IABM Journal Issue 90

90

1st Quarter 2014

Can we expect the unexpected at NAB 2014? Page 6

Recruiting the next generation Page 8

Net neutrality and the future of broadcast Page 13

Not just more pixels, better pixels Page 20

nabadvanceparty

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C H A G A M E

G E RA W A R D S – 2 0 1 4

S TAT E

INDUSTRYOF THE

ANNUAL NAB SHOW

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N F E R E N C E 2 0 1 4

C H A G A M E

G E RA W A R D S – 2 0 1 4

R E P R E S E N T I N G B R O A D C A S T A N D M E D I A T E C H N O L O G Y S U P P L I E R S W O R L D W I D E

IABM, 3 Bredon Court, Brockeridge Park, Twyning,

Tewkesbury, Gloucestershire, GL20 6FF, United Kingdom.

Telephone: +44 (0)1684 450030

Email: [email protected]

Web: www.theiabm.org

Chairman of the Board – Jan Eveleens

Chief Executive – Peter White

Journal Editor – John Ive

Guest Editor – Dick Hobbs

Assistant Editor – Sam Hawkins

Technical Task Group Chair – Simon Auty

IABM Team – Elaine Bukiej, Kent Davis, Lisa Ibbotson, Lucinda Meek, Anna Rudgely, Steve Warner, Joe Zaller

IABM Ltd Chairman – Derek Owen

Copyright 2014 IABM.A company limited by guarantee.

Disclaimer: The views presented in the Journal are those of the individual contributors and are not necessarily those of the IABM.

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Contents:

Chief Executive's letter 1

Executive interview – Simon Fell 2

Can we expect the unexpected at NAB 2014? 6

Recruiting the next generation 10

Net neutrality and the future of broadcast 13

Member speak – SDNsquare 16

Member speak – Village Island 18

Not just more pixels, better pixels 20

IABM update 23

IABM activities at NAB Show 25

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

Chief Executive’s letter

Chief Executive’s Letter

Peter White Chief ExecutiveIABM

A warm welcome to the Spring edition of theIABM Journal.The broadcast and media technology industrycontinues to be in a state of flux. Last yearwas fairly challenging for many companiesand overall market growth was negligiblewith prices and margins under pressure anda continued erosion of profitability overall.Some organizations in our sector are struggling to adapt to the new paradigm butmany have developed very clear businessplans and are rising to the challenge thatcontent capture and delivery in today’s worldpresents. This year we have already witnessed a number of strategic acquisitionsand mergers as businesses adapt and prepare for the world of digital media in the2020’s and beyond.

Throughout all of this dynamic and continuous change it is vitally important forany business to be informed. To have knowledge of the business trends, knowledgeof market size and areas of growth / decline,and to be aware of the challenges and theopportunities with which we, as an industry,are faced. To quote a popular expression “thisis right in our wheelhouse.”

The IABM Business and Market Intelligenceportfolio has been developed over a numberof years. It is designed to provide an insighton all that’s happening in our industry fromfinancial performance, through to businesstrends, outlook and opinions from both thesupply and the demand end, to detailed market sizing, valuation and benchmark performance indicators.

At the upcoming NAB Show in Las Vegas I willbe delivering a presentation that pulls on the data from our business and market

intelligence to give an up to date picture of our industry. I will also be discussingselected excerpts from the recently completed IABM DC Global Market Valuationand Strategy Report.

This will be delivered at the IABM AnnualNAB State of the Industry Breakfast – on thefirst day of the show, followed by a paneldebate chaired by John Ive, Director ofBusiness Development and Technology atIABM. The debate will cover the most pressing issues facing the industry and participants include the CEOs of DejeroLabs, Wohler Technologies, Miranda andImagine Communications (formerly HarrisBroadcast).

Our Game Changer Awards will once againbe judged and presented at NAB. Theseawards seek to recognize the achievementsof companies exhibiting at the show anddemonstrating innovation with products thatoffer clearly identifiable benefits to theircustomers. Once again we will be supportedby our partners in the awards, the NABShow organisers.

This edition of the Journal features aninsightful article on NAB – see page 6 – andwhat we can expect to see this year. We alsocaught up with Simon Fell, the Director ofTechnology and Innovation at the EuropeanBroadcasting Union.

Also coming up on the next few pages is alook at the so-called Netflix generation, andif indeed it will change the face of broadcast-ing. You can find out more on page 12.

We would also like to welcome a number ofnew members to the IABM – including Ciscofrom the UK, SeaChange International fromBelgium, Dev Systemtechnik from Germanyand Vidpresso from the USA.

The year ahead promises to be one that provides the industry with myriad opportunities and we look forward to thechance to assist our members in identifyingand capitalizing on them.

Simon Fell has more than 35 years’ experience in senior technology rolesincluding periods at national broad-casters, a broadcast manufacturer andfacilities companies. In August 2013 hebecame the Director of Technology andInnovation at the EBU responsible forsteering EBU Technology and Innovation.His mission is to support EBU Membersby driving media innovation, integration,standards setting, with defining and sharing best practices both in media production and delivery.

First I asked Simon to provide more detailabout his past experience.“I started at Yorkshire TV in the UK andthen spent three years in the US workingfor Rank Cintel, an industry supplier. Thatperiod in California had a large impact onmy approach to work, it was a dynamic andpositive environment. On returning to theUK I helped set up Channel 4 before moving to post production, working for 625and Rushes. After starting up Carlton TV Iremained a broadcaster within ITV in several roles leading to Director of FutureTechnologies. It involved working with theemerging on-line and multi-platformdevelopments. I then undertook severalconsultancy projects before joining theEBU last year.”

What are your priorities within the EBU? “Well the EBU has 74 member broad-casters in 56 countries, mostly public service broadcasters all rapidly evolvingtowards broader media organisations. Wehave a team of experts undertakingresearch and working with members to help

them develop their solutions and strategiesrelating to new technology. In doing this wealso host workshops and seminars. Topicsare as diverse as open source software, ITsolutions, to the evaluation of new video formats of which Ultra High Definition iscurrently the hot topic.”

How are these activities organised? “We‘re based in Geneva and report to aTechnical Committee made up of electedmember broadcasters who determine thework priorities. We have production anddistribution teams and our output consistsof reports, sometimes a proof of conceptdemonstration or recommendations forstandardisation. The EBU works closelywith bodies such as the SMPTE, DVB andHbbTV. We use on-line collaboration to stayconnected with our members and providedocumentation both public and privatethrough the technology section of the EBUwebsite.” www.tech.ebu.ch

So with this as a backdrop, what are thekey challenges for your members? “I guess there are three main themes;First our members find the multi-platformstrategies for delivery and multi-screenchallenging. In the on-line world they faceincreasing competition from new providers.Fortunately many broadcasters’ on-lineofferings continue to be the most popularsource of programming especially catch-up services. So it’s not just about theplatform but the content that viewers’ valueand trust.

The second area is the production infra-structure. As we move up through HighDefinition to Ultra-High Definition, with theincreased use of IT and IP technology, theend game is far from clear. Stability andmature solutions are very hard to find withgood interoperability.

The third theme is spectrum. The mobileindustry is hungry for more UHF spectrumand broadcasters are the main target. This

Executive interviewSimon Fell Director of Technology andInnovation, EBU

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Executive interview

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3

Executive interview

is a real problem for public broadcasterswith 250 million people in Europe depend-ing on digital terrestrial broadcasting astheir main television and that doesn’tinclude secondary screens.

Consequentially we are working hardresearching and making representations tothe main spectrum bodies on behalf of ourmembers. The case for more spectrumbeing diverted to the mobile industry is farfrom proven, 71% of consumers viewingvideo on tablets are doing so through Wi-Finot mobile contracts. Spectrum continuityis essential for the development of newbroadcast services, and we see real innovation in combination with Internetconnected TVs where the original broadcastprogramme provides the spur to catch-upon-line.”

With increasing competition from otherservices, can traditional broadcastingremain relevant? “There’s no escaping the fact that TV showsmade by broadcasters remain the mostpopular viewing. They have the most desirable content. On-line services arecompeting in a crowded space with compa-nies like Netflix, Amazon and iTunes allhaving similar services and content. On-line providers have to negotiate availability windows for movies and still their mostpopular content is TV shows. TV showsattract the most discussion on social mediaas well as driving second-screen services. On-line providers make the most progressin countries that don’t have a well-developed broadcaster catch-up service butthat’s changing.”

Are new developments such as Cloud,Virtualisation and the Internet importantfor your members? “Certainly these developments are important. I was recently visiting a broad-caster in Spain with plans to use a privateCloud for news programming and regionalnews. All content will be in one centre andremotely accessed. As distribution over IPand the Internet increases our membersare concerned about the preservation ofNet neutrality. Public service content must

be transported to end users but network operators may be inclined to throttle backaccess to match their commercial prioritiesand preferential arrangements. The EBUhas made its position clear at the EU inBrussels and has issued a press release.”

What about industry skills? “Software development is a key skill goingforward. We have established an initiativecalled EBU.io, a platform where the EBU can publish and run software demonstrations and proofs-of-concept,especially around open source software.The intention is to become a trusted sourceof information for EBU members and thewider broadcast and media community.Ultimately it should help the industry adopta common and consistent approach to software applications. Our seminars anddevelopers conference also contribute toclosing the skills gap as well.”

What is your view on industry standards? “Clearly standards are important, theyfrustrate us all with slow processes but thegood ones serve the industry for a longtime. They drive development and are muchmore than technology. The video intercon-nect standard SDI has enabled an entireindustry and economy to grow and thrive.The critical question is what can we buildand invest in that will take technology suppliers and end users to the next level?The vibrancy of our industry relies on this.

We fear that the rush for higher resolutionwill sell end users short. Commercially thefocus is exclusively on the number of pixels.Our research shows that while resolution isimportant, it’s an opportunity to revisitother parameters such as the dynamicrange, frame rate and colorimetry. Thesemay have more perceived benefit than justresolution and another example wheredecisive standards can help.

Traditional co-operation between broad-casters and technology suppliers workswell and is improving. In the era of the“App”, discussions will become more personalised and focused rather thanindustry wide, this will influence develop-ments and standards in the future.”

Continued overleaf

What is your understanding regarding thetrend towards services rather than capitalinvestment? “I don’t think many organisations are ready tochange their accounting entirely over from Capexto Opex. Having the monthly bill appearing on theCTO’s credit card would be a shock to the system!Of course our members use services and theCloud, but it’s early days. Security is still an areafor concern and it will take time for trust to beestablished. Specific applications where there’s aclear benefit drive the early adopters. It will beinteresting to see what’s new at NAB this year.”

Executive interview

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And finally your vision of the future,say over the next five years?“Well first off, the tablet is the newportable TV. Wi-Fi has plenty of potentialfor expansion and will continue to challenge mobile cellular delivery. Withthe current pricing models we won’t bereceiving our video over 4G yet! Higherresolution broadcast TV services willcome led by the initiatives in Japan. It’snot yet clear if 4K or 8K is the eventualoutcome for consumer services, buteither way broadcasters will need a newinfrastructure.”

LearnL

Each year promises to be the biggest everNAB event and the 2014 show is certainlygoing to be no exception. In fact the exhibition will be the largest in more than adecade, up nearly 6% compared to last yearand covering a vast 950,000 net square feetat the Las Vegas Convention Center. Theseare daunting dimensions for any of the95,000 plus registrants that are planning toattend, whether they are newcomers to therenowned industry event or even seasonedveterans.

Where to start?As ever the question on every visitor’s mind iswhere do we start? If we factor in 200 newexhibitors ranging from some of the mostexciting emerging players to many of thebiggest names in the media business, andwith more than 500 conference sessions – it’sa lot to take in. We caught up with a cross section of industry experts, including ChrisBrown, the NAB’s Executive VP, Conventionsand Business Operations, as well as IABM members from across the broadcast land-scape to find out what they suggest we shouldlook out for at this year’s show.

It’s always worthwhile stopping by the standsof the biggest players to see how they arepushing the technology envelope. The pace ofchange is ever-accelerating and emergingmarket entrants are driving the incumbentsto respond with innovative business modelsand new alliances. The broadcast sector isgoing through some fundamental changesand we’re currently right in the middle of thattransformation so it’s an exciting time.

While it’s only natural that there should besome level of anxiety within the establishedmarket, new dynamics open up tremendousopportunities. New players coupled with newtechnologies add up to a wider range of customers for the industry’s suppliers – all ofwhich is hugely positive for the broadcast sector in the long run.

Innovation? Look tothe newcomersIn terms of where tolook for the nextwave of disruptive companies, ChrisBrown recom-mends puttingsome time aside todiscover the newest companies

6

Can w

e expect the unexpected at NAB 2014?

Can we expect the unexpected at NAB 2014?

Chris Brown NAB Executive VP

Nigel Wilkes UK Group Managerat ProfessionalCamera Solutionsat Panasonic

Ian Trow Senior Director EmergingTechnology & Strategy at

Harmonic Inc

John Ive Director of BusinessDevelopment &Technology, IABM

Andrew Butler Applications Managerat Vitec Videocom

Jeff RosicaSenior VicePresident of

Worldwide FieldOperations atAvid Technology

7

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and products by visiting the halls that maynot previously have been on your radar. Onesection well working seeking out is theSPROCKIT Hub; this area will feature someof the most promising “early-stage” companies in the media and entertainmentspace. All of which have been carefullyselected by industry experts for their technology innovation.

We will see several key trends at this year’sevent, some of which will come as no surprise to seasoned industry watchers.Ultra HD/4K will be prevalent on the exhibition floor; the major camera, displayand production companies will be showingoff what the formats can offer and thetheme will also feature prominently in theshow’s conference programmes.

Chris Brown says: “We are now seeingsome content produced in 4K, particularly atthe latest global sporting events such as theNFL Super Bowl and the Sochi WinterOlympics. At the same time, major onlineplayers like Netflix, Hulu and Amazon areteaming up with display manufacturers toproduce and distribute original 4K content.

“While many of the elements are in place tomaintain and drive the ecosystem, someobvious hurdles have to be overcome.Consumer adoption remains a question andon the production side it will take some timefor 4K to be integrated into the workflow.Bandwidth is also still an issue in terms ofdelivery.”

Realising 4K potential What we’ve seen from recent exhibitions is that the camera acquisition side of 4K has already arrived. Numerous 4K-ready cameras will make their debut at this year’sshow and the prices of UHD TV sets areexpected to drop further. Nigel Wilkes, UKGroup Manager for Professional CameraSolutions at Panasonic, believes there is littledoubt that 4K will be on the top of everyone’s“must-see” list during NAB 2014.

Wilkes explains: “We are anticipating agreat deal of activity around this particular

area on our stand. Global production companies such as Discovery and Disneymay still be transmitting in HD but as interest in 4K grows, it is likely that they willstart demanding 4K master deliverables.There are several industry developments in4K, such as new high efficiency codecs, thatwould indicate we may be one step closer tomass market rollout.”

Ian Trow, Senior Director EmergingTechnology and Strategy, at Harmonic Inc.,suggests that in light of ongoing interest in4K, colourimetry and high dynamic rangewill be also be key issues at NAB this year.Trow says: “There will be a case made formoving away from HD-based colour space(Rec.709) for Ultra HD/4K and I expect therewill be lots of discussion surrounding areassuch as how to implement Ultra HD colourspace (Rec. 2020). The benefits of adoptingHigh Dynamic Range for existing HD services will also be made. Increases in resolution and frame rate alone are notenough to show a video quality performanceedge over 1080p.”

The 4K influence will inevitably have a significant impact on storage and morewidely, media asset management, anothersubject high on the NAB agenda this year.Chris Brown explains: “With increasedadoption of 4K and the mounting discussionsurrounding 8K there will be an increasedfocus on storage, asset management,archiving and metadata. This is an embedded challenge now as the industrygrapples with how to better manage adiverse base of digital content. Moreemphasis will be placed on trying to driveefficiency and solving the challenge of storing, managing and retrieving for distribution across all platforms.”

Broadcasting and the cloud Issues around cloud computing and itsinfluence on specific sectors will be anotherhot topic at the show. One of the conferencehighlights is a dedicated programmelooking at media management in the cloud

and the exhibition’s Broadcast EngineeringConference will explore this area further.

Andrew Butler, Applications Manager, VitecVideocom says: “The expectation is there will belots of connected cameras making use of 4G networks to back up captured content direct tocloud storage. Cloud-based workflows will becomehugely significant to the broadcast market, particularly for the OB space which is likely to mean4G-enabled cameras will become big sellers.”

Cloud solutions could also help budget-watchingbusinesses meet cost efficiencies, Jeff Rosica,Senior Vice President of Worldwide FieldOperations, Avid says: “With so much pressure onthe industry today to create more high qualitycontent within compressed schedules and tightening budgets, we’ll also see more cloud-enabled technologies that address remote collaboration, asset sharing, and other issuesrelating to operational efficiency.”

In recent years, one of the most significant ongoing themes at NAB has been the continuingmove towards IP infrastructure. This trend will beequally apparent at NAB 2014 as we see areas likecompression and playout being overtaken byCOTS-based (commercial off-the-shelf) hardwareperforming the functions of their bespoke hardware predecessors. In addition, standard IPswitch and routing, along with network attachedstorage will continue to displace dedicated broadcast equipment and interfaces.

Expect the unexpectedIn terms of surprises in store, exhibitorshave become adept at playing their cardsclose to their chests in the run up to theshow. We asked our experts for their predictions regarding the most disruptivetechnologies.

Andrew Butler, Vitec Videocom thinks thebroadcast industry is ripe for disruption, particularly because the barriers to entryare falling so rapidly. Butler says: “Thecommoditisation of broadcast technologieshas had a significant impact on the established players in the post sector. Nowanyone can access a global audiencethrough platforms such as YouTube. Thisbecomes increasingly significant as moreand more smart TVs find their way intohomes and people dramatically change theways they consume content.”

This is echoed by Ian Trow of Harmonic:“Streaming services via apps on connectedTVs, tablets or game consoles are going toshift the emphasis concerning distributionreach, particularly for minority channels.The needs of channels dealing with long tail content are often better met by OTT basedservices than expensive DTH spectrum.However, the gain associated with relinquishing spectrum will be countered bythe increasing headend complexity associated with playout to the ever increasing number of consumer devices.”

Get readyThis year’s NAB promises to be one of themost exciting events in recent years and isset to be the launch pad for many of thebiggest announcements in the broadcastcalendar. These themes should help visitorsdecide on their priorities at the event.However with more than 1550 exhibitorsthere will be no shortage of products andsolutions from across the entire digital mediaand entertainment sectors. There’s still plenty of scope for fresh surprises.

www.nabshow.com

8

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Dick HobbsConsultant

10

Recruiting the next generation


Broadcasters and broadcast supply compa-nies the world over are agreed that one ofthe biggest brakes on growth is the skillsshortage. The traditional routes into theindustry have disappeared and bringing inbright young talent is increasingly difficult.

Recently two new initiatives have started toaddress this issue.

The IABM Educational Foundation the charitable body associated with the IABM isabout to inaugurate an annual series of summit meetings, to be held in conjunctionwith broadcasters and training bodies aroundthe world. The intention is to bring togethereducationalists and broadcasters to at leastbridge the gap in understanding.

The annual meeting will be named in memory of one of the IABM’s founders and agreat believer in training: the Tom McGannMemorial Training Summit. Reports of each year’s meeting will be published in thisjournal.

The second initiative has a UK focus,although its influence is sure to be felt furtherafield. The Institute for Training in TelevisionProduction had its first conference earlierthis year, followed by a television debate atBVE, the London exhibition in February.

At one time, it was the responsibility of thenational broadcaster to provide training.Interested applicants – who could demonstrate the aptitude – went from schoolto the in-house training school. In the UK itwas the BBC’s legendary centre at WoodNorton, where they received a mixture of theoretical and practical training, before theywere passed on to the parent company astrainee operators or engineers.

These in-house training establishments areincreasingly hard to justify financially, yet theneed for practical training remains. In manyparts of the world, though, such as the UK, itis universities which are now doing thegroundwork.

“For 10 consecutive years, ‘media studies’was one of the top course headings for applicants,” said Mark Trompeteler ofBKSTS. “There are 4000 media courses in theUK alone. “But many of them have no practi-cal element,” he continued. “Graduates couldcome out able to discuss the sociologicalimpact of a soap opera, but not know one endof a camera from the other.”

The debate develops as to whether universitytraining because of its nature is too academic. Certainly a degree in media production has to have the same level ofintellectual rigour as any other course – students often end up working in a hugely different field from their core subject.

On the other hand the best media courses are intensely practical. BuckinghamshireUniversity for example has its own outside

11


when he pointed out that “a 30 camera outsidebroadcast is a big eye opener for students.”Sound recordist Nick Wray, now a lecturer atRavensbourne College added “you can’t teachsomeone confidence, and you can’t teachexperience.”

On the other hand, manufacturers and developers of products and systems need toget the brightest and most innovative thinkers.“We want really good engineers,” said BillDrummond of Sony, “whereas the broadcasters want people with these softskills.” Sony is a founder sponsor of ITTP,because it recognizes the need to enthuseyoung people with the idea of working in mediatechnology rather than pure IT, whether that ison the studio floor or in systems design.

But there is a pressing need for practical,focused training that bridges detailedknowledge with the practical experience andconfidence of how to work on a production.The reason that vendors like Sony are activelyinvolved in skills development, and why smartbroadcasters like Sky are re-establishingapprenticeships, is because if you have theright staff in place and in development, you areat a real competitive advantage.

Recognizing the skills gap, the IABM with itspioneering Training Academy has introduced abroad range of technology fundamentalscourses. These courses address the changingneeds of suppliers and broadcasters as theymove towards a more IT centric infrastructure.Equally important, delegates can acquire independently accessed certification providingemployers with a fast track understanding ofthe competence of job applicants.

As Ralph Tribe of Sky said, “If you considercontent as an industry, it is really in aresurgent phase. For us, it is about competingin a market where there are not enough skillsto go around. That is a pretty exciting placeto be.”

www.iabmacademy.org

broadcast unit that covers every home game atWatford football club.

Some broadcasters such as Sky in the UK, aretrying to move back to an apprenticeshipstructure. Ralph Tribe of Sky said “we have come out very firmly in favour of apprenticeships and vocational training. If thedebate is about employability, we thinkapprenticeships are the best solution.”

Others now take graduates, but still enteringas trainees. Competition can be fierce, forexample outside broadcast contractor CTVreceives 120 applicants a year for nine posts.Work experience is a huge help in getting tothe top of the selection process. The betteruniversities will support this, formally andinformally through the freelance work of someof their lecturers.

The BBC claims to provide work experience,across the board, for around 1500 people ayear. They limit each to four weeks and strive toensure that it is real experience not free labour.

For the BBC, Anne Morrison emphasised thatit was still “the industry trainer”. She claimedthe BBC Academy delivered 50,000 days oftraining last year and websites are openaccess to people outside the BBC. The philos-ophy is to share knowledge with the widerindustry because there is an existing dependency upon a mobile workforce.”

If you are going to work for a broadcaster thenas well as the practical and technical skills youhave to have well-developed social skills towork as a team. Douglas Fletcher of CTVunderlined the co-operative requirements

A decision in January by the UnitedStates Court of Appeals for the Districtof Columbia could have repercussionsthroughout the broadcast and electronicmedia industry. Potentially it threatensto change the very nature of theInternet.

At issue is the question of net neutrality. Isthe Internet a common carrier or is itsomething else – an information serviceperhaps? If it is a common carrier then ithas to serve everyone equally.

If a wheelchair user turned up at a trainstation we would expect there to be noobstacles to that person getting on the nexttrain to where they want to go. That is theprinciple of the common carrier.

In the 25 years since Sir Tim Berners-Leecreated the world-wide web, the sameprinciple has applied. Anyone can create awebsite with material formats and file sizeswhich are appropriate and anyone canaccess that site equally and freely.

What the US judgement said in effect wasbecause consumers have a choice of ISP,then it should be competition betweenthem which determined the level of service.Therefore, if one of the determinations ofservice was to provide more bandwidth forwebsite owners prepared to pay more thatwas fair competition.

Consequentially, in the USA at least, netneutrality is dead. Commercial enterprisesare free to enter into a deal by which someservices will flow faster through the Internet,others by inference will flow slower.

The appeal was brought by one of thelargest an ISPs: Verizon Communications.Randal Milch, Verizon EVP and generalcounsel, said “The court’s decision willallow more room for innovation and consumers will have more choices todetermine for themselves how they accessand experience the Internet.”

On the other hand, Harvey Anderson, whoholds a similar position for Mozilla, develops open Internet software, countered“Thanks to a legal technicality, essentialprotections for user choice and onlineinnovation are gone. Giving Internet serviceproviders the legal ability to block any service they choose from reaching endusers will undermine a once free and unbiased Internet.”

Anderson may be over-reacting here. Thereal issue is not that some services may beblocked altogether, but that they could be slowed as other Internet traffic is givenpriority.

Net neutrality and the future of broadcast

Dick HobbsConsultant

13


14


Why is this argument important?Because the majority of content on theInternet now is video. Canadian researchfirm Sandvine reported in 2013 that 53% ofthe content on the Internet in North Americawas video streaming, of which almost a thirdwas from Netflix.

Cisco predicts video will be 69% of all Internet traffic by 2017 – the equivalent ofconsumers watching six billion DVDs eachmonth.

Netflix is not the only video streaming subscription video on demand business, butit is hugely successful. Its strategy includeshigh profile, high value original content, like‘House of Cards‘ and ‘Orange is the NewBlack‘. This is a big investment: it was wide-ly reported that the two series of House ofCards had a budget of around $100 million.It is also very active in cutting edge technol-ogy. It already offers 4k streaming of someof its original content, although deviceswhich can decode the H.265 compressionand show 4k are still hard to come by.

Netflix is also thinking beyond 4k, not just inresolution but also in production tech-niques. Chief product officer Neil Hunt hassuggested that “the next innovation is for ascreen that doesn't just fill 30˚ of your visionbut goes to 120˚.

“That means a 100 inch widescreen that youview from the same couch distance astoday,” he explained. “The interesting anglewill be in the centre, but there will be addedambiance for the other two thirds aroundthe edge. For nature photography you'll be able to see the little details. Somethingwill tweet over there and you'll be able toactually look and see it."

This is exciting talk and drives technologicalinnovation which will drive forward theambitions of IABM members, however it alldepends upon getting content to the home.Broadcast services – terrestrial, cable andsatellite – have always had a clear idea ofthe cost for bandwidth. Today in the digital

era with broadcasters and delivery providersseparated, those who want to transmit achannel expect to pay by the megabit: theywill rent space on the carrier and agree aprice which depends upon the bandwidthused.

For online services, the business model hasbeen slightly different. True they had to paythe content delivery network to present theiroutput to the Internet, but beyond that,because of net neutrality, there was effectively no cost to them. So if an onlineservice provider wants to offer 4k, or widefield of view, or in due course Super Hi-Vision, then the impact on delivery costsis relatively small.

American analysts are already talking aboutthe January court decision adding as muchas $4 or more to a monthly Netflix subscrip-tion, in order to buy the streaming priorityfor the right quality of service. ConsumerISPs may also choose to add surcharges tosubscribers who view a lot of video content.The US court decision, which many considerto be a philosophical point – is the Internet acommon carrier – may have a huge impacton the development of future technologiesfor the broadcast professional.

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What advantages do you see SDNs bringing tobroadcasters and content producers?SDN alone cannot cope with the requirements amedia organisation has to handle today. Only byapplying the above mentioned principals will itbring the guaranteed performance and reliabilitybroadcasters are used to. The general advantageof SDN is its easy manageability, reducing thecomplexity and risk network engineers are facingtoday.

We at SDNsquare apply our core technology toguarantee that specific performance, reliabilityand scalability for network, storage and data centres. Our solutions are designed to ensure themission critical environment of broadcasters isalways performing, despite increasingly largefiles, bulk data transfers, continuous streams likeSDI/IP and rapidly growing traffic.

How rapidly do you see SDN becoming amajor force in broadcast technology?We seen SDM changing the network game withinthe next three years.

Networking companies are all developing SDNsolutions and offer these in the market today.Their success will be driven by the cost reductionthey can achieve at their customers, and theireasy manageability. However these will not cover the broadcast requirement of guaranteedperformance.

The traditional approaches in the IT industry donot match with the increasing requirements ofour industry. We see 2016 as a key moment, driven by fully IP-based production environments,the SDI to IP conversion, bigger files, 4k production and more.

You are a relatively new company. How didSDNsquare come about?SDNsquare’s background and experience is firmlyfounded in the media industry. The company wascreated out of the research activities of VRT (themain TV broadcasting station in Belgium) and theUniversity of Ghent. SDNsquare’s team bears

Member speak – SDNsquare

Lieven VermaleCEO, SDNsquare

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ber speak – SDNsquare

I A B M

The software defined network is a relatively new term in broadcasting. Can you tell us what you mean by it?Software-defined networking (SDN) wasdeveloped in 2008 in Berkley and Stanford in the United States as a new approach to designing, building and managing IP networks. Unlike complex traditional network technology it uses so-called controller software.

The controller provides a centralised view of the network and virtualises it, to allowapplications to run on it. Thus it decides howthe underlying systems such as switches androuters will handle the traffic. An SDN environment also uses open APIs to supportall the services and applications running overthe network, making it ideal for the high-bandwidth, dynamic nature of today'sapplications, such as bulk data.

SDNsquare applies SDN in media by facingthe high requirements of the media industry,solving the challenges by applying two essential principles. First, the SDNsquareapplication has to be able to select a uniqueand independent path for each media flowthrough the IP network, connecting sourceand destination end-po.

Second, it has to perform the necessary traffic engineering on the flow along the pathto the guarantee the required through-put and quality of service expected in a production and media environment. It alsohas to control the possible speed mismatchand/or over-subscription along the path inorder to avoid any packet loss.

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decades of R&D and industry expertise in broadcast, network and storage technology.

What products and services are youcurrently offering?SDNsquare's GRID Network offers theopportunity to set up paths without packet-loss with bandwidth guarantee toovercome the challenges of bursty environments like media workflows. Itgives users in all areas the possibility tooversee their network at a glance anddedicate the needed performance to eachflow.

By centralising the control plane via anexternal SDN expert system, the GRIDreduces the complexity of network designand management through a graphicaldesign wizard to using predefined templates, the addition of clients/serversas nodes to the network topology, and theprovisioning of individual data flowsbetween nodes.

The user no longer has to define VLANs,ACLs, routing tables and so on, or evenknow about them. A network topologyand configuration can be constructed in less than 15 minutes ready for deployment.

As the flows are managed end-to-endnetwork-wide, the GRID takes care of theindividual switch configurations alongeach optimally selected path, and assuch is capable to guarantee transferwithout packet loss of each flow at theprovisioned speed, thereby eliminatingcongestion and traffic interference thatwould be the case in any traditional IPnetwork.

Our products also include a scalable,clustered storage and computing platform, WARP, for realtime workflows.Because it delivers a 100% storage utilisation at guaranteed performance,less physical storage is required to housethe same amount of data, reducing capital and operating costs.

How are you bringing these products to market?How much education do you have to offer to helpbroadcasters and service providers see the advantages of your solutions?First, we do direct sales with our SDNsquare salesteam across Europe as well as working with resellersand turnkey integrators with a main focus on theEuropean market.Second, we are setting up partnerships to license ourtechnology to enhance and extend current mediasolutions available in the market.Regarding the education for broadcasters, usuallywith one meeting and one demo people feel andunderstand how it works and what the impact is ontheir infrastructure. They see how they can enhancetheir workflows and reduce their opex and capexbudgets.

Looking five years ahead, where do you see the concept of software defined networks, and whatpart will SDNsquare be playing in it?Software defined networking will be there to manageIP networks in an easier way.SDNsquare will be there to make these IP networksfully reliable by providing guaranteed performanceand predictability to networks in media organisationsand other mission critical environments.

www.sdnsquare.com

What is the history of Village Island?What prompted you to set up in Japan?In 2005, after eight years of experience in thebroadcast industry where I learned to managecomplex situations and deploy large headendsystems in a multi-cultural environment witha bunch of engineers I founded Village Island.

Our earlier experiences forced us to workwith very short term vision and short termrelations with partners. We strongly believedthere was a better way to do things based onlong term and quality relationships with allstakeholders: customers, suppliers, partnersand even competitors.

The broadcast industry really is a village –hence our name. And we aim to build qualityrelationships within it thanks to expertise andhonesty.

About why setting up in Japan – why not? Iwas in Japan when I created my company.The industry here is always challenging, notleast in new formats like HD, 4k, 8k and more.It is also a wonderful OEM market.Consequently a very good place to start abusiness if you know the local culture and youare ready to adapt.

What does Village Island do? Why do youoffer your own products as well as thosefrom western manufacturers?We distribute broadcast equipment and technologies, and development of our ownproducts and solutions.

This complementarity comes from the gap

between what our partners from Europe andUS are offering and what our customers needas a final solution. The gap may be due to differences between standards, practices,habits, languages, controls, or simply thementality to resolve problem.

We are bridging this gap with our own engineering force, and we have our ownbrand of products based on the open andmodular software platform, the VillageFlowfor digital television distribution.

How responsive are broadcasters in Japanto products from outside the country?Japanese customers always show a greatinterest for all new technologies and conceptsfrom around the world, but always challengethem to their limits. This is a difficult ride forcompanies who cannot adapt themselveseasily.

How far advanced is the transition to digitalbroadcasting in south-east Asia?South-east Asia is a very large and disparateregion, with many places still in process oftransiting from analogue to digital.

Some countries, like Malaysia, seem to be struggling to finalise their spectrum planning. Singapore (smaller and more centralised) is almost done; but other countries seem far from any transition.

Some isolated regions of countries mayremain without digital terrestrial for a verylong time and the hybrid combination ofsatellite plus terrestrial seems to be the onlysolution. Satellite is also a cheap and efficientway to distribute digital TV toward very distantterrestrial transmitters.

The region has a mix of ISDB-T and DVB-T/T2countries which is why Village Island has long and practical experience of both. Some

Member speak – Village Island

Michael Van DorpePresident, Village Island

I A B M

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countries are making big leaps in technology,for example Thailand which has gone from analogue to H.264 over DVB-T2.

How much support do you need to giveyour customers, helping them under-stand the benefits and possibilities of adigital broadcasting system?In general our customers understand well the benefits and possibilities of digital broad-casting, but it is true that we are spending ahigher amount of our resources demonstrating,accompanying and supporting our customersthrough their deployments.

Because of our long term approach this isnever a problem for us, and our customersrecognise this investment and the value ofworking with us. We are Asians based in Asia,and we offer a constant and reliable interfaceof engineering and communication to ourcustomers, independent of short term profits.

What are the key issues for broadcastersin south-east Asia at present? Is theindustry expanding?The most important issue is the completion ofspectrum and network planning. The industryin this part of the world is expanding. Ourbusiness in South-East Asia region increasesby 50% each year.

Is there real interest in higher resolutionsystems like 4k and NHK’s Super Hi-Vision? Are broadcasters investing inthese new technologies?

Compared to the 3D flop we can say that 4k isa real thing. Our sales are already proving

this. It is not just real business in Japan andKorea, but also getting strong interest fromour customers from all countries.

The user cases are covering new generationbroadcast over satellite, cable and IP, butinterestingly finding new applications withpublic viewing, digital signage and variousvideo transmissions.

4k is a reality. In Japan, a 4k, 60p, 10-bitsatellite channel has been launched in timefor the coming World Cup. 8K is also in trainand makes sense. NHK is pushing the indus-try forward, and has shown 8k transmissionover a single terrestrial ISDB-T channel.

This evolution worked with HD in the past,and there is no reason to doubt it will workagain.

How is Village Island changing to meetnew challenges in its market?Village Island is also a living object, continuously adopting to its environment.

For example, six months ago we responded toa customer request for a realtime, 4k, 60p,10-bit, single-tile HEVC decoder. Today thereare still no validated and released hardwareproducts achieving this, but a few monthsbefore the soccer world cup, our customercannot wait.

Thanks to our network of worldwide partners,we could easily figure out the necessarybricks to achieve this and although it took usseveral months we were able to provide theintegration and low level programming tomake it work.

www.villageisland.com

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ber speak – Village Island

ColourThe other parameter addressed by the standard iscolour depth and colour space. It may come assomething of a surprise to learn that our current,high definition television system, supports onlyaround 36% of the colours that our eyes can see,colours that occur in nature.

Colour scientists generally work with a diagramcalled the CIE colorimetry chart. CIE is French forthe International Commission on Illumination, andas it first defined its colour space chart in 1930, thechart is usually known as CIE 1931... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The result is the skewed, vaguely triangular shapethat is familiar to many. The absolute values of x andy in this chart are the result of some fairly complexmaths we need not worry about here. The three digitnumbers around the outside of the colour locusthough refer to the wavelength of light at that specific point in nanometres.

The important point though, is that while CIE 1931shows all the colours that exist in visible light, technology has never been able to capture them all.In this version of the diagram, the solid triangle iswhat we see on television.

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Not just m

ore pixels, better pixels

Not just more pixels, better pixels

Dick Hobbs Consultant

You would have to have had your headburied in the sand for the last year ormore not to know that one of the hottopics is 4k video.

True, those shouting loudest are the consumer electronics manufacturerswho see it as a way of selling consumers new, and more expensive,televisions. But the call has been takenup by professional users too, who arekeen to implement higher resolutioncapture, even if for now the end productis an HD broadcast.

All this will be made much easier with a standards-based approach and luckilythe ITU has been commendably promptwith its Rec.2020. I suspect they chosethis number deliberately, not because itwas the next in the sequence.

Rec.2020 covers both what we call 4kvideo (which is not quite 4k but fourtimes HD, at 3840 x 2160 pixels) and theNHK Super Hi-Vision 8k system (7680 x4320). But it talks about more than thenumber of pixels.

First, as well as looking at spatial resolution, Rec.2020 also considershigher frame rates of up to 120 framesa second. Only progressive scanning isallowed: interlacing may have been anecessary evil in the early days of television but it is just evil now, and thenews of its demise cannot come soonenough.

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Not just m


Rec.709 was the 1990 ITU standard thatdefined HD and this colour triangle – whichcan be comfortably reproduced by 8 bit digital coding – is the permitted colourspace. If you try to define a colour outsidethat triangle then it will result in an illegalcolour which cannot be coded by digitalsystems and will result in unpredictableperformance. That is why we have colourlegalisers.

Better coloursMore recently we have had the dramaticrise of digital cinema. Its standards offer arather larger colour space, covering morethan 50% of the spectrum. But Rec.2020now offers a huge further leap in colourfidelity.

The potential colour space for 4k and 8ktelevision is shown by the dotted triangle inthis diagram. As can be clearly seen, it coversmuch more of the spectrum, although it isstill only 75% or just a fraction more.

A quarter of colours which can occur in visible light cannot be shown, again withsaturated greens being the worst represented. Our eyes, and other technicaltrickery, fills in the gaps.

This is all clearly a huge advantage in present-ing better pictures. So how do we achieve it?

First, we have to be more accurate in codingthe digital signals. Whereas HD has 8 bits percolour, Rec.2020 supports both 10 and 12 bitcolour sampling. The eight bit sampling of HDresults in around 16 million different colours:going to 12 bits gives us around 68 billion different shades.

As well as hugely improved colour fidelity thatmeans smoother transitions from light to darkand more information for encoders to workwith. One of the most common visible digitalartefacts is banding in a large area of sky, particularly when the director is fading toblack. That should be less of a problem in 4k.

Seeing the coloursThat all sounds great. But today there are nodisplay devices which can reproduce this hugerange of colours. Maybe future generations ofOled screens will be able to come close.

Dolby has demonstrated a new screen technology which it calls Pulsar. There was ademonstration at the recent Hollywood PostAlliance technical retreat, which is where thepicture was taken.

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It is clear, even in a photograph that thePulsar display is brighter, crisper, moredynamic than the conventional screen onthe right. To achieve this extended dynamic range given that black is alwaysgoing to be pretty dark, a new display has to have the potential to bemuch brighter.

Screen brightness is measured in candelasper square metre, which are commonlyknown as Nits. Not even the OED could tellme why the measurement is a Nit, but it is.

The typical television in your home has amaximum screen brightness of around 100 Nits. The Dolby Pulsar display has amaximum brightness of 4000 Nits. That isa 40-fold increase in dynamic range so weare definitely moving to a position wherewe could see Rec.2020 colour space.

If you are going to NAB this year look outfor this high brightness display, not just onthe Dolby booth but with top-end finishingcompanies like FilmLight who will beshowing off extended dynamic range capabilities.

When can we see it?So when will we have these wonderful pictures in our homes? The hugely extended colour spectrum backed up bythe wide dynamic range that can deliverthem smoothly from camera through postto the home?

It will take massive co-operation across consumer and professional industries. Asalready noted, there are no display devicesthat can achieve this extended colour gamut.Consumer electronics manufacturers have to make a business decision as to whether it is viable to develop the technologies to a point where they can be mass-produced cost-effectively. They will also commissionmarket research to see how many consumersactively want a much brighter television set inthe home.

At the same time we have to decide if we wantto accept the overhead at the professionallevel. Simply going to 4k resolution quadruples the amount of raw data. Becauseit is progressive not interlaced, we need todouble it again. Then double it once more forhigher frame rate.

Are we then going to add another 50% of thedata to accommodate Rec.2020 extendedcolour space and its 12 bit encoding? Iftoday’s HD has a native bitrate of 1.5Gb/s,then we could be looking at 36Gb/s to get thefull benefit. That is a lot of data to transfer,store and process.

For top end productions it may be worth capturing the full glory of the scene, thenusing that over-sampling to produce the verybest pictures possible within whatever sub-set of the possibilities of Rec.2020 actually gets implemented. There is stillplenty of scope for debate on what part of thetheoretical becomes the practical.

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IABM update

IABM 2013 AnnualInternational BusinessConferenceThank you to everyone who attended the9th Annual International BusinessConference in December. The eventbrought together many of the mostrespected figures from the broadcast technology arena making it the most successful IABM conference to date.

Annual Review & Events CalendarThe IABM 2013 Annual Review was mailedout to members earlier this quarter and featured a review of our 2013 activities.Accompanying the review was the 2014industry calendar. If you have not receivedthe review, or require additional copiesplease contact the marketing team at [email protected].

IABM update...BVE 2014 – LondonFebruary 25 - 27The IABM team were at BVE supporting IABM members. John Ive chaired a session on 'The changing broadcast environment – new technologies,new models and new players' featuring JohnMaxwell Hobbs – BBC Scotland, Bruce Devlin –AmberFin and Wilfried Dudink – Level 3Communications. The session is now available forIABM members to view on the IABM website.

Cabsat 2014 – DubaiMarch 11-13The IABM team were on site at Cabsat supportingmembers in a range of activities including the pre-show networking reception held in conjunction withTrade Fair and the Executive Industry Breakfast. Executives from the Middle East’s TV and film production industry converged on Wednesday 12thMarch 2014 for the 10th edi-tion of the Digital StudioMiddle East Awards ceremo-ny. The IABM’s Steve Warnerpresented the ‘Manufacturerof the year’ and was won byIABM member BlackmagicDesign.

CCBN 2014 – BeijingMarch 20-22Director of Business Development & Technology,John Ive represented the IABM at this year’s CCBNexhibition. In addition to representing the IABM onthe booth, John presented at the CCBN BroadcastDevelopment Forum,participated in the CCBNInternational AdvisoryCommittee and was featured in an interviewwith CNTV. A busy showfor John! Information willbe on the IABM websitesoon.

Save the date:Our 10th Annual International

Business Conference will be held on4-5 December 2014, London UK.

New MembersBroadcast Microwave Services

www.bms-inc.com

Camera Corps Ltdwww.cameracorps.co.uk

CISCOwww.cisco.com

CJP Broadcast Service Solutions Limitedwww.cjp-bss.co.uk

DEV Systemtechnik www.dev-systemtechnik.com

DYVIwww.dyvilive.com

KF600 Lightingwww.kf600.com

ScheduALLwww.scheduall.com

SDNsquare www.sdnsquare.com

SeaChange Internationalwww.schange.com

Video Claritywww.videoclarity.com

Vidpresso www.vidpresso.com

Waterside Media Limitedwww.watersidemedia.tv

Yospace Technologies Ltdwww.yospace.com

Where you will see us next

Broadcast & Media Technology –Understanding your Industry

13 May Day one, London, UK1-2 October Reading, UK

Broadcast Technology Workflows – The Fundamentals

27-28 May Cologne, Germany4-5 June Toronto, Canada15-16 October Reading, UK

Audio & Video Fundamentals for Engineers

14-15 May Cologne, Germany8-9 October London, UK22-23 October San Francisco, USA

Network Essentials for Broadcast Engineers

29-30 October London, UK

Compression Fundamentals & Applications

10-11 June London, UK 5-6 November Reading, UK

Understanding File Formats

16-17 July San Francisco, USA12-13 November London, UK

IABM Pavilion at IBC Content Everywhere – Dubai 19-21 NovemberThe IABM will host a pavilion forits members at this year’s IBCContent Everywhere MENAevent, which takes place inDubai from 19-21 November.

IABM members who take up a space on the pavilionare being offered significant trade show discounts.Benefits include 15 % discount on advertised rates, a6m2 shell scheme package for just C 7,984 and accessto the IABM Members lounge and meeting areas.

Please visit www.theiabm.org/contenteverywhere

for more information.

BroadcastAsia – Singapore17–20 June 2014

Upcoming TrainingCourses 2014

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IABM update

IABM update...

IABM at NAB Show 2014

Meeting Room Space – A private meeting room is available for members to use on the IABM booth. Pleasesee a member of the IABM team for room bookings.

NAB Advance Show Party Sponsored by NAB.

On Sunday April 6, 2014we will be holding our Advance Show Party

from 6.30pm-11.30pm at theHard Rock Café situated onthe Las Vegas Strip. This

event is an ideal opportunityto network with fellow IABMmembers before the showstarts. Please feel free toinvite your booth personnelto this event. Drinks and light

refreshments will be provided.

State of the IndustryBreakfast

This session will take placeat the LVCC in room N232 on Monday

April 7 from 7.30am. The session, organized bythe IABM, will allow access

to exclusive market intelligence, followed by apanel of leading technologyvendor CEO’s debating themost pressing and criticalissues facing the industry.Breakfast will be provided.

Game Changer AwardsAre you launching your newproduct at NAB this year?You may be considered a

candidate for the prestigiousGame Changer Awards. Ouresteemed panel of expertswill be walking the showfloor identifying products,processes, systems,

services or developmentswith the potential to transform how the broadcast and media

industry operates. Join uson our booth from 5.30pmon Tuesday April 8 to findout who the winners are.Cocktails and canapés

will be provided.

We look forward to seeing you!!Visit us at booth – N6118

T: +44(0)1684 450030

E: [email protected]

W: www.iabmacademy.org

IABM Training Academy

IABM, 3 Bredon Court, Brockeridge

Park, Twyning, Tewkesbury,

Gloucestershire, GL20 6FF,

United Kingdom.

IABM Training Academy – Course Dates 2014

CLASSROOM ONLINE ON-SITE

Broadcast & Media Technology – Understanding your Industry

13 May Day one, London, UK1-2 October Reading, UK

Broadcast Technology Workflows – The Fundamentals

27-28 May Cologne, Germany4-5 June Toronto, Canada15-16 October Reading, UK

Audio & Video Fundamentals for Engineers

14-15 May Cologne, Germany8-9 October London, UK22-23 October San Francisco, USA

Compression Fundamentals & Applications

10-11 June London, UK 5-6 November Reading, UK

Understanding File Formats

16-17 July San Francisco, USA12-13 November London, UK

Network Essentials for Broadcast Engineers

29-30 October London, UK

Training Academy

Technology training for the broadcast industry from independent experts

Documents

IABM Journal Issue 90