Salford special: north-west focus

Broadcast

Production in the north-west is being redefined as the centre of gravity shifts away from London to Salford.

http://www.broadcastnow.co.uk/in-depth/salford-special-north-west-focus/5060806.article

8 New Technologies to Watch in Hollywood

The Hollywood Reporter

At IBC 2013  See what's new from companies including ARRI, Avid and Quantel.

http://www.hollywoodreporter.com/behind-screen/ibc-8-new-technologies-watch-631746

IBC Daily Executive Summary

IBC

IBC 2013 Executive issue which I edited including my interviews with Dr Werner Vogles, Amazon; Tom Cosgrove, 3Net; Andy Brown, Kantar Media; Kate Morrison-Lyons, Fluent Image; Daniel Heaf, BBCWW; Francis Tellier, HBS; Tony Wang, Twitter.

http://content.yudu.com/A2g4ff/IBC2013ExecSumm/resources/index.htm?referrerUrl=http%3A%2F%2Fwww.tvbeurope.com%2F%C2%A0…

First look at The Hobbit – The Desolation of Smaug in 3D HFR

3D Focus

Peter Jackson presented a new trailer for The Hobbit – The Desolation of Smaug, the first showing anywhere in High Frame Rate 3D.http://www.3dfocus.co.uk/3d-news-2/3d-film/first-look-at-the-hobbit-the-desolation-of-smaug-in-3d-hfr/13787

Adrian Pennington from IBC

At the Cinemacon show in 2012 Jackson had presented unfinished sequences of The Hobbit – An Unexpected Journey and was lambasted by some critics for his decision to shoot at 48 fps, based on the partially finished grade of that material.

This time he was taking no chances. The trailer – which included a first full body shot of the dragon Smaug – looked pristine, and to this viewer had none of the 'video' quality which was a common criticism of the first installment.

The effect of the high frame rate, which is twice the conventional rate, is to allow Jackson to move the camera freely, giving a real sense of the chaos of battle in the climactic scenes.

Speaking in a pre-recorded video Jackson said: “Sometimes people don’t regard imagination and technology as being one and the same, supporting each other. In the case of the film industry – and particularly the films I make – I cannot exercise my imagination without the support of technology.”

He added: “This is a great time to be a film-maker. Just about anything you imagine can be put on screen today. The amount of freedom I have is absolutely incredible.  That is due to all the wonderful technology companies and the innovators out there who keep pushing the boundaries. There is going to be innovation in the entertainment business that we cannot even dream about today.”

The director was the recipient of the IBC International Honour for Excellence, while Park Road Post Production were garlanded with the Innovation Award for Content Creation for its work on The Hobbit, at the IBC Awards Ceremony.

Despite its's poor reception, James Cameron is expected to release Avatar 2 and 3 in high frame rate, using 60 frames per second to wrap up the story of the Avatar characters.  Speaking during NAB in April, producer Jon Landau said "“There is a strong likelihood that we will use high frame rates for Avatar. Why? Because it is a better experience for the audience. Nobody should dictate to a filmmaker whether they should make films at 24, 48 or 60fps since the technology now exists and can be presented with the same cinema equipment.”

The Hobbit Part 2 is expected to be released in December this year with the third and final of the trilogy expected to be in cinemas by December 2014.

IBC: Sony Readies DSLR Cameras to Ward Off 'Canon Attack'

THR

Sony is designing a new series of cameras to ward off strong competition from Canon and GoPro.

http://www.hollywoodreporter.com/behind-screen/ibc-sony-readies-dslr-cameras-629844

First look at The Hobbit – The Desolation of Smaug in 3D HFR

3D Focus

Peter Jackson presented a new trailer for The Hobbit – The Desolation of Smaug, the first showing anywhere in High Frame Rate 3D

http://www.3dfocus.co.uk/3d-news-2/3d-film/first-look-at-the-hobbit-the-desolation-of-smaug-in-3d-hfr/13787

IBC: Sony Readies DSLR Cameras to Ward Off 'Canon Attack'

The Hollywood Reporter

Sony is designing a new series of cameras to ward off strong competition from Canon and GoPro

http://www.hollywoodreporter.com/behind-screen/ibc-sony-readies-dslr-cameras-629844

What does Big Data mean for broadcasters?

CSI 

 

Attempting to divine what value is to be gleaned from Big Data by broadcasters, IBC corralled a heavyweight cast spanning two sessions 'The Big Data Revolution' and 'Big Data - Broadcasting's New Oil or Digital Exhaust?'

http://www.csimagazine.com/csi/What-does-Big-Data-mean-for-broadcasters.php

IBC: 8K Broadcast Planned For Tokyo 2020 Olympics

The Hollywood Reporter

http://www.hollywoodreporter.com/behind-screen/tokyo-olympics-8k-broadcast-planned-629427

AMSTERDAM -- An 8K broadcast of the Tokyo Olympic Games in Japan is being planned after Sony revealed it was developing production equipment to support 8K, which is ultra sharp and 16 times the resolution of today's HD. 

Sony is part of NexTV-F, a $31 million government-backed consortia comprising Japanese electronics manufacturers, public broadcaster NHK and other stakeholders to forward 4K and 8K "Ultra HD TV."

“The Japanese government has accelerated 4K and 8K in order to be ready for the 2020 Olympic Games, and we will prepare a team to develop 8K [technology],” said Shoji Nemoto, corporate executive officer, and president of Sony's Professional Services Group.

Friday at the International Broadcasting Convention, FIFA announced that, with Sony, it would record the World Cup Final 2014 in 4K. That follows a 4K test at last summer's FIFA Confederations Cup.

"The move by FIFA is a big first step for Ultra-HD," said Katsunori Yamanouchi, vp of Sony Professional Solutions Europe. "It will help broadcasters understand the product and, when audiences see it – perhaps at public venues – it will begin to generate demand."

"We've been in touch with many broadcasters who have declared an interest in 4K including BSkyB, Sky Italia, Sky Deutschland and they are continuing to test it. ... As always with new technology though, we have a chicken and egg situation where content is needed," Yamanouchi added.

The Next Wave of Technology will be mobile

CSI

As technology continues to evolve at light speed it throws up incredible opportunities but almost overwhelming challenges. Just how do CEOs and CTOs make the right decision in terms of investment? IBC tackled this issue head-on with a conference curtain-raiser featuring four heavyweights who predicted the impact of 'The Next Wave of Technology'.

http://www.csimagazine.com/csi/The-Next-Wave-of-Technology-will-be-mobile.php

Delivering to spec

Broadcast

Ask the experts: The date in 2014 when leading UK broadcasters will ask for programmes to be delivered as AS-11 files is set to be announced by the DPP at IBC. Post facilities share their experiences of adapting their workflows

http://www.broadcastnow.co.uk/techfacils/ibc-2013/delivering-to-spec/5059974.article

IBC: 'The Great Gatsby's' Amitabh Bachchan talks 'Sholay' 3D

The Hollywood Reporter

A 3D version of the 1975 Bollywood classic Sholay will be release next month, according to its star Amitabh Bachchan, who spoke Friday at the International Broadcasting Convention as part of a keynote session that saluted 100 years of Indian cinema.

http://www.hollywoodreporter.com/behind-screen/ibc-great-gatsbys-amitabh-bachchan-628943

Amazon CTO: Devices are a Window to Content in the Cloud

Streaming Media

A Q&A with Amazon.com CTO Werner Vogels addressing a future where both broadcast professionals and consumers are connected to the cloud.

http://www.streamingmediaglobal.com/Articles/Editorial/Featured-Articles/Amazon-CTO-Devices-are-a-Window-to-Content-in-the-Cloud-91792.aspx

It’s Official: FIFA World Cup Final Will Go 4K

The Hollywood Reporter

http://www.hollywoodreporter.com/behind-screen/s-official-fifa-world-cup-628911

AMSTERDAM – The 2014 FIFA World Cup Final in Brazil will be produced in 4K, it was revealed during Sony’s press conference on Friday at IBC. The news was not unexpected and follows 4K testing at the FIFA Confederations Cup last summer.

“At IBC 2012 Sony announced its technical collaboration with FIFA to produce the 2014 tournament in HD,” said FIFA TV director Niclas Ericson. “The World Cup Final in 4K is the next natural evolution. We needed to be sure we had the technology that could deliver the trial this summer. We believe 4K will create a richer and more exciting viewing experience for viewers.”

Just the final match at this stage is to be captured in the format to entice broadcasters to take the feed. Public viewing venues and screenings at cinemas are also being discussed by FIFA, with the decision on the total number of matches to be shot and aired in 4K dependent, in part, on the outcome of the World Cup draw in December, which will pair interested countries with stadium venues.

During the press conference, Katsunori Yamanouchi, vice president of Sony Professional Solutions Europe, also made a big push for professionals to begin to use 4K in production. “Why should you invest now in 4K when viewers don't have 4K TVs? Because this live production system can also be used to shoot HD -- by offering HD cut-outs from 4K cameras, down-conversion to HD or high frame rate sequences for slow motion,” he said.

Sony has bolstered its existing 4K line with two new NXCAM camcorders, the NEX-FS700RH and the NEX-FS700R. Both models feature a 4K Exmor Super35 CMOS sensor and enable 4K/2K recording on an external recorder. A firmware update includes the S-log2 gamma mode and was designed to create a wider dynamic range, even for HD productions.

It also announced a new video server, the PWS-4400 Multiport AV unit, capable of 4K and HD recording; two prototype 4K OLEDs; and a 4K 60p SXRD projector.

3D was marked by its distinct absence from the press conference, although FIFA has not ruled out producing in the format thanks to interest from China's CCTV, among others.

Special Report: The Future of Cinematography

British Cinematography 

By 2070, Lightfield Imagers, once known as cinematographers, will be crafting holograms via the Cloud; films will be streamed to homes as 28K, giant wall-displays, while individuals participate in augmented reality narratives that play out over the real-world they are standing in.

http://www.britishcinematographer.co.uk/articles/313-special-report-the-future-of-cinematography.html

IBC: BT Planning Ultra-HD Transmission Test

The Hollywood Reporter

BT Media and Broadcast, a division of the U.K. telco, plans to deliver an international multicamera production of a sports event shot in 4K and transmitted live via satellite.

http://www.hollywoodreporter.com/behind-screen/ibc-bt-planning-ultra-hd-624511

OB opens up for change

Broadcast

http://www.broadcastnow.co.uk/in-depth/ob-opens-up-for-change/5059958.article?blocktitle=PRODUCTION-FEATURE&contentID=1169%C2%A0…

The OB sector is anticipating a shake-down as decisions on several contracts are in the offing.

Consolidation in the UK’s outside broadcast supply market over the past decade has left broadcasters with little choice other than to ask the five major firms left standing to tender for every contract going.

And this year there have been a lot of contracts up for grabs, arguably the most high profile of which was BT Sport. Production partner Sunset+Vine selected Arena Television and Telegenic to provide location facilities for live coverage of 38 English Premier League matches and 69 Premiership rugby union games respectively for the next three seasons.

BT’s swoop for Premiership rights knocked incumbent holder ESPN out of the picture and with it the OB work SIS Live had with the US sportscaster.

Arena, meanwhile, relinquished its rugby union coverage for ESPN. “BT’s entry has certainly added a whole new dynamic,” says SIS Live sales director Simon Bowler. “As BT and Sky compete, there could be an arms race to get the best freelance talent. There may be an element of the highest bidder paying for the best freelancers.”

Softening the blow a little, SIS Live has picked up BBC1’s Antiques Roadshow, Le Mans for IMG and the 11-race British Touring Cars Championship for ITV. By far its largest commitment, however, is to BBC Sport, including provision for Wimbledon, the London Marathon, Six Nations rugby and Open Golf. It has held these contracts since 2008, but a new deal from 2014 is currently out to tender.

With the BBC’s decision imminent, SIS Live’s rivals are hoping to feed on the new dividend. “Everyone is keeping an eye on the BBC,” says Arena managing director Richard Yeowart. “Not only will this produce a small windfall of contracts for the traditional OB suppliers, it will also have an impact on the incumbent.”

SIS Live fully expects a competitive tender but remains confident of its own pitch. “There are very few, if any, companies that can provide everything under one roof without having to sublet,” says Bowler. “The work has historically been done by this company since it was transferred from BBC Resources and the tender is potentially one of the most significant changes in the OB world for some time.”

Peaks in demand

Most mainstream broadcasters have been tendering projects over the past six months – Yeowart suggests at least 50 individual BBC/ITV/Sky strands – and several are expected to continue for another 12-18 months. “We have found ourselves snowed under with tenders from a variety of clients,” claims Yeowart.

“We continue to grow the business to meet demand (Springwatch, Autumnwatch and Glastonbury are among its non-sport roster), but will attempt to cap growth at about 15% per annum, so that we can maintain quality.”

As the big five suppliers slug it out, business is reportedly buoyant but prices are keen. While the sector is typically characterised by ‘even’ years of feast and ‘odd’ ones of famine, suppliers are attempting to smooth the vagaries of supply and demand.

“We’re trying to flatten out the cyclical nature of the business to make it more consistent in years without significant sports events,” explains Bowler. “We’ve tried to capture more long-term contracts as a backbone and also fill in gaps with adhoc work such as T In the Park for the BBC.”

For Visions managing director Steve Jenkins, it’s been a surprisingly busy summer, especially given the bumper yield of Olympic year 2012.

Visions covered the Champions League Final at Wembley for host ITV and unilateral broadcasters Sky and Fox sports. With parent NEP, it supplied ESPN’s coverage of The X Games in Brazil, Barcelona and Munich and it has taken on new racing contracts for IMG at meets including Cheltenham, Aintree, Derby and Royal Ascot.

That momentum will be carried forward into the start of a new 300- game football season for Sky Sports, spanning EPL, Champions League and Football League matches. Meanwhile, Visions’ custom studio production division Roll to Record cemented a new multi-series agreement with Endemol, including another two years of Big Brother.

In what remains a very capital intensive operation, suppliers need more predictable revenues if they’re to make the necessary investments in new technology. 4K technology is coming to the fore, though only Telegenic has a multi-camera 4K vehicle ready today.

Its T25 scanner was shipped to Brazil for Sony and FIFA tests of 4K live production at the Confederations Cup in June. Having proved the operational and technical feasibility of the concept, it’s highly likely that some matches of next year’s World Cup will be recorded, if not broadcast, in the format with the truck heading out to South America once again.

Telegenic is keeping mum on whether its 4K resource will be tasked for further use in the UK, although Sony and Grass Valley continue to test equipment with suppliers. “The cost of capital investment hasn’t really reduced and comes at a time when there is pressure on broadcasters to control their costs which, naturally, creates a tension,” says Bowler.

“I think there will be a major push into UHD – but we’re not there yet and broadcasters have to make a significant commitment to make that happen. Ultra-HD will definitely feature in the next trucks we build.”

Euro Media Group division CTV is, however, to launch the UK’s second 4K truck around May 2014 specifically to cover cricket for Sky Sports. It would be premature to infer from this that Sky is timing a 4K channel for mid-2014; it’s simply business sense to prep any new truck going forward with 4K infrastructure, especially for those companies contracted to pay-TV broadcasters that are likely first movers into Ultra-HD.

Since Ultra-HD is not in BT Sports’ immediate plans, Yeowart says Arena is not committing to the format in the next six months, although it will review that position. “We believe there is work for a medium-sized truck to be added to our fleet,” he says. “New truck builds have increased in costs as key equipment manufacturers push operators towards newer, more expensive technology.”

Despite helping Sony test 4K at Wimbledon, Visions is also holding fire on investment as it assimilates hardware acquired from Arqiva at the end of 2012, though it has ordered new Kayenne visions mixers and will upgrade some of its EVS servers to XT3s to equip its 16-truck fleet.

The demise of Belgian super-supplier Alfacam sounded a warning to the market about overstretching on hardware without doing the work to absorb its running costs. Euro Media acquired the 12 HD units and related assets such as cameras, servers and RF subsidiary Eurolinks from the bankrupt company in a deal sealed this June.

Emerging markets “We saw an opportunity to equip different divisions of Euro Media in Holland, Belgium, Germany and Italy with additional trucks and also to open new businesses in emerging markets,” explains chief operating officer Barry Johnstone.

The latter includes Brazil where Alfacam had an operation, a canny move for the French conglomerate given the country’s burgeoning broadcast scene and its hosting of global sports extravaganzas in 2014 and 2016. Although the purchase did not come complete with Alfacam’s contract to deliver host broadcast kit for the Winter Olympics, CTV will be sending four trucks to Sochi.

Euro Media is also the major supplier to European Tour Golf productions and for 2014 that includes host provision of the Ryder Cup.

Looking a little further ahead, there are also tenders out for Glasgow’s Commonwealth Games, a Sunset+Vine production for which Arena claims to have snared some work, and the 2015 Rugby World Cup, which is a BBC and ITV joint hosted tournament.

“There is high demand at particular points of the season and at weekends, but I think the number of suppliers we have in the UK meet that demand,” says Jenkins. “It is competitive, since we all pretty much have the same range of equipment. Ultimately, individual relationships, teamwork and delivering in the field all count most highly.”