tvbe april 2016
Post on 27-Jul-2016
243 Views
Preview:
DESCRIPTION
TRANSCRIPT
www.tvbeurope.com
April 2016
What we will learn from NAB Show 2016
Vegas…What happens in
DECENTRALIZED......wouldn‘t it be nice?
See the solution at Visit us
Booth C7233
www.riedel.net
Business, insight and intelligence for the media and entertainment industry
01 TVBE Apr16 FC_final.indd 1 17/03/2016 11:56
Copyright © 2016 Grass Valley Canada. All rights reserved.Specifications subject to change without notice. Belden, Belden Sending All The Right Signals and the Belden logo are trademarks or registered trademarks of Belden Inc. or its affiliated companies in the United
States and other jurisdictions. Grass Valley and Copperhead, Densité, EDIUS, K-Frame, K2 Dyno Universe, K2 Summit, Kaleido, Karrera, Kayenne, LDX 86, NVISION, Telecast Fiber and XCU are trademarks or registered trademarks of Grass Valley. Belden Inc., Grass Valley and other parties may also have trademark rights in other terms used herein.
Founding Member
LIVE PRODUCTION
Productions change. Your equipment shouldn’t.
With a suite of 4K enabled solutions, Grass Valley makes it easy for you to produce in full performance HD today and switch to 4K when you need to — all from a single system. It’s 4K your way for the ultimate �exibility. Only from Grass Valley.
Learn more by visiting grassvalley.com/4K
— Marcel Koutstaal
VP and GM, Camera Product Group
4K Realities.
“We understand the broadcast landscape and can help you with the right combination of 4K live production solutions. Our solutions are designed to help you get the most out of your workflow and keep up with viewing habits in a multiplatform world.”
Realities.Realities.Productions change. Your equipment shouldn’t.
Realities.Productions change. Your equipment shouldn’t.
Realities.Productions change. Your equipment shouldn’t.
Realities.Realities.Realities.Realities.Productions change. Your equipment shouldn’t.
Realities.Productions change. Your equipment shouldn’t.
Realities.Productions change. Your equipment shouldn’t.
4KProductions change. Your equipment shouldn’t.
4KProductions change. Your equipment shouldn’t.
new tvbe template remade.indd 1 17/03/2016 14:57
TVBEurope 3April 2016 www.tvbeurope.com
It is with great anticipation that
we approach another week in
the Mojave, as the international
roadshow descends on the silliest
place on earth to fi ne tune its
most serious matters of operation,
infrastructure, and strategy.
What will the talk from within the
aviation-sized hangars of the Las
Vegas Convention Center teach
us this year? This is a question we
put to a selection of industry minds
for our NAB feature, in an attempt to
pre-empt some of the messaging that is likely to
be trumpeted from the many press conferences
that will do battle to win our attention.
The acronymic themes will be familiar, of
course, but the context behind their delivery
through said trumpets should boast a more
mature lilt. Our band of thought leaders this
issue give us their individual vistas
of NAB, and the likely themes that
defi ne this year’s show.
Elsewhere, we look at the re-fi t of
Television Centre in our Production
section, Channel 4’s entrance into
Formula One broadcasting, and a
fascinating insight into modern day
set-top box solutions for IPTV and
OTT in league with our supplement
partner for this issue, ABOX42.
I hope you enjoy this NAB
inspired issue of TVBEurope, and I look forward
to meeting plenty of you out in Las Vegas for
what promises to be another memorable week
in the desert.
Safe travels to one and all. (Apologies for
the headline.) n
James McKeown Editor-in-Chief
Welcome
Gear and roving in Las VegasEDITORIAL
Content Director and Editor-in-Chief: James McKeownjmckeown@nbmedia.com
Deputy Editor: Holly Ashfordhashford@nbmedia.com
Staff Writer: James Grovesjgroves@nbmedia.com
Group Managing Editor: Joanne Ruddockjruddock@nbmedia.com
Contributors: Michael Burns, David Davies, George Jarrett, Adrian Pennington, Philip Stevens, Catherine Wright
Sales Manager: Ben Ewlesbewles@nbmedia.com+44 207 354 6000
Account Manager: Richard Carrrcarr@nbmedia.com+44 207 354 6000
Sales Executive: Nicola Pettnpett@nbmedia.com+44 207 354 6000
Head of Digital: Tim Frost
Human Resources and Offi ce Manager: Lianne Davey
Head of Design, Hertford: Kelly Sambridge
Senior Production Executive: Alistair Taylor
Sales Director: Mark Rankine
Managing Director: Mark Burton
US Sales: Michael Mitchellmjmitchell@broadcast-media.tv+1 (631) 673 0072
Japan and Korea Sales: Sho Hariharasho@yukarimedia.com+81 6 4790 2222
CirculationFree subscriptionstvbe.subscriptions@c-cms.comSubscriptions Tel +44 1580 883848
TVBEurope is published 12 times a year by NewBay Media, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England +44 207 354 6002
NewBay Media is a member of the Periodical Publishers Association
© NewBay Media 2016. No part of this publication may be reproduced in any form or by any means without the prior permission of the copyright owners. TVBEurope is mailed to qualifi ed persons residing on the European continent. Subscription is free.
Allow eight weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
Printing by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA
What happens in Vegas during NAB week tends to offer up some notable insight on how our industry is advancing
Philip StevensProduction Editor
Michael BurnsPost Production Editor
George Jarrett Business Editor
David DaviesAudio Editor
SECTION EDITORS
03 TVBE Apr16 Welcome_final.indd 1 21/03/2016 12:55
In this issue4 TVBEurope www.tvbeurope.com April 2016
Ooyala analyst Jim O’Neill steers us through the murky waters of video piracy, from friendly password sharing to the damaging costs borne by the industry
TVBEurope gets an exclusive tour of the site that is being reborn as the new Television Centre in west London, following the closure of the original BBC facility in 2013
644 Business40 NAB preview
29 SupplementABOX42 joins us this issue to provide an insight into set-top-box solutions for IPTV, OTT and hybrid DVB projects
Opinion
Production
George Jarrett reports from SMPTE’s conference; a day devoted to charting the route to full IP
27 FeatureAfter Channel 4 took over free-to-air F1 coverage for the start of the 2016 season, it awarded production company Whisper Films the £30 million contract
Ahead of NAB 2016, TVBEurope asked a number of leading � gures for their views on the progress of the broadcast and video industry, and which trends will drive conversation at the show
22
David Davies talks to Linear Acoustic founder and The Telos Alliance CTO Tim Carroll about the historic step forward for broadcast audio: the new ATSC 3.0 broadcast standard
Interview
5229 Supplement
www.tvbeurope.com
April 2016
TVBEurope Supplements
In association with
Thinkingoutside the Box
An insight into set-top box solutions for
IPTV, OTT, and hybrid DVB projects
04 TVBE Apr16 Contents_final2.indd 1 21/03/2016 13:00
NETWORK. AUDIO. VIDEO. CONTROL.smart IP live production infrastructure.
Look at IP video core infrastructure with a whole new perspective.
Flip your mind. Monday, April 18, 11:00 am, NAB booth N1822.
www.lawo.com
new tvbe template remade.indd 1 18/03/2016 16:47
Opinion and Analysis6 TVBEurope www.tvbeurope.com April 2016
Share your Netflix password? Maybe
loan a friend your HBO password for the
weekend? Aye, bucko, it’s a pirate’s life for
you! But, while media companies could be losing
revenue from the ‘friendliness’ of subscribers
– as much as $500 million annually, one study
estimates – password sharing isn’t a major worry,
even though a Consumer Reports survey found
nearly half of Americans admit to it.
Netflix CEO Reed Hastings has publicly played
it down and HBO chief Richard Plepler, whose
studio’s biggest hit, Game of Thrones, also
happens to be the most pirated title ever, has
said he’s more worried about a positive user
experience than a shared password, joking that
he hopes pirated copies are at least
good quality pirated copies.
For those services, a shared password may,
in fact, simply be an extended trial for a future
subscriber, giving them access to the service with
the logical conclusion that if they like it enough
they’ll arrange their own subscription.
Piracy beyond password sharingVideo piracy, however, has a far darker side
and a significantly higher cost than that created
by simply sharing a subscription with a friend
or two, or even three or four. Back in 2012, a
White House estimate put the cost of piracy
at $58 billion for the US film industry alone.
And, although that number has been largely
debunked – it actually included the cost of all
IP piracy – a more widely acceptable (and
reasonable) number was put forward by the
industry group MPAA. That research has been
widely quoted (although still debated as being
too high), and said the revenue US studios
annually lose to global piracy is roughly $6.1
billion. An Arxan study in 2015, meanwhile,
counted more than one million pieces of
premium video content being made available
on pirate sites, and warned that video piracy
was a growing problem. While Torrent Freak,
in an oft-quoted story, reported in 2014 that
the season’s finale of Game of Thrones was
downloaded more than 1.5 million times just after
it aired on HBO (and, yes, it happened again
with 2015’s season ender).
SVoD services like Netflix have also had to
contend with users employing VPNs and proxies
to get access to geo-blocked content and even
different iterations of the services themselves.
Netflix very famously had an estimated 200,000
customers in Australia before it even launched
A pirate’s life
‘Back in 2012, a White House estimate put the cost of piracy at $58 billion for ths US
film industry alone’
By Jim O’Neill, principal analyst, Ooyala
Harnessing The Power of LightThe Time To Switch Is Now!!
MultiDyne is now offering special trade-in deals on aging Telecast Fiber products, whereby we'll take back your Copperhead (or any Tele-cast product) and give you a substantial rebate towards the purchase of a new MultiDyne SilverBack transceiver or other MultiDyne Fiber product. Think Fiber First. Think MultiDyne.
Email Sales@multidyne.com and find out more.www.MultiDyne.com See Us At NAB 2016 Booth #C5113
06 07 TVBE Apr16 Ooyala Opinion_final.indd 10 17/03/2016 12:04
TVBEurope 7April 2016 www.tvbeurope.com
Opinion and Analysis
down under, thanks to VPNs giving Australians
access to the US service.
Canadians, too, unhappy that the initial
deployment of Netflix in their country offered far
less content than the US version of the service,
routinely used VPNs to access the American
version, potentially costing studios revenues
from other local services.
An ongoing battle for content ownersThe value of premium content is high
enough that it has attracted the attention
of everything from casual thieves with an
HD smartphone in theatres and at sporting
events, to more tech savvy DVD-cloning
operations and organised crime.
Security firms have been working with the
content owners for years on a problem they
say is continuing to evolve, along with (and
sometimes ahead of) the content industry.
Techniques like digital rights management
(DRM) and forensic watermarking, where a
unique invisible mark is embedded into
content, can help firms trace where a
breakdown in security may have happened.
That helps, at the very least, to reduce the
amount of revenue lost but it’s not always
enough, and the sheer number of pirates
sometimes makes a win just a drop in the bucket.
Is there an easier solution to eradicating piracy?It’s hard to pin down an exact number when
you’re talking about lost revenue from piracy.
But there’s been an ongoing belief that
costs of piracy can be minimised more simply.
It’s an argument based on the belief that
consumers will pay for premium content if it’s
easily accessible and made available at a price
that fulfills their value proposition.
Video piracy rates in Australia, which has been
a bastion of content pirates, have declined
since Netflix launched there in March, with
consumers acknowledging they’re less likely to
pirate now that they have a legal alternative.
Australia’s IP Awareness Foundation in October
reported that the number of self-confessed video
pirates (both casual and persistent) among 18-64
year olds dropped to 25 per cent post-Netflix,
from 29 per cent previously.
It also helps that several other legal OTT
services have made more content available
there than ever before, and that Australia
instituted new anti-piracy legislation in June.
Regardless, during an announcement at
CES that the service had launched in 130 new
countries, Netflix’s Hastings said he believed
that kind of decline would be felt worldwide as
content continued to come over the top.
“We think giving people what they want in
a timely manner at a reasonable price is great
for the movie industry because it removes one
of the key reasons people turn to piracy,”
Hastings said. The ‘Netflix Effect’ may be a
panacea whose time has come. n
‘An Arxan study in 2015 counted more than one million pieces of premium video content
being made available on pirate sites’
Agent-IC Mobile AppRemote intercom panel on mobile devices
Need to cue remote teams in the field over IFB? Provide access for remote producers or executives? Simply equip your team with Agent-IC on their iPhones or iPads. Within minutes, they can connect to their Clear-Com matrix intercom system and communicate securely over the Agent-IC mobile app.
Call Clear-Com for a demo today.www.clearcom.com
Connection Made
Anywhere
Copyright© 2016. Clear-Com, LLC. All rights reserved.Clear-Com® is a registered trademark of Clear-Com LLC.
06 07 TVBE Apr16 Ooyala Opinion_final.indd 11 17/03/2016 12:04
Opinion and Analysis8 TVBEurope www.tvbeurope.com April 2016
T here’s no two ways about it, 4K has its
believers and non-believers in terms of
distribution to the home. There’s the now-
familiar argument as to whether viewers will
actually benefit given the screen sizes upon
which so much content is now viewed. That’s
not to mention the compression issue: when is
4K not really 4K anymore? Lastly, shouldn’t we
be looking at better pixels rather than just more?
All of these arguments have some validity, but
equally, with TV set manufacturers pushing the
market forwards, and consumers responding, 4K
is becoming a differentiator and is being used by
the likes of Hulu as a marketing tool.
In developed markets at least, viewers are now
firmly in the driving seat when it comes to where,
when and how they consume content, be it
linear, VoD, OTT or DTO. As a result, the concept
of what constitutes a broadcaster is changing
and it’s no longer just broadcasters that operate
in this evolving content arena; as mentioned,
they have to compete with other media owners
looking to monetise their content in new ways as
well as OTT providers like Netflix and Amazon.
The benefits of 4KFrom a media owner’s perspective, the single
biggest benefit of 4K is to make their content look
better, and therefore garner a greater number of
eyeballs for that content. As OTT providers take
traditional broadcasters on in an increasingly
aggressive way, we’ve seen them invest first in
exclusive deals, then in original commissioned
content and more recently they’ve been upping
the ante by making 4K their default format.
From a traditional broadcaster’s perspective,
where the core skill is scheduling – making a
schedule and delivering interesting content –
the drive towards 4K is slightly different. As their
offering leans more towards live content, or
‘appointment TV’ as it’s becoming known, being
able to draw in viewers with the best quality
live content and encouraging them to engage
with linear (scheduled) broadcasts is where
the benefits of 4K come in. There have been a
number of analyst reports in the last 12-18 months
that have found that consumers are more willing
to engage with higher quality content. For a
broadcaster, being able to draw in viewers is
directly linked to their ability to sell advertising.
BT Sport is a perfect example of how 4K can
open up opportunities for a relatively new market
entrant. Not only did it buy sports rights for the
Barclays Premier League and Aviva Rugby
Premiership, it decided to launch a 4K channel:
BT Ultra HD. It also broadcast the Moto GP at
Silverstone in 4K last year. A SAM Kahuna 9600
switcher and a Sirius 800 series router provided
the truck’s 4K production backbone for the
event. This is the first purpose-designed 4K truck
in Europe, built by Timeline to service BT Sport’s
new 4K channel. In Spain, we worked closely with
MediaPro late last year to produce the first 4K
version of ‘El Clasico’ – the famous Barcelona FC
and Real Madrid football match. The game was
produced simultaneously in HD and 4K, the latter
supported by a new mobile production vehicle
equipped specifically for 4K with SAM’s Kahuna
9600 enterprise level production switcher and
modular control panel.
In more general terms, we’ve seen a clear shift
in recent months where we’re being asked by
our broadcast customers about 4K capabilities
consistently; they want to know that their
investment is future-proof.
From 4K to 8KThe most recent and interesting phenomenon
we’ve seen is an increasing interest from
companies wanting to actually broadcast
as opposed to produce in 4K. We’ve seen
BT Sport take a lead, there are some satellite
broadcasters that have the capability to handle
4K delivery, and added to this there have been
some announcements in the press about plans
for 4K set-top boxes. This ramp up of 4K playout
demand goes hand in hand with the increasing
availability of content produced in 4K.
As mentioned above, adding to what could
well be the start of a perfect storm for 4K is the
fact that consumer electronics manufacturers
have also been pushing 4K screens to consumers.
This in turn is creating an opportunity for
broadcasters. Consumers have begun to invest
in these 4K sets and now want to see the benefits
in terms of actually viewing the high-quality
content they’ve been promised.
At SAM we have a commercial advantage
in that we have technologies across the
production, post production and playout spaces.
We’re supplying 8K editing systems to clients
in Japan, in fact, we have just been asked to
supply an 8K 120P system and we are already
working with customers in high dynamic range.
We are in the process of passing that knowledge
and capability throughout our product portfolio,
making 4K, HDR and of course wider colour
gamut products available to our customers.
An appetite for HDRSo what about HDR? The market’s not quite
there yet on the display front, but HDR TV sets are
being introduced and this will mean we will soon
see a growth in, and an appetite for, watching
content in HDR. We are a firm believer in the
benefits of HDR in combination with 4K.
But again HDR brings its own set of issues. The
lack of a clearly defined HDR standard can
result in problems for the delivery of content to
the home. If the viewer has an HDR screen, the
content needs to be rendered for that home
screen so it looks good enough to the viewer. But
if the same set-top box is connected to an SDR
screen, this then throws up potential problems, so
there is still some work to be done.
It’s relatively easy to ensure transparency
across our production equipment through which
signals are being passed. If you’re manipulating
signals, then more care is needed with colours,
brightness levels, and so on in an HDR context. n
A perfect storm for 4K
‘The most recent phenomenon we’ve seen is an increasing interest from
companies wanting to actually broadcast as opposed to produce in 4K’
By Tim Felstead, head of product marketing, SAM
8 TVBE Apr16 Opinion Sam_final.indd 10 17/03/2016 12:07
TVB Europe 31516-NAB SNipe.indd 1 3/15/16 4:13 PMnew tvbe template remade.indd 1 17/03/2016 14:59
Opinion & Analysiswww.tvbeurope.com April 2016
The technology is now available to enable
broadcasters and network providers to
convert and move the complete suite of
broadcast signals, whether video, audio or data,
onto their multi-service IP/Ethernet networks.
Creating a complete IP-based studio by
integrating all of the video, audio and data flows
onto a common platform can result in significant
savings. In addition, a converged IP backbone
dramatically increases system flexibility, allowing
new applications, bit rates and signal formats to
be added to the core switching platform merely
by adding a new type of interface card.
The primary advantage of an IP-based
system is the convergence of multiple signal
formats onto a comprehensive, distributed IP
switch fabric that transports kilobit-speed data
signals alongside multi-gigabit uncompressed
video flows. Media production facilities benefit
by not having to purchase, install, manage, or
maintain the multiple signal routing systems that
are normally required to switch different types of
compressed and uncompressed audio.
However, when it comes to IP for both
remote and studio production, the key issue
has always been, and still is, latency; how to
get all the signals to arrive on time, and in the
right order, with no packet loss. Basically, it’s
got to work first time, every time, as you can’t
film a live event twice.
Up until now, broadcasters distribute and
exchange content mainly as SDI signals. With the
move toward SMPTE 2022 video over IP standards
and file-based broadcasting workflows,
broadcasters are now able to look for ways to
handle streams and files in a unified manner.
The solution lies in taking advantage of the
falling prices of bandwidth, plus the increased
quality in video codecs and ultra-low latency
delivery across WAN network infrastructure. By
leveraging an Ethernet to act as the unified
core switching fabric, broadcasters and service
providers are able to maximise footprint, power
and future-proof IP switching technology.
Streams and files need to be handled
simultaneously in a unified IP switched
infrastructure. The Media Links IP video router
provides granular stream switching that mimics
traditional baseband video infrastructure, where
sub-16ms connection set-up/teardown times
are achieved when configuring paths through
the system. This is a significant improvement over
traditional stored control systems implemented
on standard enterprise or carrier data routers.
Each of the signals can be routed
independently in a fully enabled, multicast
controlled environment allowing for an ‘any
to any’ combination of outputs through the
switch fabric.
Capacity of the switch is limited only by
bandwidth, not by the total number of signals.
This allows a single 10GbE port to handle up
to six uncompressed HD signals, 30 SD-SDI
signals, ninety 100Mb DVB-ASI streams or any
combination totaling the 10GbE rate limit.
Literally thousands of signals can be controlled
and switched through a fully configured system,
far exceeding the capacity of even the largest
cross-point video router.
Uncompressed HD-SDI signals can be
multiplexed into a single stream of 10Gbps
packets, where the packets are duplicated
and fed into IP video routers, which switch
them to specified destinations. A single
aggregator for video over IP and legacy
DVB-ASI and all SDI formats to IP encapsulation.
The same level of resiliency and reliability
that has been standard in the industry is
translated to an all video over IP solution.
This model has already been deployed
globally by broadcasters and major
telcos, and has been used to provide live
content contribution for the Sochi Winter
games and World Cup football, experiencing
100 per cent uptime.
Change in the real-time video contribution
space is setting new standards in developing
advanced video technology, and Ethernet
and SONET based solutions for contribution
video, and will see the migration of many
infrastructures to IP in the future.
Of particular relevance for remote production,
this model enables camera feeds and data
traffic to be sent from the remote venues
directly to the studio, where all production and
editing can take place. There are numerous
advantages, as this reduces or removes the
need for broadcasters to have full capability
production trucks and large crews on-site at the
venue, greatly reducing their operational costs.
In addition, remote production set up in
this way enhances the event’s production
value by offering the ability to utilise more
sophisticated in-studio tools across the board.
This is particularly relevant to the production of
smaller-scale events, enabling the production
cost to be held low while at the same time
increasing the overall production value. n
Migrating infrastructure
to IP
‘Creating a complete IP-based studio by integrating all of the video, audio and data
flows onto a common platform can result in significant savings’
By John Smith, managing director, Media Links EMEA
Opinion and Analysis10 TVBEurope
10 TVBE Apr16 Opinion_final.indd 10 17/03/2016 12:08
Booth No SL6317
Matrox is a registered trademark and Matrox Monarch HDX is a trademark of Matrox Electronic Systems Ltd. All other company and product names are registered trademarks and/or trademarks of their respective owners.
Dual-channel H.264 Encoder for Broadcast Streaming and Recording
Redundant streaming & recording
Built in frame-synchronisation
SDI and HDMI I/O
Monarch HDX
What are you looking for in a H.264 encoder?
www.matrox.com/monarchhdx/TVBE
TVBeuro_MonarchHDX_broadcast_ad_UK_1115.indd 1 2015-11-17 08:16:50new tvbe template remade.indd 1 23/03/2016 14:49
Opinion and Analysis12 TVBEurope www.tvbeurope.com April 2016
In fairly recent history, many systems didn’t
really want to talk to each other, which led
to integration becoming a fundamental
challenge, especially when it was time to
upgrade or purchase new equipment aimed
at streamlining a particular working practice.
These days, communications between systems
have greatly improved, at least on a file level.
However, there are often subtle differences
which means moving media and metadata
around is not always as seamless as it could
or should be. Any connection issues between
broadcast systems have the same implication: a
compromised and inefficient workflow. This may
be due to a fundamental obstacle or a minor
discrepancy. The subtle picture is as important
as the big picture. One piece of metadata not
being transferred might be mission-critical if the
whole workflow is based on that information.
One example was where a broadcast client
couldn’t send media from its Avid to its
broadcast automation system. The reason turned
out to be a simple naming limitation on the
playout device. The cleaner may as well have
pulled the network cable out, the end result was
the same: projects couldn’t be completed. If the
systems employed are not flexible enough, users
end up working to the level of the limiting factor
in any workflow.
It is now rare that a product or solution is a
self-contained island. Most let information be
shared in and out and create a standard file,
enabling the transfer of media between systems.
However, the problems come when the workflow
requires more than just a simple file exchange.
Metadata integration is an area where
non-standard integration is a common issue.
Standardisation was one big move designed
to solve this challenge. In theory, everyone
Solving integration issues
By Simon Fearn, product manager, Marquis Broadcast
10-bit signal processing technology and 1920×1200 IPS screen that is viewable from any angle.
A full set of features that provide all the benefits of our larger Broadcast monitor family.
A light A light weight design that eases its mobility.
The monitor itself is very power efficient that it can operate for over 9 hours with an F970 battery and even longer with available adapters for V-Mount or Anton Bauer batteries.
Field MonitorA single model meets all needs for Field Production!
A Variety of Battery Options are Available!
www.osee-dig.comwww.oseeamericas.com
OSEE TECHNOLOGY CO., LTD. Tel: +86 (10) 6243 4168-8017 E-mail: sales@osee-dig.com Website: www.osee-dig.com OSEE AMERICAS LTD. Tel: +1-510 996 4499 E-mail: info@oseeamericas.com Online Mall: www.oseedirect.com
12 13 TVBE Apr16 Opinion_final.indd 10 18/03/2016 15:03
TVBEurope 13April 2016 www.tvbeurope.com
Opinion and Analysis
should have been able to share an MXF file.
However, even then, everyone had their own
MXF version. Improvements have been made
in recent times, but this question often re-asserts
itself when a piece of legacy equipment is used
within a workflow. For example, a broadcaster
may want to get a few extra years’ life from
their old video server which is using its own take
on the standard file format. Standardisation has
helped at a media level, but not always at a
metadata level. Each customer will have their
specific metadata needs, tailored to their unique
requirements, and each system will also have its
own needs and requirements for metadata.
It is within the nature of MAM systems that
they are often designed and configured to
fulfil the individual requirement of a specific
user. A subset of this metadata will need to
be exchanged between the systems, and the
links to the media and accuracy of the data
must be maintained. When it’s discovered that
information is missing or incorrect, something
will need to change, normally either workflow or
systems. Work-arounds often become long-term
features from users struggling to cope. We found
one US broadcast customer manually merging
files to achieve closed captioning. In this way,
short-term fixes have a tendency to become
permanent to avoid reviewing and replacing
the whole process with a more practical
solution. One answer and probably the most
common reaction is for customers to lobby the
manufacturers to make changes. Many vendors
respond and can fix workflow issues, but this takes
time and, for non-standard customisation, it also
takes money. Some are simply not able to help.
Where problems are particularly severe,
purchasing a new system is an alternative. It
may, however, fix one issue whilst introducing
others. In addition, these days, customers are
less inclined to have a complete re-build. The
other answer is to consider integration and
interoperability solutions. There are specialist
organisations in various aspects of the broadcast
workflow, which can help solve integration issues
through specially developed solutions.
Marquis provides an interoperability engine
called Medway, which integrates broadcast
platforms by providing transfer and format
conversion workflows for media and metadata.
As a core product it solves integration issues
and supports customisation. In large-scale
installations, Medway acts as the central hub,
providing multiple, simultaneous, and high-
volume media and metadata integration
services across best-of-breed systems.
The challenges of integration are not going to
disappear in a hurry. However, to realise
the many advantages that the move to digital
file based workflows creates, the process
must be efficient. A relatively small investment
in an interoperability solution from a specialist
vendor could achieve that goal. n
‘Any connection issues between broadcast systems have the same implication - a
compromised and innefficent workflow’
www.asperasoft.commoving the world’s data at maximum speed
12 13 TVBE Apr16 Opinion_final.indd 11 18/03/2016 15:03
new tvbe template remade.indd 2 17/03/2016 15:02
new tvbe template remade.indd 3 17/03/2016 15:02
Production
“W e remain extremely busy at The
London Studios,” states Kathy
Schulz, director of studio services
and client liaison, ITV Studios (ITVS). “Some of
our bookings extend way beyond the next 12
months. Along with our regular returning ‘shiny
fl oor shows’, studio comedy has been enjoying
a resurgence and we have four studio sitcoms
scheduled in the next year.”
Schulz says that The London Studios (TLS) is the
only truly central London studios of any scale and
is minutes away from theatre-land and Leicester
Square. Originally the headquarters
of London Weekend Television, the facility
provides six studios ranging in size from 2,050 to
8,350sqft (190.5 to 775.7sqm). All have individual
control rooms and are fully equipped for
multi-camera productions. Sony kit is much in
evidence, with the studios equipped with HDC
1000R/1500R studio cameras, while the galleries
use MVS 8000 series vision mixers with integrated
DME and frame memory. On the audio side
there are Calrec Apollo 72 fader consoles
and Calrec C2 Grams desks. Schulz says that
programmes produced at the facility include
Saturday Night Takeaway for ITS, The Jonathan
Ross Show (Hotsauce TV), Alan Carr: Chatty Man
(Open Mike Productions), The Graham Norton
Show (So Television), QI (Fremantle Talkback),
Have I Got News For You? (Hat Trick Productions),
Good Morning Britain (ITVS), This Morning (ITVS)
and Adele at the BBC (BBC). “This is not an
exhaustive list!”
She continues, “The vast majority of our
work is series, although, of course, there
are one-off productions, such as the Adele
special and pilots.”
Customer demandsSo, does Schulz think that the demands of
clients have changed over the last few years?
“Production companies are increasingly looking
at the area of crossover between traditional
broadcast technologies and consumer
level equipment. This is most apparent in the
world of graphics, but also extends to media
capture on iPhones, tablets and so on. There
is an ever growing theme of interactive
technology, with productions devoting large
resources to social media requirements.”
That technology includes the use of Skype to
good effect on a Saturday Night Takeaway
segment, Singalong Live. In addition, the LiveU
cellular technology video system was used
extensively on Philip Schofi eld’s 24-hour live Text
Santa launch, with one particular sequence
from Studio 3’s fl oor to inside 10 Downing Street
achieved as a single shot.
“Broadcasters’ budgets are ever more
challenging and so production companies are
always looking for best value; our ability
to turn shows around extremely quickly
maximises their ‘on-camera’ time,” says Schulz.
“We can even use a single studio for three
different live productions, with three completely
different sets, in a single day.”
Schulz believes that TLS remains in a unique
position in the UK market. “Our location attracts
the best talent and audiences, and our main
16 TVBEurope www.tvbeurope.com April 2016
Earlier in the year, news came through that Fountain Studios, just outside London, was closing. Philip Stevens fi nds out how some other studios are faring
“There is an ever growing theme of interactive technology, with productions devoting large resources to social media
requirements” Kathy Schultz, ITV Studios
bookingsStudio
16 18 19 20 TVBE Studio Bookings Production_final2.indd 16 21/03/2016 14:19
new tvbe template remade.indd 1 17/03/2016 16:03
Productionwww.tvbeurope.com April 201618 TVBEurope
C
M
Y
CM
MY
CY
CMY
K
201604_200X135.pdf 1 2016-03-11 오전 9:52:53
variable production studios all have monopole
grids allowing us to set and light at the
same time, this enables us to do the biggest
and fastest turnarounds between shows. The
future looks good.”
In the Media (City)At the time of the establishment of MediaCityUK,
there were some who doubted the wisdom of
locating a major production centre so far from
London. Those doubts have largely been dispelled
with the studios and post production facilities
operated by dock10 becoming home to many
top line programmes.
“People that have made the move to Salford
have been really quick to settle,” states Andy
Waters, head of studios. “The cities of Salford
and Manchester are so different from London,
but people mostly agree that the friendliness of
the people here and the unique culture creates
a totally positive atmosphere. Plus everything is
much cheaper which is a bonus.”
The studios themselves are located at the
heart of MediaCityUK, less than two miles from
Manchester city centre. Here, seven HD studios
ranging in size from 1,000 to 12,500sqft (93 to
1,161sqm) and all served by full HD galleries
have become home to programmes such as The
Voice, Match of The Day, A Question Of Sport,
Jeremy Kyle, Blue Peter, 8 Out of 10 Cats Does
Countdown, Countdown and Citizen Khan.
“We do occasional one-offs, such as pilot
shows and big live events like the leaders’
debate, Sports Personality of the Year and soap
awards, but 95 per cent of our work involves
series,” reveals Waters.
Alongside these seven facilities, there are two
high-end audio studios that can also be used for
TV. “All in all, this is the largest multi-camera Studio
complex in the UK,” says Waters. “What’s more, all
equipment is less than five years old, which means
Cinecittà is able to provide extensive exterior sets next to its studio facilities
Saturday Night Takeaway, one of the regular bookings for The London Studios
“Flexibility, adaptation, reactivity, are the key words we need to follow” Gaël Tanguy, Euromedia
16 18 19 20 TVBE Studio Bookings Production_final2.indd 18 18/03/2016 16:58
New perspectives in broadcasting studios
The latest version of the camera robot solution offers unlimited design possibilities and creates stunning images and unique camera movements.
State-of-the-art engineering is combined with exemplary cost-efficiency.
Our robots in motion make your visions move
www.camerobot.com
Camerobot Systems GmbH, Theodor-Schmidt-Straße 19, D-95448 Bayreuth Phone +49 (0) 921 883 0, Fax +49 (0) 921 883 3244, info@camerobot.com
that we are utilising all the latest
technology.”
Throughout the studios Sony
cameras are used, with the galleries
being equipped with both Sony
and Kahuna vision mixers. For audio
requirements, the facility has opted
for a choice of Calec, Artemis and
Appollo consoles, while graphics
production is handled by either
VizRT or Clarity.
Flexible facilities“Productions have always needed
and will always need flexibility, the
ability to have options and choice –
that might include additional space
or juggling around dates.
This is something dock10, with its
size, is able to offer. And, of course,
studios need a culture that goes
the extra mile to look after its
clients,” declares Waters.
He goes on, “When we first
opened, all our clients wanted
to leave with a cardboard box full
of tapes, but now they’re all used
to a world where there content is file
transferred into dock10 post or the
post suite of their choice, wherever
that may be.”
Waters says that his team is always
looking to be at the forefront of
technological advancements.
“We have invested in VR camera
and editing technology and
are continuing to broaden our
knowledge in the field. That will
ensure we are in a good position
when the technology truly kicks off.
It has been forecasted that in 2016
virtual reality content will become
a billion pound industry, and we
are already seeing enquiries come
through for filming with 360 rigs.”
“Our facilities are right up to
date and we can film and edit in
4K; a format which is slowly gaining
momentum. There is very little
demand for it in studios, but many
of the dramas we edit here shoot in
4K and require their whole workflow
to be consistent with the format.
Beyond that, we are keeping a
close eye on IP technology, and
when the time is right we’ll make the
appropriate investment.”
So five years down the line from
launch, how does Waters see the
next twelve months for dock10?
“Most definitely, we’re expecting
our best yet!”
French connectionEuromedia has 32 stages, ranging
in size from 430 to 22,500sqft (40 to
2,090sqm). Although the main facility
is located at Saint-Denis, north of
Paris, there are others at Studios
Palais Image, also in Paris, and in the
south of France at Nice.
“All are equipped for multi-
camera productions and have
permanent cabling,” states Gaël
April 2016 www.tvbeurope.com
The French version of The Voice is shot in Euromedia’s studio
16 18 19 20 TVBE Studio Bookings Production_final2.indd 19 18/03/2016 16:58
Productionwww.tvbeurope.com April 201620 TVBEurope
TVBE090316 NAB16.indd 1 09/03/2016 14:59:59
Tanguy, the company’s chief technology
officer. “We have both Grass Valley and Sony
cameras, although we mainly use the latter for
entertainment shows. We have the same brands
for our vision mixers, but here we tend to utilise
GV for most of our work. For audio, we centre
on Studer’s consoles, but we also operate
both SSL and Lawo brands.”
Technology trendsAs far as new technologies are concerned,
Tanguy says that augmented reality is
increasingly being required by some producers.
“In addition, we are paying close attention to
IP technology. Many manufacturers offer their
solutions, but there is still no single standard for
building IP complete agnostic workflows.”
Euromedia’s activities stretch beyond the
studios, and Tanguy says that the company is
heavily into 4K developments and is covering
football and other sports with that format. The
technology is also used in the studios, where
productions are made in UHD. However, he
points out there are no immediate plans for 8K!
Lionel Vialaneix, Euromedia’s CEO reports
that the studios are used for variety, game and
entertainment shows. “Some examples, would
be The Voice, France’s Got Talent, The Money
Drop, Dancing With The Stars, and Who Wants
to be a Millionaire?”
With so many programmes being generated
in the studios, what changes has Vialaneix seen
in production practices over the last few years?
“Flexibility, adaptation, reactivity, are the key
words we need to follow.”
To handle the emerging trends in the industry,
Euromedia is refocusing on its core business. “The
French media market has been consolidating
over the last five years, with an acceleration
since 2014. Broadcasters like TF1, Canal +
(Groupe Vivendi) or Discovery Eurosport, and
productions houses, too, such as the mergers
involving Shine Endemol or Banijay Zodiak.
Those moves may have a positive impact on
the facilities business. As a result, we are
capitalising on our solid market fundamentals.
We are focusing on high quality entertainment
events with an offer of large scale studios. In
addition, we are developing high tech services
including the support of a dedicated company
for R&D that specialises in RF technology.”
Vialaneix concludes, “Euromedia is decisively
looking towards the future.”
Italian jobCinecittà is one of the biggest production
centres in the world, providing a total of 30
stages ranging in size from 4,800 to 32,300sqft
(446 to 3,000sqm), plus 300 acres of diversified
backlots. Its studios have grown in the last few
years into an extensive complex with three state-
of-the-art facilities in and around Rome, and a
brand new studio in Morocco.
The main studio facility in Rome offers 22
stages, plus seven extensive permanent sets such
as, appropriately, a fully equipped and dressed
Ancient Roman location, a 70,000sqft (6,500sqm)
outdoor tank and a 25 acre backlot, all located
within 99 acres of parkland estates.
“Cinecittà is the shooting location for the most
important programmes of the RAI national TV,
Channels 1, 2 and 3,” reports Cristina Giubbetti,
sales manager, international productions. “The
most popular Italian TV series, often lasting up to
ten years, have been produced at our studios. In
addition, this is also the favourite filming location
for all the international movies shot in Italy. In
terms of number of productions, the series work
is around 35 per cent, while when it comes to
turnover it might be around 20 per cent. The
remainder is made up of one-off productions.”
Timing considerationsGiubbetti says that major change seen in
production practices over the last few years
has involved time frames. “The schedule for
preparation has become much shorter.
Projects are confirmed very late and sometimes
allow just a short time for set construction. But
we can handle it!”
So, how does Cinecittà go about attracting
new clients in such a competitive market? “We
are very proactive and travel a great deal,
meeting potential clients in the USA and the UK
to promote the idea of taking their productions
to Italy. Of course, we make certain they know
all about our services, and beyond that, the fiscal
benefits available for our clients.”
“We are absolutely positive about our
prospects for the next 12 months, but forgive
me if I do not say anything specific, as we are
dealing with important clients.” n
“Our facilities are right up to date and we can film and edit in 4K; a format which is
slowly gaining momentum” Andy Waters, dock10
16 18 19 20 TVBE Studio Bookings Production_final2.indd 20 18/03/2016 16:58
www.Broadcast-Asia.com
The 21st International Digital Multimedia & Entertainment Technology Exhibition & Conference
INTEGRATING TECHNOLOGIES, EXPERIENCING CONTENT
31 May - 3 June 2016 Level 4 & 5, Marina Bay Sands, Singapore
and many others
Be sure to check out the theme speci�c technologies in
@ Level 4
Hear from award-winning / well-known directors and DOPs who will be sharing
their experience and insights on the di�erent equipment / solutions and best practices when addressing the di�erent
challenges in their work.
Hear experts from Amazon Web Services, Astro Radio, Discovery Communications,
Google, Hulu (HJ Holdings), i�ix Malaysia, Net�ix and many more will share collaborating strategies and
exchange views that will further shape the broadcasting
industry.
Network with over 600 leading brand owners and solutions providers...
#BroadcastAsia2016
Register online early at www.Broadcast-Asia.com/pre-registration to participate in the Online Business Matching Programme!
BROADCAST
Endorsed: Supported by:A Part of: Hosted by:
Organised by: Worldwide Associate: Held concurrently with: CommunicAsia & EnterpriseIT incorporate:
Held in:
www.Broadcast-Asia.com
The 21st International Digital Multimedia & Entertainment Technology Exhibition & Conference
INTEGRATING TECHNOLOGIES, EXPERIENCING CONTENT
31 May - 3 June 2016 Level 4 & 5, Marina Bay Sands, Singapore
and many others
Be sure to check out the theme speci�c technologies in
@ Level 4
Hear from award-winning / well-known directors and DOPs who will be sharing
their experience and insights on the di�erent equipment / solutions and best practices when addressing the di�erent
challenges in their work.
Hear experts from Amazon Web Services, Astro Radio, Discovery Communications,
Google, Hulu (HJ Holdings), i�ix Malaysia, Net�ix and many more will share collaborating strategies and
exchange views that will further shape the broadcasting
industry.
Network with over 600 leading brand owners and solutions providers...
#BroadcastAsia2016
Register online early at www.Broadcast-Asia.com/pre-registration to participate in the Online Business Matching Programme!
BROADCAST
Endorsed: Supported by:A Part of: Hosted by:
Organised by: Worldwide Associate: Held concurrently with: CommunicAsia & EnterpriseIT incorporate:
Held in:
www.Broadcast-Asia.com
The 21st International Digital Multimedia & Entertainment Technology Exhibition & Conference
INTEGRATING TECHNOLOGIES, EXPERIENCING CONTENT
31 May - 3 June 2016 Level 4 & 5, Marina Bay Sands, Singapore
and many others
Be sure to check out the theme speci�c technologies in
@ Level 4
Hear from award-winning / well-known directors and DOPs who will be sharing
their experience and insights on the di�erent equipment / solutions and best practices when addressing the di�erent
challenges in their work.
Hear experts from Amazon Web Services, Astro Radio, Discovery Communications,
Google, Hulu (HJ Holdings), i�ix Malaysia, Net�ix and many more will share collaborating strategies and
exchange views that will further shape the broadcasting
industry.
Network with over 600 leading brand owners and solutions providers...
INTEGRATING TECHNOLOGIES, EXPERIENCING CONTENT
#BroadcastAsia2016
Register online early at www.Broadcast-Asia.com/pre-registration to participate in the Online Business Matching Programme!
BROADCAST
Endorsed: Supported by:A Part of: Hosted by:
Organised by: Worldwide Associate: Held concurrently with: CommunicAsia & EnterpriseIT incorporate:
Held in:
BCA16AdW220xH290.indd 1 3/3/16 6:36 pmnew tvbe template remade.indd 1 17/03/2016 16:07
Production
“BBC Studios and Post Production
(S&PP) will enter a new chapter
when the new Television Centre is
added to our portfolio.” So said S&PP’s managing
director, David Conway at a ‘sneak preview’ of
the facility being developed on the site of the
iconic BBC Television Centre (TVC). “The facility
will add a significant contribution to the London
studio market.” The former BBC Television Centre
located in west London opened in June 1960, as
the Corporation’s first purpose-built production
centre. The facility closed in 2013 and although
the regeneration of the TVC site will primarily
provide more than 900 homes, offices and leisure
facilities, the BBC continues to have a significant
presence with the operation of three studios and
all the associated production facilities. Major
works are now well advanced and plans call for
the studios to be ready for use in April 2017.
According to Meryl McLaren, commercial
manager of BBC S&PP, the team involved with
the redevelopment is excited about the future.
“For us, it is really important to retain TVC as
TVC, and to maintain television at the very
heart of the facility. We have listened to what
production people throughout the industry have
22 TVBEurope www.tvbeurope.com April 2016
Philip Stevens was invited to an exclusive tour of the site that is being reborn as the new Television Centre in west London
Your Offi ce in the FieldCapture. Edit. Broadcast. Communicate.
www.sematronka.com
Untitled-1 1 23/03/2016 14:20:40
Television Centre’s rebirth“We are looking to the new Television
Centre as the most advanced media centre in London”
David Conway, BBC S&PP
The heritage staircases on the left had to be retained in this new meeting area, because of their cultural significance
Welcome to the world of High Performance KVMThe no compromise, IP based KVM matrix. Smooth, lossless Pixel perfect digital video.
An endlessly scalable high performance KVM matrix. Set your suites free.
EASY TO DEPLOYSIMPLE TO MANAGE
adde
r.com
DVI USB AUDIO RS232DL-DVI
If color is important to you, make sure your connectivity is pixel perfect.
High Performance KVM
pixel perfect.pixel perfect.
Award Winning AdderLink I N F I N I T YQueen’s Award for Enterprise:Innovation 2014
Meet us at NAB 2016 Las Vegas - Booth SL11109
TVBEurope_FULLpage_110316.indd 1 11/03/2016 22:28:29new tvbe template remade.indd 1 17/03/2016 16:08
Productionwww.tvbeurope.com April 201624 TVBEurope
said about their requirements and, as a result of
that feedback, we tasked the developer with
ensuring the ideas are included. That feedback
even included what the colour of the carpet
should be used in the Green Room.”
She says that when the new TVC opens,
the facility will be the most up to date, flexible
studio space in the UK. Along with a good
London location, it will have live TX lines,
customer parking, secure access and will very
obviously have been designed with productions
at the heart of the building.
Looking aheadJohn O’Callaghan, head of studio services for
S&PP adds some more information. “The final
technical specifications will be decided later this
year, but we will, of course, be consulting with our
customers on this also. We are closely monitoring
advances in technologies such as UHD/4K
and IP connectivity. The re-fit presents an ideal
opportunity to invest in equipment that is going
to make us future-proof to the highest degree.”
He continues, “We know that we will be
placing stabilised motorised lighting rigs in
the studio that will provide us with very fast
turnaround times between shows. Because of
their size, it will be possible to accommodate two
shows in the same studio and the quick change
lighting situation makes that entirely feasible.”
The three studios that have been retained from
the old TVC are TC1, TC2 and TC3. The first has a
studio space of 10,250sqft, TC2 3,500sqft and
TC3, 8,000sqft. “We shall employ various
audience rostra formats in TC1 according to
the production in hand,” explains O’Callaghan.
“Audience seating can be rigged in TC2
when required, while TC3 has an existing roll
out audience rostra, if necessary.”
The new Stage Door reception area will be
fully secured and the entrance to ‘back stage’.
Audiences will be stewarded through this ground
floor area to the individual studios with security
and ticketing measures flexed according to
production requirements.
In addition, BBC S&PP will issue and manage
access passes for freelance crews and
programme makers from this central space.
Leading from the Stage Door via security
styles will be a large central meeting area
that has been designed with productions
and crews in mind and incorporates an
identified catering area.
According to O’Callaghan, the space is
large enough to accommodate multiple
productions and will be a great meeting
place with seating areas and tables.
From the studios there is direct access to make
up, wardrobe, and production. There is also
a large ground floor storage area directly
accessible from the ring road to accommodate
deliveries and set/prop storage.
In addition, there is access to the inner
scenery runway and each studio door.
Dedicated loading bays servicing are located
at the rear of the studios, and agreements are
in place so that deliveries will not take place at
times that might cause disturbances for the
close proximity residential apartments.
Production space“The first floor space has been reconfigured to
maximise space and ensure the best access
to production offices, galleries and on to the
studio floor, which can still be accessed from the
galleries,” reveals O’Callaghan.
“Proximity of these areas was a key
requirement from our customers to appeal to
the live TV market, and the space has been
designed accordingly.”
Alongside the galleries are four large
production offices with views on to the central
Helios: the much loved ‘Doughnut’. In addition,
there is a large centralised apparatus area.
The second floor provides additional flexible
office space that could be dedicated to
medium to long-term production clients. The two
viewing galleries that formed part of the original
TVC, and which overlook TC1 and TC2, are being
converted into meeting rooms.
Going downTo reach the lower ground floor without
using the lift, it is necessary to walk down the
heritage staircases: structures that had to be
retained in the redevelopment because of their
architectural significance. This lower level has
been designed with wide corridors and very
high ceilings. On this floor are dressing rooms,
edit suites, a laundry facility and a runners’
area that includes a kitchen that is bigger
than that found in many homes!
“The lower ground has been largely
reconfigured to accommodate a large number
of Super Star, Star, Standard and Group Dressing
Rooms. All these rooms are exceptionally
well appointed, with many having en suite
facilities,” states O’Callaghan. “There are also
two very large green rooms.”
The post production element of S&PP includes
five permanent edit suites, and there is additional
space available along the same corridor should
more space be needed. All these rooms are
provided with inter-connectivity to allow the easy
exchange of data and content.
With completion due next spring, BBC S&PP is
looking to approach clients around the middle
of this year. “This is a major development in the
industry and we are looking to the new Television
Centre as the most advanced media centre in
London,” concludes David Conway. n
Production
“It is really important to retain TVC as TVC, and to maintain television at the
heart of the facility” Meryl McLaren, BBC S&PP
The Super Star Dressing Rooms are equipped with en suite facilities
22 24 TVBE TVC Production_final.indd 56 17/03/2016 12:13
Get more from your contentGlobecast increases broadcaster’s profitability by providing
highly efficient media management, distribution, monetisation
and contribution solutions. We enable our customers to reach
any audience on any platform globally, including OTT, satellite
and cable, while only delivering content to Globecast once
C
M
J
CM
MJ
CJ
CMJ
N
tvbeurope2016.ai 1 15/03/2016 12:56:01
new tvbe template remade.indd 1 17/03/2016 16:11
Production
A lthough the majority of subtitling is
still performed after shooting and
editing has finished – that is to say, it
is a predominantly a distribution activity – the
work within production time is a growing trend.
One impact of the growth in ‘internet media’
has been that distinctions between creation
and distribution have blurred, and production
companies are now more involved in delivery
activities. The almost universal use of standard
information technology and distribution of
media (both finished and production copies)
over the internet has allowed subtitling to
become a distributed activity.
Emerging standards such as the IMF
(Interoperable Master Format) now incorporate
subtitling. What’s more, there is growing inclusion
of subtitles from producers of content when
media assets are transferred to distribution.
The IMF standard identifies a new format for
subtitles (IMSC) that is XML-based. This is markedly
different from the, often proprietary, formats
currently commonly used to author subtitles, for
example, STL, PAC, 890. As a consequence there
is a potential requirement to ‘re-tool’ subtitling
authoring workflows to support this new standard.
Second screensThe growth in ‘internet media’, the so-called
‘second screen’ has also spawned a whole
range of new subtitle distribution formats
supported by different internet video players.
Again, supporting these new formats has led
to an increase in complexity of the subtitle
production process. In the past, workflows were
targeted simply at one subtitle distribution format
for linear television, such as Teletext or DVB.
Today, however, those workflows need to support
both the linear TV distribution mechanisms, plus
a wide range of mobile, OTT and internet video
delivery channels.
At present, the tendency is to bolt conversion
capabilities into the workflow which take the
original output intended for linear TV and
adapt it for the new distribution. This obviously
has limitations, as the constraints and adopted
conventions of linear TV distribution systems
for subtitles do not necessarily apply to other
supply mechanisms.
The SMPTE and EBU standards bodies both
have activities that are tackling these issues.
Both groups are developing new standards to
support the changing media landscape. The
EBU working groups are actively considering how
subtitle content can be authored with multiple
distribution targets, and how subtitles can be
better authored to facilitate re-use. An
emerging aspect is the inclusion of related
information within a subtitle ‘archive’ file, for
example, speaker names, places, roles, and
emotional states that will allow downstream
tools to present the information correctly
according to local conventions.
Extending that concept even further is the
idea of including contextual information about
the related media within the subtitle ‘archive’ file.
This is an interesting side effect of the nature of
the subtitling process, as subtitle authors require
a unique comprehension of the material they
are translating. Capturing this currently discarded
knowledge in a subtitle ‘archive’ file could
radically alter the effectiveness and granularity
of media search and recommendation. n
26 TVBEurope www.tvbeurope.com April 2016
The language of subtitlingJohn Birch, strategic partnerships manager at Screen Subtitling Systems, looks at recent developments in an often forgotten side of production
‘The growth in ‘internet media’ has spawned a whole range of new subtitle
distribution formats supported by different internet video players’
Subtitle developments have to take into account the increasing use of second screen devices
26 TVBE Subtitling Production_final.indd 54 17/03/2016 12:11
One of the prized contracts in the outside
broadcast calendar went to Whisper
Films earlier this year, an award that
caused some controversy.
The indie, which was formed in 2010, is backed
by Channel 4 as part of its Growth Fund, for
which the broadcaster took a small stake in
the company. When the BBC prematurely
divested itself of terrestrial UK rights to cover
Formula One at the end of the 2015 season,
Channel 4 took up the reigns and put the
presentation of it out to tender.
Established by Sunil Patel, who oversaw
the BBC’s F1 output before leaving to launch
Whisper, BT Sport presenter Jake Humphrey and
ex-F1 driver David Coulthard, Whisper beat more
seasoned sports producers like North One –
which produced ITV’s recent coverage – to
the chequered flag.
Patel is unfazed by suggestions of favouritism
in the press. “The pressure to succeed because
we had this high profile win doesn’t come into it.
The pressure comes from all those on our team
to deliver on our own high expectations. We are
duty bound to keep fans entertained and to
improve coverage where we can. There is no
added pressure from any other party.”
Because of the tight nine week turnaround
between landing the contract in mid-January
and the start of the 2016 season in Australia
– nearly two weeks of which was required for
shipping equipment to Melbourne – Whisper
wisely decided to rehire Presteigne Broadcast
Hire as its OB partner. Presteigne had designed
and supplied F1 flypacks complete with air
conditioning and power distribution systems for
the previous seven years of BBC broadcasts, and
had the kit ready to go at its headquarters in
Crawley. It also supplies up to 15 crew including
sound ops and engineers.
“By and large we are using the same kit as the
BBC operation with one major uplift in editing,”
explains Patel, who will executive produce
C4’s coverage. BBC Sport had made a fateful
decision to base its editing on Final Cut Pro 7 in
2011, just as Apple decided it would no longer
support a professional version of the software. A
sensible decision, then, for Patel to replace them
with four new Adobe Premier suites.
On site, these are linked with EVS IP Director
logging and search tools, integrated with a trio
of EVS XT3 servers and further hooked into an
EditShare rack of collaborative storage. The rest
of the kit contained in two flypacks remains the
same and includes a Ross switcher, Lawo sound
desk and Riedel Artist for talkback, with the only
other significant addition being a Sony PMW-F5
with Canon Cine lenses to work alongside
conventional RF cams. “This will give us a real
cinematic look for feature making; content we
Whisper Films on the starting grid
“The pressure to succeed because we had this high profile win doesn’t come into
it. The pressure comes from all those on our team to deliver on our own
high expectations” Sunil Patel,
Whisper Films
After Channel 4 took over free to air F1 coverage for the start of the 2016 season it put Whisper Films in the driving seat. Adrian Pennington reports
TVBEurope 27April 2016 www.tvbeurope.com
Feature
27 28 37 38 TVBE Apr16 Whisper Feature_FINAL HA.indd 27 18/03/2016 16:46
Feature28 TVBEurope www.tvbeurope.com April 2016
are familiar with given our heritage of branded
high end content,” says Patel.
Whisper has created a range of brand-funded
sports content in association with companies
such as Red Bull, UBS, Shell and Hugo Boss. It has
also won conventional TV commissions such as
BBC1 doc Racing With The Hamiltons: Nic In The
Driving Seat, and produced highlights for ITV4’s
coverage of DTM German Touring Cars. Whisper
also produced BBC2’s NFL studio-presented
highlights in the run up to the Superbowl 50,
introducing a touch screen for pundit analysis.
Patel said he decided to apply for Growth
Fund investment when TV commissions began
to “dry up”, and he felt that C4’s backing
would give Whisper “credibility” and better
access to commissioners.
Formula One Management (FOM) run a strict
and well-oiled machine. Rights holders have to
join them at the F1 sting five minutes prior to race
start, leaving the host feed only once the podium
ceremony is over. In between rights can only
tailor presentation with commentary.
“There is limited opportunity to do anything
within the sport itself, but the real difference
is around the presentation aspect, hence our
commitment to our talent line up,” says Patel.
“The difference will be in the insight we can give
to viewers from the people we have on in the pit
lane and paddock.”
The FOM set-up is deliberately formulaic across
the world. “There are new places, such as Baku
and Mexico for 2016, which we will be keeping
a watch over this year, but each venue has its
own unique challenges,” comments Presteigne
This is the pits: the pit lane gears up for testing action
27 28 37 38 TVBE Apr16 Whisper Feature_FINAL.indd 28 17/03/2016 13:02
www.tvbeurope.com
April 2016TVBEurope Supplements
In association with
Thinkingoutside the Box
An insight into set-top box solutions for IPTV, OTT, and hybrid DVB projects
29 30 31 32 34 35 TVBE Apr16 Supplement_final.indd 29 18/03/2016 15:01
The rise of IPTV has transformed what was
a purely linear product into a complete
TV experience, which includes live TV,
network PVR and time-shift, on demand
services and third-party content. This new world
of connecting the TV to the internet means
opportunities as well as challenges for operators,
developers and integrators.
No one needs to be reminded that there
are a lot of changes going on in the content
delivery sector. But a careful analysis is essential
in building a roadmap for the future. Right now,
there are three main players who are looking to
change their game and take advantage of all
that IPTV has to offer.
First of all, cable operators want to upgrade
their TV service offering to a more modern and
rich service, featuring live TV (DVB) enriched
with IPTV or OTT channels, nPVR, time-shift or
restart TV, and VoD for a complete first-screen
offering. These operators are looking for an
upgrade from a legacy system to a modern
interactive TV solution. Moreover, they are
looking to second screens to complete a
compelling new TV proposition.
There are also IPTV operators who need to
switch from first or second- generation IPTV
solutions to a modern solution with interactive TV
features, a modern UI for a top user experience
and a rich feature set, including HbbTV, nPVR,
nTimeshift, VoD, third-party services such as
YouTube and Smart TV applications).
And there are the new OTT players – mobile
operators, for example – who are looking to
enrich their service offering with a TV proposition
for mobile, but also the first-screen.
These are looking for innovative solutions, even
fully hosted and managed.
Technology perspective From a technology perspective, it seems
clear that the growth in bandwidth will drive
high quality video services in mature markets.
In developing countries, adaptive streaming
technologies and highly efficient video codecs
will help to deliver compelling TV services to
new markets and regions.
Given these trends, companies already need
to be thinking about upcoming hardware and
solutions that will allow them to deliver more
innovative and feature-rich products, and their
outlook needs to be global and adaptable. In
the Asia Pacific region, for example, you see
some operator requirements for Android, driven
by customer demand, which you might not see
as much of in other regions.
Modern operators in mature markets also
need to be ready for UHD content, which may
not be available in bulk now, but is just around
the corner. Within a year or so, 4K content will be
made more widely available by broadcasters
and content providers. New STB’s will need to be
adapted for the HEVC/H.265 streaming format
for highly efficient video decoding (a new
standard which reduces the required bandwidth
by 40 per cent).
Ultimately, the end user wants a feature-rich
product that offers a range of services and just
one set-top box in the living room, and this is
what we have to provide, no matter where
the customer is.
Software is keyThe days of hardware-centric set-top box
solutions are long gone. What’s required now
is a sophisticated software concept which
can deliver operator-grade products with a
Linux operating system for a fully controlled
environment, or operator-grade Android for
certain markets and market segments where
Android is of relevance.
It is still a challenge to deliver all new
technologies and options across to all operators.
In the last fifteen years, traditional TV products
showed very few real innovations. In the last two
to three years, this has changed dramatically.
Now operators need to think about how
their product offerings and TV services will
continuously evolve over the next five years
and decide on a solution which is not
closed, but allows them to follow technology
innovations, without having to reinvent a
solution over and over again.
The software solution is key to this strategy,
and platforms need to be flexible enough
to accommodate varying global operator
demands. Momentum is shifting from project-
Supplementii TVBEurope www.tvbeurope.com April 2016
Building a new kind of IPTVWith the TV industry entering a new world of IPTV, flexibility is a key asset. Matthias Greve, CEO and founder of ABOX42, gives his views on how to move beyond STBs to a full service solution
in association with in association with
‘Developing markets bring a host of new opportunities. Though there are challenges
of infrastructure in some cases, many new markets aren’t encumbered by legacy
systems and broadcast chains’‘Set-top box companies can no longer be hardware providers; they need to be total set-top box solutions companies, which
encompasses hardware, software and services’
29 30 31 32 34 35 TVBE Apr16 Supplement_final2.indd 30 18/03/2016 16:27
in association with
TVBEurope iiiApril 2016 www.tvbeurope.com
Supplement
based proprietary software to a cross-platform
software concept. This can be helpful to
operators in replacing existing first or
second-generation IPTV solutions, or by
helping a customer to provide compelling
solutions in mixed network environments (cable,
DSL, fibre) with a unified user experience and
product approach.
Set-top box companies can no longer
be hardware providers; they need to be
total product and set-top box solutions
companies, which encompasses hardware,
software and services. New partnerships and
ecosystems are key as well, allowing sharing of
skills and services, eliminating the burden of a
single company trying to do everything itself.
A combination of hardware platforms,
software and solutions will offer extra flexibility
and ultimately a comprehensive set-top box
solution to customers.
Fast and flexible deploymentThis new cross-platform approach allows for fast
and flexible deployment via IPTV and can open
up new opportunities for customers. It becomes
simpler to augment services or quickly add types
of services for existing customers.
In the past when most operators moved
into IPTV, there were normally a few different
stakeholders involved: providers for the
middleware, the head-end system, transcoding,
DRM, playout to set-top boxes. It ended up
being a complex project with twelve months’
development time or more, and a lot of cost
and frustration. With a more flexible software-
based system and intelligent partnerships
with existing platforms, a kind of ‘one-stop-
shop’ for operators can be provided, which
eliminates those complicated moving parts in
the delivery chain. The customer could roll out
a customised IPTV service within a quarter, with
the essential ingredients operated by the set-
top box company and its partners. There’s no
hardware investment for the IPTV solution itself,
no maintenance and no major development
needed from the operator side. The only thing
required of the customer is to roll out the set-top
box hardware and do the marketing for the
service and the billing.
Whether it’s telcos, new entrants such as
FTTH operators, DVB-C customers who want
to upgrade their networks to more interactive
features or pure OTT customers who do not own
the networks and want to start a TV proposition
on top of an existing infrastructure, the transport
infrastructure is ultimately not important.
Customers have the ability to offer the same
TV packages independent of the network
infrastructure that they use.
New marketsDeveloping markets bring a host of new
opportunities. Though there are challenges of
infrastructure in some cases, many new markets
aren’t encumbered by legacy systems and
broadcast chains. There is the potential for
huge growth in Asia, Africa and South America.
There are a couple of countries in Africa
that are especially of interest and there are
an increasing number of requests for both
Hybrid and IPTV solutions. There is an upcoming
programme in three African countries where
a mobile provider is aiming to provide TV
services over mobile networks with an LTE/4G
router providing Wi-Fi in the end users’ homes,
since broadband internet with landlines is not
widely deployed.
Our ability to provide new services to
customers around the world means not just an
improvement in business. It also sets the stage
for an incredible new flexibility in how TV is
distributed and watched. New types of channels
will begin popping up, which could never exist
in the old model, with regionalised or specialty
content finding audiences who have yet to be
properly served. n
‘Companies already need to be thinking about upcoming hardware and solutions
that will allow them to deliver more innovative and feature-rich products, and
their outlook needs to be global and adaptable’
29 30 31 32 34 35 TVBE Apr16 Supplement_final2.indd 31 18/03/2016 16:27
Supplementiv TVBEurope www.tvbeurope.com April 2016
M-net TVplus multiscreen IPTV serviceThe fi rst example comes from leading German
regional carrier M-net, based in Munich, which
selected the ABOX42 M20-Series Smart Set-Top
Box platform for its new IPTV service ‘M-net
TVplus’ to be deployed across the M-net fi bre in
the south of Germany.
M-net operates a modern IP network and has
more than 20 years’ experience in providing
best-in-class services to business customers
and end users. The M20 Set-Top Box platform,
which has already been deployed in various
projects worldwide, was extended to support
all functions required for the German market,
such as local multi-stream recording on USB Flash
devices or USB hard-disk drives, local time-shift
support, HbbTV support for all essential German
broadcasters, on-demand and catch-up TV offers
as well as the integration of German’s leading
VoD solution operated by maxdome.
M-net’s decision to adopt the M20 solution,
together with the underlying ABOX42 Smart SDK
platform, and deploy it for its multiscreen IPTV
solution is a timely example of the increasing
move towards fully hosted and managed IPTV
multiscreen solutions and projects with less
complexity for the operator and much shorter
time to market.
“We were carefully analysing and selecting the
solution for our new M-net TVplus IPTV service. The
project was launched only a few months after
kick-off and it was delivered in time. This solution
helps us to offer a modern TV proposition with
many new features. A compelling TV service as
well as highly competitive product bundles will
help to direct people to M-net”, says Thomas
Bichlmeir, responsible for M-net TVplus. “M-net
is an ideal example of a modern operator
managing the transformation to full IP services.
At ABOX42, we are aware of the very high
expectations from operators for an advanced
IPTV solution with latest features. To be able to
role out such demanding operator projects
within a few months requires very experienced
partners and a solid, scalable and customisable
solution, and this is exactly what we provide”, said
Matthias Greve, CEO of ABOX42.
DNMG white label IPTV serviceStaying in Germany, the second example
focuses on DNMG’s new IPTV white label solution:
a collaboration between ABOX42 and IPTV
white label solution provider Zattoo. The M20
Set-Top Box platform was again at the centre
of the collaboration, providing the fi rst-screen
experience with Zattoo enabling fi rst and second
screen functionality. The new white label IPTV
multiscreen platform is a full-service solution for
members of DNMG wanting to quickly and easily
deploy an IPTV-enabled cable TV offering. Very
shortly after launch, German broadband provider
BBV became the fi rst to sign up to the new service
for its multiscreen offering.
Frank Bonnemeier, business director of BBV
Deutschland GmbH explained, “After searching
the market for over a year, we were delighted at
the launch of DNMG’s fully hosted and managed
IPTV solution. ABOX42’s set-top box technology
and Zattoo’s second screen technology combine
to create a fi rst and second screen solution which
is not only hassle free in terms of set up, project
management and in-live operation, but also
leading edge, with a rich feature set, future-proof
software architecture, and a price-performance
that allows us to pay as we grow.”
Oliver Soellner, ABOX42’s VP of business
development and sales, described why the
service is unique in the industry: “When most
operators move into IPTV, there are normally a
couple different stakeholders involved: providers
for the middleware, the headend system,
transcoding, DRM, playout to set-top boxes. It
ends up being a complex project with a lot of
cost and frustration.
“With our new white label IPTV solution, we
take all that away. The customer can roll out
a customised IPTV service within one quarter
because it’s an already existing platform with the
essential ingredients fully operated by ABOX42
and Zattoo. There’s no hardware investment for
the IPTV solution itself, no maintenance and no
major development required from operator side.
The only thing the customer needs to do is roll out
the set top boxes and do the marketing for the
service and the billing.”
At a time when innovation and new features
are arriving faster than anyone can keep up with
them, operators are increasingly phobic about
committing to investment intensive projects.
BBV’s fast adoption of the service suggests that
that the DNMG platform has come to market at
just the right time. n
To shed some light on the latest solutions for IPTV multiscreen services, we take a look at two ABOX42-powered case studies: M-net and BBV
in association with
A case study in IPTV
BBV was the fi rst to adopt the DNMG IPTV solution
M-net employs the M20 Set-Top Box platform
29 30 31 32 34 35 TVBE Apr16 Supplement_final.indd 32 18/03/2016 15:01
www.ABOX42.comwww.ABOX42.comwww.ABOX42.com GERMAN QUALITY &ENGINEERING
ABOX42´s leading Set-Top-Box Platform Solution for OTT, IPTV & Hybrid-DVB Projects
IPTV, OTT & Hybrid capable STB platformsIPTV, OTT & Hybrid capable STB platformsIPTV, OTT & Hybrid capable STB platforms
up to 4K | UHD H.265 | HEVC supportH.265 | HEVC support
OPX Cloud TV & MiddlerwareServices
ABOX42
Part of:ABOX42´s Total Solution
ABOX42
Smart STB´sOTT / IPTVHybrid-DVB
Part of:ABOX42´s Total Solution
ABOX42
Smart SDK& DeveloperServices
Part of:ABOX42´s Total Solution
ABOX42
OPX TV Application
Part of:ABOX42´s Total Solution
Latest Generation
Smart Set-Top-Boxes
ABOX42 provides latest generation
Set-Top Box solutions for OTT / IPTV
and Hybrid-DVB projects, engineered
for modern TV services, designed
and produced according to highest
market standards and German Quality
approach.
Comprehensive Smart SDK &
Developer support
The ABOX42 Smart SDK is a sophisti-
cated software platform that provides
you a complete developer environ-
ment with extensive examples plus
detailed descriptions on how to build
new applications, moreover, how to
integrate applications and TV middle-
ware solutions to your existing ones.
Next Generation
TV Experience
The ABOX42 OPX TV Application
is the ideal solution for operators to
offer a next generation TV experience
without having to develop their own
user interface. The ABOX42 OPX TV
Application can easily be integrated
into the existing middleware / back-
end / head-end infrastructure of the
operators network.
Total TV Solution
for the First Screen
The ABOX42 OPX Cloud TV & Middle-
ware Services offers a unique collection
of SaaS services for the installation,
deployment and operation of the STB
deployment in the field, to upgrade the
functionality of the deployed services
over time.
S e t - To p B o x H a r d w a r e • S o f t w a r e • S o l u t i o n s • S e r v i c e s
2016-03-Full-Page-AD-TVB-Europe-Supplement.indd 2 16.03.16 17:30new tvbe template remade.indd 1 18/03/2016 17:02
Supplementvi TVBEurope www.tvbeurope.com April 2016
in association with in association with
You came to ABOX42 at a time of market transition. How has the company evolved since you came aboard?
I joined the company in 2010 when ABOX42
was just starting its B2B activities and began
to provide modern set-top box solutions to
operators in Europe.
My background was in sales, business
development and marketing and those were the
roles I took when I started. Last year, I joined the
management board of the company, but my
main focus is still sales and business development.
The core technologies that we use today –
modern and solid hardware architecture and
design; rich software stack (SDK) and developer
IDE for a fast integration and development of
applications and services; compatibility with all
modern streaming solutions (multicast, unicast in
various flavours and with various DRM/software
CAS solutions); total lifecycle management
solution for updates and upgrades of the
complete software stack in the field – all these
elements together are part of the total solution
we offer and were built in the early days of the
company and further enhanced over time
to match the market requirements of today
and tomorrow.
The idea was to build a set-top box platform
that works completely differently to the legacy
products; which were project-based and
required heavy development work which is
expensive and time consuming. The ABOX42
way is to provide a platform that already
matches more than 90 per cent of the operator
requirements and where only a small amount of
development effort is required in order to create
a custom operator solution. This makes it much
faster and much less expensive for operators to
launch a modern TV service.
Our first projects where carried out in
Germany; one of the most complex markets
due to the requirement to support a variety
of different services (additional to the core
operator TV application/service, such as HbbTV,
local catch-up TV and on-demand services and
support for third-party services like YouTube).
Then in the central European space there
were operators who saw what we did and
became quite interested in our multi-application
approach and what they could build on our
core technology. Eventually, we found ourselves
building an entire solution, including set-top
box hardware, lifecycle management, and
maintenance solutions and services.
How does the ABOX42 approach differ from that of most set-top box companies?The founders’ background had been in web
technologies, web services, and audio video
streaming which were all relevant to IPTV
products. Then, when we entered the operator
market, we had to integrate technologies to
support multicast, DRM and other systems that
are used more in the operator space. The core
software stack began to evolve over time and
we started adding new services and as we
carried out more projects in different regions.
For example, we recently added a solution
for the central European market with local
recording and local time shift: functionalities
that aren’t very common in the IPTV space
but were necessary because of the regulatory
requirements in certain countries where you
can’t yet use network PVR. We now serve
markets in the Middle East where you need user
interfaces that read right to left rather than left to
right. And we’ve been able to incorporate those
functionalities across the software.
Ultimately, the differentiator is our total solution,
which has a very feature-rich software stack
offering compatibility to all major technologies
used in today’s TV propositions and solutions.
So, you’re not customising for each individual project?That’s right. We avoid building individual solutions
and try to focus on an overall product where our
additional development is going to pay off for all
potential customers. The fact is that we do not
need to do it for each project, since the majority
of the customer requirements are fulfilled by the
existing platform.
Therefore, it’s all about the enhancement
of the overall platform and making the overall
software stack more feature-rich to serve
other customers. And that’s a bit of a unique
approach. The traditional set-top box business is
much more project driven.
Where do you see set-top box companies struggling?We have been trying to put a focus on how to
maintain the product in the field. We see more
and more projects out there – even with some
of our big competitors – struggling with rolling
out new software and new features in the field.
If you want to run such a solution for five years or
more, there will be new features coming up, and
it’s important to be able to upgrade the product
and maintain it. We put a lot of focus on that,
trying to talk to the right people, and it starts
to pay off.
How are you dealing with the flood of content owners looking to get into the IPTV space? We speak to a lot of broadcasters and people
who have rights or own certain channels. For
them it’s a question of what is the most intelligent
way to reach their customer. We’ve seen a
couple of projects where someone aggregates
content rights for a certain geography and
is able to sell it to people living outside that
geography. That’s a definitely a market, and
people are willing to pay for such services.
But for single content providers who only
have a limited number of channels, I’m not sure
It’s a critical time for the set-top box sector, with software taking precedence over hardware. Oliver Soellner, member of the management board of ABOX42, tells us how his company developed total solutions for a new type of television
Reinventing STB strategy
‘The ABOX42 way is to provide a platform that already matches more than 90 per cent of the operator requirements
and where only a small amount of development effort is required in order
to create a custom operator solution. This makes it much faster and much
less expensive for operators to launch a modern TV service’
29 30 31 32 34 35 TVBE Apr16 Supplement_final2.indd 34 18/03/2016 16:25
TVBEurope viiApril 2016 www.tvbeurope.com
Supplementin association with
it’s a good proposition to look for a set-top box
TV solution. In some cases, we try to add niche
content providers to existing operator solutions. If
you have an operator who is serving his customers
via DVB-C, with a hybrid proposition, they can
add channels that aren’t available via cable and
satellite but are distributed by IP.
It’s no longer necessary for a content provider
to buy satellite capacity or make their content
available through an operator’s cable network.
Other ways, like OTT distribution and streaming,
are very efficient, especially for these niche
providers. We do see that operators are keen
on additional content offerings to enrich their
channel portfolio, and today’s technologies allow
you to combine the best of both worlds, the DVB
world and the IP world, and for the consumer it’s
the same user experience.
What are the biggest challenges coming up in the next few years?The traditional way of doing projects is not
working anymore. Operators are looking for much
shorter project lead times. The big investments
that were done for first or second generation IPTV
solutions are no longer happening. People are
well educated in terms of what is available in the
market, and they are looking for a compelling
solution they can roll out with the least cost and in
the shortest time period.
The strategy from our side is to be compatible
with all the relevant solutions in the market and be
part of the new development that is happening.
That means not only talking to customers or
operators, but partnering and building up
ecosystems with the providers: middleware
providers and hosted solutions providers. If we do
a good job and are able to make both operators
and providers aware of the advantages of the
solution we offer, then we have a very good
market position.
Do you see the changes in the IPTV space accelerating? Or will we enter a period of stability? Web technology has proven to be the way to
go. There are not too many surprises around the
corner in terms of new streaming formats. I think
the space is pretty much clear.
You do have 4K content increasing, which
will be driven by the VoD side at first and later
in live TV. But I think for the next few years it’s
pretty much clear how the market will develop.
The challenge for people will be dealing with
this coexistence of different services using
different technologies, which is an area of
expertise for us. n
‘The traditional way of doing projects is not working anymore. People are well educated in terms of what is available
in the market, and they are looking for a compelling solution they can roll out with the least cost and in the shortest
time period’
29 30 31 32 34 35 TVBE Apr16 Supplement_final2.indd 35 18/03/2016 16:25
www.ABOX42.comwww.ABOX42.comwww.ABOX42.com GERMAN QUALITY &ENGINEERING
ABOX42´s leading Set-Top-Box Platform Solution for OTT, IPTV & Hybrid-DVB Projects
IPTV, OTT & Hybrid capable STB platformsIPTV, OTT & Hybrid capable STB platformsIPTV, OTT & Hybrid capable STB platformsIPTV, OTT & Hybrid capable STB platformsIPTV, OTT & Hybrid capable STB platforms
up to 4K | UHDup to 4K | UHDup to 4K | UHDup to 4K | UHD H.265 | HEVC supportH.265 | HEVC supportH.265 | HEVC supportH.265 | HEVC support
S e t - To p B o x H a r d w a r e • S o f t w a r e • S o l u t i o n s • S e r v i c e s
2nd OTT/IPTVINDUSTRY BREAKFAST27. APRIL 2016 08:00-10:00Crowne Plaza Hotel (next to the ExCel London/TV Connect)
hosted by
during the
moderated by
INVITATION Register today and reserve your seatwww.abox42.com/industrybreakfast
Visit us at our stand #55 at TV Connect 2016 in London
26. April - 28. April 2016ExCel, London
2016-03-Full-Page-AD-TVB-Europe-Supplement.indd 1 16.03.16 17:30new tvbe template remade.indd 1 18/03/2016 17:04
TVBEurope 37April 2016 www.tvbeurope.com
Feature
head of technology, David O’Carroll. All the
opening sequences and feature material is
stored and played off the EVS. A catalogue
of historic race material is also held there.
“For example, if Lewis Hamilton does
something special in practice or race day
and he refers to a previous race, we do have
the ability to find that moment he is talking
about and play that incident as live,” says Patel.
“It’s just a question of searching for the clip
logged in IP Director.”
Much of the chatter in outside broadcast
circles is about how technologies such as IP can
be used to cut the costs of sending crew and kit
to events around the world. The F1 flypack and
its dozen or so engineers and technicians are
already a slim-line production.
“The only aspect I can see coming back to the
UK would be editing, which won’t happen until
the cost of fibre reduces and internet speeds
increase,” says Patel. “The next generation of
IP-enabled kit might hold the key to saving costs
instead of transporting kit and the cost of hotels.”
Perhaps more than any other sport, Grand Prix
racing would seem to lend itself to a higher
resolution, yet despite dabbling in stereo 3D
and making the most of advanced wireless
technology, FOM’s coverage remains resolutely
HD for this season at least.
“In principal, we could supply 4K in the pods
with some minor alterations,” says O’Carroll.
“What is more challenging is the reliance on RF
across the site. There’s not a viable 4K link that
would allow us to acquire 4K. That said, we can
upconvert 50p from the camera, which would
look pretty good, if not true 4K.”
“Given the detail and design of the cars, 4K
would be amazing for Formula One, but until
a platform like Sky (which is broadcasting the
rest of the F1 schedule in the UK) offers 4K to
consumers, then I can’t see it happening,” says
Patel. “It will take a year or two.”
With a contract for ten races a year until 2018,
the indie will be in the best place to anticipate
an upgrade should FOM – or Channel 4 – decide
to up the ante. n
David O’Carroll, Presteigne
27 28 37 38 TVBE Apr16 Whisper Feature_FINAL.indd 37 17/03/2016 12:21
www.tvbeurope.com April 2016
Feature38 TVBEurope
EFFICIENCY COMES FROM THE PERFORMANCE OF YOUR BUSINESS MANAGEMENT SOLUTION
ProConsultant Informatique, the partner of Media Groups worldwideEurope Of�ce Metz, France - USA Of�ce Atlanta, Georgia
www.proconsultant.net
An integrated and centralized Business Management Solution which manages, in real time, all the metadata needed for operating Media Groups, whatever their broadcast platforms, be they linear and/or non-linear (Web, VOD, CatchUp TV, SmartPhone...).
A comprehensive Ad Sales Management Solution, for managing all TV and radio advertising sales operations for linear and/or non-linear environments (Web, VOD, CatchUp TV, Podcast, SmartPhone, etc.)
See us at NAB Booth N6324
When Channel 4 snapped up the
remainder of the BBC’s Formula
One contract, it immediately
became a race against the clock.
The broadcaster had just three months
to recruit an entire team ranging from
presenters and analysts to commentators
and celebrity guests; a task led by chief
creative officer Jay Hunt.
With so little time on her hands, Hunt would
have been forgiven for keeping the transition
as straightforward as possible, with the option
to sign up the BBC team that had brought
so much popularity and success over the
past seven years.
Instead, the channel immediately looked to
make its own stamp on proceedings, recruiting
select key figures from the BBC such as David
Coultard, Lee McKenzie and Eddie Jordan,
whilst bringing in fresh blood in former drivers
Mark Webber and Karun Chandhok.
Hunt said, “When the opportunity to get
Formula One came up at the end of the last
year, it’s fair to say that everyone at Channel 4
was hugely excited. It’s a sexy, young, cutting
edge board and it really couldn’t be a better
fit for Channel 4. We got together the
dream team: a line up of on-screen and off-
screen talent that would deliver truly
unmissable coverage.”
Celebrities are expected to feature heavily
within the new coverage. Susie Wolff, for
example, will take comedian Johnny Vegas and
boxer David Haye for passenger rides.
Steve Jones, who will front Channel 4’s
coverage, said, “My involvement speaks
volumes, [considering] the fact that they
approached a purely entertainment
presenter for this role. We’re going to get
a lot more celebrities involved it and just
generally enjoy it a bit more. I think the BBC
could be quite earnest, great at delivering
the information, but I feel we can deliver that
information with a bit more panache.”
Channel 4 will also introduce multiple pundits
and analysts on a rotational basis, including
Nicholas Hamilton, brother of Lewis, Bruno
Senna and Alex Zanardi. Renowned
commentator Murray Walker will also make
a return, providing interviews with the ‘stars
of the sport’ throughout the season.
Mark Webber, who was a driver on the Red
Bull team as recently as 2013, added, “[We
need] less spreadsheets and more human
content. I think that’s important and we want
to get that across. It’s a phenomenal roadshow.
There’s always a bit of drama and controversy.
We have some good ideas to get people
to understand the essence of the sport and
that’s the gladiators, the people really in there
fighting week in week out, powering through
with no sleep,” he added. “No one sees that
side: mechanics turning up absolutely busted.
They’ve had five to eight hours sleep in five
days. Why does that mean so much to him?
Why is he doing that? We’ve got to go to
another level in terms of access.”
With one eye on expanding Formula One’s
audience into younger territories, it remains
to be seen whether Channel 4 can balance
such glittery showbiz with a satisfactory level of
petrol-fuelled content for the hardcore purists. n
James Groves was at the recent unveiling of Channel 4’s Formula One presenting team
The perfectFormula
Backstage pass: the paddock in Barcelona
27 28 37 38 TVBE Apr16 Whisper Feature_FINAL.indd 38 17/03/2016 12:21
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.
Issue Exhibitions present at Feature Editorial Close date Advertising close date
May • TVBEurope 2020 preview 8th April 1st April • Euro 2016 live production • Satellite round-up June • TVBEurope Strategy Week • TVBEurope 2020 preview 12th May 5th May • TVBEurope 2020 Conference • RIO 2016 Olympic feature: live production • Broadcast Asia • Visions of the future: the connected world
July • OTT feature 10th June 3rd June
• Automation and playout
• RIO 2016 Olympic production feature:
August • IBC thought leadership insight and 12th July 5th July
product preview
EDITORIAL PLANNER 2016
Europe Ben Ewles: +44 (0) 20 7354 6000 bewles@nbmedia.com
Richard Carr: +44 (0) 20 7354 6000rcarr@nbmedia.com
Nicola Pett+44 (0) 20 7354 6000npett@nbmedia.com
USA Mike Mitchell +1 631 673 0072 mjmitchell@broadcast-media.tv
For all advertising and sponsorship opportunities, contact the sales team:
TVBE Editorial Planner 2016 half page.indd 1 23/03/2016 14:48
See us at
10-12 MARCH 2016
Studiotech Stand ZD3-13in ZABEEL HALL www.studiotech.be
Studiotech sa/nv Houtweg 7, 1130 Brussels, Belgium info@studiotech.be Tel. +32 2 266 13 80 Fax +32 2 2 266 13 88
Brussels Algier Budapest Niamey Paris Rabat Sydney Warsaw
www.studiotech.beeg 7, 1130 Brussels, Belgium
. +32 2 266 13 80 Fax +32 2 2 266 13 88 Rabat Sydne
iotech.bedStudiotech sa/nv Hout
info@studiotinfo@studiotinf ech.be TelTelTAlgier Budapest
www.stud
25+
dt d
Studiotech is looking forward to seeing you at NAB 2016.
For more details, please contact our Sales department at
sales@studiotech.be
new tvbe template remade.indd 1 23/03/2016 15:43
As well as the great personal networking
opportunities it provides, NAB has
always been the place for seeing new
technologies, learning about emerging trends and
checking out pending buying decisions for products
and services. Press, attendees and exhibitors
always want to see, hear and promote the next
technology. The first question on everyone’s lips is
always ‘what did you see?’ ‘what is new here?’ This
used to be simple to answer; the switch to stereo
then surround sound, analogue to digital to HD,
linear to non-linear file-based editing, visual effects
and the switch from huge cameras/lenses to
hand-held combos and miniature go-anywhere
cameras to name but a few.
Our industry has exploded on the technology
curve over the past decade; however, as an
industry we are very slow to change workflows and
infrastructure. On the acquisition/production side,
everyone is excited to try out new approaches,
equipment and almost anything that will give them
an edge over the competitionr. On the facility/
delivery side, though, resistance to change has
meant this sector has been very much in catch-up
for the past couple of years. For most businesses,
global internet access is changing everything
quickly. We all know this of course, the problem
many are wrestling with is how to blend this with
current business models. NAB 2016 is an essential
year to attend, not because there will be one
special technology or trend revealed, but because
there are so many new approaches to the business;
engineers, visionaries and executives need to have
a clear understanding to move forward. Gone are
the days of ‘wait and see what happens’.
Cord-cutting has renewed interest in terrestrial
broadcasting which, with ATSC3.0 and DVB-T2
delivery supporting hybrid approaches, will grow
in attraction. This directly ties into spectrum issues
like repack and how stations are revamping
for the future. Over the last year or so, a new
word has entered the industry’s vocabulary;
recommendation. Today it’s not just about making
and offering great content, but also working to
keep consumers tied to your channel by flagging
up content that suits their viewing habits. On the
acquisition side, point-of-view cameras, high
resolution capture and drones continue to improve
and are becoming a must-have, but in the case of
the last item, not necessarily in close proximity to an
airfield! Issues like HDR, wider colour gamut, the shift
to in-plant IP, the cloud and UHD/4K will be ever-
present at NAB; they are becoming the norm that
everyone needs to understand and not shy away
from. Various organisations are working together
to move standardisation forward quickly in these
areas; expect to see progress on this at the show.
This NAB won’t focus on digital media, social
media and new media as orphans. They are still
often thought of as a thorn in the broadcaster’s
side: must have – need budget – near profitless.
However, consumers expect these second, third
and even fourth screen experiences and handled
correctly, should be seen as gain-not-pain. Expect
to see new techniques and technologies for
integrating these rapidly maturing ‘new’ channels
into production and delivery workflows.
The biggest elephant in the room at NAB will
be virtual reality. Beyond gaming, medical and
industrial applications, VR is looking for a home in
broadcast, movies, sports. 3D was supposed to be
a no-brainer because it was so immersive, so was
it the glasses that did for it? Will the VR headset
meet the same fate for TV? How do you use a
second screen with a headset on? The jury is
currently out, but I’m optimistic that the NAB Show
helps us see VR’s future more clearly.
What we will learn from NAB 2016Feature
40 TVBEurope www.tvbeurope.com April 2016
Ahead of NAB 2016, TVBEurope asked a number of industry leaders for their views on the progress of the broadcast and video technology industry, and the talking points at this year’s show that will best inform us about the evolution of our marketplace. The IABM’s Stan Moote opens the discussion
Stan Moote, CTO, IABM
40 41 42 43 TVBE Apr16 NAB thought_FINAL HA.indd 54 23/03/2016 15:37
TVBEurope 41 April 2016 www.tvbeurope.com
Feature
Progress this year will be
taking the new IP and IT
centric broadcast stack
out of the labs and into early
production deployments. The
flexibility promised through
software deployed systems,
abstracted through virtualisation
from the underlying hardware,
offers a number of potential
benefits. These include faster
and lower cost deployments,
separation of hardware and
software lifecycles, and the ability
to make changes quickly and
efficiently to accommodate new
operating models. The focus to
date has largely been about
porting media transport and
component functionality to these
new environments. In both cases
significant progress has been
made, through advancement of
new standards and vendor product
development, so the next phase of
activity should be on how we can
fully exploit this work.
In reality we are just at the
beginning of this technology
transition and real-world
experience needs to be gained if
we are to take full advantage of
this promise. This new tech stack is
an enabler rather than an end in
itself. We need to do much more
than emulate our existing ways
of working on new infrastructure.
Key to this will be increasing the
level of operational automation,
both in terms of service monitoring
and interventions, as well as more
closely integrating the separate
worlds of linear and VoD.
We need to step back and
consider the changes in viewer
behaviour, changing economic
models driven by new entrants and
external competition for viewer
time, and the role and relationship
that a broadcaster has with its
audience. We are evolving from
an era of mass audience reach,
to mass viewer personalisation.
The lines between traditional linear
viewing and viewer controlled
scheduling are blurring and will
continue to do so.
We are also seeing an increase
in the use of data science within
traditional broadcasters, as they
become more data-driven in their
decision making. Increased use of
software based infrastructure can
aid in both the collection of data
and in the application of data-
driven software execution.
All of these developments
impact the nature of NAB as an
event. Showcasing software leads
to more screens and less boxes
in exhibiter booths. Conference
sessions are more numerous and
diverse in subject matter as we
come together to share insights
and look to learn from the work
that others are doing.
It should be an exciting year
ahead and NAB as always provides
us with a test of progress and
indicators of where the industry
is going next.
Steve Plunkett, CTO, broadcast and media services, Ericsson
www.evs.com/XS3-ads
The new XS3 media production server from EVS lets you start small and expand your channel needs at any time, while providing the most native codec and format support available for HD to UHD-4K operations. It’s the flexible media server that will serve as the backbone of your entire production and provide legendary EVS reliability.
GROW AS YOU GO 2channels
4channels
6channels
8channels
10 channels
12channels
NEW 3
NAB2016 BOOTH #SL3816
GROW AS YOU GO_200-135.indd 1 15/03/16 14:45
40 41 42 43 TVBE Apr16 NAB thought_FINAL HA.indd 55 18/03/2016 16:15
Feature42 TVBEurope www.tvbeurope.com April 2016
I’m all for progress; it’s change I
can’t stand”, said Mark Twain.
Either the link between progress
and change should be visible in the
broadcast and video technology
industries, or Mark Twain got it
wrong with his humour.
Fortunately, there is a lot of
overlapping change taking place
at the moment. With Samsung and
LG announcing reductions in 3D
display manufacturing, the UHD,
high dynamic range, wide colour
gamut, high frame rate revolution is
gathering pace. Each of these new
technologies is a tool for storytellers
to change the way video
communication works. Whether the
story is a movie, football match or
the news, tools like HDR make the
picture better for 100 per cent of
viewers rather than the 70 per cent
of viewers reached by 3D.
The cost of this progress is
the reinvention of all the signal
processing from camera through
to display to ensure the extra bits
required exist in every device,
every software process and all
workflow steps. Anyone who has
seen the results will understand how
compelling the pictures are and will
get excited at the opportunities for
new sales of products and services.
If that seems exciting but
economically difficult to get off the
ground globally, then the prospect
of streamlining the delivery chain
of finished content by using the
new IMF standard from SMPTE is
one of the unspoken marvels of
technology that will change our
world forever (SMPTE ST 2067).
Software technologists have long
known the power of incremental
workflows and software versioning
tools. IMF does that for media as
a standardised auditable format
that’s software and MAM friendly.
Interoperability trials showed great
results from vendors making this
SMPTE standard a reality. Economic
savings in QC, storage and
processing all stem from using IMF
in versioning workflows.
The final hot topic is professional
IP transport. The Video Services
Forum release of TR-03 along
with the AMWA’s Network
Media Incubator project on the
discovery of IP services show that
the migration to IP working is no
longer a future technology. The
standards exist, the products exist,
they interoperate and the savings
are not about replacing an SDI
workflow with an IP workflow. It’s
all about replacing a fixed function
infrastructure with a versatile one
that allows the media business
to quickly take advantage of
new opportunities. New to spin
up an extra four channels for a
sports event? IP infrastructure
with SDN (software-defined
networking) radically changes the
economics and speed with which
this can be done.
We’re at the start of one of
the biggest disruptive curves that
we’ve seen since the introduction
of colour technology. I do hope
that there are enough people
who understand this technology
to go around.
Bruce Devlin, chief scientist, Dalet
It’s taken a couple of years,
but predictions made at past
NABs of the growing influence
of IP-based technologies in the
broadcast plant, and the agility
and versatility benefits of moving
media operations to virtualised
environments are becoming
reality. Media companies now
understand the massive benefits
of moving operations to agile and
versatile software environments
based on standard, commercial
off-the-shelf (COTS) computing and
networking platforms.
Crucial to the success of this
transition is the development and
wide-spread adoption of open
standards for transporting video
and audio over IP infrastructures.
Without assurances of plug-
and-play interoperability, media
companies are likely to slow the
conversion of their operations
out of fear of getting locked
into a single-vendor solution and
other compatibility concerns.
To further the advancement of
open industry standards, Imagine
Communications in December
2015 cofounded the Alliance for
IP Media Solutions (AIMS), a trade
association created to support
and promote the adoption of
vendor-neutral, open standards.
AIMS is receiving industry-wide
support, and we expect continued
membership growth in 2016.
Equally important to the future
fortunes of media companies is
the steady shift of operations away
from purpose-built hardware and
toward standard COTS platforms.
To make the shift efficiently and
transparently, media companies
will need to adapt their operations
to the same generic computing
and networking resources found
in today’s datacentres. The good
news is that market leaders in the
IT industry are working in lockstep
with media companies to transition
media operations to generic
resources without sacrificing the
quality, synchronisation or precision
that broadcast-quality video
demands. In January, Imagine
Communications expanded its
strategic relationship with Hewlett
Packard Enterprise (HPE). The
collaboration integrates Imagine
Communications’ video portfolio
with HPE’s storage, computing
and networking technology,
and leverages HPE’s world-class
datacentre systems integration
capabilities. A separate alliance
with Microsoft is designed to
provide media companies with
new workflow options, including
those delivered via the Microsoft
Azure cloud services platform.
Media companies are also
looking to incorporate technologies
like UHD into their workflows in a
cost-effective and non-disruptive
manner. The bandwidth required
for UHD, including 4K resolution
and HDR video, is prompting some
media professionals to consider
synchronising this upgrade with
the transition to IP. Recently
conducted research by Imagine
Communications has found that
more than half of the 700 media
professionals surveyed believe that
upgrading to UHD is a catalyst for
transitioning to IP.
2016, and NAB 2016 in particular,
is shaping up to be a pivotal time
for our industry.
Charlie Vogt, CEO, Imagine Communications
‘We’re at the start of one of the biggest disruptive curves
since the introduction of colour technology’
40 41 42 43 TVBE Apr16 NAB thought_FINAL HA.indd 56 18/03/2016 16:15
April 2016 www.tvbeurope.com
The amount of change in
the last couple of years
has been very dramatic. It
has been an order of magnitude
greater than anything else I’ve
seen in my 20 years in the industry.
I’ve been through the move from
analogue to digital, SD to HD and
now this move to IP. But this is a
fundamental architecture shift.
Combined with the issues that
broadcasters are facing in terms
of changing monetisation patterns,
the confusion in the market is
very understandable.
The move to IP is massive. We
see a couple of things going on.
There have been downturns and
shifts in the industry in the past
and plenty of bumps in the road
where capital spending was off
ten per cent.
But we are seeing more than
that recently. This is a dramatic
shift because customers’ business
models are changing at the same
time that we’re beginning to see
this huge technological shift on
the production and playout side.
Together this is clearly a challenge.
There are also issues on the
supplier side. I’ve always tracked
the industry quarter-to-quarter
and you might sometimes see
companies’ revenues decline
eight or ten per cent. But we’ve
seen companies with revenue
declines significantly greater
recently and that means radical
change to stay alive. Ten per cent
you can handle, but much more
is very tricky. Flipping this around
to the positive, where there are
genuine challenges there are also
genuine opportunities. There is
confusion on the customer side –
and rightly so at the moment – and
we need to provide clarity and
standards. AIMS is an important
effort in this regard and that’s
the kind of progress we need to
see. It will help to introduce some
stability into the marketplace.
That’s crucial.
The supplier base really needs to
educate and inform the customer
base about what’s happening,
something we’re now pushing
hard. Of course not just with IP
but 4K, HDR, virtualisation – I could
go on. Then there are the shorter-
term issues that we must also be
across with our customers - day-
to-day pragmatism.
The definition of progress will
vary from customer to customer.
I know that sounds obvious, but
never has it been truer. We are as
far away from a one-size-fits-all
approach as we’ve ever been. n
Tim Thorsteinson, CEO, SAM
THE STANDARDHDTV
CONNECTOR
LEMO SA - Switzerland
Phone: +41 21 695 16 00Fax: +41 21 695 16 02 info@lemo.com
Contact your local partner on www.lemo.com
SEE US AT BOOTH C9012NABSHOW- LAS VEGAS
APRIL 16-21, 2016
3K.93C series connector Professional broadcast’schoice
Conforms to standards:ARIB / SMPTE / EBU
Over 20’000 mating cycles
Northwire SMPTE cable Fibre optic hybrid HDTV
SMPTE and ARIB camera cables
RoHS2 /Reach Compliant UL 758 AWM/CE Mark
Approved
Impact/Crush and Cut Resistant
PUR Version for Low Temperature
Cable termination service to provide a complete solution
Fibre optic termination and tooling
FUW & PUW assemblies in various lengths
‘We’re as far away from a one-size-fits-all approach as
we’ve ever been’
40 41 42 43 TVBE Apr16 NAB thought_FINAL HA.indd 57 18/03/2016 16:15
S MPTE is back in the UK as a huge
educational presence. It celebrated the
transition from sectional to regional status
– essentially by growing from 80 to over 500
members in just two years – with a conference
day on the issues around real-time media
transport as the market journeys from SDI to full IP.
Nigel Seth-Smith, strategic technology
manager with Semtech, set the agenda for
a day of intense presentations. He said:
“We are in an industry that is a very long
way from single vendor. Hundreds of small
companies contribute and interoperability is vital.
A channel is no longer the constraining thing.
For Wimbledon last year the BBC popped up ten
streaming channels and six broadcast channels.
They just appeared and then disappeared,”
he added. “The production side has to be able
to cope. It is much nicer to be able to push a
button and say can you now be 40 channels.
That’s the virtualisation dream.”
Seth-Smith has a mantra: “Specialise only
what needs to be special, while generalising
everything else. This is driving a lot of the
changes in the business.”
In summarising where we are as a phase
three (phase one having been replacing VT
with data file stores and servers), he continued:
“We are replacing specialised time critical video
switching with the kind of switches used
in the Datacom environment, but these are a
bit specialised and not completely generic. The
top-end switches have to have some kind of
network management software to set them up.
That’s where we are.”
He reviewed all current and relevant SMPTE
and Video Services Forum (VSF) standards
work, and covered the value imperatives of
both the Evertz-led Adaptive Sample Picture
Encapsulation (ASPEN) group, and the Alliance
for IP Media Solutions (AIMS).
The first is documented in a SMPTE RDD
(Registered Disclosure Document); and the
VSF protocols plus AES 67 for audio over IP (as
supported by AIMS) are the subject of a SMPTE
standardisation project.
SDI on a different piece of stringGeorge Jarrett reviews the highlights from a SMPTE day devoted to charting the route to full IP
Business44 TVBEurope www.tvbeurope.com April 2016
SMPTE’s conference focused on the issues around real-time media transport as the market journeys from SDI to full IP
44 45 46 48 50 TVBE Apr16 SMPTE_final.indd 54 17/03/2016 12:35
Business
SDI on a different piece of stringGerard Phillips, engineering group manager,
Snell Advanced Media, addressed the subject of
ASI and SDI over IP (essentially the magnificent
seven documents of ST 2022 allowing for things
like higher bit rate accommodation, seamless
protection against fabric failure, forward error
correction by the way of recreating lost material
on redundant data, and describing the attributes
of a set of streams). Regarding 2022/6 he said:
“It is the whole SDI stream encapsulated –
uncompressed, low latency – and it puts SDI on a
different piece of string.
“The industry is talking a lot about the
challenges of the IP studio, which is obviously
good for high quality, high bit rates, and
lots of signals and lots of headroom, but we
need to talk about IP everywhere,” he added.
“Basically (with SDI) we have got an error-free
transport through a facility, but now we
are moving the workflow into a COTS off-the
shelf IT environment.”
Phillips’ concerns about the concentration
on studio applications followed comments
about smuggling other data with the SDI
stream, involving TICO mezzanine compression
assistance, and the attraction of things being
much more self describing. He said: “This suits the
IP studio, but it is not all a good choice for Live
IP. It is not friendly to audio, and is not suited to
software processing or virtualisation.”
Phillips noted that MPEG-2 transport streams
do offer the complex data recognition missing
from other streams. The move to virtualisation
and SDN is currently positioned quite handily as
an island of IP in a compliant sea of SDI, from
where it is easy to extend to UHDTV and HDR. On
the issue of interoperability between vendors, the
practical experience at SAM is, “We have not
found any other vendor with an incompatible
offering. Recent VSF interoperability tests show
nearly 100 per cent success.”
Traffic engineering gave an edge to BTJohn Ellerton, head of media futures, BT, spoke on
the subject of contribution over IP. Twelve years
ago, BT along with other telcos had decided to
build a common IP network to carry all consumer,
business and broadcast traffic, but the folk in BT
Broadcast saw that the requirements for carrying
professional video were uniquely demanding in
terms of availability and performance.
“We went to BT Group and said, ‘you know
we want to collapse everything down into one
network, well it is not going to work for us’. We
got an agreement to build the world’s first IP
broadcast contribution network (carrying signals
between two broadcast facilities),” said Ellerton.
“We used MPLS (Multiprotocol Label Switching)
as a means of controlling an IP network.”
In this environment you need to know exactly
how long video and audio paths are, and what
the latency is, which involves things like A and
E paths, so BT recognised it needed something
more than MPLS. “We use a technique called
traffic engineering, which gave us the ability
TVBEurope 45April 2016 www.tvbeurope.com
Phabrix® Limited See us at NAB N4219 Omega House, Enterprise Way, Thatcham, Berkshire RG19 4AE United Kingdom tel + 44 (0)1635 873030 email: info@phabrix.com www.phabrix.com
PHABRIX UHDTV SUPPORTED FORMATS
* in development
• True ‘next generation’ product
• ‘Worlds First’ real-time multi-rate 12Gbps capable SDI Eye/Jitter analysis
• Advanced jitter insertion and analysis option
• Comprehensive range of Audio and Video tool sets
• Support for up to 48Gbps Analyser and Generator payloads
• HDR, WCG, HFR, and object based audio formats*
• Client/Server based architecture
• App based control - PC, Android, IOS
• 2 x SFP± supporting 10Gbps networks* and 12Gbps optical sdi
• SMPTE 2022-6 over 10Gbps networks*
• Compact, low power, low volume solution
• Price - best value for money solution in the market
Made in the UK
HDTV2/8K
UHDTV1/4K
UHDTV2 OPTION
UHDTV1 OPTION
STANDARD
The Award winning Qx UHDTV1 4K and UHDTV2 8KThe Award winning Qx UHDTV1 4K and UHDTV2 8K
See us at NAB N4219
See us at NAB N4219Omega House, Enterprise Way, Thatcham, Berkshire RG19 4AE United Kingdom
Qx UHDTV
44 45 46 48 50 TVBE Apr16 SMPTE_final.indd 55 17/03/2016 12:35
Businesswww.tvbeurope.com April 201646 TVBEurope
to define what the paths are, and we built
the network for broadcast contribution and
distribution,” said Ellerton.
Jumping forward 12 years, BT is having the
same chats with broadcasters that it had with
group management. Ellerton said: “How do we
make these IP networks fit for purpose? We are in
conversations with broadcasters who have had
some bad experiences with using MPLS networks.
This is because MPLS is a technique used by a lot
of telcos to create their business networks, and
the availability and architecture may not be
quite good enough to carry broadcast traffic.
You need a network that is designed to carry
high availability video, which is why BT chose
traffic engineering to do that.”
FEC had been raised previously, and Ellerton
added: “We are talking about putting that in
the IP layer but also the underlying layer as
well, and making sure you have got forward
error correction as necessary to protect the
traffic, plus the service and traffic engineering
techniques to control the IP layer.
“As the networks get more and more stable
do you really need to use FEC? We use it not
necessarily as a means of covering unreliability
that undermines our networks, but as a means
of being able to discover if things go wrong,”
he continued. “The data coming out of the FEC
will tell you if packets are going missing, and
that can alert you to whether there is a problem
emerging on the network.”
111.9 million viewers cannnot be wrongThomas Edwards, VP engineering and
development with Fox, spoke on the subjects
of separate media streams over IP VSF TRs,
and video (RFC4175). He belongs to a small
advanced science group that helps Fox business
units deploy new technologies.
America had just enjoyed the first IP produced
Super Bowl, using everything Evertz offers under
ASPEN, and 111.9 millions viewers little knew
that it was all about the enhanced density of IP
capability producing a vast number of streams
over the multi-fibre connector of 10Gb Ethernet.
“I am thinking of the year 2020. I am walking
into our broadcast equipment centre, and
looking around I cannot see any broadcast
facilities. I see a private cloud. Fox doesn’t look
any different to a chemical company or a
bank. It is just servers, switches and enterprise
storage,” said Edwards. “It is flexible, multi-format,
commercially available hardware and software-
based media processing. And with virtualised
software-based media processing we can spin
channels and spin down channels, and add
capacity as necessary. I may wish to burst out
to Amazon,” he added. “This is the motivation of
IP for us. It has the flexibility, it is denser than SDI,
it is inherently bi-directional, and it is agnostic to
resolution, bit rate, frame rate, electronic transfer
function, and colour space. It is compatible
with network interfaces on commodity Ethernet
switches and commodity PC servers.”
Edwards sees advantages like the flexible
association of media streams into desired groups
of media and network-based registration as the
road to, “that software-oriented virtualised video
production plant that we all envision.”
The Video Services Forum established a Studio
Video over IP activity group (SVIP) that is tasked
with developing the standard for video over IP
without SDI encapsulation, so not SMPTE 2022/6.
This SVIP decided to adopt RTP architecture,
Real-Time Protocols, standardised back in 1996.
“RTP is well understood within the networking
world,” said Edwards. “It is a transport protocol
for real-time apps, and it is usually over IP and
usually over UDP, with which we have the ability
to do re-transmissions.”
This leads the user to sequence numbering
for RTP packets and media time stamps. For
video media flows Fox decided to deploy IETF
RFC 4175. “It has been sitting there for ten years
waiting for us to use it,” said Edwards. “The active
video is good for all the resolutions to 8K and
beyond and it can handle the sampling sizes
of chroma sub samples. For audio flows the AES
has come up with AES 67, which is basically IETF
RFC 5190, which is a 24-bit, 48Khz PCM over RTP.
For ancillary data we need to come up with
something new.”
AES 67 is waiting on network discovery, and
when published in 2013 the AES had dealt with
the issues of timing being poorly understood, the
need to manage delay, packet jitter requiring a
buffer, and lip sync.
Edwards wrote an IETF draft, which is expected
to become an RFC this summer. This will define
closed captions, the active format descriptor,
and things like timecode. For clock distribution
his answer is the IEEE 1588-2002 Precision
Time Protocol. VSF 04 with an AES 67 audio
stream, and good work by AMWA in the area
of registration and discovery over IP APIs, led
Edwards to conclude: “This again is an essential
part of this strategy; to have transport as well
as registration, discovery and identity over IP all
becoming standardised.”
Edwards returned to RFC 4175 emphasising
its neat concept of pixel groups and explaining
that the top three lines of the typical payload
are sequence number, time stamp and the
SSRC, which tells you the media source. The
ability to have SDP (session description protocol)
described duplicated streams using the group
attribute of RFC 5888 is a key advantage.
One key thing Edwards mentioned was a
SMPTE plug fest group around SMPTE 2059 /1
and /2; the first being the generation of video
sync signals from PTP time, and the second
being the PTP profile.
“I am thinking of the year 2020. I am walking into our broadcast equipment
centre, and looking around I cannot see any broadcast facilities. I see a private cloud”
Thomas Edwards, Fox
“RTP architecture was standardised way back in 1996,” Thomas Edwards, Fox
44 45 46 48 50 TVBE Apr16 SMPTE_final.indd 56 17/03/2016 12:35
BAFTA’s prestigious premises on London’s Piccadilly will play host to this year’s TVBEurope 2020 conference, the second annual one-day strategy summit hosted by TVBEurope. The centrepiece of TVBEurope Strategy Week, TVBEurope 2020 brings together some of the leading authorities from in and around the industry to provide unique analysis and instructive debate on the key areas of challenge and opportunity facing businesses in the media and entertainment space in the run up to 2020.
Joining the dots between the convergent worlds of UHD and IT/IP infrastructures; assessing the shifting business landscape for broadcasters and content providers; and dissecting the impact of the coming technologies of the connected world, this year’s agenda promises to be the most forward looking TVBEurope event to date. Last year’s delegate list included senior representatives from the BBC, ITV, Netfl ix, Sky, ITN, Rovi, BT Sport, Channel 4, Viacom, CNBC Europe, Al Jazeera, Fox International, NBC Universal, Discovery, Reuters TV, Modern Times Group, Bloomberg, BT Media and Broadcast, PwC, Ernst and Young, SNL Kagan, KPMG, and more…
Book now and be a part of the discussion on the industry’s future.
returns to BAFTA, 28 June, 2016
SAVE THE DATE
Part of
SPONSORSHIP OPPORTUNITIESBen Ewles, Sales Manager+44 (0)207 354 6000Email: bewles@nbmedia.com
Richard Carr, Account Manager+44 (0)207 354 6000Email: rcarr@nbmedia.com
Nicola Pett, Sales Executive+44 (0)207 354 6000Email: npett@nbmedia.com
TICKET SALESGeorgia Blake, Delegate Sales Executive+44 (0)207 354 6010Email: gblake@nbmedia.com
Tuesday, 28th June 2016Bafta, 195 Piccadilly, London
TVBEurope 2020 FP 2016.indd 1 10/02/2016 14:39
48 TVBEurope www.tvbeurope.com April 2016
Business
Sending out 64-bit numbersSeth-Smith came back to talk about
sychronisation (ST 2059). He introduced the
notion of an SPG being a little thing talking into
your IP fabric, with a slaving unit attached.
He said: “PTP 1588 is designed to do that kind
of thing. It was developed for things like factory
automation. It has been described as filling a
niche between MTP and GPS. GPS has great
precision but you have to have access to it, so it
would be nice if you can get that precision and
send it round over a network.
“So how does PTP work in broadcasting?
It definitely has the range that we need and
definitely has the precision we need too,
because what it sends out is 64-bit numbers,” he
added. “The bottom 32 bits are in nanoseconds
and the top 32 bits are in seconds, which means
it has precision to the nearest nanosecond, and
it goes up to 136 years.”
Users then get the timing required for video,
and as you get larger it covers what we need for
timecode: it can also extend timecode.
PTP can be appropriate as long as it has
the accuracy, and the desired nanosecond
depends on conversations between the master
and slave (clocks). Considering the basics for the
accuracy of PTB, Seth-Smith said: “The timing of a
packet is defined at a particular point.
The thing we have to think about is system
errors. Of course the assumption in algorithm is
that the network delays are symmetrical, but
packet delays can be more than a microsecond.
The management techniques for this include
transparent clocks, which involves the reference
time stamp in/out: you can put on a correction
field (what a transparent clock does).”
Other techniques are boundary clocks and
being clever with your algorithm, and the
industry seems to favour boundary clocks so
the slaves don’t have to be too intelligent.
The broadcast version of PTP uses eight sync
messages per second, SMPTE ST 2059-1 being the
timing standard.
End to end timing makes things easierPeter Brightwell, BBC lead R&D engineer,
discussed the AMWA Incubator, but started by
explaining his role as looking at what it means
to be internet-fit. “At R&D we are happy with
everything on the internet,” he said.
Everything links back to the Joint Task Force
for Network Media Report, and how it provided
context for future specs. Commenting on things
said previously, he started with giving names
and IDs to help working on a network. “It makes
sense to start putting some of these strong
identities into our media and one way of doing
that is creating a new ID and fitting it into an RTP
header extension,” he said.
Regarding time he added: “Whether you
just time a particular link or whether you try to
achieve end to end timing is being discussed by
various groups, and having end to end timing
makes things easier.”
On defining a set of time stamps, he added:
“These are full resolution which allows you to
identify an individual frame or grade of the
video.” On achieving discovery he said: “A lot
of work has happened in discovery, but we are
still trying to look at what is best practice in that
area. The final bit after discovery and registry
is connection management, and that is where
AMWA comes in.
“The Incubator looks at what came out of
the joint task force on network media, but that
only partly reflected PTP and available specs.
The Incubator is basically a group of like minded
companies – 35 companies/96 members –
who want to get on and try things in practice
and then turn those to prospective specs for
consideration by other groups,” he added.
A plug fest at the BBC proved that all
participants were able to interact with the
reference discovery system. “Time-based data
is coming next and there is limited registry, not
quite as we want it,” said Brightwell.
Dispelling the myths about latencyThomas Kernen, technical leader with Cisco
covered the issues around network features. He
focused on the march upwards of bit rates, with
400Gbps being used by telcos in long distance
instances where there is a finite set of fibres in the
ground and laying more fibres is going to cost
more than upgrading the optics.
Referring to work by Edwards (as a SMPTE
colleague) he said: “Thomas did some work
around switch validation just to remove and
dispel the myths that modern network switching
equipment introduces latency and jitter. Switches
built around ASIC produce very low latency.
“The next point is architecture. This is based on
what you are trying to build; a new OB truck, a
new plant, or a standup gallery, say something
for a specific 4K event you are building out for.
Where do you stand on your transition? The
architectural decisions will drive the way that
you move in terms of requirements and what you
need in network features,” he added.
He suggested defining high level priority
constraints by using SDI workflows to understand
“Specialise only what needs to be special, while generalising everything else”
Nigel Seth-Smith, Semtech
“We need to talk about IP Everywhere,” Gerard Phillips, SAM
John Ellerton, BT
44 45 46 48 50 TVBE Apr16 SMPTE_final.indd 57 18/03/2016 17:06
White papers, webinars, opinions, blogs, case studies, tutorials and more.
Content Director: James McKeownjmckeown@nbmedia.com+44 (0) 20 7354 6002
Editor Neal Romaneknromanek@nbmedia.com+44 (0) 20 7354 6002
Sales Manager: Ben Ewles bewles@nbmedia.com +44 (0)207 354 6000
Campaign Manager: Warren Kellywkelly@nbmedia.com +44 (0)207 354 6000
NewBay Connect now off ers even wider content for its registered users, is easier to navigate and provides users with dedicated weekly newsletters off ering a digest of the latest content and carefully selected content from its themes of the month. Why join NewBay Connect?Free and easy to use: stay informed with the latest industry white papers, opinion pieces,web seminars and case studies that aff ect your business and your career. • Categorised content All material is organised into clearly referenced, specialist areas. • Customised search You can quickly locate the information relevant to your business or area of interest. • Tailored email alerts Notifi cations sent to you whenever there is an update within your chosen areas. • Dedicated weekly newsletters
Visit www.newbayconnect.com to register, browse and download content for free today.
The global resource portal for media technology content
NewBayConnect-MediaInfo-PDF.indd 1 26/05/2015 12:59
NewBay Connect FP.indd 1 12/01/2016 12:41
50 TVBEurope www.tvbeurope.com April 2016
Business
what is actually being used.
He said: “Practically, over a period
of 24 hours, a week, a month,
and a year, what percentage
of those flows are used at any
given point in time for something
active? Understand what flows you
may have. This is not to say you
should not have a non-blocking
environment in IP, which exists and
is not as problem. But it is just to
understand how your flows are
going to grow over time.
“In the past we have seen a lot
of north/south traffic, from an end
point outwards to other parts of
networks. Now with the data centre
approach, where everything is
centralised, we have a lot of
east/west traffic between servers,”
he added.
Kernen affirmed that the
infrastructure will always be around
and the apps may evolve or be
replaced. System designers need
to consider density, heating, power
restraints, and form factors. He
considered the values of building
network infrastructure in the
centralised or spine and leaf style.
He said: “The SDI-like approach is
centralisation: the amount of work
the vendors have done means they
can have multicast support. Since
there is one switch and everybody
knows where the sources and
destinations are, there is very little
multicast logic compared to the
larger scale. It can sometimes
speed up proof of concept. The
one thing about the centralised
device is heat consumption.
“The other model is the traditional
data centre, the spine and leaf.
You can buy a 1RU unit switch
with 100-Gig ports,” he added.
“You build a spine on that and you
can have the same with 40- and
ten-Gig ports for the leaves. These
products exist.”
Broadcast specific SDI is a hard act to followSeth-Smith came back to wrap up,
and he reminded everyone how
vital and trustworthy SDI has been:
“SDI does have the advantage
that is a broadcast specific format
so if the broadcast world needs
SDI to do something SDI gets on
with it. SDI standards work and
they are scalable and backwards
compatible,” he affirmed.
Considering where Ethernet is
going with data rates he confirmed
that 10Gb is the boss, in terms of
shipments and installations, but
25Gb is coming along and looking
towards 2020 we see big change; in
terms of cost 100Gb will catch
up with 40 and 25 will catch up
with 10Gb. How does compression
play? “The SMPTE UHD ecosystem
study group considered
compression in a report two
years ago and said modest levels
could be employed. It made the
point that that minimum latency
is required. I believe it is very
important with any mezzanine
compression that it must not harm
the signal’s subsequent ability to
be compressed for emission for the
home,” said Seth-Smith. n
SMPTE UK is now the third largest section, after Hollywood and LA
“We got an agreement to build the world’s first IP broadcast contribution network, carrying signals between two
broadcast facilities,”John Ellerton, BT
44 45 46 48 50 TVBE Apr16 SMPTE_final.indd 58 18/03/2016 17:07
True 4K/UHD Waveform Analyser from Omnitek12-bit true 4K/UHD waveform solution for content creatives, colourists & post-production editors
The Ultra XR is Omnitek’s new UHD Video Waveform Rasterizer that addresses the demanding requirements of extended resolution production QC and 4K post production grading.
Neat, powerful and sophisticated, Ultra XR has been designed specifically for content creatives, colourists, post-production editors, and digital intermediates working with Ultra high resolution UHD images in all SDI and HDMI formats.
UltUltra XR not only provides all of the traditional tools that are expected in these operating areas but also supports the emerging standards for High Dynamic Range, Wide Colour Gamut and IPTV.
www.omnitek.tv | sales@omnitek.tv | +44 (0) 1256 345 900
○ True 4K flat frequency response Waveform Analysis, Vectorscope ○ and Histograms.
○ High Dynamic Range (HDR) inputs: ST2084 / PQ and Hybrid Log ○ Gamma.
○ Wide Colour Gamut RGB: ITU-R BT.2020.
○ CIE colour gamut chart.
○ Selectable Region of Interest.
○ 12-bit 4:4:4 SDI input formats in Digital Levels and NITs ○ luminance scales, YCbCr, RGB and X’Y’Z’.
○ Comprehensive standards support - up to quad 3G, dual 6G and ○ 12G-SDI, 2 Sample Interleave and Square Division formats.
Las Vegas Convention Center18-21 April 2016, Central Hall - C10418
new tvbe template remade.indd 1 18/03/2016 16:48
S upporting the broadcast requirements
of today while simultaneously
accommodating the expectations
of tomorrow – not least with regard to the
enhanced visual experience of 4K/UHD and the
rapid growth in mobile viewing behaviours – has
been the not-insignificant challenge confronting
the technical teams at work on the new ATSC
3.0 broadcast standard, which has now been
in development for nearly three years. But it is
arguable that the task facing the audio sub-
group has been most acute of all given that
they effectively
have been
required
to
completely rethink the scope of broadcast
audio for the future. The end result, it is expected,
will be a standard that delivers interactive
audio functionality, thereby enabling high
spatial resolution in sound source localisation in
azimuth, elevation and distance, and facilitating
an enhanced sense of sound envelopment
throughout the listening area. There will
also be extensive ‘personalisation’ features –
for example, enhancements to the control of
dialogue, mixing of assistive audio services
and special commentary – as well as support
for the normalisation of content loudness and
contouring of dynamic range.
An integral part of the entire process
has been the determining of a suitable
audio subsystem to deliver this new
functionality, and during 2015
proposed systems from Dolby
Laboratories and the MPEG H Audio
Alliance underwent extensive
testing. An announcement was
expected before the end of 2015,
but as Tim Carroll – The Telos
Alliance CTO, Linear Acoustic
founder and member of the
committee deciding the ATSC
3.0 audio standard – asserts, now
it really is imminent.
When would you say that work on the audio part of ATSC 3.0 truly began in earnest?
It was really a few years back
when the ATSC decided that the
new standard would not be
backwards-compatible.
It was a pretty
radical decision, but the hope was that it would
simplify things greatly further down the chain. So
this was effectively a clean sheet of paper from
the codecs to the transport stream to the RF –
everything. I have been involved with the ATSC
for a long time, and in some ways this process
harked back to the early days of ATSC 1.0. The
analogy I would use is that if you have never
driven a car it is very difficult to be asked what
you look for in a car! So a lot of the early stages
of ATSC 3.0 focused on talking to broadcasters
and other stakeholders about what they knew
and thought was possible.
When you add in the idea of object-based
audio and personalisation, then clearly you have
to have a long period of discussion. Not only
are you thinking about what broadcasters need
today, you have to consider seriously what their
requirements will be several years into the future.
Would it be fair to say that it is only now that many people are becoming aware of quite how significant a change ‘next generation audio’ technologies will represent?I think so. I remember hearing about object
audio for the first time from Simon Tuff at the BBC
some years ago, and thinking ‘have you lost your
mind? 5.1 channels is hard enough!’ It will be a
paradigm shift, but just as importantly the
new standard represents a fresh approach to
the way we work today.
So no more is it just a static downmix where a
5.1 mix is automatically combined into stereo;
now it is something that is rendered into stereo,
and the listening differences are tremendous. The
difference between a straight downmix and a
rendered two-channel version is that the latter is
so much more pleasing to listen to. Immersive is a
treat for the ears, but it is the basic stuff that is so
much better. Of course we have more efficient
codecs at our disposal, but it is all the features
that surround them that make the greatest
With the announcement of the audio subsystem for the new ATSC 3.0 broadcast standard expected imminently, Linear Acoustic founder and The Telos Alliance CTO Tim Carroll recalls the major milestones along the way to David Davies, and explains why this ‘next generation audio’ standard will have been worth the wait
Audio52 TVBEurope www.tvbeurope.com April 2016
An historic step forwardfor broadcast audio
52 53 TVBE AudioT Carroll_final.indd 54 17/03/2016 12:40
Audio TVBEurope 53April 2016 www.tvbeurope.com
difference. Getting that balance right took time,
and maybe took everyone by surprise a little bit.
There has been extensive public showcasing of the various proposed systems over the last 12 months. How important has this been to the process, and when should we now expect a decision to be announced?It is a significant aspect not only in terms of
showing people what is coming, but also to
highlight the fact that there is a difference
between the lab environment and something
that is standardised. It might be a fantastic
development in its own right, but there has to
be a dialogue about how it is implemented
practically and without breaking the bank.
I can say that by the end of 2015 we were
all pretty sure about the decision regarding the
audio subsystem, and I do now expect that to
be made public in time for NAB 2016.
NAB attendees would be advised to check out the ASTC Pavilion in the South Hall, but what should show visitors expect to see in particular from The Telos Alliance companies?With the arrival of the AES67 audio-over-IP
networking interoperability standard we have
the opportunity to carry hundreds and hundreds
of channels and still have them be perfectly
synchronised to video. It is not necessary for
them to be part of the IP video stream, so at NAB
this year you will see a number of products from
us that support this idea of separating audio
from the core processing.
We expect these to be very popular as
experience tells us that video people will
do anything they can to shovel audio off to
anywhere or anyone else! And of course the
emergence of object-based audio isn’t exactly
going to help matters on that front. n
W hile the ATSC working groups may have
been juggling the dilemma of satisfying
both today and tomorrow’s broadcast
audio requirements, it is clear that vendors
have also been facing the same challenge.
Accordingly, many of the pre-announced NAB
launches reflect a desire to help deliver greater
efficiency and automation while looking forward
to new trends like increased surround and
immersive-style production.
Consider Jünger Audio’s Smart Audio, which
was described as “an entirely new concept
aimed at helping broadcasters embrace
automated audio production, particularly in
live environments.” The approach is intended
to assist broadcasters as they work to meet
the demand for large and diverse quantities of
content on a rapid-turnaround basis. Jünger
Audio’s CEO, Peter Poers, said, “Auto-level,
auto-upmix, auto-EQ, auto-mix, auto-loudness,
codec system metadata management: the
intelligent combination of all these Jünger Audio
adaptive algorithms will create the solution that
delivers smart audio, and programme loudness
will also automatically match, as expected.”
The D*AP product range can deliver a smart
audio experience because every device already
incorporates a collection of these adaptive
processing algorithms.
Nugen Audio will be helping broadcasters to
achieve easier upmix of stereo audio to surround
with a new option for its Halo Upmix solution. The
9.1 option enables the introduction of vertical
positioning into the upmix, generating a 7.1.2
(Dolby Atmos) bed track-compatible upmix.
Systems that can operate effectively as part of
a comprehensively networked environment are
also set to play a key role in the ‘audio story’ of
NAB 2016. Among the headline-making launches
will be SSL’s System T, a fully networked broadcast
audio production environment which allows
for a range of hardware and software control
interfaces to be placed anywhere on a network,
with up to three consoles or control interfaces
accessing a single or fully mirrored redundant pair
of processor ‘engines’.
Calrec will show its developments geared to
making it easier for broadcasters to work flexibly
in the networked world. It will introduce four
new networking interfaces at NAB, including
an AES67/Ravenna interface, an AVB interface
and a modular I/O Dante card that also has
AES67 compatibility, as well as an SMPTE 2022-6
video interface. Calrec’s Dave Letson said, “We
feel that it is not the role of a manufacturer to
dictate which route to take, but to facilitate the
broadcasters’ choices. [With these launches]
Calrec’s customers can now interface with
multiple protocols at the same time. For example,
a signal can be received via AES67 and then
sent out via SMPTE 2022, AVB, Ravenna, Dante
or AES67.” With AES67 generating strong levels
of interest across pro audio, it’s safe to assume
that the standard will be a significant topic of
discussion throughout NAB 2016. n
David Davies looks ahead to the audio highlights at the upcoming NAB Show
NAB 2016 audio preview
‘Among the headline-making launches will be SSL’s System T’
52 53 TVBE AudioT Carroll_final.indd 55 17/03/2016 12:40
Post Production54 TVBEurope www.tvbeurope.com April 2016
Booth N4225
TransMedia Dynanics Ltd.USA: +1 512 600 3133 | UK: +44 1296 745 080www.tmd.tv | info@tmd.tv | @TMD
See a demo at NAB, Booth N4225 or visit www.tmd.tv for more information
TMD’s new cloud-enabled platform withmedia services for a complete end-to-end media solution
TMD adds new media services to its existing successful range. These workgroup solutions are designed to meet the needs of
individual business processes and operational teams.
Each can be used as a stand-alone solution, combined for a simple, highly efficient, cost effective approach to media management or be configured as part of a Mediaflex-UMS platform for an enterprise
class management solution.
Mediaflex-UMS is fully virtualized, so it can run and scale flexibly on premise, in a data center or in the cloud. It can be configured with any number of TMD’s media service solutions or a wide range of 3rd party services to deliver the precise media solution for your needs.
Aperturefor ingest
Chameleon for DAM
Paragon for archive
OnPoint for post
production
Chameleon +NL for non-linear
delivery
Paragon+ for content
management
Media Services
R
Cloud enabled | Cost effective | Flexible | Scaleable
C
M
Y
CM
MY
CY
CMY
K
TVBE - April issue, 2016.pdf 1 17/03/2016 12:54:46
C loud-based thinking was in evidence
from the likes of Pixit Media, showing off its
collaboration with Google Cloud Platform
to offer both nearline and archive storage. Pixit
was also highlighting its ability to enable creative
companies to take advantage of a mix of private
and public cloud to tackle the pressures of VFX
rendering. It showcased at BVE how Milk VFX can
collaborate on post work and rendering jobs
between its London and Cardiff studios, claiming
it considerably reduced the time, complexity and
costs of launching render resources. Pixit Media’s
PixCache accelerated rendering by transferring
a single copy of the data requested to multiple
private cloud render instances from Milk’s existing
on-site storage, but also supported sending render
jobs to the public cloud with Google Cloud
Platform when more power was required.
“We can start a Doctor Who shot in London
and have a Cardiff artist pick it up in seconds,”
explains Dave Goodbourn, Milk’s head of systems.
“We don’t need to worry about FTPs or email fi les
and we haven’t had to change our pipeline at
all, everything just works.” This type of streamlined
and hybrid approach is set to become more
commonplace as the big public cloud providers,
such as Amazon Web Services EC2, Microsoft Azure
and Google Cloud Platform, as well as third party
technology companies, improve services for post
production facilities. Barry Evans, technical director
of Pixit Media says, “The larger cloud vendors have
invested a substantial amount of time and money
in providing a service from a media, rather
than just IT, perspective. We see most of the
innovation coming from data and render
job management. The work has come a
long way already but ultimately it will be these two
elements that make the end to end
process completely seamless to the user.” Andy
Tzou, product marketing manager at Google, says
individual artists and small teams wanting to focus
on creativity and visual effects without managing
any infrastructure should start off
being ‘cloud-native’.
“It’s the most cost-effective way to get to
productivity without managing any servers,
networking, and maintenance costs,” he says. “Like
today’s best SaaS services, front-line artists get work
done without being burdened by implementation
detail. Capacity gets provisioned automatically,
is billed by the minute, and can scale up and
down based on project demand by artists located
anywhere in the world.”
At BVE, the promise of the cloud seemed to be fulfi lled on almost every aisle you walked down, as well as a fair few seminars. Michael Burns looks at how the virtualised way of working is changing post production in the broadcast industry
O� ering new ways of collaboration in the cloud
54 55 56 57 TVBE Apr16 Post Production_finall.indd 54 18/03/2016 17:16
Post Production TVBEurope 55April 2016 www.tvbeurope.com
Remote cutting and controlAs for editing, the last couple of years have seen
professional broadcast quality work increasingly
go through systems based around the use of a
private cloud, such as Adobe Anywhere and Avid
Everywhere, where multiple editors and artists
can collaborate on the same project. The latest
enhancement to Avid’s approach, unveiled to the
broadcast world at BVE, is Avid Cloud Collaboration
for Pro Tools, a way of sharing and mixing tracks in
real time over the internet. Using the system, artists
and audio professionals can work together on the
same project while in Pro Tools, anywhere in the
world, because revisions and fi les are synchronised
automatically. They can then compose, record,
edit, and mix tracks collaboratively with other Pro
Tools users, just like they were working together in
the same studio. Already a pioneer in web-based
post, Forbidden Technologies is also embracing
the cloud even more closely, ‘reintroducing’
its Forscene software at BVE to become a
‘collaboredit’ solution.“Forscene was originally
developed as a logging and sync-pull solution,”
says Jason Cowan, business development director
at Forbidden, “but the software is now capable of
Come and join ANNOVA on booth SU5515 at this year‘s NAB in Las Vegas. Explore our NAB highlights and innovative partner solutions by arvato, hms, joiz, plantri and make.tv.
visit us on booth SU5515
“We can start a Doctor Who shot in London and have a Cardiff artist pick it up in seconds,” Dave Goodbourn, Milk VFX
54 55 56 57 TVBE Apr16 Post Production_finall.indd 55 18/03/2016 17:16
www.tvbeurope.com April 201656 TVBEurope
so much more.” The company is now positioning
Forscene as a full cloud-based NLE capable
of craft editing, with frame accurate trimming,
transitions, multi-cam editing, colour and audio
editing tools, but from a remote location. The latest
version unveiled in time for NAB improves closed
caption tools and adds the ability to autosync
multiple source material. The software is currently
being used as an editing tool on the eighth season
of The Doctors – an American syndicated talk show
produced by Phil McGraw and distributed by CBS
Television. Distribution in the USA, Canada, Mexico,
Australia, Ireland, Sweden and Finland. A Forscene
server installed at The Doctors can automatically
ingest and create proxy versions of the shoot
footage as soon as it’s uploaded, the production
team views rushes on-the-go from the Forscene
app on a tablet, and edits interview sequences
from a desktop at the office or home.
Worldwide workingAll this remote access and cloud-powered
capability is definitely having an effect on
the evolution of the post industry and offering
new business models. Co-founded by Muse VFX
CEO Bruce Long in Los Angeles, BeBop is a new
virtualised cloud-based editing platform that aims
to offer capabilities to address long-standing piracy
and editing workflow problems. It runs on IBM
Cloud’s infrastructure as a service, SoftLayer, which
offers high performing, GPU-equipped servers
and multi-monitor support.
“Via IBM Cloud, BeBop enables production
companies to globally disperse workflows both
cost-effectively and realistically,” says Long.
“Companies can engage the best talent in
the world and work collaboratively, regardless
of location, and take better advantage of
regional tax credits to considerably drive down
production costs.” BeBop integrates a cloud media
management solution from software developer
Teradici, whose Pervasive Computing Platform
technology offers secure virtual workspaces.
Teradici and BeBop claim that because typical
cloud-based media management
systems move a project’s content files between
editorial facilities, the more prone to error
and piracy they become. Instead ,Teradici’s
platform transmits only pixels, not files, in the
editing environment, so reversing the typical post
production workflow. Instead of taking files to
the editing tools, BeBop takes the editing tools to
the content, which is kept secure on IBM Cloud.
Another remote collaboration opportunity has
been seized by ‘virtual post house’ Cloud Edits.
Founded by Caroline Law, it basically teams
a suitable editor up with clients, who let their video
Forscene was used by producers on location and at the production base. Inset: Barry Evans, Pixit Media
Post Production
54 55 56 57 TVBE Apr16 Post Production_finall.indd 56 18/03/2016 17:16
TVBEurope 57April 2016 www.tvbeurope.com
be uploaded to the Cloud Edits website, edited,
then sent back. As well as having
their own upload page, Cloud Editors can
use any server with remote access such as
Avid Interplay Sphere, Forscene and Aframe.
“In the three years that I’ve been working on Cloud
Edits, the way people watch video has changed
dramatically,” says Law. “Content is being made
in all sorts of ways, on all kinds of platforms and by
a huge variety of people. My vision is for Cloud
Edits to provide quality editors for a wide range of
content producers in a convenient way. Editing
is truly a craft and a good editor can really make
a huge difference to any production. From the
feedback and leads we had at BVE, many are
saying they’ve been waiting for the service.
“Some companies are looking to completely
update the way they work by outsourcing post
production,” continues Law. “Successful
production companies, who start off cutting
in-house, are outgrowing their suites and want to
hand the work over to professional, easily available
editors. Production managers, online news
companies and web content producers are also
looking for a cloud-based post production solution.
Some are particularly interested in assistance with
overspill, needing convenient extra edits with
reliable editors when they’ve reached capacity.
“Others want to relieve themselves of the editing
completely and get on with what they do best.
Previously, they may have had little access to the
required talent or facilities.” Law plans on working
closely with other remote workflow specialists, such
as Brown Bear Audio in Brighton. She says the cloud
is enabling people with varied lifestyles to now be
available to work in post, while producers will have
access to experienced professionals, unrestricted
by geography.
“The choice is no longer restricted to those who
live within two hours of Soho and are able to work
at least ten hours a day,” she says. “Using software
as a service means that editors at Cloud Edits can
be nimble in adapting their skills, and the company
can recruit the right talent with the correct
technology to suit their clients. It also means that
clients can upscale their post production at any
time to include colour grades, graphics or
dubbing mixes.”
Cloud Edits and others are showing a possible
new direction of travel for the post industry. With
the freedom that cloud and infrastructure as
a service models offer, coupled with high rents
and power demands, it’s not hard to imagine an
exodus of editors from Soho and other production
hubs in the not too distant future. n
Post Production
54 55 56 57 TVBE Apr16 Post Production_finall.indd 57 18/03/2016 17:16
A joint venture partnership of
See you again next year
in Amsterdam.
ISE2017_SeeYou_220x290_.indd 1 15.02.16 11:42new tvbe template remade.indd 1 18/03/2016 16:50
TVBEurope 59April 2016 www.tvbeurope.com
TVBEverywhere
I t was widely reported that prior to the
February 2013 debut of House of Cards, Netflix
chief content officer Ted Sarandos revealed
his game plan for the streaming service. “The
goal,” he told GQ, “is to become HBO faster
than HBO can become us.” He wasn’t wrong.
The rise of Netflix from a DVD rental company to
one of the leading original content providers is
outstanding and is a yard stick for how content
consumption has changed.
There’s no denying that the Netflix and
Amazon Prime (to name but two) OTT VoD
model has had a major impact on how we
consume television content. Netflix in particular
has become a media powerhouse with an
impressive range of original content as well as a
considerable film and classic TV library.
Making a Murderer, a ten-part documentary
that first streamed on Netflix on 18 December
2015, is a prime example of its success and has
been one of the most talked about TV shows
for a long time. Filmed over ten years and
following the story of Steven Avery, it’s had
the classic watercooler effect, and then some,
with people on social media, in bars, at dinner
parties and in offices all over the world discussing
the plight of Avery and the Manitowoc County
judicial system, and giving Netflix another huge
boost in the process.
As well as the OTT VoD model, TV Everywhere
services have also turned the traditional
broadcast TV model on its head. In this instance
broadcasters offer their services or content in
an OTT manner, or to OTT providers, allowing on-
demand access via multiple devices.
In November 2015, Thinkbox published a UK
‘Broadcaster VoD key numbers’ report for 2014.
The report shows that broadcaster catch-
up TV was the most popular OTT service with
around a third (34 per cent) of UK connected
TV users watching TV programmes or films via
a free catch-up service from the public service
broadcasters (BBC iPlayer, ITV Hub, All4, or
Channel 5). This figure rose to 45 per cent among
adults aged 35 to 44. This compares to watching
content via subscription to an OTT VoD service
such as Netflix, with 15 per cent of all adults using
their connected TV to access these services.
VoD is significant and has not only changed
what we watch when, but how we watch.
We’ve been taken out of the traditional TV
comfort zone where broadcasters push content
our way, to a world where we decide. It’s been a
steep learning curve but we’ve now reached a
point where we have multiple devices to watch
content on depending where we are, and we
understand the various delivery concepts.
But as viewers do we really care how content
is delivered? No, for the vast majority, we just
want to watch whatever we want, whenever we
want and however we want. But more than that,
we want to be able to find content quickly and
easily. In this brave new world of content delivery
and content discovery this last statement is
crucial to every media company’s success.
To be certain that they can continue to reach
their target demographic, media companies
need to ensure brand consistency across all
platforms. Viewers need to know that regardless
“The goal is to become HBO faster than HBO can become us” Ted
Sarandos, Netflix
By Keith Bedford, managing director, EBS
How do you connect your TV data?
59 60 TVBE apr16 TVBEverywhere EBS_final.indd 32 21/03/2016 12:58
of
where
they’re looking
for content, they can
rely on the channel to deliver
the quality of programmes that
they expect. With so many platforms
available, brand consistency is vital.
When launching the new ITV Hub for example,
ITV stated that, “the new, dynamic branding and
colour palette is based on the dot above the ‘I’
on each of the ITV channel logos – ITV, ITV2, ITV3,
ITV4, CITV and ITVBe – reinforcing the message
that the on-demand experience is a natural
extension of our linear TV channels.” This
is important, with some media companies
offering so many additional channels and
services across multiple platforms and
devices, they need to ensure that the brand
is immediately recognisable and reflects their
mission as an organisation.
Core to this accurate and powerful brand
extension is the way that a channel’s content
is written about and presented. Whether
content is
discovered via a
recommendation engine,
onscreen guide or simple
search, the programme information
is crucial. Editorial synopses need to be
well written with clear, concise text highlighting
additional information such as cast and images
to ensure the channel’s brand is correctly
reflected, to add to the user experience
and to enable recommendation engines
to correctly fulfil search criteria.
Let’s take Top Gear as an example. Despite
its recent problems, Top Gear has a big global
audience and is estimated to have made £150
million in revenue for the BBC’s commercial arm
BBC Worldwide. The show is broadcast on many
different channels
and platforms in many different
languages. Some of those channels might be
factual and others much more irreverent. It’s
important that the style of the editorial synopsis
fits the channel that’s airing it. For example a
Top Gear synopsis on Dave is likely to be very
different to a Top Gear synopsis on BBC Two.
As well as the importance of the channel
brand, central to our viewing experience is
the look and feel of the platform’s interface.
Not only do we want to find content quickly
and easily but we want the user interface to
look stylish with appealing up-to-date imagery
that’s changed regularly and draws us in. This is
important to viewer and media provider. With so
many channels fighting for eyeballs, the better
programmes are presented the more likely
we are to watch them.
Channels are now expected to provide
increasing amounts of images in different sizes
and formats to satisfy the varying needs of
platforms that require them. It’s not unusual for a
channel to have to produce 15 images in 40 to
50 different formats per programme.
We’ve reached an exciting new world of
television. Regardless of whether content is
delivered over satellite, cable, the internet,
on a phone, tablet, TV: it doesn’t matter.
The important point is that content should be
quick and easy to find with a sexy interface
to discover it on. n
60 TVBEurope www.tvbeurope.com April 2016
TVBEverywhere
‘To be certain that they can continue to reach their target demographic,
media companies need to ensure brand consistency across all platforms’
T: +44 (0)1489 889930 | E: sales@sglbroadcast.com | W: sglbroadcast.com
SGL has an established history serving the archive needs of broadcast facilities around the world.
SGL’s solutions continuously evolve and grow with your business. All the latest developments will be on display at NAB Show 2016.
Join us to discoverFlashNet Infinity and our supportfor reading and restoring from SMPTE’s Archive eXchange Format (AXF).
Global leaders in Archive & Storage Management
59 60 TVBE apr16 TVBEverywhere EBS_final.indd 33 21/03/2016 14:37
FRIDAY 24TH JUNE 2016 GRAND CONNAUGHT ROOMS, LONDON
TICKETS AVAILABLE NOW
FOR SPONSORSHIP OPPORTUNITIES CONTACT:PETER MCCARTHY / PMCCARTHY@NBMEDIA.COM / 0207 354 6000
GURPREET PUREWAL / GPUREWAL@NBMEDIA.COM / 0207 354 6000
2 4 t h J u n e 2 0 1 6 l G r a n d C o n n a u g h t R o o m s , L o n d o n
RECOGNISING THE BEST PROJECTS AND THE PEOPLE BEHIND THEM
CONTACT: GEORGIA BLAKE / GBLAKE@NBMEDIA.COM / 0207 354 6010
NEW FOR 2016THE INSTALLATION HALL OF FAME RISING STAR AWARD STUNNING NEW VENUE
InstallAwards 2016 Tickets Available Ad_Final.indd 1 22/03/2016 15:54new tvbe template remade.indd 1 23/03/2016 15:03
IABM has released its Global Market
Valuation and Strategy Report for 2016,
which describes in black and white
the downturn everybody has already
felt. According to the new report, media
technology products and services declined 4.3
per cent in 2015 to $49.3 billion.
While product revenues have been in
decline since 2012, this is the first year that
services revenues have also decreased since
the first IABM GMVR in 2006. The report said
that revenues from products declined 4.4 per
cent to $22.01 billion, which was 44.6 per cent
of total industry revenue. Services revenues
declined 4.2 per cent to $27.31 billion, or 55.4
per cent of total industry revenue.
For the four-year period from 2012-2015,
the compounded annual growth rate for the
total industry was -1.0 per cent. During the
same period, the CAGR for media technology
products was -2.4 per cent and for services,
+0.1 per cent.
Foreign exchange rate fluctuations had a
significant impact in 2015, the report noted.
In Brazil and Russia, steep currency declines
substantially increased the prices for some
media technology products, deterring
investment. Other currencies including the
Canadian Dollar, Euro and Japanese Yen
also declined versus the US Dollar, changing
the competitive dynamic for some players.
Much of the decline in Europe reported for
the services segment results directly from the
weakening of the Euro against the US Dollar
in the period. Other drivers for the decline in
revenues range from the end of government-
backed analogue switch-off programmes in
many countries, to the ongoing consolidation
of major media companies, to a pronounced
shift in technology procurement strategies
among end-users, including broadcasters, pay-
TV operators and media service providers.
These factors, and their impact on the
market, are explored in more detail throughout
the 2016 Global Market Valuation and Strategy
Report. The 2016 edition provides market-
sizing data for approximately 150 product
categories across nine market segments.
Data tables provide regional splits for product
and service revenues, as well as forecasts
to 2019 at segment and sub-segment levels.
The data tables are accompanied by written
commentary (available in Q1 2016), that
discuss the drivers affecting the market
and an analysis of how changing markets
and technologies may shape the future
composition of the broadcast and media
technology industry. n
Neal Romanek reports on the IABM’s Global Market Valuation and Strategy Report which points to a small decline in overall sales revenue
62 TVBEurope www.tvbeurope.com April 2016
Global Market Valuation: Media technology sales down $2 billion in 2015
Data Centre
Percentage of total industry revenues
Percentage decline in 2015
CAGR from 2012-2015
2015 IABM Global Market Valuation and Strategy Report in numbers
Total industry revenue:
Com
bine
d re
venu
esCo
mbi
ned
reve
nues
$ in billions
$49.3 bn
-4.3
%
-1.0
%
Product revenue:
Prod
uct
reve
nues
Prod
uct
reve
nues
Services revenue 55.4%
Product revenue 44.6%
$22.01 bn
-4.4
%-2
.4%
Services revenue:
Serv
ices
re
venu
esSe
rvic
es
reve
nues
$27.31 bn
-4.2
%0.
1%
0 10 20 30 40 50
1%
0%
-1%
-2%
-3%
-4%
-5%
1%
0%
-1%
-2%
-3%
‘Drivers for the decline range from the end of government-backed analogue
switch-off programmes in many countries, to a pronounced shift in technology
procurement strategies’
62 TVBE Apr16 Data Centre_final.indd 46 17/03/2016 12:55
Save the DateIBC2016
IBC.org
Conference 8 – 12 September 2016Exhibition 9 – 13 September 2016
RAI, Amsterdam
Where the entertainment, media and technology industry does business
new tvbe template remade.indd 1 18/03/2016 16:52
new tvbe template remade.indd 1 18/03/2016 16:53
top related