), four EVS
the title in Italy: four from Asia, two from Africa, ten
XT2, a Jimmy Jib and six commentary positions.
“Now, every one of our production team’s 24 on-board work positions has its own Artist panel” Stefano Bianco, Global Production Fitted with a stabilised Canon DIGI SUPER 75xs
(including the hosts) from Europe, two from South America and six from North and Central America,
World’s first
lens, the camera was installed on the right-hand
and Caribbean. The 102nd and last match of the
OB6 has four expansions (46x8.3ft closed and
side of the court behind the service line, and
tournament was the final, which took place in
49x17.5ft when fully deployed) and provides
was mounted on an Egripment Hi-Lo platform
Milan’s Mediolanum Forum, where, before a 12,600
production teams with an impressive 70sqm of
approximately two metres high.
crowd, the championship was won (for the first time)
comfortable workspace. When it took to the
by the US team, who beat China 3-1. Brazil won the
road in December 2013, it was the world’s first
used by one of our cameramen specialised in
bronze medal and Italy came in fourth.
based on the powerful 4K-ready Harris Platinum
the manning of SSM systems, Luigi Benignoi, who
IP3 576x1024 multiformat 3G matrix and, as far
said it was great to use and found it no different
heats fielded nine HD cameras, two HD micro
as scalability is concerned, had the largest
from other GVG models. The features that
cameras, four EVS XT2, and four commentary
capacity on the market when it took to the road.
convinced us to use this new model of SSM for
The Global Production trucks used to cover the
Bianco continues, “The XtremeSpeed unit was
TVBEurope 29
January 2015 www.tvbeurope.com
Workflow
Fitted with a stabilised Canon DIGI SUPER 75xs lens, the camera was installed on the right-hand side of the court behind the service line such an important sports event was the system’s ability to integrate perfectly with the other GVG equipment we already had (as well as cameras, this also includes a 96-input Kayak HD300 4.5ME vision mixer) and operate excellently, even in poor lighting conditions, ensuring top-grade video, thanks to its 6x (150 fps) speed. “The distinguishing feature of this camera is its great ease with which it can be integrated into our production workflow,” he says. “Also, thanks to the fact that, since we already had other GV cameras, the technical production chain is already wellproven and the connections between the various systems (base station, OCP, etc) are identical.” Maurizio Vignati, Grass Valley sales engineering SEME and North Africa, adds, “We also supplied our Grass Valley K2 Dyno Replay System, as well as assistance with the set up of the camera and the Dyno to achieve the perfect balance and the maximum yield from the product, in terms of performance and quality from the easy-to-use instant replay and highlights generation system, which is ideal for HD, SD, 3G and UHD/4K productions.”
Fast-paced action The K2 Dyno Replay’s optimised ANYSPEED technology, specific for the super slow motion 6x, enabled full use of the dynamic ranges of playback speeds: time could be virtually “compressed” by only showing the desired parts in 6x and then “ramping” up to a higher speed, including 100 per cent, ensuring the replays told an exciting story, capturing the fast-paced volleyball action and emotion with top-grade quality, high frame rates, and instant time-to-air. Following the excellent results obtained at this high profile event, Global Production is considering the purchase of two of the new cameras and Bianco opined, “The use of a camera like the Grass Valley XtremeSpeed 6x for the coverage of sports
enables users to eliminate previous limits in the use
z As this issue went to press, Global
of high-speed coverage technology: electric and
Production announced a demo of five
mechanical connections, lens attachment, remote
Grass Valley prototype 4K cameras for the
control system, adjustment and setting. As usual,
coverage of a Serie A match at Milan’s San
price will obviously also be a decisive factor.”
Siro football stadium.
30 TVBEurope
www.tvbeurope.com January 2015
Workflow
Designing for the virtual world The blending of real and virtual objects is on the increase. Philip Stevens looks at the design considerations when it comes to Virtual and Augmented Reality
ixing live elements such as fixtures,
the talent. Augmented Reality elements can
furniture and props within a virtual
provide programme makers with the ability to get
environment has become commonplace
information on screen instantly and allow talent
M
in many broadcast situations. And as producers
to analyse data or footage and interact with it in
seek ways to cut costs, the use of Augmented
a visually exciting way.”
Reality (AR) – including the integration of elements
So explains Mike Afford, an award-winning
like live video feeds playing in a virtual truss or in
motion graphic designer, formerly with the BBC
display-like props situated throughout the studio –
at Television Centre in London. Now based in
seems bound to increase.
Ireland and running his own company, Afford is
Alongside AR is Virtual Reality (VR), and although somewhat different in application, there is commonality in the technology. First, let’s identify terminology. “I would define VR as any non-real elements
Fox Sports Australia is using Vizrt for live augmented 3D graphics to provide audiences with something they had never seen before
well placed to provide in depth insight about the virtual world. So what are the design considerations
‘The challenge is blending the real and virtual elements so they look transparent and natural for the home viewer’
when it comes to making the virtual into a believable reality? After all, the challenge
or graphics that are incorporated into the studio
is blending the real and virtual elements
environment so they give the impression of being
so they look transparent and natural for
“The biggest challenge is to decide from the
picked up by the real cameras, and seen by
the home viewer.
outset whether we’re trying to create a space that could conceivably exist in the reality. Is this supposed to look like an actual TV studio, or some other ‘real’ environment – or are we trying to create something that couldn’t possibly exist in the real world?” Afford goes on to say that he approaches the process as though he was designing a physical set. “Where are the cameras? What shots do we need? What kind of look and feel are we aiming for? Further down the line it becomes a question of fine detail and ‘polish’, and much more mundane matters, such as render settings and polygon count – where applicable.” With that in mind, does the choice of rendering platform play a role here? “The main consideration is whether the set is being rendered in real time from true 3D geometry,
Technology from Vizrt and Stype created the VR set for the Scottish Referendum results programme from the BBC
or if it is panning, tilting and zooming around pre-rendered images. But, in both cases, it’s advisable to only put fine detail where it will actually be seen.”
TVBEurope 31
January 2015 www.tvbeurope.com
Workflow Placement considerations Sebastian Hickey, senior designer, RT Software, says that although every AR project is different, it’s possible to break down what the technology involves. “It amounts to something like this: a powerful machine, linked up to camera data, is rendering 3D assets in real time on top of a video stream. The render engine I use at work is called tOG 3D. You can also think of it like an asset and data manager, as well as an editor and a VR HUD.” The process involves creating assets, bringing them into tOG, arranging them, adding animation and dynamic events, and triggering aspects of the graphics using data. So, are there basic guidelines on the placement and design of AR objects within real sets? “Yes,” affirms Hickey. “Treat the placement of AR objects just as seriously as if you were redesigning your own living room. Put them where they ought to go. Don’t have things floating around when you can nail them down to the set. The beauty and wonder of AR comes from the feeling that the
32 TVBEurope
www.tvbeurope.com January 2015
Workflow impossible has become possible. It’s an illusion. So don’t spoil it unless you really, really have to do so.”
Don’t confuse the viewer Marko NakiDž, creative director at StypeGRIP, agrees. “The graphics should be designed so they match the ambience of the real set. Textures, lighting and shadows of the graphics should be taken into account. Graphics should be placed so that they don’t get in the way of the presenters, guests or audience. Presenting large data sets should be done in the most minimalistic way possible so as not to confuse the viewer with too much stuff going on the screen all at once.” Occasionally, AR doesn’t quite work – maybe a presenter makes an unplanned move or is not ‘looking’ at the virtual object in question. Is there an easy answer to such ‘problems’ or is it simply a matter of correct presenting technique? “There are many workarounds that will minimise these mistakes,” maintains NakiDž. “Placing the AR objects in such a way that the presenter
Catalonia’s TV3 has implemented Orad’s 3DPlay solution to facilitate production of on-air channel branding
can’t possibly ‘collide’ with them is one solution. Operators can switch off the AR content, or cut
“Here we calibrate each lens individually, to get
We don’t even start making a product if we
to another camera if they see that presenter is
the best distortion model for the desired lens.”
don’t see a space for innovations in it. Right now
about to take a wrong step. In the end, presenters
we are working on a Stype kit specially tailored
should always familiarise themselves with the set
Perfect placement
for Cammate crane which we plan to show on
and rehearse before going live.”
Ofir Benovici, VP marketing at Orad, picks up on
the upcoming show.”
that point. “Accurate lens calibration is essential for
“The beauty and wonder of AR comes from the feeling that the impossible has become possible. It’s an illusion. So don’t spoil it unless you really, really have to do so” Sebastian Hickey, RT Software
been talking about using Oculus Rift or the
as part of the calibration process, it is important
Morpheus to give home sports viewers VR
to take into account the lens distortion and
representations of the pitch that they can
abrogation for precise placement. In some cases,
navigate through from their living room. “Sounds
AR elements are not placed in the studio, but
a bit farfetched, but the USA NFL is all about
for outdoor productions, such as sports. In such
farfetched. Also, there is talk about real-time
cases, precise lens calibration is of a particular
scanning of the presenters in order to find out
importance, as any inaccuracy will be noticeable.”
where they are in the studio – so they can walk
He adds that the Orad lens calibration process
around objects without operator intervention.”
takes into account all those elements for both
Keeping track That’s a view shared by Gerhard Lang, chief
RTSW’s Hickey maintains that people have
correct placement of AR elements. In particular,
Orad’s Benovici believes that what was
digital and analogue lenses, 16x9 and 4x3 aspect
considered a gimmick some time ago is now
ratio, ENG and box lens.
becoming an inherent part of the production.
For Benovici, the biggest challenge is blending
“As such, we are seeing the AR elements
engineering officer at Vizrt. “It’s just a matter of
the AR elements so they will look natural and part
becoming part of the workflow, with integration
making sure your presenters know what they
of the hard set. “From a technology standpoint,
to NRCS systems, triggered by the switcher
are working with. A short rehearsal is all that is
it would require high performance of rendering
or controlled by studio automation systems.
needed to ensure a smooth presentation.”
power and different type of shaders, such as
The continuous improvements in computing
material shaders, that will give the AR elements
technologies and camera tracking methods
the AR structure. “This will determine the flexibility
a realistic look. It is important to design the AR
will contribute to the future growth of AR usage
of your movement. Each tracking system has
elements and the hard set alongside each other.”
during production.”
dictate to a certain degree how you design
The future
portability for AR systems is next. We are starting
your AR graphics.”
With virtual set technology ever evolving, what
to see the beginnings of this now, but we will
do those involved see as the future? NakiDž says
soon see systems that can be set up in a matter
achieved through the lens calibration process
April’s NAB will provide a showcase for a new
of minutes that allow broadcasters to do AR in
within Viz Virtual Studio Set-up.
product. “At Stype, we love innovations.
any environment.”
Lang says the tracking system is a major part of
its strengths and weaknesses which will, in turn,
He adds that correct lens modelling is
And Vizrt’s Gerhard Lang predicts, “Ultra
The Official Newspaper
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Building the TV Anywhere ecosystem The company is also highlighting
acquisition of Red Bee Media, as
According to Ericsson, IBC2014 is
Bee Media.
quality and efficiency of video
the first time the industry sees the increased scope and capabilities
At its booth, Ericsson is demonstrating how it is at the
delivery through its capability to make every network video-centric
how the Mediaroom integration is allowing it to build what it says are
well as see a presentation of its Media Vision 2020. Described as
of Ericsson’s media business as the company builds on its TV and
centre of the convergence of media and telecoms, which is driving
and enable TV service providers, broadcasters and content
new and innovative technologies, which are redefining the TV
an illustration of the future of TV over the next six years, it outlines
broadcast offering with the addition of recently acquired Azuki Systems,
fundamental industry change. Ericsson says that it will show
owners to leverage and deploy inherently flexible and intelligent
viewing experience. Visitors to Ericsson’s stand
the necessary strategies required to achieve success in the
Microsoft Mediaroom and Red
how it is ensuring the highest
unified platforms.
can learn about the company’s
networked society.
Beach head: Ericsson technologies are ‘redefining the TV viewing experience’
Gilbert: “It is so simple to use”
(90,000 circulation)
24th February 2015
The Official Newspaper
EXA MP LE
New for BVE exhibitors and visitors in 2015, TVBEurope and TVTechnology are delighted to announce the launch of the official BVE Daily and dedicated email newsletter.
Buzz arou around social media Buzz is a new software ac accessory
Buzz is designed to make it
playout devices for Pixel Power’s playo design to allow users to scan, designed
easy to select tweets and other
moderate and broadcast social media inte interactions. “To be b able to take what your
comments by using an integration approach and a simple user
of the Big Brother house for
Big Brother After Dark. Added Gilbert: “(Users) can define a graphics template to
interface. Multiple social media feeds are consolidated, and
match the look of their show, and quickly and simply pick
aud audience is saying about you and put it on screen quickly and safely
users can accept, format and publish messages.
the right messages out of the incoming feeds. Most important,
is a huge advantage. Buzz puts this at anyone’s fingertips,” said Pixel
Ahead of its IBC launch, Buzz was already being used by TV
it is so simple to use that it will be hard to put the wrong
Power CEO, James Gilbert.
Guide Network during live coverage
content to air.”
(opinion piece) • Ten sends of BVE Daily newsletter
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TVBEurope 35
January 2015 www.tvbeurope.com
Feature
Heather McLean looks at the growth in video streaming and the importance of LTE Broadcast for mobile TV
Picture credit: BBC
Pick and mix mobile TV obile TV and the war of the networks
M
those services would eventually run on was a hot topic just a few short
years ago. However, by 2009 the rumour-mill had begun to run out of steam and mobile TV stopped being a hot topic. By 2010, the major network standard of choice for the European Union, DVB-H, had faded into the background as problems piled up, including a lack of spectrum, the cost of network rollout, getting the required chips into handsets, and a lack of consumer financial motivation to pay
Tablets can now be found in 44 per cent of UK homes, according to Ofcom, and they have been outperforming PCs in terms of the programmes watched on iPlayer since February 2014, according to the BBC
for mobile TV services. Meanwhile, DVB-H’s arch enemy, technology company Qualcomm’s
EE claims its background in mobile has placed
MediaFLO standard, suffered a similar fate,
it ahead of the cable and satellite TV provider
despite Qualcomm having sunk countless
competition within the mobile space, Sylvain
dollars into building out networks and
Thevenot, EE director of TV, states: “With over
getting handsets into the North American market. As both of those technologies disappeared, so did mumblings about the
25 million mobile customers, we have unrivalled
Video content today makes up more than 50 per cent of EE’s 4G mobile network traffic
much over-hyped mobile TV. Yet today mobile
insight into people’s changing viewing habits. It’s helped us create a groundbreaking service that has mobile at its heart, and makes the TV experience more personal than it has ever been.
TV is having something of a resurgence, driven
Entertainment, Sky Sports Mobile TV, Netflix
Our service is very innovative and intuitive to use,
in part by the tablet and smartphone
and Spotify Premium, for mobile access to 13
because we have used a ‘Mobile-in-to-TV’ rather
phenomenon that has brought large screen,
of the UK’s top paid TV channels as well as a
than the traditional ‘TV-out-to-Mobile’ that has
highly portable devices to our pockets and
catalogue of TV box sets. Services are streamed
been the approach taken by many cable or
homes, the continued spread of Wi-Fi from
to consumers who can access content while out
satellite providers.”
settee to coffee shop to city centre, and the
and about over the 4G network, or when using
growth of 4G services.
Wi-Fi. Vodafone is also making a move into quad
we’ve gained from running [EE’s] 4G and
Thevenot adds: “Based on the experience
play in 2015. Another example of how mobile TV
home broadband network, we’ve been able
Video dominating mobile networks
is evolving as a value-add service for consumers
to develop the first truly integrated mobile and
Video is already dominating mobile networks;
comes from UK 4G mobile network operator,
home TV service. EE TV allows customers to
on the most heavily used networks it already
EE, which is offering EE TV over home Wi-Fi. The
watch their favourite programmes on up to three
constitutes 45 per cent to 55 per cent of mobile
service is also technically capable of being
smartphones or tablets simultaneously as well as
traffic, driven largely by increased usage of
linked to EE’s 4G network in the future, subject to
on their home TV. And not just live TV but also any
video streaming and improvements in the mobile
permission from TV content rights owners to make
recorded or catch-up programme.”
video experience, according to the latest edition
this possible. Video content today makes up
of the Ericsson Mobility Report. At the same time,
more than 50 per cent of EE’s 4G mobile network
Pick and mix mobile TV
the report states that growth in video streaming
traffic, the operator states, so there’s no doubt
With the dramatic growth of high performance
is being driven by access to over-the-top
that people are already consuming TV on their
mobile devices and the introduction of 4G
(OTT) services and content, such as those
mobile devices. What is more, tablets can now
over recent years, the way people watch TV is
provided by YouTube.
be found in 44 per cent of UK homes, according
changing; they use their mobile device as a tool
to Ofcom, and they have been outperforming
to watch video. Thevenot comments: “We’ve
move into the realm of TV is Vodafone UK,
PCs in terms of the programmes watched on
seen that people expect a TV experience that
with Vodafone Red 4G. It offers Now TV
iPlayer since February 2014 according to the BBC.
integrates mobile and is tailored to their personal
One mobile operator that has made the
36 TVBEurope
www.tvbeurope.com January 2015
Feature viewing tastes; they typically pick and mix what
on the importance of LTE Broadcast for mobile
they want to watch, between live TV, YouTube, or
TV: “LTE Broadcast is growing in significance.
catch-up services like iPlayer.”
Today there are more than 330 LTE commercially
On 4G services, multimedia broadcast
launched networks, and with LTE Broadcast,
multicast services (MBMS) is a point-to-
operators will be able to capitalise on their
multipoint interface specification for existing and
network investment and maximise spectrum
upcoming 3GPP mobile networks for the delivery
utilisation. We have done successful trials with
of broadcast and multicast services, both within a
Telstra, Vodafone Germany, KPN, Verizon,
cell as well as within the core network. eMBMS is the
Polkomtel, and China Mobile HK, and have
LTE version of MBMS, and is also called LTE Broadcast.
more trials being planned and ongoing to
Verizon has stated that it intends to launch
explore this new technology.”
LTE Broadcast services in 2015, as well as an others also started testing LTE Broadcast. One of
Mobile operators vote LTE Broadcast
those is Ericsson, which ran a test with Polkomtel
LTE Broadcast enables unlimited numbers of
on 30 August 2014 using LTE Broadcast to stream
users in broadcast areas to receive popular
the opening game of the 2014 World Volleyball
content simultaneously, with a high standard
Championships to visitors at the National Stadium
of consistency of service quality. Voigt notes
in Warsaw, Poland.
its flexible service dynamics also allow mobile
internet-based mobile TV service, and in 2014
Henrik Voigt, director, industry area Mediacom, Ericsson Group Function Technology, comments
operators to offer different services based on service type (live or non-real-time), location (venue-specific, local, regional, national), quality (bitrate, QoS) and time of day and duration. LTE Broadcast supports a range of use cases: live streaming of video for high demand content, such as sports and breaking news; file delivery for popular content (video, music and print);
LTE Broadcast enables unlimited numbers of users in broadcast areas to receive popular content simultaneously
software updates; emergency broadcasts and M2M use cases such as connected car
What about DVB standards?
and digital signage.
However, advocates of LTE Broadcast face
Tobias Solorz, president of the management
DVB-T2 and subset DVB-T2 Lite for mobile TV.
“We are very pleased with the outcome and
DVB-T is a digital terrestrial television (DTT) system,
this successful test opens up the possibility of
offering more robustness, flexibility and at least
providing high quality streams of sporting events
50 per cent more efficiency than any other DTT
and other programming to our subscribers, and
system. It supports SD, HD, UHD, mobile TV, radio
we hope to offer this kind of service all over
or any combination thereof.
Poland in due course.”
Henrik Voigt: “LTE Broadcast is growing in significance”
Ericsson’s Voigt says that one key LTE
Peter Siebert, executive director of the DVB consortium, comments: “Competition [for
advantage for TV and video distribution will be its
broadcast technologies] always comes from
ability to switch between unicast and broadcast.
mobile technologies. LTE Broadcast has a
He says LTE’s capability to switch between unicast
broadcast mode in it [as well as unicast], but
and broadcast will ensure optimal resource
running mobile TV over an LTE network does
utilisation and quality of experience as service
take capacity away from that network for voice
levels can be maintained even under high load.
and other data, and it requires investment in
In an LTE network dimensioned for unicast, the
the network. For some years still we will have
broadcast distribution of popular content will only
terrestrial TV in Europe, and during that time
occupy limited resources and become extremely
mobile receivers can get a free ride on the back
cost and spectrum efficient. Distributing over
of terrestrial services that are there already for
LTE allows the fast phase in of new technology
DVB-T2 and DVB-T2 Lite, as is happening now in
as well as fast phasing out of old. He states: “LTE
Germany, for instance. So mobile TV becomes an
Broadcast is filling a necessary role to handle
extra, value added, free service for end users.”
popular and valuable live content with peak
Peter Siebert: “Personally I’m not convinced people will pay for mobile TV at all”
opposition from those interested instead in
board of Polkomtel, says of the Ericsson trial:
Siebert adds that the notion of ‘free’ in relation
viewing, which otherwise would have been
to mobile TV is all-important, stating: “Personally
difficult to handle. If instead distribution can only
I’m not convinced people will pay for mobile TV
be done with broadcast, the oldest device sets
at all. It is not so much a problem of technology,
the benchmark, making distribution inefficient.”
it is a problem of the business case and if the end
TVBEurope 37
January 2015 www.tvbeurope.com
Feature
content in more places and with
“We expect video consumption on mobile devices to continue to rise, both in the home over Wi-Fi, and via mobile networks” Sylvain Thevenot, EE
zero buffering. What’s more, with the launch of 4G+ in London and trials of 400Mps speeds at Wembley, we’re ready for the growth of 4K streaming and the faster speeds that it will require.”
2020. In that year, 5G is expected to be commercially deployed, and it is predicted that it will have an even faster uptake than 4G LTE, just as 4G had a faster uptake than 3G.
Sylvain Thevenot: “Our service is very innovative and intuitive to use, because we have used a ‘Mobile-in-to-TV’ rather than the traditional ‘TV-out-to-Mobile’
Ericsson says that the difference is that in addition to new radio technologies 5G will also encompass evolved versions of existing radio access (such as 3G and 4G), cloud,
users are willing to pay a sufficient
and core technologies to cater for
amount for mobile TV services so
the thousands of new ways that
operators and content providers
mobile technology will be used, of
have enough money to fund the
which mobile TV is one.
business case.”
As for the future of mobile TV, Thevenot states: “We expect video
Looking ahead
consumption on mobile devices to
In terms of future outlook, Ericsson
continue to rise, both in the home
estimates that mobile video traffic
over Wi-Fi, and via mobile networks.
will increase tenfold by 2020,
We continue to add capacity
ultimately constituting around 55
to our mobile network, ensuring
per cent of all mobile data traffic in
that customers can watch video
38 TVBEurope
www.tvbeurope.com January 2015
Feature
The changing
landscape of pay-TV
Melanie Dayasena-Lowe talks to QuickPlay Media’s Mark Hyland on the latest innovations in mobile video content, monetisation opportunities and trends in mobile content
Mark Hyland: “With unbundling, consumers are increasingly discerning about what they want”
s viewers continue to look at alternative
A
When Hyland moved to QuickPlay Media in 2005,
Streaming content
devices to the traditional TV screen
he described mobile video as “very basic with music
So how are the latest innovations in mobile
when it comes to consuming content,
videos, news clips, etc”. Most of the mobile use was
video content and TV Everywhere technologies
QuickPlay Media’s Mark Hyland, SVP of
driven by simple SMS but already people were doing
supporting a new wave of mobile media
Global Sales, believes this creates new
simple web searches and browsing, he notes.
experiences in and out of the home?
opportunities in the areas of mobile content, OTT and multiscreen.
“Since then I’ve used my background in
“There’s a major shift because of the relative
broadcast and other types of media to bring
success of a range of technologies that are
Hyland’s background and experience lends
that perspective to the company. I’m almost
grouped under OTT/TV Everywhere. People are
itself well to connecting the worlds of broadcast
a guinea pig in terms of the users. A lot of our
accessing content in a way that is beginning
and digital. His earlier career between 1998 to
partners/customers come from the broadcast
to reshape the economics of business. Users
2005 saw him lead the online expansion of the
space such as the studio world or linear TV.”
understand that streaming is a viable way to
Canadian Broadcasting Corporation (CBC). In
He adds: “At a time when there’s significant
his role as director of business development and
technological change, it helps to have been on
new media, he was involved in making
the other side looking at digital workflows and
CBC.ca the top news site in Canada. This was
how those have changed over the years.”
followed by him being appointed to the role
“It helps to link all the different parts of an
deliver content and that is in turn creating a shift to the next generation of TV,” he says. He notes that on the IPTV side, there have been a lot of telco players around the world that have used traditional infrastructure to
of director of broadband and digital services.
ecosystem together. We’re completely focused
“It has been a bit of a trend in my career to
on making it easy for broadcasters to get their
develop pay-TV services.
look at how media of all types is affected by
content out to whoever they need to get it to.
Netflix, which are using streaming technology,
new types of distribution, digital and by new
We’re particularly focused on pay-TV, mobile
mostly focused on VoD, although some are
devices,” he explains.
and pure OTT,” Hyland explains.
increasingly focusing on linear.
Then along come OTT players, such as
TVBEurope 39
January 2015 www.tvbeurope.com
Feature broadband infrastructure. Although
bouquet of services to be provided
they want. They’re less accepting
viewers can use their devices
rather than picking the exact
of delays, which are a result of
outside the home, a lot of usage
thing they want.”
windowing practice, territories with
has been on Wi-Fi and at home.
With more choice and more
different speeds etc. Asia might
“Over the next year or so we’ll start
competition, Hyland believes the
want the latest offering from the
to see more LTE broadcast. The
options for content will continue
UK/US immediately and there’s no
delivery for broadband video can
to expand. “The technology
technical reason why it shouldn’t
be wireless more and more.
means there is a lower barrier
be that way. Business practices
of entry for offering a pay-TV
are under increasing pressure to
pay-TV services being run directly
service and I would expect
keep up and the world gets a
over LTE broadcast in use cases
consolidation as the success of
little bit smaller in terms of TV and
where we have very popular
a brand should enable more
movie releases.”
channels. These channels can be
revenue, which will enable more
broadcast rather than taking up
and better content.”
“We’re going to start seeing full
the individual bandwidth of those
Hyland reflects on the trends he
Hyland has also noticed the differences in the way content is consumed in different markets.
unicast streams for each individual
is seeing in mobile content and
“We’ve seen markets in Asia that
user. The multicast capability
how these are going to dominate
are mobile first where people are
should really help the economics of
future content consumption. One
using the large screen Apple/
streaming live channels.
of the trends he has noticed is
Android and more phones than
that in those countries outside of
tablets. Thailand is still PC/laptop
“We’re going to need to have a “What was a mad science
lot more linear TV going OTT, not just
the more established TV markets
driven. In Eastern Europe, viewing
experiment going on in the
the VoD that we’ve seen popularised
that haven’t necessarily been seen
is on main screens but also on
basement with streaming to a
around the world,” he adds.
as typical pay-TV markets, there’s
tablets and laptops.”
range of devices [iPads and so
the potential to have a relatively
He concludes: “There’s a whole
on] is now threatening or being
Click and pay
low cost offering with VoD or a
set of opportunities for mobile
welcomed, depending on your
Monetisation is a key area of interest
bouquet of linear channels. “Those
operators in different parts of the
perspective, straight into the main
for many content providers so how
services are a continuation of
world and it points to disruption
living room, right into the main TV
can multiscreen video services be
the trend that sees a lot of
with the next generation TV. Look
infrastructure,” Hyland comments.
monetised with the most successful
internet access being rolled out
at what Swisscom has done.
business models, including dynamic
around the world on mobile first
Looking at pay-TV infrastructure
advertising insertion?
now in places like India and parts
that uses all the technologies of
of Asia and Africa.
OTT, it points to much lighter and
A lot of significant players are realising they can deliver a full pay-TV experience with OTT and TV
Hyland explains that the current
Everywhere technologies. He points
monetisation opportunities include
out that technology development
subscription-based, transaction-
has accelerated to a much faster
based, advertising supported
rate with more rapid releases. “You
and pirated. “They exist and will
can update an application as often
continue to exist. The offers are
as you like and new updates can
changing. There’s more pressure for
bring new functionalities. You get into
‘click and pay’ for channels.
this whole trend of software defined
Consumers might not realise that
networks and virtualisation of servers.
they just want a couple of channels
The hardware is getting good enough
and those will end up becoming
that you can run software to do what
quite a bit more expensive than
you need to do. The software can
they are as part of a bundle.
iterate quickly so there are fewer
Providers of these services as well
constraints with the hardware.”
as regulators will have to grapple with how far they want to go
Next generation TV The main trend for QuickPlay Media
down that road.” In his opinion, Hyland still thinks
is next generation TV, defined as
the best model for pay-TV is a
OTT technologies from mainstream
subscription model. “The type of
right through to the living room.
recurring revenue where you have
“Although it has had a huge impact
a bundle of services I think is very
already, we think there’s a lot more
good for the provider. I also think
change to come.”
it’s pretty good for the consumer.
According to Hyland, the first
By committing to a certain bundle,
stage of OTT is mainly driven by
they’re enabling a slightly broader
“With unbundling, consumers are increasingly discerning about what
flexible pay-TV infrastructure than we’ve had in the past.”
40 TVBEurope
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Feature
Harrowing tales North Korea: Life Inside the Secret State, which won the Features category
One content trend was not being happy with exposing just the brutality and staying single theme, but desiring to show a fuller, rounder story that gets to the humanitarian and motivation aspects. In this sense – and for good editing – many of the finalists deserved to be called ‘films’.
Heading for a multimedia future Tina Carr, director of the Rory Peck Trust, pointed to a massive change of tack supported by new trust patron Lord Black of Brentwood – the conservative peer Guy Vaughan Black who is executive director of the Telegraph Media Group. “We were known in the beginning for helping freelance camera people. They are now multiskilled and working across all platforms, and for a long time now we have been helping freelancers working in news print and online, and many photo journalists,” said Carr. “We are making moves in those areas now to get the engagement of the employers.” Does this imply expansion in staffing? “We won’t do that because the essence of the way we work is that we are small and work with partners and contacts on the ground,” she said.
George Jarrett reflects on this year’s deserving winners of the Rory Peck Awards
T
‘Massacre, murder, cruelty, political corruption, suppression, and war zones are the diet freelance newshounds follow’
he Sony-sponsored Rory Peck Awards – this time 91 entries from 54 nations – highlighted astonishing stories and repercussions that
only writers of the calibre of Shakespeare, John
“We are 12 people part time which adds up
Webster and Charles Dickens might have penned.
to about seven full time, but we cover the
Massacre, murder, cruelty, political corruption,
world through people working in regional
suppression, and war zones are the diet
programmes,” she added. “We just need to
freelance newshounds follow. The titles of the
have enough money to give as many grants
entries confirmed that conflict and its fallouts are
as we need to give.
the number one obsessions, and that freelancers
“But demand has quadrupled in the last five
now go where staffers largely choose to avoid.
years and we never ever in any year managed
With James Foley and Steven Sotloff having
to give help to everybody who needed it. And
been murdered by ISIS – making it 70 journalists
this year we are not able to again.”
killed while covering Syria – we might have
The Rory Peck Awards and associated appeals
expected some tributes to fixers who had got a
are Carr’s bottom line effectively. How then can the
journalist to tricky locations while protecting their
trust support freelancers who cannot go home?
back, but this was the year of tenacious lone
“That is very important. We recently ran a
wolves who judged their story to be as valuable as their lives. The only fixer mentioned was Khaled Abu Ghali from Gaza, who was present to collect
workshop for Iranian exiles and we are hoping
Ben Steele shot Hunted for Blakeway Productions and C4’s Dispatches slot
the Martin Adler Award.
to increase that side of our work because in Africa there are a huge number of exiled journalists,” said Carr.
with the very excellent report Syria’s Second Front)
“I want to bring in the other sectors of the
to do one great story from within their country,
and the Saudi Arabian national Safa Al Ahmad (a
media industry, and the links are being made,”
and then cannot return. The Syrian journalist
finalist in the Sony Impact category with Saudi’s
she added. “We have been helping, speaking
Muhammad Ali (a finalist in the feature section
Secret Uprising) are two such examples.
and writing about freelancers for almost 20 years,
One disturbing new trend is that journalists get
TVBEurope 41
January 2015 www.tvbeurope.com
Feature and now it seems really strange that
attacking gay people,” said Steele.
we have had to work so hard to
“It’s all too easy to divide the world
justify how much they matter.”
up into goodies and baddies. It’s not just about the physical assault
Showing the world what was happening
where they beat people up. It
News category winner Pacôme
and outing somebody online,”
Pabandji, for Central African
he added. “Tens of thousands of
Republic: Descent into Chaos,
people in Russia log on.”
is first about the mental torture
Steele visited St Petersburg twice for
would not name the armed faction that had kidnapped and brutalised
two weeks, and found the gang he
him, looted his house, forced him to
infiltrated via social media. The starkest
move his partner and child to safety,
memory of his film is a beautiful but
and relocate dozens of time for his
chilling young woman called Katya,
own safety. He wanted to go home.
who says: “The journalist goes, and the guys stay,” just as charmingly as,
“I did my film as personal
“I’ll have a cuddle please”.
conviction. At the beginning of the (civil war) crisis there was no one to tell the different armed factions to stop what they were doing –
Central African Republic: Descent into Chaos by Pacôme Pabandji was the winner of the News category
only journalists with cameras to denounce what was going on in the CAR. That’s the reason I started, and
control of that group of men,” said Steele. “You have to wonder about
no politicians or Western type of influence,” he added. “There were
“She has got so much energy around her and she is in total
“We have been helping, speaking and writing about freelancers for almost 20 years” Tina Carr, Rory Peck Trust
people’s motivations and about why they hate so much. There is an awful lot of self-repression in Russia.” C4 got behind this production with double-page spreads in
once it began I could not step back.
national newspapers, constant
“I worked for seven months
trails, and by painting its HQ logo in
on the story, but then my house
rainbow colours.
was looted and I lost everything –
any active team member was in
“Real life can be more incredible
camera equipment, laptops, and
keeping with the prevailing mood
than you can make up. I am
footage,” he continued.
that freelance news journalists will
interested in narrative. I did not just
it was the global number one
“It got over 40,000 tweets –
not be denied by any dictatorial
want to expose what is happening,
trend – and since then it has had
scratch, the camera kit loaned by
state, and a reminder that covert
I wanted to explore the motivation
an enormous impact around the
his commissioner AFPTV. Does war
operations as vital as this must be
and the humanity of the vigilantes
world,” said Keene.
bring out the hate of journalists?
kept totally secret.
Pabandji had to start from
“Yes. The perpetrators of different
Japanese journalist Jiro Ishimaru
types of crime are all really afraid
trains the reporting teams in China.
of having their actions shown to the
The audience saw officials picking
world,” he said.
on one woman wearing trousers and
Pabandji has a Bachelor’s
another running a bus service – with
degree in humanitarian law. Did
both shouting back as they might do
that help him? “I was able to
in any free country.
understand what was wrong on the basis of law,” he said.
A recorded Ishimaru said: “There has always been a wall between
“The reason I was doing it was
North Korea and the eyes of the world.
because I knew it would be helpful
Overcoming that wall is the ambition.”
if I was showing the world what was happening. I knew there was something I could try to stop.”
Real life can be more incredible The Sony Impact Award was won by
Behind the walls in North Korea
an astonishing story about Russian
Team Mindeulle won a very
people to humiliate them mentally,
strong Features category, for the
beat them up, and put the whole
brilliant and insanely brave covert
thing online. Ben Steele shot Hunted
production North Korea: Life Inside
for Blakeway Productions and C4’s
the Secret State. The absence of
Dispatches slot.
vigilante gangs that kidnap gay
42 TVBEurope
www.tvbeurope.com January 2015
Robotics Forum
Robotics the latest moves
The last Robotics Forum was two years ago. What has been the most significant development since that time? Cuomo: Two trends have become visible on
In this month’s Forum Philip Stevens moderates a discussion relating to robotic camera systems
the radar – the expanded use of camera track systems inside the conventional studio application and second, deployments with multiple synchronised control locations. Examples of these applications include live national talk shows and
Robotic systems have been around for some time, but the technology is ever improving as demands increase from broadcasters. Looking at the latest issues are (in alphabetical order) Anthony Cuomo, CEO, Telemetrics; James Eddershaw, sales director, Shotoku UK; Neil Gardner, product manager, Vinten Radamec; Peter Pühringer, sales manager, Camerobot; Bruce Takasaki, marketing product manager, robotics, Ross Video.
flash news studios for emergency reporting. Eddershaw: For Shotoku, the last two years have been very productive, both in terms of continued growth in our worldwide customer base and major new product developments. The launch of our new SmartTrack rail camera system has further expanded our range and offers customers even
TVBEurope 43
January 2015 www.tvbeurope.com
Robotics Forum the other camera robotic systems should be very flexible and the graphical user interface should have a lot of possible adjustments, allowing, for example, supervisors to define templates of camera moves and positions to exactly meet design requirements. Takasaki: In the past our customers were essentially divided into two camps: those looking for free-roaming pedestals and pan-tilt heads primarily to improve operational efficiency, or those interested in creating unique and compelling moving shots with a track-based system. Few, if any, were looking for both. More recently, we are seeing increasing interest in combining our Furio track-based systems with Cambot free-roaming pedestals in the same studios. This has lead to the development of a converged control system that will bring together the best features of both platforms.
What questions should a customer ask of a potential robotic system supplier to ensure the right equipment is selected? Cuomo: There are several answers to this question, but perhaps one of the most important is the issue of system scalability and the capability for future additions and equipment changes. When investing in a robotic system, users should be assured they can add to, upgrade software or change equipment within the system as required. Eddershaw: Some obvious technical questions relate to payload capacity, support for manual more choice when it comes to designing creative studio configurations while still benefitting from the economic and production quality improvements offered by robotic camera systems. Gardner: Several areas. The impact of software on automation systems means it’s no longer seen as an add-on but is part of the industry. Next, the increase in the ease of installation and set-up allows tools
override, system reliability and resilience, and
“When investing in a robotic system, users should be assured they can add to, upgrade software or change equipment within the system as required” Anthony Cuomo, Telemetrics
compatibility with a particular lens, old or new. Sometimes as important as the technical specifications, however, are questions about the supplier’s experience and company-wide focus on what is a very specialised market. Gardner: With the big move within the industry towards using IP, customers need to ask if a
provided by automation suppliers to assist studios
vendor’s equipment can interface with standard
in the installation and set-up process. Thirdly, more
network equipment for connectivity, so that
advanced systems, for example, in spatial systems,
commodity items can be used off the shelf. They
like Vinten Radamec APS that deliver improved
Pühringer: The camera robotic system must
should also ask if full local service and support
location accuracy and eliminates accumulated
be more adapted to customer and studio
is available – are you dealing with a reputable,
errors. Next, faster and smoother motion has led
requirements. Customers won’t pay for features
global company? Does the supplier understand
to improved shots and wider creativity due to the
they don’t need. But customers don’t like special
the broadcast industry’s needs? With the industry
range, extent and accuracy of motion. Finally,
systems. That means the standard camera
developing so rapidly, is the automation provider
convergence of virtual reality and augmented
system has to be cascadable. Low cost version
investing in R&D with a roadmap for embracing
reality means an increase in sophisticated
for simple features, high-end version for high
future technology?
presentations and ease of control due to
demands. On the one hand, the robotic system
Pühringer: Which features, visual effects or
repeatability of shots and accuracy of positioning.
should be very easy to use for daily operators, on
design elements are needed – on-air camera
44 TVBEurope
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Robotics Forum moves, degree of automation,
from multiple locations via IP is a
integration into the studio workflow,
powerful advantage.
repeatability of camera positions,
Eddershaw: Most modern robotic
reliability of the robotic system.
camera systems are controlled via
The supplier of the camera robotic
IP and this brings many obvious
system should be involved during
benefits in terms of system flexibility
the design and planning process.
and ease of installation and re-
With the new camera robotic
configuration. As always, however,
systems it is possible to make all
there are two sides to the coin. It
camera moves in simulation mode.
is important that systems do not
Afterwards all simulated camera
lose the resilience and reliability
moves can be transferred to the
of multi-path point-to-point serial
real camera robotic system.
communications offered by
Takasaki: One of the most
previous generation systems. We
important aspects of owning a
have developed several important
robotic camera system is after-
features to ensure the IP networks
sales support. Robots are complex
offer the best of both worlds.
mechanical systems that require
Gardner: IP gives the end-user
on-going maintenance and
the ability to leverage commodity
support. So it is very important
equipment, instead of investing in
that customers ask their potential
bespoke equipment that is costly
suppliers how they are going to
and not as flexible. It also means
provide technical support on an
that studios can easily begin
on-going basis. Along the same
shifting towards wireless and adopt
lines, longevity is critical when
wireless technologies as they feel
it comes to robotics. There are
appropriate. A further advantage
numerous robotics suppliers out
is that there is the potential for
there today, but many of them
support to be provided through
are small start-ups and the industry
remote diagnostics and interactive
is littered with similar companies
questioning or even walking the
who did not survive. So I would
customer through a problem over
also ask, ‘How do I know you will
a remote session. It also becomes
be around to support me in five
easier to introduce remote studios
years? Ten years? How long has
as an extension to the main
your company been around and
studio network.
what is it doing to ensure it stays in
Pühringer: We see mainly two
business for the long run? Can you
aspects of IP. First, using IP eases
provide references? How many of
the communication between
your robotic systems are installed
the different processes involved
worldwide and who is using them?’
in the production process. The importance of hardware interfaces
IP technology is on everyone’s mind these days. What impact does IP have on robotic camera systems?
declines, whereas the importance of IP interfaces increases. Secondly, the installation of a system has greater influences on the IT environment of the customer. The customer’s security and hardware guidelines have to be regarded on installation. The systems must be adapted to
Cuomo: Installation and
the global scoped net addresses
maintenance is easier with IP
of the customer’s IT department
infrastructure due to simpler and
or support available surveillance
less costly cabling. Telemetrics
infrastructures, such as SNMP.
utilises normal computer network
Our robotic system uses IP-based
equipment. In addition, the
interfaces. The controllers or
ability to control equipment
computers of camera robotic
TVBEurope 45
January 2015 www.tvbeurope.com
Robotics Forum systems are integrated into the IT structure of broadcasting centres. Camera robotic systems should be equipped with modern redundant database systems. RAID systems for data saving should be a standard. Takasaki: Ross robotics systems have been IPbased from day one, and as a result have always natively supported a distributed architecture without the limitations of serial interfaces. This greatly simplifies the installation architectures, particularly in larger facilities where the control room may be far from the actual studio, or where there are a number of robots shared between multiple control rooms. In addition, being able to deliver both robotic control and positional tracking data over the same LAN cable provides seamless integration with studio automation and virtual and augmented reality systems
Does the increasing use of 4K make any difference to robotic systems? If so, how?
James Eddershaw, Shotoku UK
Cuomo: Although not currently a factor, their growing use will eventually require robotics manufacturers to include control of these cameras and lenses in their product portfolios. Eddershaw: 4K does not particularly affect the core requirements of a high-end robotics system. Precision of movement, pre-set shot accuracy and a wide range of lens control options apply just the same to 4K as any other system. Gardner: Robotics and automation effectively
Peter Pühringer, Camerobot sophisticated and more accurate processing
“Whether it’s a new, compact-sized studio or a huge concert hall, camera control systems can enhance production creativity without the associated higher costs” James Eddershaw, Shotoku UK
work with whatever cameras and broadcast
with the video signal. Takasaki: 4K video will impact robotics in two ways. Most importantly, the higher resolution video is more sensitive to vibration, making manual operation more difficult and emphasising the need for smooth motion. This puts more stringent requirements on the ability of the robotic system to produce smooth, vibration-free, robotic movements. The second way in which robotics will be impacted is in the
equipment happen to be connected to
peripheral devices that are part of the overall
them. Where there is potential for significant
sophisticated computers they can begin to
robotic system. For example, the video
development is areas like through the camera
analyse the video and do things with it. The
thumbnail capture systems, video routers, and,
processing or video analysis. Because we’ve
benefit of 4K is that there is more detail and
of course cameras, will need to be able to
got cameras that are now connected to
resolution and therefore you can do more
handle 4K signals.
46 TVBEurope
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Robotics Forum Clearly, there are cost savings when it comes to reducing the number of camera operators, but what other economies can be achieved through a robotics system?
easier for a single operator to manage larger numbers of cameras without loss of quality or consistency. New electronic servo control systems enable even higher accuracy of camera positioning and VR tracking. We are continually refining and developing the system to meet the demands of our varied clients around the world. So for us, whatever the next innovation will be, it will certainly be driven by our customers. Gardner: With more PCs in the studio automation
Cuomo: Some of the most recurring feedback
environment, there will be more image processing
we get from end users is how their new
done by that automated system. This allows
Telemetrics camera control and track systems
assisted control of the shots rather than relying
open up a wider range of shot possibilities.
completely on the operator. You would see this
Whether it’s a new, compact-sized studio or
in tracking a person or object round the studio without an operator having to playout pre-set
a huge concert hall, camera control systems can enhance production creativity without the
Neil Gardner, Vinten Radamec
shots or adjust remotely with a joystick. It includes
associated higher costs. Eddershaw: Cost saving is always a very important factor when deciding to use robotics,
“We are beginning to see the next generation of robotic control systems start to emerge” Bruce Takasaki, Ross Video
but it is increasingly not the overriding factor. Whether it’s a new, compact-sized studio or a huge concert hall, camera control systems can enhance production creativity without the associated higher costs. Camera positions that are impossible to achieve with manned cameras are often easy with remote units, for example ceiling mounted or long, curved rail track systems. Gardner: Other efficiencies include easier training.
features to help cameras focus more quickly
When you start to use automated robotic systems
because they are getting feedback through the
with pre-programmed shots and control systems
computer system on how good the focus is, what
taking over some of the set-up of the production,
the white and colour balance is, all these things that often take a lot of manual time within the
then it makes it easier to train new people coming into the industry. There are fewer mistakes in the
Bruce Takasaki, Ross Video
studio. There will also be more use of touchscreens and gesture control in the automation systems.
shots being replayed and fewer retakes. The repeatability is better and there is more consistency
enable virtual sets and augmented reality, which
Pühringer: We expect the machine intelligence
in the shots. There is the potential for easier and
can add stunning set designs or visual effects
to increase. The camera robotic system will
faster access to live events. One journalist with
without the cost of creating physical sets.
make automatic correction of camera positions and camera moves by itself. It will be able to
a tripod, robotic head and camera, can report on breaking news in the field. The use of remote diagnostics to solve issues instead of having someone sent to the studio. Software updates, addons and new features can be easily downloaded without replacing or installing new equipment.
What is the next innovation we can expect when it comes to robotic camera systems?
detect automatically when the current picture is different to the presets. Currently this correction is done by an operator via joystick panel. Takasaki: We are beginning to see the next generation of robotic control systems start to emerge. These go beyond simple robotic shot
Pühringer: Robotic systems allow high precision and very fast movements, especially in complex
Cuomo: Auto tracking, which has long been
recalls and joystick movements, to combine
and huge virtual sets with interaction of camera
available in video security applications, has
control of other devices and systems into
movement and virtual elements. With the use
never been good enough for live broadcasting.
complete, integrated solutions. For example, our
of camera robotic systems, fewer people are
This feature will soon be improved and offered
Legislative Control Systems combine robotics,
necessary in the control room and/or studio.
in higher end camera control systems. The
switchers, routers, graphics and cameras, all
Using automated camera systems means the
software-based solution will keep subjects
controlled and coordinated by a single platform
show minimises stress and failures.
centred in the frame and will be ideal for use in
that provides a unified graphical user interface
Takasaki: Robotic cameras are a key enabler for
a variety of applications such as sports, teaching
to the system operator. Similar solutions have
studio automation systems, which can introduce
and entertainment.
been developed for other applications, each
greater efficiencies in the control room,
Eddershaw: Innovations in robotic control are
delivering a purpose-built, intuitive interface that
dramatically reducing the number of positions
happening all the time, such as control systems
allows a single operator to control a complex
required to produce a show. Similarly, robotics
with more automated capabilities making it
installation with ease.
48 TVBEurope
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Interview
Broadcast and production From creation to consumption require a careful balance of editorial input and sophisticated computer algorithms but the possibilities are almost endless. What has 2014 taught us about the progression of the industry, and where it currently sits in its evolution? With all the changes that are happening, from how content is created to how it is viewed, one constant remains: the content itself is still king. It’s a cliché but content is still what matters. Just look at the furore over inaudible dialogue in various period dramas in 2014. The British public care deeply about TV, it is
Ahead of this year’s BVE in London on 24 to 26 February, for which TVBEurope will be publishing a brand new BVE Daily, James McKeown sat down with Alison Willis, portfolio director for i2i Events Group’s Environment and Broadcasting Division, to discuss the changing industry environment in the first of a two-part Q&A
ingrained in our culture now, and they will always want more and better content. The important thing for the industry is to keep remembering that in its quest to satisfy all the other viewer requirements. On that note, consumer habits are clearly changing and broadcasters need to continue to not just be
Much has taken place between the BVEs of
industry we are not there yet but very soon the
2014 and 2015. In terms of news, technical
established methods of cabling up studios, OBs,
developments and industry trends, what has
post houses and more could be superseded
stood out for you in particular?
by standard internet connectivity. It promises a
The last 12 months have seen remarkable
more cost-effective approach. Again, there is
changes, even by the standards of an industry
still work to be done in this area, but now that it
like broadcast that is constantly evolving. Take
is technically possible for live video and audio
for example the move from tape-based to file-
to be synchronised down computer cables, the
based programme delivery: that was described
change looks inevitable.
as the biggest change since the introduction
4K continues to generate debate, not least
of colour pictures. This shows the level of
because none of the major UK broadcasters
development we are seeing at the moment.
have yet committed to broadcasting any
As part of that shift, we have also seen the
reactive to this but also proactive.
“The move from tape-based to file-based programme delivery was described as the biggest change since the introduction of colour pictures. This shows the level of development we are seeing at the moment.”
content in a format that is four times bigger in
almost universal adoption of a common Loudness
resolution terms than HD. Many people now
According to the latest Ofcom figures, one third
standard that can be applied to all types of
shoot in 4K – and indeed 5K and 6K – but until
(32 per cent) of the online population in the UK
broadcast content. That is another key change
a broadcaster dips its toes in the 4K water, the
uses the web to watch TV at least once a week.
and one that will benefit all television viewers,
talk will continue. BVE will be a good place to
This is the highest rate of any country in Europe.
whatever device they are using. For the industry,
learn more about the 4K problems that are left to
That provides you with an idea of the shift that is
it means a slightly different way of working and a
solve. At the consumer end, having access to big
taking place. But the baby should not be thrown
need to invest in new equipment. As such, there
data is going to be huge for the broadcasters.
out with the bath water just yet as, according
are still some issues to overcome so I believe that
By gathering, analysing and cross referencing
to BARB, 98 per cent of TV viewing in the UK still
Loudness will continue to make a huge noise at
accurate viewing and user statistics, content
takes place on a TV set. At the moment this is a
BVE 2015, if you’ll excuse the pun.
providers - in their many forms – will hope to
gradual change: an evolution not a revolution.
deliver better and more personal experiences
Ask me again in 12 months time and I might say
across both TV sets and mobile devices. It will
something different, though!
Looking to the future, the impact of IP on the broadcast chain cannot be understated. As an
TVBEurope 49
January 2015 www.tvbeurope.com
Data Centre
OTT breaks through barriers
A pan-European OTT study conducted by MTM for Vindicia and Ooyala indicates a growth trajectory of 80 per cent in the next three years
Steady growth of premium OTT service is expected in all three European regions indicia, specialising in enterprise-
V
class subscription billing, and Ooyala, an innovator in video streaming,
personalisation and analytics, have unveiled the results of a qualitative pan-European study that
According to premium OTT service providers,
“Demand and innovation will go hand in hand” Jay Fulcher, Ooyala
other barriers include exclusivity of access to high-quality, high-appeal content, consumer consciousness and cultural factors. Exclusivity in particular is a primary battlefield for mass-
looks at the current premium service OTT market
market services, with content licensing costs
and its projected growth in the UK, Dutch and
inflating as large OTT businesses, including Netflix
German regions by 2017. The study revealed
and Amazon, invest in long-term, exclusive and
that, while industry leaders are aware of the
the premium OTT market expected to increase
challenges when targeting the mass market with
from €30-35 million in 2013 to €117 million in 2017.
film and TV content, premium OTT technology
Lower broadband penetration in Germany is a
daunting challenges, however with the
continues to advance in Western markets.
contributor to the region’s slower growth rate.
right approach and level of investment, the
Conducted by research and strategy
“The next three years will be a real turning
rewards will be substantial,” says Jay Fulcher,
global studio licensing deals. “OTT providers and new entrants face
consultancy MTM, and involving 30 OTT service
point for the premium OTT market,” says Gene
president and chief executive officer of Ooyala.
providers in the UK, Dutch and German markets,
Hoffman, chief executive officer and chairman
“Technology itself is becoming less and less of
the research revealed that despite a number of
at Vindicia. “Broadband penetration levels
a barrier and as time goes on, we will start to
barriers to entry, industry participants expect to
are rising, connected devices are becoming
see providers throw large amounts of money
see steady growth of premium OTT service in all
increasingly accessible and favourable
at OTT in a bid to differentiate themselves from
three European regions. In fact, the UK market is
regulations are being introduced, which is paving
the competition. Because of this, consumers will
expected to grow from £110-130 million in 2013
the way for OTT providers. The emergence of
have higher expectations when it comes to user
to £390 million in 2017, while the Dutch market
leading players, such as Netflix, is also fuelling
experience and quality of service, which will
is expected to grow from €15-20 million in 2013
competition and investment in premium OTT
put significant pressure on providers to discover
to €190 million in 2017. Industry participants
business models, while at the same time driving
the most cutting edge technology. In effect,
expect to see slower growth in Germany, with
consumer awareness and adoption.”
demand and innovation will go hand in hand.”
50 TVBEurope
www.tvbeurope.com January 2015
Data Centre
OTT on the rise in Poland SNL Kagan’s Abigail Cruz puts the spotlight on Poland’s burgeoning OTT market
Czech Republic Hungary Poland
64.2%
Romania oland had an 88.7 per cent multichannel
P
69.2%
Russia
penetration rate at the end of 2013, the highest in the Eastern Europe region.
Poland’s broadband penetration rate was 48.5
87%
per cent, leaving a gap between multichannel and broadband penetration rates of a little
80%
more than 40 points. Despite a challenging situation for OTT growth, SNL Kagan expects the market to see significant near- to medium-term growth given the various OTT initiatives being
88.7%
implemented by online video providers. Cyfrowy Polsat SA’s ipla maintains its dominance in the OTT aggregator universe with
Eastern Europe multichannel penetration rates
its average number of unique users reaching
Czech Republic
‘Polish broadcasters have started leveraging online catch-up TV services to increase and diversify viewership’
Hungary Poland
49.7%
Romania
48.6%
Russia approximately 4.6 million per month, as of June 2014. It has also added Toshiba smart TVs to its list of supported devices.
48.5%
New OTT players in Poland to look out for
48.9%
include Google Play, launched by Google in March 2014, and PlayPuls, launched by Telewizja Puls in August 2014. Google Play is currently available on computers, smartphones and
48.5%
tablets. As for PlayPuls, users may access over 100 programme episodes through computers.
Catch up
Eastern European broadband penetration rates
On the game console front, Sony’s PlayStation 3 and 4 users will now have free online access to
Poland’s state-owned public broadcasting
and Maxdome. As for Panasonic, it has added
broadcaster TVN’s catch-up service, Player.pl. As
company. TVP operates an ad-based catch-
Vimeo, TVN and Dailymotion.
for Microsoft’s Xbox 360, it currently offers content
up TV service with full-length shows and news
from YouTube, Crunchyroll and MLB.TV. SNL Kagan
programmes. As for TVN, it offers free ad-
internet streaming players, including Apple’s
believes that strengthening video partnerships with
supported TV shows and featured movies to users
Apple TV, Sony’s Network Media Player and
leading national broadcasters and OTT players to
in Poland for online streaming.
Western Digital’s WD TV Live, SNL Kagan
offer both free and premium content would lead to increased platform competitiveness.
As of August 2014, smart TV manufacturers
While OTT services may be quite limited for
anticipates that manufacturers will continue
Samsung Electronics, Philips and Panasonic
to enter into deals with content aggregators
grew their content slate. Some of Samsung’s
and offer better video options to the market in
online catch-up TV services to increase and
recent content partners include Cineman.pl,
the medium to long term, which should
diversify viewership. Telewizja Polska (TVP) is
Ninateka and wp.tv. Philips has added Vimeo
increase device uptake.
Polish broadcasters have started leveraging