Friday, 6 May 2016

Nations and Regions: post industry goes west

Broadcast
Along with Salford, Bristol is booming thanks to a busy BBC slate, leaving the likes of Liverpool, Leeds and Birmingham playing catch-up. Adrian Pennington reports

BIRMINGHAM

Birmingham has yet to recover from the switch of BBC factual outside the region and there is a feeling that investment in Manchester and Bristol has stalled any resurgence.
“It’s inexcusable that the region is so poorly represented by locally commissioned content,” says Neil Hillman, owner of The Audio Suite. “There is a huge mismatch between programming resources allocated to the region and the money that is raised in the area through the licence fee.”
Recent redundancies at indies Maverick haven’t helped, but Crow TV, the London facility that set up in the city three years ago to service Endemol, says indies are returning. “Producers are either setting up here because of talent or placing work on a regional basis,” says Crow director Victoria Finlay. The facility is currently working with 12 Yard and 7 Wonder (My Kitchen Rules) and Spun Gold (on a gardening project).
For Hillman, the high overheads of the traditional post model make no economic sense in the region. He provides a specialist online mixing service and offers feature fi lm sound design to a much wider client base.
“We opened in Australia because of projected growth in this kind of work,” he says. “However, we’re still confident of growing business in the Midlands.” So much so that The Audio Suite is upgrading with a Fairlight Xynergi to accommodate Dolby Atmos mixes alongside a voiceover studio for ISDN sessions.
“The BBC’s slicing and dicing of Birmingham has not gone down well,” agrees Scott Ledbury, managing director at corporate and promo producer Slinky. “There isn’t really a post scene and many freelance TV crews have departed. However, the wider creative industries are thriving.”
Game developer Codemasters has relocated to The Custard Factory, which is now run by former Wimbledon Studios chief Piers Read, with hopes of providing a focal point for digital media.

BRISTOL 

The diversity of production in the West Country has proved a magnet for London facilities. VFX firms Coffee & TV and Nineteen twenty have facilities in Bristol, with smaller London offices acting as feeders to the more cost-efficient regional bases.
The Farm’s long-running work on Channel 4’s Deal Or No Deal at the Bottle Yard is currently on pause, but the group is opening a finishing shop opposite the BBC on Whiteladies Road.
 “We can open relatively small here, but have the whole might of London behind us,” says operations manager Duncan Armstrong. “It’s an opportunity to give Bristol jobs to Bristol people.” The Farm will target BBC work and has local indies such as Icon, Warehouse 51 and Keo West in its sights.
Evolutions bolstered its substantive presence in March by absorbing Big Bang Post’s assets, people and buildings, giving the group four city centre facilities. It continues to attract factual work from Love Productions and Dragonfly, as well as BBC NHU (Wild New Zealand). But managing director Simon Kanjee suggests there’s been a drop in BBC features commissions. “Like post every where, it’s in finishing, not offline, that the money lies.”
The majority of boutique Doghouse TV’s work is for BBC Bristol, including returning strands such as Gardeners’ World and Fake Or Fortune?. “We hope to work more with indies in future,” says business development manager Sarah Miller. Doghouse has seen no direct impact from London facilities poaching work. “If the demand for post does not decrease, we would hope that we remain unaffected – but this remains to be seen,” she adds.

LIVERPOOL

When the British Film Commission hosted studio execs, including representatives of HBO, on a tour of the north of England in March, their visit included Liverpool. The city is used for filming more any other in the UK bar London, but post resource is scarce. That could change if plans to convert an industrial site a mile from the centre come to fruition.
Manchester developer Capital & Centric is reported to be spending £30m on turning a vacant building adjacent to the existing Wavertree Technology Park into a studio complex. Construction could start at the end of this year.
The company predicts that the facility could double the £20m annual revenue the city earns from location shoots within a couple of years and create more than 1,000 jobs. “It will have a big impact, but it’s got to be fit for purpose,” says Patrick Hall, head of post at indie LA Productions.
Lime Pictures managing director Claire Poyser, however, believes the city is no nearer to securing studio space. “The longer Liverpool doesn’t have a studio, the less chance there is to build a sustainable backdrop for media in the city,” she says.
Merseyside’s producers are typically resourceful. LA Productions handles DIT and dailies for film productions and puts its own drama productions, like Jimmy McGovern’s Reg and Moving On for BBC1, through in-house suites.
With 360 episodes a year of C4’s Hollyoaks, Lime’s 14 Avid and five dubbing suites are busy all year round. “There’s little reason to go outside of Childwall except for specialist finishing grades on series like The Evermoor Chronicles,” says Poyser. “We keep end-to-end production in-house for efficiency and economic reasons.”
Dubbing mixer Sam Auguste opened boutique Onomatopoeia in the city at the start of 2016 after freelancing in London. “It is less and less important that you are physically on site,” he says. “I was spending more time working from home, remote from the facility in London.”
Spying an opportunity to plug a gap in the north-west for low- to mid-budget feature post, Auguste picked up sound design for Hurricane Films’ trailer for A Quiet Passion and an animation for local indie Mocha. He is also looking to move into picture post support such as rushes transfer.

LEEDS 

VTR North had a traumatic end to 2015 as it restructured out of administration. “We’ve been fortunate to work with some faithful clients who have helped us back on our feet,” says managing director Spencer Bain.
The company specialises in audio, animation and VFX, with recent commercials for Bupa and Jet2 under its belt, but it’s a full-service house and completed the grade for True North’s Coastal Walks With My Dog for C4.
Since ITV transferred production outside the region a decade ago, Leeds has lacked a production base. True North retains all but specialist crafts in-house, but the region’s locations are popular for drama (Mammoth Screen’s Victoria; Left Bank’s DCI Banks).
“We tend to touch everything that comes up here, even if it’s rushes uploads,” says Chris Davey, head of operations at full-service house The Other Planet. “That said, since programme execs tend to be based in London, the final post disappears back south. Leeds doesn’t have a major studio for light entertainment, and CBeebies work stays in Manchester.”
Rollem Productions (BBC1’s In The Club) posts at The Other Planet, which has picked up factual shows such as Daisybeck Studios’ Channel 5 series The Yorkshire Vet.
At ADBS, owner Andrew Dobson says he has enough business to see him through the year. The firm mostly handles factual jobs such as Emergency Rescue Down Under and Canals: The Making Of A Nation. “We’ve lost some facilities in the region and gained some. Overall, I’d say the Leeds scene is small but thriving.”

MANCHESTER: NORTHERN POWERHOUSE


Bargain Shop Wars: post at Salford’s Core
MediaCityUK is generally applauded as a magnet for business, even if there are gripes about the volume of work that seeps out to indie facilities from anchor tenant the BBC.
In-house post for BBC North is managed by The Farm, while studio service provider Dock 10 is mid-way through a 10-year contract that guarantees a volume of post for shows like Match Of The Day and Dragons’ Den.
“Our main focus is not to be over-reliant on the BBC,” says Dock 10 head of post Paul Austin. “The aim is to become the ultimate one-stop-shop.”
Looking to widen its base, the facility struck a deal with Red Productions, which locked in dramas Happy Valley and The Five (filmed in Liverpool). It also set up a VR division and moved into short-form VFX by acquiring local outfit Edit 19.
“There’s a slow but sure move of facilities from the city centre to MediaCityUK,” suggests Brian Barnes, managing director at Manchester facility Sublime, which works closely with video agency Activideo on live-action and animated corporates.
The Salford hub boasts several established houses, including Flix (which has a link to the capital in partnership with Molinare) and Core (post on Crackit North’s Bargain Shop Wars), but others feel no need to move.
“The ad agencies are in town and it’s easier for talent to get here than Salford,” says David Jackson, managing director at 422 Manchester, which welcomes Caroline Aherne to narrate Gogglebox every Friday.
While ITV and the BBC have pulled out of other regions, Manchester remains a viable centre for production with a significant pool of crafts, from camera ops to make-up. It’s also good for location shoots. “You can close off half a dozen streets in a day, which you could never do in London,” says Jackson.
Phantom Post is the latest MediaCityUK recruit, albeit one set up by former Timeline North executive Eben Clancy within the same Blue Tower building. Since Phantom specialises in providing remote editing and finishing facilities, does location even matter?
“We would not have picked up the work we have if we’d started in London,” says Clancy. “You can get extremely good, relatively inexpensive office space here with fantastic connectivity.” The firm’s first project is the Potato-produced series Bear Grylls’ Survival School.
“The talent in the north-west is of high calibre and MediaCityUK is a big draw,” he adds. “That said, our model works for producers willing to break the mould of big post. Instead of having to sit in facilities for 10 weeks, remote production frees creatives to work in their own space.”

Wednesday, 4 May 2016

Data Is King

Digital TV Europe p18

http://media2.telecoms.com/e-books/DTVE/magazine/aprmay16/files/20.html

Data is the currency on which TV Everywhere players depend but service providers are facing organisational hurdles to managing the wealth of information at their disposal.


Data is everywhere but it's how you use it that counts. Many service providers are reportedly only scratching the surface of what is possible. Even where there's a will to interrogate data and effect rapid response to consumer needs or business models, many multi channel networks face an uphill task to overcome legacy organisational barriers.

That's in stark contrast to pure-play streamers like Netflix or Amazon which have built a business on integrated customer service and technical operations. Cross-correlation of data sources is part of their culture spanning quality of service (QoS), marketing, advertising and content recommendation pulling in remote control commands to the set-top box sent back over the return-path and server logs recording media player interactions.
With traditional broadcast TV networks there wasn't a huge need for a lot of data. The equation could be reduced to quality of content versus how many people watched. With pay TV the model barely shifted. If shows were packaged at a decent price the subscription rate went up. The need for data wasn't great since the variables didn't waver.

When TiVO introduced the concept of time-shifted consumption the cracks began to appear. OTT has taken this to another level.

“The internet opened a floodgate of consumer choice,” says Keith Zubchevich, chief strategy officer at OTT video optimisation specialist Conviva. “It handed control of the TV from networks to viewers. The data that is needed now is of a fundamentally massive order of difference compared to what has gone before.”

Data types

There are broadly three types of data: consumer viewing behaviour, programme metadata, and network performance statistics. The latter has been a factor in network capacity planning for some time but is also starting to be used in other areas, such as content acquisition.

“For a long time QoS monitored bit rates, how many sessions failed. Increasingly the data is about what devices are being used and how user behaviour differs device to device. How long are average sessions and when do they occur?,” says Edgeware's VP products, Johan Bolin.

For instance, through insights gained in QoS analytics, a service provider can understand specific customer preferences and experiences, and tailor products more accurately. Understanding what services or content are more popular during certain times of day, in certain geographies, or certain devices, can give insight into holes in content offerings. This data can then be used to adjust existing services, or add or remove suppliers in the ecosystem to better support the delivery goals.

A lot of the focus is still on more technical use-cases but the ability to get data from end-customer devices is driving additional areas such as marketing, customer base management, customer care and service management,” says Per Unell, business development, Agama Technologies.

“Processes like fault detection and localisation, network optimization and change management are very much a reality,” Unell adds. “We also see significant use in service management such as SLA and overall service performance tracking. Some customers are also using data to support their customer care and customer understanding processes.
In general, it’s more straight-forward to see quantifiable benefits in operational processes – fixing problems faster, solving customer issues at first call. At least as much value can be realized by systematically and proactively tracking down issues before they become problems, but it’s harder to quantify beforehand.”

Another component of consumption analytics is device-level data, which is increasingly important as the number of devices and form factors grows. “The power of this type of data is granularity,” says AIB Research in its white paper on the topic [http://www.conviva.com/conviva-whitepapers/abi-whitepaper/] published by Conviva.
It can be used to guide purchasing decisions for service providers, operators, or content creators. Real-time data can help with quick monetisation decisions for unexpectedly popular content, and can guide future investments to identify more popular content, states AIB Research. Popularity of live events can be more accurately judged, and licensing and delivery decisions can be centred around this.
“You’re beginning to look at being able to measure the way that people interact with a TV system in the same way that they interact with the internet,” says Andy Hooper vp, Cloud, Solutions & Services, Arris.



Scratching the surface



“It is relatively early days for the use big data for service providers,” says Peter Docherty, founder and CTO at recommendations engine provider ThinkAnalytics. “Data is already captured but is not being taken advantage of as much as it could be. The risk of not using data to drive the business is a lost opportunity. Let's say only 40% of your VOD catalogue has been watched. If you don't have data you won't know that and if you don't have data about what is watched or being routinely declined then you can do nothing about it.”

It's not as if operators haven't recognised the need or that solutions are having no effect. ThinkAnalytics' research suggests that just a few months after integrating its recommendations engine, clients saw their subscribers increase their viewing time by 20-50%, and the number of channels watched rise by 25-35%.

Subscriber management platform Paywizard says it has delivered acquisition campaigns that drive conversions up to 25%, and has also run reduce churn programmes that achieve conversion up to 60%.

The most recent figures released by Sky from its 500,000-home Sky Viewing Panel show that channel switching during Sky AdSmart commercials was 48% lower than for standard non-targeted ads – an effect consistent regardless of channel, household type and amount of viewing. “As viewers cannot distinguish AdSmart commercials from any others, higher viewing levels can only be attributed to customers finding them more interesting or engaging,” observed Jamie West, Sky Media’s deputy MD.

Pancrazio Auteri, CTO at content personalisation firm ContentWise explains some of the ways it uses data to assist customers like Maxdome, Mediaset and Sky Italia. The first is to boost churn prevention by detecting anomalies in behaviour.

“If patterns in behaviour diverge from established patterns this may mean a user is using a competitive service and can be an early detection of cancelled subscription,” says Auteri.

ContentWise data is also used to make service provider promotions more relevant. “If users are sent irrelevant items then any associated communication from that service provider will also be seen as irrelevant so we match the promotion to user habits or tastes.” Doing so has seen a rise of between 20% to 40% in subscribers opening (viewing) a promotion, ContentWise claim.

“The same method can be applied to advertising. If a service provider is sending promotions of different advertisers we look at the profile of the user and lifestyle traits and try to narrow down the promotions while increasing their relevance.”

A third data usage, dubbed ARPU Rebuilder, will be offered as a module within the ContentWise Content Personalization system this fall. Targeting pay TV skinny bundles it will include a set of algorithms designed to up-sell related micro-subscriptions to users and will focus on the free trial phase of a service and the first month of subscription to ensure that the new user understands the value of the content offer.

“Based on our research the obstacles to large-scale adoption of TV Everywhere are the lack of awareness from consumers that the content they are interested in is available, and the fragmentation of the applications, making it difficult for users to find and seamlessly consume this content,” says Auteri.

ContentWise uses viewability tracking to ensure that each user can see a different, uniquely personalized UI. “Given the fragmentation of the TVE applications, metrics and KPIs cannot be computed across all the applications owned by single content providers,” says Auteri. “The unified discovery provided by the pay TV operator UI is the best place to measure the user behaviour, across all touch points (i.e. screens, apps, devices).”

Subscriber management systems (SMS) developer PayWizard estimates that between 5% and 8% of a pay TV operators’ opex is consumed by subscriber management activities and that data from SMS can have “a dramatic impact” on the business' “viability, competitiveness and profitability”.
“SMS are a natural collection point of statistical data regarding a pay TV operator's business processes and subscriber community,” says Bhavesh Vaghela, CMO. “This raw data, when given context and viewed against trends, allows marketers to develop and track sales initiatives. Questions like: 'Do our free month offers lead to full subscriptions?' or 'Which device is the most popular for viewing as to impact our application development strategy?' can be answered by a whole host of valuable insights uncovered through reporting and analyses. These answers can help solve short term issues and improve the longer term profitably of a pay TV business model.”


Data consolidation

Vendors uniformly contend that from a technical (i/e from their product) angle, big data collection and analysis is not the issue. The chief problem is the ability of service providers to handle it.

“We have all the tools and databases to perform analysis,” says Docherty. “The challenge is joining the data together from a business perspective. Service providers are trying to gather data from different parts of the business but have quite a way to go. There's a lot of emphasis on the customer acquisition side and on customer retention / churn reduction programmes but not so much focus on the stages in between. For example, when you've got an active customer how do get them to spend more? That's a lot to do with not having data in one place able to serve a more personalised engagement with customers.”
“The main hurdles are about getting a wider understanding across the operator of what is possible and overcoming organisational 'stove-pipes' in access to data,” agrees Agama's Unell. “It’s about cherry-picking the most promising use-cases and overcoming the compartmentalisation of existing systems. If this can be done the business case is often very positive.”
Arris reports that a number of operators have built out their own big data teams offering it as an IT service internally with mixed results. “This works well in organisations which understand the value that flows end to end from capturing and analysis to taking action from big data insights,” says Hooper. “In other organisations, however, there are too many barriers to collecting and sharing data. Departmental teams tend to keep data within their own group. It's classic big organisation type of problem.”

An example, cited by Hooper, is a company deploying a video monitor solution into its multiscreen video apps for smartphone and tablet. “Using that solution they were getting a huge amount of data yet people in charge of the call centre had no view on when a customer session failed. Despite the operator paying a licence to this vendor it had no oversight on the poor customer experience arising out of buffering video. Either through inefficiency or deliberate obstruction, that information was not being leveraged end to end across the business.”

As Hooper sees it, the customer's experience with a service provider now spans traditional data silos from the broadband call centre, to the TV call centre to operational teams examining video player and session data to digital marketing teams interrogating intent to purchase.

“This is not being done at anywhere near enough scale,” he says. “Customer experience management crosses organisational boundaries. Some service providers are addressing this by installing a chief digital officer or customer experience executive, even at board level, but they need to to do more.”

Big data is an established IT discipline in many industries but most telco or cable companies retain a legacy of network / operations teams separate from marketing and consumer facing departments.

Hooper points to home network management as another area barely addressed by the pay TV operator. “Trouble shooting of this falls on the responsibility of the service provider, explicitly or implicitly,” he says. “It includes management of the home network, whether there's good home WiFi, whether the kids are moaning at Dad because he can't download game updates. All these things are part of the subscriber experience and typically they will end up talking to different bits of the service provider organisation when it should be one entire customer experience journey and one digital strategy with big data enabled to deliver insight into this.”

Sharing data sets and personalising offers are hampered by limitations on content rights. “Targeted advertising is still in its early phases, with just a few operators using it in production,” says Unell. “It also requires additional infrastructure and generates privacy and personal integrity requirements on the solutions used.”

“Video professionals are struggling to adapt to new business models and must use data analytics to manage and grow their services,” concludes Sam Rosen, vp, consumer at ABI Research. “Leveraging a single, unified dataset for the needs of different functions in an organisation—and opening up the avenues for data sharing between affiliates jointly responsible for a video service—can help align everyone on a common definition of success.”

Edgeware's Bolin believes a single repository is desirable, and perhaps possible, but not soon. “Given that there are so many different systems and sources of data it would be a challenge to have a centralised data store continuously updated and compliant but as the market matures and business intelligence advances I wouldn't rule it out.”

“You can spend more time crunching data than analysing it,” agrees Zubchevich. “I don't think we'll get to a unified single data service. Publishers and pay TV operators have to break data into chunks and look for key providers of, for example purchase data, advertising and content recommendation.” Naturally, anything to do with the playback subscriber experience should be measured by Conviva, he says.

“Failure to do means churn and subscriber loss,” he adds. “The simple fact is that consumers are polling publishers online. The consumer will terminate their relationship with a network if that service provider is not proactive.”

Insight into Ad fatigue

Buffering and delivery analysis should also be extended to ads. There is evidence from Conviva that as much as a 58% viewer churn is based on poor online ad experiences.

The impact on a viewer's experience from ads is massive,” says Zubchevich. “If I watch a show and it's riddled with ads I'm getting ad fatigue and I'm beginning to look for content elsewhere. The fundamental next step for service providers is to monitor ad impact.”

Not coincidentally, Conviva is launching an Ad Insight product which essentially expands the capabilities of its video playback experience monitoring.

Service providers could do more in this area,” agrees Bolin. “Today, very little is being done partly due to data being sourced from two different parts of the business. There is data from the ad insertion server about the actions of customers interacting with an ad, and data from the ad streaming server about the rendering of that ad. There is a need to cross-corrolate this data. As ad personalisation (targeting) grows I would assume service providers would see these reports as much more of a requirement.”


Acting on Quality of Experience


A study published in March by IneoQuest found that more than half of consumers who watch streaming video have experienced rage as a result of buffering. Buffer Rage is defined as “a state of uncontrollable fury or violent anger induced by the delayed or interrupted enjoyment of streaming video content from OTT services.”

It's no laughing matter. With cord cutting on the rise, and nearly three out of every four consumers watching streaming video daily a better understanding of the implications of Buffer Rage is essential, IneoQuest argues.

The contention is that metrics from QoS (such as packet loss and delay) can be used beyond an interpretation of the performance of network and services to account for the experience of the user. Accounting for subjective user experience with objective data is where Quality of Experience (QoE) comes into play.

“Tracking packet loss can highlight problems in a network, and these problems can be extrapolated to possible user experience difficulties; however, there are a few issues with this,” suggest ABI Research. “Not all service difficulties always lead to user experience degradation, users vary in their tolerance for network problems, and different content types (i.e., short-form video versus long-form video) are affected more by network difficulties.”

Logging a consistent stream of data—such as stream completion or early exit—and correlating this to available user data creates a powerful combination that allows for deeper and more personal data dives. Combining this data stream with dashboards to help with specific content filtering, such as geographic location, content source, user ISP, and more, helps real-time analysis and subsequent decision making.
According to vendors, however, most companies are primarily reactive and do not have the resources nor the time to proactively look for potential issues that might impact customers.

“What service providers need to do is to proactively poll the infrastructure and network that impact customer experience and match that performance information against fixed, dynamic and baseline thresholds as well as configurable SLAs to identify potential issues that will impact customer experience before the customer is affected,” says Gregg Hara, VP business development and marketing, Centrica Systems.

Centina's NetOmnia Cable Assurance is one tool that can provide this functionality. It polls all customer premise devices at a high frequency as well as polling all network devices then correlates this information in realtime against the network to identify performance and customer experience impacting issues.

“This can then automatically kick of a work order or trouble ticket to initiate a truck roll and get a tech onsite to resolve the problem before the customer even notices an issue,” Hara explains.

Hooper explains that Arris has systems in the field that monitor and manage the delivery of bits on the network layer. These can spot when, for instance, a customer’s QoE has dropped due to a network outage, and proactively schedule resources to fix the problem. This is important because viewers are increasingly impatient when QoE deteriorates and ever more likely to vote with their feet.
In its OTT: Beyond Entertainment Survey published last November, Conviva
concluded that one in five viewers will abandon poor experiences immediately, regardless of genre and that 90% of viewers choose to return to services that deliver a superior experience. After a poor experience, one in five will never return to that service.

This leads Conviva's Zubchevich to conclude that content is no longer king. “For the first time you can forget quality of content as being the single most valuable metric. The number one currency is QoE. We are just starting to see operators look at marketing the experience of viewing as important as the content itself. This is not something they've ever collected in the past and it's a fundamental shift.”

Publishers still care about the quality of content of course. Zubchevich's contention is that with so many sources to which a consumer can turn to get the same content, the defining factor will be the experience they receive from the site serving it.

“We need to redefine QoS from basics such as 'is the stream available at all?' and 'can I watch it largely uninterrupted? to questions about resolution. If I watch a HD or UHD TV broadcast and move to an IP-based provider I am not expecting a poor experience in comparison. We need a zero tolerance approach to starting the stream. What used to be acceptable is no longer and failure to address buffering or bitrrate issues in that moment means you lose the consumer.”

Arris' Hooper suggests that the mantra 'content is king' has been a fallback excuse for some service providers. “As the market fragments into different content sources you'll find that consumers will gravitate over time to the site where they're having least friction. That means pay TV doesn't just have their business threatened by OTT but by new data pipes which can provide a greater customer experience journey through the content lifecycle. Having exclusive content deals is a defensive mechanism. Enabling a better customer experience will deliver more positive brand benefits in the longer term.”

Freesat expands analysis

Freesat, the BBC and ITV hybrid satellite and broadband platform, launched its Freetime box in September 2012 with a December 2015 software update enabling real-time measurement and monitoring capabilities.

It was subsequently able to take advantage of solutions from TVbeat for realtime audience measurement of viewers who opt-in to allow collection of their data. Freesat also uses Google Analytics to monitor how its app, guide and content is used.

“One insight [from Google Analytics] was how much numeric entry is used as a shortcut for channel entry,” explains Matthew Huntington, Chief Technology Officer. “Such analytics can inform how production of channel numbers are used in marketing material. It shows that we need to protect and keep a channel’s number stable. It also informs us that we should not be developing a remote control without number keys at this time and deter TV manufacturers from only supplying numberless remote controls.”

Another insight was around the service's Now & Next view. “Customer research groups had suggested this was a popular feature but extrapolating that to the whole of our install base is a risky jump,” he says. “We were gratified to learn that the vast majority of EPG usage is indeed with the first page of that 'now & next' information.”

Freesat has yet to put in place a mechanism to monitor the quality of video. “We would like to have done that but we're not yet able to get that information,” says Huntington. “It would be useful to have more insight into signal strength, for example, so if a customer complains we can take a look specifically at that aspect. Our OTT service is provided by third parties, like BBC iPlayer or Netflix, which perform their own QoE monitoring. As yet we've not been able to get inside those players from a QoE or content usage perspective to extract information and do cross platform analysis. Over time we hope our partnership will develop so that they will share that data to the mutual benefit of our platform and their service.”

Huntingdon feels Freesat have only scratched the surface of the insight it can derive from the data it already collects.

“We are wary of the bottlenecks of trust that occur in organisations when only a few people can access key data and data gets locked into an ivory tower,” he says. “We have taken a democratic approach to exposing data in our company. The next step is to use that data more effectively to find insight or solve a problem.”



Net TV sets the pace


RTS Television p27 May


“The TV set and viewing of our childhood is gone,” said Google president of global partnerships Daniel Alegre in the closing keynote to broadcast equipment trade fest NAB. “A newer better TV is rising from the ashes.”

While Alegre was referring to the rise of globally popular online content creators like Pewdiepie, the Las Vegas event showcased the disruptive potential of internet technologies, higher resolutions and panoramic video streams.


Ultra HD: The Next Wave
Broadcasters including CBS Sports, Rogers Media and Swisscom beginning to introduce premium 4K services based around live sports and entertainment. The world's most experienced 4K live broadcaster, BT Sport, plans to ramp up its schedule including its entire portfolio of EPL matches from next season, in anticipation of Sky's 4K debut.

This is where the weight of new production technology is aimed. Panasonic and Grass Valley unveiled 4K cameras but the pick was probably, Sony's HDC-4800. It offers 4K recording at a whopping 480 frames per second for 4K slow-motion. The system also allows an operator to zoom in and extract an HD cut out from the 4K image. Available from August, CBS already aired images captured by it during the Super Bowl.

Solutions for wirelessly transmitting 4K video are overcoming the frame delays currently required to transfer the huge amount of data. Leading the pack is Vislink's Ultra camera-back module and signal reception units which launched at the show.

Outside broadcaster NEP Visions, which suffered a huge fire at its Bracknell facility last November, confirmed the build of four new 4K trucks packed with Imagine Communications routing equipment. It's main contracts are with Sky.

4K is not just for sports though. Panasonic expanded its 4K camera line, calling its £2750 AG-UX180 a “cost effective” camcorder which features 60fps recording. Sony even touted a 4K version of its XDCAM, a system popular for news reporting, bringing 4K within reach of the newsroom.

For drama the focus is on enhancing the 4K image with greater colour and contrast by retaining higher dynamic range (HDR) through to the screen. Netflix and Amazon are commissioning all their originals with an HDR finish, including fresh runs of Daredevil and new episodic newsroom drama Good Girls Revolt.

Monitoring video for HDR content on-set has been extremely tricky but the new Shogun Inferno from Australian vendor Atomos changes that. The £1665 unit can record and playback 4K 60fps and 10 stops of dynamic range.

HDR leaves even the most experienced video professional excited like a kid in a candy store - never before have you actually been able to monitor and shoot what you are actually seeing,” said CEO Jeromy Young.

Sony's OLED monitor, already the most widely used for grading HDR content, is joined by a larger 55-inch model [Trimaster EL PVM-X550] which can display four separate pictures in HD HDR for use in post houses or mobile units.


IP: Change is gonna come

The use of internet-based protocols and generic computing resources may not be the most attention grabbing topic but it cuts across every aspect of production to distribution. Familiar broadcast tech brands are having to rework entire product lines from bespoke hardware to software that runs on commodity kit.

2015 was the worst year in the market I’ve ever experienced in this industry,” SAM CEO Tim Thorsteinson declared at the company's press event. “Customers are driving us to be interoperable. Adoption of IP technology is new and there’s fear around that.”

Nonetheless its software-based playout systems have seen four quarters of growth and
it released Go!, a solution for remote editing news and sports over the internet. It also bowed IP Edge, a unifying interface for its products that eases the transport of video over IP networks.

Avid has also struggled with the perception of being more closed than interoperable with other systems. It will hope that an alliance with rival Adobe puts a stop to that.

The industry is littered with siloed, disconnected products that haven’t changed,” said Avid chief executive Louis Hernandez Jr. “We’re the most open, extensible company here.”

He supported this by announcing that Avid has collaborated with Adobe so that users of Avid's work share platform MediaCentral can access material built within Adobe Premiere Pro.

Avid is also to replace its Isis range of shared storage products (sensibly retiring the unfortunately tarnished Isis brand) with Nexis, a software system that uses off-the-shelf hardware. The Nexis Pro targets indie producers and small post firms and costs £975.

There was much debate before NAB about whether a universal standard for IP production was possible. At the show, Evertz and Sony both joined AIMS, a lobbying group backing SMPTE standards. While they will continue to promote their own proprietary routes, there were sighs of relief that the industry appears to be finally taking interoperability seriously.



Virtual Reality: 360-video streaming
YouTube's introduction of live-streamed panoramic videos was timed to coincide with NAB where virtual reality products were trending. Anyone owning a compatible 360-degree camera and the ability to upload video at between 10Mbps and 20Mbps can now broadcast on Google's platform.

Choice of camera ranges from the $60000 Nokia Ozo, which now includes live VR broadcasting capability, to the $500 ALLie Cam which is the first to enable live streamed 360-degree video on YouTube.

The momentum behind VR, and in particular for application in live sports, appears unstoppable. GoPro unveiled a six-camera Omni rig complete with video stitching software and live streaming software for £3,520 and announced LiveVR - its own “broadcast-quality" live-streaming system. This will be soon used by the MotoGP and MotoAmerica racing competitions.

Orange-owned developer Viaccess Orca demoed a live broadcast it made for Sky Italia of a US basketball match; and NextVR trotted out what it billed as the first VR outside broadcast truck. It will be used at 'marquee' sports and concerts, the company said, noting that after its appearance at NAB the vehicle will hit the road to cover events for Fox Sports with which it has a five year partnership.

Adobe revealed an update to its Premiere editing software that makes it easier to work with 360-degree media and Teradek launched a device for wirelessly streaming and monitoring of 360-video.

Television has always been a window into the world, but VR is really about transporting you into the world,” said Fabrice Loreanceau, co-founder of broadcast VR firm LiveLike. “Here you can get the best ticket, choose your own experience, jump to a specific camera, and go to the best seat in the house.”


MCNs Grow Up


Streaming Media

MCNs have gone from being aggregated networks of channels to sophisticated organizations that encompass the entire range of content creation and distribution, says Digiflare co-founder Mano Kulasingam.

Multichannel networks (MCNs) have rapidly become digital media's most prized assets because of their success in blending entertainment with social media interaction in a way that makes sense to millennial audiences. Acutely aware of a flat to declining TV ad spend, broadcasters have been making strategic moves to acquire MCNs. MTG has taken control of Swedish MCN Splay, Fullscreen is owned by AT&T and The Chernin Group, and Germany's ProSiebenSat.1 spent $83 million on Collective Digital Studio and merged it with its in house MCN Studio71.
Meanwhile pay TV operators are pursuing OTT avenues (like Sling TV's OTT service) or curating online video (like Sky on Demand which includes Red Bull Media House and GoPro channels. Sky is also to host Vice's first European linear channel, Viceland, this September.
Those who bet early have seen some serious returns on their investment. The poster child is Awesomeness TV which DreamWorks acquired for $95 million in 2013. When DreamWorks sold a quarter stake last year to Hearst it valued Awesomeness at $350 million. Verizon's deal for 24.5% valued the network at $650 million, but it needed the MCN's content to fuel mobile video network Go90, and begin to pay back the infrastructure it acquired for $4.4 billion from AOL. Notably, DreamWorks chief Jeffrey Katzenberg will retain charge of Awesomeness TV after the sale of DreamWorks Animation to Comcast.
And what does Awesomeness TV do? It represents brand influencers and stars like Jennxpenn and helps them make and distribute video content across platforms. In next to no time it has built close to 100,000 channels.
Once uncharitably called "middlemen" sitting between the content creators and a YouTube audience, MCNs are now major players.
"Increased investment in MCNs from pay TV, broadcast and telco organizations is one of the primary strategies traditional industry players are adopting to maintain engagement among an audience that’s critical in terms of size, reach and buying power," says Mano Kulasingam, co-founder at multiscreen app developer Digiflare. "Traditional players are recognizing opportunities to capture ARPU away from online-only platforms by investing in content that has, in many cases, huge built-in audiences."
Toronto-based Digiflare builds cross-platform apps with its Videa solution for clients including PBS Kids and CBC TV. As such it is well placed to comment on the changing MCN business model.
"YouTube is still the dominant player among MCN aggregators, but now there's increased competition from Facebook, Twitter, Snapchat, and Twitch, all of whom have made video a critical part of their audience engagement strategy," says Kulasingam. "However, on each platform, video is part of a very different conversation with the user. Ultimately, the job of a content creator who hopes to generate revenue through an MCN is to create content that wins fans and to convert those fans to other platforms with their own revenue opportunities. This means covering YouTube in addition to competing and even self-created/self-managed platforms. Why not sell your product in as many channels as possible?"
He says MCNs now exist less as aggregated networks of channels for advertising and more as sophisticated organizations that encompass the entire spectrum of content creation and delivery.
"They handle everything from talent discovery and acquisition to video content production, audience engagement, and advertising," Kulasingam says. "MCNs will be able to enhance production values, acquire new talent, and obtain a higher degree of personalization in the design and functionality of the platform. In the next few years, the ability to exercise control over the way their content is discovered and delivered is going be a fundamental part of any MCN's strategy for reaching and engaging new audiences."
Content creators and the MCNs who manage them have reached a new level of maturity, professionalism, and technical sophistication, he contends. This gives them a potential to depend less on large-scale content aggregator platforms to attract and engage audiences. That potential has been reflected in a trend toward a model that's driven by attracting revenue through direct-to-viewer platforms.
"Experimenting with a direct-to-viewer model opens up the potential for MCNs to drive up customer satisfaction with the user experience and simultaneously address problems with device and platform fragmentation," contends Kulasingam. "Direct-to-viewer enhances an MCN’s ability to control exactly how content is showcased while growing ARPU. Meanwhile, the risk of brand dilution or outright damage from inappropriate, directly-opposed, or offensive advertising (for instance) is either reduced or eliminated."
The changing priorities around digital suggest that media buyers and advertisers believe that online video is an established fact—and they’re right, Kulasingam asserts. "In an online-oriented media and entertainment space, MCN is far from a niche industry."
Social media recommendations and online reviews are already eclipsing traditional TV advertising in terms of influence over their buying decisions. According to Kulasingam, the majority of millennials have higher perceptions of brands who make them feel better informed, more engaged, or more connected.
"The next step for MCNs who manage recognizable brands and personalities is to explore partnerships across the full breadth and depth of the media landscape. I expect they’ll be pursuing direct-to-viewer avenues through self-managed platforms that cover the full breadth of mobile, tablet, console, and connected TV devices that millennials care about."

Tuesday, 3 May 2016

Industry gears up for 8K future

SVG Europe
Only a few years back 4K – let alone Ultra HD – seemed not only a giant technological leap, but one lacking a business model. With the 4K equipment chain largely solved and with pay TV operator VOD and live services rolling out, the renewed attention on 8K as a near-future broadcast format should not be dismissed. http://svgeurope.org/blog/headlines/analysis-industry-gears-up-for-8k-future/
The recent bonanza of tech developments targeting resolutions 16 times that of HD are not just timed to showcase Japan’s host of the Tokyo games in 2020.
The BBC has a long-standing interest in Super Hi-Vision, co-developing a hybrid log gamma approach to bring High Dynamic Range to Japanese public broadcaster NHK’s 8K system. When it made a joint test of Super Hi-Vision in 2012, BBC executives expressed a preference for the format over 3D because of its qualitatively more immersive qualities.
Similarly, speaking to this reporter in Lausanne a year ago, Olympic Broadcast Services (OBS) CEO Yiannis Exharcos called 8K “much more of a game-changer than 4K”.
“You can really see a huge difference in experience whereas the gap between HD and 4K is far less,” he said.
Consequently, while OBS will deliver a universal HD 1080i feed from Rio, it will work with NHK to deliver 130 hours of live 8K Olympic transmissions while downconverting a version to 4K for international distribution.
The drive to meet the Japanese government’s aim of 8K domestic broadcast by 2020 – and regular transmissions by 2018 – has been in the R&D budgets of the country’s kit vendors since 2013 when Tokyo’s successful bid was announced. It has been a project at NHK research lab STRL (Science & Technology Research Laboratories) for much longer.
It’s no surprise, then, that commercial product is now emerging. To fit into its NHK commissioned 8K OB vehicle, which debuted last year, Ikegami has a new 8K cameram, the SHK-810, which contains a 33 million pixel Super 35mm CMOS sensor with PL lens mount. What is notable is that it is compact enough to be operated in the same manner as current HD broadcast cameras.
Hitachi’s latest 8K camera, the SK-UHD0860, also sports a Super 35mm CMOS sensor with 7680 x 4320 pixel resolution, PL-mount lens and 4K viewfinder. The model can output 8K, 4K/UHD or HD at the same time and, via 8K RAW recorder, provides store-and-forward, real-time recording and playback. Hitachi claim this functionality provides a remote acquisition workflow not available with any other 8K system. Both of these cameras are available for use today.
Canon is also keen to push 8K and has been working with NHK to develop suitable lenses. Indeed, its NAB exhibit sidelined 4K for presentions of an 8K Ride Experience showcasing 8K imaging projected onto large screens, a series of 8K lenses – some of which will be used in Rio – and a prototype of an 8K camera built into a EOS design.
“This is technology we’ve have been working on for 10 years,” Larry Thorpe, Canon senior fellow, told SVG Europe. “Imaging seems to be moving toward 5K, 6K. We’ll be there when people are ready for something like 8K.”
Significantly, Canon is also targeting non-broadcast applications such as giant screen outdoor digital signage and stadium displays with its 8K range. Those markets are also the focus for Layard and Planar’s 9.5 x 5.5 metre LED video wall with 1.2mm pixel pitch, exhibited at NAB.
Professional 8K reference displays are coming. NHK has a 13.3 inch OLED with a pixel density of 664 pixels per inch – get as close as you like and you can’t see the dots at that density. Panasonic has a 55-inch 8K screen in development; Canon showed prototypes at NAB, too.
Away from NHK’s ambition, the ability to capture at increasingly high resolutions is a bonus for VFX-intensive or virtual reality productions which can use the additional information while maintaining image quality.
Sony’s F65 launched in 2012 containing an 8K chip to oversample the image for 4K output and while the company’s marketing won’t be sidetracked into revealing 8K product it is understood that investment is being pumped into an array of 8K production gear, including a new, smaller form-factor 8K F65 CineAlta. It is behind a second 8K OB van outfitted for NHK.
RED is developing an 8K sensor for its Weapon Cinema camera, which is first being used on the feature Guardians of the Galaxy 2, recording data to Codex S-Series Vaults close to the set then transferred to post on Codex Transfer Drives.
No-one expects sensor advances to stop at 8K. The human eye might physiologically not be able to resolve any more resolution beyond 8K but the overhead of information gathered through the lens can be used for emerging forms of volumetric, or holographic, imaging.
Even an 8K panoramic live stream though could be used to zoom and extract 4K or other images, as is done with 4K systems cameras today.
Certainly, on the VR capture side the goal is the more resolution the better. It will likely be VR which pushes 8K as a production format into the mainstream. Facebook’s VR rig, the Surround 360, captures footage from 17 lenses that the social network said would play back in 3D 8K resolution per eye.
Even that gets knocked into the shade by Lytro’s Lightfield Cinema Camera, which has an astounding 755Megapixel sensor with the resulting data used to compute parameters like 3D, frame rate, depth of field, and even simulate lenses in post. The camera is built like a tank and is being seen for the time being as a tool for specialist VFX and VR sequences. Plug-ins from Nucoda can get the data into conventional edit suites for proxy workflows.
When in post, the Quantel Rio 8K was the first post solution to show a glass-to-glass 8K workflow in conjunction with Panavision, Light Iron, RED and BoE. “Productions that want to shoot with an 8K wide canvas can do so without compromise in the Digital Intermediate with Quantel Rio,” says Danny Peters, SAM’s director of creative services. “Last year Sony, PCL and NHK established 8K 60P productions with the editing, grading and finishing accomplished on a Quantel Rio system.”
The Mistika Ultima finishing system from SGO is also due an 8K upgrade soon. Adobe is introducing 8K support into Premiere Pro CC to enable editors to switch between native and proxy formats. Once again this is principally intended for virtual reality.
While NHK is working on a variety of ways to contribute and transmit 8K video, including HEVC (Japanese telco NTT has developed a real-time 8K H.265 encoder), optical science and math wizards continue to devise new and better codecs. Among them is London-based outfit V-Nova, whose Perseus codec was recently rated broadcast quality for delivering 8K streams (in a test overseen by analysts Informitv).
German virtualised playout vendor Cinegy also has 8K and beyond on its mind. “Most people don’t even have 4K televisions yet, but given the slew of 8K sets at CES earlier this year, 8K matters and the production buzz around it will just get louder,” CEO Jan Weigner said.
Cinegy’s compression technology is capable of handling multiple video streams in 8K and even 16K. “With Daniel2 you can acquire, produce and broadcast in 8K today using off-the-shelf equipment. In fact, you can produce in 16K if you want.”
The move to format-agnostic IT infrastructure makes leaps in resolution technicially easier for the industry to accommodate. That’s the thinking behind UK outside broadcast supplier Arena’s build of three new trucks, which shouldn’t need to rip and replace its core components should anyone want 8K live in Europe in the next few years.