The Broadcast Knowledge

Video: Connecting the dots – AVOD, Disney vs. Netflix, M&A predictions, Streaming wars

Posted on 25th May 2021 by Russell Trafford-Jones

If there’s anything we can say following the Discovery Warner announcement, it’s that the streaming market isn’t quietening down. Understanding what’s at play behind the headlines is key to making sense of this increasingly complicated marketplace. To help do exactly that, Allan McLennan from PADEM Media Group speaks to Andreas Waltenspeil about super aggregators, Disney Vs Netflix tricks for success in the market. Strategies that don’t work are single-threaded, explains Allan. Today’s companies don’t do just broadcast or just IP, they’re bringing satellite, broadcast, streaming and other avenues into one to maximise reach. They’re also looking to their partners to help them understand their audience with analytics, improved workflows and creating a best-of-breed service.

PADEM Media Group, which focuses on market execution and acceleration, see the trends in Europe lagging slightly the US and suggests that the growth in AVoD seen in the US will continue to manifest in Europe. Advertising-based VoD (AVOD) is very compelling for many viewers because it’s easy, accessible and free to watch. Subscription-based VoD (SVOD), on the other hand, is prized by certain viewers who don’t want to see adverts. While this balance is strongly in favour of SVOD services at the moment, Allan sees that AVoD will continue to grow its market share allowing providers to reach people who don’t have the means for another subscription.

Andreas asks about market fragmentation which is ‘part of the game’ according to Allan. This is why there is a continued role for super aggregators whose role is to bring into one place as much content as possible. There are different aggregators in the market. Disney, Allan argues, is one example as they feature Hulu, ESPN and Disney+ under one umbrella delivering content for the whole family. This is naturally a self-limiting form of aggregation which only includes Disney-owned properties. Another more expansive offering are device manufacturers like Roku whos device can access many different services. Though no-one as told Google, this is a win for consumers and streaming providers. Allan sees Roku in a strong position with 35, going on 40, million users so considers the chances of them being acquired in the next couple of years quite high.

The video finishes talking about streaming wars. There will always be a fight for dominance so they will never end, but the question is how they will pan out. Certainly, there’s a fight for size, the Discovery Warner merger is partly about this. But there’s always to the ‘road to niche’. Major services like Crunchyroll started with a niche offering, though we see that the larger niches such as Anime are big enough to scale well worldwide. More specific niches may have much smaller bases but can provide a great, profitable business. Allan’s interested to see how the Broadcasters continue to engage against the ‘Streamers’ such as Netflix and Amazon. Netflix has moved into original programming, in essence like the broadcasters and Amazon has started making its name by winning major sports rights, not unlike how BT Sports first entered the UK market against Sky. We’ve seen recently that European public broadcasters are capitalising on their local content to continue to forge a relationship with their user base. This represents a response to the global, English-language American-dominated, market which fights without using total size as the weapon.

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Speakers

	Allan McLennan Chief Executive, PADEM Media Group
	Andreas Waltenspiel General Manager, Waltenspiel Management Consulting

Video: Cloud Services for Media and Entertainment – Processing, Playout and Distribution

Posted on 24th May 2021 by Russell Trafford-Jones

What are the options for moving your playout, processing and distribution into the cloud? What will the workflows look like and what are the options for implementing them? This video covers the basics, describes many of the functions available like subtitle generation and QC then leads you through to harnessing machine learning,

SMPTE’s New York section has brought together Evan Statton and Liam Morrison from AWS, Alex Emmermann from Telestream, Chris Ziemer & Joe Ashba from Imagine Communications and Rick Phelps from Brklyn Media to share their knowledge on the topic. Rick kicks off proceedings with a look at the principles of moving to the cloud. He speaks about the need to prepare your media before the move by de-duplicating files, getting the structure and naming correct and checking your metadata is accurate. Whilst deduplicating data reduces your storage costs, another great way to do this is to store in IMF format. IMF, the Interoperable Media Format, is related to MXF and stores essences separately. By using pointers to the right media, new versions of files can re-use media from other files. This further helps reduce storage costs.

Rick finishes by running through workflow examples covering INgest, Remote Editing using PCoIP, Playout and VoD before running through the pros and cons of Public, Private and Hybrid cloud.

Next on the rosta are Chris & Joe outlining their approach to playout in the cloud. They summarise the context and zoom in to look at linear channels and their Versio product. An important aspect of bringing products to the cloud, explains Joe, is to ensure you optimise the product to take advantage of the cloud. Where a software solution on-prem will use servers running the storage, databases, proxy generation and the like, in the cloud you don’t want to simply set up EC2 instances to run these same services. Rather, you should move your database into AWS’s database service, use AWS storage and use a cloud-provided proxy service. This is when the value is maximised.

Alex leads with his learnings about calculating the benefits of cloud deployment focussing on the costs surrounding your server. You have to calculate the costs of the router port it’s connected to and the rest of the network infrastructure. Power and aircon is easy to calculate but don’t forget, Alex says, about the costs of renting the space in a data centre and the problems you hit when you have to lease another cage because you have become full. Suddenly and extra server has led to a two-year lease on datacentre space. He concludes by outlining Telestream’s approach to delivering transcode. QC, playback and stream monitoring in their Telestream Cloud offering.

Evan Statton talks about the reasons that AWS created CDI and they merged the encoding stages for DTH transmission and OTT into one step. These steps came from customers’ wishes to simplify cloud worksflows or match their on-prem experiences. JPEG-XS, for isntance, is there to ensure that ultra low-latency video can flow in and out of AWS with CDI allowing almost zero delay, uncompressed video to flow within the cloud. Evan then looks through a number of workflows: Playout, stadium connectivity, station entitlement and ATSC 3.0.

Liam’s presenation on machine learning in the cloud is the last of this section meeting. Liam focuses he comments and demos on machine learning for video processing. He explains how ML fits into the Articifical Intelligence banner and looks to where the research sector is heading. Machine learning is well suited to the cloud because of the need to have big GPU-heavy servers to manage large datasets and high levels of compute. the G4 series of EC2 servers is singled out as the machine learning instances of choice.

Liam shows demos of super resolution and frame interpolation the later being used to generate slow motion clips, increasing the framerate of videos, improving the smoothness of stop-motion animations and more. Bringing this together, he finishes by showing some 4K 60fps videos created from ancient black and white film clips.

The extensive Q&A looks at a wide range of topics:
The need for operational change management since however close you get the cloud workflows to match what your staff are used to, there will be issues adjusting to the differences.
How to budget due to the ‘transactional’ nature of AWS cloud microservices
Problems migrating TV infrastructure to the cloud
How big the variables are between different workflow designs
When designing cloud workflows, what are the main causes of latency? When fighting latency what are the trade-offs?
How long ML models for upconverting or transcoding take finish training?

Watch now!
Speakers

	Liam Morrison Principal Architect, Machine Learning, Amazon Web Services (AWS)
	Alex Emmermann Cloud Business Development, Telestream
	Joe Ashba Senior Solutions Architect, Imagine Communications
	Chris Ziemer VP Strategic Accounts & Partnerships, Imagine Communications
	Rick Phelps Founder, Brklyn Media
	Evan Statton Principal Architect, Amazon Web Services (AWS)
	Moderator: Ed DeLauter

Video: When USB meets Pay-TV – an overview of DVB CI Plus

Posted on 21st May 2021 by Russell Trafford-Jones

Content protection needs to evolve not only to new attacks but also to the technology landscape around it. While the PCMCIA form factor has been successfully used now for CAMs, it is an old technology that takes up a lot of space. This video looks at the move to USB interfaces and feature updates to the DVB CI standards,

To lead us through, TP Vision’s Nicholas Frame joins DVB’s Emily Dubs ad starts by explaining how all the different specifications and standards connect to provide the decryption ecosystem. This video centres on CI Plus 1.4 and CI Plus 2.0 which are standardised as ETSI TS 103 205 and ETSI TS 103 605 respectively.

CI Plus 1.4, Nicholas continues, introduces two main features. The first is the introduction of a negotiation mechanism to get a list and choose to use optional features in much the same way as a browser and server negotiate when they set up a secure HTTPS connection using TLS. Nicholas walks us through the negotiation process and explains that the first of these optional features is Overt Watermarking.

Watermarking is the practice of embedding data within a media stream which helps in tracking the source for use in copyright protection. This can be done with hidden data or overtly and works by defining a layer that is composited on top of the base video layer. This is not unlike the way that the decoder would also show the application GUI however the watermark layer is controlled by the CAM which says when to show or hide the watermark. The protocol is kept simple with the watermark itself comprising just ASCII text of a chosen colour at a defined position. Naturally, communication between the CAM and decoder is encrypted and the decoder provides confirmation back to the CAM when the watermark is shown which allows the CAM to take action if it believes the watermark isn’t being respected.

Moving on to CI Plus 2.0, Nicholas explains that it’s an evolution, not a new standard. It’s based on the previous mature, trusted work in the CI Plus standard and adds additional functionality with a modern interface. There’s no loss of features nor change in signalling. It does change the interface, however, which brings with it a whole raft of improvements and possibilities.

USB A is probably the most universally used physical interface which means it’s well known by the public and is a tried and tested, robust connector. It avoids being inserted the wrong way round and has no possibility of bent pins. In terms of manufacturing, space will be saved on circuit boards and manufacturing with USB components is very well understood. Nicholas sees this as opening up new possibilities such as decoders with different form factors or a move to virtualisation.

Although the lower layers defined by USB will change, the upper layers which are specific to CI and DVB won’t change. Nicholas finishes the video explaining how the USB interface (either 2.0 or 3.x) can use bulk transfer and will group MPEG TS packets into fragments for onwards transmission.

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Speakers

	Nicholas Frame Standardisation Manager, TP Vision
	Moderator: Emily Dubs Head of Technology, DVB Project

Video: 5G – Game-Changer Or Meh?

Posted on 20th May 2021 by Russell Trafford-Jones

The 5G rollout has started in earnest in the UK, North America, Asia and many other regions. As with any new tech rollout, it takes time and currently centres on densely populated areas, but tests and trials are already underway in TV productions to find out whether 5G can actually help improve workflows. Burnt by the bandwidth collapse of 4G in densely populated locations, there’s hope amongst broadcasters that the higher throughput and bandwidth slicing will, this time, deliver the high bandwidth, reliable connectivity that the industry needs.

Jason Thibeault from the Streaming Video Alliance join’s Zixi’s Eric Bolten to talk to Eric Schumacher-Rasmussen who moderates this discussion on how well 5G is standing up to the hype. For a deeper look at 5G, including understanding the mix of low frequencies (as used in 2G, 3G and 4G) and high, Ultra Wide Band (UWB) frequencies referred to in this talk, check out our article which does a deep dive on 5G covering roll out of infrastructure and many of the technologies that make it work.

Eric starts by discussing trials he’s been working on in including one which delivered 8K at 100Mbps over 5G. He sees 5G as being very useful to productions whether on location or on set. He’s been working to test routers and determine the maximum throughput possible which we already know is in excess of 100Mbps, likely in the gigabits. Whilst rollouts have started and there’s plenty of advertising surrounding 5G, the saturation in the market of 5G-capable phones is simply not there but that’s no reason for broadcasters of film crews not to use it. 30 markets in the US are planning to be 5G enabled and all the major telcos in the UK are rolling the technology out which is already in around 200 cities and towns. It’s clear that 5G is seen as a strategic technology for governments and telcos alike.

Jason talks about 5G’s application in stadia because it solves problems for both the on-location viewers but also the production team themselves. One of the biggest benefits of 5G is the ultra-low-latency. Having 5G cameras keeps wireless video in the milliseconds using low-latency codecs like JPEG XS then delivery to fans within the stadium can also be within milliseconds meaning the longest delay in the whole system is the media workflow required for mixing the video, adding audio and graphics. The panel discusses how this can become a strong selling point for the venue itself. Even supporters who don’t go into the stadium itself can come to an adjacent location for good food, drinks a whole load of like-minded people, massive screens and a second-screen experience like nothing available at home. On top of all of that, on-site betting will be possible, enabled by the low latency.

Moving away from the stadium, North America has already seen some interest in linking the IP-native ATSC 3.0 broadcast network to the 5G network providing backhaul capabilities for telcos and benefits for broadcasters. If this is shown to be practical, it shows just how available IP will become in the medium-term future.

Jason summarises the near-term financial benefits in two ways: the opportunity for revenue generation by delivering better video quality and faster advertising but most significantly he sees getting rid of the need for satellite backhaul as being the biggest immediate cost saver for many broadcast companies. This won’t all be possible on day one, remembering that to get the major bandwidths, UWB 5G is needed which is subject to a slower roll-out. UWB uses high-frequency RF, 24Ghz and above, which has very little penetration and relies on line-of-sight links. This means that even a single wall can block the signal but those that can pick it up will get gigabits of throughput.

The panel concludes by answering a number of questions from the audience on 5G’s benefit over fibre to the home, the benefits of abstracting the network out of workflows and much more.

Watch now!
Speakers

	Jason Thibeault Executive Director, Streaming Video Alliance
	Eric Bolten VP of Business Development, Zixi
	Moderator: Eric Schumacher-Rasmussen Editor-in-Chief, Streaming Media

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