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.

The World’s Biggest Events are Delivered by iTX.

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 MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTION

04 TVBE Dec Contents_final.indd 1 20/11/2015 15:15

*SRP is Exclusive of VAT.

Smart Videohub 12G 40x40 is the world’s fi rst 12G-SDI Ultra HD mixed format router with built in video monitoring and spin knobrouter control. You get the latest 12G-SDI technology so you can simultaneously connect and route any combination of SD, HD and Ultra HD video, up to 2160p60, all on the same router at the same time! You also get revolutionary new visual routing that lets you route signals simply by looking at the video on the front panel, plus unlimited users can control remotely via Ethernet from a Mac or Windows computer or optional hardware control panels!

Advanced 12G-SDI TechnologySmart Videohub 12G 40x40 features advanced 12G-SDI connections that allow high frame rate Ultra HD up to 60 fps over a single SDI connection. Each router SDI output includes an SDI re-clocker for better signal integrity and longer cable lengths, plus 12G-SDI automatically switches speed so is compatible with all your SD, HD and Ultra HD equipment.

All Video Formats SimultaneouslySmart Videohub 12G 40x40 includes multi format technology so you can simultaneously connect SD, HD and Ultra HD equipment all on the same router. Smart Videohub will automatically detect the SDI video format when it changes and instantly switch standards to all connected outputs. This means you can seamlessly work in NTSC and PAL SD, 720 and 1080 HD and even 2160p60 Ultra HD in the same facility!

Visual RoutingSmart Videohub’s super fast spin knob control lets you dial through your router crosspoints while displaying live video combined with custom on screen labels. Scroll order is arranged alphabetically so it’s easy to fi nd the crosspoint you are looking for! Imagine scrolling through your connections while viewing them as live video on the LCD!

Built in Video Monitoring!Now you can monitor all the live video connected to your Videohub. That means you don’t need a separate external monitor because it’s built into the front panel of the router itself! You can look at any source or destination and confi rm the correct video inputs are being sent to the correct video outputs.

Ethernet ControlYou can control your Smart Videohub 12G 40x40 with the included free Videohub Control software for Mac and Windows. Videohub Control software has an elegant user interface design with attractive icon buttons and when used with touchscreen computers, you get a fantastic large screen XY control panel!

www.blackmagicdesign.com/nl

Connect all your SD, HD and Ultra HD gear and eliminate messy cable patching with the new Smart Videohub 12G!

Router ControlEthernet lets you plug in a computer or hardware panels for control.

Redundant Power Two built in supplies keep the router operating in case of a fault!

Front Panel ControlRouting can be performed by direct button selection or spin knob control.

Built in MonitoringView sources, destinations and labels on the full HD resolution screen!

Spin Knob ControlSimply scroll through your sources and destinations with ease.

12G-SDI InputsConnect any combination of SD, HD and Ultra HD video inputs.

12G-SDI OutputsConnect to any SD, HD and Ultra HD equipment all on the same router!

Smart Videohub 12G 40x40 ..........................................................€4 495*Smart Videohub 40x40 .....................................................................€2 695*Smart Videohub 20x20 .....................................................................€1 795*Smart Videohub 12x12 ........................................................................€1 255*Smart Videohub CleanSwitch 12x12 .............................................€1 345*


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

Matrox is a registered trademark and Matrox Monarch HDX is a trademark of Matrox Electronic Systems Ltd. All other company and product names are registered trademarks and/or trademarks of their respective owners.

Dual-channel H.264 Encoder for Broadcast Streaming and Recording

Redundant streaming & recording

Built in frame-synchronisation

SDI and HDMI I/O

Monarch HDX

What are you looking for in a H.264 encoder?

www.matrox.com/monarchhdx/TVBE

TVBeuro_MonarchHDX_broadcast_ad_UK_1115.indd 1 2015-11-17 08:16:50new tvbe template remade.indd 1 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


08 09 TVBE Opinion_final.indd 10 20/11/2015 16:44



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

C

M

Y

CM

MY

CY

CMY

K

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

Media BiometricsA breakthrough in intelligent monitoring and control

Ground-breaking news just

in…

For the first time automated monitoring can not only understand the quality of media, but that it’s the right media - enabling true monitoring by exception.

• Provides absolute assurance the right pictures are in the right place, at the right time, with the right audio

• Tracks media across multiple platforms and formats from broadcast, OTT, and online

• Lightweight and very low cost to deploy a large number of monitoring points

• End-to-end media assurance from ingest to off-air

Applications available NOW:Media Match Compares the picture and audio at any point in the media production chain to ensure they are correct

Confidence Monitoring Checks both audio and video are present and that video is not frozen

Lip Sync Checks and automatically corrects so that audio is synchronized with video Find out more at www.s-a-m.com/mb

220x290_SAM_MB_TVB.indd 1 20/11/2015 15:30new tvbe template remade.indd 1 20/11/2015 16:48


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



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

SOFTWARE DEFINED TELEVIS ION

JOIN THE JET SETPLAYOUT + GRAPHICS + MORECINEGY AIR PRO + TYPE + DOLBY DIGITAL

INGEST + ENCODECINEGY CAPTURE PRO

MONITORING + ALARMSCINEGY MULTIVIEWER

LIVE PRODUCTION MIXERCINEGY LIVE

TRANSCODING + MORECINEGY CONVERT

cinegy

Who says you can’t have it all? That life is about making difficult choices?

Nonsense. Come aboard the Cinegy Jet. You can have it all. Now.

Cinegy Jet includes our flagship products for playout, graphics, ingest, encoding, transcoding,

monitoring, live production and more. Install it all. Run it all.

Have the flexibility to cope

with whatever they throw at you. Now you are covered.

Get aboard the Cinegy JET

Buy Cinegy Jet now for only Euro 4995

... or subscribe to Cinegy Jet per year Euro 1995

Cinegy LLCphone: 202-621-2350

www.cinegy.com

Cinegy GmbHphone: +49-89-23885360

Ü8 is the world’s first truck based

on fully IP-implemented audio

and video stageboxes


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


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

GET READY TO SWITCH

www.evs.com/product/dyvi

The DYVI scalable IP based switcher from EVS is ushering in the dawn of IT production technologies, allowing you to create, control and connect with unprecedented flexibility.

Announcing the new production switcher built on IP architecture

Dyvi_132-216.indd 1 13/11/15 11:29

14 15 TVBE DEC Workflow_final.indd 19 20/11/2015 15:26

The media and entertainment industry has become unleashed.

Dynamic innovation and cutting-edge technologies are

shattering the boundaries of content and opening up limitless

opportunities. NAB Show® is the only place to break free from

conventional thinking and open your mind.

Attendees representing every sector of the industry including

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

that pivotal moment when a new technology, business model

or partnership sparks awareness and you realize...

...THIS CHANGES EVERYTHING.

connected technologies • immersive experiences • redefi ned revenue

Adriana Becerra: So excited to be at @NABShow and fi nd ways to improve our

everyday fi le delivery systems at FOX. Best conf of the year #cantwait4N

ABShow







@NABShow and fi nd ways to improve our

@NABShow

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

tonight before the exhibits open. Woot whoot I’m game. The entire convention fl oor is electrifying! Let’s do this!

NABShow2016_Intl.3pg.AD_ENG_220x290.indd 2 11/10/15 10:04 AM

debbie lynn elias @movieshar

kd

@NABShow is rocking this year!!!

X GET YOUR FREE EXHIBITS PASS USE CODE PA159

1,635members of the press

767skill-

building sessions





. 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

NABShow2016_Intl.3pg.AD_ENG_220x290.indd 3 11/10/15 10:05 AM28-29 NAB DPS Ad.indd 1 10/11/2015 16:21

The media and entertainment industry has become unleashed.

Dynamic innovation and cutting-edge technologies are

shattering the boundaries of content and opening up limitless

opportunities. NAB Show® is the only place to break free from

conventional thinking and open your mind.

Attendees representing every sector of the industry including

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






...THIS CHANGES EVERYTHING.

connected technologies • immersive experiences • redefi ned revenue


everyday fi le delivery systems at FOX. Best conf of the year #cantwait4N

ABShow







@NABShow and fi nd ways to improve our

@NABShow

everyday fi le delivery systems at FOX. Best conf of the year

103,119media and

entertainment professionals

26,319 international attendees

160+countries





NABShow2016_Intl.3pg.AD_ENG_220x290.indd 2 11/10/15 10:04 AM

debbie lynn elias @movieshar

kd

@NABShow is rocking this year!!!

X GET YOUR FREE EXHIBITS PASS USE CODE PA159

1,635members of the press

767skill-

building sessions





. 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

NABShow2016_Intl.3pg.AD_ENG_220x290.indd 3 11/10/15 10:05 AM28-29 NAB DPS Ad.indd 2 10/11/2015 16:21

Alliances to Advance Media & Entertainment

CABSAT Dubai

March 8–10, 2016collaborative.nabshow.com

Las Vegas, NV USAApril 16–21, 2016nabshow.com

Alliances to Advance Media & Entertainment

SET ExpoSão Paulo

August 23–27, 2016collaborative.nabshow.com

Nashville, TN USASeptember 21–23, 2016radioshowweb.com

New York, NY USANovember 9–10, 2016

ccwexpo.com

NAB NEXT STOPS

ShanghaiDecember 2016gixnabshow.com

NABShow2016_Intl.3pg.AD_ENG_210x297.indd 4 11/8/15 10:37 PMFull Page Template.indd 1 11/9/2015 10:13:39 AM


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


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


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



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

INTRODUCING AERO.10 - DTV AUDIO PROCESSORHighest Quality Television Audio Processing-Incredible Value

© 2015 TLS Corp., All Rights Reserved. W15/18110

Learn more: LinearAcoustic.com/aero10

� Powerful Linear Acoustic AEROMAX® loudness and dynamics control

� UPMAX® II automatic upmixing and down mixing

� Exclusive Linear Acoustic Intelligent Dynamics™ with Advanced ITU (AI) Limiter

� Single processing instance (5.1+2+2 or 2+2+2)

� Comprehensive remote control and monitoring

� Stereo analogue audio I/O, Eight AES I/O, and 3G SD/HD-SDI I/O

� ITU-R BS.1770 Loudness metering with logging of loudness and True Peak data


www.tvbeurope.com

December 2015TVBEurope 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 MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMThe MAMEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTIONEVOLUTION

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


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’


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


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


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



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


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


TVBEverywhere

“One of Netflix’s strengths is precisly its very wide back catalogue library, so

we will have to be editorially inventive to compete”


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

ISE

ISE 2016 – Four days, for you, for your business, for the better!

MORE IN COMMON

ISE is the only exhibition that breaks down the traditional technological and business boundaries that covers the Broadcast, Pro Audio and AV markets. It features over 1,000 leading manufactures and service companies – all under one roof.

Find out more and register: www.iseurope.org

ISE is a joint venture partnership of

ISE2016_Ad_MIC2_EN_220x290_.indd 1 17.11.15 13:13Full Page Template.indd 1 11/17/2015 2:09:59 PMnew tvbe template remade.indd 1 20/11/2015 14:28

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.


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



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


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


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


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


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



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



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


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]

ibc.org

RAI AmsterdamConference 8 - 12 September : Exhibition 9 - 13 September

Conference 8 – 12 September 2016Exhibition 9 – 13 September 2016

Keep in touch with IBC throughout the year:

• keep up to date with the latest news at ibc.org/news • conference keynotes, breaking news and interviews available at

ibc.org/VOD• IBC catalogue available in your pocket 365 days a year by downloading

the mobile app ibc.org/mobileapp• join the conversation at ibc.org/social• find exclusive content and make new connections by using your

Touch & Connect Portal ibc.org/portal

220x290_SaveDate2016.indd 1 11/10/2015 18:26new tvbe template remade.indd 1 20/11/2015 17:36

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


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


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


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


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]

Guaranteed editorial

with all advertising

packages in the

form of a Q&A or

opinion piece

Don’t miss your opportunity to

advertise in the show Daily and ISE newsletter

Drivevisitors

to your stand

Guaranteed editorialOfficial Visitor

Newsletter, before,

during and post show

and direct to the

inboxes of over 88,000

potential visitors to

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

d

rives business to exhibitors’

stands at the show and helps convert

business opportunities into solid revenues

ISE 2016 advert_Final.indd 1 02/11/2015 14:10new tvbe template remade.indd 1 20/11/2015 12:03

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.


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.

• 2,000 copies distributed per day

• Digital edition distributed via email to all pre-registered visitors and previous attendees to the show

• Guaranteed editorial coverage for all advertisers in the form of a 300 word opinion piece

• Ten sends of the BVE e-Daily newsletter (44,000 circulation)

For further infomation, contact:

UK SalesBen EwlesSales Manager+44 (0) 207 354 [email protected]

Richard CarrAccount Manager+44 (0) 207 354 [email protected]

Nicola PettSales Executive+44 (0) 207 354 [email protected]

US SalesMichael Mitchell+1 (631) 673 [email protected]

WWW.BVEXPO.COM

BVE Daily House ad 2016.indd 1 20/11/2015 11:33new tvbe template remade.indd 1 20/11/2015 12:00

tvbe december 2015

Documents