theibcdaily The cost of the cloud Conference Analysis By Kate Bulkley
A straw poll in the session on ‘The Cloud and Broadcast TV’ found that only a handful of broadcasters are not yet using some kind of cloud capabilities, but the weight of the usage is in preparation and distribution of content and not on production, particularly for live events. “We use cloud throughout the
production chain. We aren’t religious about it,” said Paul Clark, technology controller, online, pay and interactive at ITV in the UK. However, ITV has “stayed away” from using the cloud for file asset management, which the company is moving to entirely this year. All content files will come in DPP format at 120 Mbps. “If we were to try and manage those master assets in the cloud the time it would take would be prohibitively expensive for us.”
This is particularly crucial for big live entertainment shows like
Recording 4K video Panasonic
By David Fox
The X Factorand I’m a Celebrity…shows that need to be turned around and available for a range of platforms including the ITV Player. So ITV
transcodes them on an owned site and distributes from there. “This is the hardest nut to crack,” said Clark.
Sky also uses mostly a hybrid strategy in relation to the cloud. Some 50% of Sky’s set top boxes are connected and there is a big focus on monetisation services and serving live content to its subscribers. “Our customers love our content and they tend to love it at exactly the same time,” said Matt McDonald, director of broadcast services, BSkyB. “Scaling in live sport for example is massively important to provide that elasticity. And we don’t want to build for the peaks of usage, so we use private cloud for normal throughput and public cloud for the overflow and the big (usage) peaks. It’s very important from an economics perspective.” Sky, ITV and Viaplay in
Sweden all see demand for their
4K monitor legacy Apantac
By Michael Burns
Crystal clear: Panasonic’s new HC-X1000 4K camcorder with 20x Leica zoom lens
The HC-X1000 Ultra HD 4K camcorder is the first Panasonic prosumer camcorder that can record 4K 60p/50p video on an SD card.
It has a compact Leica Dicomar 20x optical zoom lens and a new backside-illuminated 1/2.3-inch sensor, with high- speed Crystal Engine Pro 4K LSI processing and a new noise reduction system. The HC-X1000 can record both UHD (3840x2160 at 50/60p) and Cinema 4K (4096x2160 at 24p) in MP4 at up to 150Mbps (50/60p) or 100Mbps (24p), as well as AVCHD (1080p up to 28Mbps) and .mov or MP4 in HD, which can use all-Intra compression for a maximum bit rate of 200Mbps. 9.C45, 9.D40
102 theibcdaily
A new family of 4K converters is making its European debut at IBC, aimed at displaying UHD sources on inexpensive monitors. Part of Apantac's Crescent line of signal processing solutions, the company said the converters offered an ideal solution for 4K broadcast and mobile production, as well as many other on and off-set monitoring and conversion applications. The Micro-4K mini converter down-converts four 3G-SDI signals from 4K/QFHD equipment at 50, 59.94 and 60 Hz. The Micro-4K four 3G-SDI inputs are down-converted to both HDMI and SDI simultaneously, with outputs up to 1080P. The company said UHD sources could thus be affordably viewed on inexpensive LCD monitors or routed in existing 3G infrastructure. The Micro-4K allows users to select one SDI embedded stereo audio pair and embed it on the SDI and HDMI outputs. Also new, the Micro-4K-DP is a 4K to Display Port 1.2 converter. 8.E37
services from a growing number of devices. “People’s expectations are extremely high right now and so we have to decide where the cloud is applicable,” says McDonald. Solving these demand
problems is going to get more important as broadcasters move toward 4K quality video and the economics and the capacity of the cloud are still issues. “Moving a lot of what we do today into the cloud would be horrendously expensive,” says McDonald. “It’s all well and good building out cloud native applications but for vendors they
have to find a commercial model that takes advantage of that.” Total online traffic for the
World Cup rose 71% between 2010 and 2014, underlining the rampant growth in online video, according to statistics from streaming provider Akamai and that rate of growth is something that is not confined to live football. “This is the kind of growth rate we see across our platform in general,” said Tom Leighton, CEO of Akamai. “Quality, at scale and at low cost are real drivers and we have a lot of our company working on that. We call it the ‘grand challenge’.”
BBCW chooses Media Factory
Globecast
BBC Worldwide (BBCW) has entered into a long-term partnership with Globecast to provide content preparation, playout and distribution services for up to 30 channels globally. Globecast will be the primary technical partner for these services, handling channels that were previously supported by multiple service providers across multiple regions. Moving the whole operation to a single service provider means a more cost-effective, flexible and efficient playout and distribution workflow than would have been possible with the current multitude of separate providers, according to Globecast. BBCW is taking advantage of Globecast’s newly-announced Media Factory, a unified, converged workflow to prepare and playout content. It provides a dedicated web portal enabling more efficient and secure orchestration of content preparation by the broadcaster, Globecast and selected partners. The web portal will allow BBCW to track the progress of content through the
Olivier Barberot: “Partnership is testament to our highly evolved media management capabilities”
In Brief
FCC access for Anvato TV Everywhere platform provider Anvato recently announced that its turnkey video platform is fully compliant with the latest FCC closed-captioning mandates, as per the agency’s 11 July ruling regarding online broadcast of short-form clips that aired on television. Anvato’s technology makes multi-language captions compatible with both desktop and mobile devices, as well as customisable and searchable in the video player. The platform provides an end-to-end closed- captioning solution that supports more than 180 languages and all popular text file formats. Using a combination of in-band and out-of-band ingest methods, all live and on-demand content managed in the Anvato platform can support multi-language captioning data.
When a file for a specific language is added to the media content platform, the language instantly becomes available for users to select in the player’s closed caption menu. The use of on- premises and cloud resources also enables broadcasters to caption back-catalogue content for compliance with the regulation that begins phasing in 1 January 2016. 14.C02
MPEG-DASH and surround sound
castLabs is demonstrating its video player applications. Based on its end-to-end MPEG-DASH solutions for creating, protecting and playing content, castLabs will be showing DASH playback technology for various platforms, including iOS, Android, Chromecast and browsers.
workflow, providing a live service health dashboard for playout and global channel distribution. “This major partnership with
BBC Worldwide is testament to both the power of our distribution services and our highly evolved media
management capabilities,” said Globecast CEO Olivier Barberot (pictured). “We are very proud that they have chosen to extend the relationship between our two companies in such a comprehensive way.” 1.A29
Also on show is the DTS Headphone:X surround sound innovation built into castLabs’ video player SDK for Android. An UltraViolet player app will be on display for iOS and Android devices. castLabs enables secure video playback using its cloud-based DRMtoday service. It streamlines DRM for digital video, allowing multiple DRM systems to be easily adopted from a single source. 14.K02
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