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Transcript of TVBE December 2015
www.tvbeurope.com
December 2015Business, insight and intelligence for the media and entertainment industry
The evolution of MAM Charting the growing importance of asset management
APRIL 16–21, 2016
LAS VEGAS, NV USA
FOR INFORMATION AND
YOUR FREE EXHIBITS PASS
SEE PAGES 16-18
01 TVBE Dec FC_final.indd 1 19/11/2015 10:50
Grass Valley’s iTX – the original integrated solution – continues to offer the most functionality to play out dynamic, fully composed channels. It’s a proven solution that can help reduce operational budgets by as much as 20% per year.
That’s why broadcasters relied on iTX to manage playout of more than 17.5 million hours of television last year – including live telecasts from local news to some of the world’s biggest sporting events.
Now iTX features a completely new real-time broadcast engine – built from the ground up for exceptional quality and reliability. It paves the way for 4K, IP, and virtualized operations, while flawlessly delivering frame-accurate, high-performance channels with live content, dynamic schedules, and rich graphics.
It’s playout your way, and it’s how we’ll help you continue to do more with less – without compromise.
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Sydney LovelySenior Vice President - Worldwide Research & Development
Operate more efficiently with Grass Valley playoutsolutions. Visit www.grassvalley.com/playout.
Grass Valley’s iTX Integrated Playout Platform
Copyright © 2015 Grass Valley. All rights reserved. Belden is a registered trademark of Belden Inc. or its affiliated companies in the United States and other jurisdictions. Grass Valley and iTX are trademarks or registered trademarks of Grass Valley.
Grass Valley’s iTX Integrated Playout Platform
new tvbe template remade.indd 1 20/11/2015 10:46
TVBEurope 3December 2015 www.tvbeurope.com
If you’re able to look beyond
the endless talk of IP, UHD,
and HDR that has all but
dominated the forums of
discussion in 2015, one of the
most intricate areas of fascination
has been in the management
of one’s media assets.
We once openly referred to
this process as MAM (or DAM, or
PAM), but even that seemingly
comfortable agreement is under
scrutiny as companies search for
the next common understanding of what
this multifaceted discipline ultimately
means for media entities.
Indeed, having urged you to play deaf to
the ‘acronyms of the year’ at the beginning
of this piece, it is very much the development
in these areas – infrastructural advance and
the unimaginably heavy load that a UHD/IP-
enabled ecosystem will place on our current
and foreseeable systems – that is changing the
debate around what MAM means in today’s
climate, and that of tomorrow.
We’ve given over a signifi cant portion of
the December issue to this discussion:
addressing the specifi c infrastructures required
for content management and delivery to a
broader volume of platforms; the adaptation
of systems/workfl ows to support these
platforms; and defi ning a measurable
return on investment for the modern day
asset management system.
Our roving reporter, Philip Stevens,
takes the industry to task on
the fi ner points of challenge
and conjecture in the MAM
ecosystem in the very last of our
traditional forums, whilst we sit
down with MAM specialist Tedial
to bring you the latest in our line
of topic-dedicated TVBEurope
supplements.
As most of you will have
deduced from the month on the
cover of this edition, we are just about to sign off
on another year of progress and development
in our fast-moving industry. Writing the epilogue
to 2014 feels like an absurdly recent memory,
and I remember feeling particularly enthused
about our chances of progress this year. That
progress has come in many forms, perhaps
the most mainstream being the launch of UHD
channels in Europe, with particular reference
to BT Sport. But not only this, there appears to
be a wider understanding of the hybrid SDI/IP
ecosystem that will persist for some time yet as
we fully embrace the digital realm to become
truly IP-enabled. I wrote this time last year that,
“for every strategic seed sown, there is hope of
harvest”: if we have similar progress in 2016 as we
have had in the past 12 months, we’ll have had
a good year.
Merry Christmas to one and all, and a happy
New Year. n
James McKeown Editor-in-Chief
Welcome
Time management EDITORIAL
Content Director and Editor-in-Chief: James [email protected] Editor: Holly [email protected]
Group Managing Editor: Jo Ruddock
Contributors: Philip Stevens, Mike Clark, Catherine WrightHead of Digital: Tim FrostHuman Resources and Offi ce Manager: Lianne DaveyHead of Design, Hertford: Kelly Sambridge
Senior Production Executive: Alistair Taylor
Sales Manager: Ben [email protected]+44 207 354 6000Account Manager: Richard [email protected]+44 207 354 6000
Sales Executive: Nicola [email protected]+44 207 354 6000
Sales Director: Mark [email protected]+44 207 354 6000Managing Director: Mark Burton
US Sales: Michael [email protected]+1 (631) 673 0072
Japan and Korea Sales: Sho HariharaSales & Project, Yukari Media [email protected]+81 6 4790 2222 Fax: +81 6 4793 0800
CirculationFree [email protected] 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 2015. 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 8 weeks for new subscriptions and change of address delivery. Send subscription inquiries to: Subscription Dept, NewBay Media, Sovereign Park, Lathkill Street, Market Harborough LE16 7BR, England. ISSN 1461-4197
The evolution of MAM has been a complex process, and it doesn’t get any easier from here
03 TVBE Dec Welcome_final.indd 1 20/11/2015 15:54
In this issue4 TVBEurope www.tvbeurope.com December 2015
Technologist Miles Weaver examines some of the trends that will make 2016 a year of shifting loyalties, convergence and more big data fuelled intelligence
Workfl ow823 37
10The evolution of MAM. This issue’s supplement, in association with Tedial, delves into the ever-changing world of asset management
Future trends, and what we’ve learnt about ourselves in 2015. We’re joined by a selection of industry � gures to chew the fat on another year of progress
Supplement Feature
TVBEverywhereMAM forum
3142
Tristan Du Laz, who heads TF1’s VoD rental service MyTF1VOD, is betting on a new EST proposition to see o� competition from the likes of Net� ix
Philip Stevens chairs the debate on our featured theme for this edition, MAM: a vital component of just about every media entity’s technology
This issue, we take a look at a couple of recent additions to the � eets of two OB companies, as Germany’s TV Skyline and Italy’s Telerecord unveil new trucks
Opinion and Analysis
www.tvbeurope.com
December 2015
TVBEurope Supplements
In association with
The MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe 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04 TVBE Dec Contents_final.indd 1 20/11/2015 15:15
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new tvbe template remade.indd 1 20/11/2015 10:49
Opinion and Analysis6 TVBEurope www.tvbeurope.com December 2015
Media asset management (MAM) is
changing, as a growing number of
broadcasters turn to cloud technologies
for content distribution purposes. Several
reasons can be attributed to the industrywide
shift toward the cloud. First and foremost,
broadcasters need to address the consumer
demand for content anytime, anywhere, on
any device. Leveraging the cloud, they can
efficiently and cost-effectively distribute content
across multiple platforms. Furthermore, a
cloud-based workflow dramatically streamlines
operations, enabling different media entities
in various locations around the world to begin
working on content independent of each other.
What’s more, with content hosted on the cloud,
content management and management of the
associated metadata is more efficient.
Ultimately, migrating to a cloud infrastructure
enables broadcasters to achieve the Holy Grail:
distributed access across the globe.
Next generation MAM system When looking to deploy a next-generation
MAM system, there are a few key features that
broadcasters should look for. Obviously, any
MAM system should make it easy to store and
archive content. Beyond that, the capability
to handle metadata in a distributed fashion is
also critical. The moment content moves onto
the cloud, multiple people will be managing
the asset. Broadcasters need a MAM system
with an advanced permissions functionality. This
will enable broadcasters to share assets and
enhance metadata seamlessly across multiple
locations across the globe.
As a broadcaster, you don’t want to be
accessing the original high-res content for every
task. Thus, the MAM system should include a
mechanism for working on a low-res version
of the content. This feature might become
especially handy when creating a promo video,
for example. Broadcasters can download a
low-res copy of the movie at their location for
promo creation. When they are finished, a high-
res promo video will be added to the back-end.
Since no high-res version is used, data transfers
are infinitely faster. In fact, broadcasters can
share content anywhere worldwide, in near
real time, without high-res content ever having
to be transferred.
By adopting a cloud-based workflow,
broadcasters can set up all of the metadata for
their content to be populated by third parties
without requiring access to the full set of content
in one location. By enabling TV networks to
outsource a large amount of metadata tasks,
including metadata creation and processing, the
cloud speeds up operations and reduces costs.
A major benefit of moving metadata processing
to the cloud is that metadata becomes much
richer. Whereas metadata used to encompass
fundamental information about the content,
such as subject, title, and authors and artists
related to the particular asset, there is now
a much broader range of data that can be
extracted. For example, broadcasters can
extract context out of the audio and video of
content, which is semantically rich. This can
then be leveraged for further processing and
delivering targeted content.
Future outlook for MAM technology MAM technology is evolving, unlocking new
functionality and benefits for the broadcast
community. Adopting a cloud-ready MAM
system is the first step toward migrating to a
complete cloud-based workflow. Over the
last few years, several big TV networks have
embraced this approach.
One of the challenges that broadcasters
face, from a MAM technology perspective, is
how to create seamless integration with existing
back-end systems. In the future, it’s likely that
standardised interfaces will emerge, enabling
seamless communication between various
elements in the broadcast workflow. This would
allow other systems in the workflow to tap into
the MAM solution in a programmatic fashion.
At Amagi, we believe that having a
world-class MAM system is crucial to content
distribution, including targeted content delivery
and monetisation in multiple locations. In fact,
MAMs are nearly a prerequisite for cloud-based
content delivery.
By creating one of the world’s largest cloud-
based workflows for distribution and monetisation
of content, Amagi is making hyperlocal television
a reality for broadcasters. n
MAM moves to the cloudBy Baskar Subramanian, co-founder, Amagi
‘Ultimately, migrating to a cloud infrastructure enables broadcasters to
achieve the Holy Grail: distributed access across the globe’
‘Adopting a cloud-ready MAM system is the first step toward migrating to a complete
cloud-based workflow’
06 TVBE Dec Opinion_final.indd 10 19/11/2015 10:59
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TVBeuro_MonarchHDX_broadcast_ad_UK_1115.indd 1 2015-11-17 08:16:50new tvbe template remade.indd 1 20/11/2015 11:09
8 TVBEurope www.tvbeurope.com December 2015
2015 has been a largely positive year for
the TV industry. The gloom of the global
financial crisis has largely receded (at least
for some industries) and across the traditional
and OTT landscape most operators have
posted positive growth numbers. Acquisition
and consolidation has picked up, with Verizon’s
acquisition of AOL and Charter Communications’
$55 billion deal to buy Time Warner cable offering
a clear indicator of the likelihood of similar deals
in Europe and Asia in the near future.
Pay to play will create frenemiesYet, the news from Google/Alphabet that
YouTube is going ahead with plans for a
subscription service is the first move in a
potentially seismic shift. The world’s largest VoD
service is highly viewed but based on a
dissection of Google accounts, is at best
commercially break-even. Initially only available
in the US, YouTube Red will cost $10 a month and
will have no adverts and a roster of exclusive
content from internet stars like PewDiePie and
Lilly Singh. At present, YouTube takes around
50 per cent of revenue from ads appearing
next to YouTube content. How it plans to share
subscription revenue with its channel operators
is still vague, but the position means that some
content will be free, some ad-supported, and
possibly a small percentage exclusive to Red
subscription holders. Some of the commercial
brands like Disney have signed up, but ESPN,
the world’s largest sports rights holder and itself
a Disney property, has pulled all of its content
off the site. This is presumably because of the
complexities of rights agreements but also
potentially because it may have concerns about
the business model. ESPN is unlikely to be the last
organisation to reassess how it deals with YouTube
as it starts to erect paywalls and segregation
around its own content. 2016 will be a year when
channel operators start to consider more options
other than YouTube, which will likely be a boon for
the fast-growing MCN space.
The rise of niches, the death of PPVYet the launch of Red mirrors a wider shift in the
content landscape. With much of the attention
focused on the 800lb gorillas like Netflix and Hulu,
there has been a rapid rise in niche television that
attacks the problem of making customers pay for
content that they have been weened to expect
for free in a different way.
Take World Wrestling Entertainment Inc, better
known as WWE. Since it was televised in the
1980s, the spectacle has derived a significant
portion of its revenue from PPV events like the
Royal Rumble and Wrestlemania. However, since
launching its OTT subscription service in early
2014, WWE Network revenues are now higher
than the stand-alone PPV revenues based on a
trailing 12-month basis. Other sports OTT niches
like Major League Baseball have thrived and
even fishing and hunting have had channel
launches in the last few years that have been
low key but which have attracted subscribers.
For advertisers, a known demographic is easier
to target and within some of these niches, the
content is entirely exclusive compared to the
broad commoditisation that is happening within
the mass market SVoD service space. Niche fans
are also far more loyal to their particular interest
than they are to general OTT properties. As a
byproduct, it is likely that demand for PPV will
keep on declining as the economics of bundling
thematically similar content together combined
with the extended reach of the internet makes
niche TV more profitable.
Of course, communities are not just sports
based. The big two of the gaming industry,
namely Sony and Microsoft, with 40 million PS4
and Xbox One units sold between them, are both
rapidly enabling credible video platforms on
their next generation consoles. Considering
that both consoles are UHD enabled and
theoretically 4K capable, and that owners tend
to have better internet connection speeds than
the mainstream, this community may well
herald the starting point of the next generation
of niche, high quality content.
Bringing more joy to subscribersYet the swathe of new pay-TV and SVoD services
highlights another trend that has emerged over
the last few years and is likely to shift in the next –
major improvement in user experience (UX).
Although often pigeonholed as ‘just the
interface’ (and in some cases it isn’t even
referred to that favourably), it is clear that the
Netflix carousel and search model seems to be
becoming the dominant standard. Yet, looking at
the consumer electronics space, a nod to Apple
which is still seen as the innovator in terms of UX
design, highlights just how far behind the pay-TV
space really is.
With new entrants like Amazon and Apple in
the space, pay-TV services will need to up their
game when it comes to making the UX more
joyful. This extends not just to the big screen but
also to the multiscreen world. With surveys such
as a recent report from Ofcom highlighting
mobile devices as the most popular VoD-
enabled viewing platform, 2016 will see more
focus on building better experiences that can
take advantage of the small screen and not just
working around limitations. Innovations like
multi-touch, force touch, contextual menus
and even geolocation will start to become
part of the UX lexicon.
Analytics = intelligenceIf the first generation of pay-TV services are now
reaching maturity, the next 12 to 24 months will
start to see operators refining both the technical
and the business aspects underpinning that
profitability. A fundamental part of this shift
will be in the use of big data and analytics.
Although an industry buzzword, the first iteration
has seemed to centre around recommendation
engines. Yet, the potential is so much more. Big
data, if used properly, can impact everything
from UX design, content acquisition and
licensing, all the way through to advertising
placement and other revenue generating
Glimpses of a TV future Technologist Miles Weaver looks back at the year and examines some of the trends that will make 2016 a year of shifting loyalties, convergence and more big data fueled intelligence
Opinion and Analysis
08 09 TVBE Opinion_final.indd 10 20/11/2015 16:44
TVBEurope 9December 2015 www.tvbeurope.com
Opinion and Analysis
activities. There is still a lack of big data expertise,
as data scientists are still in short supply, but
with such a huge amount of competition
across the industry, this deficit will soon start to
be addressed. As services start to experiment
with big data in more creative ways expect
to see services develop or rent from service
provider specialists the skills needed to make the
experience of TV more intelligent.
Converge and thrive This leads neatly to another major trend for 2016
- convergence. When you talk to customers
especially within traditional broadcasters, it is
clear that the majority of these organisations are
heavily split into silos. OTT is separate from linear,
SVoD is another island, and content acquisition
has many disparate teams working in many
directions. With OTT now more than just a pet
project and generating significant revenues, it is
making more operational sense to unify complex,
often duplicated backend processes into a
coherent whole. Not only is it financially sensible
to have a single platform for service delivery but
innovation is easier when processes are joined up
and subscribers are catered for with a coherent
set of content and entitlements. These systems
are too big and complex to replace in a root and
branch fashion, so look for services that begin
replacing discreet services on a piecemeal basis
as they start to refine and unify their platforms.
Waiting for 4K…But where would any analysis and prediction
article be without mention of 4K?! Like the
crush that never calls, 4K remains attractive
but entirely elusive: the journey to 4K from
camera to the screen remains stalled.
Although the massive reduction in the
cost of 4K cameras and adoption of file-based
production workflows has made 4K much
more prevalent in the creative aspect, it is
still not universal. Whilst working on a project
with Discovery earlier this year that tested 4K
across its workflow, it became clear that 2016
will see a lot more of these types of projects,
with companies continuing to experiment and
refine, rather than jumping in with both feet
(no one wants a repeat of the 3D debacle).
Even with sub $1,000 4K screens in the market,
the last mile of content is still the critical hurdle
to mass adoption.
Although 2016 is an Olympic year, even
that may not be enough to push the
massive infrastructure upgrade needed
to deliver 4K to the masses and drive
consumer acceptance. n
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201511_200X135.pdf 1 2015-10-30 오후 2:38:32
08 09 TVBE Opinion_final.indd 11 20/11/2015 16:44
Just prior to IBC, German OB production
company TV Skyline took delivery of its
latest mobile unit. Known as Ü8 (OB 8
UHD), this is the world’s first truck based on fully
IP-implemented audio and video stageboxes.
The new concept was made possible through
the use of V__Link4 IP-based stageboxes and
RAVENNA DALLIS routing from Lawo.
“Our HD OB van fleet has always been
equipped with the latest and highest-quality
broadcast technology,” states Laurent Schiltz, TV
Skyline’s CTO. “Now our pioneering technological
design philosophy makes Ü8 a milestone in
modern OB production. The truck’s crew has
greater flexibility and space than offered by a
conventional design, and its technical options
provide increased working efficiency and
flexibility, resulting in more creative freedom.”
He continues, “The vehicle with its IP infrastructure
is future ready. The multiple codecs that are
supported by the system open the doors to
other systems. At this stage we are one step
ahead to the coming challenges in the IP
world with OB productions.”
TV Skyline’s main facility is located within the
Sky Centre in Mainz near Frankfurt. In addition
to OB and studio production, the company
provides digitisation and post production facilities
and is one of the world’s leading developer and
manufacturer of specialty cameras.
The innovative truck, which is built on a three
axle chassis, has coachwork from Akkermans in
the Netherlands. The complete truck, including
the tractor, has a total weight of 38 tonnes. Up
to 28 production and engineering staff can be
accommodated in the operator positions.
Workflow10 TVBEurope www.tvbeurope.com December 2015
Making the most of IP on OBsPhilip Stevens looks at an innovative solution within a mobile unit
“At this stage we are one step ahead to the coming challenges in the IP world
with OB productions” Laurent Schiltz, TV Skyline
The Lawo mc²56 console is
central to the new German OB
truck operated by TV Skyline
10 12 13 TVBE Dec Workflow_final.indd 10 20/11/2015 16:18
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Workflow12 TVBEurope www.tvbeurope.com December 2015
A further five personnel can work in the
supporting van. OB 8 UHD supports eight VTRs,
and works tapeless for up to 20 3G signals
together with the EVS systems. When it came to
a vision switching, TV Skyline opted for the newest
Kahuna 9600 with the Maverick modular mixer
panel. Says Schiltz, “Kahuna 9600 offers a format
fusion engine on all inputs and outputs; that
means they can be converted into to
production format within 40ms.”
Making musicHe goes on, “The new Ü8 was first used at a
concert event in Switzerland,” reveals Schiltz.
“For this project, the truck worked with 15
Ikegami HDK 97A HD cameras including cranes,
wireless cameras and special remote heads from
our own store. All 95 microphone signals where
transported over IP/RAVENNA to the main audio
console producing the live audio mix.”
Felix Krückels, Lawo’s director of business
development, explains more. “The concept of
the new OB van included the requirement of
parallel use of stageboxes in the vehicle as well
as for remote production. Therefore, the client
was looking for an innovative product, which
could serve both applications. The trend for
remote production and IP solutions had to be
fulfilled by the truck.”
Krückels says that the IP-based infrastructure
allows for the connection of the vehicle to
the home facilities using the same medium
which, in turn, provides faster reaction and
efficient workflows.
The benefits of using V__link4 IP-based
stageboxes include reduced cabling, easier
scalability and the smooth setup of a networked
TV compound infrastructure. The fully IP-based
environment allows the monitoring via MJPG
streams, enabling broadcasters and OB van
providers with easy deployment of PGM feeds
via COTS switches.
“Compared to the traditional solution
today with a lot of SDI cabling just for
monitoring in the production offices, the
rehearsal room or even the commentary
position, this network handles the cabling
much more easily,” says Krückels.
With Lawo’s V__remote4 units aboard,
users can now stream in parallel RAW
streams and J2K streams from the same
video source. This allows for the parallel
video production in the OB van, as well
as remote production for second screen
or clips compilation.
The Lawo mc²56 console and the DALLIS
stageboxes are logically directly connected,
which means that, for example, microphone
preamps and the line outputs or intercom I/
Os appear directly in the mc² signal list for
immediate setting. For the operator in front of the
mixing console, nothing changes. For the set-up
engineer or project planning department, it
offers greater flexibility.
Krückels continues, “With the layer 3
RAVENNA DALLIS stageboxes the customer
uses all IP benefits also for the mc² consoles
and Nova routing systems. The RAVENNA
DALLIS provides an increase of capacity of
128 inputs and outputs. On top of this, the
stageboxes can be routed through various
networks, setting up systems with networked
infrastructures in studio, OB vans, on a
campus or even with dedicated networks
on a wide area network.”
Looking to the futureSo, just why did TV Skyline opt for this solution?
“We believe in the future of video-over-IP
technology,” declares Schiltz. “We think that
the V_link4 is future proofed and gives us a
lot of technology opportunities. By working in
partnership with Lawo we achieved a perfect
combination of systems that all work together -
Lawo Nova Core, Lawo console, Lawo RAVENNA
IP routing with the stageboxes; Lawo V_Link 4
and LSB VSM control system.”
He adds, “The Lawo V_view1 units provides
us the maximum of flexibility regarding
monitoring around the set, because we are
not limited to dedicated video signals. On
each monitor position we have access to all
video signals in the cloud.”
There is, of course, a move towards more
remote production: with minimal crewing
requirements on site and production being
handled back at the studio base. With that
concept in mind, how do both Schiltz and
Krückels see the future for this type of OB truck?
Schiltz says, “The broadcast IP market is a very
fast growing market, and we intend to use more
and more IP technology as it becomes available.
“The trend for remote production and IP solutions had to be fulfilled by the truck”
Felix Krückels, Lawo
10 12 13 TVBE Dec Workflow_final.indd 12 20/11/2015 16:19
TVBEurope 13December 2015 www.tvbeurope.com
Workflow
For our high variety of international
productions there will be a big need for
IP systems also regarding the remote
production issues.”
Krückels adds, “The broadcast industry
currently does experience a trend towards
more and extensive content and remote
production, used mainly for second and third
tier productions. And perhaps we also will see
remote production for Bundesliga or premier
league at some point. However, high-quality
productions like big Saturday night shows or
ceremonies like for the Emmy or the Echo
Awards, or for major international sports events
such as the Champions League final, where
the end design is created on-site, this will
remain the task of OB vans.”
He concludes, “By developing IP video
and audio streaming stageboxes deploying
the open RAVENNA technology, Lawo has
made a statement with regard to IP-based
content creation and remote production, as
being central to the future of broadcasting.
Our products and solutions include remote
production and IP core infrastructure.” n
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Ü8 is the world’s first truck based
on fully IP-implemented audio
and video stageboxes
10 12 13 TVBE Dec Workflow_final.indd 13 20/11/2015 16:19
Telerecord, headquartered near Florence,
already had a series of important Italian
‘fi rsts’ to its credit: it was the fi rst to
experiment with digital technology (1996), the
fi rst to use HD vans (2004) and the fi rst to carry
out 3D coverage (2007).
The new 45-ton, 16.5m truck, designed for the
step-up to 4K, has four expansions which put two
separate production areas at the disposal of a
team of over 30 technicians.
Production area one hosts a Sony MVS 8000X
multi-format switcher (HD/3G/4K, eight ME (1080i),
four DME, 84 inputs, 24 outputs, eight format
converters, colour correction, clip recorder),
and a monitor wall with 21 Vutrix 24-inch Quad
split and three Vutrix 17-inch Quad Split. The
production area two has an MVS 8000X satellite
ME and ten Vutrix 24-inch Quad split monitors.
Since the new truck was designed for use with
4K cameras, as well as 24 Sony HDC1500 and
HDC2500 HD cameras, it also features a Sony
PMW F55 CineAlta with BPU 4000 Baseband
Processor Unit and four HDC-4300 4K/HD systems.
Van engineer Giovanni Lorini says, “The F55 offers
the possibility of mounting both cinema-style
lenses and 2/3-inch models, with adaptors.”
Unit 26 is also the OB company’s fi rst outing
with an Imagine Communications router, the
Platinum IP3 28RU unit, and Lorini adds, “The
IP3 ensures wonderful fl exibility, thanks to its
mixed-format video and audio routing, multi-
viewer functionality, mux/demux, frame sync,
clean switch and advanced I/O options such
as MADI and fi bre.”
The router is currently confi gured with 354 inputs
and 560 outputs, but will soon be expanded to
5760x1024 and the routing system is completed
by 25 Imagine Communications Magellan
programmable LCD-button router control
panels. The slowmo/replay area hosts eight
XDCam 1500, eight EVS XT3 HD and fi ve DVD
recorders, and 5.1 audio is mixed on a Calrec
Artemis Beam console.
The truck has full redundancy as far as power
supply, control and crosspoint modules are
concerned, ensuring total operating security,
fundamental for the important events Telerecord
covers (its client roster includes RAI, Mediaset,
Sky, the BBC, NHK and Canal+), which as well as
its sport specialisation, also include major rock
concerts, opera and large conventions.
Explains company founder Giovanni Bertini,
”Unit 26 was designed and built to meet
Workfl ow14 TVBEurope www.tvbeurope.com December 2015
In the run-up to its 40th anniversary celebrations, Telerecord, Italy’s longest-established OB company treated itself (and its clients) to a ‘present’ for the occasion: an impressive new addition to its fl eet. Mike Clark reports
“The IP3 ensures wonderful fl exibility, thanks to its mixed-format video and audio routing, multi-viewer
functionality, mux/demux, frame sync, clean switch and advanced I/O options
such as MADI and fi bre”Giovanni Lorini
The new 45-tonne, 16.5m truck is
designed for the step up to 4K
For the record
14 15 TVBE DEC Workflow_final.indd 18 20/11/2015 15:26
TVBEurope 15December 2015 www.tvbeurope.com
Workflow
the production requirements of high-profile
international sports events, some of which we
cover for Infront. We wanted a truck that was
able to comfortably host a second production
room for personalising event coverage, and
we wanted to increase the number of cameras
cabled on-board.”
Thanks to the far-sighted policy of Bertini and
the rest of the Telerecord team, which includes
his son Fabio and daughter Rossella, the leading
edge technology installed ensures Unit 26 is ready
for future updates, such as HDR and IP.
The structure of the trailer, designed by
Telerecord and built by Rescar, another Tuscan
specialist, is in carbon steel alloy and features
tailor-made Isotruck panels and stylish interior
woodwork. Telerecord’s technicians carried
out all the installation and cabling work in-house.
Since it took to the road, Unit 26 has already
covered several high profile sports events,
such as the World Bobsleigh and Skeleton
Championships in Germany, the 2015 Ice
Hockey World Championships in the Czech
Republic, UEFA Europa League soccer matches
and the Italian NBA tour.
Putting its lengthy experience at the disposal
of the OB market, as well as for in-house use,
Telerecord also designs and realises
OB vans for sale to other companies and
its 10m, ten-camera Unit 16 trucks are at work
in Qatar, Sweden, Ukraine and Italy.
Apart from the technical aspects, Lorini
enthuses about the comfortable space
at operators’ disposal, adding, “The
separate second production area and
the noise-free environment enable production
teams to work long hours without any
problems and, in spite of its size, the truck is
extremely user-friendly.”n
”Unit 26 was designed and built to meet the production requirements of high-
profile international sports events” Giovanni Lorini
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Broadcast, Digital Media, Film, Entertainment, Telecom,
Post-Production, Academia, Houses of Worship, Advertising,
Military, Government, Retail, Security, Sports, Live Events,
Online Video, IT, Virtual and Augmented Reality and more
converge in Las Vegas for six days to embrace the immersive
experiences reshaping the new reality of media.
Inspiring and innovative attractions served up in 2016 will
include the new Virtual and Augmented Reality Pavilion,
showcasing this new medium and how it impacts all aspects of
the industry; Connected Media|IP, focusing on the consumer
experience; the Drone Pavilion, featuring a fully-enclosed
“fl ying cage” for demonstrations; SPROCKIT, where market-
ready startups present their new ideas; StudioXperience, a live
studio using all the latest tools; and so much more. Experience
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everyday fi le delivery systems at FOX. Best conf of the year
103,119media and
entertainment professionals
26,319 international attendees
160+countries
Michael Mireles: #cantwait4
NABShow. I am confi dent the bar will be raised even higher for the greatest media
show on the planet. I feel like a kid in a toy store everytime I go. So excited it will be a miracle if I get any sleep
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tonight before the exhibits open. Woot whoot I’m game. The entire convention fl oor is electrifying! Let’s do this!
. I am confi dent the bar will be raised even higher for the greatest media
mniec: Excited to see old friends, colleagues, customers,
partners, and to meet new ones. Always great annual rendezvous.
#cantwait4na
bshow
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TVBEurope 19December 2015 www.tvbeurope.com
Workflow
Asset management 2.0
For many broadcasters, the question today
is not how to do asset management. It is
about how to migrate from a first generation
asset management system to something that
is more modern, more powerful, and more
suited to the challenges to come, like
software-defined networks, content processing
virtualisation and the cloud. Without doubt the
choice of technology platform is more critical
than ever, if you are going to have that sort of
future-proof flexibility. But I would argue that
an equally important factor in your choice
of partner is the ability to share experiences
in designing and implementing a second
generation asset management system.
How do you summarise what was good and
bad about the old design so that the new system
is even better? How do you ensure that all the
nice ideas people have dreamt up over the
years of working with the existing system do not
mutate into an impossible wish list? And how do
you manage the actual migration of content
and metadata?
Learning lessonsImplementing a second generation asset
management system is no different from starting
out on any project. First you have to define your
requirements. The people that know best what
you need are the people who actually do the
job today, so have a strong feeling of where the
bottlenecks and frustrations lie.
One of the most successful implementations
we have ever had, in project management
terms, was at RTÉ in Ireland. They started out with
a small steering group from across the business:
an engineer and a project manager, obviously,
but also a promotions producer, a traffic
manager and even a weather presenter.
It was this team that worked out what the
system had to do, by the simple expedient
of getting a small development system and
building their own workflows. At the end of this
requirements phase – which really was not very
long – they had three massive assets: a clear
definition of what the new asset and workflow
management system should do and what
could be left out; buy-in from staff at every
level because they had been involved in its
design; and a working system that could be
demonstrated to the board for their sign-off on
the main project budget.
Keeping controlThis community of interest approach can be
made to limit mission creep too, although it
takes some subtle management. This can be a
good time to bring in an independent consultant
to keep discussions on track. The second
generation of asset management systems,
along with the move to file-based content and
software-defined networks, allows a completely
new approach to workflows. Indeed, if you
are not taking a fresh look at the way you do
business you are wasting the opportunity.
So get everyone together, and ask them to
think through what they actually need to do their
job more efficiently. What processes are required
to collect programmes and commercials and
broadcast them in the right order; or bring in
content and make programmes from it; or
deliver content across multiple platforms? What
is the best order to do each individual process?
Which person should be responsible for each
process? What can be automated and what
needs human intervention? At first this process will
get bogged down in people talking about what
happens today. They will be keen to explain
the workarounds that the current technology
has forced upon them. But with patience and
persistence they will start thinking about a
genuinely clean sheet of paper.
Migrating materialThe final way in which a good technology
partner can transform a project (and a
poor choice will derail it irretrievably) is in
the migration from the old system to the
new one. You have to plan to move the
content and the metadata.
Thinking of the content, the chances are that
the old system has a proprietary and expensive
archive which is limiting growth and locking you
in to a particular vendor’s roadmap. Take the
chance to move the archive to a more cost
effective open standard like LTFS, which makes
your content permanently portable, whatever
changes you implement in the future.
Moving metadata requires cleaning it first,
and again it can be staggering how much mess
there can be. One project we worked on, for a
global leader in production and broadcasting,
had allocated a free text field to describe how
the audio tracks were laid out: we found 8,400
different descriptions.
It is also unlikely that you will be able to shut
down your old asset management system,
spend a few weeks transferring and checking
the content and metadata transfers, then
start business again. The migration will need to
happen while everyone is still working, so the
project needs to plan for resources, too.
The move to a second generation asset
and workflow management system is a huge
opportunity: or at least it will be if you find the
right project partner who will help you avoid the
pitfalls and plan for success. n
By Tony Taylor, chief executive, TMD
19 TVBE Dec MAM2.0 Opinion_final.indd 10 20/11/2015 15:27
Over the last few years, a number of
‘specialist’ shopping channels have
emerged on the UK scene – selling
jewellery, health and beauty brands, and craft
products. One of the latest to begin transmissions
is The Craft Channel. Its soft launch, involving
recorded ‘as live’ programmes, took place in
September, but plans are well advanced for live
broadcasts to begin in the New Year.
Key movers in the venture are well
experienced shopping television presenters,
Julian Ballantyne and Debbie Greenwood.
Both are also company directors, and together
with CEO, James Doak, they put together a
package of measures that has resulted in the
successful start to the new channel.
“Julian and Debbie wanted to create their own
shopping channel which would cover a wide
range of products,” explains Doak. “We all met
up and I got increasingly drawn into the idea.
It took four or five months to really develop the
ideas, but at the end of that time I decided this
was not really for me.”
He says there was no way that a new
venture could successfully compete with the
long-established, all-encompassing shopping
channels, so a differentiator was needed. “By
going through that journey of exploring ideas,
the one thing I did see was a need for a craft
channel. The margins are good and there was
only one dominant player at that time. We
looked at that existing channel and thought ‘we
can do a great deal better than that’.”
Doak says that with his telecoms background
he could see the value of offering a free number
to call to place an order: not a premium
Workflow20 TVBEurope www.tvbeurope.com December 2015
Crafty businessPhilip Stevens visits the studios of one of the UK’s most recently launched channels
There was no way that a new venture could successfully compete with the
long-established, all-encompassing shopping channels, so a differentiator
was needed
One change in the gallery was to replace CRT monitors with multiviewers
20 21 22 TVBE Dec Craft TV_final.indd 18 20/11/2015 15:28
TVBEurope 21December 2015 www.tvbeurope.com
Workflow
rate facility used by some other channels. By
providing an easier – and a no-cost – ordering
route, Doak, Ballantyne and Greenwood felt
they had a much better offering to put forward
for their viewers.
“The decision to move forward was taken in
February and we pulled out all the stops to make
it work,” states Doak.
Finding a baseWhen it came to looking for premises for the
venture, the management trio explored a
number of options.
Ballantyne takes up the story. “We did
ask ourselves the question ‘do we need to
be in London?’ and the answer was ‘yes’.
Here we have access to the presenting and
demonstrating talent that we need – and
also the production and technical personnel.
Experience has shown that it is not always that
easy to find the people you really want on the
team in other parts of the UK.”
He continues, “We always wanted a facility
that already had studios and there were other
considerations such as parking spaces for guest
presenters and others. When that proved difficult,
we looked at renting an empty warehouse.
The positive side of that was everything could
be custom designed and built to meet the
needs of a new shopping channel, the
negative was the cost.”
Eventually, a studio and office facility in
Acton, west London, which had been
vacated by a failed shopping channel,
became available. “Because it had been
used in a similar project in the past, the facility
had a great deal of what we needed for The
Craft Channel,” explains Ballantyne.
A number of structural changes have
been made, and although some of the old
technology has been retained, various
items of new equipment have been purchased
to meet specific needs.
Equipping for purpose“We bought the existing studio cameras, peds
and the lighting rig – some of which worked,
some of which didn’t,” explains technical
manager, Gary Clark. “There were big CRT
monitors in the gallery, and replaced them with
Blackmagic Design multiviewers.”
Clark bought a new vision switcher based on
Blackmagic Design software and a new Trilogy
talkback system – both of which were seen as
crucial in future-proofing for expansion. “The
switcher is basic – but it does what we want it
to do and is reliable. And because it is software
driven, it is ready for the instant switch to HD,
when needed. The studio came with some
talkback panels, but we refurbished them to
ensure they met our requirements.”
Plans call for the Sony cameras to be replaced
with Blackmagic units in the not too distant
future, and that will mark the upgrade to high
definition. “We can utilise our existing B4 lenses,
which suit our purposes very well.”
The Soundcraft audio console was also
refurbished, although new radio microphones
were purchased.
Graphics come from a Pixel Power Clarity
3000 system which, once the original inputs are
created offline, is operated by the producer in
the gallery. “We wanted an automated system
that means that product data is just entered
once, and then is available for all our outputs
– the studio, website and so on,” says Clark. “A
current development is a system that allows
graphics to be operated by mouse click or push
button from a tablet or similar device.”
The Craft Channel is completely tapeless, with
editing being carried out on Adobe Cloud Suite
with a monthly subscription.
Meeting viewing needsAlongside the conventional television
broadcasts, The Craft Channel’s demonstrations
can be found on its own website, YouTube,
Vimeo and other outlets. “When customers
wish to find a particular product using a search
engine, all these alternative viewing platforms
become visible,” reports Doak. “Research has
shown that you are 50 per cent more likely to be
found if there is a video to support the product.
Yes, we are a TV channel, but we will use all
media, too. In fact, about 18 per cent of our
audience view online.”
Demonstrations are key to the success of any
craft channel. “We are also an educational
channel,” says Ballantyne. “Of course, we sell
product, but we also show how to make craft
interesting. Many of our viewers are already
craft-orientated, but they really appreciate
being able to see how to develop their hobby.”
He reports that he and Greenwood frequently
phone those who have been ordering to ask for
their opinions on what has been shown. “In that
way, we are moulding the channel to meet the
needs of our all-important viewers.”
Greenwood adds, “The products in the
packets do not always look that interesting,
so our job as presenters is to show all that can
be achieved. That means getting to know the
products very quickly.”
‘Yes, we are a TV channel, but we will use all media, too. In fact, about 18 per
cent of our audience view online’ James Doak,
The Craft Channel
T: +44 (0)1489 889930 | E: [email protected] | W: sglbroadcast.com
SGL has an established history serving the archive needs of broadcast facilities around the world.
SGL works in collaboration with industry partners, to provide seamless integration with leading MAM & PAM systems.
SGL’s solutions are reliable, flexible and are designed to grow with your organisation’s archive & content management needs
20 21 22 TVBE Dec Craft TV_final.indd 19 20/11/2015 15:28
Workflow22 TVBEurope www.tvbeurope.com December 2015
Unlike many other shopping channels, there is
no huge central warehouse fulfilling orders from
viewers. “We have two models,” explains Doak.
“We are currently on direct despatch with a
number of suppliers. So when a customer places
an order – whether over the phone or via the
web – we get notified and it goes directly to the
supplier with a despatch note with our branding.
The order is fulfilled and the customer gets the
goods quickly. Suppliers love that method. The
second model involves us using a third party
fulfilment facility.”He says that soon an app will
be launched which will enable viewers to order
much more quickly. “Again, research reveals that
four per cent of viewers prefer to buy through
an app.” Research, explains Doak, has played
a major part in the launch process. “We had
about 2,500 followers on Facebook at the time,
and just under 2,100 of them filled in a survey
for us. That level of response and involvement is
phenomenal. That told us there is a real appetite
for what we are doing. We really think we are
now providing a service that viewers need – and
we look forward to the future with confidence
and excitement.” n
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20 21 22 TVBE Dec Craft TV_final.indd 20 20/11/2015 15:28
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23-30 TVBE Dec Supplement_final.indd 23 20/11/2015 15:59
Supplementii TVBEurope www.tvbeurope.com December 2015
T he broadcast industry has seen a major
transformation in the past two to three
years. Indeed, as has been discussed at
conferences and events throughout the year,
the term broadcast no longer represents the
industry that we’re in. In digitally mature markets
‘TV everywhere’ is a reality and has completely
altered the viewing landscape. Nearly every
week, a new report is published highlighting the
non-linear trend, and you only have to step into
Hall 14 at IBC to see how quickly technology and
services in this area have grown.
To be successful in this new multi-platform,
multi-format world there are challenges that
broadcasters and content owners must over-
come. These include the introduction of non-line-
ar offerings, which require different services to be
managed in parallel; the reduction of revenues
from conventional linear channels, increasing
output while reducing costs; access to content
across multiple platforms; and integration of
news and production environments and the
business systems that control them. By select-
ing the correct media IT solutions architecture,
media companies can integrate their entire
business from acquisition and production through
to packaging and delivery, enabling far more
efficient and cost-effective operations.
By selecting a solution that allows these
challenges to be met, broadcasters and content
owners have a system that provides services for
new business opportunities and growth areas
including: UHD, nonlinear services, multiple
platform delivery, scalability, third-generation
environments and profitability within media
operations. To enable broadcasters and content
owners to maximise these opportunities, MAM
systems should include key features that further
improve flexibility and efficiency. These include:
multi-site operation, allowing remote operation
by distributing the infrastructure and operators in
the most convenient way to suit the requirements
of the business; multi-tenancy, enabling cus-
tomers to host different client/region/corporate
content within the same infrastructure, optimising
IT investment; workflow configuration in standard
notation using graphical tools independent from
the supplier; and dashboards, monitoring and re-
porting tools, providing a global overview of the
system, detecting bottlenecks or inefficiencies.
The MAM is key to content production, archive
and delivery, which all require seamless workflow
execution. Broadcasters and content owners
should select a system that’s flexible. This is even
more critical now as content requirements for
different platforms continue to change constant-
ly. Standardisation is also important to avoid the
need for proprietary formats or non-standard
integration methods that could complicate sys-
tems, new features and workflows in the future.
It is essential that media companies put key
processes in place including multi-site, multi-for-
mat (4K is now a reality), multi-platform delivery,
and increasingly media business reporting. In
turn, MAM systems have evolved to manage
users as well as large amounts of content and
related media and data, such as audio
languages, subtitles and all the additional
metadata, images and attachments needed
for non-linear distribution.
MAM providers have powerful tools that en-
able the management, flexibility and scalability
for any size of media organisation, regardless of
the workflow, number of users, departments or
sites. Perfect media management requires an
exceptionally well-integrated IT architecture that
is always one or two years ahead technologi-
cally so that additions such as new formats are
easily configured within the system. It’s essential
for MAM technology providers to apply preci-
sion in IT technology to broadcast and media in
order to maximise the capabilities of the modern
broadcast world, one that continues to evolve to
meet the growing demands of the consumer.
The cloud can also provide improved media
management as well as storage and disaster re-
covery options. These range from storage servic-
es with additional backup in a separate location;
content storage with the additional capability
to transcode different formats for delivery; to full
MAM features for content management provid-
ing complete search capability and the ability
for content to be managed by third-party service
providers if required.
This last scenario provides a full multi-tenant
MAM in the cloud with independent virtual
MAMs sharing the same IT platform, providing an
always-online multi-site architecture.
The modern MAM revolution
By Emilio Lopez, president, Tedial
‘By selecting the correct media IT solutions architecture, media companies can integrate
their entire business from acquisition and production through to packaging and
delivery, enabling far more efficient and cost-effective operations’
in association with
23-30 TVBE Dec Supplement_final.indd 24 20/11/2015 15:59
This is a sophisticated model that allows
broadcasters to search, select and share
content via the cloud with a very high
quality of service (QoS). Media files are
delivered automatically in the correct
working format for the recipient regardless
of the originating format.
Distributed access better enables anyone
within the organisation to access content from
any location. This high level of flexibility means
that it’s easier to evolve and amend media ser-
vices. Time to market is also reduced if the
cloud infrastructure is already available.
Broadcasters for example, can focus more
on their core business of programme making,
brand care and audience engagement.
Speed of delivery is also key. To meet the
demands of the multi-screen world, broadcast-
ers require solutions that enable fast and secure
access over IP, providing automated workflows
that package and present content, which can
then be delivered to the cloud, and other sites.
This removes the unnecessary complexity caused
when working between so many desktops and
departments using LAN or MPLS.
It’s no longer enough to simply move many
thousands of media files over IP quickly and
securely without an improvement in productivity.
Broadcasters, and increasingly telcos, are also
now faced with the challenge of how to auto-
matically manage and monitor the enormous
volume of media and metadata that’s being
exchanged between multiple media partners
24/7/365. This will only continue to increase.
Adapting typical broadcast processes or relying
on simple IP accelerators or transcoding is not
scalable or cost effective. The launch of Tedial’s
multi award-winning Evolution MAM earlier this
year has driven media management to a new
level by presenting a suite of scalable and flex-
ible media IT software modules that automate
the preparation, movement and distribution of
media internally and externally. Built as a modern
workflow engine with a world class MAM tightly
coupled to it, Evolution makes media ‘workflow
aware’, enabling customers to cost-effectively
increase their media throughput to meet the
needs of the market where the consump-
tion of content is growing year-on-year at an
unprecedented speed. Providing advanced,
high-performance search and indexing tools as
standard, Tedial Evolution users can surf and ex-
plore archives. They also benefit from improved
integration between third-party business systems,
driving workflow for linear, VoD and OTT services
via a collaborative working environment.
The platform incorporates new GUI controls for
MAC or PC browser, tablet or smart phone, and
dramatically speeds up both manual and auto-
mated workflows. The GUI keeps frequently used
tools accessible to easily manage tasks, validate
media or monitor workflow status remotely. The
interface is customisable for individual prefer-
ences or work assignments, including meta-
data views and screen configurations, with an
integrated activity monitor and unified view of
archives, workflows and business processes.
Evolution’s search/indexing engine organis-
es and searches media collections and other
object related entities, and indexes sizable
databases using shared indexes. Descriptive
metadata is tagged automatically and keywords
are autocompleted. It offers new methods to surf
the MAM through ‘departments’ using ‘Amazon.
com-style’ functionality.
Tedial continues to embrace global industry
trends with support for media initiatives such as
the UK Digital Production Partnership DPP. Tedial
Evolution ensures that customers can advance
and develop their media businesses by evolving
with the changes in media consumption and
providing real operational efficiency and bottom
line savings. Content preparation and/or produc-
tion demands internal and external collaboration
(partners). Dubbing and subtitling of a content
delivery platform developed by specialised
companies often located in different sites is a
prime example of this cooperation. All users
can collaborate under the supervision of a
task-driven collaborative model (BPM), where
every external partner receives work orders and
media files from the BPM engine and contributes
with contents and metadata, without being
declared a user of the MAM.
Tedial Evolution has revolutionised media
asset management bringing state-of-the-art
technology to today’s media landscape. Since
its launch in April 2015, the technology has been
recognised by the industry with two prestigious
awards. At NAB 2015, Tedial was presented with
the IABM’s Game Changer Award in the System
Automation and Control category. Entries were
judged by a panel of 30 industry experts who
identified processes, systems, products, services
or developments that demonstrate superb inno-
vation and offer real benefits for end users. At IBC
2015, Tedial Evolution received TVBEurope’s Best
of Show award. A significant number of entries
were submitted prior to the show opening, and it
was the task of an independent panel of judges
to examine and evaluate each nominated prod-
uct on the basis of design, features, cost-efficien-
cy, and performance in serving industry profes-
sionals. Tedial Evolution was chosen for its ability
to provide broadcasters’ and content owners
with advanced Media IT tools for multi-site Enter-
prise MAM and Business Process Workflow.
Day to day, broadcasters can continuously
expand and easily re-configure their core Media
IT to improve their overall media business perfor-
mance, continuously tuning media workflows.
Tedial Evolution provides a robust solution that
can receive and prepare any format past, pres-
ent and future. The company’s unique Media
IT solutions help international broadcasters and
global media companies to increase creativity
and improve efficiency throughout their media
workflow. Tedial’s customers’ problems are often
complex however its approach is simple: Find IT,
Enrich IT, Manage IT and Publish IT. n
in association with
TVBEurope iiiDecember 2015 www.tvbeurope.com
Supplement
‘The MAM is key to content production, archive and delivery, which all require
seamless workflow execution’
23-30 TVBE Dec Supplement_final.indd 25 20/11/2015 15:59
Supplementiv TVBEurope www.tvbeurope.com December 2015
Until recently, the media industry has
operated in a linear way where material
is tangible with files carefully controlled
under operator stewardship, providing a security
blanket for content owners. This is no longer
necessarily the case as cloud-based services
have begun to be deployed at various points in
the chain. But security concerns are now taking
a primary role in discussions about cloud infra-
structure, which stops many technical managers
from investigating the benefits and drawbacks of
extending operations using cloud services.
There’s no better time than now to investigate
cloud services, by exploring ways to work with
these providers. It’s a burgeoning sector with pro-
viders seeking business models and partnerships
within our industry that can help sharpen their
pricing models and value proposition. The aim
is to provide services that can drive growth and
profitability, an aim that is now being achieved.
As media companies’ distribution models shift
– look at the ever expanding list of over-the-
top (OTT) and video on-demand (VoD)
services – so the content preparation side also
needs to adapt. Addressing this problem
without additional labour and technology costs
is a key driver in designing and building a mod-
ern media facility. The clear advantage of
cloud services is their ability to adapt to new
situations as they occur.
How should media companies proceed? The
first step is to build infrastructure to leverage the
cloud, now and in the future, designing internal
networks to be cloud-ready. Fundamental to
that is making overall technology decisions that
leverage cloud infrastructure in the future. The
CAPEX and OPEX models are changing and now
is the time to explore these to establish the most
cost-effective route to satisfy – or create – new
monetisation patterns.
To make a system cloud-ready, analyse your
media factory and understand where opera-
tion adds value to the media and files passing
through your system. Focus on the workflows:
modern workflow and business process systems
allow system administration adjustments without
recourse to the vendors. In other words, locate
the points in mapped workflows where ‘overflow
projects’ could be diverted to cloud service
providers. Also, analyse the amount of time
required by staff to modify workflows for external
diversion in time, investment and the impact to
current workload.
Once you understand the investment required
to configure your IT infrastructure as cloud-ready,
it’s time to understand the difference between
leveraging a service versus capital expenditures.
We suggest contacting multiple service providers
and investing time in a cloud cost analysis to
understand an operation’s decision points.
The MAM system should provide tools to measure
the capacity of the hardware systems attached
to its workflows: a method to monitor the daily,
weekly and monthly throughput of the opera-
tions. In most modern systems this reporting can
be automatic and used for dashboards, and it‘s
relatively easy to set triggers to alert the engi-
neering team when the workload is reaching a
critical decision point.
There are other cloud infrastructure advances
that can augment your media factory. With a
modern MAM/business process system employ-
ing browser and HTML5-based user interfaces, it
is extremely important to add secure access for
temporary workers at remote locations. Cloud
service providers are expanding services and it’s
now possible to add language translation, subti-
tle services, closed captioning, descriptive video
services, audio post production and more.
We can’t avoid the cloud, nor should we
want to, and as these services become more
prevalent, media executives are going to ask
more questions in order to compare operational
costs versus capital costs. Tedial’s unique
media IT solutions are assisting broadcasters
and content owners with their current and
future cloud requirements. n
By Jay Batista, general manager north American operations, Tedial
‘There’s no better time than now to investigate cloud services, by exploring
ways to work with these providers’
Case StudyLeveraging the cloud present and future
in association with
Tedial’s headquarters
23-30 TVBE Dec Supplement_final.indd 26 20/11/2015 15:59
new tvbe template remade.indd 1 20/11/2015 14:33
Which recent changes in the industry have had the greatest effect on MAM?Esther: The rapid growth of OTT and VoD services
and the proliferation of smart devices (tablets,
smartphones, etc.), as well as new consumer
models of consumption.
Media companies need to adapt their oper-
ations to this new scenario, but traditional work-
fl ows and onsite infrastructure used in content
preparation for linear channels are not effi cient
for massive fi le delivery. Media companies need
to move forward with technology and invest
in a new generation MAM if they want to be
competitive. This is a new age for MAM
technology, where the customers need to
execute global operations.
The volume of fi les that need to be managed
has increased dramatically and greater effi cien-
cy is required. Traditional MAM technology is not
capable of providing these advanced features
and high performance to media companies,
which need to trust in a platform that drives their
current and future business growth and guaran-
tees the profi tability of their operations.
How have you had to adapt your technology/business to meet these challenges?Esther: Tedial has released its platform Tedial
Evolution, which represents the new generation
MAM that can support the most demanding
requirements of state-of-the-art media compa-
nies in the world. This high-end solution has been
designed to be scalable, fl exible and adaptable
to address different business needs. Tedial has
created a powerful system with a common set
of functionalities that can be confi gured to fulfi l
business operation conditions.
Tedial’s system has been upgraded to scale
support for workfl ows, now managing hundreds
per second, and our true object relational
database has permitted the system to adapt IMF
methodologies so that expansive metadata can
now drive workfl ow operations with less and less
human interaction required.
Julian: The use of the IMF standard simplifi es
and standardises content delivery workfl ows that
are able to distribute to multiple platforms. This
orchestrates a heterogeneous farm of engines to
transform and package all content, simplifying
operational procedures and reducing costs. IMF
defi nes a CPL (Composition Playlist) that selects
which content should be delivered and an OPL
(Output Profi le List) to defi ne the transformations.
What are the key business requirements for broadcasters and content owners when selecting a MAM system?
Supplementvi TVBEurope www.tvbeurope.com December 2015
A MAM for our time
‘The broadcast industry has evolved into a media industry and video technology is
now IT technology’ Esther Mesas
in association with
TVBEurope talks to Tedial chief operations offi cer Esther Mesas and solutions director Julián Fernández-Campón about supporting the demanding requirements of media companies, adapting to the challenges of 4K, and rapid changes in the industry
23-30 TVBE Dec Supplement_final.indd 28 20/11/2015 16:00
TVBEurope viiDecember 2015 www.tvbeurope.com
Supplement
Esther: Modern, fl exible designs employing open
and SMPTE standards supply the most ‘future
proof’ systems, allowing long term, modularised
planning. Broadcasters and content owners
need a fl exible system that allocates business as-
sets and defi nes operations. For this reason, they
need to trust not only in the technology of the
system, but also in the experience of the vendor,
who together with the customer will design a
solution that maximises business operations using
optimal technical workfl ows.
Julian: It’s important that the MAM vendor pro-
vides fl exibility, to adapt the system to the broad-
caster’s current and future operations; scalability,
to upgrade the platform according to new
media processing and delivery requests; and
the ability to allow the broadcaster to choose
systems that are the best fi t for their operation.
What are the options for smaller broadcasters?Esther: Smaller broadcasters can start with a
minimum system and an infrastructure plan, and
design with the future in mind. Alternatively,
Tedial has partners that offer tenancy services
for smaller content producers and broadcasters
that want the fl exibility and benefi ts of a Tedial
solution as an affordable service.
How has the adoption of non-line-ar services changed the role of the MAM?Esther: Consumption habits have changed
dramatically and non-linear services have
turned the industry upside down. Traditional
broadcasters are disappearing and new media
companies are emerging. The broadcast industry
has evolved to a media industry and video
technology is now IT technology. A MAM system
is a pure IT solution that has become essential in
this IT media industry. The MAM has become the
footbridge between the video world and the fi le
world. Companies need to invest in a MAM that
provides an IT media solution that adapts their
facilities to the new IT features needed to deliver
non-linear services.
Today’s MAM must be integrated end-to-end
to provide the real benefi ts of the media factory
ideal. Tedial is one of the few systems to deliver
on this promise.
Julian: The major challenge is to produce more
content for the new consumption models in an
effi cient and cost-effective way. MAM vendors
need to offer solutions able to manage content
delivery to multiple platforms without complex
operational tasks.
What are the challenges and pressures of 4K and UHD on MAM systems? Esther: Tedial fi rst tested 4K fi le management in
2012 and we have adapted our Hierarchical
Storage Management tools and metadata
systems to fully support archiving, managing and
distributing UHD formats.
Julian: There are multiple aspects for MAM
systems when using 4K, including effi cient storage
management due to the high bit-rate of new 4K
formats; content management, ensuring that all
media in various formats is placed in logical con-
tainers to simplify operations; and workfl ow man-
agement, to design and optimise workfl ows that
manage 4K format acquisition and processing.
You launched Evolution earlier this year, what success has it had in the market?Esther: Tedial measures the success of the Evolu-
tion system in three ways.
Evolution has won the NAB 2015 IABM Game
Changer award and the IBC 2015 TVBEurope Best
of Show award indicating top technical approval
for ground-breaking innovations. We have seen
a 25 per cent increase in bookings year-on-year,
and fi nally, we are experiencing a record num-
ber of upgrade requests from our current custom-
ers who want to move from their existing version
of our software to the Evolution platform.
How do you see the industry changing in the next fi ve years?Esther: Today’s broadcasters and media pro-
ducers are going to see a rapid evolvement in
delivery systems and consumer demands. The re-
quirements for media factory applications driven
by OTT and VoD services will continue to increase
and systems must scale to address hundreds of
workfl ows per second and encompass end-to-
end solutions. n
A MAM for our time ‘MAM vendors need to offer solutions able to manage content delivery to
multiple platforms without complex operational tasks’
Julián Fernández-Campón
in association with
Esther Mesas, chief operations offi cer, Tedial (above) and Julián Fernández-Campón, solutions director, Tedial
23-30 TVBE Dec Supplement_final.indd 29 20/11/2015 16:00
new tvbe template remade.indd 1 20/11/2015 14:35
TVBEurope 31December 2015 www.tvbeurope.com
TVBEverywhere
There are so many different VoD and SVoD services in France, including Netflix’s, which launched last autumn. What makes MyTF1VOD so special?Four years ago, when our service changed its
name from TF1 Vision to MYTF1VOD, we begun
a major strategic shift from being a pioneering
provider (at the time our service was the only
one to show top American drama series 24 hours
after they were aired in the US) to becoming one
of the leading global VoD rental platforms in the
country, with one of the strongest and widest
content offerings on the French market. At any
time, the viewer can access over 6,000 premium
programmes on MYTF1VOD, of which around
half are films. To be able to offer such a wide
variety of films, including all the recent successful
theatrical releases, we have built very strong
partnerships with theatrical distributors. They
increasingly choose our platform to launch their
new films through dedicated cross-marketing
campaigns, as was the case with Mad Max: Fury
Road (we showed the film for a week before
any other VoD service). We have also become
widely accessible: our service can be viewed
on most set-top boxes and on virtually every
device, including smartphones and tablets,
whether Android or iOS. Our turnover has tripled
in four years: in 2014, it grew by 36 per cent, for
instance. We now have a 20 per cent share of
the French market, if you add up all the different
ways you can access our VoD content, up from
ten per cent four years ago.
Facing up to Netflix in FranceTristan Du Laz, who heads TF1’s VoD rental service MyTF1VOD, is betting on a new EST proposition to see off competition from the
likes of Netflix. Catherine Wright reports
“Our service was the only one to show top American drama series 24 hours after they
were aired in the US”
31 32 33 TVBE Dec TVBEverywhere_final.indd 32 20/11/2015 15:30
How do you explain such growth?It mostly boils down to our market knowledge
and expertise. We have more than 25 years’
experience in acquiring, distributing and
promoting video programmes in France, initially
on VHS then on DVD and now as part of our
VoD service. We are still a major Blu-Ray and
DVD distributor. But we are also keen to be at
the forefront of innovation when it comes to our
VoD service and have since the spring started
to release films as exclusive firsts on MyTF1VOD,
such as The Age of Adaline with Blake Lively and
Harrison Ford. The release created a fantastic
buzz and was a big success. The film was
released theatrically in the US on 2,900 screens
but we decided to only promote and release
it on premium VoD. That strategy, pioneered
by distributor Wild Bunch in France with the
Abel Ferrara film on Dominique Strauss Kahn
with Gérard Depardieu, makes sense because
so many films are released theatrically in our
country every week, and many last no more
than four weeks on the big screen. It is a difficult
editorial decision to make and it has to be the
right film for it. We also must handle all rights
exclusively, including theatrical and VoD rights
in order to be able to do that, but it is a path
we are determined to follow.
What do people prefer to watch on MyTF1VOD?Seven times out of ten, our viewers choose to
watch films, though American drama series are
also popular, as well as stand-up comedians
such as Florence Foresti, especially when they
have a new show in town. French legislation
on release windows changed in 2009 allowing
films to be launched on VoD platforms only four
months after their theatrical release, making
movies more attractive to a wide audience. As
most viewers watch films on the TV set, it is also
a cheap treat for the family: a whole group of
people can view a film for less than €5. Viewers
can also access our service on a wide number of
devices inside or outside of the home.
How many people watch MTF1VOD content on their tablets or smartphones?
Since the beginning of the year, a growing
number of people are watching our content
either on a device (smartphone/tablet) or
an OTT smart TV screen. It is an encouraging
trend but I cannot give you any precise figures
yet as we are still assessing these changes in
consumer habits.
Does your VoD turnover compensate for the loss in revenue from your DVD business?Not yet because VoD content can be rented
for a very cheap price – ranging from €2 to
€4 for each programme – compared to what
you pay to buy a DVD or a Blu-Ray. That’s why,
as of November, we have enabled people to
download MyTF1VOD content onto their hard
disk and to keep it and store it, for a price that
is lower than DVD but higher than rental. Before
that, people could download to own some of
our exclusive content but only by becoming
an Apple iTunes user. From November, they
can download MyTF1VOD programmes and
films on any device, whether Android or iOS.
It is a strategic move and the only way to
TVBEverywhere32 TVBEurope www.tvbeurope.com December 2015
www.asperasoft.commoving the world’s data at maximum speed
31 32 33 TVBE Dec TVBEverywhere_final.indd 33 20/11/2015 15:30
compensate for the decline in DVD and
Blu-Ray sales and make earnings grow.
What programmes are available for EST?From the start, several thousand programmes
are downloadable but our aim is to offer more
content than what is available for our VoD rental
service and that will happen during 2016, with a
medium term target of 10,000 titles. Right from
the start, we launched a greater choice of TV
series on EST. But we also have a wide back
catalogue offering which is not truly appropriate
for VoD rental because people want to first
access the latest successful releases. Around
70 to 80 per cent of the demand for VoD rental
on MyTF1VOD concerns new releases, so
there is a lot of scope to sell film classics or cult
programmes to viewers who want to own them.
For instance the Les Bronzés franchise, which has
cult status over here.
How has Netflix impacted your business?It is early days yet but I would say that pay-TV
operators such as Canal+ or OCS (Orange
Cinéma Séries) are the most at risk initially. But
when you look at countries like the UK where
Netflix and Amazon Prime have seven million
subscribers between them, Sky seems to be
doing fine and the same goes for HBO in the
US, despite Netflix’s 40 million subscribers.
The business certainly hasn’t collapsed, as some
pundits predicted at the time.
At the end of the day, we are all competing
for the viewer’s time and of course some of our
customers have made and will make the switch
to Netflix. We have adopted a different business
model, by going down the EST route and we are
not planning to offer a subscriber-based service
à la Netflix any time soon. The only exception
to this rule is TFou Max, a subscriber-based
offering of our children’s programmes,
available on telcos Free, Bytel and Orange
platforms. But we are also quite aware that
one of Netflix’s strengths is precisly its very wide
back catalogue library, so we will have to be
editorially inventive to compete.
One of Netflix’s key advantages is its brilliantly performing algorythm. Is TF1 studying new recommendation software tools along the lines of Canal+’s Suggest?We are looking at those aspects very closely
and we plan to develop new tools when we
have gathered more information from our EST
customers. Our service is not subscriber-based
and recommendation tools are especially
useful to counter their churn rate.
But, nevertheless, we will want to do
everything we can to keep and grow our EST
customers, so watch this space. n
TVBEurope 33December 2015 www.tvbeurope.com
TVBEverywhere
“One of Netflix’s strengths is precisly its very wide back catalogue library, so
we will have to be editorially inventive to compete”
31 32 33 TVBE Dec TVBEverywhere_final.indd 33 20/11/2015 15:30
T he hacking of Sony Pictures triggered
shockwaves throughout a security obsessed
fi lm industry, and in the UK we saw a bout
of government heebie-jeebies around the threat
of a heavyweight hacking attack seriously
damaging global trust in the UK production and
VFX sectors.
UK plc has a lot invested in fi lm via tax breaks,
and features support many thousands of jobs.
To sustain this jewel, via Innovation UK, we now
have the project CISE (Creative Industry Security
Environment) with the aim of creating a content
security protocol with accompanying open
source software tools by the end of 2016.
The project involves fi ve companies - Double
Negative, The Moving Picture Co, Framestore,
Sohonet, and Milk. The fi ve faces running CISE
are Graham Jack, CTO at Double Negative;
Ben Roeder the CTO of Sohonet; Nick Cannon,
director of technology and operations, fi lm, MPC;
Steve MacPherson, the CTO at Framestore; and
Dave Goodbourn, head of systems at Milk.
Jack is the project lead, because it all started
with him. “Innovate UK mentioned to
us that it was thinking of doing a project
around network security after what happened
to Sony Pictures,” he said. “I got more information
and met individually with Nick Cannon and
Steve MacPherson and said in the vaguest
terms there is a grant project around security.
They thought it was a good idea and
suggested we contact Sohonet.
“We had four involved, and when we got
Wavecrest involved to put the grant
application together it suggested getting
Milk involved,” he added.
“The whole project was structured around
protecting digital supply chains, and we are
looking at ways to defi ne a digital supply chain
in our business.”
That chain can be out to client or out to an
overfl ow facility such as Milk. The group has
looked at their different interests and Jack has
plumped to, “look particularly at how you defi ne
these kind of security templates, and how you
would use that to confi gure your hardware
The thing that’s most painful for us is just the
overhead of having to confi gure all of the
different systems: our workstations, fi rewalls and
switches. What we are looking at is a way to
defi ne a high level template which defi nes what
your security intent is,” he added.
This would be driven by client needs and
would be used to automatically confi gure
all of the different tools.
“That is the bit we are interested in and
Framestore is going to be working on that part as
well. MPC will be heavily involved in the testing
part of it, and Sohonet is particularly interested in
threat protection and real time traffi c analysis,”
said Jack. “The idea is that you defi ne this
template which says for this client this is the
security intent, then you confi gure your systems
in an automated way.”
This removes the overhead, and then
you monitor traffi c using Sohonet’s real time
traffi c analysis to see if anything is reaching
that template.
Feature34 TVBEurope www.tvbeurope.com December 2015
“In light of the Sony Pictures hack, post and VFX content security is very high on the
agenda for MPC and our clients” Nick Cannon, MPC
George Jarrett looks at how project CISE could eleviate security fears in the UK fi lm industry
Securing Britain: inside CISE
34 35 TVBE Dec Feature CISE_final.indd 54 20/11/2015 15:31
TVBEurope 35 December 2015 www.tvbeurope.com
Feature
“We will detect that threat as early as possible,”
said Jack. “The grant pays essentially 50 per
cent of our costs, so you have to make sure it is
something you want to do anyway. We would be
doing a lot of this work even if we did not have
the grant, and the really good thing is it is a way
of bringing companies together.”
The CISE group had just signed the grant
paperwork and had not had a first quarterly
meeting, but Jack foresees the finished project
impressing on a global scale.
“The most likely to bite would be the Motion
Picture Association of America, where the
biggest drive for security in our industry comes
from. We are hoping to get a buy-in from the
MPAA and from our studio clients, that this is a
good idea,” he said. “I am hoping by the end of
it we have a way of writing a security template,
and Sohonet will offer a service which will run on
all our network connections. It would enable us
to monitor traffic in and out of the building, and
compare that data with the security template.”
Looking at the patterns of content trafficNick Cannon opened by saying: “In light of
the Sony Pictures hack, post and VFX content
security is very high on the agenda for MPC and
our clients. CISE originated in that conversation
amongst chief technology officers and the
level of collaboration we talked about is where
Sohonet started out. We talked to Sohonet,
came up with some ideas and submitted that
to Innovate UK. It was fantastic when we were
awarded the funding.
“If you look at our global market share, at the
expertise we have developed, and the amount
of content that goes through London, content
security is vital,” he added. “This project is around
taking technology from other hi-tech industries
and seeing how we can apply it to the specific
needs of media content. We are working very
closely with Sohonet, seeing how we can do it
in a way that works for our types of budget and
technical environments.”
The application of deep learning technologies
will enable MPC to look at the patterns of traffic
in a network and identify anything that needs
looking at further.
“We are dealing with very large volumes of
data and traffic and typically with quite small
operational teams, so automation makes sense.
If you bake in your security into the automation
you know it is going to be applied all of the
time,” said Cannon.
“What CISE is going to do for us is give us more
of a level playing field between the different
companies. It will give the major movie studios
confidence that there is a constant security
scheme here, and build the level of expertise
we offer in the UK,” he added. “We are focusing
more towards the tail end of the project, on
validation and integration.”
MPC is owned by Technicolor, which will surely
buy into CISE when it is finished. And CISE has
been discussed already by some of the security
leaders in the big studios.
Standing on the shoulders of giantsSohonet has managed security for over 50
per cent of its customers for 15 years, and was
already increasing the level of inspection and
automation on the security monitoring side of
its business. Looking at the open sourcing of
security approaches and products as used by
the likes of Facebook and Spotify, Ben Roeder
will be taking a lot of that technology and
specialising it for VFX pipelines.
“We are standing on the shoulders of giants,”
he said. “Primarily the development side of CISE
will involve Sohonet and Double Negative.
The project is to benefit UK plc, to keep British
companies competitive. We are not doing
anything secret or particularly specialised. It is
about putting together a properly managed
service around the collection of different security
products out there, and building a platform out
of that,” he added.
“Security is much more about the practise and
providing the managed service than the silver
bullet you can buy. We run networking all round
the world and see this as an important step
forward on some of the security products that we
are developing anyway. It’s all about applying
the state of the art.”
It was Roeder who suggested Milk be brought
on board, to help make CISE work across the full
VFX market. Milk has a split between TV show VFX
and movie VFX of 75/25, and has taken overspill
work from many other VFX houses. Its biggest
recent credits include the VFX for Jonathan
Strange (1,000+ shots) and Doctor Who.
“We are not and never will be Double
Negative or MPC. We do not have a department
big enough to build our own systems and
don’t have pipeline developers,” said Dave
Goodbourn. “We use a lot of off-the-shelf tools
and services. We use Sohonet a lot.
“The CTO guys from the big companies
recognised that it is all well and good for them
to develop the CISE product but actually if the
smaller companies are going to be able to use
it we need to test it in our infrastructures,” he
added. “Most of our contribution will be from
a testing and implementation perspective –
just breaking their work. We will be testing
how well it implements in our kind of scale
facility. It needs to work across the board for
the concept to work, not just for half a dozen
companies. If it is successful and works as well
as everyone hopes, there is no reason why it
would not work globally.” n
34 35 TVBE Dec Feature CISE_final.indd 55 20/11/2015 15:31
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2015 was the year of…Dr Neale Foster, COO and VP global sales, ACCESS Europe: In EMEA, 2015 was the year of
accelerating premium OTT services, with Netfl ix
launching in multiple countries, Amazon Instant
Video rising to become the number one video
provider in Germany, and YouTube launching its
ad free premium service.
As well as services, the consumer was also
targeted with new device types such as
smartwatches, Hololenses and IoT devices.
This is great for the gadget freak and early
adopter, but for many people the simultaneous
acceleration in services and device types
leads to confusion.
What we’re fi nding is that our operator
customers see this as an exciting opportunity; by
providing easy-to-use packaged solutions that
combine simplicity with a great user experience
the operator can retain and attract customers
and perhaps even grow ARPU.
Dr Andrew Cross, president and CTO, NewTek: It is very tempting to say 4K or IP, but the reality
is that neither of those are really ‘there yet’,
although we are part of the way down the road.
This has been a year in which the real change
is that we are increasingly headed towards
IT-based solutions (not meaning IP) for the
next generation of systems. This is not just
about IP, which is what everyone is talking
about, but rather a broader shift of the
professional video world towards solutions that
are based on general purpose computing,
processing and transport.
Guido Meardi, CEO and founder, V-Nova: 2015
was the year that proved that the market needs
new solutions to solve an overwhelming and
growing demand for video services. These seem
to be coming from new market entrants, who
can gain ground on even the most established
leaders with the right innovation.
In video compression, this year we saw the
fi rst serious challenges to MPEG’s hegemony
in a decade. Since the mid-2000s it started to
become clear that legacy codecs might be
insuffi cient to meet accelerating demand for
OTT and streaming video, without signifi cant
infrastructure investments.
As the industry moved towards the introduction
of HD and UHD the emergence of compression
technology that could change the industry’s
trajectory was an imperative, though not an
inevitable outcome. The introduction of our
compression technology, Perseus, in April this
year, turned legacy approaches to encoding
on its head, moving from block-based algorithm
to hierarchical and scalable functionality that
delivers bandwidth benefi ts up to two to three
times legacy codecs such as H.264/AVC, H.265/
HEVC, and JPEG2000 in real life situations.
TVBEurope 37December 2015 www.tvbeurope.com
Feature
2016: Trendspotting2015 saw the rise of premium OTT offerings, increasing hype around 4K/UHD, and non-traditional broadcasters successfully entering the market. TVBEurope asked a selection of industry fi gures to share their predictions for what the next 12 months will hold
“The imminent technological breakthrough that will transform the entire industry will
be IP-related and it will happen faster than many might think”
Andrew Cross, NewTek
37 38 39 TVBE Dec Future Trends_final.indd 55 20/11/2015 16:21
Steve Plunkett, CTO, Ericsson Broadcast and Media Services: 2015 was the year of IP. It has
been around since the 1970s but it is finally being
embraced in the broadcast real-time video
domain. We are only at the beginning of this
journey but it was one of the most referenced
technologies at NAB and IBC.
What have we learnt most about the industry in the last 12 months?NF: 2015 saw operators understand and relish the
opportunities of going beyond the business of
content aggregation and distribution. Many of
the most successful operators are building their
own solutions from technology components that
are standardised and easy to integrate. 2015
also saw the pace of change really ramp-up
for operators. We’re confident that the operators
that thrive in 2016 will be those that can adapt
almost instantly to new trends and that data
and analytics will be key to getting these
adjustments right.
AC: It is clear that the trend towards a much
broader reach of video is increasing, indeed
we are just at the start of this process. In the
traditional broadcast industry, people are starting
to produce more content that is increasingly
local and relevant to individuals, but with smaller
audiences in many cases. This also means the
traditional cost models are changing as well as
the balance between requirements and cost.
Outlets that were not traditional broadcasters
are more and more becoming the mainstream.
GM: 2015 wasn’t all about rivalry and
competition. In fact, it proved that
interoperability and collaboration will be
fundamental to innovation.
Google’s decision to partner with four content
delivery networks to improve its service is a
key rebuttal to those who argue that industry
giants will swallow the smaller, highly specialised
innovators. There will always be a need for
independent companies that offer advanced
solutions, as they are often best placed to ensure
continuous technical evolution.
At this pace of change, the emerging video-
tech businesses that will have the greatest
success will be those that develop solutions
that can integrate with legacy technologies
and existing infrastructure, as much as enabling
improved services. Similarly, established
consumer video businesses will need to
embrace the arrival of new technologies
and even competitors.
The next few years will see a blurring of the
line between partner and competitor as the
strongest companies will look to specialists,
particularly in the areas of virtualisation, CDN and
compression technologies, that can increase
efficiencies and improve quality while meeting
the rapidly rising video demand.
SP: We really are in the midst of a major
technology transition (IP, software, virtualisation,
cloud, etc) and it will be a bumpy ride but
there is genuine excitement (nervous or
otherwise) about the journey ahead. Oh,
and it turns out you can successfully launch a
UHDTV channel in 2015.
What will be the next big technology breakthrough?NF: Technology continually evolves in steps,
which sometimes makes it difficult to back
a winner. It was not so many years ago
that streaming was experienced by most
of us as small boxes of grainy video, which
stopped to buffer every minute or so. After
many incremental increases in a number
of technologies in the components and
infrastructure enabling streaming media,
OTT video now competes on level terms with
broadcast rivals in terms of quality, flexibility and
ease-of-use. We see the next big thing as being
the combination of information from different
www.tvbeurope.com December 2015
Feature38 TVBEurope
“2015 saw operators understand and relish the opportunities of going beyond the
business of content aggregationand distribution” Neale Foster,
ACCESS Europe
“IP has been around since the 1970s, but it is finally being embraced in the broadcast
real-time video domain”Steve Plunkett,
Ericsson Broadcast and Media Services
37 38 39 TVBE Dec Future Trends_final.indd 56 20/11/2015 16:21
TVBEurope 39December 2015 www.tvbeurope.com
Feature
services and solutions generating completely new
commercial opportunities, such as cross-selling,
enabling better service packaging through more
accurate customer knowledge and automation.
These developments will enable operators to
provide consumers with flexible personalised
entertainment services.
AC: The imminent technological breakthrough
that will transform the entire industry will be
IP-related and it will happen faster than
many might think. We are already starting to
trend away from the traditional workflows into
something that will eventually replace them.
2016 should see some major advancements
along these lines.
GM: 4K/UHD delivery was at the top of the
agenda in 2015. This was well reflected at IBC
where a number of broadcasters committed to
move into the space over the coming year, and
shipments of 4K TVs had a dramatic 197 per cent,
year-on-year increase in Q2 2015, as reported by
IHS. Even so, industry adoption hasn’t made the
gains that the buzz might suggest.
This lack of momentum has been primarily
due to the cost of overhauling today’s
infrastructure to acquire, process and distribute
UHD video. As a consequence, UHD has
remained a difficult prospect for many operators
until this year. In 2016, the video industry must
bypass the incremental compression gains of
legacy codecs and the unrealistic need to
constantly require a complete infrastructure
change to deploy new services. We will need to
embrace technologies that enable far greater
efficiency and flexibility within our existing systems,
including lighter clients, more virtualisation and
novel encoding technologies. It does not stop
at 4K/UHD; the industry needs to embrace
technological breakthroughs, including codecs,
that allow for a wide-scale transition to 4K/UHD
as a mainstream reality and starts to make 8K an
achievable ambition.
SP: Composable media and infrastructure: micro-
services-based distributed broadcast systems and
object-based media. Together they will change
how content is produced, managed, distributed
and consumed forever. n
“The next few years will see a blurring of the line between partner and
competitor” Guido Meardi, V-Nova
37 38 39 TVBE Dec Future Trends_final.indd 57 20/11/2015 16:21
The rise of cloud DVR, Sarah Paris-Mascicki
Since the first video tape recorders of the
1980s, the ability to record a single TV
channel has extended to multiple tuners
and live TV pausing and ultimately as a function
embedded within modern set-top boxes (STB).
However, the huge quantity and diversity of
content as well as viewers demanding more
multi-screen playback flexibility is forcing the in-
home DVR to adapt.
Moving to the cloudInstead, operators are looking at cloud DVR
(cDVR) solutions that move the recording and
playback of shows into the network, potentially
solving several issues but also throwing up a
few challenges. The major benefit is cost,
particularly in terms of lower equipment and
installation costs, which are often borne by the
operator. With a core component of a spinning
hard disk, device failures also force additional
servicing costs and impact subscriber satisfaction
as recordings disappear into the ether due to
component breakdowns. cDVR benefits include
the removal of limitations on simultaneous
recordings and local storage capacity. With
recordings now in the cloud, playback on set-top
boxes in other rooms and even mobile devices is
made easier although legal issues abound.
Most significantly, this move allows operators
to answer their subscribers’ demands for new
services such as multi-device and multi-room
delivery that are not possible with an in-home
STB. Additional services like pause live, start over
or recording in the past can be added on the fly
once the move to the cloud has occurred.
Shared copy vs private copyHowever, switching to a cDVR model is not an
instant panacea and has both technical and
legal issues that are closely related. In theory,
the least complex method of deploying a cDVR
would be to make a copy of all transmitted
content and allow each cDVR subscriber to
effectively tag an item they wish to ‘virtually
record’, essentially creating a playlist of content
that is stored once and served up through a
scalable origin server. This essentially turns the
cDVR function into an SVoD service with a rolling
catalogue of content based on transmission
schedules. However, the legality of this
approach is dependent on jurisdiction, channel
agreements and in some cases individual shows.
To meet these issues, some operators are
instead deploying private copy cDVR. In this
instance, if 5,000 customers put a sporting event
on their DVR, the vendor needs to store 5,000
copies of that video in the cloud. This presents
major challenges, as capacity requirements are
not just huge, they're also difficult to predict.
Playout is erratic, and storage volume constantly
changes. Consistent high throughput read
and write is critical.
Mature technology In some instances, a hybrid mix of shared and
private copy may be a viable way to reduce
content rights restrictions and help meet local
regulations. Both approaches benefit from
mature software and processes for deploying
cloud DVR, which have been refined in the
growth of time shifted TV over the last few years.
Real-world experience can also help alleviate
the difficulties of integrating with an existing
infrastructure, increase time-to-market and
even reduce some of the cost associated with
setting up such a large new solution. The main
challenge for operators is defining the business
model for switching to the cloud versus in-home
DVR and each operator poses a unique set of
legal and technical criteria.
Another consideration is designing delivery
networks able to meet demand, with studies
showing that 12 per cent of viewers are
accessing cDVR services like catch-up during
peak hours. cDVR is still a small market with
research estimating that 4.6 million subscribers
will have access to services in 2015. However, as
more viewing minutes move to on-demand and
away from linear TV, cDVR advanced features
like relevant ad-insertion into recorded content
will become a significant revenue generator and
and may prompt more operators to make the
switch. may prompt more operators to make the
switch.
IP workflows, a phased journey, Jonathon Morgan
The impact of IP workflows in the media
industry, as of today, sits somewhere
between phase one and phase two.
Phase 1, Panic: capture becomes digital.
Disaster! Where and how do I protect this digital
content? My production storage is overfull. I
better copy the data on to a tape to back it up.
So much for an on-demand IP workflow.
Phase 2, understanding: Time to stop treating
‘digital’ content like it is a Digibeta ‘tape’. I need
access to it throughout the production and
distribution process. I will buy a scalable nearline
storage platform to ingest/park the data. Now
I can create media libraries of core company
footage, and digital archives of accessible
data. Having all that digital data available is
becoming a lot more useful and a lot more
integrated. We don’t miss tapes at all. But for the
annoying offline backup processes IP workflows
are now adding real value. Phase 3, protecting
your back: You’ve now got all your data in one
Feature40 TVBEurope www.tvbeurope.com December 2015
Talking heads: storage and archivingSarah Paris-Mascicki, product marketing manager at Ericsson, and Object Matrix CEO Jonathon Morgan discuss moving content to the cloud, and the impact of IP workflows
‘The huge quantity and diversity of content as well as viewers demanding
more multi-screen playback flexibility is forcing the in-home DVR to adapt’
Sarah Paris-Mascicki, Ericsson
40 41 TVBE Dec storage and Archiving_final.indd 54 20/11/2015 16:26
TVBEurope 41December 2015 www.tvbeurope.com
Feature
place. But when data is in one place it is prone
to disaster: floods, viruses, malicious individuals,
human error. But we don’t like tape archiving:
it’s time-lagged, manually intensive and error
prone itself. Average down times can be 18
hours or more and that is with multiple copies of
content on LTO. Disaster recovery strategies with
digital data are increasingly cost efficient and
sensible (protecting the company and… your
back) with the data digitised. Production work
can continue at a second location within
minutes of the first going down. IP workflow
suddenly becomes essential.
Phase 4, The new world: Media convergence,
OTT delivery, non-linear programme selection,
editors being able to edit from one location whilst
data is captured at another. Full production
facilities available as a service – rented for just
a few weeks and then passed on for the next
user. These are but a few of the benefits bursting
through now that IP workflows are building up
steam. At Object Matrix we call it ‘wide area
nearline’ – data is shared over a wide-area and is
far more than purely a ‘disaster recovery’ second
or third copy. It integrates into the way creative
professionals work today and meets the demands
for real-time delivery of content.
From full tape workflows, only a few years
ago, to the media convergence of today,
the IP workflow is not just changing the way
data is stored but the way content is shared
and delivered.
The media industry has long realised that the
best ‘building blocks’ for IP workflows are not
filesystems and databases: that’s why formats
such as AS11 exist, to combine data and
metadata into an easily transferable asset,
that is self describing and non-proprietary.
Sure, those assets are dropped on to
filesystems and the metadata extracted into a
database, but almost as soon as you’ve done
that you have to extract the asset again to put it
somewhere else. Hence in IP workflows there has
been a rise in object storage platforms that keep
the data and metadata together, and can apply
policies to automatically copy or move the data
across multiple locations.
Those platforms can link across geographies,
HSM to other tiers of storage and can integrate
into the workflows you use, sharing and
enhancing the metadata available in those tools
to find and manipulate the assets.
The IP workflow has fundamentally reshaped
the way we all work, but it’s only truly reached
the first few phases of its implementation. The
future is more flexibility, more integrated, easier to
use and with ever lowering infrastructure costs.n
‘The IP workflow has fundamentally reshaped the way we all work, but it’s only
truly reached the first few phases of its implementation’
Jonathon Morgan, Object Matrix
40 41 TVBE Dec storage and Archiving_final.indd 55 20/11/2015 16:26
Media is being consumed by the
broadcasting industry at a phenomenal
rate. And it is set to increase. What’s
more, that media now spreads across multiple
formats and platforms. So just how do you
handle all that content? Media asset
management provides the solution, but what
issues do such systems raise?
Taking part in the discussion are (in
alphabetical order) David Abel, director of sales,
Europe, Asia, Middle East and Africa for Tedial;
Ben Davenport, director of marketing, Dalet; Niall
Duffy, head of IT and workflow solutions, Sony
Professional Europe; Craig Dwyer, senior director,
Avid Center of Excellence; Jeff Herzog, Flow
product manager, EditShare; Karl
Mehring, director of playout and delivery, Snell
Advanced Media; Savva Mueller, director,
product management, Masstech; and Oscar
Tengwall, product manager, Vizrt.
How can the right MAM help to monetise content?Abel: Automating repetitive tasks and workflows
with accuracy, managed by a MAM that
integrates the business systems driving the
workflows, saves labour. Employing a system with
a web-based HTML5 GUI that permits accurate
searches, allows users to access their tasks on
smart devices such as tablets and smartphones,
and provides fast and secure work management
saves money. A modern MAM engine that
permits web interfaces can provide a portal
for consumer downloads: a clear monetisation
scheme. Sharing content between regions, both
inter- and intra-company also provides ways
to monetise assets, especially if the MAM tools
can provide partial file restores to high definition
formats, or automated deliveries.
Davenport: The power of a smart MAM lies
in the metadata. At a simple level, rich
metadata – technical, descriptive and
statistical – enables you to quickly search
and sort media, selecting assets you want to
publish. At a deeper level, metadata can help
you target your content. For example, pairing
targeted advertising with complimentary content
increases the potential value of that content.
Managing your media
42 TVBEurope www.tvbeurope.com December 2015
Forum
Philip Stevens moderates a discussion on the benefits and challenges of media asset management systems, a vital part of just about every company’s technology
42 43 44 45 47 48 TVBE December Forum_final.indd 42 20/11/2015 16:28
TVBEurope 43 December 2015 www.tvbeurope.com
Forum
Duffy: MAM platforms have historically been
siloed systems that lack collaboration and
interoperability, unable to support multiple media
formats, and this has been an obstacle to asset
monetisation. Earlier this year Sony launched
Media Navigator, a scalable solution to deliver
flexible asset management and support a wide
selection of applications. This intuitive new
platform means little or no technical knowledge
is required, keeping costs down by removing the
need for additional training.
Dwyer: Media environment enterprises are under
intense pressure to improve content monetisation
and maximise operational efficiency. They’re
expected to do more – to create more content
for more platforms and deliver it to more people
– so they have to find new ways to secure
revenues, differentiate services to earn audience
loyalty, and deliver all these services at a lower
cost. One of the key routes to achieving this goal
is through media asset management. Originally,
asset management was seen as a low-level
function, a means of keeping track of content,
especially as the repository became a set of files
stored on servers or in a data archive. Today,
the MAM system is seen as a key strategic
investment, providing wide-scale access to
content, and taking an active role in identifying
and promoting content that has an attached
revenue opportunity. And as the repository of
metadata, it’s seen as the heart of workflow
processes and automation.
Herzog: The right MAM puts advanced media
search and restoration capabilities directly in
the hands of the end users who are producing
content. As we talk with prospective customers
about our solutions, it has become clear that in
many cases, facilities’ existing legacy archiving
systems are not well – if at all – integrated with
asset management. If you want to find and
restore a piece of media, some sort of human
intervention is often required to match the
request manually back to the archive and
initiate the restore. What good is having an
archive if content producers can’t get to the
material? Removing these barriers to the archive
and ‘democratising the media’ can have a
tremendously positive effect on monetisation and
utilisation of the stored value in archived content.
Mehring: It is all very well to catalogue your
assets within a MAM, but the right system needs
to have powerful and repeatable search
capabilities that allow valuable assets based
on metadata, captions, speech or logged key
frame information to be found. Add to this the
ability to edit and create new versions of assets
for re-monetisation and deliver to the multitude of
different platforms for consumption. Furthermore,
in the case of service providers, the right MAM
would include statistical reporting allowing
analysis of which processes materials have
been through for billing purposes: as well as to
understand system capacity.
Mueller: Of course, any MAM should make it easy
to locate ‘high-profile’ stored content and get
it out in the appropriate formats for your target
distribution channels. One way in which a MAM
can really add more value, though, is in its ability
to uncover ‘hidden gems’ such as older content
or that which has appeal to a specific niche.
Often, the monetisation value may not have
been obvious when it was first archived. Robust,
easy and precise search tools, including the
ability to search unstructured data, enable such
content to be readily found, while an accessible
API for interfacing with B2C and B2B commerce
systems opens up new direct and indirect
monetisation opportunities.
Tengwall: Time is money in our business and a
MAM system’s primary job is to bring speed and
efficiency. That is both about reusing media
effectively, having a high-degree of automated
workflows, and making sure that teams and
departments can collaborate effectively. Beyond
this, MAM provides an operational flexibility to
add more outlets for media, whether it’s new
broadcast channels, new online channels, or
even B2B portals for selling media.
Has the cloud made any difference to MAM products and technology?Abel: Modern enterprise MAM architecture
such as Tedial Evolution is fundamentally
designed to be ‘cloud ready,’ to leverage
the scalability in services available from
cloud providers. Applications include temporary
or long-term storage, scaling transcoding
and quality control services, OTT and VoD
distribution methodologies and a myriad of
support services, such as translation, audio
description and subtitling.
An important innovation of Tedial Evolution
leverages our true object relational database
to permit thousands of users on any security
authorised browser portal to upload or manage
‘The right MAM puts advanced media search and restoration capabilities directly in the
hands of the end users who are producing content’
Jeff Herzog, EditShare
42 43 44 45 47 48 TVBE December Forum_final.indd 43 20/11/2015 16:28
44 TVBEurope www.tvbeurope.com December 2015
Forum
associated media, expanding the potential pool
of employees around the globe.
Davenport: Not to the technology per se, but
to the way that technology is implemented and
the business around it, absolutely. Virtualisation
and cloud have the potential to fundamentally
change the way we approach the media
economy – the ability to switch on/off publishing
channels with little more than a click of a mouse,
experiment with new revenue streams with
minimal investment, or build a ‘virtual facility’
to cover special events. This enables us to do
things that aren’t practical or cost-effective with
traditional on-premise infrastructure.
Herzog: The cloud is indeed having a huge
impact. In our experience, when customers say
they want ‘cloud capabilities,’ what most of them
mean is the ability to open up their production
workflows and assets to people outside their
facility. With EditShare AirFlow ‘Private Cloud,’
collaborators anywhere in the world can use
a standard web browser to play, log, search
and organise media content, and also upload
and download content directly to and from
central storage systems, without the security and
bandwidth concerns associated with storing and/
or transmitting full resolution media to and from a
public cloud location.
Mueller: In many respects, the industry’s current
buzz about the cloud has changed the way
people talk about existing asset management
technologies and concepts more than it
has changed the technologies and
products themselves.
A fundamental proposition of good MAM
systems was already enabling anyone in an
enterprise to access any of its content from
anywhere. Virtually centralised storage pools
and what are now called ‘private clouds’
were already core to the idea of media asset
management even before the cloud became
a buzzword. In that respect, the public cloud
becomes just another storage location.
As of today, more of our customers interested
in cloud concepts have a preference towards
implementing a private cloud solution than public
cloud, whether for technical reasons, contractual
restrictions (such as broadcasters who licence
content under contracts that prohibit third-party
storage) or other business or legal concerns (such
as news editorial producers concerned about
forced government access).
Forum
“Time is money in our business and a MAM system’s primary job is to bring
speed and efficiency”Oscar Tengwall, Vizrt
42 43 44 45 47 48 TVBE December Forum_final.indd 44 20/11/2015 16:28
TVBEurope 45 December 2015 www.tvbeurope.com
Forum
What changes have you seen in the use of MAMs over the past two to three years?Dwyer: Across the globe we see clients thinking
about the end-to-end media life-cycle and
starting to plan more holistically across the
operation. This is most evident in three key
areas. First, with standards like DPP emerging for
post production to broadcasters supply chain
integration, we see more clients realising the
opportunities. The next wave of benefits provide
improvement in quality and consistency, as
post production facilities and broadcasters
deploy new, highly automated ingest and
QC operations. Next, we see clients reviewing
their archiving and library operations. Most
large broadcasters have considerable film and
tape archive repositories. As a prerequisite
to leveraging the content and creating new
streams of revenue, those assets needs to be
digitised, annotated and easily available to their
production teams. Finally, there is a considerable
focus on using media asset management
techniques to optimise digital distribution and
content packaging and promotion.
With increasing demands on the speed and
variety of OTT video and social media publishing
platforms, creating the most efficient, predictable
and high quality output in a wide range of
formats has become paramount.
Duffy: Users have now fully embraced all the
functionality that modern MAMs can bring -
from large-scale, multi-site archiving to real time
syncing whilst on location - rather than purely
seeing them as one-trick tools for managing a
single, static archive. Based on our research and
user insights, we know that small to medium-
sized companies often manage their media
back-up on portable hard drives, using Excel as
their database. This is time-consuming and often
results in misplaced or lost files, and explains
why users are investing in a MAM which acts as
an insurance policy whilst also increasing the
efficiency of their workflow.
Mehring: In past years MAMs were little more
than a database to index and track media.
More recently, MAM vendors have introduced
new features to allow review and editing of
assets, logging of key frames, advanced search
techniques - to name just a few. Only now are
the best MAM products providing new levels
of automation of workflows. These have to be
flexible to allow for changing requirements and
make it possible for the approved user to do
without calling the vendor to make modifications:
a key point of SAM’s Momentum.
Tengwall: The biggest shift we’ve seen is in
what is being consolidated into the MAM.
Consolidation or integration of tools is by no
Forum
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
January • Launch of new sections 4th Dec December 2015 27th November • MAM Leaders Series roundtable • BVE Preview • Vision mixers February • BVE • BVE Show issue • Virtualisation 15th January 8th January • ISE March • CABSAT • NAB Show Preview • UHD feature 12th February 5th February April • NAB • BVE Review • NAB Show issue 11th March 4th March • TV Connect 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
EDITORIAL PLANNER 2016
Europe Ben Ewles: +44 (0) 20 7354 6000 [email protected]
Richard Carr: +44 (0) 20 7354 [email protected]
Nicola Pett+44 (0) 20 7354 [email protected]
USA Mike Mitchell +1 631 673 0072 [email protected]
For all advertising and sponsorship opportunities, contact the sales team:
“A modern MAM engine that permits web interfaces can provide a portal
for consumer downloads - a clear monetisation scheme”
David Abel, Tedial
42 43 44 45 47 48 TVBE December Forum_final.indd 45 20/11/2015 16:28
Save the Date for IBC2016IBC thanks everyone who was part of the IBC2015 experience and we look forward to seeing you at IBC2016 at the RAI Amsterdam.
IBC, Third Floor, 10 Fetter Lane, London, EC4A 1BR, UKt. +44 (0) 20 7832 4100 f. +44 (0) 20 7832 4130 e. [email protected]
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means, in itself, new - but what is fresh are the
tools and types of workflows being integrated into
the MAM. One example, is Mosart VoD publishing.
With this technology, customers can easily
produce VoD variants for web and mobile with
very high resolutions and added graphics, with
all configuration done via web-based interfaces.
The second change is that customers’ direct
usage of APIs has increased significantly. More
and more have built teams in-house that can
control, integrate and automate different
systems in their production pipeline. This is also
changing their buying habits, as they will look
for a particular piece that fits their puzzle, and
be adamant that there are extensive open
APIs to fit that piece. Thirdly, it is clear that
the coming together of web and online is
changing how broadcasters use MAM. More
and more broadcasters need to publish content
to online and mobile platforms. Traditionally,
this production was handled by separate
departments, on separate systems, which resulted
in an ineffective handoff between teams and
cumbersome workflows. What we see now is
the online production being brought into the
same systems, allowing staff to produce video,
graphics, stills and metadata for broadcast,
web and mobile.
Are MAM systems seen as a single product or solution, or a platform for managing all types of media assets?Davenport: Yes, and often all of the above,
but this does not equate to MAMs being an
isolated silo in the organisation.
Mehring: At Snell Advanced Media, we have
solution sets that span the entire media value
chain, whilst at the same time offering full
integration to other’s products to suit individual
needs. A given MAM needs to be able to
interoperate with any number of third-party
systems as well as customers’ own business
systems via standard interfaces such as FIMS or
an Enterprise Service Bus.
Mueller: The best MAM systems serve as
comprehensive platforms not only for
managing all types of media assets and their
related information, but also for enabling unified
workflows that seamlessly bridge operational
processes and systems. The full potential value of
media assets can be best realised when the
MAM not only supports all types of assets –
video, audio, graphics, images, etc, – but also
the relationships between those assets and
additional relevant documents such as scripts.
Tengwall: The term today is very broad and I
think the application of MAM technology
covers both use cases. Take our own MAM:
we sell it both as an out-of-the-box solution for
video production as well as managing clips
and stills for playout. But we also offer it as an
enterprise platform that can manage all types
of production and assets. We use the same
technology – the same software release – it
just depends on how we configure it and what
additional add-on modules and integrations are
connected to our third-party Rest API.
What developments can we expect from the next generation of MAM systems?Abel: Tedial Evolution has defined single screen
OTT and VoD management tools for efficient
distribution of content to non-linear services.
It leverages a template design and the IMF
methodologies to enable speedy configuration
and automated delivery workflows. Our
continued integration to business platforms
including Traffic, Rights and DAM systems
continues to expand the enterprise capabilities
of our solutions.
Davenport: As we increasingly exploit the
possibilities of cloud and virtualisation, MAM
is evolving in response. Security, mobility and
scalability all take on greater significance. The
latest features elevate users above the ‘heavy
lifting’ and grind of complex media operations
fostering creativity in traditional artistic roles - such
as editing, but also in business and administration
functions. Together, these combine to enable
media facilities to not only realise the value
of assets, but also innovate and discover new
efficiencies and revenue streams.
Duffy: We will likely see further development in
the core capabilities of MAM platforms, as they
incorporate greater compatibility with more
media formats and systems, ensuring they can
better orchestrate media assets across entire
TVBEurope 47 December 2015 www.tvbeurope.com
Forum
“Today, the MAM system is seen as a key strategic investment, providing wide-scale
access to content, and taking an active role in identifying and promoting content that has an
attached revenue opportunity”Craig Dwyer, Avid
From top: Jeff Herzog, EditShare; Karl Mehring, Snell Advanced Media; Savva Mueller, Masstech; and Oscar Tengwall, Vizrt
42 43 44 45 47 48 TVBE December Forum_final.indd 47 20/11/2015 16:29
organisations. We developed Media Navigator in
response to the needs of our customers, providing
a MAM platform for small and medium-sized
organisations. We expect the next generation
of MAM systems to refl ect this requirement for
scalability and fl exibility.
Dwyer: The next generation of MAM systems
will need to address the critical pain points that
media organisations face. One is the digitisation
of media and the world that we live in. There’s
increasing consumer infl uence over content,
how, where and why they watch content, and
whether or not they’re willing to pay for it. And
there’s continual pressure to improve operational
effi ciency. The next phase of MAM development
requires a number of cross-industry challenges
to be addressed. The fi rst is interoperability to
enable a wide range of content processing,
packaging, manipulation, and storage systems
to be integrated into a unifi ed environment. The
second is enabling systems to easily capture,
track and share metadata, making it far easier
to leverage content and improve reuse. Using
the Avid Connectivity Toolkit, we are working
with the industry to ensure a robust, standardised
integration methodology.
Herzog: With the increasing adoption of 4K+
production, we’re seeing things come full
circle with offl ine/online workfl ows. Once upon
a time, offl ine/online was the only available
model because storage space and computing
power were relatively expensive and scarce
compared to the SD and early HD bitrates of the
day. Of course, though computing power and
storage have since caught up to the demands
of HD, now UHD resolutions have set this race
off anew, forcing us back into an offl ine/proxy
online/mezzanine conform model. Furthermore,
remote workfl ows have also heightened the
need for proxies. We can expect that the next
generation of MAM systems will better manage
the complexities in managing, tracking and
conforming assets that each has with multiple
versions and multiple resolutions.
Mehring: One area of development here will be
direct creation of packaged formats for online
consumption on various platforms, removing
this particular hurdle from media organisations.
Another area would be direct interaction with
social media sites to facilitate fast publication of
near live video snippets allowing organisations
to push content out as quickly as possible to a
diverse set of platforms.
Mueller: The next generation will continue to
emphasise and enhance the discoverability of
assets in a variety of ways – from automated
metadata generation from the content itself
– such as through image recognition, to more
sophisticated logic to create associations
between different assets. There will also be
further evolution of the natural language query
capabilities we’re currently featuring across
mixes of both structured and unstructured
data, as well as further extensions to our ability
to transparently mix more media types and
disparate systems in combined workfl ows.
Tengwall: The fi rst development that needs
to happen is that many of the old systems
must get to current, state-of-the-art
architecture for a MAM.
This means they have to implement the type
of web technology like Rest APIs, caching, and
event-based processing that Google, Apple,
Yahoo, Facebook, Twitter and Amazon are
using as their foundation.
Moving forward and talking about the
true next generation systems, we will see
even more integrated and centralised control
and management with greater built-in tools
and fl exibility, and access from anywhere
in the world. n
48 TVBEurope www.tvbeurope.com December 2015
Forum
Clockwise: David Abel, Tedial; Ben Davenport, Dalet; Niall Duffy, Sony Professional Europe; and Craig Dwyer, Avid
“There is a considerable focus on using media asset management
techniques to optimise digital distribution and content packaging
and promotion” Craig Dwyer, Avid
42 43 44 45 47 48 TVBE December Forum_final.indd 48 20/11/2015 16:29
To confirm your advertising space in any of products, contact the sales team now:
International: Gurpreet Purewal T: +44 (0)20 7354 6000 E: [email protected] McCarthy T: +44 (0)20 7354 6000 E: [email protected]
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your standBY MONICA HECKThe Internet of Things is set to turn the ‘integrated systems’ that make up Integrated Systems Europe (ISE) into a single unified ‘integrated system’, according to futuristic business mastermind and consultant Lars Thomsen.
Speaking on the main stage during the ISE Opening Keynote speech, Thomsen predicted the future of the AV industry would depend on the IPv6 Internet standard, which would create a rapidly growing “digital nervous system” across the world not unlike the current energy grid everybody is used to.
“In 10 years, 1,000 devices per human will be connected to the internet and this digital nervous system will incorporate all aspects of things that are important to humanity,
such as comfort, energy, security, education and so on,” he said.
“Right now there are different halls in this trade show representing different parts of the industry. We are now at a tipping point where we
don’t have to think about isolated systems, but rather about moving onto a system that incorporates the internet as its backbone.”
Tipping points are a key concern of Thomsen’s, who doesn’t use slides
during his keynotes but prefers to let the audience connect the dots and imagine the future he describes.
“Tipping points are points in time where a new technology, or business model is cheaper and better than the way we did it in the past,” added Thomsen, listing the victory of artificial intelligence and robotics over ‘dumb technology’ as tipping points to look out for.
“Within 520 weeks, we will get to a point where robots can work in households or in elderly care, they will reach a price point where they are cheaper than employing humans for the same task. The implications to our society are big.”
“We have to do more than just look for trends, instead of waiting for the future we have to find the next tipping point and actively create that future,” he concluded.
The future: Integrated System Europe?
ISE is a joint venture partnership of:
www.iseurope.org
OFFICIAL NEWSPAPER OF
SHOW HOURS: Tuesday 10 February 09:00-18:00 Thursday 12 February 09:00-17:00Wednesday 11 February 09:00-18:00
Digital Signage p10 Residential solutions p27 Unified Communications p56 Smart Building p62 Professional Development p68
BY LINDSEY M. ADLER
A vacuum in professional computing has resulted from the evolution from desktop to laptop to mobile device. John Underkoffler, CEO of Oblong Industries, views the world through pixels and sees them as the key to filling that hole, which he shared in his Smart Building Conference address: “The Future of Work – Workplace Collaboration Thrives in the Spatial Operating Environment”.
As an advisor to the film Minority Report, Underkoffler shared a clip he musingly hoped was “the last time we have to look at this.” Instead of being wowed by the ahead-of-its-time gesture technology, something he derided as “not what’s important,” attendees were asked to look for what was missing.
“This sequence is as much about the collaboration and the room as it is the UI.”
Applying that to today’s business technologies, he asked,
“How does computation extend [the] room? It doesn’t. [Modern computing devices] don’t care about the room. You have a bizarre complication.” Because they are so personal in nature, “They are anti-collaboration devices and anti-architectural devices.”
Underkoffler and Oblong Industries are working to get out of this “trap.” His solutions include: the more pixels the better; pixel interoperability; a user interface capable of managing all the pixels all over the place; and plurality, the
need for systems that think about more than one thing - enabling the physical and social space for more than one person to work in tandem.
By teaching a machine to speak pixels, multiple applications can run at the same time complementarily. “It’s a kind of quantum leap between what you can do with a machine,” Underkoffler declared.
“We’re turning serialism into parallelism, linear into nonlinear, and raw technology into a more human approach.”
A minority report on the future of pixels
A DIGITAL THING HAPPENED ON THE WAY TO THE FORUM
BY KIRSTEN NELSON
It was “laptop land” at AudioForum@ISE yesterday. The fifth edition of the day-long educational event presented by Connessioni certainly featured digital in every way, as nary a professional audio discussion would be complete without talk of software or DSP. Topics relevant to audio design, integration and live events were discussed in the context of building knowledge and business for a rapidly evolving industry, with participants taking keen interest in sharpening skills in modeling, time alignment, networking and Class D amplification.
Attendees from the live sound and installation worlds convened at the event. The notion of convergence was very much on the mind of Jack Cornish, a project
Tuesday 10 February 2015
ISE’ managing director Mike Blackman introduces the event as Chiara Benedettini of organiser Connessioni looks on
Thomsen: “In 10 years, 1,000 devices per human will be connected to the internet”
Continued on page 4
01 ISE D1 2015 Live v2 NR.indd 1 09-02-15 18:39
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rives business to exhibitors’
stands at the show and helps convert
business opportunities into solid revenues
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For the joint project, A Content Everywhere
Game Plan, Ovum interviewed 125 senior
management executives across 21
countries to assess the adoption and satisfaction
of MAM and PAM technologies, revenue
leakage, pain points, core deployment
objectives, ROI perception, and budget trends
in the next five years. The survey encompassed
nine industry areas including broadcasting,
publishing, post production, advertising
agencies, music labels, internet streaming, film
studios and sports franchises.
Media enterprises today face the challenge
of unification, collaboration, production,
and distribution of personalised content on
connected devices across diverse geographies.
The content production and broadcasting
infrastructure of traditional enterprises is often
built on multiple third party solutions which
lack agility, scalability, and efficient workflows
for multi-platform asset monetisation. Ovum’s
survey looked at how companies leverage MAM
to centralise their digital assets into a single
repository, and maximise their content value via a
collaborative ecosystem.
Dwyer explains; “The media asset
management market is maturing and clients
increasingly have a better understanding of
where the real advantages are being delivered.
The primary benefits are increased collaboration
across silos, and greater efficiencies in multi-
platform publishing. In both cases, making sure
there is sufficient alignment between technical,
operations and the creative teams provides the
greatest benefits.”
MAM technology has strong adoption and
deployment rates across the media sector,
attributed to a shift towards a media centric
multi-screen content delivery proposition;
two-thirds of respondents stated that MAM
technology facilitates low cost multi-platform
media asset distribution.
There is a myth that lower adoption of
MAM technology is a result of costly requisite
infrastructure, however, the report found
improved confidence in the systems across North
America and EMEA over the next five years.
Almost 35 per cent of respondents will increase
spending on MAM technology by one to five per
cent annually. “It is very encouraging to see how
many executives are looking to increase spend
in MAM, but not particularly surprising. A modern
media enterprise uses a comprehensive asset
management approach to remain competitive
and agile to the very dynamic and rapidly
changing business landscape,” comments Dwyer.
As media enterprises invest and transition
to premium 4K/8K content repositories, senior
management executives hold positive
sentiments about the value of MAM systems.
“MAM projects frequently deliver a positive ROI”,
says Dwyer, “with the best happening when
there is a comprehensive project connecting
across silos, removing barriers and making
end to end processes smooth, consistent and
efficient.” 82 per cent of respondents believe
that MAM delivers ROI of ten per cent
or more. In 2020, almost half of media
enterprises surveyed will increase their
content inventory value by five times, and in
the same year executives expect 4K/8K content
value to account for almost five per cent
of total repositories. Respondents were also asked
about which key performance indicators (KPIs)
they use to determine the ROI of a MAM solution.
Almost 30 per cent of senior management
executives stated that reducing operational
and multi-platform distribution cost was the their
primary MAM and PAM KPI.
“The report confirms a robust media asset
management strategy is increasingly important,”
concludes Dwyer. “Looking forward, the next
level of innovation is coming through greater
supply chain integration, more standardised
interfaces across the media lifecycle, and a
wider range of deployment and IP connected
infrastructure.” n
You can download the free white paper from
www.newbayconnect.com.
50 TVBEurope www.tvbeurope.com December 2015
Adopting MAM and PAM Data Centre
% o
f re
spo
nse
s
90%
80%
70%
60%
50%
40%
30%
20%
10%
0%
Primary Objective for Development of MAM System
5%
13%
16%
13%
4% 4%5%
10%
15%11%
18%
18%
13%
16%
27%
8%
18%
25%
26%
12%19%
Tertiary Secondary Top
Source: Ovum (March 2015) n=93
Single repositoryview for branded
media assets
End to endautomation ofprogramming
content creation to distribution
workflow
Increaseoperationalefficiency
Meet regulatoryrequirements
Enable multiplatform
contentdistribution
Enablemonetization of
media assets
Cut costs
Avid commissioned Ovum to conduct a survey of media and production asset management (MAM and PAM) technologies. Craig Dwyer, senior director at Avid’s Global Center of Excellence talks to TVBEurope about the findings
50 TVBE Dec Data Centre_final.indd 46 20/11/2015 15:56
THEBVEDAILYThe Official Newspaper
BROADCAST & PRODUCTION: FROM CREATION TO CONSUMPTION
Due to popular demand the Daily is returning for BVE 2016. TVBEuropeand TVTechnology are delighted to invite all BVE exhibitors to promote their presence while encouraging greater foot traffi c to their booth.Be sure to stand out from the crowd at the UK’s largest broadcast tradeshow.
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