This page contains a Flash digital edition of a book.
February 2014

By the end of 2014 I don’t think any of us will be using the term ‘second screen’. We’ll just be making new TV

Every second screen design is unique and requires a thorough thought process. I expect a lot coming from custom fit solutions embedded in the ‘first screen experience’, social media channels — Twitter, Facebook, and new entrants in the TV market. Flynn: The next big thing on the most appropriate shows will be viewers interacting in a much more direct way with the programme itself. Seeing how they can change the TV show as it is broadcast. Whoever gets that right just might have the next hit. Grant: The established social media networks have evolved as the second screen destinations of choice for people adding an extra layer of enjoyment to shows. I think TV stations will begin to understand the opportunity — and the threat of not acting — and will create and market their own companion viewing apps and move beyond show specific apps. McDonnell: There will become a

clearer distinction between organic social activity — like tweeting a funny opinion — and authentic, producer-led interaction with the core of a show. The tools are becoming easier to use, the technology lower in cost and less daunting. By the end of 2014 I don’t think any of us will be using the term ‘second screen’. We’ll just be making new TV. Missul: In the future, second

screen applications will be sold directly with the programme by the producer. Plunkett: The fact that two

(or more) screens now inhabit the living room for many viewers does suggest there could be a marriage of the two. The benefits of such a combination seem, at least on paper, to be very compelling. I think, given time, the second screen will establish a role in television viewing. But to get there, the television set and the content it presents will need to truly embrace this model, too. Rose: Well, in the long term

there is no first screen or second screen — there’s just a place where the video plays, and a place where you interact. Sometimes the video plays on a big screen and you conveniently interact on a device in your hand. Sometimes the video and the interactions will be on the same device — that’s going to be huge with the arrival of TV Everywhere. And, increasingly, the results of everyone’s interactions are going to be fed back into the video, or even into the show itself. Or overlaid by your TV or set top box. I don’t know who came up with the phrase ‘second screen’, but it’s always described a technical implementation rather

than an experience. I prefer the term ‘participation TV’. The important thing is that there will be a lot more social interaction around TV shows, and this will become more and more integral to the show. Schroeter: Screens will be

interchangeable. People will turn on their TV through their second screen as a remote control, then read emails on the second screen while watching TV, get statistics about the football player they see on TV, then ‘move’ the TV channel to the second screen and finish watching the game in bed. Terpstra: We are only at the beginning. We believe that viewers want a seamless journey across multiple devices in multiple environments. Whether you change device or move location, the viewer desires one continuous experience. Operators and advertisers will need to deliver on this desire. Advertising opportunities will become much more sophisticated. Instead of developing multiple stories on every screen or repurposing the same advert on a variety of screens, advertisers and broadcasters will start creating native adverts that will follow the viewer across screens. We will see a lot more TV-synchronised content and ads with a strong focus on storytelling and

TVBEurope 31 Second Screen Forum

consumer engagement. The TV set and mobile devices will be intrinsically linked.

“The TV world

is very conservative — producers and

broadcasters behave like dinosaurs when

it comes to the internet.

Advertisers will drive the change. At some moment in time they will force producers and

broadcasters to give

them far better return on their money” Guido Dukker, Webrangers

Lights, camera, action

Argosy is a leading global supplier of HD broadcast cables and infrastructure products.

Its proven portfolio of products includes a complete range of best-in-class reliable video, audio and power cables, connectors, fibre optic solutions, routing switchers, patch and termination panels, rack systems, KVM switches as well as an array of video accessories.

Key Argosy products supporting fixed studio facilities include:

 custom wall boxes for studio terminations  cables with LSOH & Plenum rated jackets that meet strict fire & safety requirements

 soft jacket microphone cables and professional grade connectors ideal for studio applications

 customised Triax & SMPTE camera assemblies available in custom sizes

 Universal Triax connectors allow interminability between Lemo & Fisher types.


CABLES CONNECTORS PATCH PANELS MDUs RACK SYSTEMS FIBRE/HYBRID CABLES ROUTERS VIDEO ACCESSORIES Argosy products are available from stocks at locations in the UK, UAE, India and Malaysia


t: +44 1844 202101 f: +44 1844 202025 e:


Technicolor and Dreamworks launch streaming service Technicolor has partnered with Dreamworks Animation to launch the M-GO 4K pay-as-you-go streaming service on Samsung UHD TVs. M-GO will feature a wide selection of 4K theatrical hits and TV shows from Hollywood studios and networks to be made available to consumers the earliest they are released digitally. With M-GO, the companies aim to offer multiple ways to get access to premium Hollywood content and deliver consumers expanded choice and a larger content library to enjoy in 4K viewing with reduced bandwidth requirements of 3mbps for up-scale to UHD. For content not authored or post produced in 4K, Technicolor and M-GO’s 4K Optimized solution leverages the source files from its licensed content partners and reprocesses them to enhance the visual crispness, colour acuity and image depth for 4K television owners. M-GO’s solution generates files that are customised for specific upscaling chips embedded in TVs. “M-GO and Technicolor are working very closely with our studio partners, chip manufacturer partners and Samsung to deliver on the full 4K promise not just more pixels, but better pixels,” said John Batter, CEO of M-GO.

See Argosy at BVE London

Stand no. N62

Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60