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Published by IBC, 2017-10-10 11:59:30

IBC Daily Executive Summary 2017

IBC Daily Executive Summary 2017


RobotsRise of the

David Hanson, Hanson Robotics
and Sophia, on the ethics of AI

“We are currently in the “Startups are important “Legacy systems
midst of a second wave for keeping our are an easy

of digital innovations” economies and society target for hackers”
Laura Houlgatte Latha Maripuri
UNIC HRH Prince Constantijn Van News Corp

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theibcdaily Executive Summary 03 Inside

Looking IBC Leaders’ Summit Pages 04-05
HRH Prince Constantijn Page 06
to look Van Oranje-Nassau
Latha Maripuri Pages 08-09
News Corp

David Hanson Page 10
Hanson Robotics

Liz Ross Page 12
Freeview Australia

Brian Sullivan Page 13
21st Century Fox

Aksel Van der Wal Page 14

Mansoor Hanif Page 15

Laura Houlgatte Page 16
International Union of Cinemas (UNIC)

Balan Nair Page 17
Liberty Global

Ramki Sankaranarayanan Page 18
Prime Focus Technologies

Carsten Schmidt Page 19
Sky Deutschland

Jamie Hindhaugh Page 20
BT Sport

Joanna Wells Page 21
Viacom International Media Networks

Daniel Danker Pages 22-23

Faz Aftab Page 24

Jeff Kember Page 25

Dan Miodownik Pages 26-27
Host Broadcast Services

Craig Todd Pagse 28-29
Dolby Laboratories

Sally Buzbee Page 30
Associated Press

Mario Vecchi Page 31
Public Broadcasting Services

Jon Block Page 32

As you will be aware, IBC is marking its 50th anniversary this commercial – can come together to debate the issues of the day. Sasha Schriber Page 33
year. The first International Broadcasting Convention, as it was It is only IBC – open, unaffiliated, global – which can host these Disney Research
then, took place in London in September 1967. discussions, and lead towards conclusions that will
benefit everyone. Sotiris Salamouris Page 34
What I find interesting is not the differences between then and Olympic Broadcasting Services
now, but the important similarities. In 1967, IBC was very much So we have marked our 50th anniversary not by looking back
a technical event, attended by engineers. That was inevitable: but by looking out, celebrating what is great about our industry. Ben Ritterbush Page 35
every part of the technology was at the absolute cutting edge We have forged strong bonds with local charities in Amsterdam 20th Century Fox
just to make basic television work. Remember back then even which use sport to provide experiences open to those with
colour pictures were a novelty. physical and mental disabilities: children and young people who Stacy Huggins Page 36
have become sports fans through its coverage on television. MadHive
Today, you could argue that engineers have done such a From our collections on site, and with our fun football match
wonderful job that we are no longer bound by technology. against former professionals, we have already exceeded our Christopher Mead Page 37
Consumers have the tools literally in their hands to create and target, a huge boost to our chosen charities. You may still make Twitch
view in the highest resolutions, and so demand ever greater donations online at
things from professionals. Pranab Kapadia Page 38
This magazine brings together a collection of interviews with Eros International
Yet this democratisation brings new challenges. The over- many of the participants in the IBC Conference, our Leaders’
arching theme for this year’s conference was ‘truth, trust and Summit, and our C-Tech Forums: 5G and Cyber Security. Their Deborah Rayner Page 39
transformation’. That neatly reflects the key issues of our time. thoughts are informed, as you would expect of industry leaders, CNN International
but they also invite further debate. Those debates now continue,
If anyone can create and stream content through open, year round, at IBC 365, our online portal for information and Gena Desclos Page 40
largely unregulated platforms like YouTube and Facebook Live, discussion. If you are not already registered, go to HBO Entertainment
how do we evaluate it? What is good, and what is fake news?
With content exchanged and creative platforms housed on the I hope you find this publication interesting, and I invite you Wim Ponnet Page 41
internet, how do we know a connection is safe, not a link to a to take part in the continuing opinion forming via IBC 365. I Endemol Shine
virus that may cripple our business? also look forward to welcoming you back to Amsterdam in
September 2018. Petter Testmann-Koch Page 42
The founders of IBC, in 1967, acknowledged that a trade fair FremantleMedia Norge
was not enough. It needed a conference at which ideas can be Michael Crimp, CEO, IBC
shared. Thanks to their vision, 50 years later IBC is seen as the Kim Poder Page 43
one global forum at which everyone – technical, creative and MTG Denmark

Orpheus Warr Page 44
Channel 4

Henrik Voigt Page 45

Richard Waghorn Page 46

Edward Tang Page 47

Michael Jaschke Page 48

Mark Harrison Page 49
Digital Production Partnership (DPP)

EDITORIAL Editorial Director: James McKeown Editor: Michael Burns Editorial Consultant: Fergal Ringrose Reporters: George Bevir, Kate Bulkley, Rikard Steiber Page 50
Ann-Marie Corvin, Chris Forrester, Alana Foster, Carolyn Giardina, Mark Hallinger, Monica Heck, George Jarrett, Anne Morris, Neal Romanek, HTC Vive
Will Strauss, David Wood Photography: James Cumpsty Additional Photography: Hugo Lamb
ART & PRODUCTION Design: Dan Bennett Head of Design: Jat Garcha Production Manager: AlistairTaylor Leen Segers Page 51
SALES Sales Manager: Peter McCarthy Tel: +44 (0)20 7 354 6000, Email: Richard Carr Tel: +44 (0)20 7 354 6000, LucidWeb
Email: IBC Chief Executive Officer: Michael Crimp NewBay Media Managing Director: Mark Burton
David Shield Page 52
Published on behalf of the IBC Partnership by NewBay Media Ltd, The Emerson Building, 4-8 Emerson Street, London, SE1 9DU © The International Broadcasting Convention 2017. IMG Media
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information
storage or retrieval system without the express prior written consent of the publisher. Bill Baggelaar Page 53
Sony Pictures Entertainment
Printed by Pensord Press, Tram Road, Pontllanfraith, Blackwood NP12 2YA, UK.
Tom Pickett Page 54

4 Executive Summary theibcdaily

theibcdaily Executive Summary 5

Leaders’ Summit

6 Executive Summary theibcdaily

Startup Forum

Ready to start HRH Prince Constantijn
Van Oranje-Nassau

Region: The Netherlands

Interviewed by: Alana Foster

His Royal Highness Prince new markets. “Startups are “Startups are continues, saying these nascent collaborating with investors
Constantijn is the Startup Envoy really important for keeping really important companies are ambitious and and big organisations is the
for the Netherlands, heading up our economies and society challenge the corporate fit, but engrained business model, as
StartupDelta, the Dutch startup innovative, exciting and for keeping they require executive investors supplier contact networks are
ecosystem. He joined IBC at its dynamic,” explains Prince our economies and legacy business models to often difficult for the startups to
inaugural Startup Forum and Constantijn. “On all fronts we achieve their goals. crack. “If you are a startup,
spoke in the panel ‘The Rules are very indebted to people and society these big companies can
of Engagement’. who take the risk to follow innovative, Creating value and servicing actually be a very good platform:
their dreams.” exciting and a niche market for recurring big companies are good to
StartupDelta supports a dynamic” business is fundamental, reach new audiences and
unique connection between Former Chief of Staff of the Constantijn adds. His expand business.”
government, corporations and European Commission, Prince background in management
innovation hubs, with the vision Constantijn managed the consulting and policy research These dynamic relationships,
to merge the Dutch startup digital transition and knowledge allowed his expertise to however, can vary. According to
sector into an engaged and sharing of the emerging startup help set up the StartupDelta Constantijn the key to longevity
connected hub across Europe. ecosystem. “We kept hitting and champion the evolving is “having a good understanding
a wall when we would tell the ecosystem in the Netherlands, of how the idea will actually
“The aim is to create a much story about digitals,” he says. which he hopes will become the create value and serve a large
better startup, entrepreneurial “Startups in Europe were a startup gateway to Europe. market… that, I think, is most
and innovative ecosystem in new concept, we had Skype of the challenge.”
the Netherlands,” says Prince and Spotify but it was not a “Startups are people who
Constantijn. “We are very movement yet.” don’t ask permission,” he states. The fast pace of change in
startup focused, this is an “What I like about them is they the startup environment means
educational process.” He foresaw the impact take considerable risk to follow an idea can be conceived in the
startups would have on the their dreams and their ideas.” morning and implemented in
Breaking down corporate economy. “We tried to find the afternoon.
barriers and improving startup actors who were change makers, Prince Constantijn’s passion
companies’ ability to access and found them everywhere,” is driven on the ambition and “It’s a cultural thing, but there
talent, capital, networks, Constantijn explains. fearlessness that startups are also many inflection points
knowledge and markets embody. “We have to challenge at the accelerated levels,” says
will facilitate change across “The biggest challenge for for their benefit, and we have Constantijn. “Why don’t we go
the economy to strengthen startups is to find the right to challenge all the time,” he there, find our change agent,
the emerging vertical and corporate market fit,” he says. The benefit for startups and work with startups more.”

8 Executive Summary theibcdaily


Secure from present danger

Latha Maripuri is Global Chief the cost of conducting a cyber or data science initiatives. as they are now – which means company, especially in our
Information Security Officer attack has decreased. Hackers Educating employees as to how they have had to retrofit security industry. Having a strong
(CISO) and Deputy CTO for used to require sophisticated they play a role in protecting the in. Cloud transformation technical strategy to
News Corp. She was a key tools and skills – but now there company is key. Employees can can provide significant cost support the business
speaker at the IBC Leaders’ is an online marketplace to buy still be your best line of defense. savings, flexibility and security strategy is crucial. There
Summit and Conference, joining malware or exploit kits. benefits if architected correctly are numerous areas
the session ‘IBC Keynote Panel: What other practices should from the beginning. Cloud to pursue, such
CTO Roadmap’. She also How much would you broadcasters and tech providers operate in a shared as engineering,
gave the closing keynote at the estimate the industry loses a companies bear in mind? responsibility model and the key strategy, user
inaugural IBC C-Tech Forum on year from cyber attacks? Many aspects of cyber is in understanding what security design, security,
Cyber Security. Most companies do not security come back to the controls the service provider data science…
disclose security breaches basics. Inventory, manage will cover and what you are still the options are
Cyber security was a big unless they are required to, let and patch your assets. Test responsible for. endless. I have
theme at IBC but do you alone the financial impact. The your applications early in the had an incredible
think many media 2017 annual Ponemon study development cycle and don’t What other technologies time, and I hope
companies still take an estimates that the average cost launch until critical issues excite you? that more young
‘after the horse has bolted’ of a lost or stolen record with are fixed. If you don’t need True machine learning and girls consider
approach to this issue? confidential information is around something anymore – get how that can impact customer careers in tech.
As attacks continue across all $141 (€120). If you use this as rid of it! Legacy systems are experiences and engagement is
industries, cyber security has an estimate, you start to get a an easy target for hackers very exciting. Machine learning
definitely become a business view of the magnitude, since the since many companies don’t is also being heavily used in
and board level imperative. larger attacks reported typically maintain them well. Use strong cyber security for monitoring
Given the brand and financial have millions of records which or behavioral authentication and detecting some of the new
impacts, companies can no were stolen. Besides the costs everywhere you can. Ensure threats that are happening in
longer afford to be reactive of investigation and remediation, timely removal of access for your environment. AI
and must implement a strong, there is often brand impact employees or contractors machine learning
comprehensive program to which is harder to quantify. who leave the company. Most really provides us
address their biggest cyber importantly, understand future with an opportunity
risks. Especially as companies What are the main types of business objectives – whether to learn things here.
transform into more digital cyber attacks and how can mobile or VR or OTT – and
channels to reach their they be prevented? how security can support these You were named
customers, ensuring that Attackers are looking to transformations. as one of top
security is built into their exploit vulnerabilities – this 10 women
processes is essential. can be in your network, in What security challenges power
your applications, in your does News Corp face? players in
There have been lots databases, or in your people. Given our vast portfolio that IT security –
of reports of security There has definitely been a ranges from news, sports, radio, what advice
breaches in the news rise in targeting employees real estate to book publishing, would you give
recently – why are attacks or contractors through social we have a diverse employee and to other women
becoming more common? engineering and email ‘spear customer base. Our objective is interested in a
Companies previously operated phishing’ campaigns. The to ensure our employees have career in IT?
in a very controlled and well- goal is to trick the user into the flexibility to do their jobs and Technology has been
defined corporate environment providing credentials or clicking continuously innovate in a secure a very rewarding
where the rules were very clear a malicious link or document. manner. Whether that’s adopting and challenging
about what was allowed into and This can lead to ransomware or cloud services, launching new career path. It is
out of a company. Now we live in become an entry point into the products, using social media an area where you
a hyper-connected world where corporate network. Distributed or working remotely, we are are constantly
business is conducted online, denial of service attacks and ultimately here to support the learning, solving
and employees are working web application attacks are still company’s strategy and growth. key problems and
remotely on a variety of different quite common. helping transform
devices. Most of the services Can it ever be considered industries.
we use to manage our lives are It is important to consider safe to work in the cloud? Every company
cloud-based, such as social cyber security in every aspect Many companies deployed is becoming
media. This means there are now of the business such as new their current infrastructures and a technology
numerous entry points for an product development, risk applications years ago before
attack. The other change is that management, acquisitions, cyber attacks were as common
employee on/off boarding

theibcdaily Executive Summary 9


Latha Maripuri

Global CISO and Deputy CTO, News Corp
Region: USA

Interviewed by: Ann-Marie Corvin

“Legacy systems
are an easy target
for hackers since

many companies
don’t maintain
them well”

10 Executive Summary theibcdaily


David Hanson

Robotics Designer & Founder,
Hanson Robotics
Region: Hong Kong

Interviewed by: Heather McLean

Rise of the robots

Robots have been a subject motivated, conscious, adaptive. adulthood. In general, making Ai, and many others. I hope that, “our robots will become
of fascination since the 1950s. This will change history. Who robots appealing-looking is the that they all have their own life their own individuals, and will
This IBC saw two of those knows when this will happen? same as making art, fashion, experiences, but that they can emerge and flower beyond their
machines on stage in the However, that’s our goal, and good design, making lovable learn from people and help programming. The computing
Tech Talks Keynote with David progress is strong. If or when characters for cinema; good in applications like research, and maths field of artificial life
Hanson Ph.D, CEO and founder robots become truly living aesthetics can appeal and autism therapy, education, and shows that emergent, complex
at Hanson Robotics, where he organisms, then they can be engage with people, and for a many other uses. I don’t think systems can arise in really
looked at the issue of ‘The Future much more helpful, yet we have social robot this means better we should assume that because surprising ways from very simple
with Robots that Are Like Us’. to consider their rights.” communication and more my robot Han is handsome programmed initial conditions.
useful interactions.” or because Sophia is pretty, We are applying these principles
Hanson was joined on stage On why he has focused on that their looks are their most with our AI, in the quest to
by Sophia, Hanson Robotics’ the physical appearance of his Continuing on the issue of important thing about them.” enable Sophia to find her own
latest and most advanced robot, female robot, Sophia, Hanson robot gender, Hanson says, “In way in the world.”
and Professor Einstein, the first comments, “Sophia’s looks are
consumer robot from Hanson important because aesthetics “Our robots will become their own Within the film industry,
Robotics. In his session Hanson are important to people, individuals, and will emerge and Sophia is already a pro: she
covered the issues surrounding however her intelligence is her flower beyond their programming” appeared in 2016 movie,
robots today, and where they most important attribute”. The White King.
may be going in the future. my career I have made many On the role of the likes of
At Hanson Robotics, the AI robots, with much diversity; Sophia and Einstein today, “There is a long history
“Robots are becoming more team is the strongest, largest about 50/50 male-female ratio, Hanson says, “Like Einstein, of animatronics being used
common, and more diverse,” group, and it aspires to achieve plus one intergender robot Sophia is serving as a platform in cinema,” says Hanson.
says Hanson. “Social robots true general intelligence in named Jules. I believe diversity for AI research and human- “However the use of AI-powered
are likely to become a common machines. While Sophia is not is important in robots, and robot relations, and is helping robots in films is somewhat
form of interface to AI, and fully alive and aware yet, “we believe we should represent all educate kids about robotics and new. I expect that robots can
will be refined into a new kind are making progress,” says ethnicities and genders in our science. All their AI software is be a fully developed form of
of computer animation, like Hanson. “Until then, she is robots. I developed an African open source and most of the computer animation, and will
computer animation for movies, like an infant with some higher American woman robot named hardware is too. We are using star in movies. Additionally,
but physically embodied. Where mental functions; she is like Bina-48, a Persian man robot Sophia and Einstein in many robots and AI can be used as
things get really transformed is an infant savant. I think that named Ibn Sina, a Mexican AI and robotics labs.” camera operators, editors, even
when they literally come to life; robots should be allowed to baby robot named Diego-san, writers or directors. I predict that
when the principles of systems have a childhood, and allowed an Asian woman robot named As to the future of the someday an entire movie could
biology are used in AI and to date only after they are fully robot mind, Hanson believes be made by robots alone.”
robots to make them creative, conscious and reach emotional Until then…



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12 Executive Summary theibcdaily

Business Transformation

“A big reason for Freeview dominance
is that in Australia we have anti-
siphoning laws around sports and
sports rights”

Freeview on top
down under

Liz Ross, CEO of Freeview now around the world. OTT sports and sports rights, so Liz Ross
Australia, was on two IBC services are gaining dominance, that all Australians can access
conference panels, ‘Delivering elbowing out traditional players, sport for free. There are some CEO, Freeview Australia
an Exceptional Consumer but at the same time cord- sports that may only be Region: Australia
Media Experience’ and cutters are abandoning pay-TV. available on pay-TV, but in
‘Broadcast Is About to be Australia, all of the major Interviewed by: Neal Romanek
Transformed’, and both of How is the free-to-air market events are available for free
those topics are at the core of fairing in Australia? According through free-to-air.”
Freeview Australia’s mission. to Ross, in July of this year
Australians streamed 1.5 billion Ross was last at IBC
“At Freeview we design, build minutes of free-to-air content. two years ago. For her the
and deliver technology on behalf show is an important venue
of our free-to-air broadcaster “Rather than allowing the for evaluating new tech
members,” says Ross. “Our competition to divide and opportunities.
mission and focus is to ensure conquer each broadcaster, what
that free-to-air television is the Freeview is doing is aggregating “The Australian free-to-
dominant choice for all screen- all that fantastic content air industry treats IBC as an
based video content.” across all of our broadcasters. important event in the calendar.
Thirty-five channels can be Most Australian broadcasters
Freeview started in 2008 browsed, and watched live will have a presence there. Our
in Australia, following in the or on demand, through our first major product, Freeview
footsteps of the UK launch in aggregated services. We deliver Plus, was built on the HbbTV
2002 and New Zealand’s in those on mobile, tablet, through platform, so we always talk
2007, to support the analogue- Chromecast and on TVs. We to anyone delivering [such]
digital switchover. also have our own version services. This is mostly the
of Roku, branded through Europeans, since HbbTV
“We worked alongside the Telstra, our biggest was developed
Australian government to telecommunications provider. in Germany. We’re
help people make the digital also interested in
switchover and buy their new “All we’re seeing at the 5G delivery on
equipment,” says Ross. “There moment is significant growth mobile devices.
were branded set top boxes in the streaming of free-to-air
available that were low-cost to content. [This] is dominant in “I find the
enable Australians to upgrade Australia, with less than 30 conferences can
in time. And we helped in percent of Australians having deliver certain
promoting free-to-air content access to pay-TV. Eighty-three themes that may be
and channels. Over the last two per cent of the country is something that’s not
years, we have focused solely viewing free-to-air on any given known to you, and
on products and supporting week – numbers quite different sometimes there’s
those products through to the US or Europe. something going on
technology development in entirely different
and marketing.” Free-to-air “A big reason for Freeview jurisdiction that
TV is in a peculiar position dominance is that in Australia we becomes of interest.”
have anti-siphoning laws around

theibcdaily Executive Summary 13


Brian Sullivan

President & COO, Digital Consumer Group,
Fox Networks Group, 21st Century Fox
Region: USA

Interviewed by: Chris Forrester

The consumer
has the power

“Nobody ever bought a During his IBC Keynote, Brian in the background,” he explains. vice is much more challenging.”
service because of the Sullivan discussed the evolving “When you try to put together a Sullivan, who is also on the
entertainment ecosystem that world-leading service, it takes board of Hulu, cites that VoD
neat user interface!” has empowered the consumer quite a bit of work behind the provider, as well as Netflix and
to have more control over what, scenes. To give you a guide, Amazon, as US companies
how and when they watch we had 36 different apps to doing a good job delivering
content. Sullivan, who oversees access our services. Now we their video services, and adds
digital strategy and growth will have just one uniform that Sky is also a leader in
initiatives for Fox, highlighted the platform across a few apps.” digital video platforms. He
services and platforms that are emphasised that while he is
driving that change, including In essence, consumers can focused on the behind-the-
FOX NOW, the streaming now watch full episodes of Fox’s scenes platform and user
experience his team introduced live output and on-demand interface, it continues to be
earlier this year. content across multiple channels the programming that viewers
and on multiple devices. seek out. “All this technology
Sullivan was previously CEO “There’s been a very significant is wonderful. But it is always
of Sky Deutschland where he uplift in viewership,” says about the content,” he says.
turned around an ailing business Sullivan. The service is available “Nobody cares about the
into a growing and profitable to 97 per cent of pay-TV challenges and headaches
one, and prior to that spent customers in the USA. we have had. They just want
14 years as head of BSkyB’s to access our programming,
Customer Group. One of Sullivan’s key tasks and we are one of the Big Five
is to make the service run with content factories in the world.
We caught up with Sullivan dynamically inserted local- With consumers expecting to
ahead of his Keynote session, market advertising and station dig deeper and faster into our
where he revealed that he branding as a seamless part content, we have to get that
and his team have been busy of the stream. technology and architecture
developing and refining the right. But it is all about the
infrastructure for FOX NOW, the “Everyone’s been content. Nobody ever bought
new app that united for the first broadcasting for decades. a service because of the neat
time content from across FOX, It’s been figured out,” admits user interface! What we are
FX and National Geographic. Sullivan. “It’s digital that’s harder doing is a real game-changer.”
“Much of what we have been to manage, especially with such
doing with FOX NOW has been complexity. Delivering a world
class, best of breed digital ser-

14 Executive Summary theibcdaily

Leaders’ Summit

Aksel Van der Wal

Executive Vice President, Digital Ventures and
Innovation, International, Turner
Region: UK

Interviewed by: Chris Forrester

Going granular

As recently appointed EVP for Me’ and while, obviously, this category, but also offers ‘on my impact – of 3D, for example on can go very, very granular,”
international digital ventures and provides the entertainment terms’ at a higher level – which is TV. “One of our key strategies is he adds “From a single basic
innovation at Turner, Aksel Van that consumers want, it is also an OTT subscription model [and understanding what technology channel you could offer 100
der Wal has an immense suite designed to drive engagement. curated by Criterion].” or components we need to different sub-sets, for example.”
of responsibilities. Previously The second is called ‘Give ‘own’, and what we can simply
the broadcaster’s CFO, he was Me More’ and takes this Turner’s film library is already buy in. We try and take an agile Ultra HD is also on Turner’s
appointed in January to drive engagement to the next level. massive, but van der Wal approach to technology, and radar. “But first we need an
growth through consumer- As well as more content, there’s revealed that other studio while there are some elements established audience base,”
centric and data-driven more interaction, and off-screen content is licensed as part of that we need to own, there’s states Van der Wal. “UHD needs
initiatives. He was sharing this activities. The third we have the overall offering, and this plenty that we do not have to reach, but we are looking at it
experience at IBC’s Leaders’ called ‘On My Terms’, and gives includes Warner Bros. and assessing it.”
Summit session, ‘Understanding consumers what they want, how
the Gen Z Audience’, where we they want it and where “IP is showing how new services Finally, and inevitably,
spoke to him about his they want it.” can be launched at lower costs” London-based Turner is also
new role, and how Turner was planning for Brexit.
itself changing. Last October, Turner Asked when this movie service own. This includes the broadcast
launched FilmStruck in the US, might be rolled out to Europe, elements, and the workflow “It is a huge unknown at
Admitting that his in-tray a curated movie service on Van der Wal was coy, but which brings it together, how this stage, and everyone has
was demanding, van der SVoD, described by van der smiling, so stand by for an playout is optimised, and questions,” says Van der
Wal however recognises that Wal as ‘for film lovers, by film announcement! certainly embracing IP. Wal. “We are assessing the
today’s business demands fresh lovers’. “It takes the form of a potential impact, and how we
thinking. “We are looking at more niche movie service, with Van der Wal added that “IP itself is opening up new are licensed to operate. For
taking this totally new approach, more art-house content, and Turner is also very aware of business opportunities for us, example, I believe people have
and splitting our attention into makes finding these movies the technological impact on and showing how new services underestimated the effect on
three,” he explains. “The first much easier,” he adds. “That fits today’s business. He joked can be launched at lower costs. data. There are data regulations
we are calling ‘Perfect For nicely into the ‘perfect for me’ about the impact – or lack of Once IP is fully embraced you which could mean we cannot
store data in the UK where it
relates to EU consumers.”

theibcdaily Executive Summary 15

Mansoor Hanif C-Tech Forum: 5G

Director of Converged Networks, A galaxy of
Research and Innovation, BT opportunity
Region: UK
Interviewed by: Monica Heck

The advent of 5G in the near tipping point for the introduction to step into vertical industries “5G should it comes to video distribution.
future is both an evolution and of 5G, as customer expectations and generate new sources allow us to He also says the convergence
a revolution, providing a step rise and operators battle to get of revenues and these cut the wire between the software-defined
change in terms of network customer experience ahead of characteristics will allow that,” for VR and AR networking (SDN)/network
speed, capacity and latency. customer expectation. he adds. Hanif highlights a headsets” function virtualisation (NFV)
Speaking at the opening keynote particular relevance to the world and the network slicing
session of IBC’s new C-Tech “This progression, in terms of broadcast industry, which has world is a topic of great interest
Forum, ‘5G beyond the hype offering higher speeds, higher been limited by the unavailability to the BT labs. “It means we
- What Does It Really Mean?’, capacity, controlling the cost of sustainable and scalable will be able to offer a much
BT’s Mansoor Hanif feels that and offering lower latency will be networks that guarantee various more efficient, dynamic and
the arrival of 5G heralds an very difficult to maintain beyond uplink capacities, on demand, configurable way of transmitting
exciting new chapter in the epic the ninth episode of 4G. We will for satellite trucks over 3G media content from the source
saga of networking. need a whole new sequel, which and 4G networks. to the production labs.”
is 5G. That’s the evolution.”
“The upcoming transition “It’s feasible in some cases A whole new generation
from the hugely successful The revolution, he says, as a ‘hammer and nails’ type of entertainment services,
4G standard – which has comprises several new of job but it’s expensive, time- based around real-time
transformed the way we use characteristics that are unique consuming, and SLAs are very communications, also requires
smartphones around the world to 5G and that ensure that the difficult to change. With 5G, this a complete change in the way
– is a bit like the Star Wars standard provides a compelling can all be automated rapidly to networks are designed. “For
saga,” says Hanif, who has been business model to justify adapt to individual customer broadcast, we want to leverage
building networks for nearly 25 investment while keeping costs demands, over the same signal, the IP Multimedia Subsystem
years. “The rapid evolution of reasonable for customers. platform and architecture. It (IMS) evolution within 5G to both
4G, which was followed by 4G According to Hanif, the 5G will be cost-effective for the accelerate new services and
Advanced and the upcoming 4G network will be completely customer and manageable from support virtual and augmented
Advanced Pro, is like episode flexible, agile, programmable the operator’s perspective.” realities,” concludes Hanif. “5G
five of the 4G saga right now. and highly automated, while should allow us to cut the wire
That story isn’t over yet, another being ultra-reliable. It will also Hanif notes that the outside for VR and AR headsets, and
three episodes will bring us to be fully virtualised. broadcast world will benefit network-based AR will become
the year 2020, which will be the in terms of quality and much more compelling.”
“To keep the 5G business transmission capabilities when
model competitive, we need

16 Executive Summary theibcdaily

Big Screen Experience

Laura Houlgatte

Chief Executive Officer, UNIC
Region: Belgium

Interviewed by: George Jarrett

for disruption

Laura Houlgatte, CEO of the exploring the drivers, barriers convenience one example is the cinema; for example, they would not have been possible
International Union of Cinemas and preferences of young through hassle free cinema said they would like to see ten years ago,” she adds.
(UNIC), spoke in an IBC Big cinema audiences in Spain apps. In terms of engagement TV series, live screenings of
Screen session proffering and the UK. it is through social media eSports, live broadcasts of local Operators must be equipped
business insights around promotion of movies. And in sports events, and screens with with an understanding of the
the question of who exactly “Teenagers have access to terms of making the experience additional content,” she adds. technology that is on offer, while
comprises today’s cinema a myriad of digital distractions memorable it is thanks to ensuring that the needs of the
audiences. UNIC represents and out-of-home leisure cutting-edge technology, Is the movie house business audience are the primary focus.
filmic trade bodies and opportunities, so ensuring that and of course the content,” model a settled and happy one,
key operators in 36 this generation continues to says Houlgatte. or are there new technologies “Massive improvements
European territories. enjoy movies on the big screen on the horizon? in sound and projection
is vital for the future of our To what degree have live quality, more flexible and
“We promote the cultural, business,” she says. “This is theatre and other live events “We are currently in the efficient operations, as well
social and economic benefits of supported by another recent become an audiences/income midst of a second wave of as sophisticated engagement
a vibrant cinema-going culture survey carried out by UNIC boost to UNIC members? digital innovations, many of strategies continue to transform
and provide a strong, influential which would not have been the cinema-going experience
voice for European cinema “We are currently in the possible without the seismic and to attract increasing
operators,” says Houlgatte. midst of a second wave transition to digital cinema. audience levels. This is helping
of digital innovations” In terms of revenue growth, operators to beat other leisure
“Audience growth and box 3D and new investment in activities,” says Houlgatte
office results over recent years amongst its members, which “So far, what we call ‘alternative cinema infrastructure in recent
show that cinema going in shows that 89 per cent of content’ or ‘event cinema’ years have yielded noticeable “In February, UNIC published
Europe is thriving and becoming respondents agree that the 12 to revenues are on the up. Across returns. We can also further a report on Innovation and
an ever more engaging, diverse 25-age group is a key target.” our territories, this income grow attendance through digital the Big Screen, illustrating
and immersive experience. We represents between one and engagement and data analytics,” how European operators
recorded 1.28 billion visits in Cinema is regarded as three per cent of the box office says Houlgatte. have embraced change
2016, an increase of 2.8 per a special event, and as an and in France, Germany and and innovation. The report
cent over 2015,” she adds. opportunity to dive into another Italy, revenue linked to alternative “Nowadays, the cinema- focuses on the main strands of
“In an increasingly fragmented world. But UNIC keeps in mind content has been continuingly going experience starts days innovation: creative audience
entertainment landscape, that digital is a lifestyle for young increasing,” says Houlgatte. before a visit to the theatre and development; the big screen
cinema operators recognise audiences. What are cinemas operators are experimenting experience; and, social
that it is crucial to understand able to do? “Our study showed that with new techniques to engage innovation,” she adds. “The
what the movie-going young audiences are interested with potential guests before, innovation trend looks set to
audience expects.” “To fulfil the needs of in seeing more than movies at during and after a screening. On continue, with a seemingly
teenagers, in terms of the content side, event cinema never-ending flow of potentially
At IBC Houlgatte specifically and more targeted and diverse disruptive technology making its
focused on the results of an programming for increasingly way to our theatres, from VR to
18-month research project fragmented audience groups direct-view LED screens.”

theibcdaily Executive Summary 17


Balan Nair

Executive Vice President and CTO,
Liberty Global
Region: USA

Interviewed by: Anne Morris

Surviving through transformation
in the quad-play age

The role of the chief technology “Operationally, support consumer demands in joint venture. “Liberty Global is at Where you invest, whether it’s
officer at media and telecoms the way we future, Nair notes there are still the forefront of a lot of different in content, in infrastructure,
companies has evolved in run things is many areas of contention, such changes in our industry; the in marketing, in the cloud, in
recent years. The convergence as how to develop software, rapid increase in consumption, technology – all that mix is
of fixed and mobile networks a lot different and whether to form the changing behaviour of now changing. You have the
and services, the rapid take-up today than the partnerships with online consumers in how they view confluence of a lot of activities
of video services and the way we ever companies such as Amazon. video, the emergence of wireless that require each company
emergence of ‘quad-play’ as a viable broadband offering,” to undergo not just one, but
strategies, all present significant have” You could say that Nair, who Nair adds. “And if you look at many transformations to
challenges for the underlying worked in the US telecoms the overall media landscape be prepared.”
infrastructure. They have also sector and also held the position you see huge amounts of
brought about fundamental of CTO at AOL before joining consolidation that creates huge The shift in consumer
changes in how users consume Liberty Global in 2007, has built companies with lots of scale, behaviour within the home
communications and media up the ideal credentials to face and so operationally the way we is certainly one of the most
services at home, as well as the convergence challenge head run things is a lot different today clearly defined social changes
out and about. on, although he attributes this than the way we ever have.” that has been brought about
happy state of affairs to life’s by technology developments
During the IBC Keynote “serendipity”. Looking ahead, Nair believes such as multi-screen and
Panel, ‘CTO Roadmap’, Balan one of the biggest challenges is second-screen viewing.
Nair, CTO at Liberty Global, was Certainly, Liberty Global has how to transform telecoms and Liberty Global has embraced
able to discuss strategic road already jumped firmly into the media companies in order to the term ‘fluid living’ to
maps with his peers, and convergence arena and “feels prepare them for the battles over describe how people are now
outline the opportunities he very strongly about quad-play,” the next five to ten years. consuming video content,
sees ahead for very high-speed says Nair. Mobile virtual network with fights over the TV remote
fixed and mobile broadband as offerings now accompany “The world is moving control now a thing of the
well as other technologies such packages of cable-based increasingly from hardware past. Technology is enabling
as the cloud. broadband, television and fixed to software,” he observes. people to watch exactly what
voice services in a number of “Cost structures are changing they want to watch and when.
While media and telecoms European markets including the dramatically, with numerous “It’s a liberating experience!”
CTOs agree it is crucial to UK and the Netherlands, where virtual operators coming into says Nair.
ensure that networks will it has formed the VodafoneZiggo the industry.

18 Executive Summary theibcdaily



Global CEO, Prime Focus Technologies
Region: India

Interviewed by: Chris Forrester

from the

The technology subsidiary of “Today’s M&E As Sankaranarayanan stresses, Moreover, it can deliver output value as it helps build a
the Prime Focus media services players want PFT closely manages the for a vast range of screens and connected enterprise”.
giant, Prime Focus Technologies business of content for clients devices – from mobiles to large
(PFT) is a truly global enterprise, to publish worldwide, leveraging its SaaS screen projections. Our clients He elaborates his point
with over 2,000 employees their content (software as a service) offerings see us as a very connected part with more examples. “Earlier,
spread across five continents. It 30 seconds to handle content operations of their businesses, and we like broadcasters used to send
also has an enviable reputation in multiple locations across the this closeness, as our aim is their content to us for finishing
as the creator of the world’s first from now!” globe. Powered by its hybrid always to help them attain their and preparation about 30
hybrid cloud-enabled enterprise Cloud architecture, Clear Media business goals.” days ahead of TX. But all that
resource planning (ERP) ERP allows digital dailies to be has changed. Today’s M&E
platform, Clear, aimed at the delivered from and to remote Sankaranarayanan players want to publish their
media and entertainment locations, and enables various highlighted the tectonic shift content 30 seconds from now!
(M&E) industry. teams – such as programming, that has recently taken place in I exaggerate, but only a little.
marketing, legal and promos the M&E industry. “Clients no The industry is going through
Founded by Ramki – to collaborate seamlessly to longer enjoy the profit margins fundamental changes, and
Sankaranarayanan, PFT make content telecast ready. they used to ten, or even five the consumer expects instant
manages a total of 1.5 million It also facilitates dubbing and years ago,” he says. “Traditional access to content anytime,
hours of content annually, subtitling of content in multiple revenues have remained flat anywhere. Traditional pay-TV
which includes internationally languages, and has extensive over the years and margins have operators have also moved into
acclaimed productions like provisions for disaster recovery. only shrunk, leaving CEOs and the realm of OTT. Streaming
Game of Thrones. It has a client CTOs wondering how to boost services have stormed the VoD
list amongst the strongest in “We have made great profitability in today’s ‘digital world by providing high quality
the business, boasting major progress in leveraging the next’ era. Learning from other original content. All this leads to
broadcasters, brands, service power of cloud technology sectors like healthcare and the emergence of new viewer
providers and Hollywood with our one of a kind software manufacturing, M&E enterprises demands that can be managed
studios. Sankaranarayanan solution,” he explains. “Today, need to automate the content by leveraging technology
therefore was well-placed to Clear is well equipped to supply chain and adopt cleverly, and PFT is here to help
take part in the IBC Keynote handle all kinds of content, centralisation. This is where M&E enterprises through their
Panel, ‘CTO Roadmap’. including 4K and HDR. Clear can add tremendous journey of transformation.”

theibcdaily Executive Summary 19

Leaders’ Summit

Raising the stakes

“Sports was one of the Sky Deutschland’s forthcoming multi-million co- Deutschland successfully renewed the rights to
building blocks of our early pro, the 16-part ‘Golden Twenties’ Germany epic, screen the lion’s share of live Bundesliga matches
Babylon Berlin, is already being proclaimed the in a four-year deal, which started this season.
growth, and naturally it most expensive non-English language TV show The overall Bundesliga deal, which, in its entirety,
continues to be one of our ever made, so it’s not surprising that CEO Carsten is reported to be worth a record €4.6bn, is an
Schmidt was keen to talk about it at IBC. 86 percent increase on the last auction in 2012,
main content pillars” according to the Financial Times.
“The scene is 1929, a very interesting political
Carsten Schmidt environment – Berlin was a boiling pot – there was In another triumph for pay-TV, Sky Deutschland
aspiration and ambition for Germans to climb the recently also won the rights to show the UEFA
CEO, Sky Deutschland social ladder and determination to improve living Champions League matches in Germany,
Region: Germany standards. It’s not a time that has been seen very somewhat controversially pushing out its
much on screen. It will mark our card as a content free-to-air rival ZDF.
Interviewed by: Ann-Marie Corvin producer in Germany,” says Schmidt, who gave
a dedicated ‘Fireside Chat’ session at the IBC While Sky and sub-licensee Perform Group
Leaders’ Summit this year. (DAZN) will, for the first time ever, show the
UEFA Champions League rights exclusively on
The series, which Sky is realising in partnership pay-TV, it will also stream the games for the first
with ARD/Degeto, Beta and X Filme, is based on time via its new OTT service Sky Ticket and via its
a set of crime novels by Volker Kutscher. It is bold, Sky Go platforms.
ambitious, high stakes stuff – and neatly sums up
Sky Deutschland’s drive to become the number Sky Ticket will enable fans who would prefer not
one series producer in German pay-TV. to commit to a yearly subscription, to purchase
one-month tickets to access premium football
Perhaps buoyed by the success of the sector content. The service also hosts movies, TV series
– which enjoyed 11 per cent growth last year and entertainment.
reaching revenues of €3bn (and with similar growth
forecast for 2017*) – Sky clearly believes that there Schmidt, describing the service as ‘Sky for
is much room for growth in the German market. everyone’, adds, “I always say each and every
Original content, it seems, is definitely one of the Sky customer – whether they are coming through
ways forward. Sky Ticket or an annual subscription – is valuable.
And if they wish to stay with Sky Ticket that’s
Babylon Berlin is being followed by an eight- fine; it’s not the ultimate target to turn them all
part sequel to the 1981 classic Das Boot. “That is into subscribers.”
something every German of a certain age has a
picture of in their mind – it’s such a brand icon in Sky is also set to launch its next generation box
our hands,” says Schmidt. There’s more to come Sky Q onto the German market in the first half of
next year, as end-of-world drama Acht Tage (Eight next year, as well as launch an OTT version of Sky
Days) follows a Berlin family in the last days before Q to target the six million households across UK,
a meteorite is set to crash into Europe. Germany and Italy that cannot, or refuse to have a
satellite dish.
A version of Scandi-noir hit The Bridge arrives
in Germany as Der Pass, which will see another But while Sky Q and Sky Ticket may be in part
mismatched detective duo collaborate on a murder Sky’s answer to OTT disrupters such as Netflix,
case, this time on the Austria-German border. Amazon and Apple, and the rise of the millennial
cord cutting trend, Schmidt disputes the notion
“All this is happening in the next 18 months,” that linear is dead.
explains Schmidt. “ What these series will kick off
is just the beginning of a shift in positioning from “What we see from our data is that there is
Sky Deutschland as a sports and film-orientated a development, but it is in the low percentage
broadcaster towards a fully fledged family points. It’s much better, though, to look at
entertainment company.” specific content, when you want to find out
about usage,” he explains.
However, the former chief officer for Sports,
Advertising Sales and Internet at Sky Deutschland “With a drama like House of Cards for example,
is quick to add that the pay-TV broadcaster is 80 percent of the viewing may be taking place
by no means giving up its lead in sport; rather he via non-linear consumption, but you take another
says, it wants to increase it. show – such as Game of Thrones – and there’s a
very high percentage of linear viewing.
“Sports was one of the building blocks of our
early growth, and naturally it continues to be one of “In this case, very much like sports, people
our main content pillars,” stresses the CEO. absolutely want to watch it as it happens. Nothing
can beat a live experience.”
A succession of bullish football bids pays * Source: VPRT (Association of Public
testament to this ambition. Last year, Sky Broadcasters and Telemedia)

20 Executive Summary theibcdaily

Big Screen Experience

Jamie Hindhaugh

Chief Operating Officer, BT Sport
Region: UK

Interviewed by: George Jarrett

“The whole industry, with the move to
IP infrastructure, has a huge opportunity

around remote production”

A new view of
the big game

The IBC Big Screen session into. It is like having a corporate but a facilitator would never media was far more positive on-one understanding, of new
‘Event Cinema on Steroids’ had box inside a stadium; you can do it with a Premier League than expected for a medium consumer behaviours, and
the subtext of ‘shooting and showcase your achievements in game. It all comes down to that is either liked or not liked. which bits [viewers] stay tuned
delivering HDR and immersive a very different way.” the connectivity of the grounds, To me VR is about bringing new for. There will be masses more
content to the big screen,’ so and that is the biggest challenge experiences to the viewer,” analytics available as soon as
it coincided precisely with BT BT Sport has only been with of all,” he adds. says Hindhaugh. IP delivery becomes standard,”
Sport’s daily workflow. Although us for four years. Its key partners he says. “Being able to shape
compared to NFT Live, which are Dolby, Telegenic and Sony. BT Sport also lays claim to “It is already part of our what your audiences want
pumps dramas out to 10,000 the world’s biggest live 360 standard provision, so boxing will be fantastic.
cinemas globally, BT Sport “The role of my team is to VR coverage so far, again will offer VR highlights as
uses the big screen for lead that partnership and help based around the Champions expected,” he adds. “We are “What we are already doing
different reasons. drive the guys together to deliver League Final. moving to incorporate VR with Dolby Atmos points
solutions for the longer term for highlights within our timeline, to when IP becomes the
“We were the first live sports the benefit of the industry,” says “We had 12 cameras which and giving audiences different opportunity for object-based
broadcaster in the world to do Hindhaugh. “The key point is the we stitched together to create angles. It is a third screen. It delivery – one feed where people
Dolby Atmos, so what better constant innovation drive we are a curated broadcast feed. is all about our whole linear can select where they want the
way of showcasing what we do on: we are now seen as pushing We did VR replays in the live experience and bringing all the commentary; if and where they
to a wider audience than doing the boundaries constantly.” output and live VR graphics,” different platforms together so want the graphics; if they want
it in an Atmos theatre?” says Hindhaugh says. we can bring our audiences subtitles; and if they want audio
Jamie Hindhaugh, COO at BT BT Sport has already closer to the heart of sport.” description,” he adds. “All those
Sport. “We took the opportunity trialled remote and automated This just required a VR things come across the one
with the [UEFA] Champions production. “The whole gallery, and a commentary Looking further afield, IP feed; it is really exciting
League Final of sending HDR industry, with the move to position, with the caller creating Hindhaugh sees a huge because it enables you to track
live to a cinema in Soho Square. IP infrastructure, has a huge his commentary by looking opportunity in virtualisation who selected what, and to
There is an opportunity for event opportunity around remote at the game in VR from the in playout. And then there develop your products and
cinema moving forward around production, but there are 12 cameras. are analytics. hone your broadcasts to meet
boxing, which we have moved cultural challenges involving future requirements.”
the director,” says Hindhaugh. “We had over 300,000 fans “The beauty of IP is you get
“Plenty of players are doing it, engaged live with the VR and the return path, so it is one-
the feedback across social

theibcdaily Executive Summary 21

Platform Futures

friends with

Joanna Wells

VP Digital Content, Comedy Central and MTV
International, Viacom International Media
Region: UK

Interviewed by: Chris Forrester

Joanna Wells was a key panelist other international markets.” “With social America was huge for the show, Comedy Central is different
on IBC’s ‘Social Networks – Wells explains that MTV had just media we can with “massive traction” because compared to MTV. We try and
Friend, Frenemy or Foe’ session. wrapped a 10-episode linear gain responses of social media. recognise the geographical
We spoke to her ahead of her show, called Single A.F, which sensibilities, but we already
session, and specifically asked is its first cross-platform show in seconds” “MTV is all about creating have huge reach for Comedy
her whether today’s essential which features single celebrities great content, and with social Central on Snapchat Discover
friend might be tomorrow’s as they look for love and makes media we can gain responses where there’s fresh material in
fiercest rival. “There are things heavy use of Instagram, Twitter, in seconds,” she adds. “That’s animation, sketch and stand-up.
that the likes of Facebook in Snapchat and Facebook. “It is both a challenge and an The Discover platform takes us
video might do which might all about using social media,” opportunity. You can have a everywhere.”
be seen to rival us, but what she says. “The format was topic trending within moments
we are very good at is working filmed in the UK, Australia, of a show going on air. We want She adds that the appetite
with them, and the other social Mexico, Sweden, Netherlands, our content on every platform, and tastes of viewers, and in
media players,” she says. “They Spain, Ireland, Portugal and and whatever device they might particular social media users,
all want us to succeed, because France, and will air this autumn.” be using. We will be constantly internationally for MTV and
that’s good for us both. creating content throughout a Comedy Central was really not
She adds that MTV taps key show, ahead of a show, that different. “It’s all about the
“What we have to do is to directly into the channel’s and after a show.” platform and we will create
establish and maintain contact 180 million or so social media content to suit that. Does it need
with our viewers, and what’s fans globally and has already Wells also looks after subtitles, what duration [is best
important with our relationship received over 98 million hits Comedy Central, and while for] for maximum impact, how
with Facebook, for example, is across all social and digital the channel doesn’t quite have can we monetise… the list is
that they get it. They understand channels for this brand, ahead of the reach of MTV on social it is long. We can also instantly tap
us, and this extends well beyond the transmission. Far from being expanding fast. into important events, usually
our English-language speakers focused on English language within about five seconds. That’s
well into our European and material, Wells says that Latin “We have created a number what we do!”
of short-form original clips here,
and in Australia and the US.

22 Executive Summary theibcdaily


“People’s comments and
reactions to a video are
often as much a part of
the experience as the

video itself”

Daniel Danker

Product Director, Facebook
Region: USA

Interviewed by: Ann-Marie Corvin

theibcdaily Executive Summary 23


Neighbourhood Watch

During the IBC Conference How has Live informed your unique is that you experience Sports have the power to build
Opening Keynote, ‘Fans, use of video on the network? it through your community – and connect communities. This
Friends and The Future of Live has been powerful through tagging, sharing and aligns closely with our mission,
Broadcasting’, you talked in showing us how video commenting. It’s a shared so we feel Facebook is a natural
about the rise of fan and on Facebook connects experience. And because of home for live sports games.
friend power – how are you communities and brings people that, video on Facebook can Much of the content from the live
planning to harness this with together in real time. We’ve be personal in a completely sports deals we’ve announced
the launch of Watch? also seen publishers use Live unique way – based on your this year (for example, MLB,
People are increasingly coming to create more intimate and friend graph and interests, Major League Soccer, Liga MX
to Facebook to watch video. authentic experiences with making the experience richer soccer) will have a home in
Last year we launched the their audiences, bringing them and more personal. Watch. We’re excited for Watch
Video tab in the US, which gave behind the scenes in a way that to become a destination for
people a predictable place to feels different than any other On Watch sections are these games.
find video on Facebook. Now form of media. personalised, suggesting shows
we’re taking the next step on to watch and follow based on During the conference
this journey with Watch, which People’s comments and how your community is reacting you also discussed how
is a platform for shows. We’re reactions to a video are often as to them (Most Talked About, social networks could
taking everything we learned much a part of the experience as What Friends Are Watching). The play a role in shaping
from Facebook Live and the the video itself. We’ve seen that viewing experience leverages the future of TV. Do you
Video tab to create a place think that Facebook can
where people can discover and “Sports have the power to do this without stepping
experience shows they love with build and connect communities. on broadcasters’ toes
their friends and community. or cannibalising their
We feel Facebook is a natural content?
What’s the business model home for live games” Above all, our goal is to be
for Watch? a platform for great shows
Watch is a platform, and we people comment at least ten the social nature of Facebook created by our vast ecosystem
want any creator or publisher to times more on Facebook Live as well. While watching shows, of broadcasters and creators,
be able to make a show. Since videos than on regular videos. you can see what others think as so that people can discover
we’re very early with Watch, you watch, and dive into Groups and watch shows they love
we’re starting with a small What kind of content are you that are related to the show. on Facebook. Watch provides
group of publishers and looking for? For publishers, this provides another way for publishers to
creators, and will open up more We think Watch will be home an opportunity to cultivate tell their stories on Facebook
broadly in the future. to a wide range of shows, community and conversation and develop a highly engaged
from reality to comedy to live around the content they create. audience that comes back for
We’ve helped seed the sports and shows that bring new episodes.
ecosystem with a small communities together and tap Why did you decide to go
percentage of the shows at into the things that make video down the mainly short What percentage of TV do
launch, and over time, this on Facebook so unique. form route, rather than you personally watch live?
percentage will become even launching longer form Don’t tell anyone, but I’m
smaller, as more and more The kinds of shows I’m shows on the platform? not much of a sports nut, so
creators share their shows excited about include Real We think that there will be lots most of my live viewing on
on Facebook and monetise Madrid’s Hala Madrid, which of different lengths of shows in TV is news. Facebook Live
gives the passionate fan Watch. The only requirement has actually caused me to
through Ad Breaks [a feature community a front-row seat; is that the idea is episodic. watch a lot more live content
that allows Facebook Live Motivational speaker and life Nas Daily [one of the creators than ever before, because
creators to insert ads into coach Gabby Bernstein also has with a Watch show] publishes it has introduced new types
a show that uses a combination one motivational video per day of live content. The eclipse
broadcasts] and branded of recorded and live episodes and his episodes are just 60 [of 21 August 2017] is a
content. to connect with her fans and seconds long. On the other end great example: watching the
answer questions in real time, as of the spectrum Major League sun’s corona emerge around
When will Watch well as a Facebook group linked Baseball is broadcasting a Major the moon can be just as
launch in Europe? to the show where fans can League game every Friday night. thrilling a few hours later,
We’re starting in the US connect in between episodes. but experiencing people’s
and will be gathering excitement through comments
How does this differ to Are live events an area from around the world was
feedback from people YouTube’s offering? that Facebook keen to especially magical while live.
and publishers, but What makes video on Facebook expand on?
we’re looking to
expand Watch to other
countries in the future.

24 Executive Summary theibcdaily

Platform Futures

Faz Aftab

Director, Commercial, Technology and
Operations, Online, ITV
Region: UK

Interviewed by: Ann-Marie Corvin

“The service has to represent the best
of British – if we don’t feel a partnership

is right we won’t go on there”

Digital native

Whether it’s working for an IPTV Through OTT’, she says, “We to ITV, and she argues that rather existing viewers want,” she says. broadcasters’ catch up services
middleware company, delivering decided to stay with what we than cannibalising its broadcast She adds that this is why ITV to connected TVs. “Even if you
closed campus TV, or chopping knew best. The idea is not to figures, Hub is actually bringing only decided to partner with don’t take out a pay-TV package
up video for Disney in its early recreate the TV experience in new viewers. Chromecast once Google had or service in the UK, you can
days of web streaming, Faz online but to give it to the increased its level of sales and still get a quality service for the
Aftab’s principles for shaping viewer on their terms and “On ITV2 we reached 2.1 connectivity, and once viewers price of just a TV licence. That’s
IPTV services over the past 15 deliver high quality programmes million on an average night. On started requesting the service on something we need to show the
years have remained broadly the seamlessly to a range of devices simulcast we reached another the App stores. rest of the world.”
same: “It’s always been about and make it quick and easy for quarter of a million and on catch
getting it right, keeping it simple people to access. up another 0.75 million – so if Another recent deal was Aftab is also on a mission to
and accessible and making sure you round that up it’s close to struck earlier this year with fellow encourage more women and
that the quality is there.” “If it’s working on air, it’s 3.1 million – and we very much mass market player Amazon, diverse groups to embrace
working on Hub – we don’t see these figures as additive which now runs the ITV Hub careers in STEM (science,
Even after moving from her need to buy extra rights or and have seen this type of app and some ITV syndicated technology, engineering and
native IPTV environment to commission extra programmes. consumption pattern for certain content, including channels on maths) subjects. Realising that
manage ITV’s online service five We just make sure that the tech content before.” its video platform, in a bid to all too often she is the only
years ago, she says that these works, it’s intuitive, easy to use expand its live TV offering. woman in the room, and, as
core principles still hold true. and everywhere,” she adds. A large part of Aftab’s role at a mother of three young girls,
ITV online has been to manage All these partnerships, Aftab Aftab formed a Women in
In this time the UK’s free-to- She states that the ITV Hub relationships with third-party adds, require active relationships Technology support network at
air broadcaster has undergone is as much about watching live platforms such as Google, to create a streamlined user ITV and also visits secondary
a major relaunch, evolving its TV as it is watching catch-up Amazon and Apple. experience that is relevant to a schools to talk tech to girls.
catch up service ITV Player into – with simulcast viewing on UK audience. “The playback
the award-winning ITV Hub. the rise for live events such as While she senses nervousness experience has got to be “There’s a lot of conditioning,”
football (watching the World in the industry from those who seamless on these platforms. she says. “There was a 14-year
The commercial broadcaster’s Cup on an iOS device at the worry that curated environments We also want to own the old girl who was advised to stick
live TV and catch up service office) and hit reality TV shows are driving traffic away from editorial control of our brand, to art because her teacher had
has now grown from one such Love Island – which aired their platform, she argues that if and we want to be able to shape told her that girls’ brains are not
to thirty platforms, and has on the broadcaster’s digital broadcasters want to evolve as it for the UK market, because it wired for maths.”
achieved a year-on-year growth channel ITV2. Of the half million a business, then this is the world is very different to the US. We
of 40 per cent in each of the viewers who tuned in every they need to embrace. spend a lot of time on that and Using those basic IPTV
last four years. night to watch Love Island on they do listen. The service has principles of getting it
live on Hub she explains: “It’s While it’s a challenge to strike to represent the ‘best of British’ right, keeping it simple and
Establishing more direct not the kind of show young up the right partnership for the – if we don’t feel it’s right it won’t accessible, and making sure
viewer relationships has also people wanted to watch with right content at the right time, go on there.” that the quality is there, Aftab
been a priority, and the Hub now their parents on the main TV, so Aftab adds that to a degree then started to ask the girl about
has over 20 million registered they were using their devices these decisions are led by a Ensuring the UK experience her phone, and they began
users, including 75 percent or computers as second TVs in level of pragmatism that comes is preserved and represented to look through some of her
of the UK’s elusive 16 to 24 their bedrooms, so they could with working for a commercial is also crucial to the work favourite social media apps, and
demographic. gossip away from their family.” broadcaster. Aftab is doing helping to shape how they could be improved.
Freeview’s next gen catch “And then she came up with all
Describing ITV Hub’s winning Aftab believes that many of “We look at the spend, the up platform, Freeview Play, these ideas,” says Aftab. “And I
formula in the IBC session on these Gen Y viewers were new business case, whether it which brings together the UK pointed out – that’s a job!”
‘Direct to Consumer: Enhancing brings in new audiences and
the Audience Experience whether it’s something our

theibcdaily Executive Summary 25

Business transformation

Jeff Kember

Technical Director Media, Office of the CTO,
Google Cloud, Google
Region: USA

Interviewed by: Ann-Marie Corvin

Cloudy with
a chance of

Despite initial reluctance among and listening exercise. Working Google’s own private global fibre known studios and broadcasters as its VR platform Daydream,
broadcasters and studios across the spectrum of Google’s network – a unique advantage already put their trust in its camera platform
to embrace virtual ways of media clients, including that the tech giant has over rival Google’s highly secure network Jump and its broadcast
working, the cloud has become broadcast, feature animation web scale suppliers, as Kember infrastructure, which is one of channel YouTube.
an accepted part of many and VFX, Kember has seen is quick to point out. the reasons why Kember was
media organisations’ workflow media companies increasingly invited to speak at IBC this year “You can take your imagery
infrastructure. migrate their projects – both “We’re the only company on prescriptive steps to building from the Jump camera, put
long term and short term – to that has laid fibre under the a cloud security strategy. it on Google Cloud and we’ll
According to Jeff Kember, this the cloud. Last autumn VFX oceans and owns the private stitch it together in parallel,
shift in acceptance is reflected house MPC made use of the network globally. Whether you “With our cloud you start taking advantage of Google’s
in the types of services his Google Cloud Platform to are accessing content from completely locked down by infrastructure. You can also
customers are asking for. render the majority of Disney’s use our global network to
The Jungle Book. “What’s really exciting for us distribute your final content,”
“They’re not asking whether is the ability to democratise Kember says.
they should move into the cloud, “There is no longer a limit
the question is now more along as to what can be moved,” compute and workflow” Google Cloud frequently
the lines of which cloud model he states. “I was asked by refreshes its cloud architecture
should they be using,” he says. a customer in LA ‘are we Sydney, Tokyo, Rio, New York, default, so if you wish to add as processing power continues
ready for moving all of the Frankfurt – you are on our any functionality you have to to evolve. It therefore allows
While he’s still asked the compute workloads to the private encrypted network the explicitly open that up – it’s not a customers to keep pace
regular questions about storage cloud?’, and my response to entire time. Companies that matter of taking something and with technological innovation
and compute, he adds that them was ‘yes’. In addition have offices scattered around securing it, it’s a matter of taking without having to invest in new
increasingly customers are to rendering, simulation and the globe have the ability to something which is locked physical hardware.
asking about the bigger stuff deep compositing are high utilise that,” he says. down and granting access as
too, such as ‘how does one I/O workloads that can benefit required,” he explains. “What’s really exciting for
transition an entire industry to from our cloud architecture. In Kember explains that because us is the ability to democratise
the cloud?’ addition, remote desktops are Google started in the cloud and For media companies looking compute and workflow to
allowing customers to leave their runs on the cloud, it understands to generate VR content, Google enable smaller companies
Kember says that his role is data on the cloud and remotely the security implications of Cloud also has the unique ability to rent a supercomputer at a
to enable these companies to manipulate it.” running a business in the cloud. to utilise its scale and leverage reasonable cost,” concludes
make whatever transition they Many of the industry’s best- other parts of its business such Kember. “It will allow them to
feel is necessary to get their The ability to work globally on bid on productions for which
business to the place they want big projects is further enabled by they would not normally have
it to be. This, he explains, is the infrastructure to compete.”
largely an information gathering

26 Executive Summary

The game

Dan Miodownik

Deputy CEO & Chief Content Officer,
Host Broadcast Services
Region: France

Interviewed by: Ann-Marie Corvin

theibcdaily Executive Summary 27

Platform Futures - Sport

Before the IBC session, ‘Beyond allowing rights holders to use engage in live sport, their ability And what about VR?
Live: New Tech Pushing the this on their various platforms. to leave a room during an event VR is a genuinely interesting
Boundaries’, this 25-year veteran For bigger events a recent focus is much greater than mine, way to watch content, rights
of the sports broadcasting has been to make the interface while having access to multiple holders and broadcasters are
business discussed FIFA World of media servers a more user- screens is more important to excited about it and it could
Cup tech, UHD, and the rise of friendly experience for editorial them. Our generation was bring some genuinely fresh
machine learning in sport. picks, so that it resembles an led by what the broadcasters ideas to sport. There have been
internet shopping experience. wanted to show us. The new some quality issues with the live
What are the main It will enable a producer or an generation wants to set the content that’s come out – some
AP working on an event like the trend – they don’t want to be of it looks like early VHS – but at
challenges for HBS over FIFA World Cup to configure told what to watch and how least it’s not just a ‘reversioned’
the content they need from over to watch it. broadcast. For the FIFA World
the next few years? 6000 hours of content, and Cup 2018, along with FIFA TV
Along with our key clients manage the traffic better. Will that change the types of we have developed 180 and
like FIFA TV, anticipating the sports we cover and the way 360 standalone content and
direction their customers and the You came to IBC to we cover them? Probably. One some white label VR apps.
rights holders are going in. Major talk about some of the challenge facing many sports Broadcasters want it, so it’s the
events take years to organise, big game-changing producers currently is how to right thing to be doing.
so we have to anticipate where technologies in sports engage millennials, and digital
rights holders can best be production. What can has a big part to play in that. What other new
served. Over the past four FIFA we expect from the FIFA
World Cups, we have, along Russia World Cup in 2018? What is the next big technologies are you
with FIFA TV, developed the This FIFA World Cup promises
multi-feeds concept, the jump to be the first proper multiformat step in terms of moving experimenting with?
to HD, media server technology, event. The FIFA TV production We’re currently looking at
3D, and 4K, and advanced plan means we can finally forward with next- ways of turning data into
digital solutions. Now we are in ensure there will be no side-by- compelling content. People
new place. There are a number generation services? have been consuming sports
of paradoxes in play. At a Regardless of the challenges data and graphics for over
technology level we talk UHD/ that broadcasters face in thirty years, but the use for it
HDR, while arguably cost per delivering it, UHD is the logical hasn’t changed much – no-one
hour in production is getting has come along and made
lower as low cost solutions “The ability to produce and compelling use of it beyond
become more acceptable. automate the delivery of clips the obvious. We’ve worked
Marketing and consumer display quickly is closer than you think” with games developers to
sales, rather than the broadcast address this in the past but
industry, seem to be driving key side production teams working evolution in terms of resolution. the challenge in live sport is
technology decisions. Then we in different formats. By utilising To some degree UHD follows the immediacy you are dealing
have multimedia, which sets the latest broadcast technology heavily in the path of 3D – it’s with that you don’t have in a
consumption trends, though its we will be able to produce coming from the demand to sell [video] game.
quality threshold is not always one cut of the match in 1080i, consumer screens, even though
good enough. Finally, for both 1080p, UHD plus HDR – a great the majority of broadcasters are Sport is so wonderfully hard
operational and budgetary benefit for the end user. We are not yet in a position to deliver to predict. If you look at social
reasons many broadcasters are also making some big strides in this consistently. However media and how it uses requests
going for remote production, sound using immersive audio the next big step in picture for information, it’s very
both directly and indirectly. All and data tracking to improve quality will be HDR. That’s a simplistic; very dumbed down.
these affect our assumptions for the experience. Meanwhile the massive game changer because
long term planning. digital offering will be the most the difference in quality is Will machines ever
complete yet, servicing rights really obvious; when my kids
How do you ensure that holders of all shapes and sizes. compared SDR and HDR, they replace sports directors?
could really see the difference. Machine learning currently
you’re maximising the How do fans engage can’t mimic editorial narratives
Some OTT players are now in a compelling way – but then
content that you capture differently with sports shooting in UHD, Amazon is not all directors can either! It’s
already sizing major sports something that we’ve been
for your customers? content around the globe? events – how long to do you looking at, and the ability to
I still feel as though too much It’s less of a global difference think it will be before IP produce and automate the
content gets left on the cutting and more of a generational one. players start entering the delivery of clips quickly is closer
room floor, given the number It depends on the age of the live sports arena? than you think. We should be
of cameras used in OB, and people in the room. The bulk of At some point in time, the big able to combine data and clip
the advent of multi-feed and people – even hardcore Gen X internet players will step into production, but the jury is out
server technology. For smaller sports fans – are still consuming the game directly. That will be a on automating more complex
events we have developed an live sport in a traditional way – game changer. tasks such as sport directing.
additional feed concept, which via free or pay-TV. With younger Would you want to take a risk
means for a minimal additional audiences, while they still with a major event final?
cost significantly more content I’m not convinced.
can be pulled off the truck,

28 Executive Summary theibcdaily

Craig Todd

SVP & CTO, Dolby Laboratories
Region: USA

Interviewed by: Mark Hallinger

theibcdaily Executive Summary 29

IBC International Honour for Excellence

Internationally excellent sound

One of Craig Todd’s earliest Francisco – would take on Todd industry went to multitrack audio milestones was 1971’s significant advances,
audio memories dates from his as engineer in early 1977. recording and had lots and lots A Clockwork Orange, which but the advance to Dolby
high school years. He somehow of channels of noise potentially adopted Dolby noise reduction Atmos is bigger than all of
became interested in high “Ray Dolby was an amazing adding together in down mixes.” on its pre-mixes. In 1977 Star those,” says Todd.
fidelity sound, and when a man, both in terms of technical Wars was released with a
friend bought a tape recorder vision and as an inventor, and he It also established something high fidelity 4-channel optical “It’s tremendous when you
they understood that there had great savvy as a business that became a pattern in Dolby’s soundtrack. experience this done properly in
was limited dynamic range and man,” says Todd. “And he was history when the technology was a good cinema.”
lots of noise on those a nice, genuine person as well. brought from the professional Todd worked on the surround
early machines. I feel very fortunate to have side to the consumer side sound for Star Wars just after And now Dolby Atmos
been there when he was active with Dolby B, which made the he joined Dolby. “They told is starting to permeate into
“We started thinking in the company.” cassette into a high fidelity me to build a couple dozen of the home theatre market.
about ways to get the noise medium. The cassette became these first-generation surround “Amazingly, our engineers have
out,” recalls Todd. “Maybe Todd, now SVP and CTO the dominant music source for adapters [for cinemas], and I now designed these upward
a motorised volume control of Dolby, represented the many years, and it put Dolby on ended up building 120,” says firing speaker systems, so
that would go up and down, company when it received the without putting speakers in the
and somehow track on ceiling you can get sounds from
reproduction.” “I thought going from stereo to surround to 5.1 overhead,” explains Todd. Even
was significant, but the advance to Dolby Atmos is more, they put the technology
An engineer friend told them in a sound bar, so something
however that a new company bigger than all of those previous advances” that’s only in the front of the
called Dolby had started in room is bouncing the signals
England, and had solved the 2017 IBC International Honour the map, because everybody Todd. “Cinemas would play the off the walls and the ceiling,
noise problem. for Excellence, recognising the had that ‘Dolby’ button. movie for three months then buy and giving you so much of that
company’s quest for continual surround sound to get people to experience in something that
“Like Ray Dolby, we had improvement in sound. Pre-recorded cassettes come back and see it again with anybody can install.”
discovered the noise problem, started using the technology, so new high fidelity sound. When
and thought about solutions,” Ray Dolby’s first technology, consumers really had to have we got it into formal production Todd expects more Dolby
says Todd. “But Ray was Dolby A, improved studio it in the player to get the best we sold more than 50,000 of Atmos content and more Atmos
the genius who came up with recording significantly with 10dB performance. those adapters.” equipment for consumers over
a solution.” of noise reduction. “It often the next five years. Things are
took the noise from ‘clearly “It’s [something] that we’ve Later came Dolby Digital, starting to roll, with BT Sport
Fast forward less than a annoying,’ to ‘you could barely done over and over again at which provided practical 5.1 announcing that coverage of
decade and Ray Dolby – Dolby,” says Todd. “Starting the channel audio that co-existed certain live sport events will offer
who had recently moved his hear it,’” says Todd. “That was technology on the professional with the legacy Dolby Surround the technology.
tremendous, especially side, building the ecosystem, optical soundtrack, a Dolby
company headquarters from when the and then tying in the consumer Digital codec that enabled Another ongoing technology
London to San content and experience.” television and DVD to bring 5.1 from Dolby is what’s referred to
channel audio to the home, and there as ‘personalisation,’ which
The consumer experience DolbyVision, which has let the means programme audio can
also ties in heavily to Dolby’s company spread its wings to the deliver many different elements
video side with an end-to-end of sound, allowing a user to
massive contribution to HDR technology. choose what announcers they’d
cinema sound, which had like to listen to, for example,
been very crude and Recently Dolby Atmos or an audio description, or
limited by the optical object-based audio that can a specific language. “We’ve
soundtrack. But Dolby precisely place individual sounds designed all of this capability
noise reduction helped anywhere in a three-dimensional in our next generation audio
the film industry in the space, including overhead, has codec, AC-4, that has all the
transition from mono rolled out. “I thought going from capabilities to deliver the
to stereo and beyond. stereo to surround to 5.1 were Atmos sound and all of this
One of Dolby’s personalisation,” says Todd.
early cinematic
It’s clear the quest for audio
enhancement goes on at
Dolby Laboratories.

30 Executive Summary theibcdaily

Content and production

The truth is
out there

Sally Buzbee

Senior Vice President and Executive Editor
Associated Press
Region: USA

Interviewed by: Ann-Marie Corvin

It wasn’t that long into her tenure In her IBC session, ‘Lies, himself; Trump has been speculation about what would content as fake, Facebook
as The Associated Press’s new Damn Lies and Alternative particularly critical on the use happen. When you don’t know users can see that it has been
head that Sally Buzbee had to Facts’, Buzbee looked at the of unnamed sources. the outcome of something, disputed and there will be
make her first tough call. challenges that AP and other just say it.” a link to the corresponding
news outlets face in a highly “If there is information you article explaining why. That flag
Earlier this year the White partisan climate. cannot get any other way, and Buzbee acknowledges that will follow if a Facebook user
House prevented several high it is factual and from a person a big challenge for strong news chooses to share.
profile media organisations – AP’s mission has always who knows what they are organisations in the so-called
including the New York Times been to furnish the public talking about, then we think that ‘post truth’ era is to convince an “We want young people to
– from attending a Friday with factual information about this is critical information and ever-confused public that it’s the learn that AP is a trusted source
afternoon press briefing. While what the US Government the public needs to know about real facts and not the alternative of news and we think there is
AP was not among those and its officials are up to, to it,” she says. facts that count. some value in trying to bring
banned, it decided – along with explain the ramifications and to old-fashioned media values into
Time magazine – not to attend report with high standards of “Presenting news in visual form social media,” she says.
the meeting. accuracy, precision, fairness and is going to become far more
objectivity. important” While the focus right now is
According to Buzbee, while on fact-checks around public
AP would rather report on the Has the Trump administration Where reporting could improve “I don’t think it’s true that the officials and government
news than insert itself into a made this mission any tougher? she thinks, is by getting public doesn’t care about the accountability, Buzbee adds that
story, on this occasion the According to Buzbee, who led reporters to stick to reporting facts. People all across the AP is expanding its fact-checking
171-year-old nonprofit news the AP’s Washington bureau for on what has actually happened, globe care about facts. We into other areas such as health
agency felt as though the the past six years, it’s always rather than filling in the gaps need to be transparent about and medicine. “One story that
Government had gone too far. been a challenge. with speculation. “We need to our reporting and try to write kept surfacing involved a Florida
be more transparent rather than stories in an accessible and non- store accused of unsanitary
“We don’t want to fight but “With every administration our presenting things as a certainty. partisan way,” she says. practices – all you had to do was
there are situations that we reporters have always fought A recent example of this has look at the State records to show
believe in strongly – the public hard to try and get access and been the ban on transgender AP is also putting its this wasn’t true.”
here in the US and around the to fight for information and for people entering the US Military. fact checking resources to
globe has the right to have facts - it’s been like that for When it was first announced good use by working with It has also given AP a better
access to what the Government decades and it’s really important no one knew what had been Facebook to help identify and feel for their younger customers.
is doing,” she says. to point this out,” she adds. decided about transgender debunk trending false ‘news’ “We need to be more visually
people who were already in stories. When AP or another focused because, and I see this
“Excluding certain media What is different now is that the military, but there was participating fact-check in young people’s consumption
organisations crosses a red line, respected media organisations organisation flags a piece of patterns, they are more focused
and in those circumstances it’s are being discredited as ‘fake on imagery. So presenting
our job to say, ‘no that is not ok’. news media’ – often by the so- news in visual form is going to
We had to push back on that,” called alt-right movement and become far more important.”
she adds. occasionally by the president

theibcdaily Executive Summary 31

C-Tech: Cyber Security

Guardian at
the gates

“It’s become an accepted
paradigm that you’re not going
to stop a security breach from

happening every time”

Mario Vecchi

Chief Technology Officer,
Public Broadcasting Service (PBS)
Region: USA

Interviewed by: Ann-Marie Corvin

Ten years ago it might have US public broadcaster’s CTO of While Vecchi and his team to the business.” Cyber security He developed a probability
seemed strange that a three years, was visiting IBC to provide centralised services, can also be viewed as a cost algorithm while working at
broadcaster would pay hackers talk at the timely C-Tech session, PBS is a national membership offset by more efficient ways IBM, as well as an early cable
to break into their systems, but ‘Cyber Governance: Taking the organisation, comprised of of working. While some media modem and online service for
PBS does this as part of its right steps’. independent public TV stations businesses are reluctant to move Time Warner.
cyber security operational plans, that all run their own operations. to the cloud, citing data security
according to Mario Vecchi. “It’s become an accepted fears, Vecchi believes that there He’s also the owner of
paradigm that you’re not going “At the local level you see are too many benefits not to four patents. So given all the
“They basically try and hack to stop a security breach from different levels of rigour,” he proceed, so companies should innovations he must have
us and then tell us what they’ve happening every time. There will notes. “The larger stations have find a way of making it work. worked on, how did Vecchi
found,” he explains. “The be a human factor, or a bug in more resources and technology, decide which technologies were
technical term is to perform a one of the apps,” says Vecchi. and are usually well secured with “We will continue to expand worth the effort it takes to get
penetration test. We then take standard practices on the IT side. more of our services and them approved?
the results and we look for gaps And in those circumstances The smaller stations leverage operations into the cloud.
in our systems and opportunities he adds that quick detection is their own distinct advantages, The challenge is not the cloud “I think that comes down to
to enhance our security.” critical to minimise damage. and they are often well served by itself, but how you use it. instinct,” he says. “If something
the manual processes they put in Something going to the is meaningful to you and you
Following a string of high “You need to ask yourself place,” he explains. cloud is not an inherent threat, believe it has value, then you
profile hacks and leaks – from ‘How do I go back to a state but it doesn’t eliminate it either. bring together the technology,
TV 5 Monde in France to Sony where I protect myself and No matter the size of the You need to constantly look legal and business functions
Pictures and HBO in the US, recover?’ ‘How quickly can I organisation, Vecchi argues that at how you move your to ensure that the product
cyber security has become throw away data files that have companies should see cyber information and manage your contributes to the greater good.”
a hot topic among media been corrupted and bring in security as an ongoing activity. employees.” he says.
companies – especially as they healthy ones?’ Quick detection “You are never finished,” he says. But then, he adds, luck
make the rapid transition to and quick recovery are crucial.” “When executive decisions are A look at Vecchi’s long and plays a big role, too. “You
software-based, IP-connected made, cyber security must be distinguished career leads to a never really know for sure;
infrastructures. Dr. Vecchi, the An extra challenge for Vecchi factored in as an ongoing cost trail of innovation and patents. that is the unpredictable path
is the distributed nature of of innovation”
the broadcaster’s structure.

32 Executive Summary theibcdaily

Audiences and Advertising Addressing
the audience
A large threat to the broadcast broadcast industry can derive
advertising model from large from the power of these digital Jon Block
digital pure players, such as advertising methods, which have
Google or Netflix, is likely to to date been met with varying EMEA VP of Product and Platform, Videology
drive the rapid adoption of degrees of resistance by the Region: UK
programmatic and addressable traditional broadcast world.
advertising by the broadcast Interviewed by: Monica Heck
industry, according to Jon “From a content point of view,
Block, EMEA VP of Product and we are in the golden age of TV,”
Platform at Videology. he adds. “From an advertising
point of view, we are not there
Block’s background, which yet, which is why the industry
first saw him working as head should embrace the opportunity
of advertising innovation for ITV, for addressability in TV
the UK’s largest commercial advertising and the technological
broadcaster, before moving improvements available in the
to video advertising platform area of automation. That will
Videology, has left him genuinely support the commercial trading
invested in the future of the models that are set up between
broadcast world. This is despite agencies and broadcasters.”
having moved to the ad tech
side of the fence. “I perceive a Programmatic and
macroscopic threat from the big addressable advertising
digital pure play companies such can work either together or
as Google, YouTube and Netflix, separately to achieve results
primarily,” says Block, who was for both broadcasters and
part of the ‘Mad Men in the advertising agencies, according
Digital Age: New Directions in TV to Block, who says he has
advertising’ session at IBC. seen how far advanced the
advertising industry has come
“Their advanced capabilities, and how much distance is
monopolies in various areas and yet to be covered by
sheer size mean that they are broadcasters in terms of

“Broadcasters and agencies aren’t
really speaking the same language”

also able to act as a distribution enhancing their yield and
channel. I believe they are trying targeting strategic audiences.
to capture the entire value chain
that currently lies between the “There’s a lot of opportunity
broadcaster and the advertiser, out there if broadcasters can
and I think that’s incredibly move from selling content-
threatening to both industries based advertising to combining
that work so closely and both content and audience
equitably together.” profiles, whether demographic
or behavioural,” concludes
Netflix is also in an incredibly Block. “Today, broadcasters and
powerful position to tap into agencies aren’t really speaking
the TV advertising paradigm, the same language when they
because people are watching are trading their inventories.
it in a very TV-like manner,
according to Block. “Everything “That’s one of the biggest
points towards Netflix moving challenges right now and it
towards an ad-funded model involves broadcasters
of some sort in the next couple adapting existing commercial
of years, as they have very little models, and getting to grips
other space in which to grow. with overlapping audiences
That move will be the impulse through mathematical
that causes the broadcast optimisation. In reverse, the
industry worldwide to fully broadcast industry can share
embrace programmatic and about half a century’s worth of
addressable advertising in the compliance and brand safety
way that they should, because experience with the ad tech
of its power.” Block is at pains agencies in the digital world,
to outline the benefits that the who are struggling with that
particular challenge right now.”

theibcdaily Executive Summary 33

Business Transformation - Tech Talks

Sasha Schriber

Head of the Digital Platforms and Applications
Group, Disney Research
Region: Switzerland

Interviewed by: George Jarrett

The new

“Art and science once
again are merging
back together”

Sasha Schriber, head of develop technology himself. tested, with large-scale user the tools we now have available the company. “We have the
the digital platforms and “Ever since, our company has studies internationally.” – AI, ML, VR, AR, plus rich opportunity to do blue sky
applications group at always been technology interfaces and ways for artists to research and to continuously
Disney Research in Zurich, driven, and there were always Coming originally from an distribute their art.” experiment and iterate. This
spoke in the IBC session people who made the link artistic background, Schreiber is why I enjoy working with
‘Inventing the Future – between entertainment and is a prime example of the wide Schriber’s team has several our research teams, and
Decoding the Unknown’ technology,” she adds. “They industry impression that the projects in the spaces of AI, ML particularly collaborating with
alongside speakers from are called ‘imagineers’.” artist and the engineer have and NLP. scientists from ETH (Federal
NHK, Nuance Communications, never worked so cooperatively. institute of Technology) in
and BBC R&D. Disney Research is a part of “We build prototypes for tools Zurich,” she says.
WDI (Walt Disney Imagineering), “I see a clear path that art and to assist professional storytellers
The audience was assured and Schriber’s group consists of science are going to merge in to advance their creativity, and “Personally I am a big
of ‘sharing insights into a mix of designers and software the nearest future,” she says. both improve and optimise the believer in VR, including
transformative technologies engineers that quickly build “If you look at ancient times, production cycle,” she says. participatory and interactive
that are re-shaping the media prototypes and applications. art and science walked side by VR as a way to transform the
industry’, so where do Schriber’s side. Da Vinci was an artist and “We do not build tools that way content will be created and
group’s platforms and apps “They test any new ideas, no a scientist, and only after the are aimed at replacing artists, consumed in future.”
come into play? matter how crazy they might Renaissance did art and but to help them to leverage
sound. They go deep and use science divide off. existing or new technologies. Schreiber, who has attended
“Disney Research works a holistic approach, more often It is hugely important for us to IBC in the past, had one other
across the entire company than not combining several “Science became more understand the artistic process, key thing to look at apart from
– parks, studios, consumer technologies in order to create narrow in trying to deeper so we spend lots of time talking VR. “The startup scene was also
products, Disney Interactive and something new,” she reveals. understand nature, while the to artists across our company, on my radar,” she says.
Media Networks,” she says. “The regular research pipeline arts became broader, and the to make sure we think of future
usually corresponds to the cycle mission of artists deviated products that are not limiting “I am always curious to
“Walt Disney had this vision of a Ph.D. student, which takes toward means of inspiration their creativity,” she adds. see what new ideas
of telling stories in completely approximately five years from and inner exploration. Now we entrepreneurs are pursuing,
new ways. In order to do this, he the conception of an idea to a observe that art and science Though Schriber’s group does turning challenges into
needed technology that did not digital prototype to be built and once again are merging back not develop final products that opportunities to transform the
exist, so he had no choice but to together,” she adds. “Look at all are facing large user bases, world we are currently living in.”
there are product teams within

34 Executive Summary theibcdaily

Platform Futures - Sport

to climb

Imagine the responsibility: The Our colleagues from NHK are
2018 Winter Olympic Games working on this, of course.
from PyeongChang, South
Korea is only a few months “For PyeongChang we
away and offers challenges also have a quite complex 4K
of mountains, geography and operation,” he adds. “Our 4K
snow, while at the same time coverage comprises two key
you have to manage the build elements: we will produce 4K
of a 30,000 square metre but with standard dynamic range
Broadcast Centre, and work out availability to satisfy the needs of
how to supply spectacular HDTV the majority of our broadcasters.
images, as well as 4K and 8K. If We are also supplying the down-
that’s not enough, then add into converted 8K to 4K with HDR for
the mix the advanced planning those who want it.”
for Tokyo’s Summer Games in
2020, where Japan’s NHK public Asked how important 4K
broadcaster has 8K very high on could be at Tokyo, Salamouris,
its agenda. And the final factor: it laughing, answers, “Now you
just has to work. want me to be a prophet! We
are doing everything possible
That’s the task facing Sotiris in terms of preparation for the
Salamouris, CTO at OBS, who highest-possible quality. Our
was speaking at the ‘Beyond industry has been moving from
Live: New Tech Pushing the standard definition to high-def,
Boundaries’ session of the and now to 4K, and with 8K in
IBC Conference. When we front of us. But I would hope
spoke to him, the conversation that we also accept that there’s
another revolution, in IP-based

“Perhaps by 2022 or 2024, we will
no longer be talking of 4K or 8K”

quickly turned to HDR, 4K and – technologies which is happening Sotiris Salamouris
inevitably – 8K. in parallel – and that includes
live capture. We have also to CTO, Olympic Broadcasting Services
“8K is an interesting element,” be aware that distribution is no Region: Spain
he exclaims. “With our long- longer just to TV sets, but to
standing partner NHK, we are other devices including OTT Interviewed by: Chris Forrester
also creating an 8K platform delivery. I’d like to see these
from PyeongChang. We have elements coming together and
worked with NHK in a very to be seamless for the viewer.
strong partnership on 8K since
the London Games, which “Perhaps by 2022 or 2024,
means that with London, Sochi, we will no longer be talking of
Rio, and Korea, it will be the 4K or 8K,” he predicts. “Instead
fourth Games that we have we’ll be [saying] ‘excellent
covered in 8K in some form. The quality, because my device will
8K productions are advancing support it’, and then perhaps
and becoming more and more ‘medium quality, because I
sophisticated. The biggest have not yet bought the latest
change for Korea in 8K is the display’, and then ‘a good
introduction of HDR and Rec. quality, but visible on hand-held
2020 wider colour. It really is devices’. We must be able to
the ‘full monty’ in terms of 8K. mix and match the images to
The only thing missing, if you suit the devices. We are still in
really want to get to the final a transition period but moving
frontier, is higher frame rates. towards this situation.”

theibcdaily Executive Summary 35

Big Screen Experience

Ben Ritterbush

Director, Digital Cinema Content,
20th Century Fox
Region: USA

Interviewed by: Carolyn Giardina

“I don’t envision a
theatre full of patrons
wearing VR glasses”

Setting the scene

The effort to make the SMPTE Interop became the de facto Coalition) network and in other requirements. “We don’t want For instance, audio. There’s
DCP (Digital Cinema Package) solution but was never meant cases, they are delivering the to complicate things further no way to put centre speakers
the standard delivery format for as a long-term solution.” movies on physical hard drives. and have even more versions,” behind the screen.”
sending movies to cinemas is a Ritterbush says. “We want to
top priority for Ben Ritterbush, The SMPTE DCP standard “International is further out,” provide a single format [with Meanwhile, Fox has been
director of domestic digital was completed in 2009 and he adds. “The goal is one the versions such as local busy exploring the potential of
cinema distribution at Twentieth rollout effectively began in global standard that’s fully languages] that can play on all virtual and augmented reality.
Century Fox. 2014, but there is still much secure.” In Europe, for instance, screens. We believe that’s an Its early releases, including
work to be done. rollout has started in numerous achievable goal.” The Martian VR Experience,
Ritterbush, who was countries, and has already based on Ridley Scott’s The
speaking at an annual fixture “Fox aims to be 100 per cent been completed in some, such More recently, the digital Martian; and Alien: Covenant In
of IBC, the EDCF Global SMPTE DCP by next year, in as the Netherlands, Finland cinema community has also Utero, based on Scott’s Alien:
Technology Update session, North America,” Ritterbush and Norway. been examining the potential Covenant have been two high-
feels the path is clear for DCP. reports. “Fox has already of cinema LED screens profile examples. “I absolutely
delivered a number of titles, the The creation of digital (Samsung’s technology think there’s some potential
“The interop package [that first being Keeping up with the cinema deliverables, Ritterbush received DCI certification last there, but it’s unclear what that
has been in use since studio Joneses. We had a handful of continues, is both “easier spring). “It’s on everyone’s potential may be,” Ritterbush
consortium Digital Cinema issues [in this testing phase]. and more complicated.” With radar,” Ritterbush says. “I think says. “I don’t envision a theatre
Initiatives launched its digital variables such as 2D, 3D, HDR it has the potential to leapfrog full of patrons wearing VR
cinema spec in 2005] was “We are currently doing dual and immersive sound, a movie laser projectors. It’s challenging glasses. But there’s potential to
only designed as an interim inventory. There are a number of may require anywhere from nine to get consistent quality with tell a creative and compelling
format while SMPTE was legacy sites that still can’t play to 21 different versions, just for traditional Xenon projectors. story through AR and VR,
setting the standard,” he SMPTE DCPs,” he explains, a US release, he says. But [LED technology] does we have to find out what the
explains. “Exhibition needed adding that in many cases, present other issues. business model is going to be.”
something immediately. delivery involves the DCDC Internationally, that number
(Digital Cinema Distribution increases due to local language

36 Executive Summary theibcdaily

Audiences and Advertising

Stacy Huggins

Co-Founder and CMO, MadHive
Region: USA

Interviewed by: Monica Heck

Illuminating the
supply chain

“Saying blockchain won’t
work for ad tech is a false
assertion right now”

At its most basic, blockchain became a consequence of the Blockchain also addresses economic value of ad sales Hyperledger, a blockchain
describes an open, distributed technology, there would be a lot fears around safety – brand from the ‘middle man’, where that is more nimble and with
ledger that records all more money and time available and data safety – as traditional it’s concentrated now, and much faster response times.
transactions between two for innovation.” broadcast media sales and bringing it back to the advertiser Saying blockchain won’t
parties in a permanent and execution go digital. and the publisher. work for ad tech is a false
verifiable manner. The concept Having held leadership roles assertion right now.”
was born with the internet in the on the agency, ad tech and client “The supply chain is very “The intermediary won’t go
early 90s, but only truly came sides of the business, Huggins murky right now and blockchain away, but they’re likely not to Blockchain can also
into the spotlight with the advent has a deep understanding of sets up some street lights to make as much money,” explains help the industry compete
of Bitcoin, the digital currency. the challenges within the ad light up these dark alleyways,” Huggins. “They are currently against the duopoly of
tech supply chain and feels that Huggins adds. “Blockchain is a paid to verify the same ad Facebook and Google,
As the entertainment industry as broadcast moves towards fantastic way for the broadcast impression, sometimes ten times especially as Facebook
goes digital, Stacy Huggins, IP and OTT distribution over industry to move into digital, over. With blockchain, economic moves towards selling
co-founder and CMO of data multiple devices, interest in and potentially work within value will be given back to the OTT inventory, concludes
management company MadHive blockchain will grow. programmatic environments advertisers and the publishers, Huggins. “Blockchain will
is keen to outline the merits in the future, because it’s an which they can use to reinvest in help broadcasters provide
and potential of blockchain- Traditional ad sales for environment where everything their own offerings.” the type of attractive
based tech when it comes to broadcast, and its related is transparent.” cross-device, people-
the management of broadcast information on an ad impression Huggins is also keen to based insight that brings
advertising sales. level, currently comes from That means inventories being ensure the audience doesn’t advertisers to the two
disparate, often locked sources. sold at their proper value, better mistake this type of blockchain ‘walled garden’ giants,
“Blockchain is amazing at With blockchain, according ad targeting and most of all, for the slower, more rudimentary instead of making these
lowering the cost of trust in a to Huggins, that information because broadcasters can now Bitcoin blockchain or databases giants their ad sales middle
very untrusting environment,” would become available to the see exactly what’s happening, serving the financial institutions. man at great margin cost.”
explains Huggins. “If trust just buyer and become more useful. regaining control of the “We are building on a version of

theibcdaily Executive Summary 37

Audiences and Advertising

“Brands can reach users and
offer experiences that can’t be
replicated on other platforms”

Get your
game face on

Christopher Mead

Senior Director of Partnerships, EMEA, Twitch
Region: UK

Interviewed by: Ann-Marie Corvin

How is the new online video the viewers are chatting with the replicated on other platforms. Since then, we’ve run a number Who are some of the most
ecosystem transforming broadcaster and each other. For instance, we teased the of marathons, including Julia
the TV experience? That’s debut of Netflix’s Stranger Child’s The French Chef, the popular live streamers on
what the session at IBC, You used to be a Things with a four-hour live Pokémon animated series,
‘The New TV: Who’s Really professional gamer – how broadcast, ending in an airing Mystery Science Theater 3000, your platform?
Watching?’ sought to find out. has this informed your of the first eight minutes of the and an anime marathon with We have so many stars, so we
One of the key participants role at Twitch? pilot episode. Our influencer Crunchyroll. try not to single any out, but
was Christopher Mead, senior By being part of the e-sports team played various games there are two top traits among
director of partnerships for scene, I have been able to not (some scary, some fun) in a TV content on Twitch began our most successful streamers.
EMEA at Twitch. only ensure key voices are 80s-themed basement set, while with an airing of the pilot of They are either really good at the
heard, but also help onboard users voted on creepy things HBO’s Silicon Valley that was games they are playing or they
Millions of people are teams, leagues, players, and to befall our unwitting victims accompanied by the cast are incredibly engaging, drawing
events that require an intimate – flying books, flickering lights, playing video games. in their fans with their social skills
using platforms like understanding of their needs. doors that would creak open to instead of gaming prowess.
reveal sinister, singing, dead- In terms of monetisation,
Twitch to watch live You were at IBC this eyed dolls – and more! Where do you see your
year to discuss how what’s working well on
streams of other people online video innovators How else are your sector two years from
are transforming the your platform?
playing computer games. way TV is consumed. traditional broadcast We offer partners a variety of now?
How are you helping options, including the ability We see the live-streaming
What’s the appeal? broadcasters and partners using Twitch? to share revenue from ads, sector continuing to grow, but
People enjoy watching others brands reach new We’ve entered into a multi-year subscriptions, merchandise, not just because the games
who are good or engaging at audiences? contract with Turner’s ELEAGUE and game sales. They can industry expands year over
what they do. It’s that simple. Due to Twitch’s social video to distribute live and on-demand also take part in the Cheering year. We can also see growth
In the same manner that it is features, its strong community, content exclusively on Twitch. programme, where viewers coming from vlogging (in our
not strange for a chef to watch numerous influencers and purchase animated emotes IRL category) and the creative
the Food Network, or an athlete hard-to-reach demographic of We also have a programmatic called bits and use them in arts, from our Creative category.
to watch a football game on millennial cord-cutters, brands TV initiative. It began with chat to show support for their In two years, we will still be
TV, gaming speaks to people can reach users and offer our community’s embrace of favourite streamers. We also the primary destination for the
who enjoy the culture of games. experiences that cannot be interactive television when The have Twitch Prime in over 200 games industry, but also a place
Joy of Painting with Bob Ross territories, which is a set of to see other types of content
The thing that makes Twitch marathon aired to celebrate the (parent company) Amazon Prime championed by our community
sticky is that people are not launch of our Creative category. benefits created for gamers. that has tapped into the appeal
just watching others; it is live of live social video.
social video – the broadcaster
is speaking to the viewers, and

38 Executive Summary theibcdaily

Platform Futures

Pranab Kapadia

President of United Kingdom, Europe and Africa
Operations, Eros International
Region: UK

Interviewed by: Monica Heck

Regional OTT
stands firm

Regional and niche OTT players, of how we have successfully “In addition success, particularly those keen now feature Indian content
like Eros International Media, an built an audience base of over to depth and to attract customers in a very primarily, which they have also
Indian motion picture production 68 million registered users, large, captive market like India. started to commission, letting
and distribution company based with an active paid premium breadth of content in English take a back
in Mumbai, are playing David to subscriber base of 2.9 million content, product “India has a large customer seat. And in the coming year,
the Goliaths of international OTT customers worldwide.” base, with many mobile and those OTT players who wish
platforms, and are comfortably features and Internet users who are very to crack the Indian market
standing their ground. Another necessity for easy access loyal to homegrown Bollywood or remain leaders therein will
regional OTT players is to across devices content,” he explains. need to find a way to bridge
“We don’t have the deep never offer an inferior experience are must-haves the immense wealth gap that
pockets of these large players, to the customer, in any capacity, for success” “Bollywood in India is a unique separates the affluent from the
but we make about 65 films a to that provided by the global market, we produce around middle class Indian Bollywood
year, own a vast library of 10,000 OTT giants. 1,000 films a year as a country, consumers.
film assets, have our own OTT across multiple different regional
platform called Eros Now, and “Our platform offers all languages, exported to nearly “Content needs to be made
haven’t licensed the digital rights features in terms of viewing over 70 countries worldwide. The available across a very wide
for our films to other players,” multiple devices, downloading communities are proud of those spectrum, from the basic
explains Pranab Kapadia, content to watch offline and so films and the numbers viewing 2G mobile viewer to the 4G
President of UK, Europe and on,” he says. “You can’t fall short Hollywood box office films are customer streaming content
Africa Operations at Eros in any way if you are charging consistently and significantly to a large screen in the home,”
International. aggressively. So in addition to lower than those watching concludes Kapadia. “A blanket
depth and breadth of content, locally produced films. That’s a charge simply doesn’t work.
Speaking on the ‘Multichannel product features and easy contrast with other countries, We need to address these
Broadcasters: Global vs access across devices are must- where local language films get customers at the right price,
Regional OTT’ panel during the haves for success.” superseded by the consumption using the right technology,
IBC 2017 conference, Kapadia of Hollywood content, whether having found the right 4G
noted that his company had By contrast, global OTT dubbed or subtitled.” partners who are also trying to
heavily invested in its own players seeking to compete with get the pricing element right.”
application. “We are very proud local and niche players, must That is why international
source local content to achieve OTT platforms such as Netflix

theibcdaily Executive Summary 39

Deborah Rayner Keynote

Senior Vice President of International News- News in the firing line
gathering, TV and Digital, CNN International
Region: USA The issue of fake news was communities in Atlanta, so
one of the recurring discussion [the threat] is much more
Interviewed by: George Bevir points at this year’s IBC, where insidious and blurred.”
the theme of the Conference
was Truth, Trust The task of keeping field-
and Transformation. based staff safe when many
are in hostile environments has
As CNN International’s Senior been made more difficult by the
Vice President of International ever-increasing requirement for a
Newsgathering, TV and Digital, greater range of digital content.
Deborah Rayner is well placed Prior to speaking at IBC2017,
to comment on the effect of the Rayner had been on holiday for
phenomenon. just over a week. “In that time I
will find a new app or platform
Based at CNN’s headquarters that I have to serve content for
in Atlanta, she oversees CNN’s that will have different demands
international newsgathering across text, stills, video.”
including the international
desk, all international bureaux, Rayner describes digital
correspondents, producers and integration as a “huge priority.”
digital editorial content. As such,
one of her chief responsibilities “With digital integration you
is towards the welfare and go back to larger teams, so
safety of journalists and staff if you field somebody from
around the world. digital and from social you have
more people to manage and
“Fake news is a bit of a oversee,” she says. “We have
catch-all phrase,” she says. taken on 200 people in digital
“It’s not an issue for [CNN] to over the last 18 months.”
be called fake news because
we can demonstrate that we Returning to the issue of
are absolutely not. But it may fake news, Rayner says that
have some security implications reports designed to mislead
for our people on the street. can make her angry, and with
good reason. “When someone

“The threat is much more
insidious and blurred”

And it seems to have gathered appropriates our brand and
momentum, such as hostile pretends to be from CNN,
crowds shouting at trucks, which it can have serious political
is slightly worrying.” implications.” During the panel
discussion, Rayner pointed
Rayner joined CNN in 2008 to a report in which someone
as Director of CNN International emulated CNN, complete with
Productions, having previously logo and background to create
spent 10 years as Senior Foreign a “sophisticated” bulletin that
Editor at Channel 4 News in contained a false political poll.
the UK, overseeing award-
winning coverage of the Iraq and “Not only does it manipulate
Afghanistan wars and the 2006 the democratic process but it
Lebanon war between Israel could also endanger our people
and Hezbollah. on the ground, so we have to
be aware of it,” she says. “Is it
She says it’s now more undermining mainstream media?
dangerous than ever to be a To date, we have discovered
journalist. “When I was in the through our own polls that
field it was clear: those are the actually we are more trusted
good guys, those are the bad than ever, and our audiences
guys and that’s the front line. But have grown as people gravitate
it’s not like that at all anymore... towards a trusted brand with
we received a briefing recently professional, reliable journalism.”
about Mexican cartels living in

40 Executive Summary theibcdaily

Big Screen Experience

The right
for the job

We all know that the centre the toolset is much broader we archive the material for ten, “The toolset is
of gravity of the motion picture than it ever was. Not every twenty, fifty years down the much broader than
industry is moving toward camera is suited to every road,” she explains.
television, and HBO has been project. We want to be able to it ever was”
a heavyweight in the midst get good information to our Format inflation doesn’t show
of that shift. filmmakers to assist them in any signs of stopping, with 4K Gena Desclos
picking the right tools.” becoming a given, and people
Gena Desclos is SVP of Post now looking to 360 video and Senior Vice President, Post Production,
Production for HBO, and came The Camera Assessment 8K and beyond. Desclos sees HBO Entertainment
to IBC2017 to share with the Series is an internal HBO these not as challenges, but as Region: USA
wider industry some of the best survey, but those coming to creative choices.
practices that have made HBO this year’s IBC were able to Interviewed by: Neal Romanek
the Rolls Royce of the new age reap the survey’s benefits for “We need to look at what’s
of high quality TV. the first time. right for each project,” she says.
“When you have a show like
Despite being a key figure “We’re not looking to Game of Thrones which has a
at one of the world’s key identify what the best camera lot of visual effects, you might
content producers, this is is,” explains Desclos. “The want more resolution in certain
Desclos’ first IBC. Along with cameras are all good. But each areas to help you achieve that.
HBO colleagues Suny Behar and camera has its own strengths, Whereas other shows that are
Stephen Beres, she presented and we want to identify the maybe more character driven
the fifth annual HBO Camera qualities of each camera so or moody, you might want
Assessment Series. cinematographers can pick something softer than the
the one that works best for cameras you’d use on a
The HBO Camera Assessment them creatively.” big VFX show.
Series takes six of the best
cameras currently available and With the distance between “At HBO it’s all about
compares them across a variety production and post production supporting the creative vision
of parameters including motion, shrinking almost to the point of and supporting the great
colour, skin tone, mixed lighting, non-existence, Desclos finds producers and directors and
and high dynamic range. The herself working directly with cinematographers who want
results of these elaborate tests cinematographers from the to work with us. We’ve always
are then made available to the beginning of the process. been a place where there’s a lot
cinematographers and directors of creative freedom. We’re not
of HBO’s slate of shows. “It’s important for us in post to afraid of trying a new camera,
be working with production so we’re not afraid of allowing
“We always want to have we know what we’re shooting the filmmakers to push the
the latest tools available,” says and how we’re capturing it, boundaries of how they want to
Desclos. “There are so many because that will affect the tell their story.”
amazing digital cameras now – workflow and ultimately how

theibcdaily Executive Summary 41

Leaders’ Summit

Crossing platforms
and generations

Wim Ponnet

Group Director, Strategy and Commercial
Development, Endemol Shine
Region: The Netherlands

Interviewed by: George Jarrett

Wim Ponnet works for a I look at it as insights, not data. on things like Big Brother are non-scripted TV,” he added. awkward. People are still going to
company that produces up to “All these new platforms are just as important to us as direct “It does not have to sit in that want to watch engaging content
700 big productions annually, a great way to know we are feedback around our properties ‘a piece of content has to be in the normal way,” he says.
and which sure knows how to producing the right content, and the IP we own,” he adds. 40 minutes’ restriction. On the
exploit its IP. because feedback is immediate. Black Mirror series we produced Cloud production is attractive
The insights we get from the Ponnet told his IBC audience for Netflix, you will have one for several reasons. “For the
Ponnet, Endemol Shine’s data will impact on the future that the online ad industry would episode running 29 minutes, more traditional broadcasters it’s
Group Director for Strategy and content we produce,” he adds. soon be much bigger than the and then an episode that no secret that their margins are
Commercial Development, was “One example, on a platform whole TV industry. Google and runs 89 minutes. This is under pressure, so that means
speaking in the IBC Leaders’ like Facebook, is Simon’s Cat, Facebook might hog 60 percent because that’s the length it they try to shift some of the
Summit session ‘Understanding [where] we know that black and of the revenues, but Endemol takes to tell the story. margin to us,” observes Ponnet.
the Gen Z Audience’, the white content works better than Shine has its goldmine. “So obviously we are very
purpose being to answer colour.” “As creatives, nonlinear active in the cloud production
questions around how that social “We have a lot of shows platforms offer us far more space. We have always been
group can be found and lured, Views, likes and shares gave that appeal to the higher end at the edge of innovation, and
and the resultant monetisation. the insights for this revelation. we do partner with Google
The Endemol business model is “As creatives, nonlinear platforms and Microsoft to make our
Shifting viewership is coupled both awesome and simple. offer us far more production liberty, production more efficient.”
to a clear shift in the type of
digital nonlinear platforms “We own our IP,” Ponnet and we are not seeing any issues With regard to significant
available for Endemol Shine to explains. “People say Black with monetisation” issues and trends, Ponnet first
rent its content to. Mirror is a Netflix original, but we nominates margin protection as
leased that content for a certain networks, and our inventory on production liberty, and we are a threat. His big encouragement
“We are not a platform owner, period of time. Our business these platforms is very useful not seeing any issues with is the rise of brands.
we are a producer of content,” is very much the full 360 to an advertiser. Look again at monetisation; it is just that
says Ponnet. “We actually see exploitation of our IP Simon’s Cat, that appeals to monetisation has changed.” “Content is still king, and it is
an increase in demand for our across all platforms. 40+ female audiences on going to become increasingly
content. We are well positioned Facebook,” he said. Endemol Shine has made important,” he says. “We
to serve audiences.” “We don’t just produce. We VR promotions but Ponnet is are going to see brands as
are also the distributor, and more “For us there are opportunities not a big fan. commissioners and tech
On the subject of data and more it is about the rights both in financial and creative players as commissioners.
analytics, Ponnet has a clear to the exploitation of the IP. In senses. It gives massive creative “There are interesting I see a very bright future for IP
preference: “Data without many ways, the social channels freedom to both scripted and developments in VR, but the owners and creativity.”
science is pretty much useless. [experience] of VR is still slightly

42 Executive Summary theibcdaily

Content and Production

“We’re always Virtual reality, augmented reality, that reacts in real time to what
looking for a new and mixed reality are some of the contestant is doing in the
way to tell a story” the top buzz words of 2017, studio. There is a play-along app
and IBC highlighted the value of that can be used live with the
Playing these terms as one broadcaster TV show, so at home players
along with grasped the trends and ran with can almost compete against the
mixed reality them. Interactive mixed reality onscreen contestant. This is a
is the meeting of both mobile level of interactivity like we’ve
Petter Testmann-Koch and broadcast technology to not seen before,” he enthuses.
create a completely immersive,
Managing Director, FremantleMedia Norge wildly entertaining form of On the development and
Region: Norway content that FremantleMedia evolution of this technology,
Norway’s managing director, Testmann-Koch says, “once we
Interviewed by: Heather McLean Petter Testmann-Koch, has saw what the technology was
championed. capable of, we then worked
with our FremantleMedia
Lost in Time is an innovative development teams in both
primetime format that follows Norway and the UK to come up
three contestants racing through with TV show ideas that could
different eras (Ice Age, Jurassic, be entertaining and impactful
Medieval, Wild West, New York for audiences, innovative for
in the roaring 20’s and Space the TV industry and fun to the
Age), as they compete in a contestants in the studio. Both
variety of physical, mental and our development teams actually
strategic challenges against came up with very similar ideas,
the clock to win a cash prize. which we then took to The
The show also has a play along Future Group to further develop
app, which has a live and offline with their technology and
mode so players can compete games expertise.”
against the show’s contestants
live, or still enjoy the games Testmann-Koch’s foresight
while the show is not on air. bought interactive mixed reality
into reality. “I’ve spent half my
Co-developed and co- life working in TV, and due to
produced by FremantleMedia quite a significant variety of
Norway and Norway-based experience, both technical and
interactive mixed reality pioneer, content, I’m always curious
The Future Group, for TV Norge, about new developments,
the first episode debuted in new technology and new
March this year. Testmann-Koch opportunities. I often realise
spoke about the technology that I’m a few years early on
and how it is transforming the trends and ideas, but this
viewing experience in his IBC time Discovery Networks
session, ‘Lost In Time - TV and Norway proved to be a brave
Mixed Reality’. commissioning broadcaster
who also wanted to explore this
“Audiences were very curious incredible opportunity.”
about the show and how the
interactive mixed reality would Concluding with how
translate on screen,” says Testmann-Koch expects to
Testmann-Koch. “The reaction see interactive mixed reality
was fantastic. The interactive changing programme popularity
participation via the app was and production, he says, “at
beyond anything seen before, FremantleMedia, we’re always
with an average player session looking for a new way to tell a
lasting over 16 minutes.” story, and The Future Group’s
newly-developed interactive
The interactive mixed reality mixed reality technology allowed
is what gels the show together, us to create a pioneering type
says Testmann-Koch. “Using of entertainment show that
the technology, we can push the really is at the forefront of future
boundaries of TV by creating television trends. I believe that
real time special effects. So with this level of interactivity
essentially, a contestant can be allowed by the technology and
put into an ‘era’. The way that the play-along, we can bring
the technology works is that the back a whole family TV viewing
TV audience sees the contestant and joining-in experience.”
fully immersed in a virtual world

theibcdaily Executive Summary 43

Leaders’ Summit

Kim Poder

Title: Chief Executive Officer, MTG Denmark
Region: Denmark

Interviewed by: Kate Bulkley and David Wood

Playing the
long game

“Don’t be a fat Not so long ago, Modern global audiences and scale, in video is increasing, with OTT
cat and sit on Times Group – one of the areas like esports, digital video providers expected to make
your hands – but Nordic region’s leading media networks and online gaming. In up 32 percent of the market
change your companies – was just another 2017, MTG shows all the signs by 2020. The issue is that
business models traditional broadcasting of a huge transformation that the way in which people are
and adapt to new business, operating successfully has been focused on becoming watching is changing – with
in both its home market and in a leader in global scalable millennials in particular driving
audiences” a number of different countries, digital products. the decline of traditional TV.
including Russia, the Baltics and Some kids’ channels, for
the Czech Republic. But in the Poder says that ESL, the instance have lost over 50
last two years the company has world’s largest esports company per cent of their viewing in the
undergone nothing short of a sea acquired by MTG in 2015, has last three years.”
change in its product portfolio partnered with Facebook for
and its ambition, changes that it live streaming of more than It’s a strategy that is beginning
sees as essential to its future. 5,500 hours of tournament to pay off. By the end of this
programming in six languages, year, MTGx – the digital part of
MTG Denmark’s Chief arguing that platforms such the company that includes the
Executive Officer Kim Poder as Facebook and YouTube fast-growing esports business
believes that the future for are becoming important new – is forecast to move into its
MTG – and for all legacy media partners for broadcasters. first-ever profit, while the group’s
companies and broadcasters – stock price is up 32 per cent in
is in embracing new distribution “For us it’s a significant new the last 12 months.
technologies and catering way to reach audiences with
to new audience appetites, the content from our digital While the digital businesses
particularly of younger viewers. businesses. Anyone who leaves are MTG’s fastest growing,
“It’s important to remember Facebook and YouTube out of its the more traditional
there are a lot of competitors business strategy needs to have broadcasting business has
coming in, so don’t be a fat a good answer as to why they been able to capitalise on
cat and sit on your hands – but are doing that.” the wide deployment of fibre
change your business models infrastructure in the Nordics,
and adapt to new audiences,” Poder insists that where, for example, 73 per cent
says Poder. broadcasters need to keep an of Swedish homes have access
increasingly close eye on the to over 100Mbps
Since Poder became CEO of way in which video is being internet access.
MTG Denmark in 2015, MTG has watched, particularly amongst
radically restructured, selling off millennial viewers who are Even with the decline in
billions of Swedish kronor worth consuming larger amounts of the hours that people watch
of traditional TV businesses in video on mobile and social traditional TV, MTG’s Nordic
countries outside of the Nordics, platforms, and are investing less business saw double digit
and using the proceeds to buy time with traditional broadcast increases in both revenue (+11
into digital companies with platforms. “The good news is percent) and profit (+22 percent)
that the overall consumption of in the first quarter of this year.

44 Executive Summary theibcdaily

Audiences and Advertising

Voice recognition

As chief technology officer, used to help shape and screen is the answer. “Without “In an increasingly
Orpheus Warr oversees personalise their user a list of visual things to choose crowded market,
technology strategy and experience. But, while Warr from, it can be difficult. You are broadcasters and content
operations at the UK public acknowledges that guiding the simply trying to say something providers are… concerned
service broadcaster (PSB) viewer to appropriate Channel in the correct way. But if you are with how viewers
Channel 4. As well as being 4 programmes can benefit looking at a screen, and you are discover and navigate
responsible for architecture, both broadcaster and viewer, seeing content surfaced to you, that content and make
R&D, information security, he is keen to also embrace and you are navigating through
service delivery and distribution, serendipity as part of the content that interactively, the cues sense of it”
he was instrumental in the journey. As such, rich metadata become much easier. The way
design, launch and subsequent is key. “There is a big data in which you interact becomes Orpheus Warr
expansion of its on-demand approach to personalisation much easier.”
service 4oD, now All 4. to which you can then apply Chief Technology Officer
AI and machine learning that Warr believes that where Channel 4
At IBC he was part of a gives you insights that you the industry is with the voice Region: UK
panel session discussing the would never otherwise be able interface right now is similar
hottest new TV technologies to understand,” he says. “That to where we were with mobile Interviewed by: Will Strauss
and devices, and how will they can help ease the viewer’s phones ten years ago.
transform the TV market. journey through the content but
also help to inspire and surprise “The iPhone changed the
Warr pinpoints the voice them. AI and machine learning mobile phone experience,”
interface and artificial can be as important in terms he states. “In the same way,
intelligence (AI) as being both of extracting metadata as they speaking to Alexa or the Google
hot and transformative. They will can be in structuring it and Assistant is very different from
help to change how content is presenting it to the viewer,” he the way we have spoken to
delivered and how consumers continues. voice assistants on our phones
navigate and discover that or computers until now: the
content, he says. And the “As a PSB, from time-to- fidelity and information is
upshot of that will be a more time we would like to introduce greater, it is more reliable and
personal TV service. viewers to new things; not only the experience feels much
helping them discover things more natural.”
“In an increasingly crowded by chance, but sometimes
market, broadcasters and guiding them. In the round, this Things will change
content providers are not just should substantially improve further when the voice
concerned with the content the viewer experience because interface becomes a
being produced but also how although viewers like to binge conversation interface.
viewers discover and navigate on particular genres, we also
that content and make sense of think there is probably untapped “At the point where
it,” explains Warr. “There are lots content – live, on-demand and you are able to have an
of places to consume content, archive – that people would ordinary conversation,
and not all content is the same. really love and sometimes find that will really increase
Therefore, whatever we can do it harder to discover than is the user propensity
to help viewers feel like they optimal.” But how does this to use and discover
are in control and help them to dovetail with the voice interface? content more
discover the right programming Asking Alexa to ‘dim the lights’ naturally,” he says.
for them, is in our interest as or ‘order more milk’ bears little
well as theirs.” resemblance to seeking out
– or being recommended – a
Channel 4 has done a lot of documentary you might like,
work on its database of viewers, but didn’t know existed.
gathering additional information Voice combined with a

that can then be

theibcdaily Executive Summary 45

C-Tech Forum: 5G

Henrik Voigt

Director in CTO Office, Ericsson
Region: Sweden

Interviewed by: Chris Forrester

The broadcaster
in your pocket

Ericsson’s Henrik Voigt is “We are sure “In general, 5G simply critical communication. Weekly Asked how 5G would cure
responsible for technology that the ‘live’ means more capacity, but for share of time spent watching or help the current problem
strategies on media and IoT broadcasters – and behind 5G TV and video on mobile devices of network capacity, which
delivery and optimisation element of – we see much greater demand has grown by 85 per cent (2010- tends to suffer when 50,000 or
in the CTO’s office. He has TV will come from consumers,” Voigt says. 2016); on fixed screens it has 100,000 users try and access
30 years of experience at “They want greater access, gone down by 14 per cent over the same content, Voigt said
Ericsson and SonyEricsson, to mobile more personalisation and mobile the same period. these congestions would be
and has held positions as phones and the usage and convenience in solved by the transmission
head of Development accessing content.” Voigt noted that Ericsson also switching to 4G/LTE broadcast
Center, head of product other cellular sees 5G playing a greater role in mode (as distinct to one-to-one
management, VP product devices” This demand is truly delivering live, or as live, content unicast supply).
marketing, and business staggering, and will affect to consumers, even directly
development director. broadcasters. For example, to their TV sets. “5G does all Voigt said that cellular
Throughout these years he has mobile video traffic is forecast this, including interactivity, operators were already offering
worked to integrate telecoms to grow by around 50 percent in traditional TV,” he says. “It multichannel pay-TV services,
with media, enterprise solutions annually through 2022 to means that 5G will be, or can and that 5G would inevitably
and consumer products. account for nearly three quarters be, a complementary service increase these opportunities.
of all mobile data traffic. In for broadcasters and the media. “I would say that multiscreen
As well as an open floor fact, the share of video traffic We see 5G co-existing in these services are very much part
discussion, Voigt was part approached 60 per cent on roles, as well as playing a major of our focus, but the general
of an IBC C-Tech Forum tablets in the second half of part in fixed broadband. But we trend is obvious. 5G is crucial
session on ‘The Value of 5G 2016, and shows no sign of also see the mobile access of technology in many verticals,
in Broadcasting’. One of the slowing. By 2022 the number these 5G services growing in including the Internet of Things.
key questions examined of 5G subscriptions is forecast importance. We are sure that We are collaborating with many
by the panel was whether, to reach more than 500 million. the ‘live’ element of TV will companies, such as Microsoft,
with streaming video, might Over time, 5G will enable a wide come to mobile phones and to ensure success. We also
everybody become range of use cases for massive the other cellular devices, and need further standards to be in
a broadcaster? Internet of Things (IoT) and especially in sport.” place, but this is happening.”

46 Executive Summary theibcdaily

Business Transformation

Freedom Richard Waghorn
to view
Director of Transformation and Technology
Region: Republic of Ireland

Interviewed by: George Jarrett

Richard Waghorn, director of is transitioning from a very basic “Why should all for content if they don’t have highest number of homes.”
transformation and technology experience of being a platform those features to, so why should all those So what new technologies is
with RTÉ, spoke in an IBC that has ten regular TV channels features and that functionality RTÉ looking to deploy?
session dedicated to ‘Delivering and a seven-day EPG,” he adds. and that only be available for people on
an Exceptional Consumer functionality pay platforms? “We have built our own
Media Experience’. Waghorn is mindful of private cloud which already
the many different UIs only be “People have access to delivers significant operational
Along with speakers from viewers encounter. available for multiple platforms and they are and workflow efficiencies,
TiVo, Discovery, Freeview, UKTV people on pay moving around, so we have to and which has allowed us to
and Ostmodern, Waghorn “Saorview has a very nicely platforms?” make Saorview stand out within reduce operational costs. We
focussed on new business designed UI that gives more that mix,” he adds are following a hybrid strategy,
models, and the new skill sets of a branded feel and more increasingly using the public
required if platforms are to stand of a consistent experience. It It’s a very competitive cloud for a range of services and
out from the crowd. has 20 different features, from market – and RTÉ does not applications,” says Waghorn.
access to on demand content have the same resources as “We are also developing a single
These two considerations are to catch-up TV, a rollback the global giants. storage environment to service
behind the Saorview Connect EPG, recommendations, and long-term storage needs and
box, a free to air DTT platform programme title search,” he “But we know we have to facilitate the digitisation of
launching later this year. said. “Then there is the Saorview a strong product,” stresses archive content.
app. Pair that with the box and Waghorn. “It is crucial that
“We knew there was a you can remote record content. we sit in as many homes as “We are keeping a close eye
massive gap between the RTÉ You can also use the app for possible. Clearly there is so on the move to full IP, and whilst
offer and what other platforms remote control.” much choice in the market now, full migration would not be
could deliver, so we wanted to that consumers are increasingly practical now, we are looking at
develop a technology road map So RTÉ has created an looking to go a la carte and get undertaking a number of proof
for the platform to close the gap advanced free product. Next their entertainment across a of concepts for disaster recovery
on pay-TV,” says Waghorn. up, will it have to continually number of devices and from a using IP. One intention is to use
produce competitive content? range of suppliers. those trials to develop our skills
“We brought to the market base,” he adds. “We have been
an advanced free offer – a “Absolutely. The big screen in “Ireland is a relatively small experimenting with 360 and VR,
connected box with access the lounge is where people want market, yet we several pay-TV trying to identify what the added
to broadband. It is connected to watch content. Ultimately you platforms including satellite, benefits are for consumers.
via the aerial and there is a want to have as much capability cable and IPTV, Netflix and However, it is clear that the
satellite tuner to give users as you can get in one box,” Amazon Prime, as well as free to traditional linear channel business
access to free-to-air satellite admits Waghorn. “We are the air broadcast options, including model will not be under threat
channels. There is also a largest platform in Ireland, and Saorview,” he adds. “Whilst from VR and 360 anytime soon.”
recording capability,” he adds. it is a free proposition. Saorview has the least number
“Essentially what we are doing “People don’t want to pay of channels on offer, it has the

theibcdaily Executive Summary 47

Business Transformation - Tech Talks

The mixed
reality revolution

is coming

Edward Tang

Founder and CTO, Avegant
Region: USA

Interviewed by: Monica Heck

The last decade has seen anymore,” says Tang. “We “The next two as collaboration, that can be but that months from now there
smartphones fundamentally may all be wearing our mixed years are going solved today with the right will be hundreds of millions of
change the way we live our reality glasses, and the idea technology. On the other people using it.”
lives. They have changed the of having a physical computer to be really hand, the consumer market is
entertainment industry and how will disappear. That’s going to intense; it will coming way faster than we may For broadcasters, mixed
people consume content. When change the way we live our be the beginning realise, it’s more of a two-year reality could turn out to be a
people start looking at the lives, work and communicate. range than a 10-year range, more intuitive way of presenting
mixed reality (MR) opportunity, That’s why it’s such a huge of a whole as smartphone AR emerges. information, and according to
they are going to view it the opportunity for the industry.” new computer The next two years are going Tang, people on the content
same way, according to to be really intense; it will be media side are really excited
Edward Tang, chief technology Right now however, there revolution” the beginning of a whole new about what’s happening.
officer at Avegant. is a certain scepticism in computer revolution.” Movie studios especially seem
the broadcast market about to be looking past traditional
Tang, speaking at the alternative realities, including Tang is very excited about rectilinear content towards a
session, ‘Leaving the Hype virtual reality (VR), augmented the AR efforts of Snapchat, time when people experience
Behind: Next Frontier in VR, reality (AR), MR and the whole and about Apple’s recently content in a realistic manner.
AR, MR and Other Realities in spectrum in between, that released ARKit, which will put
Between’, is also the founder means that many companies smartphone-based AR into “It will be challenging for
of the Silicon Valley-based are still waiting before they the pockets of a few hundred broadcasters in terms of
company, recently in the news invest. Tang, however, is million consumers within a few technology integration within
for its groundbreaking Light adamant there is no hype about months. “That’s not ultimately existing workflows, but they
Field Technology for head- this and that while VR may the best experience, but will want to differentiate themselves,
mounted displays (HMDs). remain niche, the potential of go a long way to educating to find new effective ways to
mixed reality is endless. the consumer about what AR present information to people.
“Many companies look is and what they can do with When there are enough users,
at mixed reality devices as “Anywhere you can use it. It’s also going to encourage they will be motivated to find
potentially replacing your a computer or smartphone developers to start exploring all ways to appease them. The
smartphone, and it’s pretty is where mixed reality will sorts of applications. It’s a wild technology is maturing quickly.
crazy to think that in the next be active,” he says. “For idea to think that right now there It’s going to help the creation of
decade or so we may not enterprises, there are clear, are no consumers using AR, content for this industry within
[even] have smartphones high value problems, such the next year or two.”

48 Executive Summary theibcdaily

Digital Transformation

Michael Jaschke

Founder & CEO, glomex
Region: Germany

Interviewed by: George Jarrett

Thinking in
content verticals

Michael Jaschke, the CEO of costs or service fees. “When money. It’s as easy as pressing of presenting and promoting When asked how many
the global media exchange talking about ‘publishers’ we play’,” he adds. “Editors can content on the marketplace, takers Jaschke needs for his
glomex, was a star turn at the always mean website publishers browse and search through our streaming it at best quality to business plan to happen
IBC Startup Forum, thanks to – on any size and subject,” he video library, select videos, put all devices, plus handling rights 24/7, he answers, “It’s not a
the promises of fair ad revenue adds. “Of course, there are together playlists and configure management, analytics and question of a number of takers,
shares, detailed analytics, and successful TV formats on the what their player should look billing. So the owner will be but of connecting to the right
one-click embedded codes. glomex marketplace but, at like – all within our easy-to-use able to focus his resources content owners with the right
the same time, there is also web interface. With one click, on what he does best – publishers. Therefore, we think
ProSiebenSat.1 established professionally produced web- they create the embed code producing content. in content verticals.”
glomex in May 2016. Explaining only content.” that they copy into their CMS,
his monetisation master plan, and that’s it.” “In order to stay competitive, Then there is the question
Jaschke said, “The world of In this new environment, content producers need to be of which new or horizon
entertainment is changing every piece of content finds its The constant demands of very flexible and able to produce technologies will help glomex
dramatically, and glomex is the audience and every website producing endless streams of high-quality content at very short add further services.
first platform to address this publisher is spoilt for choice. quality content will start to tell, notice, while keeping production “Having started with the
change in its entire complexity. most promising clusters of
All market participants can “In order to stay competitive, content producers need entertainment, celebrity and
profit from the trend towards to be very flexible and able to produce high-quality lifestyle and ‘docutainment’,
free, unlimited online content content at very short notice” we consequently included
distribution.” general news, sports, cars
So what analytics does glomex and we might see consolidation costs at a minimum,” he adds. and motoring, and most
In his presentation, Jaschke gift to users? in the content delivery side. How big a deal in this context recently food.
suggested that content Will media exchanges have an are ‘fair advertising revenue
owners, publishers and “Gaining the right insights impact in terms of assisting shares’? “This business model “This is all based on rising
marketers can profit from video from the data obtained is content producers to stay active only works if all partners – the demand. Regarding new
distribution beyond YouTube certainly key to success,” says and competitive? content owner, the publisher and developments, we’ll focus on
and Facebook. On the issue of Jaschke. “At glomex we have a of course the advertiser – profit new features to help publishers
unique monetisation strategies, dedicated team developing our “For content owners, we see in a fair way,” says Jaschke. monetise their websites more
he says, “We see ourselves own tools. They tell every partner glomex as an essential part of “An important prerequisite, efficiently, e.g. with cross-border
as an alternative to the two which content performs best in any production and distribution therefore, is transparency, solutions,” he adds. “Currently
market-dominating providers; an easy-to-use dashboard. process,” answers Jaschke. which is why glomex offers a we are rolling out our new
glomex offers both large and “The content owner has a simple rev share model.” Outstream content plug-in and
small content producers and “Our marketing campaign single partner who takes care we are considering live stream
owners access to a network of says: ‘Turn digital video into real options. Generating efficient
premium publishers, and with new advertising opportunities
little technical effort and no fixed is our driving force.”

theibcdaily Executive Summary 49

Paying Business Transformation
Mark Harrison, the managing possible to become IP based
Mark Harrison and secure. We will never stop
director of the Digital all breaches, because they
Managing Director, are now a way of life, just like
Digital Production Partnership Production Partnership (DPP), we all accept as consumers
Region: UK with credit cards that there is
had a hectic IBC promoting the fraud,” he adds.
Interviewed by: George Jarrett
three technology themes He wanted several things
to come out of the IBC
of cyber security, news session. “There must be the
understanding that partnership
exchange metadata, and IMF between big players can leave
them stronger, not weaker,”
for broadcast and online. Harrison says. “Then there are
approaches to people policies:
He used the session ‘Safety in that cliché about people always
being the weakest link in security
Numbers: Collaborating Against doesn’t have to be so true. We
as an industry must always be
Cyber Attacks’ to promote a committed to best practice.”

new DPP programme and to The culture of the DPP is
to amplify the brilliance of
introduce the first ten companies others. “Where we are lucky
is that companies join the
to sign up to the initiative. They DPP because they want to
get engaged with change, so
are Arqiva, Base Media Cloud, we have the benefit of brilliant
people like Chris Johns of Sky
Dropbox, Imagen, The Farm, (on IMF) leading strands of work
for us,” says Harrison. “It is what
Marshall information Technology, makes the DPP effective.”

Microsoft, Qvest Media, On what he took from IBC,
Harrison switched target. “I don’t
Telestream and TVT. think we have even come to
see the disruption yet. What we
“I hoped this programme will would be very well advised to
do is to look very closely at
apply whether you are a start up the logic of what it is that
consumers are doing, and what
or a global technology company. the problems are that consumers
need to solve.
We found that by testing out
“The old supply-led model of
the proposition with these early the consumer getting what we
gave him has now been flipped
adopting companies, that it is around and consumer behaviour
is what drives the supply
possible,” says Harrison. industry,” he adds. “You have to
be attentive to the way they can
“There are a lot of companies completely shift a trend almost
overnight. Nobody knows,
out there that are very keen including consumers, what is
going to excite them next.
to demonstrate that they
“Look at the capabilities
are prepared to be more of the new iPhone, and how
consumers might choose to
collaborative and work in use some of the tools in their
everyday social media. That
partnership around security,” he is probably where you are
going to see AR really have
adds. “Every part of the supply an impact. It might not even
touch broadcasting, but still be
chain believes another part of huge,” he concludes.

the supply chain is where the

biggest risk sits.”

Harrison is concerned

about a paradox. “On

the one hand we say

adopt connected

services, go to

the cloud, adopt

IP because it

is brilliant,” he

says. “But on

“The old supply-led the other hand
model of the consumer we say oh,
getting what we gave but if you are
connected you
him has now been are vulnerable

flipped around” to cyber

“What are

end users


to believe?

There is now

an obligation

on the supply

side to


that it is

50 Executive Summary theibcdaily

Keynote “My favourite area is
education. The recall
Immersed in level is much higher
entertainment as you use multiple

Rikard Steiber, President of Without distraction, you are senses in your VR
Viveport and SVP of Virtual completely focused. The recall experience”
Reality for HTC Vive, urges level is much higher as you
everyone who hasn’t already use multiple senses in your Rikard Steiber
done so, to try VR. “Then you’ll VR experience.”
understand the impact that it President Viveport and SVP Virtual Reality
will have on your business,” he As for getting the headsets to HTC Vive
asserts. “It’s such an immersive consumers, he says, “Location- Region: USA
experience, like no other based entertainment centres
medium can do today. I believe such as the IMAX VR Experience Interviewed by: Carolyn Giardina
it will have a giant impact on Centers will have VR. We’re also
the entertainment industry as starting to see ‘VR-arcades’
they have great content rights where you can go to experience
that can easily be extended to VR if you don’t have a high-end
VR and AR.” PC. And as we enter the holiday
season, we want to make sure
For mass adoption to happen, we have it priced to reach a
there also needs to be plenty broader audience.”
of VR to watch. “There has
been a lack of content. But now HTC is also looking to further
there’s over 2,000 titles – and expand the price range for VR
more than half are free – on devices. Currently, consumers
the Vive stores,” Steiber says, primarily have a choice of
adding that HTC is currently mobile phone-based systems
collaborating with Warner Bros. (such as Samsung Gear VR) or
on a VR experience based on higher-end systems that require
Steven Spielberg’s upcoming a PC (such as HTC Vive). “Later
Ready Player One. “We are this year we’re launching a
trying to make sure [the industry] standalone VR system, which
creates and delivers more is going to target the middle-tier
high-quality content.” segment of the market,”
Steiber reports.
He anticipates growth of a
wide range of available content He explains that as the
in education, creativity, social industry moves toward more
and entertainment, though at efficient ways to stream media,
this stage, gamers have been he expects higher-quality VR
the primary early adopters. “To content to follow. “We just
make content more accessible entered cooperation with a
we launched the first VR App Chinese cable TV carrier to
subscription service, like an early realise the world’s first cloud VR
Netflix for VR” he says. “When it system to the home, via a set-
comes to drama entertainment, top box powered by Viveport
we’ll move from linear to and HTC Vive,” Steiber says.
nonlinear stories so you can
choose your own path.” Meanwhile, the viewing
technology must continue
Steiber also sees potential to evolve. “One area is eye
for live events such as concerts tracking, meaning the system
and sports. “This can teleport knows what the viewer is
the viewer into the location looking at, and that can be used
to get closer to their favourite for interactivity,” states Steiber.
artist in new ways,” he says. “Also for social interaction,
“My favourite area is education. [so] we can look into each
other’s eyes.”

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