TVBE October 2016

www.tvbeurope.com

Business, insight and intelligence for the media and entertainment industry

October 2016

80 years of

High Definition A landmark anniversary for BBC Television

IBC2016 conference report • OTT and the Rio Olympics • Setting the sustainability agenda

CONTROL

See us at SATIS stand B17

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October 2016 www.tvbeurope.com

TVBEurope

Welcome

EDITORIAL Content Director and Editor-in-Chief: James McKeown jmckeown@nbmedia.com Staff Writer: James Groves jgroves@nbmedia.com Group Managing Editor: Joanne Ruddock jruddock@nbmedia.com Contributors: Michael Burns, David Davies, George Jarrett, Philip Stevens, Chris Forrester Sales Manager: Peter McCarthy pmccarthy@nbmedia.com +44 207 354 6025 Account Manager: Richard Carr rcarr@nbmedia.com +44 207 354 6000 Digital Director: Diane Oliver

3

IP as an enabler he handshakes, the photo calls, the

T

EBU, AMWA,

press conferences: they were all there

the VSF,

in abundance at IBC this year; a fair

SMPTE, AIMS, AES and IABM in support of the newly

proportion of them geared around that word,

facilitated zone at IBC, in answer to user demands

again: collaboration.

for a common set of protocols.

Action shot from The IBC Daily office

There have been – and remain – many and

In this way, IBC engineered an industry first,

disparate attitudes towards the application of IP

but from here the sight of these bodies standing

in our sector, but what struck me most readily in

shoulder to shoulder on common ground will

Amsterdam was how IP has seemingly proved to

become more… well, common.

Human Resources and Office Manager: Lianne Davey

be a prime catalyst for true industry collaboration.

Designer: Kelly Sambridge

And hence the thrust of this preamble: we’ve all

The IBC Daily, which was a thoroughly enjoyable

talked about IP being an enabling technology,

and rewarding experience. I’d just like to take this

but in terms of commonality of purpose for entities

opportunity to thank every single person involved

Managing Director: Mark Burton

within the market, I believe it’s proved to be an

in the process, be that in the realm of writing,

US Sales: Michael Mitchell mjmitchell@broadcast-media.tv +1 (631) 673 0072

enabler for industry unity, corralling manufacturers,

proofing, editing, design, production, photography,

service providers, standards bodies, and happily,

videography, printing, uploading, delivery, finance,

end users. AIMS has lead the charge with this;

logistics, and much else besides. Between us, we

Japan and Korea Sales: Sho Harihara sho@yukarimedia.com +81 6 4790 2222

vocal and visible like never before on the show

managed nearly 50,000 show copies, containing

floor of the RAI. One moment of potentially

608 pages, more than 1,500 unique pieces

historic consequence was captured when IBC

of editorial, composed of more than 303,000

CEO Michael Crimp gathered together an

words. I’ll spare you the man-hours, but everyone

unprecedented roster of leading standards bodies

involved should feel vastly proud of the effort and

to support the IBC Interoperability Zone. The photo

endeavour they’ve invested in this process. I hope

call, which we captured exclusively for The IBC

you enjoy this BBC Television anniversary issue.

Daily, brought together leading members from the

James McKeown, Editor-in-Chief

Production Manager: Alistair Taylor

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Another first in Amsterdam was my editorship of

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Philip Stevens Production editor

Michael Burns Post production editor

George Jarrett Business editor

David Davies Audio editor

4

TVBEurope

www.tvbeurope.com October 2016

In this issue

Opinion

6

Ross Video CEO, David Ross, looks back on an eventful IBC2016 that offered a snapshot of the present and a glimpse of the future direction of the industry

14

‘No good will come from it’

November marks the 80th anniversary of the very first high definition television broadcast from London’s Alexandra Palace. Philip Stevens charts the early days of BBC Television

21

The AR-t of the possible

BT Sport’s Chief Operating Officer, Jamie Hindhaugh, speaks exclusively to TVBEurope about augmented reality in the broadcast studio

32

28 Feature

51 Feature

Business

Was Rio 2016 the opening ceremony for OTT? LiveU and Akamai offer their perspective on the OTT revolution

IBC conference wrap up: Chris Forrester reports from a conference that included heavyweight keynote speakers

Business editor, George Jarrett, gets the lowdown on the transition to IP and the ‘fascination’ with VR from Sony’s Adam Fry

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6 TVBEurope

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Opinion and Analysis

The future is here David Ross, CEO of Ross Video, reflects on IBC2016 and the “exciting and challenging time” for technologists in media production and distribution

BC is always an excellent place to get a

conversion for those that

snapshot of the present, as well as a glimpse

have been waiting to

into the future direction of the industry. As

make the switch, whilst

I

William Gibson famously said, “The future is

also accommodating

already here, it’s just not evenly distributed.” As

those looking to convert

a technology provider to the broadcast and

from earlier generation HD

production industries, our job is to help our clients

technology to today’s state

through a series of technological changes,

of the art.

making things better at every step. Today, with transitions happening on so many fronts, there has never been a more exciting and challenging time to be a technologist in the world of media production and distribution. When I reflect on the show from a live production perspective, three main themes emerge: better pictures, connectivity enhancements and software, workflow and virtualisation.

Better pictures We sometimes forget that there is still a segment of the global production market that has yet to make or is still in the transition to HD technology.

What a great time to do that! HD has never been more affordable or more capable. Things that used to be expensive and difficult just five years ago have now become easy and affordable. There are a whole new wave of HD products sweeping the industry, making HD production a no-brainer and offering an easy

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8 TVBEurope

www.tvbeurope.com October 2016

Opinion and Analysis As the speed and capacity of the computation

Whatever connectivity camp you happen to be

Many software technologies are now able

engines used to process real-time video

in, the coax and ďŹ bre cabling you install today

to be virtualised. Broadcast and production

increases, UHD technology continues to become

will have utility in the future.

is somewhat late to the game in terms of

more and more practical for live production.

data centre and cloud-type deployments.

Virtualisation can be deployed today for

production gear as we were back in around 2000

Software, workow and virtualisation

with HD. Things appear to be moving even faster

Software has become the key to virtually all

automation and other platforms. Watch for more

today, so watch for UHD to close the gap very

technology at IBC. Even dedicated hardware

advancements in 2017 as it continues to extend

quickly as technology evolves.

platforms and robotic cameras depend on

its application to real-time processing.

We’re now at a similar stage with UHD live

extensive software to make them perform.

Connectivity advancements Connectivity, both SDI and IP, continues to advance, with 12G SDI a mainstream attraction at IBC2016. The IP plug-fests,

your newsroom editorial, MAM, editing,

All this software drives streamlined workows, which continue to evolve, providing better

“Waiting for next year’s technology means you will miss out on this year’s beneďŹ tsâ€?

tools for your production team and enabling the automation of mundane tasks. Production productivity is increasing at a dramatic pace,

demos and the IBC IP live production studio

helping broadcasters maintain and extend

show that IP is just on the verge of becoming

service while grappling with ďŹ scal challenges.

viable. The AIMS IP community added many members, including Ross Video and our newly

This shift has been happening for decades, and

The time is now

acquired IP technology company Coveloz,

is only going to accelerate. Companies such

The broadcast and production technologist has

with an impressive plug-fest that showed IP

as ours have been able to take technology

never had a bigger set of tools and options to

interoperability is starting to come together.

from other industries and adapt them, through

make new, exciting and powerful systems for

While still in the realm of early adopters, there is

software, to broadcast and production. A

the creative and operations teams to exploit.

no denying that IP is something to keep an eye

prime example is consumer gaming technology

Waiting for next year’s technology means you

on, and potentially start experimenting with.

becoming hyper-realistic virtual sets.

will miss out on this year’s beneďŹ ts. „

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10 TVBEurope

www.tvbeurope.com October 2016

Opinion and Analysis

Moving sustainability up the agenda

By Bal Samra, BBC managing director of television

ou don’t have to be a green person

Y

to understand why we must behave responsibly, and principally at the BBC it

is about innovation and efficiency. Contributing to a more sustainable world is core to the values of the corporation and we do this with targets, industry partnerships and engaging our

HIGNFY achieved a threestar rating in Bafta’s albert certification scheme

communities with the key issues. Our targets help us monitor progress, but I don’t believe these have been the primary driver for change.

Initiating a common industry approach to sustainable production has fuelled much of the progress we have seen internally at the BBC and it is crucial in achieving more.

Fantastic change can be achieved when working with industry partners; we believe more can be done by working collaboratively rather than imposing carbon reduction targets. Since commissioning albert, the carbon calculator, in 2010, we’ve made it an integral part of our inhouse programming and have also encouraged 60 indies to voluntarily submit their production

(not hardware) that is a key component of

about climate action, and as the direction of

footprints to us. We will continue to collaborate

technology upgrade. Software is within the

travel points increasingly towards a sustainable

on sustainability; albert is a sustainable

scope of the BBC and we will continue to

future, organisations are encouraged to take it

production certification scheme we helped

develop ours in a way which can lead to a

more seriously. All organisations must be more

to create, and it is now widely in use across the

reduction of e-waste.

self-conscious and embed sustainability into

BBC and the rest of the industry. I’ve a feeling that a supportive and progressive roll-out of our sustainability initiatives has achieved greater uptake overall.

everyday decisions. Despite not being a hard-

“The BBC is under no illusion about the length of the journey ahead”

The BBC has a responsibility to ensure that

line on green issues, I do hold an environmental consciousness. We live out of London, we plant trees every year, we do this because we enjoy it; doing your bit for nature is an intrinsically

audiences can enjoy content in the least

satisfying thing to do.

impactful way and we understand how changes

I recently supported the re-procurement of our

The BBC is under no illusion about the

to our output are reflected by changes in our

playout services, an integral part of our content

length of the journey ahead, however. We

audience’s technology. The switch to digital

distribution which consumes a great deal of

understand the challenges climate change

created a huge amount of e-waste. This is a

energy. Discussion around the carbon impact of

will pose to our operations and existence;

big problem which the industry needs to avoid

the tenders received was an absolute priority.

restricting the resources we need to serve our

replicating on future technological changes.

No longer are deals solely struck on economics

audiences content. But the wheels towards an

Although it is hard for an organisation like the

or quality; we are looking for our suppliers

environmentally resilient BBC are in motion, both

BBC to intervene in the consumer electronics

to support us in our corporate sustainability

in-house and with key suppliers. Sustainability

market, we notice that increasingly it is software

objectives too. There is now a political urgency

needs to be moved up the agenda.

www.tvbeurope.com October 2016

12 TVBEurope

Opinion and Analysis

We can really fix it in post

By Alan Wheable, senior technical author at Omnitek

existing infrastructures/workows and does not

layer transmission that is becoming the de-

need to support additional metadata. The time,

facto standard adopted by manufacturers for

production and cost savings of making only

consumer 4K displays and devices. However, the

one version of a programme that is backwards

viewer of devices, with Dolby Vision built in, will

t IBC there was a constant stream of

A

visitors to the Omnitek booth looking to solve the current 4K HDR grading

challenges facing many post houses.

Typically, when a scene is lit, a test frame is captured to establish the ‘black’, ’80 per cent’, ‘white’ and ‘spectral’ levels using test charts and tools such as SpyderCUBE. The material is

not see the full beneďŹ t as the currently available

�Current 4K displays are between 700 and 1,000nits, where theoretically, 10,000 is the ideal�

captured ‘raw’ by the camera, but with these

4K displays are between 700 and 1,000nits where theoretically 10,000nits is the ideal.

IBC showed the framework for a practical ‘glass to glass’ solutions with individual manufacturers demonstrating that they are creating the building blocks that will eventually provide this. At IBC, Omnitek showcased its new Ultra XR, a solution for 4K/UHD content monitoring, colour grading and

reference levels established the material can be

programme QC. Ultra XR’s picture monitor, true 4K

graded appropriately to suit the chosen delivery

compatible with existing installations outweighs

waveform monitor, vectorscope, BT.709/BT.2020

colour space and PQ/HLG.

the end user experience offered by PQ.

CIE gamut charts, video timing, audio meters

IBC conďŹ rmed that terrestrial broadcasters are still favouring HLG as it ďŹ ts more easily in to

OTT providers continue to favour PQ/ST 2084, with its support for Dolby Vision’s dual-

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14 TVBEurope

www.tvbeurope.com October 2016

Picture credit: BBC photograph

Feature

Musical film and theatre actress Adele Dixon performs Magica Rays Of Light for one of the first BBC TV broadcasts

No good will come from it

broadcasts, which would continue to run

With its 80th anniversary in November, Philip Stevens looks back to the start of BBC Television and leaves the reader to decide if the headline is appropriate

over the next six years.

Initially, though, there was a serious hurdle.

Television requires two transmitters – one for sound, one for vision – but there was only one

L

et’s face it; early descriptions of television

six radio manufacturers to stimulate the sales of

transmitter operating at the BBC’s London site.

were not very complimentary. Philo

radio sets. Five years later, it became the British

As a result, these early ‘programmes’ involved

Farnsworth, credited with creating the first

Broadcasting Corporation under the stewardship

two minutes of picture, followed by two minutes

of John Leith.

of sound; a sequence that repeated during each

fully electronic system, is reported to have said to his wife during the couple’s honeymoon in

broadcast. Sorry, nothing new when it comes to

1926, “There’s another woman in my life, and her

audio delays!

name is Television.”

Two years later, C P Scott, editor of The

Manchester Guardian newspaper, declared, “Television? The word is half Greek and half Latin.

”The first public high definition television programming began when the BBC launched a service from Alexandra Palace in 1936”

The following year, a second transmitter was commissioned, with both picture and sound capable of broadcasting simultaneously. In the late spring of 1930, the first television play was transmitted. The Man with a Flower in his Mouth

No good will come from it.”

was selected because it required just three

Then, in 1934, Isaac Shoenberg, another of

characters, contained a good number of long

television’s pioneers, uttered the historical words, “Well gentlemen, you have now invented the

It was in 1929 that the BBC first became involved

speeches and demanded very little action.

biggest time waster of all time. Use it well.” The

in the development of television. John Logie

The actors, who wore a bizarre blue and yellow

occasion was the successful demonstration of

Baird convinced the corporation to allow him

make-up to accommodate the deficiencies in

electronic television.

to use the London radio transmitter – which

the 30-line system, slid into a static seat in front of

was unused from late evening to mid-morning

the single camera at the appropriate moment to

years later, the first public high definition television

the following day – to experiment with his

deliver their lines.

programming began when the BBC launched

mechanical scanning system. The key to the

a service from Alexandra Palace in north London

system was a large spinning disc consisting of a

own studio in London’s Covent Garden, but by

on 2 November 1936. But that is getting ahead

spiral of holes around the circumference. Light

the end of 1932, the BBC had built a studio in

of the story.

passed through these holes to reach a light-

the basement of Broadcasting House, and had

sensitive photocell. In this way, the image to be

taken over programme making. This meant that

Pioneering 20s

televised could be scanned and broken into

regular daily transmissions were now practical,

The BBC – the British Broadcasting Company –

the 30 lines of transmission format. By the end of

and these programmes were watched by

was founded in 1922 by a private consortium of

the year, the Scotsman was producing frequent

several thousand enthusiasts who had bought

Despite these unhelpful comments, two

These early broadcasts originated in Baird’s

16 TVBEurope

www.tvbeurope.com October 2016

Feature the forerunner of today’s receivers: Baird Televisors. These programmes continued until 1935, when the system was shut down to prepare for the launch of the first regular ‘high-definition’ service in November 1936.

Electronics emerge While all this was progressing, an electronic system was being secretly developed by Marconi-EMI. Towards the end of 1932, EMI approached the BBC to demonstrate a five-inchsquare CRT receiver capable of receiving 150line mechanically generated transmissions. At that time, however, the system was only capable of telecine operation.

A further development allowed EMI to pitch a 120-line all-electronic system to the BBC. However, those early electronic transmission demonstrations were disappointing. Their mechanical transmission system was transmitting at 180 lines and the electronic images, initially, were not as good.

Fortunately, by April 1934, it had significantly better results. EMI built a vision mixer with six channels; two telecine and four Emitron cameras. This allowed the company to locate cameras both in its studio and outside its Hayes

Picture credit: BBC Photograph

“By the end of 1932, the BBC had built a studio at Broadcasting House and taken over programme making”

The transmitter atop Alexandra Palace became a symbol of the BBC TV service

factory, and provide a telecine input for a demonstration to the BBC. Alongside the work of the engineering staff, credit must go to those early electronic camera operators. The cameras had optical viewfinders, meaning that the images were upside down.

When a person moved to the left, the image appeared to show action to the right. When a person stood up, the image moved down in the viewfinder. It was quite a challenge. It is also reported that early vision mixers had a two and a half second delay between fading up a camera

Preparing for launch Meanwhile, the government decided that the Baird mechanical system – now upgraded to 240 lines – should be tried against an electronic 405line format developed by EMI. After a six-month trial, a decision would be made as to which would become the permanent format.

Picture credit: BBC Photograph

source to the action actually taking place.

The radio transmitter that enabled Baird to provide test TV signals overnight

18 TVBEurope

www.tvbeurope.com October 2016

Feature While the rivals honed their respective systems,

A change of schedule

for two weeks, with the competing systems

the BBC searched for a suitable site for studios

Although the official opening date had been set

alternating on a daily basis. The Baird mechanical

and a dedicated television transmitter. Although

for November, the BBC came under considerable

system had to make do with one camera

not its first choice, the iconic Alexandra Palace

pressure to produce demonstration transmissions

to record the show. On the other hand, the

was selected. One significant advantage was the

some three months early and beam them

electronic studio would make use of two mobile

fact that it was on top of a 300-foot (90-metre)

to the Radio Show at Olympia. That would

and one fixed camera.

hill. Engineers had decided that to ensure

enable manufacturers displaying their latest

broadcasts could be viewed within a range of

products at the event to convince the public it

two systems. Central to both was a ‘flying spot

25 miles using a 34 thousand watt transmitter, the

should purchase these new television receivers.

scanner’. Here, the scene was scanned with

To be precise, Baird Television employed

aerial had to be 600 feet (180 metres) above sea

a spot of light, while photocells collected the

level. Opting for Ally Pally (as the site became

light reflected back from the subject. However,

affectionately known) meant that a tower of just 300 feet (90 metres) was needed.

The 55,000 square feet section of Ally Pally leased by the BBC was not in the best state of

“I found an old tyre, no roof, no doors and I could see the sky” Desmond Campbell, BBC

the scanner was extremely sensitive to red light, so when an announcer appeared in the appropriately named ‘Spotlight Studio’, he or she required a special type of make up, comprised

repair. Desmond Campbell, a lighting engineer

of black lipstick and blue eye-shadow, placed

for the corporation, was reported as saying, “I

on a pale face.

found an old tyre, no roof, no doors and I could

The show was broadcast in the main studio,

see the sky. The smell of cat in the old banqueting

Manufacturers were understandably concerned

where the Intermediate Film Technique was

rooms nearly made me sick and the whole thing

that with nothing to show on the screens, there

employed using a conventional film camera

looked the most dreadful mess.”

would be very few takers for this new piece of

to record the action. The film passed through

living room furniture.

the developer and a cyanide-based fixer, the

To overcome the mess, conversion work began in early 1935. It was truly pioneering work. After all,

As a result, a variety show was hastily compiled.

image scanned with the flying spot under water.

no high-definition TV studio existed in the world

Titled Here’s Looking At You, and produced by

It was soon obvious that the less cumbersome

from which experience could be drawn.

Cecil Madden, it was transmitted twice a day

electronic system was easier to control.

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20 TVBEurope

www.tvbeurope.com October 2016

Feature That initial burst of activity over, preparations

cameras in an outdoor location. Despite the

viewers saw the announcer in the studio moving

could resume for the regular service, which

infancy of the television service, an impressive

models along a representation of the course.

started at 1500 hours on 2 November. The

number of Outside Broadcasts were transmitted

opening ceremony actually took place

in the first two years or so. For example, two

come a long way in those early years, but that

twice; first on the Baird system in Studio B and

cameras were employed to enable viewers to

progress came to halt as Europe prepared for

then in front of Marconi-EMI cameras occupying

watch a part of King George VI’s Coronation

war. On 1 September 1939 at around 12:15

Studio A. Even in 1936, repeats were the

Procession in May 1937.

hours – after a Disney cartoon – the transmitter

order of the day.

It is estimated there were around 20,000 homes

Despite showing a very small section of the event, it took eight miles of cable to feed the

Development in television production had

at Alexandra Palace was shut down. The service would not be resumed until June 1946.

Of course, there have been monumental leaps

with a television (ten-inch screens were the norm)

camera signals back to base. Other OBs included

within a 35-mile range of Alexandra Palace.

a visit to Wimbledon a month later and the

in technology since that time. Without television,

That was a good number, considering those first

FA Cup Final between Preston North End and

we would never see history being made live.

receivers cost about £100, the same price as a

Huddersfield Town in April 1938.

Moon walks, space stations, human endurance

small family car.

Obviously, resources were limited and when the 1938 Oxford and Cambridge Boat Race

under pressure, famine, conflict, life-saving medical procedures.

Programming

was televised, only the finish could be shown.

So, has good come out of it? Is television the

After the opening ceremony, there was an

Necessity is the mother of invention, however,

biggest time waster ever created? Each has his

interval of five minutes followed by a ten-minute

and throughtout a high proportion of the race,

or her own opinion.

edition of British Movietone News.

Picture credit: Reproduction of image by permission of telent Technology Services

At 15:30, a 30-minute variety show featuring musical comedy star Adele Dixon, comedians, Buck and Bubbles, jugglers, The Lai Founs and the BBC Television Orchestra was aired. This programme was directed and produced by Dallas Bower who, like many of the BBC’s early recruits to the new service, had come from a career in films.

Bower is credited in some sources as the originator of drawing up studio floor plans for live broadcasters to enable camera moves to be plotted in advance.

At 16:00 hours, transmissions closed down until 21:00, when a further hour of programming commenced, including a film about the launch of the TV service, Picture Page, and a rerun of the British Movietone News.

The following day saw another two hours of programming split into two segments. The programmes included a display by champion Alsatians from the Metropolitan and Essex Canine Society’s Show, and The Golden Hind, in which a bus driver describes how he built a model of Drake’s famous ship.

Interestingly, in those early days, television actors were paid less than those on radio. The reasoning was along the lines that radio had a bigger audience and that television only showed the actors in miniature.

Baird abandoned It soon became clear that the electronic system was far superior and the decision was taken after just three months to drop the Baird mechanical format. Its last transmission was at the end of January 1937.

One distinct advantage of the electronic system was the ability to use its more mobile

The latest in OB technology – 1930s style

TVBEurope

October 2016 www.tvbeurope.com

Feature

The AR-t of the possible TVBEurope speaks to Jamie Hindhaugh, chief operating officer at BT Sport, about the use of augmented reality at the broadcaster’s studio T Sport is headquartered in what was the

B

International Broadcasting Centre for the 2012 London Olympics and Paralympics.

The centre includes a large L-shaped studio, designed to present multiple sports events simultaneously. The main stage of the studio includes a giant 4K projection screen on one wall, multiple smaller screens and a large glass floor with LED under-lighting which can simulate the playing area of whichever sport is being present. Augmented reality (AR), using a tailored version of Ncam camera tracking technology, is a central part of the channel’s output. As well as HD services, BT Sport launched a 4K service for major events in 2015.

TVBEurope: What is your background? How did you get to where you are today?

I worked at the BBC for 18 years. My last role was as head of production for London 2012, for the Olympics and the Paralympics. During that time, I was approached by BT to help set up BT Sport.

They had acquired some rights to Premier League Football, and needed to move quickly.

How did BT Sport come about?

In the summer of 2012, BT acquired the live rights for 38 games of Premier League football, to start the following August. The aim for BT was to develop a portfolio of products to drive

Jamie Hindhaugh, BT Sport

21

22 TVBEurope

www.tvbeurope.com October 2016

Feature better engagement with its audience. By launching a big sports proposition and tying it into broadband, it offered a new proposition for audiences, not least because the television was offered free along with the broadband.

The remit I was given was to develop high quality content with new ways of engaging audiences, and bringing sports back to the masses as an affordable proposition, to widen the reach of sport in the UK. What is the BT Sport attitude to using advanced technologies?

When you are launching into what is an established market with very credible competition, and you are looking at sports audiences and their hunger for new ways of

Augmented reality in the BT Sport studio

looking at sports content, innovation must be at How did you get involved with Ncam?

are doing around 360-degree AR, colour depth

We are at the cutting edge, from being the

We first met Ncam at IBC, and we talked to them

and shadow, means it looks even more real. The

largest LED-lit studio in the world to the first 4K live

in the same way that we talked to other camera

3D stuff that Ncam does is very exciting.

sports channel. Our credibility comes not from us

tracking people. We scared most of them off

It’s how our talent can interact with the AR in

being new, but by being sure we have a superior

because we have a 14,500sqft studio and we

a much closer way. I want to see players coming

product. We have to reflect what our audiences

wanted to be able to use AR in any part of it, as

out of the 4K screen on the wall to scale, to

expect and want.

opposed to the common fixed space. Constraints

stand next to our pundits. We are looking for an

like that were going to be a non-starter for us.

even more immersive feeling. This is not about

How do you use AR today?

We wanted something that was freely moveable.

gimmicks, it is to make the analysis even clearer.

When we got the exclusive rights to the

The way Ncam engaged with us as a customer

Champions League, we absolutely wanted to do

reassured me that they understood the

us. They may be developing new things for the

it justice. We wanted our studio presentation to

requirements, particularly the editorial demands.

feature film market, but they are never shy of

the heart of what you do.

What I like is that Ncam is bringing ideas to

asking if they can try something that they think

take the next step up. We wanted to see what we could do around editorial, and what we

Have their been any system enhancements?

might work for us. That is the way we are going to

could do with the look and feel of our analysis

The glass floor meant that Ncam had to rethink

stay ahead of the game.

and presentation.

their system for our studio – they had to turn it completely upside down, as we use the lighting

What advice would you give to someone

but more importantly, it’s delivering what our

grid for the reference points. Ncam quickly came

looking to start a career in live production?

audiences want and expect. AR is a really

up with the solution and they made it work: their

You’ve got to be able to work hard, and you’ve

interesting part of that.

agility in doing that was phenomenal.

got to be able to make decisions quickly, and

It’s about leading the way and innovating,

The art of the possible in AR is enormous, but

The heart of what they did was listen to us and

you’ve got to want to do the best you can. If

just because you can do something doesn’t

what we wanted to achieve. They shaped that

you can do those, and you’ve got some self-

mean you should. There should always be an

around the art of the possible. They adapted their

confidence, then you’ll be fine, but it’s hard work.

editorial driver. My view was to have AR, but not

technology to work within our environment, and

It’s not about chasing the glory. Production is

for audiences to realise it. I didn’t want things

they supported us all the way through, and still

about teamwork and you have got to reflect

swooshing in and out, I didn’t want screens

do. A lot of our success is due to the way we

that. You’ve got to work as part of a team;

appearing for the sake of it. I simply wanted to

work together, having very open conversations

you’ve got to allow other people to have extra

enhance the editorial. That’s a big challenge

about what is possible to push the boundaries

things you don’t have.

as people can get carried away with things

in live coverage.

like AR. Audiences should be able to watch our

One of the key aspects is the way we use AR in

Who or what is your inspiration?

programming without AR; the quality needs to be

a physical environment, with our LED-lit glass floor

David Bowie. You look at him over his career and

enhanced by it.

alongside 4K imagery to get our analysis across.

not only was he always creative, but he always

UEFA said that this is the best Champions League

reinvented himself to continually challenge and

coverage in the world.

engage audiences. That is pretty much what we

What were the challenges in implementing it?

do in television.

Our glass floor was a big challenge, due to the fact that we had no points of reference for the

What is next for AR? What technologies would

cameras to track. The real challenge, however,

you like to see come from developers?

What are your hobbies outside work?

was making AR a fundamental part of our

That is a really interesting question. For me, it’s

Primarily my family. But I do run. Music is a huge

editorial output.

building on what we do. Some of the things they

passion, not least Bowie!

TVBEurope

October 2016 www.tvbeurope.com

Production

Being second is proving a winner deal since then, with ‘second screens’ becoming

Philip Stevens investigates the increasing use of streaming to second screens

a ‘first screen’ under certain circumstances. This is especially true when it comes to integrating programming with social media outlets such as Facebook and Twitter.

“We’ve seen streaming go from strength to strength in the last few years,” states Jake Ward,

W

hether it is described as social

business development director at Groovy Gecko.

television, interactive TV, or enhanced

“By 2020, about 80 per cent of all traffic on

viewing, there is no doubt that

the internet will be video streaming, so this is a

second screens are rapidly becoming part of the broadcast scene. What’s more, it is now

wonderful time to be alive and in this industry.”

In April, Groovy Gecko began a partnership

a medium that broadcasters and production

with Facebook to integrate with its live video

companies are taking very seriously.

application programming interface (API). This

Of course, the initial concept was simple. While

offers content providers the ability to stream

viewing programmes on one device, normally

videos live into a Facebook player. Integrated

a traditional television set, extra contextual

with the API, Groovy Gecko delivers a console

information and material was displayed on a

which content providers can use to set up each

companion device, such as a smartphone or

video to be streamed into the platform. Ward

tablet. However, things have moved on a great

continues, “I think one of the biggest things for

NEW

Simon Farrant, Opta

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www.tvbeurope.com October 2016

24 TVBEurope

Production action or incident. This creates the opportunity for all kinds of interactive experiences, from

Opta’s performance data is collected live and delivered to a variety of applications within seconds of an action or incident

tactical analysis apps and websites to social networks and fan communities.”

He states that editorialised sports data is very important for social media. “We’ve seen that with our own Twitter feed. We editorialise detailed data in a way that is engaging for the majority of football fans, while still ensuring the accuracy and legitimacy of the information.

That method of making complex data more accessible has influenced broadcasters to use similar concepts for their showcase football programmes. We’re able to provide production teams with real time updates or milestones that will be interesting to fans, but in a way that allows them to decide for what platform it would be best suited.”

There is a danger that too much data can swamp presenters and pundits, so mining

me that has changed over the last three years is

“The Food Revolution is a worldwide initiative

this idea of social streaming directly to Facebook

being spearheaded by Jamie Oliver,” says Ward.

and Twitter. We started working with Facebook

“With 41 million children under the age of five

about two and a half years ago and, almost

overweight or obese, it aims to provoke debate

since day one, the viewing numbers and the

and inspire real, meaningful, positive change

amount of content that people are watching is

in the way children access, consume, and

much higher than ordinary webcasts.”

understand food. Our broadcasts from around

“Broadcast media is developing so quickly that it will be a very wise person that can predict the way forward at this moment” Jake Ward, Groovy Gecko

the globe included cooking demonstrations

Referendum responses

from chefs in different locations showing healthy

He reveals that in the three months to July this

nutritious food. It shows how social media is

the facts has become an essential on-screen

year, the company has delivered more than

an extremely powerful tool for reaching large

broadcaster’s skill. That’s where technology

100 live streams to Facebook Live. One of the

global audiences.”

plays an important role. In reality, it is a mix of the broadcasting company’s output and raw

recent high-profile projects involved the UK’s referendum vote in June. “We worked with ITV

Data sheet

News on offering value beyond what was going

Beyond politics and general programming, sport

So, what of the future? Ward believes that, in

out on traditional television. Our team was at ITN

is a key player in the second screen experience.

time, social media providers will need to consider

headquarters, where a Facebook and Twitter

Comment and minute analysis about a

whether or not they become broadcasters in

section was set up as a separate production unit

player’s or team’s performance have become

their own right. “That’s going to be interesting.

in the basement. Here, we had guests in a video

commonplace in today’s sports programmes.

There is the advertising model to consider. At

booth whose output was supplementing the TV

As fans become more tactically savvy, shallow

present, there is no advertising on Facebook

programme going out on the main channels.”

observations by pundits are quickly dismissed,

Live, and if it is carrying a transmission from a

even ridiculed, on social media.

traditional broadcaster, then the commercials

As guests came in to the booth, their contributions were made live on the ITV News

That situation has led to the need for in-depth

information that data providers can contribute.

are cut out. That advertising situation will

Facebook page. Those guests included Alastair

data relating to both individual and collective

change, you simply cannot ignore that there is

Campbell, Neil Kinnock, Joan Bakewell and

performances in a wide variety of televised

a potential for a niche audience of two to three

Tony Jones. Questions came in via the ITV News

sporting events. UK-based Opta is one of the

billion. It could be, for example, that a news story

Facebook page and were moderated in the

foremost providers in supplying that data for

carried on a main bulletin could be expanded

video booth. “Even at 3.15am, when Campbell

first and second screen applications. “We have

through a second screen once the programme

appeared on the stream, there were 20,000

relationships with all the major broadcasters,

has finished. Or the stream could be grabbed

viewers to second screen,” states Ward.

both in the UK and throughout the world,” states

during the live programme and extended there

marketing manager Simon Farrant. “They want

and then on the second screen for those who

Varied production

the maximum amount of data in order to provide

need more details. It’s really exciting.”

Beyond the political arena, Groovy Grecko has

the best services to their viewers. As Opta’s

streamed Jamie Oliver’s Food Revolution live into

performance data is collected live, it is delivered

so quickly that it will be a very wise person that

the chef’s Facebook page.

to a variety of applications within seconds of an

can predict the way forward at this moment.”

He concludes, “Broadcast media is developing

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TVBEurope

www.tvbeurope.com October 2016

Production

Small is still

Picture ©: Visit Faroe Islands

beautiful Philip Stevens completes his mini-series on geographically challenged channels by looking at two broadcasters àdio i Televisió d’Andorra, (Radio and

Broadcasting 24 hours a day via the web and

When it comes to coverage of sporting and

Television of Andorra – RTVA), is the public

cable, ATV has an audience outside of the

other events, ATV operates its own outside

service television and radio broadcaster

country for Catalan speakers.

broadcast unit.

R

in the European Principality of Andorra. Both the

“Because of our size, we share a great many

“We can connect six cameras, which is

television channel, ATV, and the radio station,

resources with our radio station, especially when

generally sufficient for the work we are called

RNA, broadcast in Catalan.

it comes to journalists. That makes sense when it

upon to cover,” states David Ramos, head of the

comes to the economies of size,” states Mujal

operations department.

“Although radio broadcasting began in 1989,

Alongside the traditional television service,

the television channel didn’t start transmissions until 1996,” explains Xavier Mujal, ATV’s general manager. “In the early days, all programming on both RNA and ATV was produced by independent companies. In 1997 Organisme de Ràdio i Televisió d’Andorra (ORTA) began producing all of its own programming. ORTA was

“Working in an area as small as ours is a challenge, based on the critical mass and the small audience” Xavier Mujal, ATV

the station offers an online channel. “Our aim is to publish on-demand programmes of own production that mirror the country today and its evolution,” says Mujal. “The different channels, together with programmes, allow us to provide ATV on-demand, and make specific content

replaced by the current organisation, Ràdio i

easily accessible to everyone. RTVA does this

Televisió d’Andorra, in 2000.”

in collaboration with various organisations within Andorra, with the goal of disseminating

Andorra’s population, approximately 85,000, is located in an area of 181 square miles, and is

Equipment

audio-visual content and projects produced

positioned in the Eastern Pyrenees mountains.

ATV operates two television studios equipped

throughout the country.”

Due to its Spanish and French borders, ATV has

with a mixture of cameras. However, all are

to compete for viewers from channels operating

operated by robotic control from the production

Focusing on the Faroes

in both countries.

gallery, and the galleries are fitted with Snell &

Situated in the heart of the Gulf Stream in the

Wilcox and Tricaster vision mixers.

North Atlantic, the Faroe Islands lie northwest

“Working in an area as small as ours is a challenge, based on the critical mass and the

“Those switchers suit our purpose very well

of Scotland and halfway between Iceland and

small audience. We meet it by ensuring that

as our directors carry out their own vision

Norway. The archipelago is composed of 18

local information is of interest to the public. The

mixing. On the audio side, we have Soundcraft

islands covering 545 square miles. The population

remote control does not understand localism! All

and Yamaha consoles. For graphics we use

is just over 48,000.

neighbouring stations are our competitors. There

Photoshop, 3D Studio and Inscriber,” states head

is a competing offer via DTT, and again through

of the technical department Joan Ruiz.

the fibre optic telecommunications company

He explains that ATV is completely tapeless,

“Our TV service started back in 1984,” explains Dia Midjord, CEO of Kringvarp Føroya (The Faroese Broadcasting Corporation), the body

that distributes throughout the country and

with all programme departments using Sony

responsible for both radio and television across

charges for its services,” says Mujal.

Vegas as the preferred editing system.

the islands. “Before that time and during the

TVBEurope

October 2016 www.tvbeurope.com

27

Production build up to the start of our own programming, Faroese people had radio news and a bit of Danish TV news.”

KVF operates from these studio facilities in the capital of the Faroe Islands, Tórshavn

Initially, the station was known as the Faroese Television co-operation. However, in 1984, the name was changed to SVF, Sjónvarp Føroya, while the existing radio station was called ÚF, Útvarp Føroya. Later, these two operations were joined and now function as one station called KVF. The operations are the only public service

Providing local news is a vital ingredient in the ATV mix

stations in the Faroese, financed mostly by a broadcast licence. Today, seven transmitter sites carry the television programmes via DTT.

hours are Dagur og Vika (Day and Week), kids

On the audio side there are Studer 3000, Yamaha

TV, and some cultural and sports broadcasting.

and Soundcraft consoles. We are completely

Competition and cooperation

KVF has a long history of interaction with various

tapeless, and use Premiere Pro and Wavelab

“There is cooperation between the TV and

Danish TV stations, an arrangement which is

for editing. These are used for both news and

radio operations,” states Midjord. “Sometimes

ongoing. In recent years, the station has gained

general programming needs.”

programmes are aired on both radio and

access to documentaries from other Nordic TV

TV, mostly concerts. We face competition for

stations in an agreement that allows channels in

installed a semi-automated newsroom system

satellite channels that are readily accessible

the area to share material.

from the same manufacturer. Six ENG crews are

on all the islands. In fact, viewers can see up

“We operate two television and two radio

KVF uses Vizrt for graphics applications and has

employed throughout the islands, with three

to 100 different channels or more. This is a very

studios in the capital of the islands, Tórshavn,”

big challenge for our station, because we only

reports Midjord. “We have opted for Sony

being dedicated to the news operation.

broadcast two hours each day during the week.”

cameras, and use Tricaster 8000 and FOR-A

small station, we work hard to ensure we provide

The main programmes during these broadcasting

Hanabi HVS-390HS vision mixers in the galleries.

the best possible service to these islands.”

Midjord concludes, “Although we are a very

28 TVBEurope

www.tvbeurope.com October 2016

Feature

NBC alone delivered almost three billion minutes of live streaming in Rio

Rio 2016

The opening ceremony for OTT? As Rio 2016 drew to a close, TVBEurope spoke to industry specialists LiveU and Akamai to investigate how the OTT revolution is impacting the biggest stage of them all Olympic games ever. It has been reported that NBC alone delivered almost three billion minutes of live streaming during the 2016 Rio Olympics. While NBC featured select games from Rio for prime time viewing, they gave audiences the ability to go online and watch the full extent of sports and competitions round the clock. This gave viewers the freedom to watch what they wanted, how they wanted.

But they weren’t the only ones streaming, or vying for attention, with unique live content and news surrounding the 31st Summer

By Avi Cohen, LiveU COO and co-founder

Olympics in Brazil.

The technology behind the shift In the past, when planning major live events

L

ive video has become one of the most

such as the Olympics, broadcasters

effective ways to stand out and connect

would have to jump through hoops and

with an audience, and Rio 2016 exemplifies

spend significant dollars on technology

this change more than any recent event. There is

and resources needed to go live. When

no question that this was the most live-streamed

we look back at the Olympics eight and

STREAMING THE GAMES LiveU’s Olympic Coverage, then and now

TVBEurope

October 2016 www.tvbeurope.com

29

Feature even four years ago, the to-do list and budget

Our first key Olympics deployment was at the

dedicated private fibre lines, broadcasters

process was quite extensive. The only way to

2008 Beijing Olympics. At that time, video-over-IP

leased bandwidth that could be used for live

transmit – if they were not using IP – would be to

was still in the early days, and many broadcasters

shots, as well as other uses such as email and

lease dedicated bandwidth from the site (Sochi,

were hesitant in committing to the technology,

file-based workflows. Broadcasters could stream

London, etc) directly to their production facility

concerned that it wasn’t reliable enough, and

direct live shots over the public Internet, rather

in their own country. This would entail either

preferring to stick by their satellite connection. For

than needing private bandwidth. Alternatively,

leasing private fibre lines for a private, physical

example, the first bonded field unit ever used at

they were able to use their field units to transmit

link from the remote location all the way home

the Olympics was the LiveU LU20.

wirelessly from cell networks in-country back to

or planning SAT times.

the US or other locations around the world. At

All of these resources were needed to capture most shots from the games, and they definitely didn’t allow for a lot of creativity; companies had to plan where their broadcast or report was set up in order to have this physical

“Live streaming will play an integral role at the upcoming PyeongChang 2018 Winter Games”

link. This meant that being able to run after

this years Games, LiveU had 75 international broadcast customers in Brazil who streamed almost 6,000 hours of live video in total.

Where do we go from here?

The forecast for live streaming at the next

a story – or get more creative shots from the

Olympic Games looks promising. It’s evident

surrounding areas – proved both too difficult

At the time, it was considered groundbreaking

from the increase in the amount of live content

and too costly to perform.

technology. It supported six cellular modems,

shared and the large viewership numbers that

but the average uplink speed was only 1mbps

live streaming will play an integral role at the

due to the cellular infrastructure at the time.

upcoming PyeongChang 2018 Winter Games.

The move to video-over-IP and bonding technology over the past eight years has

By London 2012, the move to IP bonding

New and upcoming products will allow for

send extra video teams and reporters to cover

was well underway, with network connection

wireless H.265 HEVC live video transmission, and

more and more events at the Olympics, as

speeds allowing for HD live video transmission

new VR live-streaming technologies will bring

opposed to being confined to a static location

at 3mbps. LiveU field units were able to provide

viewers even more engaging content wherever

with an expensive satellite truck or fibre line.

more flexibility and options. Instead of leasing

and however they choose to watch.

created the opportunity for broadcasters to

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30 TVBEurope

www.tvbeurope.com October 2016

Feature connectivity, the proliferation of mobile and

options to catch that amazing moment wherever

connected TV devices, social coverage and

we are, it’s no surprise that we stray from the living

immersive experiences. In parallel with the

room, confident that we won’t miss a thing.

attention to online viewing, industry observers

chosen device, so we have to continue invest

the games on linear TV had dropped significantly

to ensure that HD – and soon 4K – streams can

in comparison with previous years, typically by a

be confidently delivered at scale as even more

ten to 20 per cent average.

millions of viewers tune in online.

In reality, what we experienced is a new viewing

By Michael Fay, vice president of product and operations, media, Akamai Technologies

T

“What we’re witnessing is that even the Olympics is not immune to the underlying behavioural changes taking place”

he records set by sprinters, swimmers, rowers

model that’s taking hold. For Rio, it was immersive,

and all the other outstanding athletes in

high-quality digital experiences, all the time.

Rio were not the only ones broken during

That’s particularly true in high-viewing regions,

the games. Digital viewing also made its mark

like the US, where just a week into the action,

by racing ahead of most expectations. Akamai

viewers had streamed over two billion minutes of

supported the streaming activities of over 50

video. That doesn’t make a statement about the

different broadcasters and partners that had

linear TV experience, but it does suggest how the

rights to the games, giving us unique insight into

games and other events may be viewed going

the event’s viewership. We also scored some

forward.

personal bests ourselves. In just the first three days

We have seen the explosion of connected TV

of Rio, we delivered more video traffic across the

and mobile devices along with the high quality

Akamai Intelligent Platform than for all 17 days

of video available online. As a result, linear TV

of the London Games in 2012. By the closing

viewing for all types of content has shifted to on-

ceremony, the Rio Games had become the

demand consumption. This is especially true for

largest live sporting event we have ever helped

millennials and younger viewers.

to deliver, surpassing even the 2014 World Cup. As anticipated, these games attracted a vast

Sports fans won’t settle for lower quality on their

pointed out that the number of people watching

While the summer games are still the greatest quadrennial sports spectacle, what we’re

audience consuming digital streams on a wide

witnessing is that even they are not immune

variety of devices. The big enablers included

to the underlying behavioural changes taking

the many streaming options, robust broadband

place. When so many of us have a multitude of

Over 10,000 athletes competed at Rio 2016

AN ELEMENT OF STREAMING While audiences followed Olympians’ performances this summer on screen, TVBEurope kept a close eye on the technical triumphs happening behind the scenes.

We couldn’t have gotten much closer than Rio itself, with the honour of embarking on a two-day trip to Brazil to discover how Elemental was powering the 2016 Games.

Brazil’s biggest multi-channel broadcaster and content provider, Globosat, had selected Elemental video processing to stream live coverage of the Olympics – as well as VoD content – to an estimated 50 million subscribers.

To achieve this, explained Roberto Primo, CTO, Globosat, at the broadcaster’s facility in central Rio, a “lab of connectivity” was created. He explained, “We receive a number of sources of content from the OBS, which stays in the international broadcasting centre (IBC), and is delivered to two POPs in Rio. One is our sister company Globo. com, which is responsible for delivering our IP content to our subscribers, and the other is our studio in front of the Olympic park.”

Transmission from the IBC to the Globosat facility was via IP. The workflow employs both HD-SDI and SMPTE 2022-6, a standard for transporting high bitrate media signals over IP networks, to deliver 1.6gbps streams for each channel over standard fibre.

Globosat added eight HD channels to its output and an additional 40 services. Elemental Live software encoded the content for live OTT delivery, including content broadcast in 4K. Elemental Live also recorded and trimmed catch-up content for distribution over VoD platforms such as Net Brazil, with video network management system Elemental Conductor also used in the workflow.

With the additions, a total of 16 HD channels made up Globosat’s output. A further 60 different channels were available via the “beautiful” SporTV Rio 2016 app, said Sam Blackman CEO and co-founder, which connected viewers to content “on a massive scale”. Blackman also claimed – perhaps controversially in a room of multinational journalists! – that the app is “significantly better than what you get in many other countries”.

Elemental, according to Blackman, has a “long history in innovation in the sports arena” and powering Rio this year was “yet another success” to add to an archive Blackman touched on during the event: winning the BBC contract to stream London 2012; live 4K UHD HEVC transmission of the Osaka marathon in Japan; the use of Elemental Cloud for the 2014 football World Cup; and powering all of BT Sport’s streaming of 4K UHD content via the channel, to name but a few.

Elemental’s core purpose, explained Blackman, has been “to perfect the media experience and migrate from the traditional linear world to the multiscreen world”.

In partnering with Globosat this summer, the company has more than served this purpose; in helping to widen accessibility of the Games with a proliferation of channels made available “anytime, anywhere”, and in “unifying summer’s biggest sports events on multiple axes.”

i eb

W rs na

Thought leadership meets lead generation Content creation, marketing, and delivery: TVBEurope offers the platform to educate our audience through your webinar. Our position in the industry will allow you to present Þ ÕÀ V Ìi Ì Û > ÌiÀ>VÌ Ü Ì > } L> >Õ` i Vi Ü i }i iÀ>Ì } µÕ> wi` i>`Ã 6JG DGPGƂVU QH C YGDKPCT KPENWFG • • • • • • •

TVBEurope will act in the capacity of an independent facilitator and moderator Topics of discussion to be set by the client or in collaboration with TVBEurope Can take the form of either a Powerpoint presentation or a webcast Unlike a 1-2-1 conference it is not restricted by geographical or temporal factors Live Q&A session to encourage dialogue Ideal for lead generation Ongoing promotion following the webinar’s transmission

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32 TVBEurope

www.tvbeurope.com October 2016

Business

IP, VR and sexy workflows George Jarrett talks to Sony’s Adam Fry about the transition to IP, and the ‘huge surge of noise’ triggered by the fascination with VR dam Fry, vice president of Sony

A

Professional Europe, is one of the coolest Joe Cools around. With live sports now

providing 90 per cent of top rated shows, his previous executive connections with Pulselive and Hawk-Eye Innovations, along with his instinct for creating fan engagement initiatives, make him the ideal strategist for the transition to a market dominated by opex and services on the one hand, and IP, VR, 4K and cyber security technologies on the other.

Fry served as managing director of Pulselive

when Sony acquired it in 2011, working closely with major sporting organisations such as World Rugby, The Premier League, Expedia, ESPN and SAP. Punting a ball into the wider market, has Sony re-defined itself already, or is it about to?

“We have had a direction of travel for a number of years. We recognise that the media business is transforming faster than it ever has,” says Fry. “IP is becoming more of a reality, which gives us an impetus to move. On the back of that there will be both fresher hardware coming into the market, in addition to many more softwareenabled solutions.

“We have built a strategy to move ourselves into being a services and solutions business, as well as a hardware business. It will be a long

integration to rental and transmission. This is

opportunity to look at our portfolio and bring new

time before cameras move into the software

surely the growth area.

service options to the market.”

domain,” he added. “They are processors. There

“That’s right. The reality behind this is the

are different workflows coming into play, both on

number of dynamic changes caused by the

models, or different combinations of hardware

These could simply be different finance

the solutions side and in services too.”

big entrant competition that’s come into the

and software. It could also imply a switch to

broadcast content business,” says Fry. “With

cloud-based services whilst maintaining the

Opex is the new obsession

things moving a lot quicker, people do not want

people with the right skills, as opex become

The IABM currently values the market at $49

to make very large capital investments. They

the new obsession.

billion, and while acquisition accounts for nine

want to buy services on an OPEX model, which

per cent, some 55 per cent is identified under

allows them to move and adapt as fast as the

cinematic prowess alongside its broadcast kit, but

the services banner, everything from systems

market does. That gives companies like Sony the

this time (at IBC) the focus was purely broadcast.

Sony has had a long period of matching its

TVBEurope

October 2016 www.tvbeurope.com

33

Business “That’s a fair reflection. Clearly there is a lot

built into your solution architecture. The bespoke

sports federations. “All this is increasing fan

of cinematography still out there, and the F65

IT solutions we are building are always resilient. If

engagement. More content viewers leads to

and F55 are doing very well in that market, but

you get an attack or a crash, they close half the

more subscriptions, driving more money back

the broadcast market is now very focused on

system down and open it up on the second half,”

into the industry, and creating a virtuous circle,”

IP and live, and it is moving very quickly in new

he adds. “This way you can sustain your daily

says Fry. “That’s when you get something like

directions,” says Fry. “The show reflected that,

processes. Disaster recovery is what pretty much

the HDC-4000, which brings super slo-mo to

and our stand certainly reflected where the

every customer is asking us for right now, whether

more and more sports. With the four hours of HFR

focus of the industry is now.”

it is a physical disaster or a cyber attack.”

recording you could leave the camera to record a full football or rugby game.”

“There are many other apps where VR could have an impact on our lives”

Increasing fan engagement

The strength of interest in VR already suggests

Looking at Sony thoroughly requires a segment-

it will not peak and fade like 3D TV did, and

by-segment approach, so live sports and the 4K

many people at IBC had it in their top three

buzz make for a good start.

technologies to follow.

“The consumption of live sports and events

“That is a really interesting subject. Having

is really driving the market. We are bringing out

been there with 3D and all the other trends,

“We built a data centre because that is what

the technology for creating the best content

we are now in dialogue with multiple content

users are talking about: putting apps in a data

production around live sport, but on top of

producers and the biggest broadcasters,”

centre environment.”

that we have the Hawk-Eye division,” says Fry.

says Fry. “They have their own thoughts about

“Hawk-Eye is officiating in many live sports,

the potential for VR in the broadcast media

cyber security. “The banking industry moved

which is game-changing in its own right because

markets, but there isn’t an answer yet. Lots

online quite a few years ago, and there are

it changes the dynamics of many games,

of people are experimenting with VR and

still breaches there, so this industry has some

including tennis and cricket.”

360-degree productions right now, and we

Fry also heard a lot of discussion too about

catching up to do,” he says. “You need to be able to count on resilience and back-up being

Pulselive is something unique to Sony, a company that offers digital management to

Viewers are Listening™ .

have the Playstation 4 console which has its own VR headset.”

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34 TVBEurope

www.tvbeurope.com October 2016

Business In fact, Sony has shown the big broadcasters a set of developments for VR that it has not spoken publicly about yet. The issues concern what the content will be and who is going to consume it, whilst considering how will it be delivered, rather than just single headsets. Perhaps young talent will make the first VR blockbusters, with no connection to the broadcasters.

“There is a huge surge of noise around VR, specifically what people expect of it. There may be an ‘out of left field’ approach and that will bring people to thinking about delivery, what apps and content are going to be the most engaging,” says Fry. “People have thirsty appetites around VR, and I just look at media and gaming and the spread of entertainment experiences. VR can go beyond that into areas like active learning. There are many other apps

Hawk-Eye in action

where VR could have an impact on our lives.”

“People are changing specific workflows in a

Sony has got a great deal of value from the

VR as a tool of torture

market that is moving very quickly,” says Fry.

IP centre it opened at Pinewood Studios, in

On a trip to the Sony headquarters in Japan, Fry

“The creatives and the technologists should be

terms of identifying what skills and technologies

had a VR content experience that was at first

working hand-in-hand and really understanding

have to prevail.

invigorating, but quickly became threatening

what it is they are generating, what they are

and quite frightening, so do not rule out VR

trying to create.”

becoming a tool of torture. What about the nonbroadcast markets: corporate, houses of worship, and training?

“That is a very significant portfolio in Sony. We

“We like to think we are at the forefront of educating and being involved in the technology discussion. We already see a lot

“There are many other apps where VR could have an impact on our lives.”

of PLC organisations where people are testing the IP technology in small environments,” says Fry. “Most have got big projects where it is

are very lucky that we go from everything for

already earmarked for delivery. It is not a case

the consumer all the way up to the very highest

of if, it is only a case of when. Quite a number

levels of the professional spectrum. Almost

of broadcasters are already looking at new IP-

everyone is a content maker now and as we

It is only a case of when

go forward, looking at our other technologies,

Sony has its solution architects and tech teams,

“There is an interesting dynamic around

everyone can become their own broadcaster,”

and these have spent a lot of hours looking at

remote production and low-cost production,

says Fry. “For me that is a very significant part of

what the user is really looking to achieve either

which can move the market quicker. There will

the market, and we will have to keep pushing

creatively or operationally. Fry does not believe

certainly be more content production on the

the boundaries of content production, and keep

we have a talent shortage.

back of it,” added Fry. “We expect to see a

pushing the boundaries of camera technology.”

“We get it. We get exactly the sound you are

based infrastructures.

lot more live sport and events, and a lot more

In a market where nearly 40 per cent of

looking to create. We understand the video

content coming from the mid-tier production

vendors are not in profit, and the stress of the

image you have in your mind, and we can

people, who will see a great opportunity.”

transition has hit industry performance, what USP

deliver that. That’s a very real thing,” he says.

does Sony carry forward?

Everyone identifies a key thing for moving IP

“I see a lot of young people who are very

on from phase one. “Network access is one of

“We are very strong in the media industry,

open-minded, who pick up both the technical

the hurdles to get over,” says Fry. “There are a

and we have a very strong backbone around

side and the creative side very quickly. You only

couple of ways it can become better and one is

our camera technologies, which will continually

have to look at Pulselive, where the average

obviously 5G. You may be able to get a decent

evolve. There are more things to come around

age of staff is 24 and the MD is 28. They work with

amount of bandwidth or reserve an element

the development of that technology, but the

the Premier Leagues of this world. They deliver a

of bandwidth. In Locarno we showed that a

future is more around the different workflows that

great result because they are open minded, and

full production in the cloud is absolutely viable.

emanate around the different types of content

working with the content owner and the image

There may be some changes you would make

production,” says Fry.

they want to create.”

around your production techniques, but low-cost

Using value ads, Sony expects to lead its

Fry believes a lot of young talent has already

production is possible in the cloud today.”

customer base through managing assets better

shown itself to be adaptable. He says, “We have

in the context of re-purposing and monetising.

got the two worlds of IT and media, which are

include real-time voting on Match of The Day.

Off sped the man whose sports initiatives

With workflows suddenly becoming a sexy

somewhat traditional in many ways. The hybrid of

“The market will move because it will say by using

subject, people will want them controllable day-

that or the merger needs a lot of creative talent

IP, we can do a lot more production than we

on-day, depending on job and app.

both technically and design wise. It is out there.”

would have been able to afford to do before.”

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36 TVBEurope

Post Production

Team players

A number of product releases at IBC, as well as recent projects, indicate that remote, collective working is the future for broadcast post, writes Michael Burns

he direction of travel in the world of politics

and collaboration. Blackmagic gives editors

or communicate via a real-time chat server

may be heading towards disunity, but

and colourists the ability to work together on

with fellow creatives. However, significant

the focus is most definitely on greater

Da Vinci Resolve, while Fusion Studio includes

advancements in virtualisation, media asset

Generation multi-user management software

management and cloud-based technology,

and a bin server to let all users share and

as well as demands from live production

and Avid offer their Anywhere and Interplay

see common assets that are needed for

– particularly sports – are both enabling

Central workflows respectively for large facilities

collaborative VFX jobs.

and driving a much greater emphasis on

T

collaboration in the world of post production.

Collaborative editing isn’t that new. Adobe

and enterprise customers, and Forbidden’s Forscene is built for cloud-based remote editing

Some ‘collaboration’ is nothing more than the ability to swap files in interchange formats

sophistication in collaborative workflows in post production.

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IBC.org

www.tvbeurope.com October 2016

38 TVBEurope

Post Production The key thing is real-time sharing of media and project files, but even that’s not a totally new concept. Built on a legacy of collaborative production workflows, the current version of Lightworks (v12.6) from EditShare offers the ability to share media, bins and edits in real time, with full permissions control over which user has read and write access. It’s the only such system that currently supports Mac, Windows and Linux, and it works on any network storage.

At IBC2016, this direction continued with the release of Flow Story from EditShare. With an editing engine derived from Lightworks, Flow Story connects to EditShare Flow databases and servers to allow real-time collaboration with other users of Flow systems, such as Flow Browse and Air-Flow. Users can work remotely via an internet connection, and so connect from

Matt Sanford, EditShare

anywhere to on-premise media servers. Projects, clips, sequences, markers and metadata can be updated and synchronised in real time, or when reconnecting to the internet after working offline in standalone mode.

Matt Sandford, Flow Story product manager, EditShare, says, “Flow Story delivers all of the features and functions you’d expect in your professional editing application, combined with the ability to connect to your on-premise storage

system in a box for small facilities and

offer third-party solutions like axle Starter, giving

and access media assets when needed.”

workgroups. At base level (currently priced

customers a cost-effective, easy-to-use media

at €10,500, or £7,900) it consists of a 20TB Avid

management tool at no extra cost.”

AAF support for interchange files in Flow Story offers roundtrip workflows with other NLEs

Nexis Pro 24-client server for shared storage,

Teamwork was also central to Adobe’s IBC

and DAWs, added Sandford. “Thanks to the

three perpetual Media Composer licences,

presence. While still touting its enterprise-level

advanced roundtrip support, Flow Story fosters

and two axle Starter licences to manage all

Adobe Anywhere real-time collaboration system,

a much faster and more collaborative edit,

shared assets via a browser-based interface.

the company was previewing an upcoming

review and approval process, with full Flow

More comprehensive Team Bundles also include

iteration of its Creative Cloud video tools, and

MAM integration.”

audio and video hardware interfaces, and

the focus was on the soon to be released Team

Pro Tools software.

Projects. Bill Roberts, Adobe’s senior director

Available as a module of EditShare’s Flow

of professional video product management,

media asset management solution, Flow Story isn’t quite what you’d call an ‘off-theshelf’ solution, but it’s another indicator that collaboration is fast becoming the norm.

Avid is obviously keen on creatives working together. Its release of Avid Cloud Collaboration for Pro Tools earlier this year saw multiple Pro

“Flow Story fosters a faster and more collaborative edit, review and approval process, with full Flow MAM integration” Matt Sanford, Editshare

said the development was in response to the experience the company has had with Adobe Anywhere on-premise clients. “These are the people who installed an Adobe Anywhere server in their facility,” Roberts explains. “What Team Projects does is offer many of the same

Tools users able to work together on cloud-based

capabilities, but is now offered as a cloud

sessions, known as ‘projects’. Collaborators

service. This allows simultaneous access to projects: no longer do you have separate

can share audio and MIDI tracks, edits, mix changes, as if they are working together in the

“To succeed in today’s challenging media

project files everywhere,everyone is tied into a

same studio; though only two simultaneous users

environment, creative teams need integrated

shared team project. That gives you history and

can work on a shared project at a time. The

workflows that enable them to create and

conflict management.

company explored a similar capability with video

collaborate more efficiently,” says Alan Hoff,

when it launched Media Composer Cloud, which

vice president of market solutions at Avid. “With

of the workflow,” he continues. “If you think

offers sharing of assets and media from remote

Avid Nexis Pro Team Bundles we’re offering a

about an After Effects artist creating a motion

users all working together on a central Avid

complete end-to-end workflow at an affordable

graphics, or VFX shot that’s going into a Premiere

Interplay Production system.

price, giving creative teams the tools they need

Pro timeline, those two creatives can work at the

to complete projects on time and on budget.

same time and continue to iterate on their work.

With Avid’s unrivalled openness, we’re able to

We’re really excited at being able to take this

The company used IBC to showcase its new Avid Team Bundles, basically a collaborative

“For video users, this is a really important part

October 2016 www.tvbeurope.com

TVBEurope

39

Post Production complex task and turn it into something that’s

he revealed. “As well as people from large

feedback at the show, which would go towards

really as easy as just turning on a server.”

companies stating how well it would play

refining the release version, but if the reception it

with their editors.”

and the other moves towards collaboration we

Roberts adds that Team Projects works very well with the proxy workflow technology introduced by in the last Creative Cloud

Adobe Teams is still a work in progress.

McSweeney said that he had received a lot of

saw at IBC are any indication, working together is definitely the future path for post production.

update back in June.

“Working with proxies allows you first of all to reduce your storage footprint,” he says. “If you combine that workflow with native media directly into the system and proxies, and have those proxies synced to a location such as our Creative Cloud file folder, it allows you to have this lightweight media available anywhere you want to edit, and by working with Team Projects it has the intelligence to look at all of the media and where it is, and make sure that your final project is fantastic.”

“The thing people really like is the history slider. Nothing is ever lost” Dan McSweeney, Adobe

“We had people stacked four at a time here, every day,” Adobe lab systems engineer, Dan McSweeney, told me on the company stand in IBC’s Hall 7. “The key thing that is drawing the attention here is that it’s already built into Premiere Pro. “Once you have your Adobe Creative Cloud ID, and someone invites you to a Team Project, you can log in with Prelude, Premiere Pro or After Effects, or all three,” he explains. “As soon as the media is available for everyone, they can work with it right away. Two After Effects editors, one of them doing shapes and motion graphics and one of them doing type, can be sharing their changes back and forth. Meanwhile, they’re also sharing that work with the Premiere Pro editors, and those people are taking that comp, putting it in the sequence, and sending comments back and forth.”

“The thing people really like is the history slider,” he adds. “Using this, they can go back through every edit of that project and revert it. Maybe after working on a project for three weeks you find that you like that old historic one after all you can bring that version of the sequence back into the current project. Nothing is ever lost.”

Adobe product manager Michael Lewis observed that the buzz created around Team Projects at IBC2016 had been ‘from individual to enterprise.’

“We had people saying, ’I could see how I could use that on my own for versioning’,”

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40

TVBEurope

www.tvbeurope.com October 2016

Feature

TVBEurope Best of Show Awards winners The 2016 staging of IBC in Amsterdam was, by all accounts, a roaring success, with record numbers coming through the doors of the RAI, and a large volume of extremely happy exhibitors manning their stands. Some of the happiest of that bunch, we’ve grown to learn, are those in receipt of a Best of Show award from TVBEurope, and this year proved no different. Here, in no particular order, we provide a rundown of 2016’s award winners, and why the judges reached their decisions

COMPANY: ADB GLOBAL | PRODUCT: GRAPHYNE2

Judges comments “Of all the attempts I saw at IBC to reduce the complexity for consumers in choosing content, this was the most successful”

COMPANY: ACCEDO | PRODUCT: ACCEDO CREAM

COMPANY: ASPERA | PRODUCT: FASPSTREAM SOFTWARE

Judges comments

Judges comments

“Potentially, the killer application to drive non-digital natives to IPTV platforms. Allows ‘linear TV-like’ user experience, including some very nice ‘tricks’ to make the inexperienced user feeling comfortable in finding and selecting the programme to view”

“This solution is particularly beneficial for today’s video internet demands, where video is produced everywhere and the consumer’s appetite for live and interactive second-screen video is explosive”

MORE WINNERS Company: AppearTV Product: ABR Server

Company: Axon Product: Synview 4K and IP multiviewer

Company: Cobalt Digital Product: SCTE 104 insertion and processing options

Company: GatesAir Product: Maxiva UAXTE UHF transmitter

Judges comments: “What’s cool about this is how scalable it is – all the way up from a single server”

Judges comments: “A single field latency multi-viewer system that offers external looping for an unlimited amount of input channels”

Judges comments: “Generates and inserts five of the most widely used SCTE-104 messages into baseband SDI as triggered by an automation system. Initially built to solve a problem for a customer, but is now in wider demand. Only one of its kind”

Judges comments: “‘What! A transmitter?’, I hear you say. But this one is special. It achieves 40 per cent efficiency, which is outstanding. It integrates newly developed exciter technology, meaning that the same unit can be used in any geographic region. The efficiencies that this enables are major. Something the industry has been calling for, for ages”

October 2016 www.tvbeurope.com

'

COMPANY: ELEMENTAL TECHNOLOGIES PRODUCT: HDR VIDEO PROCESSING

Judges comments “In my mind, HDR is a more important technology than 4K. Elemental have been clever in navigating the current lack of standardisation�

COMPANY: EVS | PRODUCT: XT4K

Judges comments “This one is quite simple: a UHD live production server that enables users to replay 4K and HDR content with EVS’ signature speed and reliability. Already, it is being used by BT Sport to televise Premier League football�

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22"0+ 0/',2-02,-1+%1/%, $ 2 2 ! 2 2

COMPANY: GRASS VALLEY | PRODUCT: ITX ON-DEMAND

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Judges comments

&'$&# " $"% ' &# "!&' $%' #% " &' '!% &$&' % $"%

“Time-shifting/VoD are the future, and this is an impressive way of automating the VoD process that shortens the time taken�

22 *#/.20&-*)2-./'*+1-*0+2 1+%2-00(*+ Company: Grass Valley Product: GV Korona K-Frame S-series production switcher

Company: Guntermann & Drunck Product: DP-Vision-IP

Judges comments: “Powerful, flexible and scalable solution. Very good UI, which is the same across the entire platform: once operators are trained, they can use any model, ideal for multiple studio facilities�

Judges comments: “I liked how this new product gives KVM a new lease of life by following where the broadcast industry is headed and enabling the use of KVM over IP

22 2 2! 21,,.'#(*.,2*+2 1/*0 ,2(.+ - , ' ' "$ &# Phone: +41 21 695 16 00 Fax : +41 21 695 16 02 info@lemo.com "0+-1)-2 0 /2(0)1(2&1/-+./20+2 & % !%

42

TVBEurope

www.tvbeurope.com October 2016

Feature Company: Harmonic Product: VOS 360 Judges comments: “I was impressed by how this enables simple, fast, highly costeffective launch of OTT services”

COMPANY: MAKE.TV PRODUCT: STREAMING MEDIA TECHNOLOGIES

COMPANY: PAYWIZARD PRODUCT: PAYWIZARD AGILE

Company: Litepanels Product: Astra Soft Bi-Color 1x1 Judges comments: “Light, efficient, fully dimmable LED panel. Designed for portability and performance. Controllable via a great smartphone app (bluetooth), featuring total control over dimming and colour temperature, as well as very effective colour matching tools” Company: Lynx Technik Product: GreenMachine Judges comments: “This is a new approach to the broadcast glue challenge. Rather than being a fixed application specific box, greenMachine is a combination of general purpose hardware, downloadable APPs for customisable functionality and powerful control software” Company: Sony Product: Media Backbone Hive

Judges comments “In terms of disruptive technologies they don’t come much bigger than this. I would imagine that this platform will make most broadcasters and facility owners shudder. Make.tv call it a virtual OB truck. I would call it a virtual TV station”

COMPANY: SAM PRODUCT: LIVE TOUCH 4K

Judges comments “Integrated CRM and billing solution, focused on attracting potential customers, retaining them and, in case, winning them back”

COMPANY: SOFTATHOME PRODUCT: LIVEBOX FOR ORANGE

Judges comments: “Thanks to Hyper Convergent Node technology, it has the potential to make genuine tangible improvements to the news and sport production process” Company: Stream Circle Product: Stream Circle cloud-based playout Judges comments: “Unique package of cloud-based playout services for a low monthly subscription price” Company: Telestream Product: Telestream Cloud Judges comments: “Cloud is flexible and scalable by nature, but this is a step ahead.

Features a very simple and effective UI. Priced per minute of video output, cuts capex barriers out while ensuring the same quality of Telestream file-based encoding solution” Company: Telestream Product: Wirecast Gear Judges comments: “Ready-to-go streaming station, suitable for live events production.

Portable, easy to use and aggressively priced. Excellent after sales service options”

Judges comments “A highlights and replay system that takes HD sports workflows in to 4K elegantly and easily. It’s fast and easy to use, yet offers sophisticated highlight capabilities including integrated editing as standard. This is a really intelligent system solution to 4K sports TV”

Judges comments “This was a stunning demonstration. I can’t recall an important feature that the Livebox doesn’t have”

COMPANY: V-NOVA PRODUCT: PERSEUS

COMPANY: VERIMATRIX PRODUCT: VERSPECTIVE

Judges comments

Judges comments

Company: Timecode Systems Product: SyncBac Pro Judges comments: “Burns timecode into GoPro footage, allowing it to be Integrated into a professional production workflow. Multi-camera shoots can be synced via long range wireless RF. Saves huge amount of time in post” Company: Vinten Product: Vantage Compact Robotic Head Judges comments: “Designed to turn D-SLR and ENG cameras into fully remote controlled studio cameras. Camera and Lens agnostic. Impressive capabilities, very compact size, fully integrated into Vinten control software”

“Allows suitable smartphone video consumption under 2.5 G (GPRS/ EDGE) mobile coverage. Very effective compression technique”

“There’s a huge amount of data washing around out there, and this is a really compelling way of enabling operators to do something profitable with it”

TVBEurope

October 2016 www.tvbeurope.com

43

In association with

Audio

AMPing up Le Mans TVBEurope speaks to Xavier Fontaine, audio engineer of AMP, a French OB company, about the challenges involved in delivering 24 hours of Le Mans Can you give us an overview of

with M-S stereo mics, and the

the audio topology at this year’s

garages with hidden lavalier mics,

Le Mans?

heavily protected against rain and

There are 70 mics covering the

moisture. We use 130 channels in

race, most of them placed directly

total; some mics are patched to

on cameras. There are 27 around

several different channels, which

the track, 19 on the pit lane (on

are parts of different mixes. The pit

cameras or hidden in front of

lane is an independent signal (with

garages), and 14 on-board in cars.

its own mix), which is integrated in

The other mics are ambient mics

the main signal when needed.

used to catch crowd noise and ‘air’ to fill the gaps in the general mix.

Depending on the focal length

Can you describe the signal path from trackside to broadcast?

of each camera, we use short or

A monomode optical fibre mesh is

long shotgun microphones. The

shared by audio and video across

handheld cameras are equipped

the site.

Xavier Fontaine, AMP

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TVBEurope

October 2016 www.tvbeurope.com

45

In association with

Audio

Anticipation builds ahead of the 2016 race

Most microphones are plugged

hence the choice of mics placed

having to divide staff into different

from the video router, and GPI in

into cameras, so their signal is

on cameras. They give depth to

teams dedicated to one specific

the console system.

embedded in the video from the

the picture by accentuating the

task, or to one local area of the

camera. As the OB van video router

distance between the car and

circuit. Due to the rain and the

very user friendly. During the first

is fully processed, there is no need

the camera.

length of the race, there was a

qualification session we were

real need for servicing (such as

able to easily fine-tune levels and

mics are very immersive and give

replacing a wet microphone or

timing for each channel in order to

or wireless. In the first case, they

the driver’s point of view, which can

an intercom device’s battery),

guarantee smooth transitions.

are plugged into monomode

be very spectacular, especially

and the distances meant having a

fibre links; in the second, they

in cases of accidents or a battle

multiple local teams to solve any

Was this your first time mixing

are received by our RF MCR

between two cars.

problems quickly.

on a Calrec console? How did

of external de-embedders.

Cameras can be either wired

The on-board RF cameras and

(with the use of remote antennas dispatched around the track, also using fibre links).

The autofader interface is

it compare with other audio

“The most important thing is that audio always follows the picture”

consoles you have used?

The system is very powerful; the ability of merging two routers via

The garage mics are connected

a Hydra2 link brings power and

to local preamps and embedded in each covered garage. Preamps

They also allow the most passionate

It was a big task for the RF team to

convenience; it is very easy to

and embedders are located in an

viewers to hear and recognise

operate so many RF links (cameras,

set up and allows the sharing of

underground gallery, which runs

the sound of the engines running

microphones and intercom

physical resources between the

underneath the garages to allow

at high speed. We receive radio

systems), over such a distance and

OB’s two consoles. In fact, the final

the technicians access in case of

communications from 18 teams,

in an overcrowded RF environment.

user doesn’t really need to know

any problems.

as well as the race director’s

to which console core any given

announcements, which are

This was the first outing of the

resource is actually attached to.

intercoms are routed through a

pre-selected and replayed by a

Millenium 12 truck, the first AMP

This feature is completely new for

Dante Network with I/O devices

specific operator. They shed light

Visual TV truck built with Calrec

us, and it has really simplified the

placed wherever signal transport

on the race events and explain the

desks. Which features on the

OB van’s engineering.

is needed, or in one of our three

main teams’ strategies.

desks made your job easier?

Non-embedded audio and

Calrec Hydra2 stage boxes, all

The Apollo interface is very easy

The relationship between the

to use. I appreciate the ability to

connected via monomode

What challenges did you

picture and the sound is very

arrange the surface layout as I

optical fibre links.

encounter and how did you

important. As there are a large

want. As there are lots of physical

overcome them?

number of sources, we needed to

controls, it is possible to have a

Motorsport is a fast-paced sport.

Set-up is huge in terms of quantities

automate the mixing. We used the

layout where everything is in direct

What techniques do you use to

of signals, but there are three

autofaders feature a lot, combined

access, which is very convenient.

relay this to the viewer at home?

main challenges: the distances,

with the Ember+ virtual GPIO. This

The Artemis is more compact,

The most important thing is that

the weather conditions and the

last feature was very useful to avoid

but the big TFT touchscreens

audio always follows the picture,

duration of the event. This meant

the need of a large number of GPO

bring added visibility. We used

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TVBEurope

October 2016 www.tvbeurope.com

47

In association with

Audio the second console – the Artemis

were using their video stageboxes

‘autofaders’ and the ‘automix’ works

(audio and video), have all

– to premix and monitor the

(the video router is a Riedel

very well on commentary position’s

been specially desgined for

commentary positions given to

Mediornet system). We added

functionalities, which allowed us

these different uses. Technically,

different broadcasters. This was

“Rocknet” I/O modules to avoid

to lighten some mixes. In terms of

we use VSM to control all of

mixed by a colleague who was

using a pure audio stagebox.

resources, the number of groups

the equipment. It means that it

not part of the engineering project, and therefore didn’t know the Calrec consoles at all. After a two-hour explanation about the

is easy to modify the low level

“The system is very powerful; the ability of merging two routers via a Hydra2 link brings power and convenience”

system philosophy and the desk

infrastructure by adding or changing equipment, which will bring new resources or a new format of inputs and outputs.

ergonomics, he was able to do his

Provided all of your equipment

task; it shows that the console is

We received the audio from

and mains available is no longer

is connected together with a

easy to understand and operate.

the RF and on-board cameras

the limitation it used to be on

large amount of tie lines, VSM

embedded in the video, so we

some older systems. It is

provides the ability to route a

Audio networking is prevalent

exchanged a MADI link with the

now possible to build huge

signal from one point to another

in modern large scale sporting

RF MCR in order to transit back-up

configurations which are very

without considering its full path.

events. Have you utilised high-

and ancillary audio.

simple, without diverted routes.

For example, a signal can come

Yes, we have used high-density

The race was over 24 hours (as

How has the truck been

the video router, pass through

signal transport. Firstly, inside

the name suggests), how did you

designed to withstand the

the console and be fed to the

the OB van we have four MADI

cover all of it?

ever-changing demands

intercom matrix for listening

tie-lines (256 audios in and out)

We had four audio people

being put upon broadcast

purposes with only one patching

with the processed video router.

inside the OB van, two mixers,

infrastructures?

action on a VSM X-Y panel.

All the audio from and to video

a guarantee and an intercom

The design principle for the truck

equipment (Mics on cameras, EVS

operator. In fact, we relayed at the

was to be as modular as possible.

for many audio links, such as the

and VTRs, embedded feeds, etc)

consoles every two hours in order

The truck’s working areas have

ancillary audio monitoring inside

pass through these tie lines. They

to stay focused. During the night,

been designed to be able to

the OB van, which allows us to

are totally transparent for the user

from 11pm to 6am, a dedicated

accommodate a variety of

easily modify the infrastructure by

since we pilot the consoles and the

team came as reinforcement

different uses.

adding or removing devices.

video router with VSM.

allowing us to sleep a little bit

density signal transports?

All the tie lines between the

embedded in a video, from

more than two hours.

console and the intercom matrix

For example, it is possible to

We also chose to use Dante

This monitoring can now be

use one area for video shading

stretched by adding Dante

or as an EVS room, or as an

monitors to extend possibilities

(transiting IFBs PGMs, commentary

As viewers increasingly

audio editing room. The furniture,

in one area, or add a new area

position’s ‘on air’, etc) are made

consume content in a variety

the cabling and the monitoring

outside the OB van.

with a Dante network. There is also

of methods, combined with

the Hydra2 link between the two

the clean feeds that are fed to

consoles’ cores.

other broadcasters, many more

Outside the OB van, in the Le

mixes are required. How do you

Mans set-up, we have built a Dante

manage to provide mixes for so

network using part of the fibre mesh

many different outputs?

to transit the audio and intercom

The Millenium 12 has two separate

signals from different points of

audio rooms, which allow us to mix

the race circuit. This is managed

two different programmes at the

by an audio MCR built aside the

same time, such as an international

OB van, which was in charge of

feed and a host broadcaster signal.

routing these signals to the proper

Thanks to Calrec’s consoles

destinations. The Millenium 12,

having two real monitoring

being part of this network, had

sections on one desk, it is possible

a Dante link set up between the

to have two mix engineers on

Apollo core and the MCR.

the same console; one using the

We also used three Calrec stage

speakers, and one equipped with

boxes on Calrec’s Hydra2 transport,

headphones (with full monitoring

linked by monomode optical fibre

capacity including PFLs). This is

to the Apollo core positioned in

very useful in cases of a ‘dirty’ and

different locations in the pit lane.

a ‘clean’ feed with different EVS

When our video colleagues had to transmit or receive signals and

playouts or multilateral interviews.

Furthermore, the use of the

THE FUTURE IS CONTENT-CENTRIC Let’s optimize multiplatform scheduling www.mediagenix.tv

www.tvbeurope.com October 2016

48 TVBEurope

In association with

Audio

Smaller, better, faster, stronger…?

Technologies geared towards immersive audio and flexible new mixing solutions featured among the audio highlights at IBC2016. David Davies reports

O

Many observers believe that

to position sources in a sound

NGA will first impact the home

environment and apply spatial

environment in a significant

processing to them, such as

way via soundbar technology,

rotation, focusing and masking.

and in this spirit Fraunhofer

These audio plugins carry out most

ver the last few months

audio production side, these

IIS also showed a prototype

of the processing, from capture to

there has been a growing

included the Jünger Audio MPEG-H

soundbar designed for 3D audio

output on speakers or headset.

clamour around the

Audio Monitoring and Authoring

playback without the need for 3D

Unit (AMAU), which adapts

loudspeaker system installation.

topic of Next Generation Audio (NGA): the increasingly prevalent catch-all term for immersive audio, personalised audio and other technologies set to enhance the home viewing experience. While there were a number of relevant

Jean-Yves Aubié, manager of the advanced media coding lab at b<>com, commented:

“With broadcast environments now servicing multiple platforms and applications, it is no surprise to find many manufacturers focusing on the inevitable call for increased flexibility”

launches at IBC2016, it remains

“The production of audio content in Ambisonic format is a major challenge in the development of immersive content, particularly in virtual reality and 360 video.

With this software suite, we offer

to be seen quite how imminently

an effective, professional-grade

this revolution is going to hit.

today’s 5.1 consoles for immersive

Elsewhere on the show floor,

solution that can be fully integrated

What was more widely apparent

audio production and allows

Merging Technologies presented

into most audio post production

was an ongoing emphasis on

broadcasters to audition MPEG-H

the latest version of its Pyramix

workstations on the market.”

(re)configurable solutions and

Audio in the plant as it will be

DAW, which incorporates audio

general ease of implementation

reproduced on viewer’s devices.

spatialisation plugins (High Order

Customisable consoles

Ambisonics) from b<>com, a

The ability to configure and

Audio Designer (SAD) plugin,

French institute of research and

reconfigure broadcast consoles for

which is a tool for surround and

technology. In order to enable the

a variety of different applications

developments around NGA, not

3D sound production on ProTools,

adoption of Ambisonic technology

has been a major focus of

least from Fraunhofer IIS, which

and broadcast encoders from Kai

by professionals, the teams at

console design over the last few

showed a number of products

Media and DS Broadcast, which

b<>com developed a software

years. That emphasis was again

and technologies related to

support MPEG-H Audio and were

suite that can be incorporated into

in evidence at IBC2016, not least

MPEG-H Audio for immersive and

demonstrated as part of a 4K live

post production workstations. The

from Studer by Harman, which

personalised audio. On the 3D

broadcast chain.

suite will allow content creators

showcased the new Glacier Series

as part of fast-moving and changeable workflows.

Nonetheless, there were notable

Also on show were the Spatial

October 2016 www.tvbeurope.com

TVBEurope

49

In association with

Audio

Eric de Bruyn, MD, ASL Intercom; Riedel founder Thomas Riedel

of Customizable Broadcast Audio

business up for sale, Blackmagic

Meanwhile, the emphasis on

With so many broadcast

Control Surfaces.The offer includes

Design revealed that it had

delivering cost-efficient and easy-to-

environments now needing to

two streamlined modules, namely:

purchased the Australian brand.

setup intercom products continued

service multiple platforms and

the Central Screen Module with a

(Blackmagic Design also

with the latest partyline products

applications, it is no surprise to

vibrant display for assigning and

confirmed its acquisition of keying

from RTS. The new beltpack models

find so many manufacturers

accessing graphical user interface

specialist Ultimatte during IBC).

BP-4000 (single-channel version)

focusing on the inevitable call

and BP-5000 (dual-channel version)

for increased flexibility and rapid

controls; and the Fader Vistonics

“Fairlight creates the world’s

Module, providing simplified tactile

most powerful digital audio

come with a ‘plug and play

deployment. Looking further ahead,

control for quick multitasking and

software and hardware for video

concept’ designed to help rental

it will be interesting to see how

featuring Studer FaderGlow for easy

production,” said Grant Petty,

companies and large broadcasters

widely NGA audio technologies

function or channel identification.

Blackmagic Design CEO. “The

improve their performance and

are adopted – and more to the

Each module is a self-contained

exciting part about this acquisition

save time and money. They feature

point, quite how seamlessly they

unit that connects to the Studer DSP

is that it will add incredibly high

smart power technology, with power

can be incorporated into existing

Core via TCP/IP. There is also an

end professional audio technology

consumption said to be significantly

workflows. It seems a fair bet that

intuitive multi-touch GUI, making

to Blackmagic Design’s amazing

reduced in comparison to previous

IBC2017 will offer plenty more clues

it possible to address different use

video products.”

RTS beltpacks.

in this regard.

cases and deploy the console in various configurations

Intercom innovation

throughout a facility.

Indeed, IBC2016 turned out to be

“Today’s on-air and production

quite rich in acquisition news, with

environments require dynamic

Riedel Communications confirming

flexibility, but the static physical

its purchase of two intercom

controls on large consoles often

manufacturers: ASL Intercom,

go unused and take up valuable

which is perhaps best known

real estate,” said Richard Morson,

for its ASL FLEXUS system; and

product manager of broadcast for

Delec Audio- und Videotechnik,

Harman Professional Solutions.

which has a notable presence in

“The Studer Glacier Series

stage management and live-

eliminates the constraints of

entertainment intercom.

physical consoles by enabling

Riedel also highlighted another

facilities to deploy customised

significant development involving

control surfaces that only include

an agreement with Cisco, whereby

the necessary controls.”

they can explore new ways to use

Remaining on a console ‘tip’,

the Cisco Media Blueprint platform

it was in this area of the market

to enhance their respective

where one of the most notable

businesses. “It’s all about ensuring

acquisitions announced during

interoperability and our products

the show was made. A few months

talking to each other,” said

after Fairlight announced that

founder Thomas Riedel during his

it had put its audio technology

company’s IBC press event.

COMPLEX RIGHTS RULE THE CONTENT LIFECYCLE Let’s not leave money on the table www.mediagenix.tv

www.tvbeurope.com October 2016

50 TVBEurope

In association with

Audio News update

Audio apppointments

By David Davies

René Mørch returns to DPA Microphones

Gerry Forde, Rycote

anish pro-audio

D

manufacturer DPA Microphones has

announced the return of René

New COO for Rycote

Mørch (pictured right) to the fold in the role of product manager.

Mørch previously worked for DPA from 2006 until 2009 as research

dvanced microphone

A

pleased to welcome Gerry to

windshields and suspension

the Rycote team, and his role will

systems developer

include taking overall responsibility

serve as the bridge between the

excited to continue this prosperity

Rycote has announced the

for leading the sales department

sales, marketing and research and

with René. We look forward to

appointment of Gerry Forde as its

and dynamically driving sales,

development departments. He will

leveraging his knowledge and

chief commercial officer. Forde

in line with our ambitious growth

gather information from the market

experience in the field to maintain

has previously run his own pro-

strategy over the coming years.

through internal and external

DPA’s position as an industry leader.”

audio and MI distribution business

These are exciting times for us,

sources, and will be a part of the

in Ireland, but most recently has

and bringing Gerry in to this senior

team that decides short- and long-

working for DPA Microphones,”

held a series of senior positions at

role demonstrates our long-term

term product strategy.

says Mørch. “My position links

Sennheiser, including sales and

growth ambitions.

marketing director at Sennheiser

“Gerry has extensive knowledge

and development manager.

As product manager, Mørch will

“We are thrilled to bring René

René Mørch, DPA

“I am so happy to be back

the commercial and technical

back in this new role,” says

part of the company, which is

UK and business strategist for the

and experience in this industry,

Thorsten Reuber, interim CEO of

exactly where I love to work. I look

Global Pro Division.

and his significant commercial

DPA Microphones. “DPA has been

forward to using my knowledge

expertise and leadership will

experiencing exceptional growth

of audio to assist a company

appointment, Rycote CEO Simon

enable us to deliver on our

and success in presenting new

that sets the highest standard for

Davies remarks, “We are very

business ambitions.”

products to the public, and we are

microphone technology.”

Commenting on the

October 2016 www.tvbeurope.com

TVBEurope

Feature 55,796 people attended throughout the six-day conference and exhibition in Amsterdam

The IBC2016 wrap-up

By Chris Forrester

services. By 2015, the concern was no longer about how many pixels might be on the screen, but the quality of those pixels, and how quickly HDR, wider colour gamut

loughing through a zillion

and higher frame rates could be

press releases, sitting through

utilised. The 2015 show also analysed

a few dozen conference

the cloud and IP.

P

sessions and attempting to walk at

This year’s show saw IP move

least some of IBC’s 15 innovation-

into the mainstream, with seemingly

filled halls takes a little organising,

entire halls devoted to IP-based

as well as luck. This year’s IBC

technology, not to mention a dozen

was crammed with fascinating

conference sessions on the topic.

information, blessed with the

One session asked whether IP was

presence of some of the industry’s

‘the Emperor’s new clothes’. The

brightest folk, each keen to impart

answer from a talented group of

their knowledge. Back in 2014, the

skilled professionals was that IP

year’s hot topics were undoubtedly

should be a key ingredient in every

4K and all its planned iterations,

broadcaster’s strategy. Michael

whilst traditional broadcasters cast

Harritt (marketing director of media

an anxious eye on the potential

solutions, Sony Professional) said

impact of Netflix and other OTT

that, for him, IP was an enabler

VOD IS THE NEW LINEAR Let’s unify the workflow www.mediagenix.tv

51

www.tvbeurope.com October 2016

52 TVBEurope

Feature

435 speakers took part in more than 100 sessions

for 4K video, rather than an ‘either/

time needed to establish a new TV

sports events, such as this year’s

spent (engaged with media) is the

or’, and that it offers the means to

channel with software that’s been

SuperBowl, were already wholly

correct metric, then how do you

start working differently, for both

pre-tested and pre-integrated, and

dependent on ethernet. “Today’s

equate a typical 40 minutes spent

remote production and live video.

highly automated. Even better, in

challenge is that it is pretty much

reading a newspaper, with the

“It is more than just streaming. For

two to three years when we need

single vendor solutions. Thanks

three seconds spent ‘watching’ an

many clients it is a paradigm shift,

to update that software again, we

to the now 54 members of the

online ad which perhaps has the

changing the entire infrastructure

can add functionality and new

Alliance for IP Media Solutions

audio turned down? This cannot

and taking broadcasters to the next

(AIMS), I want to walk into my

equate with a 15 or 30-second ad

generation in a unified way.”

facility in 2020 and see a complete

on TV.” Sir Martin also argued that

data centre that’s wholly working

Channel 4 should be privatised.

with IP.” The RAI also hosted its

This, however, was not the view of

Simon Reed (managing director, Evertz) argued that IP is a huge enabler for the industry. “We have been locked into dedicated

“For many, IP is a paradigm shift, changing the entire infrastructure and taking broadcasters to the next generation” Michael Harrit, Sony Professional

hardware, and it is hugely difficult to break out of that model. We must get rid of SDI, and move to a data-centric approach. IP will also allow broadcasters to move at the pace they want, and to start competing with the likes of

fair share of headline speakers.

another UK establishment figure,

Netflix and Amazon by launching

Sir Martin Sorrell, of ad-agency

Lord David Puttnam, who said it

giant WPP, told delegates to be

would be profoundly wrong to sell

very wary of the likes of Google,

the publicly-owned broadcaster.

new channels effortlessly.” Steve

Michael Harrit, Sony

Plunkett (chief technology officer of broadcast and media services,

benefits. None of this is possible

Facebook, and other ‘technology’

Lord Puttnam was also critical of

Ericsson) explained that his

without IP.” Another session heard

players, which he argued were not

how public broadcasters covered

company was originating some

Thomas Edwards (vice president

technology companies, but media

the news and politics in general. He

500 TV channels, most of which

of engineering and development

players. “They have advertising

stressed that he wanted Europe’s

had been built with traditional

for Fox Network’s engineering

inventory which they monetise.

TV channels to spend more time

facilities. “We’d like to do a few

and operations) tell delegates

These two cannot be both referee

on explanation, and not simply

things to dramatically reduce the

that few might realise that major

and player. If you believe time

following the money.

October 2016 www.tvbeurope.com

TVBEurope

53

Feature He praised George Clooney’s

To help this process, Vivendi was The Future Zone at IBC2016

Oscar-winning movie Good Night,

investing€35 million each year in a

and Good Luck, where the real-life

new series of ten-episode shows,

hero of the film, journalist Edward R

each episode of ten minutes

Murrow (speaking in 1958) argued

duration, which consumers can

that “unless TV started again to

view while waiting for a bus or sat

teach, and to illuminate, and to

on a train. “We will formally launch

inspire then it was no more than

the shows at MIPCOM, and they’ll

merely wires and lights in a box.”

initially be available to out LATAM

Also tapping into the threat from

users on 11 October. One new series

GAFA (Google, Apple, Facebook

every week. They are addictive,

and Amazon) was Dominique

original and international.”

Delport (global managing director

Visitors to IBC’s ‘Future Zone’

at Havas Media and chairman

would have been impressed by

of Vivendi’s content division).

the number of VR and 360-degree

He said that the mass-marketing

exhibitors, and by NHK’s ‘pull-

ad-based TV model, which had

down’ 130” roll-away OLED screen

been a winning formula for retail

displaying the wonders of the Rio

for 50 years is no longer relevant.

“Unfortunately the party is over.

We are all moving to this directto-consumer world. There is no European equivalent [to GAFA] and

“I want to walk into my facility in 2020 and see a complete data centre that’s wholly working with IP” Thomas Edwards, Fox Network

Olympics in 8K. NHK is planning a 2018 introduction for 8K ‘Super HiVision’. NHK’s roadmap extends well beyond the 2020 Tokyo Games, and to 2030 for “three dimensional TV”.

to compete with these giants we

No doubt a suitable IBC topic for

have to link with Europe’s telcos.”

the next decade!

2016 will see an even greater commitment from TVBEurope to cover more of the pressing areas of concern, challenge, and opportunity within our burgeoning marketplace. The biggest change for this year will be the introduction of new sections to enable us to provide greater coverage to specific business areas.

Our Workflow section will now be divided into two new sections: Production, and Post Production. We will also be introducing a new Business section to follow the increasing acquisition and investment activity permeating the sector, and are also introducing a dedicated Audio section to bring regular insights and updates from an often overlooked strand of our industry. These new sections will be manned by a team of section editors.

EDITORIAL PLANNER 2016 Issue

Exhibitions present at

Feature

Editorial Close date

Advertising close date

November

• Post-IBC acquisition focus • Remote production

21st October

13th October

December

• Media Asset Management • M&A business review

11th November

4th December

For all advertising and sponsorship opportunities, contact the sales team: Europe Peter McCarthy: +44 (0) 20 7354 6000 pmccarthy@nbmedia.com

Richard Carr: +44 (0) 20 7354 6000 rcarr@nbmedia.com

USA Mike Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv

www.tvbeurope.com October 2016

54 TVBEurope

TVBEverywhere The Content Everywhere Hub at IBC2016

IBC Content Everywhere review IBC Content Everywhere made its fourth appearance at the RAI in September, and its growing coverage of OTT, cloud services and digital marketing didn’t disappoint, writes James Groves

Volans, speaking at his 12th IBC conference, noted, “TV has been an integral part of our life for several generations. When TV came along, there were dire predictions for cinema, but it still thrives. The TV ecosystem still has a great deal of

T

he IBC Content Everywhere Hub has

creators, brands, corporations, artistic and

its own dedicated stage in Hall 14 in

educational institutions and even individuals

Amsterdam, hosting a programme

the opportunity to build their own, potentially

answer’ and ‘that is the answer’. We do not have

global, audiences.

the answer. The industry shift changes the media

of presentations and debates around the key issues of multi-platform, interactive and

value and relevance.”

Høibraaten explained, “We say ‘this is the

itself, not just how it is delivered. What we need

The human race is changing

to do as an industry is very open: experiment.

Despite agreeing to partake at the eleventh

There are no true solutions: the only thing we

distribute and consume video content online,

hour, Helges Høibraaten, CEO, Vimond Media

know is that people have a fundamental need

which is having a dramatic impact on the

Solutions, stole the show at the panel discussion:

for content.”

broadcast and digital media landscape.

‘Evolving legacy practices for an OTT world’.

immersive content.

This year, the Hub focused on the ability to

He continued, “TV is serving this need at the

Broadcasters are now moving to significantly

Moderated by Ian Volans, producer of the

moment, but it won’t be the same way in the

expand their audience reach by live-streaming

IBC Content Everywhere Hub panel session

future. We used to have to walk up to each other

their programmes to smartphone, tablet and

programme, the panel otherwise comprised

to communicate. We got phones, then mobiles,

computer users and offering video-on-demand

of Corry Siegers, manager, programme data

then smartphones, and then the human race

catch-up services. New OTT video platforms are

services, Bindinc/The European Metadata

itself changed. We use our fingers to talk. We no

offering their viewers alternatives to traditional

Group; and Sebastian Stehn, sales manager,

longer meet up. Brains are changing because of

linear television channels, giving content

Norigin Media AS.

the mobile phone. What is socially acceptable

October 2016 www.tvbeurope.com

TVBEurope

55

TVBEverywhere has changed. The TV change can be something

Cloud Video; and Russ Kennedy, vice president

Netflix mobbing to the cloud, people can move

similar. It could change everything.”

of product strategy and customer success, IBM

feeling secure, which may not have happened in

Cloud Object Storage.

the past. The ability to scale up and down when

When asked if OTT will change the creation process, Høibraaten said, “I strongly believe we will see that happen, and I think we already are. Pewdeepie is huge in my household, for example, and that didn’t even exist ten years ago. Reality TV was the first revolution where TV brought something new to the table. When radio arrived on TV, there was nothing new for decades. It takes time.”

you need, being able to handle the capacity

“There are no true solutions: the only thing we know is that people have a fundamental need for content” Helges Høibraaten, Vimond Media Solutions

One could only wish Høibraaten had a mic to

quieter periods; it’s huge.”

Quereuil stated that the promise of the cloud, in terms of flex and cost, was “too big to ignore”, noting, “The security of the cloud is much higher than what a single company or single client can possibly do by themselves. The cloud is on every single booth throughout Hall

drop with the closing thought of the discussion,

7. The question of connectivity is now answered

“Statistics can only tell you how successful you were, not how successful you will be.”

of huge things and then dialling back down for

– it’s now much, much better.It enables smaller Referring to IBM’s acquisitions of Clearleap

companies to do something that they could

and YouStream as prime examples, Henderson

never do before, and offers the opportunity for

Resistance is futile

explained that the company focuses on ‘a lot of

them to disrupt the industry somewhat.”

Volans then moderated another insightful session:

premium video’, noting, “Online video isn’t new.

He concluded, “Resistance is futile, cloud is

‘Streaming Video: Challenges, opportunities

We didn’t invent it, we just work to take it to the

here to stay.”

and what’s to come’, hosted by IBM. The panel

next level.”

comprised of Chad Andrews, associate partner,

When Volan spoke about the changing

Controlling every aspect

M&E Sector; Francois Quereuil, senior director,

attitudes to cloud, after an initial resistance,

One product that caught the eye this year was

worldwide marketing, Aspera; Hillary Henderson,

Henderson replied, “Security was a huge

the Vimond Platform, a self-proclaimed ‘global

senior director of strategy and product, IBM

concern, but as customers see companies like

solution for new challenges’.

Visitors pile in for a record-breaking IBC

www.tvbeurope.com October 2016

56 TVBEurope

TVBEverywhere The broadcast-grade solution is comprised of

towards OTT services providers are also

Full one-to-one addressability is supported

a suite of software application engines and

becoming more complex.”

and has contributed to view-through rates

modules to help content owners, broadcasters

of ad breaks surpassing 98 per cent across

and content distributors ‘efficiently manage’

Yospace’s customer base; a figure Yospace

online video services for global audiences.

The Vimond Platform offers an environment for managing and delivering multi-format OTT services, with full facilities for all creative,

“Connectivity offers smaller companies the opportunity to disrupt the industry” Francois Quereuil, Aspera

claims is significantly higher than the average for traditional linear television.

Yospace added that it has proved, through a succession of major live events, that

logistical, and business aspects of the operation.

personalisation can be combined with reliability

It controls every aspect, from ingest and

at scale to support audiences counted in millions,

encoding through to conditional access to business intelligence reporting.

the most recent being Channel 4’s coverage of Miguel Silva, CCO, Vimond Media Solutions,

Its feature set was created to ‘fit the needs’

explains, “The primary use here is sports content,

the 2016 Paralympic Games.

David Springall, CTO, Yospace, says, “In a

of international customers with different,

where you really need to get content out before

world where online-only providers are posing

personalised requirements. The platform can be

anyone else does.

a significant threat, broadcasters have an

used to manage multiple audio tracks, multiple

“Nobody ever has to worry about files again.

languages, multiple content sources and multiple

This makes it an extremely easy-to-use tool.

subtitles all on the same service.

Everything can be automated, and everything

The company says, “In this industry, we all

can be integrated.”

fight together to offer the end user of a VoD

opportunity to place themselves ahead of the curve when it comes to monetising live simulcast.”

Whether you’re an innovator in digital marketing, social media, content personalisation or cloud services, the IBC2016 Content

service the best online experience; diverse and

Moving ahead of the curve

Everywhere Hub provided something for

user friendly. But with such a dynamic evolution

Also on show was the Yospace dynamic ad

everyone. Expectations will be high once again

of consumers online behaviour, of markets,

insertion platform, which allows server-side ad

as IBC looks to raise the bar ahead of its 50th

target audiences, the demands of broadcasters

replacement in live simulcast.

anniversary in 2017.

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October 2016 www.tvbeurope.com

TVBEurope

57

Data Centre

Point of view Count this as one giant congratulations. A slap on the back. Get yourself a cup of coffee on the house, writes Rags Gupta, general manager, EMEA, Ooyala. Whether you’re a broadcaster, OTT provider, or a content owner going over the top direct to consumers, you’ve earned (at the very least) a big smiley face

W

hy? Your customers – by and large – are happy with you. A recent survey from JD Power found that customers

of SVoD services are far more satisfied with their services than pay-TV subscribers… much, much more. The survey found SVoD users gave streaming companies an average 823 points (on a 1,000-point scale) for performance and reliability, content, cost of service, ease of use, communication, and customer service.

Compare that to the most recent JD Power study of pay-TV customers. Last September, the organisation found that customers rated their pay-TV service at 723, an improvement of just 12 points from the previous year.

OTT providers and content owners are seeing just the opposite. CBS All Access and Showtime each have more than one million subs, Sling TV is nearing that number, while Netflix and Amazon battle it out on a global scale with tens of millions of subscribers.

Worldwide, the streaming industry is seeing phenomenal growth, both in the number of subscribers, and the number of services that are rolling out.

This quarter’s video index delivers deep insights about the business of streaming, looking at power AVoD, SVoD and TVoD users. Power users visit your platform most often, watch the most video and watch on devices that are often

Video advertising trends

different than less engaged customers.

Programmatic continued to gain traction

On an AVoD news site, for example, users visit

globally as more publishers made more quality

37 per cent more during the workweek than

content available, whilst open-market RTB deals

on weekends and use computers to consume

continued to grow. CPMs also grew across the

content for longer periods, compared to the

board, with second-price auctions moving up

average user who uses a mobile phone.

to $19-$21 CPM.

Visitors to an AVoD entertainment platform on Thursdays and Fridays watch 17 per cent more

Mobile video

content than they do Monday to Wednesday,

Fifty-one per cent of all plays are now mobile,

and 37 per cent more than they do on

an increase of 15 per cent from a year ago

Saturday and Sunday.

and a huge 203 per cent from 2014. Plays on

A total of 76 per cent of power users on an

smartphones increased ten per cent from a

SVoD platform visit two to three days a week,

year ago, with tablets increasing 51 per cent

with peak viewing occurring Friday and Saturday.

in the same period.

Mondays see the least traffic from power users.

TIME WATCHED BY DEVICE AND VIDEO LENGTH

It’s a heady time to be a streamer. But, as the

TVoD sees its slowest traffic early in the week and

industry becomes more crowded, delivering

an explosion of streaming on weekends: about

quality and reliability will become more critical;

13 times more than weekdays.

knowing your audience, even more so.

• Short-form video (0-5 minutes) dominates share of viewing time on smartphones at 55 per cent.

• Medium-form video (5-20 minutes) earns 18-20 per cent of viewing time on smartphones, tablets and computers.

• Long-form video (20 minutes or longer) makes up almost all viewing time on set-top devices (92 per cent) and 46 per cent of tablet time.

• 98 per cent of video plays on mobile devices are on iOS or Android.

IOS OR ANDROID • iOS owned 52 per cent of video plays on smartphones.

• 91 per cent of videos viewed on tablets in Q2 2015 were via iOS, but Apple’s share has declined to just 65 per cent a year later.

• Users watch video for longer on iOS devices than on Android devices, but the gap is narrowing slightly.

www.tvbeurope.com October 2016

58 TVBEurope

Data Centre

Let subscribers know You can go your own way

By Bhavesh Vaghela, chief marketing officer, Paywizard

Let your subscribers go

Using available subscriber data to understand

A fact of life for every operator is you can’t stop

customer behaviour can enable operators

everyone leaving. While using data effectively

to determine why a customer is leaving and

he choice of pay-TV options available to

can help an operator to pre-empt a customer

make them a tailored offer that will keep them.

consumers today is staggering. Over the last

who is exhibiting signs of dissatisfaction from

This could be a lateral change in package or

decade, the number of subscription-based

leaving, if a subscriber cannot be swayed to

upgrade that better meets their needs, or even a

services across cable, satellite and more recently,

stay, it is critical to make sure they leave on good

downgrade that suits their current circumstances.

the internet, has exploded, fed largely by the

terms by enabling an easy exit.

Giving subscribers the power to press pause

T

on their subscriptions to deal with changing

boom in OTT delivery. This diversity in content, combined with the trend towards consumers employing more of a ‘dip in, dip out’ approach to TV services, means pay-TV providers need to work harder than ever to ensure customers stay

“Giving subscribers the power to press pause on their subscriptions is one of the most effective ways to minimise churn”

circumstances, such as a prolonged holiday or a house move, is one of the most effective ways to minimise churn. Additionally, if the decision to leave is made in the middle of a monthly billing cycle, then the last few weeks of a subscription

loyal. To stem churn and build enduring subscriber

cycle are crucial. Proactive engagement at this

relationships, it is vital for pay-TV operators to move beyond simply providing service and

A straight forward process can allow an operator

collecting payment.

to keep the door open for a return. After

point can stop customers leaving.

that, insight into their previous behaviour and

The power of knowing the customer

A data-driven CRM strategy

circumstances can provide the background

Effectively managing the ‘leave’ and ‘win back’

A recent focus group study, conducted

an operator needs to know when to try to

decision moments is all about having the ability

by Paywizard in partnership with Decipher,

tempt them back.

to identify and assess those subscribers who

demonstrated that to engender customer

essentially have a foot out the door - or have

loyalty, pay-TV operators need to deliver the

Winning them back in the right way

already gone through it - understanding their

best customer service experience to subscribers

Successfully executing a ‘win back’ offer again

circumstances, and then dealing with them

through key ‘decision moments’ in their customer

depends on utilising insight on viewing habits,

in a way that maintains a positive customer

journey. These ‘moments’ are the stages across

preferences and personal circumstances

relationship and goodwill.

the subscriber TV lifecycle that heavily impact

gained from subscriber data. This information

consumer satisfaction, and are identified as:

equips operators to make highly targeted

‘find’, ‘join’, ‘consume’, ‘upgrade’, ‘downgrade’,

and personalised offers that present an

‘bill’, ‘leave’, and ‘win back’.

improved fit for departed customers or

Two of the most challenging of these moments are the ‘leave’ and ‘win back’ stages. To

better value than they had before.

If a subscriber decides to come back,

successfully navigate these decision moments,

then the re-signing process should be

pay-TV providers need to use insights gleaned

streamlined. Operators can classify leavers’

from subscriber data to understand patterns

accounts as dormant, which makes

of behaviour and circumstances to pre-empt

reactivation fairly simple, with customer

customers from churning. This helps to establish

preferences, recommendations and profile

a proactive customer relationship management

details retained. Subscribers can pick up

(CRM) strategy, which prevents wavering

exactly where they left off, maintaining a

customers from leaving, and arms operators with

positive customer relationship.

the knowledge to woo back departing customers.

xxxxx

the ‘leave’ and ‘win back’ moments, pay-TV

Be flexible to changing xxxxx circumstances

operators are able to create positive customer

With more subscription options than ever

experiences that forge stronger bonds with

before, consumers have greater power

subscribers. The research highlighted that if pay-TV

over how they watch content, and have

providers can proactively manage consumers in

increased the tendency to ‘dip out’. As

danger of leaving, or those that have already left,

a result, flexibility is increasingly critical to

the relationships remain salvageable.

the success of traditional pay-TV providers.

By managing customer activities during

Bhavesh Vaghela, Paywizard

IN

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