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Business, insight and intelligence for the media and entertainment industry

June 2017


Doctor Who

01 TVBE June Cover_V2.indd 1

NAB: A view from afar

Transitioning to IP

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June 2017


Welcome EDITORIAL Content Director: James McKeown Editor: Jenny Priestley Senior Staff Writer: James Groves Contributors: George Jarrett, Neal Romanek, Philip Stevens Sales Manager: Peter McCarthy +44 207 354 6025 Senior Account Manager: Richard Carr +44 207 354 6000 Digital Director: Diane Oliver Human Resources Director: Lianne Davey Head of Production: Alistair Taylor Managing Director: Mark Burton Designer: Sam Richwood US Sales: Michael Mitchell +1 (631) 673 0072 Japan and Korea Sales: Sho Harihara +81 6 4790 2222 PRINT SUBSCRIPTIONS NewBay Subscriptions: The Emerson Building, 4-8 Emerson Street London - SE1 9DU Email

We want it all and we want it now I

’ve just got back from a week in New York and amid all the food and theatre trips, I managed to catch some US TV. I love it, but I don’t love

the number of ad breaks – sometimes a show would be on for literally 30 seconds between adverts. Anyway, among the ads for medicines with the worst side effects known to man, a new campaign for telecoms giant AT&T struck a chord with me. It features Mark Wahlberg talking unlimited usage, unlimited data, unlimited video and unlimited television. “We don’t want just some of our television on [the phone]” says Wahlberg in the ad. “We want all of it – all our favourite shows and live channels.” It’s easy to argue that European consumers feel exactly the same way. Look around the train carriage or bus on your way into work every morning – how

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many of your fellow commuters are watching TV on their phone or tablet? With the proliferation of Netflix, Amazon, NOW TV and the various catchup services available to viewers, today’s media savvy consumer is choosing to watch what they want, when they want – and not when TV schedulers think they should.

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Now, as livestreaming becomes more

have on the more traditional ways of watching news and sport. Will consumers be willing to

prominent, viewers are going to spend even less

watch content on their handheld device for

time sitting in front of the ‘gogglebox’. So far,

longer than their commute?

Twitter seems to be leading the way in engaging

Television as we know it is an ever-shifting

with already established media providers,

landscape. As ever, we’ll be watching what

announcing deals with the likes of Bloomberg,

happens closely. n Jenny Priestley

BuzzFeed and Major League Baseball. It’s going


to be interesting to see what impact this will


Philip Stevens Production and Post editor

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Neal Romanek Technology editor

George Jarrett Business editor

19/05/2017 12:19


TVBEurope June 2017

In this issue




George Jarrett reports from the 11th Digital Television Group Summit

Opinion and Analysis

Broadcast Innovation’s Russell Grute ends a 15-year run in Las Vegas to reflect on NAB 2017 from a distance

16 Feature

Utah Specific CTO and AIMS board member Scott Barrella talks IP monitoring and signal conversion technologies as the transition discussion continues

18 Production and Post

Philip Stevens visits CueScript: ‘the new prompters on the block’


25 Technology


Neal Romanek speaks to BBC Wales as it looks to relocate to a fully-IP infrastructure

Doctor Who has pushed the boundaries of scary TV with the launch of a special binaural episode on iPlayer. Jenny Priestley investigates

04 TVBE June Contents_V3 JG.indd 1

19/05/2017 16:16

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6 TVBEurope June 2017

Opinion and Analysis

Not at NAB 2017! By Russell Grute at Broadcast Innovation


ast year, when I returned from ‘Lost Wages’

in sunny Vegas) whilst passing the Amsterdam

It is evident that 2017’s broadcast and media

RAI (no, really!) the bigger picture looked

technology mix remains complex. Next-

impressive. In the next few days, I discovred that

generation media services are operated,

by zooming out, I could tune out the growing

architected and hosted in apparently endless

noise caused by the generic IT industry, which

permutations. The technology transition from

can over-market the hell out of nothing at times.

linear broadcasting to today’s multi-outlet

following a 15-year unbroken run of sore feet

Unprecedented… big data… analytics…

and scarce fresh vegetables, I resolved that

gone to the cloud… blah. Listening from afar,

way we used to make ‘television’ – defies easy

the NAB conference sessions were informative,

description. Not to mention standardisation.

next year I deserved time off for good behaviour. Many of last year’s dominant themes,

moderated by international and social media.

especially IT scalability, seemed to benefit

entertainment – only loosely based on the

However, the current turbulent disruption in the global broadcast and media business

monolithic media markets such as the US, China

Attacker or defender?

greatly outweighs any technology challenges

and the IT industry. These themes seemed less

A Google-fronted conference panel session

and detours. There are so many possible

relevant to many international broadcasters

comprising Discovery, BAMTech, Viacom

media business models. One key barrier for

in Europe and Asia, operating in sophisticated

and ESPN convened to examine “how

commercial broadcasters is gaining a better

media markets with much smaller audiences.

media companies can bridge the gap from

direct relationship with their viewers and

Last year, NAB felt more like another planet than

linear to digital TV”. The panel highlighted

subscribers. So-called “big data” is proposed to

ever. What might I see from a safe distance that I

how infrastructure used to be a key asset for

optimise programming and ad sales. Sharing and

couldn’t see on the front line?

broadcasters, yet by 2017, the wrong approach

brokering this data is possible technically, but

to infrastructure and provisioning is critically

there are many commercial hurdles.

holding many back.

Adding further complexity, multichannel

Catching the early train to Hilversum on a rainy Monday 24th April (day one of NAB 2017

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8 TVBEurope June 2017

Opinion and Analysis

video programme distributors and service

follow trailblazers like Amazon and Netflix – or

possibilities of human broadcasting, even at

providers often sit between broadcasters

WhatsApp and Facebook – based on their

that distance.

and their audiences.

secure one-to-one subscription? Can new

Also on my hit list would have been face-

On the revenue side, helpful clearer trends

entrants attack with their selective pure-play to

to-face interaction on the crossover between

in ad sales processes emerged – some newly

win new revenue from cross-media audiences?

live TV, gaming and eSports, and to learn more

enhanced by automation, machine learning

To borrow from the Google panel again,

about the practicalities of VR and AI. Cloud-

or even AI, others still requiring a special

“disruptions suck if you’re not the disrupter”

based, (even cloud-native) tools for media

human touch. Firstly, TV ads can now be sold

teased ESPN’s Vikram Somay.

logistics, live streaming, production, graphics and post production don’t require me to attend a

programmatically based on daily allowances - “dayparts”. Secondly, brands and sponsors

‘I’m truly excited by the continuing possibilities of human broadcasting’

could continue to buy time transactionally, depending on their campaign-based perception of premium programmes and slots. What remains

trade show to analyse or integrate them. I now have temporary logins right here at my desktop. NAB is still exciting. At times, very exciting, and whilst I experienced much of that remotely, what I really miss is the human side. Associates

could be optimised by the usual buying within

and colleagues met both by appointment and

denser linear schedules, and continuing to target

What DID I miss?

spontaneously. Whether we chat to buy or sell,

No doubt I missed a lot, and I do wish I had been

tell stories or moan about Las Vegas, you do

and advertisers are on the move? Insurgents

in Vegas to see “a giant leap for live streaming”

get out what you put in. There’s still a lot to be

can use so many new disruptive techniques.

as NASA astronauts Peggy Whitson and Jack

gained from meeting face-to-face.

The skinny bundle, mucho OTT, cloud PVRs,

Fisher reached out to attendees in the first-ever

smartphone ‘apps’ all give new impetus and

4K live stream from space. Not just to experience

well, I will see you next year in ‘Lost Wages’. I’ll

opportunity. Can we see clearly by identifying

the technology, but for the pure moment. I

return via the Amsterdam RAI in September…

who is attacking and who is defending? Is it

would have cheered out loud with the rest of

I just hope everyone else hasn’t already “gone

easier for insurgents launching new services to

the crowd. I’m truly excited by the continuing

to the cloud”. n

specific demographics and segments. Who will thrive whilst audiences, subscribers

I do recommend a year off. However, all being

years Base Station

Camera Unit

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06 08 TVBE Russell Grute_V5 JG.indd 11

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10 TVBEurope June 2017

Opinion and Analysis

The full-service revolution By Keith Bedford, managing director for EBS

dramas and family entertainment, soap operas,

A more accurate reading of the situation would

and one-off documentaries consistently record

place all of the ways in which audiences now find

substantial numbers. Recently, BBC One’s

content on a relatively equal plane of importance.

documentary Rio Ferdinand: Being Mum and

Again, accessibility is what counts. The novelty


Dad generated overnights of 5.2 million. ITV’s

of a platform holds little value next to its ease

ver the past few years, the broadcast

Coronation Street has been riding comfortably

of use and the relevance of its content. A fan

industry has been so concerned with

at about six million viewers per episode for most

of soap operas is unlikely to go looking for their

audience migration that you’d be

of 2017 to date.

favourite shows on a TVoD service. Neither will a

So what, if anything, does this all mean? In the

serious movie buff be likely to wait for the latest

imminent. Viewing figures across these new

short to mid-term, it means that linear isn’t going

blockbuster to appear on a terrestrial network.

platforms are at least partly responsible, given that

anywhere. In the past few years, we at EBS have

even a cursory glance at them is enough to make

seen the format go from strength to strength.

forgiven for thinking the death of linear TV was

it clear the migration is big, and it’s not stopping any time soon. Netflix released some particularly incredible statistics last year, tracking over 93 million worldwide users on a monthly basis, and viewing figures of up to 14 million for its high-end, in-house

For industry services companies like ours, this is hugely important to the way business is done. It’s incredibly rare that a major new client will come to

‘In the face of such incredibly versatile competition, linear TV has not just survived, but in many cases thrived’

productions like Stranger Things and Making

us with requirements that are based in either linear or VoD alone. What we provide in these situations, time and again, are ‘full-service’ solutions that offer consistent metadata and EPGs across multiple delivery formats. The increasing demand for these services means we’re looking into new

a Murderer. The BBC recorded 9.9 million daily

distribution capabilities all the time.

viewing requests for iPlayer this February, an

What this experience has taught us is that “linear

all-time record for the service. All in all, content

versus VoD” is not – for the time being at least –

marketplace aren’t new ones, but they’re ones

streaming rose 23 per cent in the UK across 2016,

a zero sum game. The idea that linear holds

that bear repeating. Change is happening and

generating combined revenue of £1.3 billion.

little to no relevance in the modern marketplace

change is healthy, but it must continue to be

is at odds with the way the viewing public

dictated by the needs of end users. The change

numbers that are indicative of a marketplace

continue to make use of it. In fact, for many

we are experiencing now almost certainly won’t

in a state of dramatic fluctuation.

people both domestically and internationally,

take us exactly where we expect to go. The

it’s still the most reliable and consistent platform

company that’s ready to adapt to and provide

that’s widely available.

for this reality will be the company that thrives. n

These are just a handful of examples – huge

But predicting the viewing habits of next week, let alone next year, is tricky. The proliferation of

Ultimately, the lessons to be learned from this

new platforms and services has made accessing content easier than ever before, but it has also made it far more complicated for consumers to feel confident that they are making the right decisions for their needs. It’s become crucial that end users trust their chosen platforms to not only to deliver the entertainment they love, but also to deliver it in a form that best suits their individual requirements. Content is king, as the saying goes. These days, however, accessibility and consistency are next in line to the throne. In the face of such incredibly versatile competition, linear TV has not just survived, but in many cases thrived. In the UK, the four major terrestrial TV stations all boast monthly viewing figures well above the 100 million mark, with BBC One pulling in 178 million views in February of this year alone. Linear outlets also remain the go-to places for

The cast of Netflix’s Stranger Things

‘watercooler TV’; live sporting events, weekend

10 TVBE June EBS_V4 JG.indd 10

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TVBEurope June 2017

Opinion and Analysis

This isn’t the end for the remote control it’s a new beginning By Menno Koopmans, managing director for EMEA, Universal Electronics


f all the technological innovations we’ve been witness to over the last few years, there are two that have significantly

impacted perceptions of the remote control. The first is the rise of OTT content services. Recent research found that 20 per cent of US pay-TV subscribers are dissatisfied with the service they receive – a 100 per cent increase since 2013 – and the average age of a BBC One viewer in the UK has now risen to 61. This is a clear indication of terrestrial TV falling out of favour with consumers. This trend is not emerging: it’s widespread.

Consumers have used RCUs consistently since

than clumsily switching between an arsenal of

Deloitte’s 11th ‘Digital Democracy Survey’ found

the 1950s, and the reason for their longevity

remotes. As the proliferation of IoT continues, there

that “almost half (49 per cent) of US consumers

comes down to their willingness to adapt. The first

are also endless possibilities for manufacturers

and nearly 60 per cent of Generation Z (Gen Z),

iterations of the RCU featured only a few buttons,

looking to include specific features within the

millennials and Generation X (Gen X) subscribe to

because this was all that was required to browse

RCU itself.

at least one paid streaming video service,” while

the few channels available and adjust the volume.

the pay-TV dissatisfaction research from above

Then, as the number of available channels

opportunities. With less of a need for traditional

also found that over 63 million US broadband

increased, RCUs increased in size and included

numbered buttons, manufacturers can experiment

households are already subscribed to at least

more buttons to accommodate. Finally Smart TVs

with new and intuitive ways of scrolling through

one OTT video service.

came along, which meant the RCU had to evolve

menus and discovering content. This could be

yet again to allow for more intuitive navigation

through the use of a touch screen or ‘track pad’

between various menus and applications.

that allows viewers to navigate more naturally,

The next trend in question is IoT. Although still in its infancy, companies and consumers are starting to realise the benefits of having connected home

What we’re witnessing is another of these

The rise of OTT services also offers a wealth of

as they would on their phone, or even through

devices that can communicate with each other to

transition phases. The RCU is far from dead; it’s just

voice control technology that lets them simply

perform a variety of tasks, from turning on the lights

facing its most challenging evolution yet.

say the name of the film or TV show they want to

in the bedroom to switching on the dishwasher.

The modern consumer wants a remote control

watch – no more endless scrolling or inputting the

According to a forecast summarised by Forbes,

that reflects the way they consume entertainment.

title letter by letter. If implemented in the right way,

the IoT market will consist of 30.7 billion connected

Whether they’re watching a film via an OTT

RCUs have the potential to deliver a unique and

devices by 2020, and 75.4 billion by 2025.

provider or browsing through playlists on their

indispensable user experience.

Despite the positive advantages of both

favourite music streaming service, they need a

Ultimately, the success of modern-day

technologies, they also risk throwing the future of

device that’s functional, intuitive, easy to find

RCU companies lies in their ability to realise

the remote control unit (RCU) into doubt. With OTT

and, most importantly, universal. It must allow for

the potential of OTT and IoT, and to embrace

content frequently consumed on smartphones

compatibility across a number of different devices

innovations like voice and gesture control instead

and tablets and IoT devices being controlled

and brands, while also being as simple as possible

of considering them as direct competition. By

through artificial intelligence methods like voice

to set-up and use.

focusing on how consumers are using these

and gesture commands, it’s understandable

Universal compatibility is partly where the future

technologies and creating units specifically

to think that there’s no longer any need for

potential lies for RCU manufacturers. This ‘all-in-

designed to accommodate these new habits,

the humble remote. However, while many are

one’ concept better reflects the habits of the

remote controls will not only remain as a staple

forecasting this as the end of the RCU, we believe

modern day consumer, allowing them to control

part of any household – they’ll be used more

this is a new beginning.

all their home devices from a single point, rather

frequently than ever. n

12 TVBE June Opinion_V3 JG.indd 10

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TVBEurope June 2017


The rising IP continent By Scott Barella, CTO, Utah Scientific and member of the board of directors, AIMS

IP monitoring

interface card (NIC) in small, medium, or large

Conversion to monitoring over IP can reduce the

groups using 10-Gb/s, 40-Gb/s, and 100-Gb/s ports.

number of SDI output ports from the current SDI

Given that many blade servers can utilise a

core router. Because monitoring is a key aspect

shared or mezzanine NIC, this concept could


of any SDI plant, converting monitoring signals to

support a lot of signals across multiple server

s IP interoperability standards like SMPTE

uncompressed IP is not a high-risk option – unless,

nodes to supply the SIAB preset channels. Once

2110 continue to mature, they are paving

of course, the conversion involves a master control

each station node has been manipulated with

the way for broadcasters’ eventual

room, for example. Missing a commercial spot

graphics and effects added, the final programme

wholesale migration to all-IP operations. Most

would mean a loss of revenue, and operators are

output is sent out via the same port as the preset

broadcasters don’t need to be sold on the

keen to avoid this type of problem as much as

signals – thus taking advantage of IP’s native

potential benefits of IP, not the least of which is

possible. However, IP monitoring is appropriate for

bidirectionality. In this manner, an SIAB could

drastically reduced OPEX through the ability to use

other, more low-risk operations. When converting

become a very interesting application for new

less-costly cabling and commodity hardware. By

SDI to IP for monitoring, operators can take

IP signals in coming years.

unbundling hardware and software, interoperable

advantage of the opportunity to recover a lot of

IP technologies give operators the leeway to

SDI output space – perhaps even half – on the

Router tie lines

source software from various vendors – allowing

core SDI router, since much of the router is already

SDI router tie lines are another logical use of

them to choose best-of-breed solutions. Yet

dedicated to monitoring anyway.

uncompressed IP signals in situations requiring operators to limit SDI connections to and from

another IP benefit is the increase in ethernet port speeds, which ca support HD and 3G resolutions and frame rates in terms of raw bandwidth. However, the transition from SDI to uncompressed IP as the primary means of moving signals throughout the facility won’t happen

‘By leveraging SDI routing, both IP and SDI environments can coexist in this hybrid fashion for years to come’

different SDI routers. Using IP instead of SDI, operators can aggregate sources from different SDI routers in a ‘pool’ of IP signals. From the pool, signals identified by multicast address can be sent to several different routers. Given that switching IP signals remains a bit tricky, this solution gives the

overnight. For operators with sizeable investments

advantage of SDI switching, such as the ability to

in large-scale SDI plants, the transition to IP-based

switch multiple signals simultaneously.

topologies might seem a little like the rising of a

Considering that traditional SDI monitoring

new continent in the middle of a vast ocean –

consumes a lot of coaxial cable, distance might be

an ocean of SDI. It’s not just about navigating

limited if the operator is using a short multilink-style

inherent strengths to form a robust solution, given

and understanding the new IP technologies;

cable or if the monitors are beyond the practical

that traditional tie lines require a fixed set of inputs

operators need to figure out how to implement

limits of coaxial cable. Not only will one IP fibre

and outputs from each router. This gets inordinately

IP within the SDI infrastructures that have served

cable carry many signals, it has the capacity to

complicated the more routers are involved.

them well, and in a manner that preserves current

carry more than 100 Gb/s when connected to

SDI workflows. The good news is that the broadcast

a 100-Gb/s port. For HD signals, that would yield

enough set of signals could be aggregated, the

industry is making great strides in developing and

approximately 66 uncompressed sources using a

need for massive routers may be alleviated and

adopting open IP standards and methodologies,

single cable!

pushed to smaller router cores.

Master control – station-in-a-box

have over IP switching is the ability to do ‘salvos’,

If the IP pool could be built so that a large

One of the chief advantages that SDI routers

the most important being SMPTE 2022-6 and TR03/04 (SMPTE 2110 draft).

This approach offers a blend of each signal’s

This category has certainly advanced over the

which refers to switching many signals to many

IP signals will gradually come into the plant and

years, as many operators have embraced the

destinations simultaneously within one frame. This

find their way over time – most likely in the form

ability to increase efficiencies by managing

is extremely challenging for current IP switchers;

of operational ‘islands’ of functionality working

multiple channels using the ‘station-in-a-box’ (SIAB)

therefore, with a mix of both SDI and IP, SDI routers

in current broadcast infrastructures. Taking into

concept. SIAB lends itself well to IP since the servers

can provide frame-accurate switching and IP

account key parameters such as control systems,

are ideally suited for delivering IP signals.

switches can use multicast to distribute signals

As history has shown us with any new signal type,

SDI-to-IP conversion, and 12G SDI, this approach

In this iteration of SIAB, there’s no need to

to gateways.

offers a practical means of providing a low-risk

convert signals from SDI to IP and then reconvert

transition to the world of uncompressed IP video,

them using traditional PCIe capture cards

audio, data, and timing. What will these IP islands

positioned within the server. Here, the signals are

WAN bridging for long-haul signal carriage

look like? We’re already seeing them coalesce

input directly to the server’s CPUs for video and

A natural offshoot of the concept of using tie lines

around the following functional areas.

audio processing, entering via the SIAB’s network

to bridge routers takes into account their physical

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June 2017


Feature location by bridging the routers over a

Signal conversion strategies

extra power supplies, or extra cabling, and the SDI-

long-distance WAN connection. The idea of

Given that most operations will not convert

to-IP and IP-to-SDI conversions can be done in the

hauling video-over-IP circuits isn’t exactly new;

overnight to IP – especially since many have

space occupied by the current core SDI router.

in fact, it takes place daily using 2022-X and

invested deeply with current SDI technologies

traditional JPEG and MPEG compression codecs.

including core SDI routers – signal conversion

follow the familiar island approach used in

While uncompressed HD and 3G are still big

becomes an important consideration.

past conversions, including the migrations from

payloads, the need to move video in this fashion hasn’t diminished.

External signal conversion, commonly known

If history is any guide, the IP transition will

analogue to digital and from SD to HD. Clearly, the

as ‘glue’, consists of an external frame with SDI

transition to IP will not be undertaken in wholesale

inputs and IP outputs. The external method is very

fashion; rather, SDI and IP signals will coexist in

programme signals from the same 2110 pool

granular because it allows individual signals to be

broadcast facilities for years to come because

of signals and then converts them to 2022-5,

converted, but the drawback is the expense of

operators will not completely abandon prior

for example. In this case, the user has one

the extra frame and power supply, cards, extra

investments. Therefore, the scenario that makes

multicast address to contain all audio, video,

cabling, and rack space required. While this may

technical and economic sense for existing facilities

and data programme elements with the added

be acceptable for smaller signal counts, it may not

will be some combination of old SDI and new

benefit of Forward Error Correction (FEC).

be that practical for larger operations.

IP – facilitated by the continuing emergence of

As with tie lines, WAN bridging derives

During the conversion process, the signal is

Internal conversion can be done within the SDI

interoperability standards as well as technologies

converted and then lightly compressed using

router. This method allows the ability to convert

and equipment that provide I/Os for native,

a mezzanine codec. This enables conversion,

a dozen or so signals in mass using a router card

uncompressed IP.

compression, and delivery using a final signal

directly. At Utah Scientific, we believe this may

across switched circuits. As alluded to before, this

solve a number of issues by aggregating the

broadcast operations, they provide an ideal place

means that both signals have a place depending

signals in larger groups and converting them more

for exchanging signals. By leveraging the power

on whether the signal is used intra-studio (2110) or

cost effectively on a card-by-card basis. The

of SDI routing, both IP and SDI environments can

inter-facility (2022).

advantage is that it doesn’t need extra frames,

coexist in this hybrid fashion for years to come. n

As SDI routers remain at the very heart of most

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Clear-Com’s new V-Series 32-key Lever Panel now offers 33% more keys, allowing users to reach more communication destinations over a native IP or analog connection. Four programmable Function Keys make it easy to immediately access commonly-used functions and advanced system controls available in Eclipse HX. All these advances delivered in a 2RU panel. Expand the power of your communications solution today.

16 17 TVBE June Technology Scott Barella_V3 JG.indd 55

19/05/2017 17:21

18 TVBEurope June 2017

Production and Post CueScript prompts in use in the Sky News studio

IP prompts developments Philip Stevens visits the prompter company that has a new way with words


which acts as a development and distribution

change was the eyesight of the presenters. “That

hub for Europe. The company also has facilities in

meant ensuring only the top-quality glass and

Connecticut at which initial manufacturing took

monitors were used so that the words could be

place. “Since the Brexit vote last year and the

easily read – even at longer distances.”

resultant exchange rates, we are having to look

The increasing use of robotics also introduced

rompting devices might not attract the

at alternatives for our manufacturing resources in

weight considerations. A heavy prompt unit puts

same attention as the latest cameras, the

order to maintain an effective cost level.”

pressure on the clutch and motors when the

vast expanse of buttons of modern vision

inertia of a robotic move comes to an end. To

switchers or the capabilities of shiny new audio

Making the difference

test out the CueScript design, Larter and Accardi

consoles, but they are still a vital ingredient of a

So, what makes CueScript prompters different

visited a number of the leading robotic systems

studio or OB set up.

from the competition? Larter points to three

manufacturers and proved that their design

areas – weight of equipment, the ability to use

worked with the modern configurations.

“Apart from the lens, prompters are the only contact between the talent and the viewer,”

the system on small PTZ cameras and the

states Brian Larter, director and co-founder of

increasing use of IP technology.

CueScript. “So, the equipment has to work in the most effective and user-friendly way possible.” In an industry that has been dominated by two main prompter players, CueScript is the relatively new face on the block. “My business partner, Michael Accardi, and I set up CueScript in 2014

Reversing the trend Closely associated with the weight issue has

“We wanted to start from scratch and come up with new ideas” Brian Larter, CueScript

after being involved with these two previously

been the introduction of small PTZ cameras. As the output quality of these cameras improved, many broadcasters started to introduce them into situations that also demanded a prompting device. That presented a problem. The small size of the cameras often meant that shots were restricted

foremost forces. In effect, we wanted to start from

“We started with the weight issue. One of our

scratch and come up with new ideas – not just with

key successes has been the ability to reduce the

the hardware, but also design of the kit.”

bulk of the prompting systems,” explains Larter.

overcome this very real operational problem. Our

And these new concepts have caught the

when the edges of the prompt came into view. “We set about developing a system that would

“In the past, when cameras were large and heavy,

research has created a unique patent-pending

imagination of broadcast, dealers and systems

fitting a CRT prompt on the front of a lens didn’t

mounting system that allows the PTZ camera to

integrators. Larter reports that every major network

produce a weight problem. But as cameras, and

be mounted upside down in the top of a specially

in the United States and Canada has bought

therefore supports, became lighter, the weight of

designed prompter hood. In effect, instead of

CueScript systems. The system has been used

the prompt had to be considered. We introduced

mounting a prompt on a camera, we have placed

for three Super Bowl broadcasts and was used

aluminium plates into our design and that reduced

a camera on the prompt – turning conventional

extensively at the Rio Olympics.

the weight considerably.”

thinking on its head – literally!”

“The US market was the place to start, but we

He goes on to say that while equipment

Larter reports that by mounting the system this

are now very active in Europe and Australia,” says

became smaller and studios often larger to handle

way the PTZ has greater movement in the shots

Larter. He was speaking in the UK office in Surrey,

HD and widescreen, the one thing that didn’t

it can achieve and it eliminates the need for

18 19 TVBE June Production and Post_V2 JG.indd 54

19/05/2017 17:23


June 2017


Production and Post expensive tripods, making the use of a lighting

The system allows broadcasters with multiple

He continues, “The IP technology allows us to

stand possible. Users are able to choose from a 15”

facilities around the world to be connected to

provide 24/7 support for absolutely anywhere in the

– 19” LED display system.

the same prompting system. A script can be

world. With our offices in the US and UK, anyone

produced in, say, London, and be available to

with a problem can get in touch with us, and we

Using the internet

presenters in New York, Singapore or wherever.

can analyse any given problem remotely.

Larter says that the increasing use of IP has led to

“Using IP means there is no longer the delay you

further developments in the CueScript systems.

had when prompting signals were sent by satellite.

Team Viewer session and can check on logs and

“Our investment in software was significant. As

What’s more, the talent at the remote location

fault-find and fix from our offices. As far as I know,

more studio connectivity went through the IP

can still have control of the prompt using our IP-

we are the only prompting company offering that

infrastructure, it became obvious that prompting

based foot unit.”

level of service.”

“We can dial into the user’s system using a

technology needed to do the same thing.” At this year’s BVE, the company demonstrated CueiT - the world’s first complete IP based prompting solution. The shareware style software allows CueiT to be loaded on to every laptop or

“We have produced equipment that has caught the imagination of broadcasters” Brian Larter, CueScript

PC in a studio facility.

Meeting the challenges Any company start up is difficult – but coming at the prompting sector with a clean sheet has produced good results for CueScript. Larter concludes: “By producing a system that can be

The associated CueB engine then provides a

lifted straight out of a box and fitted together in

connection over Ethernet via USB to a near limitless

Another development for 2017 has been the

just a few minutes, we have produced equipment

number of controllers. “The CueB produces a true

wireless WAND scroll control. “Although there are

that has caught the imagination of broadcasters.

HD-SDI prompting signal as well as a composite

other wireless controllers on the market, this one is

We have a range of prompts and are always ready

video signal,” reveals Larter. “Multiple CueB’s

IP-based and provides vastly increased battery life.

to listen to the needs of the industry. Our customers

can run independently or simultaneously and

It can also be used at distances of up to one and

can be assured that we will meet their technical

can be rack mounted in a CAR or wherever is

a half kilometres – considerably further than other

challenges with creative solutions that make their

convenient in a complex.”

controllers,” emphasises Larter.

lives easier.” n

18 19 TVBE June Production and Post_V2 JG.indd 55

19/05/2017 17:23

20 TVBEurope June 2017

Production and Post

Streamlining SFX workflows at

Storyline Studios Gisle Tveito is a keen user of Soundly

Christian Schaanning, co-founder, Soundly, looks at how traditional methods are changing

directors using Soundly as a central hub for effects

on board during the last 13-14 months. “For that

and music.”

series, there were three producers with their own

Before Soundly, audio was organised by each

Soundly accounts, four editors with accounts,

contributor, based on what made sense to them.

and the composers and myself, as leader of the

Using file names, folder names, dates, etcetera,

sound department, with accounts,” says Tveito.


each contributor, whether it was the composer,

“Everyone was part of the creative team and

toryline Studios is a full post production

editor or assistant, had their own organisational

the producers loved it. I remember doing some

film facility, as well as Norway’s largest

system, which could quickly get confusing. Using

music editing for the trailers, and I would just drop

supplier of film technical infrastructure

Soundly solved a lot of housekeeping issues

that into Soundly and send an email saying new

and equipment. Handling everything from

with all the audio that gets passed around in a

versions were available.”

cameras and lights to VFX and sound, Storyline

large production. Being cloud-based, there are

is the result of a merger between The Chimney

far fewer copies of any given audio clip, and

versions, and compare to the original music.

Pot Oslo and Norsk Filmstudio.

everyone has access to the latest version in a

Instead of worrying about how to download it,

single, central location. The Storyline team had

where they should put it on their computer, or how

sound editor, dubbing mixer, and one of the

tried several methods for sharing files, but none

to keep the versions organised, the latest version

owners of Storyline, getting the sound design

were as streamlined and integrated as Soundly.

was always available in the cloud. I would get

For Gisle Tveito, a 26-year veteran, supervising

“Everyone could instantly play back the

process to run closer to parallel with the video

“Directors that I frequently work with consider

editing process has always been a goal. While

me part of the initial editing process. With Soundly,

many sound departments wait for ‘picture-lock’

it’s a more collaborative way of working for all of

studio, but the scene took place underground,

before starting to work on the sound, the team at

us,” says Tveito. “To have music and SFX in one

in the subway system. Tveito and the crew went

Storyline is breaking the mould of the traditional

database where everyone can access the same

out and did some advance recording to create

serial workflow by closely aligning audio with video

things makes communication so much easier.”

a huge library of sound effects of passing trains

editors from the first cut. A key component to this

some feedback in five to ten minutes,” says Tveito. The production was shooting a scene in the

that would make the studio set come alive. “I

workflow is Soundly, a cloud-based sound library

Cloud central

prepared the sound so it was available for the

and editing tool.

Tveito has a multi-user Soundly account with

editors from day one. They had great ambiances

ten licenses that he can administer as he likes.

and great SFX they could use from the very start.

is a bit different from those who use it strictly as

For the recently finished Norwegian TV series

We also played back some of the sound effects,

a sound library and edit tool,” says Tveito.

Valkyrien, consisting of eight 45-minute episodes,

like passing trains, during the shoot in the studio,

the whole production took two years from the

just to make some noise for the actors to react to.

directors from the very beginning. I make sound

start of the shoot until the last mix. In this case,

Everything was accessible to everyone, including

libraries specifically designed for the editors and

the sound department and the composer were

the sound recordists in the studio,” says Tveito.

“I’m a keen user of Soundly, but my workflow

“I use it to share audio with picture editors and

20 21 TVBE June Soundly Space_V2 JG.indd 54

19/05/2017 16:26


June 2017


Production and Post Storyline’s picture editors think it’s great to have

Production of the Norwegian TV series Valkyrien took two years from the start of the shoot until the last mix was done

access to the Soundly SFX library. In addition to what Tveito provides, the Avid editors use Soundly to quickly search for their own sounds too. “It’s fast and easy for them to drag and drop SFX to a bin when they’re working on rough cuts. They use Soundly to search the massive online catalogue at as well. A lot of people appreciate having it organised under one tool.” Tveito says that working in parallel can create many obstacles. Without the correct tools, it can feel like extra work. He admits that the workflow is not for everybody, but, for those willing to get ahead of the game, the rewards include delivering a higher quality result and greater creative participation across the team. “You have to find the tools to make the obstacles as small as possible. Soundly is one of them. It’s so easy to make things look nice and organised. Audio is always available. You just log on from wherever you are. If you move to another room, another facility, even another company, you can keep on editing since the audio is still

Swit June no BA 2017p4p.pdf




there, still online for you,” concludes Tveito. n









20 21 TVBE June Soundly Space_V2 JG.indd 55

19/05/2017 16:26

22 TVBEurope June 2017

Production and Post

Actor Ade Oyefeso with Woody Harrelson in a scene from Lost in London ©2017 Lost In London Films, LLC. Photographer: Alex MacNaughton

Canon’s new lens is Live in London By Peter Demetris, live director/self-shooting producer/director

Being f/2.8 is also helpful; I actually shot most of

The arrival of the CN-E18-80mm truly transformed

Channel 4’s How to Lose Weight Well on this lens

the whole shoot for me. Once I had it, it made

because I was mainly filming in people’s homes,

my shooting day an absolute joy.

so I’d need a zoom and something fast as


lighting in those environments is never easy. his January, I worked on the production

I was one of the first in the UK to order the new

The prologue for the film and the epilogue has much of the footage shot with the CN-E18-80mm lens on my EOS C300, and Woody and the team

of Lost in London, a one-off live feature

Canon CN-E18-80mm T4.4 L IS KAS S lens, and it

were very happy with the results of the behind

film starring, written and directed by

arrived while I was filming the behind the scenes

the scenes and the live team’s input into these

Woody Harrelson. The unique project was

content on Lost in London. I’d started shooting

opening and closing elements.

broadcast in real time to over 550 cinemas

with my trusty EF lenses and then when the new

in the US and the UK. It was a single camera

glass turned up, I couldn’t wait to get it on the

L IS KAS S was its versatility and functionality.

shoot and my role was the presentation

camera. As soon as the rushes were transferred

It gives that wide end that I need for shooting

director, so taking the live feed and ensuring

into the edit suite, the editor asked what I’d done

in tight spaces like people’s homes, and it

the live stream was seamless into cinemas.

differently as the pictures were so sharp and the

gives me the tight end that I sometimes need

Being a one-take movie, the main challenge

colours were even stronger than usual.

at 80mm. Having a lens that covers that focal

What attracted me to the CN-E18-80mm T4.4

was to coordinate all the ancillary elements

Having a versatile lens such as the CN-E18-

length when shooting actuality is hugely

that create a film; from opening titles, audio

80mm on set was vital because the single film

beneficial, particularly with the excellent

cues and subtitles, to closing epilogue graphics

camera was moving around a lot more than

servo zoom. I can just put it on the camera

and the credit sequence.

usual. Normally, when you shoot behind the

and leave it on all day because it’s so flexible.

Vicki Betihavas from Nineteen Fifteen, who

scenes on a film, you agree with the camera

I’ve always been of the view that lenses are

was the live producer of the film, asked me

crew ahead of a scene where to stand, but

a filmmaker’s most important tool, and my

to join the team as I am also a self-shooting

because the handheld digital film camera

investment in glass now far exceeds my outlay

producer/director, so I could cover the behind

was so fluid, it was going everywhere. Having

in cameras. As with everything, cost is always

the scenes pre-production, documenting the

a proper zoom lens with a servo zoom meant

a factor, but the price point of the CN-E18-

ground-breaking event as well as managing

that I too could move around without getting

80mm lens means it delivers tremendous value

the gallery elements.

in their way, or in shot.

combined with stunning image quality and a

I’ve been a Canon user since I owned a T90

Much of what I was tasked with curating for

35mm stills camera in the 1980s, but these days I

Lost in London was the interaction between the

they’re so popular because they’re great at

primarily shoot video using my EOS C300, and a

crew, the main camera and Woody directing,

what they’re designed to do, but when you

mixture of Canon EF glass. For this shoot I started

so I needed to be quite wide with my shots. I

have a made-for-video lens like this there’s an

out using my go-to lens, the much-underrated

also needed to get some tight stuff for the edit,

additional level of respect amongst your clients

EF-S 17-55mm f/2.8 IS USM. What I like about

so having 18-80mm on a zoom lens meant that I

and peers. When I turn up with the CN-E18-

this lens is that it’s got a really versatile focal

could always find a perfect position to capture

80mm, people rightly assume I’m serious about

length that is ideal when I’m shooting actuality.

the variety of shots I needed.

my craft. n

22 TVBE June Canon_V2 JG.indd 54

robust build. Canon EF lenses are fantastic and

19/05/2017 13:09

TVBEurope Supplements

June 2017

More than technology Why the mix of technology, services and expertise is the real enabler to building brands and audiences

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i - viii TVBE June Sony_v6.indd 29

22/05/2017 11:40

ii TVBEurope June 2017


In association with

More than technology Technological innovation has never been more exciting – but it’s just an enabler for business transformation, argues Richard Scott, Head of Media Solutions at Sony Professional Solutions Europe. Today success is measured by helping customers build their brands and attract bigger audiences.


Since joining Sony I’ve enjoyed a fascinating shift in perspective. Looking in from the outside, I’d long been an admirer

of Sony for the excellence of its products – all the way from acquisition and production, from news through to cinema. Now I’m here, what’s truly exciting is how fast we’re moving to offer

“By harnessing the power of our open IP technology we can give content creators a big payoff in terms of greater flexibility, resilience and economies of scale.” Back in January, BBC Studioworks announced

our customers genuinely innovative solutions that

it had chosen Sony to deliver 4K over IP in

transform the entire media supply chain.

its Television Centre studios at White City in

There’s one thing that’s become clear to me.

Central London. IP makes real sense in this kind

As a company today we’re about so much

of environment, where resources are being

more than technology. That’s not to overlook

constantly reconfigured to suit very different

our innovations in image, IP and workflow that

requirements, from sitcoms and entertainment

are helping content creators deliver consistently

to large live scale productions. IP gives

better looking pictures for less. But that’s just

unprecedented flexibility: just as importantly,

the baseline. Our wider mission is helping our

it meshes smoothly with the BBC’s legacy

professional customers to build their own brands

infrastructures without disrupting their established

– and build audiences, too. And there are three

workflows. And naturally it’s futureproof, opening

key ways we’re making this happen.

up a commercially compelling pathway to HDR

“Our role today is helping our customers to build their brands – and build audiences, too.””

and other industry developments that are just

Firstly, we’re empowering amazing storytelling.

around the corner. Coupled with developments in pure IP, we’re building virtualised media applications that can

That idea of ‘stories’ embraces a huge range of

reside entirely in the cloud. A great example of

narratives – right the way from news gathering,

this is Media Backbone Hive, our unified content

away from capital-intensive purchasing of

drama and sport to top-end cinematography

platform that drives multi-platform production

hardware and services to pay-as-you-go models

for the world’s leading film makers. So whether

and delivery. Hive re-invents news production

that are kinder on companies’ cashflow. It’s also

you’re talking about 4K, HDR or high frame rates,

around open source technologies and an agile

a far more flexible approach that’s typically

we’re helping content creators connect with

cloud-based datacentre model, breaking down

manifested through SaaS or some kind of

viewers on a more intimate, more emotional

the sluggish, restrictive silo-based approach

managed services agreement. This is something

level. A great example of this is our HDC-4800

of old. This allows news-makers to streamline

where we’re seeing a big uptick in interest right

camera system that captures ultra high frame

their operations – and re-connect with modern

now. There are lots of advantages from a purely

rate images in 4K HDR for the smoothest, most

audiences who grab their phones the moment a

operations point of view, and of course it’s a

extraordinary super-slo mo footage you’ve ever

story breaks, rather than waiting for the nightly 10

strategy that’s very attractive to CFOs, too.

seen. It really is quite beautiful, and it’s giving

o’clock bulletin.

broadcasters and rights owners a whole new creative palette to enrich sports production. Secondly, we’re enabling advanced cloudnative media operations. There are two distinct dimensions to this. In terms of hardware-based production infrastructures, we’re managing the smooth migration from SDI through to IP. And by

“Coupled with developments in pure IP, we’re building virtualised media applications that can reside entirely in the cloud.” This idea of hosting applications in the cloud

As an industry we’ve always talked about change. But it’s a conversation that surely resonates now more than ever. Broadcasters are reaching out for help to reconnect with lost audiences who are being lured away by other platforms – OTT, social and more. At Sony we’re immensely respectful of the past. Equally, we’re excited today about taking conversations with

harnessing the power of our open IP technology

leads on to the third area where we’re focusing

our customers to the next level – and successfully

we can give broadcasters and content creators

a lot of energy at Sony right now. We’re building

tackling real business challenges in profoundly

a big payoff in terms of greater flexibility,

very attractive dynamic businesses models.

new ways.” n

resilience and economies of scale that the IT

That’s something that comes in direct response

world has been enjoying for years.

to pleas from our customers to help them pivot

i - viii TVBE June Sony_v6.indd 30

22/05/2017 11:40


Recapture lost audiences Break the news first across all platforms with Media Backbone Hive. It’s time to reconnect with your lost audience in a more cost effective way. As viewers look to the internet, mobile and social media for their news fix, broadcasters can now reclaim this ‘Lost Audience’ with Media Backbone Hive, a Unified Content Platform linking everyone within the organisation to enable unified news production. One production system to deliver stories faster across multiple platforms online, TV and radio. No more silos. No more duplication of effort. And lots more flexibility.

Media Backbone Hive


i - viii TVBE June Sony_v6.indd 31

Find out more 22/05/2017 11:40

iv TVBEurope June 2017



In association with

Believe the hype

prefer the HDR representation of the scene over its lower dynamic range counterpart.” Broadcasters and Internet streaming service providers are responding to this demand. Netflix and Amazon Prime already create and stream

Consumers like it, creatives love it – suddenly everyone’s talking about HDR.

content with HDR. And with industry-wide standards for production and delivery to the

Of all the next generation imaging technologies

image that’s more detailed – and the result is

home in place, broadcasters are progressing

being talked about right now, High Dynamic

more natural looking pictures.

numerous real-world trials. At the same time, HDR

Range (HDR) is the step-change in television

Content creators love the additional artistic

quality that’s considered most likely to provide

freedom that HDR offers: but are consumers

viewers with the ‘wow’ factor.

interested? Yes they are - absolutely. When you

The deeper blacks, brighter highlights and

televisions have hit a price-point that makes them a viable option for many homes. Producing content with HDR right now has

show viewers an HDR image side-by-side with

minimal impact on costs, and needs only subtle

richer colours afforded by HDR add increased

a standard dynamic range picture, more often

changes to existing operations. Cameras and

realism to moving images and help make

than not they prefer the HDR one. But don’t take

workflows are now available for HDR production

content significantly more immersive. And

one manufacturer’s word for it. The Warwick

across all budgets. So if you’re activity considering

contrary to what you might have heard, HDR

Manufacturing Group (WFG), an academic

HDR – or if you’re still sceptical – we’re right here

isn’t about making TV pictures brighter. It takes

department at the University of Warwick, has

to answer your questions. Whatever your starting

advantage of a modern television set’s ability to

conducted research into HDR images. Its findings,

point, Sony can help you make the move to HDR

show pictures with a greater contrast between

in a paper called ‘A study on user preference

as your trusted partner, providing all the expertise,

the blackest blacks and the whitest whites. And

of high dynamic range over low dynamic range

training, technology and solutions you need for a

it uses that extra dynamic range to present an

video’, show that “given the option, end-users

smooth HDR journey. n


M a














In November 2016, Sony, along with other technology partners, supported Vatican Television Centre (CTV) during its live coverage in 4K HDR of the Ceremony of the Closing of the Holy Door by his Holiness Pope Francis. CTV used 12 HDC-4300 cameras and a Sony HDR S-Log3 production system, as well as an MVS-7000X switcher and the PWS-4400 replay server.




The Hybrid Log-Gamma profile was used for delivery with distribution taking place via Eutelsat’s HOTBIRD satellites. Globecast provided the satellite uplink using the HEVC compression format while Ericsson, NTT Electronics and Vislink supplied the encoding and decoding equipment. The broadcast was made available on Channel 200 of the Tivùsat free satellite platform.






Dario Edoardo Viganò, Prefect of the Secretariat for Communications for the Holy See, commented, “This is a state of the art set up that reflects Pope Francis’ aim to keep up to speed with the rapid developments in global technology, to support the Catholic Church’s communication mission.”

i - viii TVBE June Sony_v6.indd 32






22/05/2017 11:40


TVBEurope v

June 2017



Embracing the change Moving from legacy SDI infrastructures to IP Live brings many benefits… and the transition can be a lot smoother than you’d think. The way we produce live broadcast television

makes it possible to reduce the amount of cabling

is changing. On one hand, our much-loved

needed for live production.

SDI environments have just about reached

But cost is just one factor. An IP-based

their technical limits. And on the other, today’s

infrastructure built on open standards lets content

standard computer processors can now perform

creators and broadcasters flex to meet future

almost all of the tasks that a live production

business requirements. Once you’ve installed

infrastructure requires.

your IP pipe you can pour just about anything

So the next time content creators refresh their

down it – video, audio, metadata and consumer

OB trucks, studios and broadcast facilities, it’s

data. And unlike SDI, an IP-based live production

unlikely their shopping lists will include specialist

network is format agnostic, and doesn’t have to

SDI boxes and cables. Instead, they’ll be buying

be upgraded to accommodate new resolutions

Consumer Off The Shelf (COTS) hardware and

or frame rates.

faster Ethernet networks. In short, live production

IP technology also enables audio and

is moving to IP. And for many that transition

video streams to become omnipresent in the

cannot come soon enough.

production ecosystem. Where connectivity was

Broadcasters today are under increasing

previously point-to-point, now everything can be

pressure to create more and better quality

multiplexed, opening up possibilities for flexible

content, against tighter constraints on cash,

workflows that can be re-shaped in minutes.

facilities and staff. This demand is becoming

And then there’s remote production. With less

almost impossible to meet in our legacy SDI world.

crew on site, centralised resource sharing and

There’s a clear business case for moving to IP. And

simpler logistics, remote production offers up

it’s one that comes down to cost and flexibility.

incredible possibilities – and even promises to be

Thanks to the huge scale and development

better for our environment. n

speed of the IT industry, COTS hardware evolves faster and is cheaper than specialist broadcast kit. At the same time, bandwidth costs are coming down every year and already deliver speeds faster than we actually need. What’s more, IP

i - viii TVBE June Sony_v6.indd 33

Why Sony for IP Live? Still wondering which vendor can help you move to live IP? Here are five great reasons to choose Sony – so you can be Ready Today, Open for Tomorrow. 1. We offer flexible, interoperable solutions based on open standards. Sony’s large portfolio of IP-native high-end open production solutions is interoperable with a complete ecosystem of systems within the IP Live Alliance. 2.We can make your life easier with the Live System Manager Simplify your migration to IP by letting our LSM do a lot of the hard work for you, from IP address setting to device configuration. 3. We deliver industry-wide, non-Sonyspecific training Our training courses do provide guidance on using Sony systems but they concentrate on IP live production in general, giving course attendees a full and honest insight into how to successfully put in place and manage IP-based workflows. 4. We’ve got a rich history of innovation. We’ve been developing IP-based production technology for more than 15 years: and today we want to share that know-how with the industry to help it to make the move successfully to IP. 5.We’re here for the journey From initial consultancy and planning to technical implementation, operational support and training, Sony’s Professional Services division can design and deliver a solution that complements your business goals and ensures a smooth migration to IP-based live production.

22/05/2017 11:40

vi TVBEurope June 2017


In association with

Re-connecting with Lost Audiences Media Backbone Hive is Sony’s Unified Content Platform that helps news-makers reach audiences across multiple platforms with unprecedented speed and efficiency. If you work in TV news you’ll be aware of one

the gap. But it’s also resulted in an inefficient,

In today’s fast turnaround world, this agile, efficient

indisputable trend: your audience is declining.

siloed news operation – with different teams

and adaptable approach to news production

Times have changed, and the way we consume

using different systems and different resources

could be the difference between locating that

news has evolved. Where nightly TV bulletins or

to produce variations of the same content for

lost audience – and losing it forever. n

hourly radio reports would traditionally provide

different outlets.

the most complete – and often only – source of

This results in work and technology being

current affairs, information is now available every

needlessly duplicated. It’s inefficient, and it’s

second of the day.

expensive. Faced with these hurdles, broadcasters

From live streamed video reports to tweets

typically face two options: continue to lose

on your mobile, tablet or smart TV, it’s the online

audiences or spend more money trying to keep

world where stories break today, with television

them. Fortunately, there is another way. Now

broadcasters then providing extra context and

it’s possible to entice back that lost audience,

detail. The millennial generation, in particular, look

with a lower cost base and fewer silos. And it

to the Internet and apps first. According to UK

requires a Unified Content Platform (UCP) that

regulator Ofcom, more than 60% of 16-24 year-

links everything and everyone within a news

olds get their main daily news fix that way.

organisation together.

But this isn’t a wholesale shift away from

Imagine a TV station needs to cover a breaking

traditional broadcasting to online: nearly 90%

story throughout Europe. Without a UCP, with

of British people aged 55 and over still get their

news teams and journalists working in isolation, it

news from the TV. Instead it’s a dispersion of

would be complex, time-consuming and costly.

audiences, with Ofcom suggesting the average

With a UCP, however, that station can share

consumer now uses 3.5 different sources

content, allowing regional teams to tailor it for

for their news. This democratisation of news

their audience and across all platforms. And this

provision might be great for those of us keen

includes mobile journalists out in the field, who can

to know what’s happening in the world. But for

collaborate with the rest of the team using the

broadcasters it’s become a real headache.

same resources and tools.

Not only are they competing with each other:

At Sony, that UCP is Media Backbone Hive –

they’re also competing with this migration to

our network production system that’s built on a

other, often quicker, sources of news by what’s

future-ready UCP. Customisable, cloud-native and

now considered to be the ‘lost audience.’

scalable, it can be deployed on-premise, in the

In an attempt to entice them back,

cloud or a combination of the two. With a host of

broadcasters have changed their modus

built-in tools and compatible with third-party ones,

operandi. They’re refreshing newsroom systems,

it lets journalists, producers and editors collaborate

while investing in dedicated online and social

from anywhere in the world, breaking the story

media teams and tools to get news out quicker

first across online, TV and radio. No more silos. No

and onto more platforms. This has plugged

more duplication. And far more flexibility.

i - viii TVBE June Sony_v6.indd 34

Hive - How does it work? • Integrated assignment and planning tools automatically send assignments directly to the news crew or a mobile journalist’s camera, linking and structuring key assets. • Web-based dashboards provide operational insight, real-time business intelligence and remote monitoring and support. • With its multiple ingest capabilities, Hive intelligently routes video inputs to the right places, making a proxy instantly available to all users. • Hive updates newsroom systems with new content, linking metadata to news content. • Full integration with wireless cameras lets journalists begin editing with proxy footage as soon as it’s shot. Packages can then be switched to using high res files once they’re available. • Hive handles any file type, format or resolution, whether it’s video, audio or other types of data. • Simple and advanced logging options let users add markers in real time, building metadata that’s immediately usable. • Journalists can quickly search the entire newsroom system to find what they need – current or archived content, or material arriving in the moment. • Stories can be created wherever they’re needed, in a web-based environment or remotely in the field. 22/05/2017 11:41


IP Live production Ready Today, Open for Tomorrow

i - viii TVBE June Sony_v6.indd 35

22/05/2017 11:41


Your teams can Grow your Brand. We’re simply here to help them do it.


From freelancers to global broadcasters, emerging start-ups to growing corporations, customers from all over the world have trusted Sony Professional for over 40 years to transform their media operations. Why? Because our unique mix of technology, services and expertise allows us to be a true business partner, working together to deliver innovative and transformational solutions to help them achieve their goals.

Let’s Re-imagine the Future of Media Production together. @SonyProEurope

i - viii TVBE June Sony_v6.indd 36

22/05/2017 11:41


June 2017


Production and Post The video production area of the Kukle OB van

Transmitting The Voice over IP any errors, however minor, would have severely

requires far less space and effort. As already

affected a large number of consumers. Secondly,

mentioned, Open Broadcast Systems’ solutions

transmitting a link over water meant that there was

are also able to run on standard, ‘off-the-shelf’

also a higher possibility of turbulent weather. High

IT hardware, as opposed to expensive, specialist

winds or heavy rains could have severely affected

broadcast equipment. This is especially important

the feed resulting in rain fade, poor quality and

in a small country like Iceland, since existing IT

he Voice Iceland is a national TV programme

high latency. Sjónvarp Símans turned to Open

equipment can be repurposed for broadcasts.

broadcast by TV station Sjónvarp Símans, a

Broadcast Systems for assistance with their issue.

By Kieran Kunhya, founder and managing director, Open Broadcast Systems


subsidiary of Iceland Telecom. This version of

How far can IP go?

the international franchise has over 8,000 followers

The right tools for the job

on Facebook and 4,500 subscribers on YouTube.

Understanding the requirements of a high-data

The Voice to transmit a low latency, high-quality

Símans was preparing to broadcast a live

Open Broadcast Systems’ solution enabled

rate wireless link, Open Broadcast Systems opted

broadcast that benefited the end consumer

episode of The Voice Iceland from the iconic

to transmit the broadcast over IP using two pairs of

whilst resolving the issue of Icelandic topography.

Hallgrímskirkja church in downtown Reykjavíc to

its C-100 encoders and decoders. As a much more

Atlantic Studios at the former US Navy base at

cost-effective solution than its competitors, the

transmission, Open Broadcast Systems has begun

Keflavik Airport. Standing at 244 feet high and

C-100 is able to deploy flexible contribution services

work on testing a point-to-multipoint (PMP) solution

visible from almost anywhere in the city, the church

either in pure software or a wide variety of high-

with a central receive site. A PMP system can

is one of Reykjavíc’s most recognised landmarks,

density chassis. Alongside this, it was decided that

create wireless connections between multiple

inspired by the shapes formed from cooling lava.

a pair of Ubiquity airFiber, point-to-point wireless

locations in situations where a wired cable cannot

Icelandic terrain is particularly difficult to broadcast

links, commonly used for rural internet connectivity,

be physically deployed due to the terrain or

across, in part due to the inhospitable climate and

was the most viable option across such a distance.

costs involved. Much like the setup deployed for

the fact that almost 79 per cent of Iceland’s land

The wireless link could run at 300Mbps but to

Following the success of The Voice Iceland’s

Sjónvarp Símans, a PMP system could significantly

mass consists of glaciers, lakes, a mountainous lava

guard against the effect of rain and tidal fade, the

lower costs for broadcasters, in particular for those

desert and other wastelands. It was decided that

links were run at 10Mhz and supported 80Mbps –

who operate multiple stations in different locations.

wirelessly transmitting the contributing signal would

still a considerable speed.

be the most practical option, owing to the lack of any cable infrastructure in the area.

The entire solution initiated by Open Broadcast

The advent of low-cost, long-range wireless links such as those from Ubiquiti Networks have

Systems cost less than just one component in

revolutionised internet connectivity for many

a typical DVB-T Microwave System. Moreover,

in remote areas. There has been some use of

much of the wireless link would have to travel

traditional microwave systems do not include a

this technology in low-bitrate newsgathering

across the sea, over a considerable distance

return path or network access, not to mention the

applications, but this project has shown high bitrate

of 37km. The sheer distance, coupled with the

fact that they often experience issues transmitting

contribution can be done with IP wireless links.

problem of transmitting over the sea, caused many

over big distances, such as required for this link.

We see this trend continuing, as IP gathers steam

It rapidly became apparent, however, that

problems. Firstly, the feed needed to be accurate and reliable. The Voice is a popular show and

23 TVBE June The Voice Iceland_V3 JG.indd 55

Using a software based wireless connection in place of traditional encoders and decoders

and becomes commonplace within the broadcast industry, as we have long predicted. n

19/05/2017 10:21

at st m re o te .c in nts ur se yo re er np st ps gi w. Re w w

s ! et EE ck R Ti e F ar

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Barney Jameson Director of The Inside Story


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@PSNEurope 21/04/2017 11:41


June 2017



In association with

Artist’s rendering of the new BBC Wales headquarters

BBC Wales takes the IP plunge The relocation of the BBC Wales headquarters will allow the broadcaster to jettison its SDI past. Neal Romanek reports


“We’re trying to go IP end-to-end as much as we can, which means that all the lighting and sound desks will natively support IP. Because we have native IP streams coming in, the need to

BC Wales will be kicking SDI to the curb with

When the decision to build a new studio from

convert will be limited. It allows us to be format and

its new Cardiff, Central Square headquarters.

scratch was first put on the table in 2014, there was

resolution agnostic – we won’t have to rely on the

The broadcaster will work in an entirely IP

a dilemma. Should it be SDI-based? Or is it worth

shape or size of a signal. IP doesn’t care.”

infrastructure, which should be ready by Q4 2019. Grass Valley will be the preferred broadcast tech

thinking about this new IP business? “When we first started, the assumption was that it

The BBC Wales technology team will have access to the new building in spring 2018. A

provider, and Cisco will provide network switching.

was going to be an SDI build,”says Roger Crothers,

lightweight proof of concept is being built at

Though most elements of the build are still in the

BBC Wales head of technology. “At that time, there

the current Llandaff location as a test.

planning stages, BBC Wales has said they will be

were only a few vendors who sold IP production

adopting the Grass Valley Broadcast Data Center.

gear. But that matured very quickly. Every time we

will approach the build,” says Crothers. “And it will

Grass Valley’s GV Node product will provide

went to a trade show, IP seemed more and more a

be also be used to train our traditional broadcast

switching, signal processing and routing capability

viable solution. As time went on, we began to feel

engineers. We looked at what the different kinds

using Cisco’s IP Fabric for Media networking

that IP might be the right platform.

of training we’ve had. The feedback we’ve had is

solution, based on Cisco Nexus switches and SDN controllers to allow easier migration from SDI to IP. The relocation was announced in 2014, sparked by ageing technology infrastructure at Llandaff.

The new build went out to tender. The BBC Wales team requested that bids be returned for both SDI and IP builds. “When we embarked on the process, ST 2022

“Some of the testing is to show how Grass Valley

that hands on is some of the best.” But evolving to new technology means an evolution for the team too, many of whom have never worked in an all IP environment.

The Llandaff sites will be redeveloped into flats

-6 was the prevailing standard, but then when ST

when the BBC finally exits.

2110 came on the scene, we requested that all

faults within an SDI infrastructure,” says Crothers,

Central Square was named the preferred site

“Our team are very comfortable troubleshooting

the bidders promise to go with that standard,”

“But the troubleshooting skills and tools you use to

after a tendering process that assessed nine

says Crothers. “We kept our options open and

fault-find in IP are very different. Some will have that

potential sites. BBC Wales will share the site with

reserved our judgement on the decision till the

skill already. But some who have been doing SDI

Welsh-language public broadcaster S4C.

very last minute.

work for 20 years will need some training.” n

25 TVBE June Technology BBC Wales_V4 JG.indd 54

19/05/2017 18:03


TVBEurope June 2017


In association with

Olly Strous, head of post production

Building for the future with 12G ITN Productions – ITN’s in-house production business – recently received a £1.4 million investment. TVBEurope investigates whether it was money well spent


commercials department, and a branded

Blackmagic’s Smart Videohub 40x40 routers for

content department.

signal management.

“The only thing that they have in common is

“We’ve built a lot of our architecture on

that they all route through our post production

Blackmagic here because of the flexibility it offers

division. We’re in a unique position where we’ve

us,” he says. “Take the Avid Artist | DNxIO video

had to build infrastructure and train people to

interface for example. When Avid partnered

TN Productions delivers bespoke, creative

be able to manage with all of those different

with Blackmagic to make this I/O hardware,

and commercial content for broadcasters,

departments and disciplines.

suddenly you’ve got the full support of Avid, but

businesses, brands, rights holders and digital

Strous adds: “We made the decision last year

it also means that those computers can now run

channels. All ITN Productions content passes

that we were going to build a state-of-the-art

Adobe Premiere Pro, After Effectsand DaVinci

through its post production facility located at

facility to rival anywhere else that you might go

Resolve. In fact, we currently complete all online

ITN:s central London headquarters, which has

for post production. We use a lot of freelance

editing and grading in Resolve.

recently received a £1.4 million investment to

talent, and they expect a certain level of

become a facility of more than 50 edit suites that

accommodation and infrastructure.”

support every facet of video post.

“If you want to run multiple disciplines in a facility, you have to be multi-platform. You have to be able to give people what they want. Just

Magic box

by us swapping out that little bit of hardware has

that the move and upgrade in facilities were

That infrastructure has to be flexible enough

opened up everything, giving us the flexibility to

needed to support the 40 per cent year-on-year

to handle such a diverse demand for post.

use more suites, giving us security, and be able to

growth that the company is seeing.

“We might be making something from a 4K

offer more to our different disciplines.”

Head of post production Olly Strous explains

“ITN Productions has a number of different

Arri Alexa shoot one day, and an undercover

departments that sit inside it; you’ve got long-

camera for Dispatches the next, and everything

Future thinking

form broadcast, as well as a digital offering

in between.”

“We looked at IP for this phase of expansion

where we make bite-size chunks of content for

It also has to have enough bandwidth to

over SDI, however with the industry still in flux on

clients such as the Daily Telegraph,” says Strous.

handle the sheer amount of content, and

a universally agreed standard the timing wasn’t

“We also have our sport department that does

be capable of handling demands for 4K and

quite right. I always compare this turning point

regular short packages for clients such as the

UHD broadcasts – the answer, according to

as the time we had to choose between HD-DVD

English Football League. We then have a TV

Strous, was a facility built around 12G-SDI, using

and Blu-ray disc. One standard will prevail.

26 29 TVBE June Blackmagic Case Study_V3 JG.indd 54

19/05/2017 13:50

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06/10/2016 14:30

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17/05/2016 12:10


June 2017


In association with

“We expect to move to an IP infrastructure at

“The layout in every suite is a DNxIO capture

have a lot of external clients. For example,

some point, but right now we felt a solution built

and playback box and two Blackmagic

when ITN Productions is making a television

around Blackmagic Design and 12G-SDI would

Smartscope Duo 4Ks,” Strous continues.

commercial, the post facility is serving ITN’s

fulfill our immediate UHD requirements at a price point that made business sense. Strous adds: “With the new suites handling


“We had the desks custom built by AKA Design to accommodate the four scopes. Every single desk and the bridge has a 15-degree pitch

needs, but the commercial client might be Suzuki or Matalan.” “We daisy-chained the multi-viewers into the

transmission (TX) and receiving (RX) signals,

so you can see the scopes, and off the back

router matrix,” Strous continues. “We can route

single link 12G-SDI meant we were able to run a

end of that everything is wrapped around

anything to any of the 16 screens, and then put

quarter of the cables we otherwise would have.

the router.”

the 16 screen inside the four screen if we want

Naturally, we also ran in optical fibre at the same time to support a future move to IP.” Another example of this is the investment in two new Blackmagic Teranex SD, HD and UHD standards converters - ideal for use with ITN’s extensive archive. “We like the way that you can do things in real time,” explains Strous. “We have the two Teranex wrapped around our router matrix.

to. We also have a Teranex to control the wall,

“We felt a solution built around Blackmagic Design and 12G-SDI would fulfill our immediate UHD requirements at a price point that made business sense” Olly Strous, ITN Productions

We wanted a 4K hub, and so we’ve put in

so anything that comes from the router - at the moment we still have a lot of HD sources – and upscale to UHD.” Strous confesses to being incredibly proud of the refurbishment. Though the physical building work was carried out by external contractor Swift, all the technical work was undertaken by ITN engineers. “We’re shouting about it from the rooftops,”

two 40x40 routers, rather than a single larger

he says. “We’re happy with what we’ve

matrix and ran a couple of tie lines between

Also included on the shopping list were the

achieved. We have a lot of traffic through here

the two routers.”

Blackmagic MultiView 4 and MultiView 16.

and people have been very complimentary

“We have a four screen video wall and we

on how the place ticks, having spent a lot

Building confidence

wanted essentially to do picture in picture,”

of time in big shiny external facilities.

Any of ITN Productions’ edit suites can route their

Strous adds. “It comprises of four 55-inch

“We’ve only had people in it for the past few

output to another edit suite, or to HyperDeck

4K screens, in the foyer as clients walk in.

weeks but certainly the feedback we’ve got has

Studio disk recorders.

Even though we are an internal facility, we

been positive.” n

26 29 TVBE June Blackmagic Case Study_V3 JG.indd 55

19/05/2017 13:50


TVBEurope June 2017


In association with

OB goes IP By Rob Szabo-Rowe, VP and general manager, live production and infrastructure, SAM

whose UK clients include the BBC, ITV, Channel

a gap in the market for larger OB trucks to

4 and BT Sport. The challenge was to build

provide UHD coverage of live events where a

an OB truck to accommodate large sporting

greater number of camera and replay devices

events and, after speaking to several vendors,

were required. In addition to UHD, Timeline


SAM was selected as lead technology partner.

also wanted the capability to provide HDR

adapt the technology to satisfy client needs

conferences, global sporting competitions,

only viable way to achieve their technical

and to support the industry with the transition.

light entertainment and current affairs.

and commercial requirements and, based

s IP starts to evolve more quickly in the

Timeline’s technical and creative facilities

industry, it’s crucial for manufacturers

cater to a diverse range of programmes,

to continue to find ways to further

such as live music and award shows, political

As a company specialised in designing and developing solutions for the media production industry, Snell Advanced Media (SAM) is committed to providing the market and its global client base with the latest technical expertise as well as equipment. Companies that have already embraced IP are already thinking of what’s next and how to evolve further. The industry is shifting, not only in terms of standards, but more importantly in terms of

‘A better understanding of how IP is affecting the industry allows SAM to ultimately provide the latest IP solutions and continually innovate in its field and support its customers to be successful.’

being able to deploy IP.

as deploying a large modern HD truck. Timeline recognised IP technology as the

on a series of specifications, commissioned SAM to develop their second UHD OB truck ‘UHD-2’. Among the technical requirements were the support for up to 32 UHD cameras, connectivity for 12 UHD replay servers and two UHD archive servers. Furthermore, Timeline also considered support for newer technologies such as high dynamic range (HDR) and high frame rate (HFR), alongside an overall reduction in cabling and equipment to be necessary

At the end of last year, SAM embarked on a


project with Timeline Television, the worldwide

However, Timeline, whose current OB fleet

broadcast technology and services provider

already included SAM technology, identified

30 31 TVBE June Technology Timeline_V3 JG.indd 54

services in UHD alongside SDR in HD as easily

With every requirement in mind, SAM’s new IP technology allowed Timeline to

19/05/2017 17:25


June 2017



In association with

Inside ‘UHD-2’ consolidate a number of the signals onto

Sony PWS-4400 UHD archive servers; Calrec

scenarios, support for complex and enhanced

singular cables, therefore allowing integration

Apollo audio console, 56 faders and an Axon

audio workflows and decentralisation of

with multiple devices.

Cerebrum control system.

Ultimately, by embracing open standards

An OB truck of this scale and complexity is

equipment. Producing simultaneous UHD HDR and SDR, 3G 1080p HDR and SDR

in a next generation IP truck, the return on

a large investment. However, SAM has been

and HD1080i content with the latest cutting

investment is expected to be maximised. The

able to provide Timeline in a short period

edge technology that is agile, as opposed

timeline for the project was weeks, a feat not

of time with significant benefits such as full

to being locked into a single vendor or

possible with SDI.

production capabilities required for supporting

specific IP format, will enable Timeline to

large-scale UHD OB events, including multi-

offer new services, attract new clients and

format deliverables.

be more competitive.

The ‘UHD-2’ truck included the following SAM products from our IP routing system: n Kahuna IP production switchers (HDR 6ME and SDR 6ME) n IQMIX (SDI) and IQAMD (MADI) IP gateways n Audio XS audio routing and processing system n MV-820 IP multi-viewers n SAM IP routing controllers n Orbit IP routing and monitoring and configuration system

Looking towards the future, SAM believes

‘As IP starts to evolve more quickly in the industry, it’s crucial for manufacturers to continue to find ways to further adapt the technology to satisfy client needs’

In addition to this, the Timeline OB Truck It’s a next-generation IP truck with state of the

cards; Evertz 5601MSC and Meinberg

art technology, clearly demonstrating to the

LANTIME M1000 PTP/TL/BB synch pulse

industry what is now possible.

30 31 TVBE June Technology Timeline_V3 JG.indd 55

manufacturers come together, will allow the broadcast industry to move forward and develop more cutting edge technology. By engaging with customers and listening to the industry, through research such as SAM’s its new technology to meet with the new

network switch with up to four 100G line-

cameras; EVS XT4K UHD replay servers;

fundamental for IP success and, as

Global IP Barometer, SAM is able to adjust

includes an Arista 7504R Modular COTS

generators; Sony HDC-4300 UHD/HDR

embracing open standards is absolutely

The objective was to allow more expansion and flexibility to cope with all production

market requirements. A better understanding of how IP is affecting the industry allows SAM to provide the latest IP solutions and continually innovate in its field and support its customers to be successful. n

19/05/2017 17:25


TVBEurope June 2017


An arms race for content George Jarrett looks back on a DTG Summit at which SVoD was cast as Goliath, and public service broadcasting a resilient David


on three major priorities – our creativity, our culture, and our global ambition,” she adds. “We always need to generate new ideas, innovate further, and take greater risks. We want the BBC during this charter to be defined

xplaining the impetus behind the Digital

and one thing we can be sure of is that where

by boldness and originality not just on the TV

Television Group’s 11th Summit, CEO

we face common challenges across the

screen but also in the online space, where the

Richard Lindsay-Davies says: “For us it is

industry, collaboration and thinking collectively

competition is highest.”

trying to get everyone to acknowledge the fact

will continue to be key. Wherever the industry

that broadcast is changing rather radically and

needs to understand new technologies and

iPlayer, exploiting the BBC’s world-class audio

actually the opportunity for the UK to stay in pole

create new opportunities, the DTG will have a

content, and making the most of AI, voice

position is in our own hands.

very important role to play.”

recognition and VR.

“But if we don’t step up, if we don’t treat

The latest BBC Charter was a tough imposition,

The big things are the re-invention of the

“It will be about transforming the BBC services:

it seriously, and if we don’t get a bit more

but Bulford says that by remaining creative right

more open, more creative, and available when

attention from the secretary of state charged

at the top of the BBC’s game is the key factor.

and where the public wants them,” says Bulford.

with TV and innovation, there is a risk that we will

“The challenge is to reinvent the BBC for a

Savings of £800 million must be made by

lose that advantage,” he adds. “So the theme

new generation,” she says. “OFCOM’s research

2020, and the property bill is down by £90 million

(was) all about making sure that we fully realise

tells us that young people value PSB every bit as

in six years. Enterprise technology spending is

the beautiful synergy between broadcast and

much as everyone else. The BBC is still the media

down 23 per cent. A cull in senior management

Internet; it is yet to happen beautifully, but for

partner that young audiences use the most,

has seen nearly half go, and the BBC property

the UK to have a clear role in this we need

but we also know that people are consuming

footprint is now 40 per cent smaller. What are

government support, we need OFCOM support,

media in increasingly different ways, and there is

the productivity targets?

and we need the industry working together.”

extraordinary competition for their time. “We need to do much more to make our

“Working in silos and with budgets agreed years out simply cannot succeed in the future,”

BBC’s three major priorities

programmes and services cut through in an

Bulford states. “We need to be more seamless

Anne Bulford, BBC deputy director general, picks

extraordinarily competitive global space. Above

in how we work across both technical and

up on the Lindsay-Davies theme. She says: “The

all, our goal is to make sure the BBC works for all

editorial teams, and more nimble in how

best way of predicting the future is to create it,

audiences, and to achieve this we are focusing

we allocate budgets.

32 34 35 TVBE June Business George_V5 JG.indd 54

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TVBEurope June 2017

Business “If we are truly to reinvent the BBC we have to

Richard Lindsay-Davies

Anne Bulford

be much more entrepreneurial in our make up. In a post-Brexit world we believe Britain needs the BBC more than ever. We also need to do more for Britain. In the fake news era, it is part of our mission to be a trusted voice in a crowded arena,” she adds. “The historical expansion of the BBC World Service is the biggest since the 1940s, but we are also focused on what we need to secure - the BBC’s status as one of the very best programme makers in the world.”

The UK government is missing in action Andrew Neil, broadcaster, journalist and chairman, looks at the challenges facing British television. He says: “British creativity has never been healthier, never been more wanted on the global stage, and it is likely not just to stay that way, but to become even greater in years to come. But our broadcasting models for business are particularly ill-suited to the challenges that

“The co-production partner was AMC, and it

advertising revenues are up 11 per cent to

have already arrived and can only get more

paid two thirds of the production costs, which

£1.86 billion, 53 per cent of the total. ITV

fierce from insurgents and disruptors.”

was £3 million per episode,” he adds. “It was

Studios returned 13 per cent and digital was

the most expensive drama the BBC has ever

up 23 per cent. The model is not dependent on

business models, huge churn in the executive

made but they could only afford to make eight

ad spots, but where does ITV go from here?

leadership of TV companies, and a government

episodes, and in the world of the Dickensian

Will it be a takeover target? ITV is just too

“missing in action when it comes to broadcast

novel drama, eight is simply not enough.”

small to be a global player,” Neil says.

policy”. We’re in an age where there’s never

At a time when we are enjoying an extended

“Channel 4 will be banished to the provinces

been as much quality and quantity.

golden age of drama seen widely as the new

because the government could not privatise

cinema, broadcasters do have a little time to

it. For all its strengths and qualities, it is a niche

scripted shows, and this has been driven by

react to the challenges introduced by the

player. It is not equipped to face Netflix and

SVoD. Netflix and Amazon Prime have forced

SVoD insurgents.

Amazon Prime.”

Neil sees a sad combination of effects: weak

“Last year in the US there was a record 455

the broadcasters to up their game,” he says.

“Linear TV and catch-up TV from broadcasters

Neil pointed to the bonfire of the vanities

“Netflix is heading for 100 million subscribers

makes up 75 per cent of our total viewing.

represented by BT and Sky and their battle to

and the big change that has happened is

SVoD is only four per cent and YouTube is 6.4

waste millions on sports rights. He says: “Both

that Netflix has 1000 hours of original content:

per cent, but amongst 14-24-year olds, TV is

sides are desperate for a truce. BT paid £1.2

it now spends $6 billion on original and acquired

down at 56 per cent, YouTube is 16 per cent,

billion for the Champions League (32 per cent

content, and Amazon Prime is out to do almost

and SVoD is 11 per cent. You can see the

up on the previous time) and just under £1 billion

exactly the same.”

general shift with the generation that is

for 42 Premier League games. Every time the

coming through,” says Neil.

Premier League rights come to market they

These insurgents come to the UK to make

increase by 70 per cent.

a fair chunk of their programming, and that has been good for the creative and

The threat of foreign ownership

“Putting so much emphasis on sports has

craft skill community, but look at the budgets;

Turning to Bulford’s point, Neil adds: “The BBC

created inflation. In the US there is growing

The Crown cost £100 million for the first ten

response is to reinvent the iPlayer, to make it a

evidence that live sports is not the guaranteed

episodes, and the opening sequence for

destination in its own right and not just catch up.

audience that it was. And ESPN is starting to

The Grand Tour on Amazon Prime cost £2.5

It will give it a list of registered viewers, and in the

show a decline in revenues,” he adds.

million. The issue is, how can UK broadcasters

digital world data is king, but will it add anything

compete with the production values and

to the BBC’s revenue stream?”

huge budgets? “Finding co-production partners to share

The iPlayer will also be minus aggregation.

Sky is the one British broadcast company with the scale, the technology, the budgets, the reach, and innovation level to be a major player

Other PSB organisations have gone down the

in the new world as fronted by Netflix. It has 22

the cost is something the BBC has been doing

apps route, for every channel, every genre. Neil

million customers, and stands out as a well-

for years and it reached a new peak with The

feels that the BBC is limited in how it can respond

managed plc.

Night Manager. This was interesting because it

to SVoD. He then moves onto ITV, which has

attempted to repeat the story telling capabilities

enjoyed a great turnaround and re-invention of

but it looks like it will become wholly acquired

and the depth of production values of the best

its business model.

(by Fox). Decisions will be made in a board room

of the drama coming out of the US,” says Neil.

“Ad revenues have fallen a bit, but non-

in New York and not in west London,” says Neil.

32 34 35 TVBE June Business George_V5 JG.indd 56

“There is a problem. Currently it is a British plc,

19/05/2017 16:21


June 2017


Business David Docherty

Andrew Neil

he adds. “We know that the appetite for video content now extends to VoD and SVoD services: while it is relatively low in overall consumption terms, it is growing.” Jonathan Thompson, Digital UK chief executive, says: “We are probably in one of the most profound periods of change in global broadcasting. There are themes emerging, the first of which relates to the growth of SVoD: there is a huge amount of excitement and the growth numbers around Netflix, Amazon Prime and NOW TV are very impressive. But there is also a lot of hype around SVoD. “What viewers want is good quality content on the best possible quality screen, delivered both over the air and over the internet. If I read another story saying TV is dead, or hear another executive telling me that they never watch broadcast TV, I may kill myself,” he adds. “We are in danger of drawing some very poor conclusions about the current state of TV.

“This plays to the wider theme of facing changes

the total – and 80 per cent of those ‘churning

that make people look at their business models.

away’ cited price. Some 50 per cent replaced

will be dictated purely by technology. “The

Channel 5 is American-owned, as is Virgin. Sky

their high value cable or satellite subs with SVoD.

other two really important forces are consumer

is about to be, and ITV could well be US-owned

This type of development has put us into an arms

behaviour and the economics of provision.

soon, and all this is happening without much

race for content.”

Those three forces working together will shape

public debate, even within the broadcast

Thompson sees stupidity in thinking the future

how our sector evolves.”

intelligentsia, and the commentators and

FTA and pay light – a hybrid world

analysts. The political classes have shown almost

Simon Beresford-Wylie, Arqiva CEO, describes

traditional pay-TV as a static business. He says:

no interest.

a new ‘Hybrid free-to-air pay light future that

“It is clear that the growth of OTT services is

we see for TV’. He says: “The main way that

giving consumers more choice and flexibility for

spread. They are ignoring unprecedented

TV will be consumed will consist of a compelling

creating the package of content they want.

upheaval at a time of huge competition

free-to-air base complimented by a rich choice

“People are willing to pay for content, and as

and great disruption. Broadcasters in this

of IP services delivered over the top.

someone who represents a FTA platform, I do

“The threat of foreign ownership is wide

country are at risk,” he adds. “Google’s

“Free-to-air TV represents approximately 80

Like many other speakers, Thompson describes

not see that as a threat,” he adds. “I see it as a

(US) skinny bundle is basically a virtual cable

per cent of all viewing, and today there are

massive opportunity because it is giving viewers

set up. You get 40 streaming channels including

over 90 TV services on the free-to-air DTT

more choice to shape the affordable bundle

the US networks, ESPN, Bravo and Fox News

platform, including a wide mix of HD content –

of content they want. With Freeview Play we

for just $35 a month plus unlimited storage.

not to mention that 38 of the most popular TV

are trying to bring many of the philosophical

The pay-TV age is coming to an end. It lost

channels are FTA. “Tellingly, all of the 40 most

elements of what made Freeview a success to

1.7 million subscribers in 2016 – two per cent of

watched programmes last year were FTA shows,”

the hybrid markets.” n

32 34 35 TVBE June Business George_V5 JG.indd 55

19/05/2017 16:21


TVBEurope June 2017


The impending convergence of fibre and IP

Although fibre remains the ideal transport method in live transmission, the future role of IP is taking shape. Frank Jachetta, president, MultiDyne, explores new efficiencies and real-world user benefits


With so much fibre infrastructure in place globally – and affordability of fibre systems at networks at an all-time high – we see ample opportunities for both fibre and IP, now and moving forward, in live transmission. Additionally, we see opportunities for fibre and IP to co-exist as more

s broadcasters and professional

supporting conversion and distribution gear to

transport networks and strategies converge to

production teams increasingly adopt

facilitate transport.

support emerging business models.

IP technologies, they discover new

Fibre also offered notable quality of service

efficiencies as to how they manage and

improvements for live transmission. For one,

Wider pipes

deliver content across two or more points.

fibre transport supports far greater distances

In surveying the landscape today, point-to-

The patchwork of cables, components and

than copper connections, which generally

point dark fibre transport remains the standard.

connectors increasingly slims as operations

falter beyond 300 feet. Fibre connectivity

For example, innovations in cameraback and

migrate to the network.

also essentially eliminates electromagnetic

portable fibre transport units have greatly

interference common with copper.

simplified sports production.

The fact is that IP helps broadcasters both realise new efficiencies and take advantage

Then there are the real-world user benefits.

of new business opportunities. Looking at this

Similar to the efficiencies customers experience

on the surface level, there is little not to like.

upon moving to IP, the transition from copper

Fibre-optic transport can in many ways be viewed the same way. The emergence of fibretopic transport on the market years ago helped

to fibre offered reduced weight, complexity and gear.

‘Looking at IP on the surface level, there is little not to like’

Fibre and IP therefore share many of the

broadcasters and production businesses – such

same benefits, and can both be used for point-

as mobile truck providers – more efficiently

to-point transmissions. However, the flexible

Consider how a mobile broadcaster can

transport audio, video and data signals from

addressability of IP networks also makes IP highly

efficiently transport video and audio from a

point-to-point. These operators no longer had

attractive for multipoint configurations, where

distant hole on a large golf course by simply

to tangle with a rat’s nest of copper to manage

users are sending audio and video content

leveraging a high-density throwdown unit.

and deliver signals, and spend hours upon

between many points in a broadcast, unicast

Fibre was the breakthrough that made life

hours connecting devices and signal paths. The

or, increasingly, a more bandwidth-efficient

much easier for these professionals, and for

deployment of dark fibre strands helped them

multicast configuration that assigns special

the time being, there seems to be a greater

move signals from A to B, with a complement of

addresses to ‘interested’ devices.

benefit in evaluating and updating existing fibre

36 37 TVBE June Audio MultiDyne_V2 JG.indd 54

19/05/2017 10:24


June 2017


Audio infrastructure. This remains true when it comes to

sense to consider how these same companies

There is no question that broadcasters would feel

supporting emerging needs like 4K and 12Gb/s,

can leverage IP to move signals between

more confident from a protect-your-investment

as well as multichannel AES and analogue audio.

cameras, switchers, and even RF plants.

standpoint if they had standards to count on.

Fibre has always offered efficient bandwidth,

And with a fibre infrastructure already in place,

As these standards develop, transitioning

and the higher bit rates and data rates of 4K,

there is also a foundation for broadcasters to

to transport systems that support both today’s

8K and 12Gb/s signals make fibre a perfect

leverage for multipoint IP networking moving

and tomorrow’s opportunities will be key. At

complement. For live transmission, fibre is also


a basic level, it means offering camera backs

a very affordable option, with only a modest

and field connection boxes that support a full

budget required to pair today’s more innovative

range of fibre, analogue, and IP connection

camera-back fibre transport systems with low-cost cameras from companies like Canon, Blackmagic and AJA on the acquisition side.

‘For the time being, IP foremostly remains a data transport standard’

options for audio and video transport. For today’s opportunities, emerging products are beginning to accommodate 12Gb/s download with

Similarly, bringing fibre to POV – as well as robotic

embedded audio down a single fibre, instead of

cameras for live events and smaller sports

bulky ‘quad-core’ assemblies of four 3G cables

productions – combine the benefits of optical

ganged together. This offers an ideal scenario for

transport with the labour and training savings of

Forward momentum

unmanned acquisition.

The fact is that by moving to IP, the broadcaster

Broadcasters have also grown comfortable

point-to-point fibre. Then there are opportunities associated with

may even use the same fibre connection to add

ATSC 3.0, the first over-the-air DTV standard with

with the elegance of using fibre camera

network traffic. Instead of being limited to point-

intrinsic IP networking capabilities. A broadcaster

signal transport compared to expensive and

to-point distribution, the migration to IP allows

in a live transmission scenario may want an

cumbersome copper tethering. Instead, fibre

the broadcaster to join or establish a broader

option to transport video, audio and data point-

offers a reliable way to transport a camera feed

multipoint network. And just like in an office

to-point fibre to a production truck; as well as

to the control room or production truck over a

environment, there is now an easy way to move

over IP to an uplink truck or a microwave system

single, lightweight cable. Multiple copper cables,

all kinds of video, audio and data signals on and

for adaptation into the ATSC 3.0 IP stream.

including power, can be reduced to one SMPTE

off that IP network.

hybrid fibre cable or one strand of single-mode

We view this as an exciting new business

Broadcasters toying with the idea of transporting audio and camera feeds over IP

fibre, simplifying wiring while giving camera

opportunity for broadcasters and production

direct to a switcher are increasingly requesting

operators more movement and flexibility.

teams working with fibre today. However, there is

customers IP as an additional option. This offers

Fibre’s convenient simplicity and transport

still a reality check – while the future looks bright,

something of a test bed as well as a gradual

density aren’t limited to camera connections.

there is still work to do before IP makes sense for

transition path. For the time being, IP foremostly

Anywhere you have multiple audio, data or

live transmission.

remains a data transport standard, and simply

video connections, upgrading to fibre can

The proposition makes sense on the surface:

cannot transport data quicker and more reliably

eliminate the mess of copper cabling that

since IP is being used to carry all kinds of data

typically comes with them, making everything

in today’s world, why not leverage it for the

easier and more flexible.

transmission of high-data rates associated

our customers will soon be a common gateway

than dark fibre-optic cable. Offering hybrid fibre/IP transport solutions to

with digital and UHD video? Foremost, there

for broadcasters that want to maximise their

stick with a fibre infrastructure for live

are questions of interoperability. With no firm,

connectivity options, leveraging the reliable and

transmission for the foreseeable future.

agreed-upon standards in place, broadcasters

proven performance of fibre while hedging their

However, with the advance of IP-based

cannot be certain that the proprietary IP-direct

bets on the continued maturation of IP for live

networking into every aspect of our business

products bought today can interoperate with

transmission – and the many emerging business

and personal communications, it only makes

those from other vendors tomorrow.

opportunities we all expect. n

These are all very compelling reasons to

36 37 TVBE June Audio MultiDyne_V2 JG.indd 55

19/05/2017 10:24


TVBEurope June 2017


The Doctor’s new dynamic sound Doctor Who has pushed the boundaries of scary TV with the launch of a special binaural episode on iPlayer. To find out more, Jenny Priestley spoke to Catherine Robinson, audio supervisor for BBC Wales

How did the idea of the special audio

the left of a person will reach the left

Why did you decide to test this with Doctor

episode come about – did Steven Moffat

ear before the right ear and will naturally

Who? Why not with a lesser-known show?

approach you or did you approach him?

be louder in the left ear. The differences

We have done quite a number of experiments

The idea came about to create a binaural

vary at each frequency and with the direction

previously, including a BBC Taster pilot of

episode of Doctor Who after we did a binaural

of the sound. Using new production tools,

A Midsummer Night’s Dream, which paved

mix of A Midsummer Night’s Dream at BBC

we can virtually move sounds in space

the way for this project, but this is the first

Wales using the 3D sound studio built using the

by mimicking these various effects.

time that we have streamed a binaural mix

tools created by R&D. [Executive producer]

Unlike traditional stereo techniques, which

of a TV drama on iPlayer. Certain types of

Brian Minchin listened to that mix and thought

appear to produce sound inside the head

content lend themselves particularly well to

how great would it be to offer the Doctor Who

when listening on headphones, this binaural

the spatial audio effects offered with binaural

audience a similar experience.

effect should sound more like the scene

sound and this particular episode of Doctor

is happening outside of the head, around

Who was too good not to.

How much input did the show’s creative

the listener.

team have? The immersive mix was done after the main mix for TV was completed. Dubbing mixer Darran Clement created this immersive mix and was given a lot of freedom, with a little technical support from the R&D team. The binaural element was added at the end of the production, so no special recording techniques were used on set, all the sounds

We know spatial audio will work for viewers

“We would love to see an episode specially written and directed with the binaural audio in mind to really make the most of the scary things you can do with it”

were captured in the usual way.

using headphones but what about those watching with speakers? Are there plans to test it on speakers? We already produce a surround sound version of the programme for those watching on BBC One HD. Binaural techniques are specifically desgined for creating spatial sound over headphones, where we know much better how sound will reach the listeners’ ears than with loudspeakers because they’re very close

How did you go about creating the 3D audio?

This processing was built into production

to the ears. Many more people are listening

Recordings are processed to accurately

tools where the sound engineer could freely

to BBC programmes on headphones than in

simulate the way that sounds in the real world

position sounds in 3D space. These ‘binaural’

the past. Binaural sound is accessible to a

interact with our head and ears on the way to

techniques can also be found in virtual reality

mass audience to enjoy with any ordinary

our eardrums. As a simple example, a sound to

(VR) technology.

pair of headphones.

38 39 TVBE June Audio Doctor Who_V3 JG.indd 54

19/05/2017 17:30


June 2017



How do you choose which bits of audio to

How will you judge if the experiment is a

360-degree online videos, and are building

make 3D and which not? Is it all 3D?


up a unique set of expertise along with a

The creative process was very interesting and

We are keen to hear feedback from the

busy 3D sound studio. We would love to see

the choices made in the mix were quite often

audience and have a survey running on the

an episode specially written and directed

made by moving the sounds to the places they

BBC Taster website.

with the binaural audio in mind to really

felt most comfortable. As it’s such a new area,

make the most of the scary things you can

there are no rules, so it’s a case of trying things

What is the likelihood of more Doctor

do with it. The audience has had a taste,

out. We chose not to make the music 3D as it

Who episodes being made available in

so hopefully they will want more.

felt better to listen to in normal stereo. There

this format?

was a careful balance to be found in creating

Provided there is another story that will suit

Are there plans to develop this for other

an immersive experience without overdoing it,

binaural, we very much hope that they will

flagship BBC shows?

so the audience would not be distracted from

consider doing more in the future. We are

We really hope to keep developing our

the narrative, as ultimately the story is the most

working on lots of different types of content at

use of the technology and apply it to other

important thing.

BBC Wales with immersive audio, from radio to

programmes. n

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38 39 TVBE June Audio Doctor Who_V3 JG.indd 55

19/05/2017 17:30

40 TVBEurope June 2017


The pursuit of APIness Social media giant Twitter has been edging toward the live video ether in recent months. James Groves investigates two of its most recent moves


ack in March, Twitter launched beta testing

Telestream has a close relationship with Twitter, and,

4K live-streaming capabilities aren’t something

of its new live video API, Periscope Producer.

after being informed of its API plans, the company

Wirecast can offer at the moment, but it’s

The API – looking to rival Facebook Live –

was keen to get involved.

something that Telestream is keen on in the future.

was specifically designed for external hardware

“We were a very foundational partner for the

“If you consider what is on YouTube Live, most

and third-party software, allowing independent

launch,” Murray says. “Previously, Twitter’s live-

of these are 720p HD format,” states Murray.

developers to create applications that can

streaming was simply done on their mobile app.

“YouTube, Facebook, Twitter – the HD resolutions

authorise Periscope accounts, control broadcasts,

You can still carry out immediate news events

are important. Streaming 4K to those platforms at

push broadcasts to Twitter, and configure streams.

as they happen with the mobile app, but if you

this moment in time is not really a priority. It’s not

want a better quality of experience and a better

what we had in mind – at least in the short term –

production quality, Wirecast gives you that.”

when building Wirecast. As soon as the platforms

Upon launch, Telestream released version 7.5 of its Wirecast live streaming and production software, which included support for the new API. “Destination is a very important consideration

Wirecast’s capabilities mean that smaller

adapt to 4K, I could see us adopting it, but if you

companies looking to carry out, for example, a

consider what the consumption is on either tablets

in our Wirecast product,” says Scott Murray,

four-camera shoot, no longer need to possess full

or phones or computers, 4K resolution doesn’t really

vice president of desktop products, Telestream.

production switchers. Murray says: “You can do

buy you anything at that point.”

“Customers naturally use social media, and each

four-camera shoots, integrate titling and pre-

social media platform has a different target

produce content playback through Wirecast – you

to go to larger 60in flat panel OLEDs with high-

audience. For example, with YouTube Live,

can do a full production itself and stream that

dynamic range. That’s where 4K really becomes

people have channels and subscribe to YouTube

directly to YouTube Live. That’s one instance of

a shining star. It’s not really required at this point.

Red – there’s a lot of content being put up there.

what customers are doing. The other is that if they

HD is the resolution of choice and usually it’s a

Facebook Live has a different reach, but it has a

have a larger production, such as what you would

progressive format like 720p – that’s what most of

different methodology to addressing customers.

find at a major sporting event, where you have

the platforms require.”

Twitter and Periscope have another means of

lots of cameras and a larger production switcher,

how they reach their audience with the Twitter

you can take programme output from that show

broadcasting content, Twitter quickly followed

phenomenon itself – news can be broken in a

that’s being delivered to maybe somebody like Sky

up by announcing video partnerships with a

different way to that which would reach audiences

or ComCast or anybody else, and you can ingest

large slate of various news, entertainment and

on Facebook Live or YouTube Live.

that directly into Wirecast.”

sports providers throughout the globe, including

40 41 TVBE June TVBEverywhere_V2 JG.indd 32

He continues: “It does buy you a lot if you want

Not content with simply hosting independent

19/05/2017 16:23


June 2017


TVBEverywhere enjoyed a very positive relationship with Twitter in the past, and that prior experience proved

Mike Bloomberg and Twitter CEO Jack Dorsey

invaluable in recent developments. Ravindranathan explains: “We’ve had a very positive experience with Twitter, having partnered to live-stream the US presidential debates last year, which was mutually beneficial in terms of audience, engagement and advertising. We also currently live-stream three of our shows on Twitter. “We value Facebook too, but we’re building a live, breaking news network and Twitter is the largest real-time news platform in the world. The new network will feature high-quality produced news programming made out of both professional and user-generated original content, supported by an innovative ad model. Wirecast in action

No date has been set for the launch of the new service, but Ravindranathan says the network will be launched “this year”. “Users will see an extraordinary mix of user-generated breaking news video from, curated and verified by Bloomberg editors, together with live video and reporting from Bloomberg journalists around the world. “Imagine: Twitter’s speed and vast global network of user-generated content and commentary combined with our high-quality, editorial rigor, global reach and rich data.” Asked whether Bloomberg sees live streaming Telesteam’s Scott Murray

as the way forward for traditional linear broadcasters, Ravindranathan concludes: “Bloomberg is a leader in global business video

Bloomberg Media, the PGA Tour, The Verge,

posted by Twitter users, curated and verified by

and we were among the first to offer a live-stream

BuzzFeed News, Live Nation and IMG Fashion.

Bloomberg before being reposted to the channel.

of our linear TV network across our digital platforms.

The partnership with Bloomberg particularly

“This is a unique and collaborative

For our busy, on-the-go audience of global

caught the eye as Twitter named its first 24/7

partnership, offering many benefits,” says Parry

business professionals, the need for live-streaming

streaming deal. The social media company joined

Ravindranathan, managing director, international,

and on-demand cannot be ignored. Our hallmark

forces with the global financial news outlet to

Bloomberg Media. “Twitter reaches more than 300

is quality – accuracy, thoroughness, data,

create a service that will stream news 24 hours

million monthly average users.

expertise. We see this as an exciting opportunity

a day, seven days a week. It won’t simply be a

“Combining Bloomberg data and journalism

to apply those values to a new business, bringing

stream of Twitter’s existing TV content, either; it will

with the digital power of Twitter will enable us to

live global breaking news video to new audiences

feature new, original reporting from Bloomberg’s

cover news in a new way.”

that integrates the social experience in a brand

global news offices, and content created and

40 41 TVBE June TVBEverywhere_V2 JG.indd 33

Much like Telestream, Bloomberg Media has

new way.” n

19/05/2017 16:23

42 TVBEurope June 2017

Data Centre

Big appetites, little patience By Charles Dawes, senior director of international marketing, TiVo

With high consumption habits and the large

will also help them to navigate the ‘content chaos’

majority of millennials paying for content, it’s no

and enjoy what they want to watch, whenever

wonder they have such high expectations for cross-

and wherever they want to watch it. Millennials

platform discovery solutions that allow a seamless,

are particularly keen to stay on top of the latest

stress-free entertainment discovery experience.

and greatest in both technology and shows they

he media industry is facing a perfect storm.

These figures suggest that the entertainment

watch, whether via browsing or recommendations.

With more competition in the market,

industry is fragmented and content owners and

Indeed, TiVo revealed that 53 per cent of

service providers are under pressure to

providers that rely on loyalty and continued

millennials often expect recommendations

deliver increased choice and improved access

engagement from their viewers need to be more

on what to watch next. It is therefore essential

to content. Failure to achieve this could mean

conscious of how content availability affects the

consumers are provided with predictions and

frustrated and disengaged users.

viewing experience, especially for millennials.

recommendations from their entertainment guide


As the first generation to grow up in an era

which are personal to them and are offered as a

when IP-connected devices and services are

Impact on Generation Z

ubiquitous, millennials have formed exceptionally

Compared to millennials, TiVo found that

high expectations for cross-platform discovery

Generation Z consume less content across a

of fragmented access and pay structures, where

solutions. However, these expectations remain

narrower range of devices; on average, spending

applicable. Longer term viewership continuity

largely unmet. Content owners and providers must

5.1 hours per day streaming content, 23 minutes

and the value of a property over time should be

therefore work to create a discovery experience

searching for content, and across less than two

considered against short term licensing incentives

that appeals to millennials and future generations,

streaming devices in the home. One would

that prevents viewers from accessing content in a

capturing their continued interest, engagement

expect that their behaviours and interactions with

seamless, continuous fashion.

and satisfaction.

technology will follow in the footsteps of millennials,

coherent experience across all potential platforms. Content owners must also consider the impact

if not at an even quicker pace. They have

‘Show dumping’ millennials

The future experience

accessed technology at an even earlier age than

The entertainment search and discovery process

Many consumers are saturated with a plethora

millennials, and while it’s true that they consume

of the future will be much more hands on and

of services on a daily basis. According to a report

less content across fewer platforms, Generation

interactive for these ‘mobile first’ generations. In

by TiVo, when consumers cannot seamlessly start

Z viewers still have high expectations for viewing

addition to delivering a seamless and consistent

watching a piece of content on one platform

content and its availability. Equal to the millennial

entertainment discovery experience, millennials

and continue watching on another – or if content

demographic, 54 percent of Generation Z viewers

will also expect to see much more in the way

mysteriously disappears from an existing service

share the frustration with millennials and admitted

of conversational guidance technologies.

due to licensing windows or it moves behind a

to ‘show dumping’. As such, content owners and

To become fully functional and effective for

pay wall – they are more likely to ‘show dump’

providers need to ensure that, as Generation Z

users, voice technologies must be backed by

and give up on content when it becomes too

grows up, the obstacles to viewer engagement

sophisticated search capabilities, such as dynamic,

difficult or costly to access. In these incidences,

with content are fully removed.

semantically linked knowledge graphs coupled

millennials are particularly unforgiving.

with deep metadata. Ultimately, by building an entertainment experience that includes the latest

per cent of millennials have ‘show dumped,’

Improving the entertainment experience

compared to just 36 per cent of Generation X

Whether millennials and future generations are

more inclined to engage with their favourite shows

viewers (born between 1965 and 1980) and 17

binge watchers, committed viewers or season

per cent of boomers (born from 1946 to 1964).

show fanatics, enabling easy, intuitive experiences

In the same report, TiVo revealed that 54

and keep watching them for longer, and less likely Millennials & TV: Big Appetites, Little Patience

TiVo also found that millennials consume the of devices; on average, spending 6.2 hours per

BOOMERS (1946-1964)















Has “show dumped”






Subscribes to at least one paid video streaming service:

Hours spent watching or streaming content per day:

xxxxx xxxxx

day watching and streaming content, 32 minutes

Minutes spent searching for content to watch per day:

per day searching for content, and using three streaming devices in the home. In addition, 73 per cent of millennials have streaming video devices at home, compared to Generation X $

Millennials are also prepared to spend more, with 91 per cent paying for at least one subscription streaming service, compared to Generation X at 72 per cent and boomers at 50 per cent.

$ 42 TVBE June Data Centre_V2 JG.indd 46

to ‘show dump’. n

US Average

most content and across the largest number

at 57 per cent and boomers at 29 per cent.

search and discovery solutions, millennials will be








Average number of paid video streaming services subscribed to:






Uses at least one streaming video device to consume content:






Average number of streaming devices in the home:






Use Voice Command technology everyday:






Often plans their day around favorite video programming:






Would pay more each month for a cross-platform search:











Often looking for recommendations on what else to watch:

19/05/2017 10:27

7th – 8th June, Millennium Mayfair Hotel, London

DISRUPTION | TRANSFORMATION | EVOLUTION THE BRAVE NEW WORLD OF MEDIA AND ENTERTAINMENT MediaTech 360 Summit addresses some of the fundamental technological and operational issues that are affecting businesses throughout the media and entertainment industry. Hear from Channel 4, BT Sport, ITV, AIMS, DPP, Ernst and Young, IBM, M&C Saatchi, DTG, Ericsson, Sony, Inception VR, MTM and more as they discuss the nuances of operation and strategy within our evolving market.


Ellie Reed head of digital M&C Saatchi Sport & Entertainment

Justin Gupta head of UK broadcast and entertainment Google

Fabien Allègre director of merchandising and brand diversification Paris Saint-Germain

Keith Underwood director of strategy and technology Channel 4

Matthew Huntington chief technology officer Freesat

Steve Plunkett chief technology officer Ericsson Broadcast and Media

Sinead Greenaway chief technology and operations officer UKTV

Tom Griffiths director of broadcast & distribution technology ITV

Delegates will learn: • • • • • • • •

How standards are shaping the roadmap to IP enablement The role and relevance of standards versus proprietary software deployment How live IP has successfully been deployed in the market: from test case to use case The current state of the market: top level and granular market analysis The role of AI, VR, MR, and connected world technology in M&E How traditional broadcasters are strategising for the future The top trends in technology and operation What the future of M&E looks like

BOOK ONLINE TODAY! Headline Sponsor:

Masterclass Sponsors:

Webinar Sponsor:

Brought to you by:




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