Wednesday, 28 February 2018

Intel has big plans for 8K VR over 5G at the Tokyo Olympics

RedShark News
The Korean Winter Olympics has barely closed but Intel is already planning to live stream VR 360 video in 8K over a 5G network during Tokyo 2020.
“We are barely doing 4K just now,” admitted Aicha Evans, Intel’s SVP Chief Strategy Officer, speaking at a press event at Mobile World Congress. “But if we don’t develop the infrastructure, we won’t be ready.”
In Pyeongchang, the chipmaker has been live-streaming HD VR video over a 5G network built by Korean telco KT and distributed to consumer apps run by NBCU and Eurosport. There were 22 live 5G-links across 10 Olympic locations capable of carrying some 3800TB of capacity, way more than 10 times the ability of current 4G networks.
The 5G network around the Tokyo metropolis will be on a much larger scale and built by Japanese service provider NTT DoCoMo, which Intel will officially partner with.
Intel promised to develop other experiences over 5G in Tokyo, including applications for fleets of autonomous vehicles in partnership with Toyota.
“We will also focus more on Artificial Intelligence by working with athletes to augment their training with richer data and analysis,” says Evans. “5G is a massively disruptive technology because it has the ability to bring almost unlimited computing power to the network’s edge and therefore much, much closer to the devices of users.”
Intel’s interest is in powering those edge computing servers, and also in providing the firepower to process all the data and video returned in real-time from events like an Olympics, to deliver to end-users’ mobile devices as VR or time-sliced and personalised action.
There are those still questioning whether 5G investment is worth it. Among them, the CTO of Korea Telekom who is now tasked with finding commercial applications in Korea, now the games have closed.
“The big question is whether 5G can make money,” he admitted.
Intel brushes such worries away. “At the beginning of every technology there are discussions about how to make money, but guess what? Not only does it add a lot of value to people but the next wave is also about machines. We have to give them eyes with cameras and ears with natural language processing, and they need to be self-learning so they need to communicate. 5G is fundamental to all of this.”

Huawei’s laptop has a hidden camera

RedShark News
When you’re the subject of a backlash by tech companies over fears that you are spying on them, the last thing you would do is hide a camera in a laptop. But perhaps that’s just Huawei’s sense of humour.
The Chinese consumer electronics brand, which is consistently forced to deny it is in the pay of the Chinese government, has put the James Bond device in its MateBook X Pro notebook.
Users press a button on the keyboard to pop-up the concealed camera.
Huawei executives explained that positioning the cameras on the keyboard freed up space for the world’s first full-view screen in a notebook, featuring a massive 91% screen to body ratio.
“With a 178-degree viewing angle and if you’re working on confidential documents on a plane or train, you’re going to have to invest in a privacy screen because everyone is going to be able to see what you’re working on,” said Peter Gauden for Huawei.
However, it’s clear Huawei is sensitive to the paranoia some people have over the use of webcams as spy cams, which recalls Facebook CEO Mark Zuckerberg’s selfie in 2016 revealing that he had put tape over his own laptop’s camera.
Huawei is preparing to unveil its new flagship mobile handset, the P20, next month, which will feature dual lenses and artificial intelligence. But perhaps notebooks are its new bid to tackle the market, given that its handset division has taken a knock in the U.S.
Mobile carriers AT&T and Verizon dropped plans to sell Huawei phones, including the new Mate 10 Pro, under pressure from the FBI, whose director, Chris Wray, said the U.S. government was “deeply concerned about the risks of allowing any company or entity that is beholden to foreign governments that don’t share our values to gain positions of power inside our telecommunications networks.”
The MateBook X Pro supports Dolby’s Atmos sound system and has a power button that doubles up as a fingerprint sensor to unlock the device.
The top of the range 512GB version will cost an Apple-watering 1899 Euros.
Also launched is the Mediapad M5, another notepad which comes with a 13MP rear camera (no LED flash) and an 8MP front camera.

MWC 2018: The Internet's Interface Will Be AR/VR Thanks to 5G

Streaming Media

"AI will be woven into every aspect of our lives" as the 5G-enabled cloud takes prominence and phones diminish in importance.

The mass availability of high-speed connectivity combined with increased processing power and advances in artificial intelligence will see augmented reality (AR) and virtual reality (VR) become the interface to the internet, executives at Mobile World Congress 2018 predicted. At the same time, the smart phone will fade in significance.
“Immersive computing is the future,” declared Adrienne McCallister, Google’s director of global VR AR Partnerships. “AR and VR make computing more intuitive, more natural. If we look back at the history of the internet from PC to mobile and now immersive computing we’ve made the internet easier to use, more accessible.”
For all the razzamatazz devoted to the launch of each new smart phone—including Samsung's Galaxy S9+ release—there are widespread predictions—handset vendors included—that the metal and glass supercomputer in our pocket will be yesterday’s technology within the decade.
“AR VR will be the new interface to computers when combined with 5G and AI,” said Rikard Steiber, president of Viveport and senior vice president of virtual reality at HTC Vive. “You have to move a lot of the network from the device into the cloud. As more and more processing are done in the cloud you don’t need to have a massive personal device to store it.”
Ericsson CEO Börje Ekholm agreed: “Today, the smartphone is at the centre of the connected ecosystem, but things will look very different in a 5G world. The fragmentation on the device-side will be larger than it is today with different form factors. Connectivity will be in wearables and in sensors.”
HTC’s co-founder and chairwoman Cher Wang talked up 5G-based virtual reality as the future of content that could provide mobile experiences to transform the whole mobile industry.
“5G reduces the need for device-based computing power. Cloud computing over 5G will enable every single VR and AR terminal to be the most powerful device in the world,” she said. “Smartphones may look different from the shiny rectangles we know today and take on other forms as 5G reduces the need for device-based computing power. The screen may be away from the smartphone and displayed on our AR or VR devices—or even directly projected into our eyes.”
She added that “AI will be woven into every aspect of our lives.”
The GSMA estimates that by 2021, 1.8 billion people will be using chatbots and virtual assistants.
“AI will transform industries,” said Mats Granryd, director general of mobile operator’s body GSMA. “To be truly life changing, AI requires hyper-connectivity, ultra-low speed, and low latency. When they combine—and they will—we enter the era of intelligent connectivity.”
He added that this era would be defined by highly contextualised and personalised experiences.
“The personal assistance of the future will understand our every need and understand the environment around us. We will be able to control this by voice rather than with a screen.”
Google explained that it thinks of AR and VR as points on an immersive computing spectrum. “VR is obscuring the physical world and replacing it with digital imagery,” said McCallister. “VR can take you anywhere. With AR we are overlaying CGI to understand the world around you.”
Google’s VR journey started with Cardboard in 2014, continued in 2016 with the Daydream platform for mobile smartphone VR, and advanced in January with the launch of wireless headset Mirage Solo in tandem with Lenovo. This product combines motion-tracking technology with Daydream’s virtual reality platform for 180-degree experiences.
“People spend over half their time in Daydream in video,” reported McCallister. “With YouTube we have the world’s largest library of VR content.”
Google is also investing in original VR content including with the NFL.
However, she said Google thinks AR marks the next big shift in mobile devices. “AR can bring digital information to you in the context of the real world which makes it incredibly useful,” she said.
The real reason for this stance is that there is a far wider potential user base for AR than there is for VR. Android alone has over 2 billion active devices and with ARCore, its augmented reality SDK for Android, now ready for download, Google is anticipating a deluge of developers publishing AR apps to the Google Play Store.  During 2018 Google will partner “with dozens of Android manufacturers” including Huawei and Samsung to build AR apps on their devices.
Combined with the installed iPhone base of half a billion primed for Apple’s ARKit and AR is ready for a flick of the switch.
“AR VR combined with AI will be the de-facto computing interface because the information we need to access the internet is best represented in 3D,” said Dave Ranyard, CEO for London-based app developer Dream Reality. “At some point, the killer app will come out and get all the 12- to 16-year olds playing in the AR space.”
The predicted huge reliance on software rather than hardware could allow tech titans like Google, Microsoft, Facebook, and Amazon to become major competitors in the mobile industry.
There were repeated warnings that the telco industry needed to shift its culture from long-term planning to more dynamic innovation as a result.
“Planning is dead,” decreed Jim Whitehurst, CEO at open source developer Red Hat. “The traditional management system is to plan, proscribe, and execute against that plan, but in the new world that approach breaks apart. You cannot plan because things are changing too fast. Innovation is fluid, not episodic.”
He called on telcos to change their leadership processes to compete with web companies: “Solely driving efficiency means driving away innovation.”
The mobile phone is already the target device for growth of video in emerging markets.
“We think all content will go OTT, and with the power of the phone it goes mass market because people want to be in control of their entertainment,” said Mark Britt, CEO and co-founder of SVOD service iFlix. “For example, in Malaysia the pay TV market for sports is 4 million homes, yet we know there are 18 million sports fans. Pay TV has massively underserved this community. Anyone with a broadband connection can access content and the result is that you can bring football to the masses. Mobile carriers have the ability to disrupt the U$100 billion-dollar market of linear TV in Asia Pacific."
Live sport is the strategic weapon which telco BT is using to shore up its fixed line network in the UK—but also to differentiate its offer with mobile as it incorporates mobile operator EE into the fold.
Andrew Hayworth, managing director of strategy and content for BT Sport said, “Content is driving networks almost exclusively…But you’ve got to have a clear plan. Sending UHD across the network in real-time is the test case for how resilient your IP network is."
He admitted that BT had tried to win the majority of EPL rights in 2014 but had to reset its course after securing only two packages (with Sky getting the remainder).
“It was a strategy intended to grow our connectivity business and to drive and defend broadband,” he said. “Before [winning rights] BT was considered quite transactional and had no day-to-day relevance. Now, BT Sport is involved in the nation’s conversation. It has transformed the BT brand.”
Commenting on the interest by Amazon and Facebook in acquiring EPL rights he said, “The jury is still out on how the landscape might evolve. Clearly, customers value the ability to access live content on any device and so it is likely that we will see some rights holders create packages for digital from the onset.”
BT Group CEO Gavin Patterson said the telcos’ ambitions in original and exclusive content stopped with live sport. It would not be competing with Netflix.
“I don’t think anyone running a network can be in denial of Netflix. It’s a phenomenal product. Denying your customers what they want is ridiculous. We don’t intend to be a producer of general entertainment content. We are an aggregator of traditional TV and OTT. We can combine all content on one UI for a better consumer service and we use the strength of the network to add value, such as higher picture quality.”
Combining fixed and wireless assets to densify the network “means we get the sheer processing power of fixed and the convenience of wireless—which opens up whole new set of experiences for the consumer," he said.

Tuesday, 27 February 2018

Sony Xperia XZ2 beats new S9 with 960 fps at 1080p

RedShark News
Hot on the heels of the Galaxy S9 announcement, Sony are heating up the stakes with the XZ2, a smartphone not only capable of 960fps slow motion at a full 1080p, but caters for internal recording of HDR movies, too. Things have just become very interesting indeed.
If it wasn’t already apparent then the announcements springing out of Mobile World Congress demonstrate that the smartphone’s most popular function is its camera. Dramatic leaps in performance are being heralded by handset vendors seeking to leapfrog the competition with a particular focus on generating ever greater light sensitivity and in ramping up the speed of photography to extreme levels as hooks to entice customers.
Sony, for example, has made video the focus of its latest Xperia model XZ2 claiming it as the world's first smartphone to offer 4K high dynamic range (HDR) video recording (at 30fps). HD can be captured at 60fps.
Video and stills from the 19 Megapixel Motion Eye camera (the same incidentally as in the firm’s previous model XZ1) have been improved thanks to an exclusive image processor developed with Qualcomm which reaches ISO levels of 12,800.
“That is not possible in any other smart phone,” claimed Sony executive Hideyuki Furumi at the launch.
He said the firm had “embraced the convergence of content and technology… and was cascading professional quality down to consumers.”
What that actually means is that Sony is trading on consumer knowledge of its Hollywood studio brand and has brought technology previously available in its other divisions to the mobile screen.
To that end it has borrowed the HDR upscaler Advanced Reality engine from its Bravia TVs so that the XZ2 can take any video content - either local to the device or streamed from Netflix or YouTube - and give it “close to HDR quality”.
The 19MP camera has a Exmor RS sensor with aperture size of f2.0. The device has a 5.7-inch display with 18:9 aspect ratio and comes wrapped up in 3D Corning Gorilla Glass.
The CTO of Sony Pictures Entertainment, Don Eklund was on hand to endorse the Xperia’s ability to play back movie content mastered in 4K HDR, like Baby Driver and Jumanji: Welcome to the Jungle and said he encouraged users of the XZ2 to shoot their own movie-quality 4K HDR videos.
Like other new smartphones Sony’s is powered by a Qualcomm Snapdragon 845 which is capable of speeds of 1.2 Gigabit a second – all to encourage you to stream more 4K content.
While Samsung has just lauded the ability of its new Galaxy S9 to capture super slow motion at 960fps, in truth Sony pioneered this last year in the XZ1. Now, it’s gone one better than its rival in upping the capability so that the 960fps will now shoot up to HD 1080p, compared to the previous cap of 720p.
Also new in the XZ2 is a Dynamic Vibration system, plucked from the PS4’s DualShock 4 controllers, which takes cues from the audio signal of the game, movie or music video you are watching and provides a vibrating feedback via the handset, in theory providing a more immersive experience. Gimmick, annoyance or fun addition, you decide.

Monday, 26 February 2018

New Galaxy S9 produces incredible 960fps slomo

RedShark News
Samsung's new Galaxy S9 and S9+ impress with their incredible slow motion camera capabilities and 12MP sensor. 
Samsung is promoting its new flagship smartphone as a camera, saying it has designed the Galaxy S9 and S9+ “for the visual and social generation”.
All the exciting features – and we presume the investment – has gone into the camera and while it incorporates Samsung's own AI, Bixby and some real-time contextual translation, artificial intelligence is not this product’s calling card.
“It’s not the text we send or the updates we push that convey who we are anymore,” said DJ Koh, the head of the firm’s mobile division at a press event in Barcelona. “Images are replacing words to become the new language of self-expression.”
Samsung calculates that people took 1.2 trillion photos on their smartphones last year and that every day we made 10 billion videos.
“Clearly, the social media generation has revolutionised the way people communicate and transformed the way we all use our phones,” he added.
That may be so but cameras are still squeezed into the slimline device as an accessory rather than a priority. With the S9s, Samsung wants to change that.
Among several innovations is a wide-angle 12-megapixel camera (in both models) that has a variable aperture that will automatically switch between an f-stop of 1.5 in dark conditions and f2.4 for daylight – in theory permitting better quality pix.
“It is designed to work like the human eye,” explained Samsung’s Jon Wong.
Or an SLR.
A souped-up sensor can process four times as much image data and let in 28% more light, Samsung says. The accelerated processing of its Qualcomm Snapdragon 845 chip means the unit delivers 30% less noise than photos shot with the Galaxy S8.
While the S9 has a single 12MP lens, the S9+ sports two lenses – one with a 2x zoom. Both models have optical image stabilisation, but the S9+ uses its two lenses to provide a shallow depth-of-field for actual rather than artificially added bokeh.
Both use computational photography to shoot 12 photos in three groups of four, compressing them into a higher-detail, reduced-noise, single image.
The same chip is also behind the remarkable ability of the camera to record speeds of 960 frames a second – dwarfing the rival slow-motion capabilities of Sony and Apple.
Samsung demonstrated this live by having someone pour water into a glass, then playing it back showing a 0.2-second clip stretched to six seconds. A gimmick it may be – but it’s an exciting one that could open up a whole photographic dimension, provided you want to share the results.
Luckily, you can turn it into a GIF to play on a loop.
The snag is that it only operates at 960fps at 720p (480fps in 1080p) and for no longer than 0.2 seconds.
In order to prevent you forever missing the action, the unit will detect motion in a pre-defined area, recording from the moment the movement is detected. Either side of that motion-triggered 0.2-second window it records 30fps.
The camera (let’s not call it a smartphone) will also allow you to create AR emoji’s by using your selfie to map onto a series of animations. With face recognition, the emojis will also map your facial expression and Samsung wants you to share these on any other phone or over WhatsApp and Facebook Messenger.
Disney is being lined up as a partner, so in future, presumably, you can map your face onto Mickey Mouse or Jabba the Hutt.
The screen is ‘infinity’ curved, like previous Galaxy models, with the larger S9+ coming in at 6.2 inches. There are stereo speakers which support Dolby Atmos and a headphone jack, wireless charging, enhanced facial recognition and the OS is Android 8 Oreo.
The standard S9 costs £750 and the S9+ £838 – a bit cheaper than the iPhone X but more than a mid-range Canon EOS if we want to compare phones with cameras and 50 quid more than the S8.

MWC 2018: With 5G, World Is 'On the Cusp of Hyper Connectivity'

Streaming Media

After years of demos and trials, 2018 is the year when 5G finally becomes commercialized. Look for a dramatic impact on the internet of things—but only if security problems are conquered.

http://www.streamingmediaglobal.com/Articles/Editorial/Featured-Articles/MWC-2018-With-5G-World-Is-On-the-Cusp-of-Hyper-Connectivity-123431.aspx
“We are at the dawn of a new era in mobile with the imminent launch of the first 5G networks and with the IoT [internet of things] poised to further transform the way we live and work,” declared Mats Granryd, director general of mobile operators trade body GSMA, in the opening address to the 2018 Mobile World Congress (MWC) in Barcelona, Spain.
“We are on the cusp of hyper connectivity where ultra-HD video, 360 video, augmented reality, holograms, avatars, and more will transform the way we communicate and consume media,” he said.
Above and beyond media and entertainment, 5G is being promoted as the fundamental infrastructure driving the world’s future digital economies by linking together billions of connected devices into the IoT and delivering what some are calling the fourth industrial revolution.
The latest GSMA data suggests that more than 60 percent of the global population will be on mobile internet by 2025.
Having passed the 3 billion mark in early 2017, the number of mobile internet users is set to grow rapidly over the next 8 years reaching 5 billion or 61 per cent of the global population by 2025. As unique subscriber growth slows, mobile internet adoption will increasingly become the key metric by which to measure the reach and value created by the mobile industry, according to GSMA lead analyst Mark Giles.
Developing markets will account for most of the growth with an additional 1.56 billion added by 2025, compared to just 185 million within developed markets. This growth is a result of the continued migration from 2G to 3G+ networks.
Annual world capex on infrastructure will actually dip to $639 billion in the four years to 2020, from the $730 billion in the previous four years, while 4G rollouts are completed. Operators in developed markets are currently focused on network densification ahead of rolling out 5G and it is this which is taking centre stage at MWC2018.
Thanks to standards body 3GPP’s decision to bring forward 5G NR specifications last December, 5G mobile operators are finally beginning to turn potential into deployment. These specs focus on mobile broadband deployment using the non-standalone (NSA) 5G NR, which is used to accelerate 5G deployments by using LTE as an anchor. The next specs, for 5G standalone (SA), are due in June and will require a full 5G build out.
“If 2016 was about proof of concept demos and 2017 about trials, then this year is squarely focused on bringing commercial products to market,” said Alan Shah, vice president of network strategy for Samsung Electronics America.
The GSMA estimates that the migration to 4G and 5G networks will now gather significant pace, with 4G forecast to account for 53 percent of global connections by 2025, up from 29 percent today. The GSMA said 5G networks will grow to account for a further 14 percent.
There will be 1.2 billion 5G connections worldwide by 2025 with networks covering about 40 percent of the population, the GSMA predicts.
Ericsson's CTO, Erik Ekudden, said “We are now at the point where the technology is ready for commercialisation. “Our work on test beds and trials to mature the technology to meet the demanding requirement of apps such as AR and VR has paved the way for operator rollout.”
The GSMA study also claims IoT uptake will flourish driven by a proliferation of use cases for smart homes, buildings, and enterprises. The number of IoT connections (cellular and non-cellular) will increase more than three-fold between 2017 and 2025, reaching 25 billion.
MWC2018 exhibitors are highlighting applications in media, smart cities, and industry. Japanese service provider NTT Docomo, for example, is explaining how it plans to build a 5G network in the Tokyo metropolitan area to support applications including fleets of autonomous vehicles and live virtual reality video in the 8K UHD format around the 2020 Olympic Games.
Andrew Hayworth, managing director for strategy and content at BT Sport, spoke about how, by 2020, 5G would enable the telco to leverage real-time personalised and interactive content across smart TV, desktop, and mobile screens including what he called the “fourth screen” in connected cars.
“One challenge will be to join up the narrative across those screens and create a personalised content journey between them,” he said.
There’s a political element with calls for governments to free up regulations in order for the networks to be built.
“As the mobile industry moves into the 5G era, the need for pro-investment, pro-innovation policies and modernised regulatory environments has never been greater,” Granryd said. “Streamlined regulation and further policy developments in spectrum, infrastructure, and economics are key to realising the full potential of 5G for society as a whole.”
Telefonica CEO and chairman Jose Maria Alverez-Palette said recognition from policy makers of “an investment-friendly framework” was needed “if the full benefits of the revolution 4.0 are to be realised.”
Nokia CEO Rajeev Suri claimed U.S. operators were being hampered in their 5G ambitions by a lack of suitable spectrum: “The policy makers really need to take action,” he urged.
While China, Japan, and Korea are moving rapidly to 5G, and operators in the Nordic countries were also on a fast track, Europe as a whole was “being the slowest [region] and we don’t expect any real progress here with 5G in the short term.”
Nonetheless Nokia is involved in 5G trials with Orange, Telefonica, and Vodafone, the latter in Milan.
There are also warnings about the rapid rise of IoT where the infrastructure is still immature. “Providing security assurances is critical to enabling continued growth in the IoT ecosystem,” warned Paul Williamson, vice president and general manager of IoT device IP at chipmaker ARM. “Trust needs to be built with consumers and businesses.”
He stressed that the industry is in an ongoing battle with hackers who are “relentlessly hunting for vulnerabilities” that allow them entry into users’ lives."
“5G enables new real-time low latency use cases such as remote surgery,” he said. “A breach in security anywhere in the value stack could lead to catastrophic results.”

Thursday, 22 February 2018

What’s the content ticket for longevity?



Knect365 for TV Connect

The cost of rights for sport, drama and ‘live’ entertainment is soaring as telcos, broadcasters and OTT players battle it out to secure exclusivity to the next big thing in content.
The rapid proliferation of new types of digital TV service combined with the growing number of devices people use to access video has created a fragmented marketplace for suppliers of TV content. Yet content is, as it always been, a driver for eyeballs and there is only a finite amount of great quality content to go around. That means more TV service suppliers are competing for largely the same set of rights, and they want them on an exclusive basis. In a seller’s market prices are pushed up.
“It’s a state of affairs which is commercially alarming for large parts of the ecosystem,” says Ovum’s chief TV analyst Ed Barton.
“Whether its pay TV, OTT or a free-to-air broadcaster they are all competing for audience share and/or subscription dollars but doing it in many different ways,” Barton says.
Sports still vital to pay-TV
For traditional pay-TV services, it has been the variety of content (and services) that has been a significant component of retention.
“High-quality content (irrelevant of genre) is still the critical component for any service seeking to succeed,” affirms Carl Hibbert, Head of Consumer Media & Technology at Futuresource. “For true scale and to raise service value and subsequent ARPUs, there’s a definite requirement for traditional operators to offer a mix of content, rather than rely on one type.”
Reduction in churn has significant impact on subscriber acquisition costs, which can rise into the hundreds of dollars. “Attracting consumers to a platform through content also has the ability to drive up adoption of other (higher margin) services such as broadband – particularly for those operators owning the pipes,” says Hibbert. “If operators are commissioning original content there is the ability to sell rights internationally to generate further income.”
Nonetheless, the sports package consumers have on their TV subscription has the potential to be either a deal maker or a deal breaker, according to a recent report by Ampere Analysis.
“With sports fans so overwhelmingly eager to pay to access their favourite competitions, there is tremendous scope to further monetise sports on TV,” says Ampere’s Alexios Dimitropoulos. “The challenge will be to balance the enthusiasm for niche competitions, particularly evident among younger viewers, with the demand for big ticket events such as the Champion’s League. Online services have a chance to maximise this demand, with an expanded offering of sports events, and that’s why we’re seeing Facebook, Amazon and Twitter make their first forays into this space.”

According to Dataxis the linear OTT Pay TV market in Europe reached 7.4 million subscribers at the end of September 2017 – up 13% on the previous quarter and driven by OTT sports platforms, such as Bein Sport Connect, Eleven Sports and Dazn. As sports events are a key driver to TV subscription, it is still to be seen whether this growth will continue at the expense of the traditional Pay TV offer, cites the research firm.
Drama’s golden age
One genre it seems we can’t get enough of is episodic drama, typically now packaged in box sets and binge-watched. And content suppliers can’t make series fast enough.
US cable broadcast FX calculated up to 250 original English language scripted series have been commissioned for 2018 alone. Deep-pocketed Netflix and Amazon are leading the charge, with the latter purging comedies to concentrate on drama and the former also planning 30 new anime series and 80 new original films.
Annual investment in content, including sports and originals, is eyewatering. The latest IHS Markit figures show that in 2017 Netflix spent £5.2bn on programming, up from £2.3bn in 2015. Amazon’s 2017 budget was £3.3bn while Canal Plus and the BBC are stagnating at £1.9bn and £1.8bn in 2017. Sky reportedly spent US$4.7bn on content in 2017, Viacom £3bn and Turner £2.9bn.

“What drives the spend is not the content per se but the ability to control the content and the ecosystem,” says Ampere director Guy Bisson. “A lot of the thinking behind Disney’s move to acquire Fox is about positioning for SVOD and streaming by taking control of more content they can licence anywhere.”
Disney plans to cut out the middle man by retracting its content from third-party streamers like Netflix to distribute it over two SVOD services; a ESPN-branded sports portal coming soon and a movies and entertainment platform combining Marvel and Star Wars with Fox properties due in 2019.
Value of appointment to view
Broadcaster production budgets may not be able to compete against a handful of massively scaled digital platform providers but they are still relatively powerful in terms of their reach.
This summer, for example, ITV’s schedule is dominated by Love Island and the FIFA World Cup.  “This is unmissable TV and it’s these kind of shows that drive digital behaviour and social media, not the other way round,” says Paul Kanareck, ITV Managing Director, Online. “Indeed, a large percentage will be watching these shows on the Hub live or catch up – either on their mobiles or other devices.”
Live TV has run through ITV’s blood for more than 60 years and, from Kanareck’s point of view, the broadcaster offers something very different spanning daytime to evening entertainment to the kind of box sets offered by streaming giants.
“ITV makes big event television,” he says. “The growth of ITV Hub on connected TVs (now more than 50% of usage) means that even catch-up is a family or shared experience in the living room and on the biggest screen in the house.”
“Broadcasters have a deep and intimate knowledge of local audience which multi-territory platform providers may not,” says Barton. “Local broadcasters are trusted by their audience and they tend to be deeply meshed into local producer networks to source shows – though this is changing as OTT providers open local offices.
Many broadcasters also make a good business selling shows to Netflix and Amazon. ITV, for example, has invested in 29 indie production companies and markets content through ITV Studios as it seeks to reduce its dependency on advertising.
“In general, the amount of time people spend watching on SVOD is cutting into commercial broadcast time, but no-one reasonably thinks their rating will go to zero,” says Barton. “We’re-still listening to AM radio after all. But advertisers and marketeers want to know when it will its stabilise and understand what they are dealing with in terms of the size of market [for FTA broadcasters] going forward.”
Many broadcasters are building out their own digital platforms; BBC iPlayer being a pioneer in that respect. In the past few months ITV has been rolling out Hub+, an ad free premium service. “Consumers understand that somebody has to pay for the shows and if they want to skip the ads they have a clear and simple option to pay for that,” informs Kanareck. “We’ve had great feedback. Interestingly, it also helps remind consumers how good the free model paid for by advertising remains.”
However, digital players are now beginning to explore watercooler shows which are the traditional broadcaster’s strength. Netflix has piloted a game show which it can reversion for regional presentation. Facebook is hunting for ‘appointment-to-view’ formats and wants producers to pitch ideas about ‘community building’ shows ahead of launching its longer form Watch platform in Europe.
“’Appointment to view’ is an industry notion. Generating interest and habit is more about marketing and psychology,” asserts Dr William Cooper, Founder and Chief Executive of informitv. He also thinks that “national events, whether real or constructed, will continue to attract mass audiences to major broadcasters, providing shared experiences.”
True impact of digital players still to come
All the leading digital players Netflix, Facebook, Amazon have deep pockets to increase investment in their content strategies, specifically to differentiate their services – whether that’s new genres such as sports, building franchises or acquiring rights to existing content.
Apple is the current unknown, only dipping its toe into original content so far but with some major hires (recruiting Sony Pictures TV executives Jamie Erlicht and Zack van Amburg) a $1 billion content budget and the revision of its video/TV app.
“The evidence is clearly there that it’s intent on staking a major claim in this sector,” notes Hibbert. “The major issue for Apple is the limitations of its footprint to get content to the TV screen (Apple TV or plugging in a Mac). The key for all these platforms, however, will be securing global (and exclusive) rights for content, allowing them to maximise return through their respective footprints.”
Google shouldn’t be discounted either. “For Google it is more about building a ubiquitous ecosystem than investing directly in programming,” says Cooper. “It should not be underestimated.”



Wednesday, 21 February 2018

Panasonic announces the worlds first 8K, 60 fps, HDR global shutter CMOS

RedShark News
Panasonic says it has now managed to create a sensor with a 38-megapixel resolution that can shoot 8K video at 60 fps, all while using a global shutter – but there’s no mention of a camera housing it. Yet.
Global shutters and organic sensors promise less distortion and higher dynamic range, but the limitations have been traded off in the rush to develop high-resolution cameras – until now. Panasonic claims to have cracked the code with a new ‘organic’ chip that records 36-megapixels (or 8K resolution if you prefer) at 60fps in high dynamic range and all with a global shutter.
Before we get too carried away, Panasonic make no mention of the chip appearing in a camera any time soon, let alone a price.
But this is exciting “world first” stuff and the product of research and development that began at least five years ago in concert with fellow Japanese imager Fujifilm (which doesn't warrant a mention in the official press release).
Here’s the compromise they set out to solve. While a lot of effort has been put into making CMOS sensors accommodate more and more pixels, the downside is the use of rolling shutters which tends to distort fast moving objects. For example, a rolling shutter might render the shape of fast driving vehicles more like a parallelogram.
Global shutters (familiar to users of CCD devices) on the other hand are able to prevent such distortion by exposing the entire image sensor at once (that’s all pixels simultaneously). On the flip side, global shutter chips typically offer poor dynamic range because of the number of times each pixel deposits electrons to its associated memory cell. What’s more, most global sensors only rate about one to two megapixels in resolution.
To capture high motion scenes in ultra-high resolution and in high dynamic range, Panasonic has went back to the drawing board and split the CMOS circuitry from the photoelectric-conversion.
It layered a light-sensitive coating (organic photoconductive film or OPF) on top of a CMOS chip with the CMOS used solely for charge storage capacitors and the organic layer taking care of converting light into electrons.
The sensor has two different modes, one for wider range of light (high sensitivity) and another for deeper colours (high saturation) that allows it to capture a wider dynamic range in a single shot compared to other sensors.
These modes can be switched so that in high saturation mode, it is possible to capture data up to a light intensity of 450,000 electrons – or ten times the high sensitivity mode.
What does this enable you to do? Well, how about shooting at 8K resolution, even in high contrast scenes, such as a field under strong sunlight and shaded spectator seats under a stadium roof? That’s a Panasonic example, and one that gives a clear idea of where it sees the tech headed. It would be an elegant solution to the current issue sports broadcasters have in covering soccer matches or athletic events in areas of alternating harsh sun and deep shade without overexposure or underexposure. Neat to have for NHK's 8K broadcast of the Tokyo Olympics too.
Moreover, Panasonic says with the global shutter users can expect to capture moving objects “instantaneously without distortion”. It also sees the tech being used for multi viewpoint cameras (performing multi-view synched imaging).
Plus, since the camera can automatically control the sensitivity of the organic sensor by adjusting the voltage sent to the sensor (in accordance to changing light conditions), photographers can ditch the ND filters.
Panasonic says it holds 135 Japanese patents and 83 overseas patents (including pending) related to this technology.
Sadly, there are no plans pending for its actual use but Panasonic teases by saying that in future, it will incorporate the OPF CMOS image sensor technology in various applications “such as broadcasting cameras” and will contribute to realising “high resolution, high speed and high precision imaging and sensing functions.”

Monday, 19 February 2018

5G business case the talk of MWC

Rohde & Schwarz 

5G is fast approaching and will have a profound impact on almost every industry around the world. That’s the positive message which mobile operator’s body GSMA hope reverberates around the halls of Mobile World Congress in Barcelona, February 26 – March 1, 2018.
It is estimated that within seven years there will be 1.2 billion 5G connections, covering 40% of the global population. 5G represents an opportunity for operators to create what the GSMA calls “an agile network” that can be adapted to the different needs of specific vertical industries. These “tailor-made” networks can be adapted to serve different business needs. For example, some organisations may require more bandwidth, increased security or a faster response time.
A network slice could be deployed across multiple operators and use dedicated or shared resources such as processing power, storage or bandwidth, enabling “significant” cost efficiencies, argues the GSMA.
Examples of how this could work in practice includes the live broadcast of sports or music concerts using augmented or virtual reality. This would require a multimedia broadcast services function in the 5G network, high density computing to deal with video processing, and quality of service to guarantee a good user experience.
Verizon trialled something similar at the Super Bowl 2018 when it streamed 180-degree stereoscopic video live from the Super Bowl field in Minneapolis to VR headsets in New York, as well as offering “a virtual in-stadium experience” including multiple 4K and HD video streams.
The U.S carrier has joined AT&T in confirming roll out of 5G services this year, starting by selling portable hotspots while high-speed phones are being built.
At the Winter Olympics, Intel demonstrated ‘time-sliced’ views of ice skaters captured in 4K UHD coupled with AR data and sent over 5G to spectators in VIP zones. KT, the operator which has built the pilot network, plans to begin nationwide commercial deployments in 2019.
Elsewhere in APAC, NTT DoCoMo has announced commercial deployments ahead of the 2020 Tokyo Olympics and China Mobile has also laid the groundwork for a 2020 commercial launch.
With the first commercial 5G networks in Europe due to be switched on by 2020, the GSMA forecasts that there will be 214 million 5G connections in Europe by 2025.
Deloitte said the availability of higher speeds with 5G networks “will likely reveal uses we cannot currently imagine” with “multiple ‘killer apps’”. Many will be looking for inspiration at MWC.

Friday, 16 February 2018

Congress systems - Time to vote


Inavate

From touchscreen terminals to opinion voting, congress systems are more sophisticated than ever before. Inavate explores the options available to integrators.
When delegates fly in from all over the world for a high profile meeting they expect to get the most out of their precious time. The meeting environment must be of the highest standards: intelligibility must be optimal, confidentiality should be guaranteed and the conference equipment is expected to perform without a glitch. The goal of having any congress system is to improve the meeting experience.
The end-users of a congress system are most likely delegates of local or governmental institutions tiering up to delegates from national/international summits.
Since delegates have to concentrate and focus on the discussion, the first function of a delegate conference system unit has to be usability. “A typical unit should have an intuitive interface, where no IT knowledge is necessary and be a simple to handle tool for speech intelligibility and structured discussion,” says Robert Pekar, facility management director at Munich-based CS Congress-Services. Jubilee Bao, engineer from Taiden agrees, “End users of conference systems are not usually highly skilled, but almost all of them have the experience of operating a PC or smartphone. Conference system terminals are designed to be simple so normally users wouldn’t have too much trouble.”

Intuitive interface
Within local government skill levels can vary dramatically, reports Simon Druce of CUK Audio, which represents Televic in the UK and Ireland. “Primarily this is because the variety of users across departments bring different requirements to the room so being able to offer training is paramount to successfully helping a client adopt it. It’s not necessarily a user having zero experience, it’s more a case of them understanding how the technology benefits them.”
“The user of congress systems doesn’t care at all about IT,” is the no-nonsense message from Kain Audio’s Franz Werner. “The skills level for the equipment is most of the time quite limited, therefore the congress system should be as easy as possible to use,” he suggests. “The user quite rightly just expects it to function properly.”
For special conferences where additional information/materials are required, content there are high-end delegate units, such as the Bosch Dicentis, which enables participants to collect all meeting related documents on one device and in any format including JPG, PPT, MP4 and XLS.
“It is possible with such devices to show actual speaker images by automatic camera control on the devices, to enable media-sharing from the presenter on the device or to have special apps which helps support conference information,” explains Pekar.
More and more users are looking to utilise voting to ease the democratic process and aid transparency to the outside world; “Some venues like it sophisticated, some are still voting by raising their hands,” notes Werner.
“A simple yes/no/abstain will usually be suitable but those systems that can customise the voting process and really tailor the user experience will always be the chosen solution,” says Druce. “Customisation can mean anything from polling delegates on which food they want for lunch or adding in ad hoc votes. Assigning the right total congress solution always means working from the end user needs back up the chain.”
Aside from the required voting options - YES/NO/Abstain - opinion polling can be introduced with ++/+/0/-/-- or special country-specific voting functions and demands. Modern conference systems feature touch-screen delegate units where voting can be set-up for individual topics on the agenda.
“This has the advantage that no dedicated hardware per type of voting is needed,” says Pekar. “It can be simply configured by software.”

BYOD integration
The prevalence of BYOD has increased dramatically over the last 12-18 months, even down to local government level. This method of working can give the user the ability to have a singular workspace yet take part in all major collaborative aspects.  The rise of BYOD hasn’t gone unnoticed by manufacturers of congress systems.  “Integrated systems are becoming more and more popular. Products should be compatible to third party equipment and all products should comply with a public protocol or standard. By so doing, they should be able to work together.” says Mike Gu, engineer, Taiden.
Televic has a range of ways of bringing BYOD into its products, as Druce outlines, “With PLIXUS in/out boxes, any video is injected onto the Plixus Core and then becomes one of the six available HD streams. Using our own encoding process, we ensure all the streams use minimal bandwidth yet retain the integrity and quality that is required to view the finer details - of Excel or Powerpoints, for example. This can then be selected from any connected device as a source to view. Individuals can choose the source they want making the user experience totally tailored.”
With the Bosch Dicentis conference system it is possible, via a simple link to the main conference server, to show content management on BYOD. It is also possible to connect applications like Barco Click-Share to share the presentation of a delegate from their laptop with a simple click.
“The trend to BYOD is increasing and might become standard in the future,” suggests Pekar. “For this to happen, however, a lot of data security and safety restrictions have to be obeyed as the content of a conference is really sensitive.”

Security essentials
Ensuring secure communications is paramount especially at high-profile government / United Nations level where delegates must be assured of confidentiality and security: what goes on in the room stays in the room.
Professional conference systems can encrypt the audio protocol as protection against tampering. Wireless conference systems can also comply with WPA2 encryption.
Televic use a closed network in which the Plixus core can stand alone and offer fully secure communications. “When networking and integration of other tools are introduced, the individual security of those is managed separately before they enter the Plixus core thereby maintaining the simplicity and strength of Plixus,” says Druce.
Taiden’s security measures include offering a full system backup, dual main unit hot spare backup, dual power unit backup, dual PC server backup and also a daisy chain connection between microphones which can be circled back to main unit. If it’s a paperless multimedia congress system, Tadien offers GMC-STREAM technology which ensures the transmission of important data such as voice, voting and control information. Paperless multimedia congress system is also based on Taiden's own proprietary platform, so it is free of virus attacks.

Audio intelligibility
If the congress system is to improve intelligibility and reduce fatigue, there cannot be any compromise on audio quality. Yet, the whole quality of speech intelligibility is only as good as the weakest element in the sound creation chain. This starts at the microphone of the delegate unit, goes through the electronics of the conference system with its limiters and compressors as well as its DSP-functionalities and ends at the loudspeaker of the units and/or the sound reinforcement installed in the venue.
“Intelligibility is always the goal… why would anyone settle for ‘good enough’?” asks Druce.
Microphone arrays can allow more freedom to speak as they have more speech distance (up to 60cm) to the speaker and are not as visible (as goosenecks) in the conference.
According to Druce, “people have tried array mics now for several years and they certainly have their place in the congress market but the common problem is that of pick up. They are designed to pick up from wide and far which, in many congress environments, isn’t what is required. Closely whispered comments and private conversations can often be transmitted into the system. In addition, due to the pick-up pattern, these system draw in more background noise and this is not ideal for the hearing assistance solution. Hearing aid users rely on intelligibility and when too much background noise is introduced, the ability to distinguish between speech and noise becomes harder. The old law of physics doesn’t change – place the source as close to the mouth as possible – intelligibility wins every time over design.”
Pekar advises that choice of microphone is also dependent on the acoustics of the individual room or hall. “Modern conference systems have pluggable mics to ensure flexibility in mic selection,” he says. “Nonetheless, for acoustical challenging rooms the gooseneck is preferred.”
When it comes to audio networking, Dante/AVB is by far and away the market leader as it is a robust, reliable, time-sensitive and industrial standard for Audio-over-IP communication.

Networking flexibility
That said, any form of networking makes a congress system more flexible in the installation space. “Being able to pull off independent mic streams via Dante, for example, makes multi track recording more simple and maintains a higher level of audio quality,” explains Druce. “It also enables routing of the external audio to breakout areas while debating chambers become flexible and more manageable.”
“In conference applications the timing of a signal is important as it has to be lip-synched with the video image of the speaker,” informs Pekar. “This is important for the interpreters as, in order to deliver simultaneous translation, they need to see the image of the speaker to ‘translate’ their words and gestures and mimic the correct interpretation of the words
Professional conference systems work with audio bandwidth which exceeds 4-6KHz which is necessary for speech only. For better sound quality bandwidth from 20Hz up to 20KHz is needed – this is also important for any outside broadcaster distributing the conference to the public.
For video, HD is important and standard. AV signals have to be lip-synched (possible with the Bosch HD Conference Dome for example, which has a special HD-SDI output to enable this).  Televic’s Plixus Core can run up to six full HD streams down a single network cable.

Testing testing
What is often overlooked is the huge incurred cost when a meeting is delayed or when it simply can’t continue because of a system failure. It is clear that conference venues are mission-critical environments requiring equipment that offers performance, security and reliability.
Testing is “mandatory” for any rental company, states Pekar. This includes off-site factory tests as well as in the conference venue itself to test against additional challenges thrown up by the individual environment.
The more complex installs are generally worked on for several years with prototypes and ideas sent back and forth several times. Once an agreement has been reached, a small test system will always be built so that all parties involved in the project from end user, designer and integrator can understand the build and usage pattern of the overall system.
“The idea of a ‘proof of concept’ is nothing new,” suggests Druce. “Integrators and consultants have been using it for years. But with the onset of networking and especially Dante (where potentially multiple manufacturers will be pulled together to form the perfect solution) it becomes imperative to plot a smaller working model.
Without these working models, he adds, “onsite time which is probably one of the most costly aspects of any project, would increase and problems that occur would not be resolved as fast. Any opportunity to test off-site reveals the potential pitfalls, pitfalls that can be extinguished and dealt with prior to attending.”

IT fabric
Conference systems based on standard TCP/IP architecture are simple enough to understand by IT teams and can be connected straightforwardly to a venue’s existing network. In this case the conference system works in a kind of VLAN and has the advantage that content can be simply connected to the existing conference servers for exchange of information. Pre-meeting functions like setting up a conference meeting with all delegates, permissions and prepared voting can also be realized. What’s more, all post-meeting functions like customized presentations of voting results (as PDF or Powerpoint) can be done.
“In house IT teams are often reluctant to allow the congress system to have external access into the network, although a good percentage of our clients are happy to allow Televic products onto the network,” reports Druce.
Televic’s Plixus network is a closed network: no third party devices or connections are allowed on that part of the network that interconnects delegates and chairmen with the central equipment or Plixus Engine. Also, no device or system outside of the conference system has direct access to the mission critical part of the conference network. In this way, the vendor says not only performance and reliability of the system is maximized, but also the security is guaranteed.
The vendor further explains that the Dante interface on the Plixus Engine ensures an open communication to third party Dante enabled systems creating a wealth of possibilities for signal routing and signal processing. In this way, it claims, Plixus offers more bandwidth, better quality and less latency than any other commercial network technology.
Most legacy equipment isn’t wholly compatible with the newer congress system technology although manufacturers do work with end users to ensure that all the features and benefits of legacy equipment is integrated into their solutions. This may be via software or the ability to network legacy equipment (via Dante) into the solution.
“The obvious challenge is one of cost,” notes Druce. “Everything is possible for a price.”


Bringing the world to Wales


Broadcast

With a raft of dramas lined up, including the BBC’s His Dark Materials, Bad Wolf aims to make Wolf Studios Wales the centre of an international TV production hub. 
https://www.broadcastnow.co.uk/drama/bringing-the-world-to-wales/5126621.article


It has housed Venice, upstate New York and Oxford’s Bodleian Library, and will soon become Svalbard and a whole new Oxford-set universe.
Bad Wolf Productions is world building at Wolf Studios Wales (Stiwdio Blaidd Cymru) and wants to sweep the local creative industries along with it.
“When we were working in the US, it was a revelation to us just how much filming was done in studios, how familiar the crews were with the spaces, and how the studio culture brought together a whole community,” explains Jane Tranter, co-founder with Julie Gardner of the indie backed by HBO and Sky.
“We felt there was no reason why that couldn’t be replicated in Wales, as long as we gave people a centre to work from.”
The pair, who famously brought Doctor Who and Torchwood to Cardiff while at the helm of BBC Drama, launched the indie in 2015 after heading up BBC Worldwide Productions in LA.
They made the Emmy-winning crime drama The Night Of for HBO in the US, then established a production base in Cardiff (with an office in LA) for a slate of commissions led by A Discovery Of Witches (pictured above) for Sky and His Dark Materials for the BBC and New Line Cinema.
“When we returned from LA, there was a strategic and emotional drive to do those pieces in Wales,” says Gardner. “We have had the best experience of crew and cast and location in Wales and we’re very committed to having a long-term future there.”
Booking into studios such as Pinewood Wales or other existing UK sound stages was impossible as no suitable space was available. “Demand for production is far outstripping availability,” says Gardner.
“The type of set construction needed for high-end drama on sound stages is often expensive, which is why UK drama has historically shot on location or used warehouses.”
The decision to seek a long-term solution was born of the pair’s experience shooting in warehouses, including refurbishing a former car plant in Swansea for three series of Starz’s Da Vinci’s Demons.
“There are numerous industrial spaces, but the reality on the ground is that there’s a limited choice of size and location,” says Gardner.
“You end up having to go with what you find, which often means a leaky or noisy roof. You use your production spend to make them fit for purpose, but for each production, you have to start again from scratch. We wanted something more sustainable.”
Dedicated studio space, she adds, “provides control, flexibility and weather cover, and gives the production team and cast a healthy working environment”.
In addition, she says: “We could see from the titles we had coming down the track that we’d need extensive set-builds and high ceilings to accommodate green screens and access for trucks. His Dark Materials and A Discovery Of Witches are complicated pieces.”
Tranter says they also wanted a space that would encourage local businesses to grow. “The aim is to provide the production community with work 52 weeks a year, rather than vacating the site and leaving just tumbleweed and crisp packets.”
The Welsh government bought into Bad Wolf ’s vision, acquiring the 253,500 sq ft site of a former TV screen factory at Trident Park on the outskirts of Cardiff and supporting the company with a £4m loan to retrofit six soundproofed stages that range from 14,000 sq ft to 51,000 sq ft, one of which has a ceiling height of 17.5 metres – two metres higher than Pinewood’s Bond stages.
“What taking that loan has given us is freedom,” says Tranter. “We felt that it was really important for us not to be attached to any distributor or boxed into a corner with a broadcaster, so we would be free to set up each project we do in a discrete, boutique way.”
The Welsh government expects at least a £50m return on the loan (over an unspecified period), based on regional project spend across production and post-production, as well as the wider sector, from graphic designers to make-up artists, hotels and catering firms.
Now, with the £25m-budget Witches complete and with His Dark Materials ready to roll once the headline cast is finalised, Bad Wolf says it’s well on the way to delivering £75m-£100m back to the local economy.
All exteriors on His Dark Materials will be shot on location in Wales, bar some establishing plates of scenes set in the Arctic. It is planned as a five-series, 40-episode juggernaut, with series one encompassing Northern Lights, the first of Philip Pullman’s trilogy.
Bad Wolf has helped to establish Screen Alliance Wales, a not-for-profit organisation based at the studio, to support the development of crew and training.
When capacity is available, other productions will be invited in. “There is already a core skilled workforce based here around Doctor Who and Casualty,” says Tranter. “The aim is to grow the workforce with a pipeline of work all year round – an opportunity almost unheard-of in the UK.”
An adaptation of Bernard Cornwell’s Warlord Chronicles remains “deep in development”, with costume drama Georgiana: Duchess Of Devonshire, co-produced with Baby Cow for ITV, seemingly more advanced.
It is also working on banking drama Industry for HBO and has been linked to a long-mooted update of I, Claudius. Tranter was first linked to an HBO version of Robert Graves’ book back in 2011 and, like Georgiana, it is being written by former BBC2 controller Janice Hadlow.
“Julie and I set up Bad Wolf to fulfil our life-long passion to make drama,” says Tranter. “We are not interested in being in any form of business other than that – especially property.”
Gardner adds: “Having the security of such a large facility allows everyone to concentrate on doing what matters, whether that’s building new worlds or set extensions, working on the text, finessing performances or planning the CGI for His Dark Materials’ daemons. We are able to control the environment.”

Space Studios Manchester Lands Curfew
Manchester’s Space Studios has landed Tiger Aspect and Moonage Pictures’ Curfew, the largest drama production to book into the facility to date.
The eight-part Sky Original street-racing series, which stars Sean Bean and Adrian Lester, will take up three stages.
Last month, the studio opened its sixth stage – its largest, at 30,000 sq ft – which will host Big Talk’s latest series of Cold Feet until June.
 “We are seeing a lot of interest from Netflix and Amazon about using the space,” says director of screens and facilities Colin Johnson. “The additional size of stage six allows productions the capacity to build much larger sets without having to take up two stages.”
Manchester City Council, which owns the site, is drawing up plans to release more land for further expansion.
“We want to see how stage six operates before deciding what we do with the remainder of the land,” says Johnson. “The council took the risk of building studio space here some years ago and it’s clear there’s still a strong business case and demand.”
The original business plan included developing the local supply chain. Space Studios has 60,000 sq ft of space for production offices and ancillary businesses, all of which has been sold, it says.