Friday, 15 May 2015

Europe's Digital Single Market: Goldmine or Minefield?

StreamingMedia

The European Commission wants to introduce rules that will result in all European citizens being able to buy online services from any country. But do the proposals add up?
http://www.streamingmediaglobal.com/Articles/Editorial/Featured-Articles/Europes-Digital-Single-Market-Goldmine-or-Minefield-103966.aspx

The European Commission (EC) describes the internet as "a goldmine of digital opportunities" but believes that digital services are often confined to national borders. It aims to change this by pursuing a Digital Single Market Strategy (DSM), which has had a mixed reception since publication last week.
According to the EU, GDP in Europe could be increased by $466 billion (€415 billion) a year if a harmonized market in digital services for its 500 million citizens were to be introduced.
While many physical barriers to trade within the EU have been removed, digital remains fragmented into 28 sets of national contract laws. Only 4% of internet traffic from EU countries goes to online services in another European country, whereas 54% of it goes to services in the U.S., the EU reported.
"Europe cannot be at the forefront of the digital revolution with a patchwork of 28 different rules for telecommunications services, copyright, IT security, and data protection," declared EC digital commissioner Günther Oettinger, who replaced Neelie Kroes last November. "We need a European market, which allows new business models to flourish, start-ups to grow, and the industry to take advantage of the internet of things."
The DSM's ambitious 16-point plan covers spectrum management, data protection, cloud computing and big data but leads with a contentious proposal to “end unjustified geo-blocking.” This is the process in which copyright holders in a single country can block consumers in another country from accessing their content online.

Modernising Copyright

Allied to an axe on geo-blocking will be new copyright legislation. In particular, the Commission wants to ensure that users who buy films or music at home can also enjoy them while travelling across Europe. The proposed reform will recognise the "portability of legally acquired content."
Supporting figures from the Commission suggest that one in three Europeans is interested in watching or listening to content from their home country when abroad, and that one in five EU citizens would like to access content from other EU countries.
"It is an opportunity not to be missed," the EU states. Digital spending on entertainment and media has double digital growth (around 12%) for the next five years, it said.
These stats are somewhat countered by further research by the Commission which suggests that only 17% of those polled in the UK were interested in receiving content from other European countries when at home, compared to the average across Europe of 19% or 33% in a country like Sweden.

Geo-blocking Uncertainty

The proposals could mean that on-demand services like Netflix, BBC iPlayer and Sky Go are available to everyone, regardless of which EU country they're in. Critics have immediately leapt on the conflict at the heart of the plan which is to question the practicality of abolishing geo-blocking while continuing to protect territorial copyright.
While a single digital market would prove a boon to pan-regional players like Netflix, the proposal is causing concern among other rights holders and distributors who charge different rates for downloads and streaming services depending on demand in each nation.
The BBC, for example, blocks overseas viewers from accessing BBC iPlayer partly to make sure it can commercially exploit its programmes abroad but also to avoid protests from licence fee payers who might resent paying to entertain other nations.
"This is empire building," said Dr. Alice Enders, analyst for Enders Analysis. "It’s a long-standing ambition of the EC to take control of copyright, but there is just no real evidence of cross-border demand. Who is this for? It’s a disaster. Britain has a very mature and well developed media market where companies can make a good return compared with most other European countries."
Politico quotes Netflix CEO Reed Hastings as saying: "The Commission is dealing with a great frustration people have with the balkanization of content within a single market. (But) we cannot wait for the Commission… What we are trying to do now is all pan-European and global licensing so everyone can get to our content. We’re trying to solve it commercially."
The ambiguity is at least recognised by the Commission: "Financing of the audiovisual sector widely relies on a system based on territorial exclusivity, which as such cannot be considered as unjustified geo-blocking," it said. "Being able to access online content legally across borders will help deal with geo-blocking concerns, while respecting the value of rights in the audiovisual sector."

Challenging U.S. Platforms

The DSM may also raise hackles in Menlo Park, Seattle and Mountain View. With the intention of boosting Europe's home-grown digital businesses, an area in which "Europe has dropped from world leader to second-tier player in only a few years," the Commission is taking a swipe against what it terms the "platforms" that dominate Europe's online landscape: Facebook, Amazon, Microsoft and Google.
Concerned about a situation where the leading search engines and internet services are non-European (and largely American-owned with exception of Sweden's Spotify), the commission said it would launch a "comprehensive assessment" of their role and potential abuse of market power, by the end of the year.
In the EC's opinion European start-ups have been prevented from becoming net giants because they have lacked the scale of a single market to grow as fast as their U.S. counterparts.
Oettinger said that the EU had to regain the "digital sovereignty" it had forfeited.
Andrus Ansip, EC vice president said: "People must be able to freely go across borders online just as they do offline. Innovative businesses must be helped to grow across the EU, not remain locked into their home market. This will be an uphill struggle all the way, but we need an ambitious start. Europe should benefit fully from the digital age: better services, more participation and new jobs."
He added there would be no possibility of a digital single market without "deep cooperation in the field of spectrum."
Innovations such as cloud services, data analytics improving efficiency in industrial processes, and intelligent connected machines could add more than €2000 billion to Europe’s GDP by 2030, said the EC.
"The EU must establish the appropriate legislative framework to unleash these opportunities. Europe also needs the right conditions for companies to invest in digital networks," it stated.
The sixteen DSM initiatives are set to be delivered by the end of 2016 but could take several years more to pass into law.

Thursday, 14 May 2015

VidiGo aims to put production control in the cloud

Broadcast Bridge
Amsterdam-headquartered software developer VidiGo is on track to release a cloud-based live multi-camera production workflow. The company’s CTO Peter Ijkhout, CTO talks to The Broadcast Bridge about technology he believes will change live TV production forever. https://www.thebroadcastbridge.com/content/entry/2661/disney-abc-moves-control-room-and-playout-to-the-cloud?cat_id=66
VidiGo states its aim is to develop software which allows more flexible, scalable and effective TV production. The target market is live (or live on tape) production, such as news and sports. Its software falls into two categories: the core engine (for processing audio/video) and workflow elements (such as user interfaces).
“We 're-created' the most important key devices traditionally found in the control room as software modules,” explains Ijkhout of the company's existing product portfolio which includes VidiGo Studio Automation. 
“The software turns any ordinary PC workstation into a vision mixer, audio mixer, playback server and graphic engine. Using off-the-shelf standard I/O cards, users can connect cameras and other key production equipment all in full HD over SDI.” 
He claims that the power of the system's software engine is such that when applied to a modern workstation it can operate with 12 full HD-SDI inputs, provide four independent video-playback channels, audio and two graphics engines without the need for any extra hardware. 
“The engine uses our GPU-optimized process to create the output signals, mostly again over SDI,” he says. “At present the maximum output per server is two, servers can be linked together to create as many outputs as required. All signal processing inside the software is done 100 per cent uncompressed to meet the high quality demands of the professional broadcaster.” 
On top of the engine, users can work with what is called the 'core UI' – an interface which presents a personal full blown control room. The interface includes two full HD multiviewers that users can adapt to use needs from within the software.This latest development, to be released at IBC, focuses on this combination. 
“Of course, not every programme can be produced by a single person, so the system can expand through automation modules, such as the company's LIVE Assist which offers full running order automation between the newsroom and the engine,” he said. 
Further manual operation can be achieved through a web-based control server for live production launched at NAB and built on the existing API. This brings control of the system to iPad, Android devices or any computer running a standard web-browser. 
“The Video Control Center completely separates control from the actual VidiGo Servers,” explains Ijkhout. “This provides the possibility to truly virtualize parts of the workflow, tailor the level of automation and create the perfect mix between manual and automated operations. 
“The true genius is the fact that it uses standard URL’s to communicate,” he says. “This way any web-designer can build control modules. The possibilities are endless: allow true remote control from anywhere or build specialized control panels fitting very specific workflow requirements. All this without having to hire a very expensive IT specialist.” 
Because parts or all of the software workflow modules can already be used inside a web browser, Ijkhout says VidiGo is frequently asked about the possibilities of using it to create remote-production workflows. Indeed the browser-based controls could already be used over the internet but the lack of visual feedback (multiviewers) has prevented practical use to date. 
Inspired by OnLive (a cloud gaming service for rental and streaming of computer games acquired by Sony last month) Ijkhout got to work adapting VidiGo's core technology. 
“OnLive had apparently succeeded in combining a good image quality with a latency or lag low enough to provide a good gaming experience over the internet,” he explains. “Since our challenges in video are not so different from theirs, I began a research project to find out if we could create a broadcast-centered variant using similar techniques. This is what the latest developments provide. Both the multiviewers and core user interface are now available as low latency streams/proxies allowing full separation between the core engine and the control room. At a sport event, for example, you could simply, send out the SDI input box, and log into it using your in-house control room.” 
VidiGo's next step is to work on the multiviewer and core UI ahead of launched at IBC in September. Following that it will develop a means for smaller productions to use a 'control-room in the cloud'. 
“Now we have both the visual feedback from the cameras fully streaming and the UI streaming, we can really say we have created the first cloud service in live TV production,” he declared. “ I am convinced that this will create a complete mind-shift in TV production, especially in the mid-end market. If I were responsible for production, I would not invest in a new OB van anymore. That really comes to an end real quickly. ”

HD+4K cameras bring 4K live broadcast closer

BroadcastBridge
The recent spate of announcements from camera manufacturers about plans to market HD and 4K shooters capable of accepting B4-mount standard lenses has been welcomed by the industry and appears to have brought live UHD broadcast launches closer.
“It's heading in exactly the right direction,” says Keith Lane, director of operations, Sky Sports. “We're pleased to see the quality of those cameras come out and that they are much more user friendly for OB vendors who can take them into any OB environment and start using standard HD lenses. That's a cost-effective approach.”
Sky tested a variety of 4K systems cameras at the Ryder Cup last year including early versions of Grass Valley's new LDX 86 and the Sony F55, Hitachi's SK-UHD 4000 along with the i-Movix X10 UHD unit. It continues to test those cameras and more recently the latest Sony HDC-4300 4K 2/3in in conjunction with lenses from Fujinon  and Canon.
Lane professes pleasure with all the 4K developments which, along with those in the IP domain, “have moved the industry forward faster than expected.”
BT Sport has also conducted a number of live 4K tests. “The really valuable thing about 4K is that the camera positions don't need to change from HD,” says Jamie Hindhaugh
‪Chief Operating Officer, BT Sport. “With the next evolution of equipment there is a real opportunity to capture in 4K and down-rez for HD which does give you an enhanced look on screen.
“There are a lot of challenges. The frame rate we are looking for is 50fps and we're hoping with the new generation of cameras and lenses coming in July that any depth of field focus issues and motion blur will be mitigated.”
Another huge challenge is around 4K RF links which isn't likely to be solved within a year.
“The industry is in the same situation as the move from SD to HD where it's likely that 75% of programming will be captured HD and up-rezzed to 4K for a period,” says Hindhaugh.
For Alan Bright, director of Engineering at sports production company IMG, the development of HD/4K-ready cameras represents the “long awaited removal of one of the logjams to 4K live.” 
He says, “The problem has been that outside broadcasters have not wanted to invest too early in tech which was not suitable for sports coverage.”
Sony developed the HDC-4300 following reaction to shooting with the F55 and to address some of the issues around lensing in the 4K domain for live events, according to Mark Grinyer, Sony head of business development 3D, 4K and Sport.
“The market told us it wanted a more traditional HDC-2500 style camera with B4 mount lens – so users can work with lenses already used in sports,” he says. “It protects their existing investment in Sony HDC-2500. This camera addresses this. Not only can it be used as a HD camera but also as a multi-speed camera and in 4K with B4 mount lenses. It's a good general penknife of a camera.”
Fundamentally, the only difference between the Sony HDC-4300 chain and that of the F55 is that there is no need for the BPU4000 unit (which generated 4K and HD signals in the OB truck).
Sony also wants to promote the HDC-4300 as a super slo-motion camera with 4,6 and up to 8 times speed capture possible. “That means you don't have to invest in specific triple speed cameras,” says Grinyer.
Cameras are being built more as platforms to which new functionality can added by way of firmware upgrades or plug-ins when demand requires or as the software is advanced.
Bright likes the design of the Sony camera in particular. “It can quite comfortably be used for HD work and it will take the bigger lenses, but I'm more impressed by the upgrade path which enables users to work with a wider colour space and handle higher frame rates and add-on an IP interface to the base station - all of which will worthwhile in a few years time,” he believes.
If one of the log-jams of 4K live workflows has been removed, another still remains hanging. 
“Handling quad 3G is so cumbersome and it decimates the capacity of your resources,” says Bright. IMG which handles all the international distribution for the English Premier League from its headquarters at Stockley Park.
“We're waiting before the industry agrees on a solution to send 4K down one piece of wire before we convert one of our studios at IMG to 4K.”
Sony says it is not abandoning the F55 in sports. “There will be productions that prefer the look of the large single sensor,” says Grinyer.
Indeed, Bright points to live UHD productions like War Horse produced by Sony from the National Theatre using IMG-built flyaway kit.
“The large chip of the F55 and shallow depth of field is still the best choice for that type of work. The F55 will become more specialised but there is still interest from sports requiring a shallower depth of field. For example, with golf on the final green you could focus in on the ball or on the player or crowd and achieve a different type of shot.”
There are also growing applications for more artistic cine-style pictures from cameras including the Alexa for VT inserts in recorded sports packages.
Just now, live event production is in early transition between HD and 4K where broadcasters want an investment that serves the bulk of their paying audience in tandem with a very easy parallel production in 4K when the greenlight is given.
“Producers are less worried about the technology and more about the viability of the stories they can tell with technology that they are already using,” observes Grinyer – who still has 3D in his official Sony title. “Unlike 3D and 2D HD you can definitely produce content in HD and 4K in parallel. HD is still the money earner for a year or so for content of mass value so the question is how to enable the production of more content in different formats around the same HD production.”

The year’s best archive docs

Broadcast 

Ahead of next week’s ceremony announcing the winners of the 2015 Focal International Awards, Broadcast casts an eye over the films nominated in the main categories. 


The 12th Focal International Awards, in association with AP Archive, celebrates achievement in the use of stock and archival footage. This year, the awards attracted 265 submissions from 24 countries. A panel of 50 jurors then whittled the long list down to three for each of 17 categories. These are the films competing in six key categories.

CURRENT AFFAIRS

Silvered Water, Syria Self-Portrait
Producer: Les Films d’Ici/ Pro Action Films
Archive: User-generated
One of a growing number of overseas entries, this French-Syrian co-production, composed mainly of eye-witness footage uploaded to social media, really stood out.
“YouTube and user-generated footage from mobile phones is the new source of archive,” says juror Wayne Lovell, clip sales executive at Fremantle Media Archive. “The images are compelling and harrowing but treated with sensitivity and used almost like a conversation between two people – one in the West and the other in Syria – filming and uploading videos of incidents we would otherwise not see.”

Paisley: A Life
Producer: BBC Northern Ireland
Archives: BBC; ITN Source/UTV; RTÉ; AP Archive; Fremantle Media Archive
Paisley: A Life was a “captivating and comprehensive insight” into the life and times of the controversial preacher-turned-first minister of Northern Ireland, says Lovell. BBC Northern Ireland has “used lots of footage you would expect to see, combined with many new sources that reveal a more rounded and human side” to the caricature of the vocal politician, including cine-film of his wedding.

This World: Terror At The Mall
Producer: Amos Pictures for BBC
Archives: CCTV; Red Cross; amateur footage
This World: Terror At The Mall documents the 2013 assault on Nairobi’s Westgate Mall from every angle. A thousand hours of security camera footage, together with stills photographs captured in 12fps bursts by a photojournalist, Red Cross material shot on a DSLR and bystander footage shot on an iPhone form the visual and narrative base of the doc.
The creative, logistic and technical challenges were enormous, explains producer/director Dan Reed: “There was only a very basic map of the Mall, so we forensically studied the CCTV footage, painstakingly constructing a useable map. From this we were able to start identifying the different contributors in the footage.”
Lovell says: “The way it was cut reminded me of watching 9/11 develop in real-time TV.”

FACTUAL

Alfred And Jakobine
Producer: Start In Morocco Films
Archive: Home-movie footage
This touching romance between 1955 newlyweds Alfred and Jakobine is illustrated with home-movie footage of their epic round-the-world trip in a London taxi.
The biggest technical challenge was getting a good telecine print from the original films without destroying them.
“The film had been sitting in cans for decades,” explains producer Rob Fletcher. “We couldn’t be sure what the quality of the print was like, and we had no idea of the pictorial content. We telecined the film very early on in the process in the US – not at great quality but good enough for us to understand the content and the film’s fragile state.
“The next telecine was intended to be the last, so we spent all we could muster at Deluxe Media. The film was visibly degrading every time the spools were run, so we were very happy that we had the best print we could before the films became unusable.”

American Experience: Last Days In Vietnam
Producers: Moxie Firecracker Films; WGBH Educational Foundation
Archives: T3 Media; NBC Universal; ABC News; Sonuma; ITN Source
A rich archive underscores American Experience: Last Days In Vietnam, from US producers Moxie Firecracker Films and WGBH Educational Foundation. In particular, the documentary reveals how a number of diplomats and military operatives engaged in unsanctioned, and often makeshift, operations in a desperate bid to save as many South Vietnamese lives as possible.

Night Will Fall
Producers: Spring Films; Angel TV; Cinephil
Archives: Imperial War Museum; ITN Source; Footage Farm; Getty Images; British Pathé
German Concentration Camps Factual Survey is the official British documentary on the holocaust made by Sidney Bernstein, Richard Crossman and Alfred Hitchcock, restored for cinema release by the Imperial War Museum. Night Will Fall is the story of that remarkable production and features footage from Bridgeman Footage’s Buff Films collection, including a rare interview with cameraman Mike Lewis, who filmed the liberation.
“The footage is harrowing and there were important questions about how to contextualise that without falling into a pornography of violence,” says producer Sally Angel. “We had to be respectful of the source material and remove ourselves as much as possible.”
Newsreels from British, Russian and American troops were pooled in 1945, some of it staged several days after the camp’s liberation, but Angel used the device of a film running through a camera to highlight Bernstein’s carefully composed and unstaged footage.

ARTS
Darcey’s Ballerina Heroines
Producer: Leopard Films for BBC2
Archives: Getty Images/BBC Motion Gallery; Royal Opera House; PBS Great Performances; Mosfilm; BFI
For this BBC2 documentary, prima ballerina Darcey Bussell presents an authoritative history of the best ballets and finest performers from 18th century France to 1950s America.
Collections including Royal Opera House and Mosfilm “were essential in showing what made these women so extraordinary”, observes producer Fiona Morris. “We asked former Soviet archives to let us have material, which was tricky, as was understanding what material was entirely owned by the archive licensing the footage and which elements had more complex underlying rights to be considered. For example, set designers and directors of the original ballets featured in the clips.”

Natan
Producer: Screenworks
Archives: Private collection Mme l’Herbier; Pathé (France); GPA; INA; Lobster Films
This documentary has helped rehabilitate forgotten and tragic cinema pioneer Bernard Natan. The Romanian Jew made his name in France as owner of Pathé in the 1920s and played a key role in the development of cinemascope and television before he was controversially disgraced and imprisoned, later dying in Auschwitz.
“With a project revolving around cinema, you clearly have a strong archive, but researcher Christine Leteux helped us uncover a number of films from private collections and newsreels, including an experimental 360-degree shot that Natan made of his head, which we used prominently,” explains producer Paul Duane.

Regarding Susan Sontag
Producer: Question Why Films
Archives: National Archives and Records Administration; Getty Images/BBC Motion Gallery; Library of Congress; T3 Media; Oddball Film and Video
US producer Question Why Films’ documentary draws on footage and stills from 130 archives. Innovative use of footage includes “projecting archival materials through water, onto surfaces and letters, and combining and layering them in collage sequences to convey a greater sense of the inner life of its central character,” explains producer/ director Nancy Kates.

SPORT

An Ordinary Hero
Producer: BT Sport Films
Archives: BP Video Library; Brunswick Films; Duke Video; Fremantle Media; The Hailwood Estate
Archive was vital in bringing to life the colourful story of motorcycle legend Mike Hailwood, but interviews and race footage show only one side of the man.
“In building trust with family and friends, we began to get access to some extraordinary colour home-movie material that showed Hailwood’s demeanour as markedly different from how he was presented by mainstream media,” says producer/director Jon Carey.
Road

Producer: DoubleBand Films
Archives: BBC Northern Ireland; Ulster TV; DoubleBand Films
Using archive from broadcasts and home movies to tell the tragic back-story of the road-racing Dunlop brothers, feature documentary Road has enjoyed extensive international distribution. “Key to this success is our use of archive,” says Dermot Lavery, codirector and producer for DoubleBand Films. “The footage had to do more than just illustrate past events. It had to help deliver and sustain the emotional narrative at the heart of the film. Throughout the edit, we worked hard to make sure it worked on both levels.”

Slaying The Badger
Producer: Passion Pictures
Archives: INA; ASO; Cor Vos; Offside/L’Equipe; ESPN
With Lance Armstrong’s reputation in the dust, the only official US winner of the Tour de France is Greg LeMond, in 1986. Passion Pictures’ Slaying The Badger assembles archive to reveal the friendship and rivalry of LeMond and French teammate Bernard Hinault (aka The Badger).
“This production exceeded my expectations by using rarely seen, difficult-to-find footage in an attractive way,” says juror Massimo Moretti, library commercial development manager at StudioCanal.

WILDLIFE AND NATURAL HISTORY

Animal Fight Club (series two)
Producer: Arrow Media for Nat Geo Wild
Archives: Getty Images/BBC Motion Gallery; National Geographic Creative; Framepool; Nature Footage/Footage Search; Richard Smedley
For juror Ben Jones, head of motion at Science Photo Library, each natural history nominee illustrates different uses of archive: “One presents a technical editing challenge, one uses historical archive and another uses existing material to create an entirely new programme.”
Animal Fight Club uses freezeframe, close-up zooms, CGI, slow-motion replay and pop-up infographics to recreate and examine the battles of creatures such as warthogs and hippos.
“With excellently researched material from multiple sources, the show is almost 100% archive, with creative construction and punchy scripting and music,” says Carol O’Callaghan, co-ordinator of Focal’s wildlife preliminary jury.

ORBI: The Magic Of Yellowstone
Producer: BBC Earth Productions
Archive: BBC
This project was designed specifically for ORBI, a Japanese attraction built by Sega, the centrepiece of which is a curved screen displaying 6K to 12K images at 40m x 8m in a 5:1 aspect ratio with 22.2 channel audio. Apart from some hi-res timelapse material, it is composed entirely of HD archive footage.
“Trying to fill this enormous screen with images that were not big enough required new technical and creative techniques,” says producer/ director Ben Roy. “You can’t just blow the images up or you lose resolution, so we had to composite images to fill the space.”
It also required new grammar: with a screen of this scale, the audience needs to be directed from left to right via audio and visual clues. “We called it the ‘Wimbledon effect’,” says Roy.

The Pristine Coast
Producer: Juggernaut Pictures
Archives: Film-makers Dick Harvey and Twyla Roscovich; Canadian Broadcasting Corporation; The Fisherman News
Producer/director and chief researcher Scott Renyard took four and a half years to complete The Pristine Coast, much of it spent uncovering the troubled marine ecosystem off the coast of British Columbia.
“I used archive to verify actual events or to disprove notions put forward by proponents of opennet fish farming,” he says. “Fish farmers have claimed, for example, that wild fish do not go in the pens. Footage I obtained from film-maker Dick Harvey showed that this is not true.”
He adds: “The archive material shaped the scope of the issue and supported the claims made by some of my interview subjects. It was invaluable in turning a small story about the impact of fish farming on wild salmon into a story with global implications.”
O’Callaghan says: “This hard-hitting, campaigning film may not have production values as high as the other two, but it demonstrates the availability of reasonable quality ‘amateur’ library footage.”

NON-TELEVISION PLATFORMS

Go Or No Go – The Challenger Legacy
Producers: Mirror Mirror Productions; Retro Report
Archives: Home movie of the 1986 Challenger disaster footage provided courtesy of Jeffrey D. Ault, Nasa; AP Archive; Bettmann/Corbis; Getty Images
The Space Shuttle Challenger launched on 28 January 1986 only to break apart 73 seconds later, killing all seven astronauts on board. Retro Report and Mirror Mirror Productions revisit the tragedy through interviews with key participants for the website Go or No Go – The Challenger Legacy.
“By interspersing Nasa’s blunt and technical launch footage with a recently discovered amateur Super 8 film, I tried to recapture the hope and disbelief I remembered when I watched the launch in my elementary school classroom,” says producer/editor Bret Sigler. “The amateur film offered some of the only known footage not shot by Nasa, and allowed me to include witnesses’ real-time audio gasps, which were echoed by us all.”

Soul Boys Of The Western World
Producers: Wellingmax Films
Archives Getty Images/BBC Motion Gallery; ITN Source/ NEFA; home movies from band, family and friends; MTV; Sunset + Vine
This feature-length biopic of 1980s pop group Spandau Ballet was told exclusively through rushes, outtakes, backstage, private and unseen material. (It has also picked up a nomination in Focal’s Music Production category.)
“Complex third-party rights, footage in every format and a limited budget were the chief challenges,” says co-producer Scott Millaney.
Among the unearthed pieces was a New York concert. “The owner was not interested in our request and not inclined to search for it,” he recalls. “It took great diplomacy to engage his participation, which fortunately resulted in the discovery of a one-hour concert that had been recorded but never played back.”

The First World War: Life On The Home Front In North West England
Producers: Artnoire Creative Services for North West Film
Archive: at Manchester Metropolitan University Archives North West Film Archive; BFI National Archive/ Harris Museum, Preston
The North West Film Archive (NWFA) marked the centenary of WWI by making its collection of footage of life on the home front available on DVD.

Writer/director Alison Tarpey- Black’s challenge lay in “accepting that the archive should drive the content, and in creating a cohesive and chronological narrative that linked together the disparate material,” says Marion Hewitt, service manager and public engagement fellow, NWFA. “The film had to be allowed to tell its own story, which is not necessarily always the whole story.”

France Market Report: Joie d’AV spreads


P23 AV Magazine May 2015


The general resurgence in economic activity in France may offer more business for pro-AV in every vertical, says Adrian Penningtonhttp://viewer.zmags.com/publication/551a03a6#/551a03a6/1

While the crisis in the Eurozone has hit the country hard, the market is recovering and there are opportunities for refurbishment, especially in the wake of the Euro 2016 football championship.
“The economic climate should not be underestimated,” warns Bettina Berk, sales manager West and Southern Europe, Adder. “Financially, the country is volatile and infrastructure developments are being restricted to all but the very essential. There have been suggestions that the Banque de France (Central Bank) is set to launch an anti-deflation programme and the tactics that come out of this programme will be very decisive.
“However, during times of uncertainty, no project can be guaranteed,” she continues. “The most important step for businesses in this sector is to invest time with customers, and understand that their requirements in terms of costs and deliverables may change.”
Compared to other technology segments, the French AV market remains buoyant, reckons Gwenaelle Villette, business development manager, Peer- less-AV Europe. “Large projects are always prone to delays and changes, but overall our business in France is doubling year on year,” she reports.
Crestron reports growth in the last few months, especially in the corporate market. “In spite of complex economic conditions, some international organisations and CAC40 companies (French equivalent to the FTSE 100) are investing in AV equipment for reasons of renovation, relocation or even extension,” says marketing executive, Noémie Boullot. “The technical evolution of digital standards and resolutions like 4K are prompting companies to upgrade their systems.”
The view from illuminated balloon specialist AEN (Airstar European Network), which has its HQ in Paris, is that clients expect more gear for a similar or lower budget.
“More and more projects seem to be decided at the last minute, which is putting acute pressure on service providers,” says director, David Mohen. “The number of event/communications agencies diminished over the last couple of years, so many intermediates (middle men) have been cut off. As a result, manufacturers increasingly have to deal with the end user directly but they often don’t have the same expertise or knowledge of challenges and technical requirements.”

DOOH growth
According to the Digital Signage Business Climate Index (Jan-Feb 2015, Invidis Consulting, in cooperation with OVAB Europe and Club du Digital Media), France ranks third in Europe for digital signage growth. The report forecasts favourable conditions within the next six months with job creation and higher customer demand leading to more projects being realised and an increasing expansion in vertical markets.
BroadSign’s France-based sales director EMEA, Vladimir Aubin recognises the country’s growing market for digital signage, yet one that’s less mature than the UK and Germany. As a result, France has a “unique opportunity to adopt and execute new solutions.”
He elaborates: “Interactivity, automated audience measurement and programmatic media buying will be available in upcoming French installations, whereas UK and Germany AV will either need to wait for contract renewal or convert to more robust software platforms before attaining these new heights of services.”
Business tends to slow down the months prior to presidential elections planned for 2017. “That said, elections also bring about advertising opportunities which is great for ad-based digital signage networks,” says Aubin.
Audience measurement company Mediametrie revealed (in its Mediamath Thematik report) that there are 29.5 million IPTV users in France, or 44 per cent of the population. For Colin Farquhar, ceo of IPTV solutions provider Exterity these figures demonstrate that the domestic market is “far more mature” than in Germany where cable and satellite dominates and in the UK which has a mix of cable, IPTV and satellite.
Exterity, which recently partnered with distribution specialist Sidev Display Systems, also sees potential in the local education market. French authorities aim to create a single elite higher education structure which will encompass 19 of the most respected institutions in the country. It is being designed to compete with global giants like Harvard or the Massachusetts Institute of Technology.
“This mega-university will have its own requirements for internet and wi-fi connectivity, as well as pro-AV,” suggests Farquhar. “Professional IPTV enables faculty members to access scheduled and recorded programming from all over the world or create subject specific streams of content interspersed with student announcements or messages.”

Euro 2016
The prospect of hosting Euro 2016 has led to an ambitious construction and renovation programme for stadiums in 10 cities; Bordeaux, Lens, Toulouse, St-Etienne and Marseille among them. It will be the third time France has hosted the tournament, after the inaugural one in 1960, and then 1984. It also hosted the 1998 World Cup.
Call for tenders are currently underway but some firms are already involved. Crestron has installed lighting controls in meeting rooms and public spaces at Le stade de France and at VIP rooms at Le Parc des Princes.
“A number of hotels are renovating to welcome guests during the event and Crestron is directly involved in the control of meeting rooms, guest rooms and common spaces,” says Boullot. Crestron partnered with Accor for upgrades to luxury hotel Le Sofitel Arc de Triomphe including controls for lighting and background music.
Tourism accounts for one third of GDP in Paris alone, a figure set to increase during the tournament with seven million fans due to flood the country. “It will be crucial for ven- ues and stadia to leverage the latest pro-AV trends to offer immersive entertainment to visitors as part of the Respect for Fan Culture initiative taking place during the tournament,” says Farquhar.
A larger number of the games will be watched from fan zones, bars and restaurants, hotel rooms or even airport and railway station lobbies. The tournament will impact all travel- related verticals such as museums, transport, hospitality and, to a lesser extent, retail.
“Euro 2016 will bring many inaugurations and events in stadiums inject- ing some dynamism into this area,” says Mohen.
Outside the Euro, AirStar also reports growth in summer festivals where attendance rose from two million in 2012 to 2.7 million in 2014. It is involved in festivals such as Rock en Seine, Les Vieilles Charrues, Solidays and Musilac.
“Smaller festivals are also taking more and more interest in our solutions, to answer various lighting needs such as security, traffic and animation as well as signage,” says Mohen. “The fact that we offer green alternative solutions to lighting is also an advantage, for example with the We Love Green Festival (Neuilly, 30-31 May), a neutral carbon footprint festival.”

Innovation and ambition
France has a reputation for belligerent trade unions and archaic work-to-rule attitudes yet the country has more business start-ups than anywhere else in Europe, according to trade commission Ubifrance - and the greatest number of fast-growing tech firms in Europe, according to Deloitte.
Cityzen Sciences produces a tee- shirt with a sensor that tracks the heartbeat; SlowControl has devised a smart baby bottle that measures the amount of milk an infant consumes.
“France is one of the most important countries in Europe for virtual and augmented reality,” confirms Gerben Van den Berg, Barco’s sales v-p corporate. The CIRV industrial VR centre in Montoir deployed the first Barco Hybrid cave in Europe.
Last year, the French telco industry launched Club France which aims to offer 5G throughout the country in the next few years. The initiative is backed by Alcatel-Lucent, Orange and Thales, mobile chip maker Sequans Communications, and base station connectivity outfit, eBlink. Since France owns territories on every continent (from Guadeloupe and Martinique to Mauritius, New Caledonia, St Pierre et Miquelon/ Canada and French Polynesia) and a fair number of big organisations have regional offices located there, the initiative offers significant potential to the whole pro-AV sector by facilitating video distribution over far greater band- width and broadband speeds.

Gay paris to Grand paris
The largest current construction pro- ject is Grand Paris in which €30 billion will be invested over the next 15 years to improve infrastructure and transport. This government-led development for the whole of the Paris metropolitan area is designed to improve residents’ quality of life, address regional inequalities and build a sustainable city.
At the heart of the scheme is an ambitious plan to modernise the existing transport network and create a new automatic metro – the Grand Paris Express. By 2030, 205km of automatic metro lines will have been built; 72 new stations will connect the Grand Paris clusters with three airports and TGV stations and 2 million passengers will travel on the new network daily.


Lyon light show
One of the oldest and most famous light festivals occurs in Lyon over four nights in December. A highlight of the 2014 edition may have been the display at the Place des Terreaux where masterpieces from the Museum of Fine Arts were illuminated on the building’s facades. Artistic director Gilbert Coudène, designer Etienne Guiol, video mapping expert Theoriz, producer Light Event Consulting and staging company Spectaculaires worked with 11 Barco HDF-W26 projectors to bring the artwork to life.
Mall design
Commercial property group Unibail- Rodamco has installed striking LED displays in its malls, including les Quatre Temps mall in Paris. Comprising 1,527 Barco C7 LED tiles, it is one of the biggest in Europe, designed by movingdesign France and powered by Barco’s DX700 image processing unit.
AirStar deployed 30 lighting balloons of various shapes, sizes and colours for the Val d’Isère AirStar Night Light (pictured above).
HQ for SFR
The new telco SFR HQ is an ambitious building project being carried out in two phases. While the first employees moved into the new building in Saint- Denis in November 2013, the rest of the campus is set to open this year
so 90 per cent of the SFR team can work together under one roof. SFR contracted AtelierAudiovisuel which chose to equip the campus with a variety of Barco projectors and a Barco video wall. Crestron solutions equip the auditorium, boardroom, crisis rooms and 150 meeting rooms.


AR Comes of Age


AV Magazine
p49 http://viewer.zmags.com/publication/551a03a6#/551a03a6/1

AR is finally maturing from research lab and specialist areas to become a relevant technology for the b2b space, reports Adrian Pennington


Until around 10 years ago AR was the domain of research labs and specialist fields, such as brain surgery and military head-up displays. The tipping point for marketing came when webcams became commonplace and software improved frame rates to the point where lag was all but eliminated.
“The result was an almost magical rendering of objects moving in space as if glued to real world features,” says Jim Gant, founder and director, Inition. “This was engaging and AR exploded on to the scene as a new and alluring way for brands to communicate.”

What’s the business worth?
Analyst TechNavio expects the global market for this technology to top $1 billion by 2018 by which time Juniper Research predicts the number of AR users worldwide will have risen to 200 million compared with today’s 60 million. Mobile AR revenue is expected to hit $5.2 billion by next year (Juniper). Consequently, the industry developing AR applications is also growing. ABI Research estimates that developer investment in AR will top $2.5 billion by 2018 (from $670 million in 2013).
According to Assieh Khamsi, marketing manager, Blippar there are two main application areas: the consumer space - using AR as an intelligent eye for visual browsing; and enterprise - where it can be harnessed for training, engineering, medicine, construction and education. In the fashion and cos- metics world Holition’s virtual makeover app has recently been used at the V&A.

What is augmented reality?
It’s any method of adding a small pro- portion (under 25 per cent) of digital information relative to places and things viewed through headgear such as smart glasses or via tablets and smartphones. Ideally, the information will enhance (augment) your understanding of the environment. It’s distinct from virtual reality where users do not see their real world surroundings and users interact within a virtual world. This leaves an interesting middle ground, known as mixed reality, augmented virtuality or AR AV.
Augmented reality comes in two flavours. 2D AR adds labels and images as a dynamic infographic overlaid on to the real world. 3D AR allows one to place objects into a scene – think furniture into apartments, cars into showrooms, buildings into landscapes. A typical approach is to use fiducial markers - an object placed in the field of view of an imaging system which appears in the image produced for use as a point of reference or a measure.

How does it work?
AR applications generally use one of two approaches: marker-based and location-based.
“Markers work by having software recognise a particular two-dimensional pattern via a camera on a device, triggering either audio or visual content to be overlaid on that point on the screen,” explains Andrew Maher at Engage. “You can create links for your triggers and content on different channels within the software so you can dictate who has access to certain bits of content. This means the same trigger could bring up different content for different groups of users.”
Markerless AR is more computation- ally complex but similar in principal. Instead of static images, GPS verifies your location and links to certain content. “These triggers are typically land- marks native to the areas that are contextually related to the content your triggers hold,” explains Maher. “The complexity lies in how the information is extracted by the software based on what it can see via the device’s camera as well as GPS co-ordinates, and how that information is overlaid to interact with the pre-existing environment.”

Wider adoption problems
The scope for AR is huge. It can project a wide range of information in the form of text, images, video and interactive 3D representations and animations. The technology is still, however, struggling with a fundamental problem. “How can you present this in a natural, efficient and desirable way to users?” poses Jason Higgins, md, at augmented reality studio, Harmony.
Foremost among limitations is the software used in the AR process, particularly building a realistic 3D representation of surrounding objects from a
2D camera image. “The virtual device must understand the physical reality around it. Humans are very, very good at this and we are hard to fool,” says Gant. “When devices succeed in persuading our senses of a reality that’s made up, the results are compelling.” Stuart Hetherington, ceo, Holovis agrees: “At the moment the way information is presented is limited and with devices that go on your head being cumbersome and occlusive of those around you this makes it difficult to analyse business problems as a group. Once a more standardised way of delivering this data has been created the process of adoption will move very quickly.”
As Hetherington suggests, hardware used to present AR is problematic. “Until now, AR has been on multi-pur- pose smart devices and PCs which work well but are not designed for the best user experience,” informs Higgins. Low cost, mass market wearable com- puting will start to change the perception and use of AR. The starting point is smartphones through which most consumer AR is displayed. Smart glasses, such as Epson Moverio and Google Glass point the way forward for AR displayed with a more natural line of sight. Samsung’s Gear VR, Microsoft’s Hololens and Google’s Magic Leap are all tackling the headset challenges. This space is where VR and AR combine.
“Tablets have unique advantages and will remain in the mix even after head- set devices becomes commonplace,” says Gant.

Other challenges
Intuition: The process of using AR still needs explaining in most circumstances, says Higgins, for example: ‘Download an app, open, point the app at the object, interact as desired.’
Novelty: “Much of the consumer AR is short lived, low value and, ultimately, detrimental to the technology,” says Higgins. As more higher value purposes are implemented, greater understanding of AR’s benefits will follow.
HTML5: In the consumer market, the installation of an app for a relatively short use is problematic. The next generation of AR will probably be web-based rather than app-installed, easing the process of use and understanding.
“The likely pivot point for AR is 2016 onwards as these hurdles reduce and accessibility increases,” believes Higgins. For Blippar’s Khamsi the main challenges curtailing the growth of AR are user education; a requirement for internet connectivity; a willingness to use the technology; camera device quality, and privacy issues.

What does AR do well?
“As a communication technology, AR achieves that heady state where the technology disappears and leaves a sense of something magical happening,” says Gant. “AR is engaging and the devices are low cost, making it ideal for events and touchpoints. It is also versatile. We can point the camera at the audience and make them the protagonist of the story, or hand them a tablet and turn them into directors.”
According to Higgins, AR is good at a lot of things – playing a video, playing a game, seeing simple things floating in the air – but there are other tools better at doing this than AR: “We can show complex things in an intuitive way which, if done well, can increase understanding by 20-25 per cent.”
One intriguing teleconferencing application by Finnish VR researchers VTT and IBM used AR techniques to display avatars of remote participants in a physical room. The avatars were based on the sim game Second Life and could be viewed through participants in real physical spaces through smart glasses.

Recommendations for use
Don’t use AR for AR’s sake. “Technology as a gimmick will only work once or twice,” says Gant. As long as the technology is applied in the right way and is fulfilling these needs, “the cost of the initial investment should become irrelevant,” affirms Hetherington.
“AR is a tool – not an entire solution,” says Higgins. Its application needs to be carefully thought through with the problem it is setting out to solve clearly defined. “It is essential it is used as an enabling technology embedded into the workflow,” adds Hetherington.
Information employees need to do their jobs is not always available when, where or how they need it. AR systems can take knowledge access, share and transfer to a new level.
“Wearing smart glasses, a remote or mobile employee can gain immediate hands-free access to appropriate subject matter from the company’s cloud-based files and apply it to a real world situation,” suggests Rob Clark, v-p business development, Epson Europe. “This is proving particularly valuable in remote diagnostics and engineering, so technicians can lay virtually seen schematics or the inner workings of a component over the top of the real thing, along with instructions on how to identify, work with or fix specific issues.”

Cost
AR projects vary from £5,000 to £100,000 depending on objectives, content, interactivity and source material.
“Understanding the technology can greatly reduce requirements of the applications,” says Higgins. Harmony often builds part-funded proof of concepts for the client to feel how the idea may work. “We understand how the customer may use the application and what issues are best considered early on.”
Since devices are inexpensive, and distributed deployment feasible, the bulk of investment lies in creative, design and development. Says Gant: “Arming a sales team with augmented iPads to bring to life the mode of action of a drug in front of doctors’ eyes is economically viable. Rolling out an in-car mixed reality experience across 200 car showrooms is similarly achievable.”
For longer term adoption users have to judge what tangible benefit the technology enables. “An augmented mirror that allows wearers to try on virtual watches or glasses has potential for retail,” suggests Gant. “It couldn’t be done before. It is in arenas like this that AR will flourish in the long term.”



Tech Developments
Google (with Project Tango) and Intel (RealSense) are bringing to market new devices that can ‘see’ the world in 3D via what are known as RGB-D (red, green, blue and depth) sensors. “With the ability to understand depth information, mobile devices become significantly more powerful when it comes to AR and computer vision tasks,” says Peter Meier, co-founder of AR software developer, Metaio.
For Harmony’s Jason Higgins, depth-sensing camera devices are a powerful addition as they allow environment mapping, gesture control and improved object recognition. “They make a huge difference in the speed, accuracy and flexibility of recognition.”
“Technology such as Leap Motion is allowing mixed reality to bring our own hands and bodies back into vision again,” says Inition’s Jim Gant. “Anything that gives the software a better sense of the space and objects around it helps to convince the user of the veracity of the scene.”
Google, Qualcomm and film production Legendary Entertainment has pumped $542 million into closely guarded start-up Magic Leap which reportedly has a headgear which projects images on to users’ eyes.
The tech will get a high profile workout as part of the Manchester International Festival in July when VFX house Framestore will make use of it to tell the story of the universe in a live public performance.


Monday, 11 May 2015

Stargate Studios Explores ‘Avatar on a TV Schedule’

Broadcast Bridge
Stargate Studios is developing virtual production techniques which will enable producers to create “Avatar on a TV schedule” according to founder and CEO Sam Nicholson.
The LA-based visual effects facility is partnered with vfx tools developer The Foundry, pre-visualisation tools developer Ncam and Flemish research institute iMinds on R&D project Dreamspace which will have spin-off applications in the creation of virtual reality content.
Similar to the techniques pioneered by director James Cameron to shoot Avatar, Dreamspace is exploring methods of combining visual effects, virtual lighting and virtual environments with live on-set production.
“We are researching and developing how to shoot, finish and distribute enhanced reality in all forms of entertainment,” explained Nicholson. “Can you do Avatar on a TV schedule is the question. You can and we are.”
The European Union co-funded project runs until 2018 based at Stargate Germany in Berlin and the Baden-Württemberg Filmakademie.
“Footage is composited in near realtime and sent straight to editors which cuts out tremendous amounts of time and cost,” Nicholson continued. “It eliminates motion tracking and it eliminates pre-compositing which are two huge time-consuming and costly production methods. That's why this is such a fit for episodic TV.”
The project uses extreme high resolution omnidirectional background material which is a staple of Stargate Studios' Virtual Backlot post production process used to support the production of shows including NCIS, The Walking Dead, Grey's Anatomy, Episodes, ER, Dr Who and House of Lies.
Stargate crews shoot background plates of locations ranging from Cape Town to Cairo from rigs mounted with up to 14 synchronized 4K cameras. The images, including establishing shots, aerial and car views, are stitched together to form a horizontal resolution of between 32K-56K and rendered over Stargate's high-speed cloud network. It is able to use the combined computing resources of facilities it operates in LA, Malta, Atlanta, Berlin, Cologne, Mexico City, Toronto and in Ealing, London which opened this week.
The sequences are often made to order for producers wanting a cost-effective alternative to physical location work. Actors are composited from green-screen into the virtual environments which are output at broadcast-ready resolutions of 5K, 4K or HD. Stargate has amassed a stock footage library of 6000 hours or nearly 3000 clips from over 800 productions since launch in 1989.
"Most of our clients want shots turnaround in ten days," he said. "There are very few facilities capable of completing a thousand shots in 10 days. I would consider us the fastest and highest quality system out there."
Now the facility plans to use its expertise to create live action virtual reality content. 
“VR is a big opportunity for us,” said Nicholson. “We are creating extremely high resolution spherical images and plan to back that onto immersive entertainment like the Oculus Rift.”
Stargate is also a part of Canon's Mixed Reality project which is investigating ways to overlay computer generated content within real-world environments. Stargate is investigating ways the technique could be used to enhance pre-visualisation on visual effects intensive projects.