Thursday, 28 May 2015

Battle for the connected car

Cable Satellite International

Car makers and tech companies view your car as a giant mobile with navigational aids, apps, living room-style entertainment and connectivity to the wider IoT. p26 http://www.csimagazine.com/Digital_edition/June2015/CSI-June2015.pdf
The connected car has become the next platform for the evolution of mobile technology - a ‘mega trend’ for the automotive industry as recently described by the CEO of Renault-Nissan, Carlos Ghosn at Mobile World Congress. According to analyst firm ABI, 60% of cars shipped will be connected through mobile technology by 2017, and one in five cars on the road will be ‘aware’ by 2018, according to Gartner.
As a sign of the times, MWC was this year awash with IoT and connected car products and demos. Qualcomm had a Maserati on its stand and AT&T showed off an Audi. The Fiat 500 was also a popular model on display.
The reasons aren’t hard to fathom. Innovative in-car technologies are being developed to make journeys safer, easier and more entertaining, and this includes semi-autonomous and eventually driverless technology, which are two key trends going forward.
For a generation brought up tethered to Facebook, any connectivity blackhole is a big negative. “People don’t want to buy something that’s not customisable any more,” says Mike Edwards, product manager - car audio, JVC Kenwood. “We are having to produce units that are customisable for their lifestyle.”
“For millennials, the smartphone is the centre of their lives,” agrees Timur Pulathaneli, Connected Services at Ford. “A major factor affecting their judgement of whether a car is good or bad is how they can connect up their smartphone.”
BMW-owning parents, for example, can download the myKIDIO app onto their children’s tablet and show them a ‘Kids Cockpit’ illustrating the car’s speed, the amount of remaining petrol and – crucially - how long the trip will take.
US consumers are lining up to buy. According to a Harris poll in January for AutoTrader.com, a majority of drivers would pay up to $1,500 to smartphones they will not adopt any services in have new entertainment and safety features in their vehicles. Moreover, research done by AT&T radio service Aupeo and General Motors suggests that people want to buy cars that are connected to the extent and are willing to wait a year to make sure the car has this functionality.
Back-up cameras, USB ports and smartphone charging are among top desires. Accenture says in-vehicle tech is the top selling point for 39 percent of buyers, while just 14 percent are most concerned with horsepower and handling.
“Every major auto maker has a connected car programme as part of their strategy. In-car connectivity has become a market differentiator,” says Nakul Duggal, VP product management for automotive and M2M at Qualcomm.
This is a point underlined by Ford CEO Mark Fields at CES this year: “We’re thinking of ourselves as a mobility company and not only a car and truck company.” Ford has a wide ranging ‘smart mobility’ strategy that takes into account everything from connected bicycles to smart cities.
The first attempts at in-car connectivity tended to copy the smartphone experience direct to the dashboard and failed to take-off, either because the user experience was complicated or because it was simply easier to get access by smartphone. “As long as consumers find it easier to use their smartphones they will not adopt any services in the car,” states Holger G Weiss, CEO of internet radio service Aupeo. “It needs to be a very – intuitive setup, and the use cases have to be perfectly optimised for in-car usage. It’s not an experience to switch between three different, music apps, the FM radio (traffic and news) and – let’s say – an audiobook being stored on an iPad. Everything has to come from a single, personalised and integrated experience.”
The chief consideration for any in-car connected service is safety. For the driver, this means applications must be non-distractive yet contextually meaningful.
Most automotive manufacturers offer a means of connecting a driver’s smartphone to the car head unit, via HDMI or hot spot, where the applications are mirrored. For example, JVC Kenwood, which supplies head unit displays to Mitsubishi, VW and Kia, ensures that navigation is hands-free by speech to text. Another example: Fords slimmed down version of Spotify offers a limited number of tracks to ensure that driver distraction is kept to a minimum
Augmented reality head up displays (HUDs) project information in the driver’s line of sight on the windscreen. Continental, for example, manufactures them for BMW and uses camera and radar data from vehicle sensors, combined with digital map data and GPS. This is designed to keep the driver’s eyes on the road but don’t include control over in-car entertainment systems.
As for passengers, rear-seat scenarios can be a completely different, lean back experience. What’s more connectivity is ideally personalised to the tastes of different drivers and passengers. “For content owners, the car will turn into a multi- billion dollar opportunity, simply because the consumer will be able to choose and consume,” reckons Weiss.


The car has become a battleground for the likes of Google and Apple, each promoting platforms which tailor Android or iOS specifically to the in-car experience. At the same time, car makers are developing their own platforms to try to control the consumer experience. Some of them offer SDKs to third party developers to create services while a group of German car makers are in talks to buy Nokia’s Here mapping unit in order to avoid losing control to the likes of Google, Facebook and Apple.
With dozens of car manufacturers with their own programming requirements, today’s developer environment mimics that of the fragmented smart TV landscape. Apple CarPlay which integrates iPhone, Apple maps and Siri into the car dashboard vies with the Google-led Open Automotive Alliance (OAA) whose members include Audi, Honda, Hyundai and Nvidia and support Android Auto.
Both Apple CarPlay and Android Auto primarily run on the customer’s phone and will project an image on the car’s screen. A new version of Google OS - Android M - is reportedly being engineered to be built directly into cars, independently of a paired smartphone.
Then there’s Microsoft which powers three different car manufacturers’ in-car systems, including Ford’s Sync. This includes AppLink which enables drivers to access smartphone apps via voice control.
Auto-makers can also take part in the GENIVI Alliance, a non-profit group that includes Nissan, Volvo, and BMW.
MirrorLink is an in-vehicle connectivity standard created by the Car Connectivity Consortium whose members include Toyota, VW plus LG, Sony, HTC and Samsung. It also enables consumers to connect compatible smartphones and apps for display on car head unit.
Several auto-makers have wheels in different camps. Ford uses Microsoft systems but is also signed up to CarPlay. Kia uses Android for its in-car systems, but is also a CarPlay member. GM is signed to CarPlay, MirrorLink, OAA and GENIVI. Honda and Hyundai are both MirrorLink and GENIVI members. This means drivers might get the choice of Android or iPhone compatibility at the point of buying a new car.
“One of the big issues is to what extent manufacturers are happy to cede control over how services are provided and to what extent are tech companies trying to own the ecosystem,” says Dan Peters, SVP product & design, Saffron Digital. “There is a tension similar to that being played out in the home.”
Volvo is outfitting all its models, starting with the XC90, which now boasts a redesigned touch- screen interface using touch and swipe navigation of the car’s infotainment system Volvo Sensus, and integrates content from Apple and Google.
“Customers will be able to use smartphone apps in a convenient way, while we focus on developing integrated services that are relevant to the driving experience as well as to the ownership of a car,” explains Martin Kristensson, director connectivity strategy, Volvo Car Group. “We will offer other, unique and integrated services that are relevant to the driving and car ownership experience. These maybe existing services like our Park & Pay solution for connected service bookings, or over the air software updates or future services to the car like ‘Roam Delivery - the possibility of having goods delivered directly to the trunk of your car by handing out a temporary digital key.”


As with the Internet of Things, a pre-requisite for in-car connectivity is ubiquitous fast mobile broadband. The jury is out on whether in-car WiFi hot spots (as opposed to reliance on LTE networks) are necessary, although research firm iSuppli expects a surge to 7.2 million worldwide units by 2017. GM’s 2015 models come fitted with hotspots capable of connecting to 4G LTE networks.
Mobile networks are not designed to optimise connection when moving at high speed, so that challenge needs to be overcome and the take-up of in-car connected experience is based on that.
“For a group of people with devices in a vehicle a hotspot is currently a better idea than reliance on LTE,” says Qualcomm’s Duggal. “That said, everyone is working on an in-car connectivity 4G platform, leapfrogging 2G and 3G.”
Probably the answer lies in 5G which is scheduled for rollout around 2020. Also important is the update cycle, which for cars is typically ten years, compared to just weeks when it comes to servicing mobiles. While phone apps can update automatically over the air, a car only gets maintained manually.
“Hardware and software have to become updatable in cars,” says Weiss, who suggests that companies like Aupeo will play a role in connecting the complex structure of a car with the dynamic speed of ICT services.
Ford’s Sync Services is one solution. It operates over Microsoft Azure and wirelessly delivers traffic reports, vehicle to dealership diagnostics, plus navigation, sports scores (via Perform) and other services like movie listings.
The mega-trend set to transform the entire industry is autonomous driving. The target is to reduce the 90% of car accidents caused by human error.
Renault-Nissan CEO Ghosn explained that this will happen in three waves. Sensor-based semi- autonomous technology to navigate traffic jams will be introduced in 2016. In 2018, autonomous drive will expand to include change of lanes on the highways. Automated city driving will happen around 2020 and in a decade, driverless cars will start to emerge. Renault-Nissan is working on autonomous driving with NASA and is among auto-makers with offices in Silicon Valley.
“We have a building block approach with more and more tasks being taken over by the car,” says Pulathaneli of Ford, which runs a test fleet of automated cars. “With systems based on radar, Lidar or cameras you need to be in direct contact with the object (a neighbouring vehicle or parking bay, perhaps) but with M2M connections you can look ‘around the corner’, or look ‘through’ the truck hiding danger ahead of you. It will be a technical enabler for a lot of diverse applications in future.”
Semi-autonomous features already available in Ford cars include lane-keeping assist, adaptive cruise control and pre-collision ‘pedestrian detection’. Experimental technology transmits dashboard alerts to drivers about vehicles braking ahead – even around corners and through traffic. Its Smart Device Link, an open-source version of Applink operated by the GENIVI Alliance, offers software developers and fellow OEMs to directly interface with Ford vehicles.
“We need a standard that is powered by the car maker for car-to-car or car-to-infrastructure connections, and at present, it’s only enabled in Ford cars,” says Pulathaneli. “We need a standard that connects Ford to Opal, Ford to Mercedes and so on.” Among signatories are Baidu and AutoNavi, app developers working in the world’s largest market for both smartphones and automobiles – China.
In a Qualcomm-powered concept car (Cadillac XTS) head-tracking software alerts drivers should their gaze wander for more than a few seconds, while a gesture-sensing camera allows them to control music at the wave of a hand. Incoming data from a camera plus GPS and graphic overlays let drivers know where they’re heading and when to make a safe lane change.
Volvo is building a test-fleet of 1,000 cars able to detect slippery road conditions, transmitting this information to other Volvo cars, to forewarn them of the danger ahead, and to road maintenance authorities via the Volvo Cloud.
“Such connected car services will, in the near future, deliver both personal and societal benefits by reducing the potential for accidents, allowing a more relaxed journey and lowering the costs of road maintenance,” says Kristensson.
Greater safety is only one part of the picture though. It doesn’t take a great leap of imagination to predict that current restrictions on driver enjoyment of entertainment in vehicles will fade to the background.
“One day you will see automated cars although the timing depends on the development of the wider M2M environment but when you do then, of course, you could think about using the time spent in car in much the same way as you spend it sitting at home,” says Pulathaneli.
Peters agrees: “The car is an extension of the family space and it’s where we spend most of our time together outside of the living room. In 15-20 years the consumer will expect to have the exact same experience in the car as if they are at home on the couch.” Mercedes-Benz modelled this scenario with auto-pilot concept car F015. “Anyone who focuses solely on the technology has not yet grasped how autonomous driving will change our society,” said Mercedes-Benz chairman Dieter Zetsche in a CES2015 keynote. “The car is growing beyond its role as a mere means of transport and will ultimately become a mobile living space.”
Even Volvo, the brand that purrs middle of the road safety and comfort, says it is on a journey where the ‘living room experience’ in its cars will develop. “Think of self-driving cars and all the possibilities you will have from the moment you are not actively driving,” says Kristensson. “You will be able to enjoy the infotainment offers you prefer, connect with friends or your loved ones, work or simply relax a bit.”
Traffic and navigation apps like Inrix (Porsche is an investor) and Waze, use crowd-sourced networks to cull data from road users. Inrix can link drivers to social networking sites and alert them when friends are near to determine the best way to meet up. It is only a short step before location-based advertising starts to drive serious in-car revenue.
Going forward, cars will also be integrated with wearables. BMW prototyped a smartwatch that will allow wearers to exit their vehicle and then tell it to go park itself.

Jaguar XE
Jaguar thinks that in-car technologies in this increasingly connected world are an integral part of the driving experience. With the new XE, the company is introducing a new suite of driver aids and cutting-edge entertainment systems. They have been designed to make journeys safer, simpler, more relaxing and enjoyable. The XE is the first of a line of Jaguar
vehicles to run on the company’s InControl Touch Infotainment system for a new 8-inch touchscreen. It supports smartphone technology and InControl apps, which synchs Apple and Android phones to the car and allows the driver to access entertainment
and information apps installed on their phone for up-to-the-minute parking information, conference calls, hotel bookings and traffic warnings. These apps can all be accessed at the touch of a screen, according Dr Mike Bell, Jaguar’s connected car director.
Passengers can also make use of the in-car WiFi hotspot which allows multiple devices to connect to the internet by the best possible mobile connection using a roof antenna.
The XE features plain speech voice control and Jaguar has ensured the driver can access any level of the system by speaking to avoid navigating multiple menus.
The car will also come with an optional head-up display that displays driver information directly onto the windscreen without causing distraction. The display can be set to configure a range of information, from speed, navigation guidance, traffic sign recognition and cruise control settings.
The system can be controlled remotely so that for example, climate control is operated before entering the car. 

Pixellot Devise Lemur To Wag The Long Tail

Broadcast Bridge
Israeli video capture startup Pixellot is launching a cut down version of its panoramic camera rig to target the remote production of youth and college sports, coaching and amateur sports.
The Pixellott Lemur, introduced later this year, is a three-camera rig with picture stitching software designed for live webcasting.
“There is a huge market for this product,” claimed Robi Podgor, Pixellot's broadcast project manager. “We called it Lemur because we are targeting the ‘long tail’ of second and third tier sports.”
The company also has what it calls a “surround video application” in development. “This is a second screen app taken from the panoramic camera view for streaming to IoS and Android mobile devices. The user can manipulate the images, zoom into it, play replays, stop the action and rewind it – all live.”
Its main product, which is being marketed as an enhancement to tier 1 sports OBs, is a 12-camera array comprising 4 Megapixel cameras which are image-stitched to form a 48 Megapixel panoramic view for HD remote sports production. It supports 25/50 and 30/60 frames per second.
“Instead of covering a second or third tier soccer game with an OB van you can do the same operation remotely with this system by placing one camera on the main stand of the stadium,” explained Podgor. “What is revolutionary is that we send proxy images from the venue to the remote production hub over a standard 1.5Mbps internet link. Operators using a joystick can manoeuvre the angle of the video – zoom in, out, pan right and left and all virtually. This information is sent back to the stadium system and applied to the high-resolution images in realtime.”
Customers of the 12-camera array include TV Azteca in Mexico, UK 3D graphics specialist Alston Elliot and sports data analysis experts Prozone (now owned by Stats).
Applications made possible by the product include virtual advertising attached-to-field and attached-to-players; ball and player tracking-based stats from Sportvu/Stats; the ability to add a 'Star player' cameras with no additional equipment and the possibility to go back and evaluate controversial 'off the ball' events that may be missed by traditional OBs following the action.
Pixellot's co-founder is Miky Tamir, a co-founder of Orad HiTec Systems and the founder of Sportvu, maker of a sports statistics tool acquired by Stats in 2008.

Friday, 22 May 2015

Freeview Plots Mass-Market Connected TV

Streaming Media 

Freeview Play will combine catch-up TV from Freeview shareholders—BBC iPlayer, Channel 4's All 4, and ITV Player—with on-demand and live content when it launches later this year.

Freeview aims to do for connected television what it did for the UK's digital TV revolution.
The UK’s most-watched digital TV service is to launch a connected TV service branded Freeview Play later this year. It will take on the likes of Sky Now TV, YouView, and Virgin Media. Unlike those it will be subscription free.
“Freeview has been built on a vision to make television available to all free from subscription,” Freeview managing director Guy North said. “In the same way that we took the UK from analogue to digital, Freeview Play is the next step in that vision and it will put the viewer in control, without complexity, commitment or unnecessary cost—we want to keep television fair and open for everyone. That means giving consumers the freedom to choose the TV they want, the way they want it.”
Freeview Play combines catch-up TV from Freeview shareholders—BBC iPlayer, Channel 4's All 4, and ITV Player—with on-demand and live television. Channel 5's Demand 5 is another possibility. The service will feature a new backwards electronic programme guide.
Launched in 2002, Freeview is the free-to-air digital TV platform for 10.5 million households in the UK. It provides more than 60 TV channels, up to 12 HD channels, and more than 25 radio stations.
North said the new service‚ which sports a new logo, aims to simplify the transition for people yet to make the jump to on-demand.
The company is lining up TV and set-top-box manufacturing partners. Panasonic is the first TV maker to be publicly announced with a version of Viera incorporating Freeview Play. Humax said it will provide Freeview Play set-top boxes retailing around £200.
A year ago Freeview's shareholders—including Arqiva and Sky—agreed to a £100 million deal to secure the future of the service and develop plans for Freeview Play.
The BBC, ITV, and Channel 4 remain shareholders in the rival internet-connected TV service YouView, but have scaled back their investment.
Critics argue that YouView’s free-to-air founding principles have been hijacked by shareholders BT and TalkTalk, which have turned it into a pay-TV business, hence the major public service broadcasters’ decision to go back to basics and invest more in Freeview.

Thursday, 21 May 2015

Production music: Settling the score

Broadcast 
TV producers are finding new and innovative ways of sourcing and commissioning music for their shows. 
Sony/ATV Music Publishing:
Stop! In The Name of Love
The long-gestating, 10 x 60-minute BBC1 series Stop! In The Name Of Love is a jukebox musical that employs the Motown back catalogue, a roster of songs so universal that, says writer Tony Jordan, it’s a “shorthand to people’s emotions”. So confident was Jordan in the popularity of the music that a licensing deal was inked with EMI – owned by Sony/ ATV Music Publishing – long before any broadcaster came on board. 
Jordan’s Red Planet Pictures is using the ‘Jobete’ catalogue of the 1960s and 1970s, including The Supremes’ (pictured) eponymous title track, to pen a contemporary drama, with the series’ characters singing the songs as an intrinsic part of the narrative. 
“Red Planet wanted to use one catalogue, which gives the show an immediate identity,” says Jon Pugh, creative licensing manager at Sony/ATV Music Publishing. “It wasn’t just after the mega-hits but the hidden gems, which gave us an opportunity to shine some light on lesser-known records.” 
While the catalogue contains 15,000 Motown compositions, Red Planet’s clarity of concept meant getting clearance from the songwriters represented by the publisher was comparatively straightforward. 
“If you had a Glee type of show, you would need hundreds of different approvals from dozens of parties,” says Pugh. “We were very clear up front about the things our writers would be uncomfortable with.” 
He was persuaded that the mainstream thirty-something target demographic of Stop! would be a fresh audience for the music. “If the show were intended for a late-night audience, we would have had less confidence in the project. Usually we would like to give the songwriters an idea of the scene their music will be used in, but in this case we trusted the producer.” 
Pugh got involved with the project early on and describes the process as very collaborative. “We provided Red Planet with themed lists of songs – for example, about ‘heartbreak’ or ‘working hard’ – and access to audio and lyrics so they could get an idea of what music to use, which we hoped would spark their creative juices.” 
The format’s success could bring dividends for the music publisher. “From the first meeting, it was exciting to imagine a second series using more from the same or a different collection,” Pugh says. 
“Being involved so early on gave us an opportunity to design a product with Red Planet that could go worldwide, where the music would not have to be stripped out and replaced with sound-a-likes. It’s up to other production companies to take the ball and run with it.” 
The project is a joint venture between Red Planet, film producer Duncan Kenworthy, independent music consultant John Kennedy and former NBC Universal president (now Antenna Group managing director) Peter Smith.
Sky Music Department:
Mills and doom: The Marriage Of Reason & Squalor

Artist Jake Chapman is making his directorial debut on Sky Arts with Mills And Doom: The Marriage Of Reason & Squalor, a four-part romantic comedy-drama starring Rhys Ifans. It uses a composed score with sourced elements. 
“Music mediates the audience’s emotional response to the material and is something you need to control,” says Andy Noble, co-producer at Morass Productions. “The best way of doing that is with a composer working to a director’s brief.” 
In this case, Chapman’s brother Dinos collaborated with composer Ilan Eshkeri to write the score. “Given the density of meaning and themes at work, the score had to be finely balanced to provoke audience response in a certain way,” says Noble. “The series has a darkness and horror alongside the humour, so we wanted the sourced music to be emblematic of a lush, romantic, sweeping score. It had to be almost too saccharine and cheesy, to provide a counterpoint to the tone of the rest of the series.” 
The producer worked with Sky’s music department to source generic scored music and assist with contractual clearances. Tracks from Audio Network and SATV were selected. 
“We sent them clips to illustrate the context of what we needed, what the purpose of the scenes was,” Noble says. “We couldn’t afford an orchestra, but the sourced tracks are orchestral. A huge benefit of using library music is this shortcut to production value.”
Audio Network:
The Job Centre

Dragonfly captured the hustle and bustle of a Bradford-based recruitment agency for Channel 4’s 4 x 60-minute ob-doc, which debuted this week. 
It follows the staff of Candelisa People, led by matriarchal boss Jane, as they attempt to win new business and help candidates secure their dream job. 
Audio Network was briefed to create the audioscape of the entire show, taking its cue from key words and phrases including ‘warm’, ‘quirky’ and ‘humorous’ – but taking care not to laugh at the agency. 
“They understood the tone and filmic quality of the tracks we wanted,” says Suzy Ratner, series producer. “They didn’t send us standard doc music but quite quirky sounds that were crucial in reflecting the comedic but warm style of the story.” 
The music library’s researchers compiled a long list of more than 90,000 tracks, searchable by mood, instrument, style and tempo, and sent it to Dragonfly. Follow-up preferences for a particular composer or tracks narrowed down the list to around 40. 
“We used the music extensively to top and tail scenes and give the piece energy and pace,” explains Ratner. “The story switches a lot between scenes inside and outside the office, for which we needed different music styles.” 
Audio Network head of TV Lina Tebbs says: “The way our music is recorded [much of it by the Royal Philharmonic Orchestra] and mixed makes it easy to work with. The main three-minute track will have an alternative version minus some of the instruments. You can extract 60- and 30-second versions and create stings to take you in and out of ad breaks.” 
Music is often one of the last items in programme production, since it’s easier to know in the edit which music to place with the pictures. A timeframe of four to six weeks for sourcing and adding the soundtrack is common. 
“Some deadlines are insane,” says Tebbs. “We’ve been given briefs in a morning, had suggestions agreed by early afternoon and been cleared to post by six for an evening TX.” 
Audio Network charges a one-off fee for a series, which will licence the use of its music worldwide, multiplatform and in perpetuity. “A lot of companies choose to work with us on an annual basis, paying £4,000 for a blanket agreement covering any production, so they never have to worry if it is distributed on iTunes, 4oD or in Romania.”
Universal Publishing Production Music: BBC Orchestral Toolkit

“Most TV productions, if they could, would have bespoke music,” says Phil Stubbs, senior key account manager at Universal Publishing Production Music (UPPM). “That they don’t tends to come down to the time and cost of employing a composer.” 
Spotting a gap in the market, last December UPPM launched BBC Orchestral Toolkit, which comprises 50 orchestral tracks from BBC Production Music written in the same key and split into 3,000 interchangeable sections or stems. Supplied as 48k WAV files, the stems can be dragged and dropped onto a timeline to build a score. 
“The whole idea is that you don’t have to be music-savvy,” explains Stubbs. “For example, you grab a drum stem to build tension and if you want strings over the top to build more tension, you can just overlap those two tracks and they are auto-matched. There’s no reason why any production company need employ anyone with specialist skills to use it.” 
Reporting on the use of the service isn’t due until September but judging from downloads, Stubbs says it has been hugely successful.

Wednesday, 20 May 2015

ITN to disrupt production sector with Football League deal

SVG Europe
ITN Productions’ managing director claims it is “a disruptive player looking to freshen up the sector through workflow and innovation” as it arrives in the big league of sports production. The creative arm of the UK’s well-established news content provider has ambitious plans to grow in the sports production market having landed its first major broadcast contract. From next season until 2018 it will produce 1,813 games from the Sky Bet Football League Championship, League One and League Two plus Capital One Cup and Johnstone’s Paint Trophy rounds in a multi-million pound contract wrested from IMG.
“What’s interesting is where ITN Productions can add significant value to what is already in this space,” said Mark Browning, MD, ITN Productions. “We think it is underserved by existing players and we know our skillset and approach can open up more of the assets for rights holders.”
He explained: “If you strip back what ITN is famous for it flows from getting access to stories in a live or near live fashion, often connecting up that story from different parts of the world, telling the story and delivering it on. That is the core of what we do and core to our news output for 60 years.”
ITN’s team is a staple of the broadcast of the UK’s largest national events such as the Royal Wedding – a pitch it made to the sports industry. “This is a company that can pull off multi-camera OBs and send them around the world — events which require enormous scale, reliability and trust as well as storytelling skill,” said Browning. “When you consider those core skills you can see why sport is an obvious next step. It’s a very simple strategy and it’s what I set about doing for ITN three years ago.”
Browning was promoted to MD in 2010 from commercial director at multimedia division ITN ON. He says the plan was always to enter the sports market through digital and then move into broadcast. Its first win was for video agency Sports News Television (SNTV), a joint venture between AP and IMG, which white-labelled its digital business to the company. “It won us a foothold in sport and established our credentials,” said Browning.
In 2013 ITN began packaging clips of EPL matches (in-game, at half-time and full-time) for the mobile and online platforms of News International titles The Sun, The Times and The Sunday Times. The deal runs until 2015-16 and has expanded to cover the Scottish SPL, Aviva Premiership Rugby, England home football and cricket internationals, the FA Cup and the Tour de France.
Earlier this month the company, which is 40 per cent owned by ITV, announced its breakthrough move into broadcast. Browning had spent a couple of years researching the sport sector and concluded that the “sheer size and scale of the opportunity” was ripe for ITN to strike.
“Sport typically happens when news is quieter – on an evening or a weekend,” he observed. “That means an awful lot of sunk cost; of technical resources and people underutilised but to some extent already paid for. If you can utilise that resource and find a reason to use that kit then you are able to offer competitive prices against established players who are just adding more overhead and cost because they are already busy at those times.”
He added, “It’s a massive marketplace dominated by a handful of very large players compared to the rest of the TV sector where there are hundreds of independent producers. This is a space that’s not had a lot of change in the last 10 years. Our talks with associations, federations and governing bodies confirmed that they would be incredibly attracted by a new player in the market.
“So when you combine the existing capacity of ITN with a compelling commercial and market opportunity they all lead to us moving into this space.”
Browning admitted to finding some raised eyebrows as to why ITN would be interested in bidding for the Football League work when the tender began last September. “It was a positive form of surprise,” he said. “There are still a lot of governing bodies who don’t realise there are more than three to four players they can approach to do this sort of thing. It was perfectly reasonable for them to assume we were something of an unknown, but as soon as we explained our thinking it instantly became clear. We offered brilliant people, fresh ideas and a whole new way of looking at production.”
ITN Productions’ big idea is to digitise the existing linear production process for the Football League. Currently, as Browning tells it, matchday footage from a single camera is captured on tape or card and couriered to the nearest playout centre (usually a BBC regional office). A rough cut version is made available in a linear video exchange funnelled through BT Tower between 18:30 and 20:30 every Saturday and on to IMG.
From next season, ITN will route signals from each match, live, down a fibre network connecting all 72 grounds direct to ITN’s data centre in Slough and simultaneously to ITN HQ in Gray’s Inn Road.
ADI owns and operates the fibre network connecting all 92 English league clubs. It will also provide disaster back up for ITN at its Preston hub.
Match footage, including every single goal from matches in all three divisions will be broadcast in a new 90 minute show aired at 9.00pm every week. Digital clips and highlights content of The Football League’s competitions will also be produced for use by domestic broadcasters (Sky Sports and Channel 5), international broadcasters (through Pitch International) and clubs (through their online Player service run by StreamUK), as well as clips of Premier League matches for top flight clubs that are part of the League’s FLi network of club websites.
“The workflow is realtime so whereas a three o’clock match previously couldn’t begin editing until several hours later, editing can now begin at kick-off,” said Browning.
For Channel 5, the Viacom-backed broadcaster which takes over the free to air rights, it means scheduling a highlights package in primetime rather than nearing midnight under the BBC.
“We’re cutting out the inefficiencies,” said Browning. “What that workflow does is turn content around much faster and gives the Football League and Channel 5 a huge opportunity for a much greater commercial exploitation of the value of their assets.”
ITN Productions has beefed up its production kit to accommodate the new work. This includes two IP Director systems and databases for logging and clip assembly linked to EVS XS hardware with more than 40 ingest channels. EVS Clean Edit is used for craft editing. It also plans one live OB per week (complementing Sky’s existing live OB of a FL match per week). This will be a classic six-camera operation with an OB supplier yet to be announced.
The production cost of the enterprise will actually rise “but at a manageable, incremental increase” explained Browning. “The upside is greater quality of footage and a greater opportunity to grow the international rights side of the property.”
He hinted that while most FL matches would be single-camera, ITN Productions is looking to scale that to 3-4 cameras in future. This could be by way of virtual angles culled from two or more 4K cameras, although Browning would not be drawn on this.
“There are some more exciting remote production techniques we are looking to rollout,” he said. “You can quite easily scale based on this infrastructure.
“This is a huge shift in terms of the way sports production works and it can be applied across the board to horse racing, the FA Cup, to swimming,” he said. “Many sports bodies perceive production as being cost prohibitive but there is a huge opportunity to open this up for them.”
He argued: “The old world model of sitting behind your mighty wall and saying ‘we are in charge, let us get on with it’ is out of date although still prevalent in this sector. Our approach is to make the process more transparent and to make the client a partner. I think that’s important and for the Football League this collaboration is key.”
ITN Productions’ strategy is clearly working. It also deliberately went for a tier 2 sports property before tackling tier 1 entities like Wimbledon, EPL or an Olympics. Production for one of these could be its next move.
“There will always be a requirement to be on the ground [at a venue] but it’s a question of scale,” remarked Browning of the significance of remote production. “We don’t see a situation where sports broadcast is done by computers, but there are elements of the chain where cost can be taken out, where innovation can lead to better quality and better speed, and that does apply to tier 1 properties as much as to other sports.”
The presentation and studio elements of the Channel 5 programming is to be produced by Sunset+Vine.

EVS Study ‘Return On Emotion’ For Connected Sports Venues


BroadcastBridge
Making digital media available in-stadia opens up the single-seat experience which currently limits fan engagement. So says EVS which is conducting a study into fan content consumption on mobile devices inside sports stadia.

https://www.thebroadcastbridge.com/content/entry/2768/evs-study-return-on-emotion-for-connected-sports-venues

“Digital media provides fans in a stadium with informative and immersive content which gives them a unique experience, increasing fan loyalty,” states Belgium technology developer EVS, which is targeting the growing demand for bespoke venue content creation and delivery. “This loyalty creates an emotional link between a club and its fans. Clubs and stadiums can then leverage this emotional link to generate a return on emotion.”
The report takes in responses from fans attending events (soccer, basketball, baseball, ice hockey and tennis) in the US and in Europe. It focuses on the influence of digital media asking under which conditions (where, when and how) do sports fans prefer to consume digital media. It is also asking which digital content sports fans prefer to consume on game-day. EVS plan on presenting the results in September but here are some preliminary findings.
According to EVS, 32% of fans attending sporting events have limited opportunities to watch replays, 15% don’t have detailed information about the game and 9% miss the action while away from the seat. 
It argues that the availability of multi-angle replays, stats, player profiles, team line-ups and behind-the-scenes branded footage will bring fans closer to their team or favourite player. The connected experience and exclusive media also allows fans to share their in-stadia experience on social media platforms, it says. 
According to reports from consulting firms and Cisco contributing to the EVS report, on-demand video of instant multi-angle replays are consumed the most at the venue.
“This is what is missed at a live game versus watching a TV broadcast at home,” EVS states. “Having the ability to do this from your smart phone or tablet while at a game is the perfect example of being able to consume the broadcast experience in a live-game environment.”
Recommendations to venue operators
The firm advises clubs and stadiums to consider what they want to achieve before adopting a multi-platform distribution strategy. “There are now so many new revenue streams that can be generated by ‘connecting’ stadiums and offering exclusive content, clubs should have a clear idea of what they want to gain from opening up content delivery to fans,” EVS states.
In a similar vein, clubs and venue owners should be asking what content they want to deliver and when. 
“The wants and needs of a high-level, professional club will differ to a smaller, niche sports club,” EVS suggest. “By optimising the variety of video content, it becomes easy to manipulate its lifecycle. Does a VOD-type application where fans can engage with video content at all times make sense or is it preferable to make content only available in-stadium as live games are played?” 
A dedicated stadium mobile app, for example, can give fans the ability to view the game from their choice of angle, or enable them to see instant replays. Or, it can offer both. 
“The depth of engagement that can be created depends on these decisions. By adopting the correct strategy and making the right content available at the right times, clubs can increase fan loyalty and engagement. The revenue streams that can then be leveraged from this engagement are huge.”
EVS highlights the two most successful in-venue connectivity business models. These are a connected league with a centralised platform or a connected stadium/franchise which operates its own content platform. 
It describes the NFL as a perfect example of a league where both models are being utilised in tandem. The NFL organisation runs not one, but a number of video content platforms. “This works well for the league because of the nature of their organisation,” states EVS. “Each team is important to the integrity of the entire league and they’re all given the same amount of coverage across these video platforms. This business model engages fans of the sport rather than just those of a particular team. Fans can choose their favourite team and are presented with slightly more content orientated around that but the platform has game highlights, post-game analysis and even live NFL news network feeds from the entire league.”
Revenue opportunities on this platform are then available on a higher, league level. App users can purchase tickets for any league game, buy NFL merchandise and support the league as one entity. 
Then further down in the league, team and stadium owners are building their own apps to engage fans on game day. These are the apps that connect to in-stadium Wi-Fi and have replays and feature alternative camera angles. These are the apps that tie into the stadium or club’s customer management operations. By inputting their ticket numbers, app users can order food from their seat, buy club-associated home-game tickets or order their favourite teams merchandise. 
“Both of these business models are successful,” say EVS. “It depends what content operators want to deliver to fans. Again, this underscores the idea that goals determine the kind of business model and specific infrastructure deployed.”
EVS is promoting two aspects of its tech portfolio to sports venue operators. These include IPDirector content tools at the heart of a 'Stadium Control Room' for game-day content production and delivery; and the C-Cast multimedia distribution platform.

What a Single Digital Market Means for Europe's Media

IBC
The European Commission (EC) is pressing ahead with plans to create a Digital Single Market for pan-continental telecoms networks, cross-border digital services and a wave of innovative European start-ups.
The initiative, published earlier this month, is intended to lift the barriers to online trade and  thereby increase GDP among member states by a whopping €415 billion a year by giving access to 500 million citizens. But the plan has been met with a mixed reception.
Digital trade remains provincial across the EU, split into 28 sets of national contract laws. The EU reported that only 4% of internet traffic from EU countries goes to online services in another European country, whereas 54% of it goes to services in the U.S., the EU reported.
“People must be able to freely go across borders online just as they do offline,” declared EC Vice President, Andrus Ansip. “Innovative businesses must be helped to grow across the EU, not remain locked into their home market. This will be an uphill struggle all the way, but we need an ambitious start. Europe should benefit fully from the digital age: better services, more participation and new jobs.”
The most controversial of the Digital Single Market's (DSM) 16-point proposals is to “end unjustified geo-blocking” - the process by which businesses in one country restrict access to websites or content based in another.
A related aim is to rewrite copyright legislation to recognise the “portability of legally acquired content.”  In other words, if you have legally paid for an online service while at home you should be able to access it in another EU country.
That may make sense and the EC provides research to back it up. It suggests that one in three Europeans is interested in watching or listening to content from their home country when abroad, and that one in five EU citizens would like to access content from other EU countries.
However, the practicality of seeking to abolish geo-blocking while continuing to protect territorial copyright has been questioned.
While a single digital market would benefit global players like Netflix, the proposal as it stands could be challenged by rights holders and distributors whose business model is built on charging different rates for downloads and streaming services depending on demand in each nation.
“This is empire building,” analyst Alice Enders told The Telegraph. “It’s a long-standing ambition of the EC to take control of copyright, but there is just no real evidence of cross-border demand. Britain has a very mature and well developed media market where companies can make a good return compared with most other European countries.”
The ambiguity is at least recognised by the EC which states that: “Financing of the audiovisual sector widely relies on a system based on territorial exclusivity, which as such cannot be considered as unjustified geo-blocking. Being able to access online content legally across borders will help deal with geo-blocking concerns, while respecting the value of rights in the audiovisual sector.”
"The aim is to improve people's access to cultural content online – thereby nurturing cultural diversity – while opening new opportunities for creators and the content industry,” the DSM proposal reads. “In particular, the EC wants to ensure that users who buy films, music or articles at home can also enjoy them while travelling across Europe. The EC will also look at the role of online intermediaries in relation to copyright-protected work. It will step up enforcement against commercial-scale infringements of intellectual property rights."
The Digital Single Market strategy is further intended to lift Europe's digital businesses, an  an area in which Europe “has dropped from world leader to second-tier player in only a few years.”  
In the EC's opinion, European start-ups have been hindered from becoming internet giants because they have lacked the scale of a single market - unlike their US counterparts.
The EC said it would launch a “comprehensive assessment” of the role of “platforms” like Facebook, Amazon, Microsoft and Google and potential abuse of market power by the end of 2015.
This has raised alarm across the Atlantic. “It appears (the proposals) would create a single market for Europe at the expense of the global digital economy,” commented Robert Atkinson, president of Washington-based think tank the Information Technology and Innovation Foundation. “The digital single market should be a pathway towards integrating Europe into the global Internet economy, not a strategy for isolating Europe from the rest of the world. In particular, the EU should avoid developing European-only, government-led technology standards.”
The lack of a single market has also plagued comprehensive rollout of 4G services.
Ansip added there would be no possibility of a DSM without “deep cooperation in the field of spectrum”.
Innovations such as cloud services, data analytics improving efficiency in industrial processes and intelligent connected machines could add more than €2000 billion to Europe’s GDP by 2030, said the EC.
“Europe cannot be at the forefront of the digital revolution with a patchwork of 28 different rules for telecommunications services, copyright, IT security and data protection,” declared EC Commissioner for Digital, Economy and Society, Günther Oettinger. “We need a European market which allows new business models to flourish, start-ups to grow and the industry to take advantage of the Internet of Things.”
The proposals for the DSM will be on the agenda of the European Council meeting on June 25-26 2015. A final draft of proposals will then go to individual European parliaments to be debated and potentially amended. The European parliament will then vote on a final draft but it could take several years for legislation to come into effect.
Having hosted major speeches from Europe's previous digital commissioner Neelie Kroes last year, IBC will be the place where the business, technology and politics of Europe's media plays out.

Friday, 15 May 2015

BBC iPlayer Viewing Figures Fall; Is it Time For a Rethink?

StreamingMedia

Video views via BBC iPlayer have fallen for the first time. Is this inevitable or does it signify a more profound issue with one of the world's best known online brands?
For the first time since launch in 2007 the popularity of BBC iPlayer has fallen causing some to question whether the Corporation can maintain its lead in online innovation.
This is at a time when the new Conservative-led government is considering an overhaul of the way the BBC is funded, possibly pulling the plug on the licence fee.
Latest iPlayer viewing stats show that requests to watch TV shows fell 7 per cent in March to 230 million, compared to the same period last year. Overall the service grew about 2 per cent year-on-year in the first three months of 2015, the slowest growth on record.
With millennial audiences tuning into YouTube for video around their specific interests and with streaming players now looking to combine VOD, catch up, live TV, and user-generated content to give subscribers the full package, is it time for a new approach to meet changing user demands?
“With falling iPlayer subscribers, criticism directed at its licence fee model and a potential future cull of its portfolio of channels, the BBC is currently facing a crisis of confidence in its position as a ‘pioneer’ of online video,” warned Nick Fitzgerald, CEO of digital media solutions developer TV2U.
“When it was first introduced, iPlayer heralded the future of online video streaming. But as the latest iPlayer user stats show, it’s no longer sufficient to provide just live TV and catch-up content, particularly if consumers are paying for it but not necessarily making the most of the content available to them.”
The licence fee generates £3.7 billion per year for the BBC and has been frozen at that level since 2010 until 2016, while the government also required the broadcaster to slash costs.
Those cost-cutting measures will lead to the BBC closing its BBC Three channel later this year, moving the brand and some of the content online.
This week BBC Worldwide—the broadcaster's commercial arm—said it will shutter the Global iPlayer subscription service in July. It was available for Western Europe, Australia and Canada, although not the U.S.
BBC Worldwide first announced it intended to pull support for the Global iPlayer app in October 2013, saying it would instead focus on making material available via thee BBC.com website.
The BBC has also run into problems with Top Gear, one of its best performing international TV brands. New presentation talent for the show is expected to be announced soon.
“With many consumers flitting between live TV, subscription-based services, and shorter online video content, broadcasters like the BBC need to focus on innovating their entertainment services in line with changing appetites," Fitzgerald added. "By partnering with alternative cloud entertainment services and technology providers, broadcasters can fight against the changing TV tides and remain relevant in an ever-evolving market.”

Should British soccer Clubs Own Mobile Streaming Rghts In-Stadia?

BroadcastBridge
There are growing calls for the rights to stream live video of EPL and Football League games to the mobile devices of fans attending match-day at UK football grounds to be renegotiated. Clubs would like to boost their ability to monetise investments in in-stadia mobile broadband and Wi-Fi by streaming video of the match in progress or replays and highlights to smartphones just as they are permitted to do to giant stadium screens and screens in concourses.
Mobile rights are tied into the multi-year TV rights package owned predominantly by Sky and BT Sport whose lawyers interpret this to include rights to stream within the stadium environment.UK soccer contracts pre-date and fail to account for many of the latest developments in in-stadia connectivity.
In the US the situation is markedly different. Video replays and highlights of the venue game, as well as highlights of concurrent games, are available to users of league-wide apps such as NFL Mobile and MLB At The Ballpark.
In Sweden, the Tele 2 Arena, Stockholm (home to soccer clubs Djurgårdens IF and Hammarby IF) is able to offer fans an exclusive at the game experience including live video streams, with up to four unique camera angles and 30-second replays on-demand. The mobile app and infrastructure was Cisco's first Europe install of its StadiumVision Mobile products.
“In the UK the rights piece has got to catch-up,” said David Jones, VP of IT, Anschutz Entertainment Group (AEG) which operates and owns the Tele 2 Arena. “It is up to teams, building owners or leagues to carve out these rights. The easy bit it is the technical side. The commercial relationship between building, league and team and rights holders makes it tricky to deliver.”
According to preliminary studies by broadcast technology developers EVS, on-demand video of instant multi-angle replays are consumed the most. “This is what is missed at a live game versus watching a TV broadcast at home,” EVS stated. “With the amount of PVR’s now installed in homes, you can essentially watch a given replay as many times as you like. Having the ability to do this from your smart phone or tablet while at a game is the perfect example of being able to consume the broadcast experience in a live-game environment.”
Rights holders may be concerned to have a guarantee that the video stream is securely confined to the arena. Football clubs have the right to stream the game to subscribers of their club channels online and to mobile usually 24 hours - and sometimes with a seven day embargo - after the game has occurred.
Microsoft'sStrategic Director - Sports Business Development,Stewart Mison thinks EPL clubs need to look again at the broadcast model. Mison is a former SVP of sports rights marketer Octagon CSI.
“You don't want to cannibalise the live TV rights income stream, but there has got to be something more clubs can carve out in the negotiations to access rights to more video purely for in-stadia streaming,” he said.
Several EPL and Sky Bet Championship clubs have Wi-Fi fresh for the start of the 2014-15 season. Among them: Brighton & Hove Albion, West Bromwich Albion,Birmingham City, Watford,Manchester City,Middlesbrough, Bolton Wanderers and QPR. Of those, only Manchester City has succeeded in carving its own match-day video rights.
Its second screen matchday app CityTV Live offers a video channel for all its supporters containing live behind-the-scenes video pre-match player interviews as they step off the team bus. Exclusive for fans at the Etihad Stadium users can stream two additional live video channels to their mobiles: A ‘highlights’ channel of multi-angle replays of important incidents, including those of controversial decisions; and a Tactical Cam which offers an aerial view of formations and passing lines. Just as at the Tele 2 Arena, a ‘rewind 30 seconds’ function gives fans the ability to rewind at the touch of a button.
Matters may be on the verge of a change. The technology company behind the app which powers content at all those UK football clubs mentioned above - bar Manchester City - is lining up a demo, with Sky's blessing, of video to mobile at a soccer ground.
We believe we can deliver video stadium-wide using our technology and we hope to show it in some form in the near future,” said Ian Wakeman, Managing Director, TribeHive. “It won't be realtime highlights but along the lines of pre-match team talk discussion with a coach about why they've set up team in a certain way.”
TribeHive boosts Wi-Fi connectivity
TribeHive is the most successful provider of apps to UK soccer clubs because of its unique technology which amplifies the power of Wi-Fi.
Its patent-pending process is claimed to boost connectivity over Wi-Fi by three times at peak congestion periods such as half-time and full-time. “You are three times more likely to get the data you want,” said Wakeman.
It's an extremely simple software solution that makes you wonder why it took a start-up from Sussex University to bring it to market rather than a IT giant like Cisco.
Essentially, TribeHive's tech called HiveCore, uses peer to peer networking to build a connection directly between all phones using the app in a certain place and to share updates to the app. Wi-Fi in crowded and high traffic environments like stadia can be problematic and cause buffering at best or even be unusable during peak periods. With HiveCore, if one cell phone can't connect to the local Wi-Fi base station then demand is moved peer to peer until a connection is made and that data is then shared with all users. Data of course does not mean personal data – this is encrypted – but the app content including team sheets, score update and travel information.
Wakeman explained: "It is not an approach that will work well for ad-hoc gatherings, but makes great sense at regularly scheduled events like sports matches, or even annual events like music festivals, etc, where the time and resource investment required will be worthwhile and there is plenty of opportunity to encourage users to download the app ahead of time."
Last year, Football League Interactive (Fli), which manages and develops the internet and mobile rights of The Football League, signed TribeHive to supply the tech into branded apps for its members.
A “significant proportion” of revenues go back to each club, according to Wakeman, and some is returned to the Fli.
“The club gets a marketing tool to integrate with stadium Beacons to generate a map for fans to navigate their way around the stadium or to promote club merchandise and other offers,” he says. “We are integrating ticketing systems into the app and our Customer Relationship Management system so that when we push out a message to the app you can target particular groups of fans.”
It is being monitored by the Football League for potential wider distribution among clubs within the FLi's umbrella. This includes some EPL clubs like Southampton and Hull.