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theibcdaily TV ad models under threat Conference Analysis By Chris Forrester


“The established ad-supported models continue to exist, but they are under threat,” said Bill Scott, COO, Easel TV. He told delegates to IBC’s ‘Who owns the audience now?’ session that while soap opera-type brand- supported broadcasting still had a part to play, the new variations were also extremely


sophisticated in how they were gaining exposure and reaching consumers through video. “These are real threats to the established broadcasting patterns. There’s no doubt that players like Netflix and Amazon,


D’Amato: Brand-owners have the leverage to make a real impact


although modest today, are now commissioning and acquiring content exclusively. It’s small scale today. Tiny, in fact. But will they grow from House of Cards


into a global broadcaster? Might this change from on- demand availability to a more traditional ‘channel’-type of broadcasting business?” Ella D’Amato, MD at award- winning content agency Drum PHD, is one of these new disruptors, working with creatives and brand owners to win new audiences. “We make branded content. Many brand- owners recognise that they are not reaching their target audiences via traditional TV. They are looking instead to create content of value to build relationships with new


customers. Sometimes it means making TV or radio shows, online series, and while this sort of support has always had a


Alexa 3.2K suitable for Ultra HD ARRI By David Fox


ProRes 3.2K, a new recording format that allows easy up- sampling in post to Ultra HD, will be available for the ARRI Alexa in a software update early next year. The Arriraw Open Gate format already allows this up sampling for 4K cinema.


Although ARRI believes that “widespread adoption of UHD/4K post workflows, as


well as availability of UHD displays in consumer homes and 4K projection in movie theatres, is at least one to two years away – even in the most progressive markets,” it acknowledges that producers are already concerned about protecting their work for future developments. The possibilities of high dynamic range (HDR) displays, which it maintains “have an even greater effect on viewing experience than higher spatial resolution”, also have to be considered.


Pushing at Open Gate: Shipman-Müller with Alexa XT


“Alexa can easily accommodate productions that choose to follow a UHD or 4K workflow. The camera’s stellar overall image quality in


role in commercial broadcasting the scale is changing, as are their ambitions.


“Many of the major brand- owners have the scale and the leverage to make a real impact and can become media owners in their own right,” said D’Amato. “They also want to trim their spends in traditional media, and more accurately target their audiences. Perhaps the best examples of this are people like Red Bull and Pepsi. We are working with the likes of Sainsbury’s and to produce a 65-episode series that aired on Channel 4. We worked with comedian Michael McIntyre’s production company on a comedy series for Virgin Holidays which was online and combined input from Twitter and Facebook.” This session can be viewed on demand at www.ibc.org/vod.


combination with ProRes 3.2K or Arriraw Open Gate allows for simple up sampling to UHD or 4K in a quality at least as good as other contenders,” said Alexa product manager Marc Shipman-Müller. “Because of their unequalled exposure latitude and highlight handling, Alexa images are already uniquely HDR-compatible.” Both the Alexa XT and Alexa Classic (with XR Module upgrade) will offer ProRes 3.2K recording, at data rates far below uncompressed Arriraw. Most lenses already fully cover the 3.2K image circle that results from the 16:9 ProRes 3.2K image. 11.F21


ITV supports DPP Smartpanel cracks comms Telestream By Carolyn Giardina


ITV has completed a content delivery modernisation) project with Telestream, which placed Telestream’s Vantage transcoding platform at the heart of the broadcaster’s file-based workflow, supporting the Digital Production Partnership programme. The CMP project started in 2012, with a small Vantage-based transcode farm for production of Coronation Streetand Emmerdalewhen they moved to HD, and as part of that process transitioned from tape to file-based production and post. The Vantage systems were supplied through Telestream’s UK distributor, Boxer Systems. 7.C12


04 theibcdaily Riedel By Heather McLean


Riedel Communications has announced the release of the new RSP-2318 Smartpanel, designed to serve as a powerful multifunctional user interface. Riedel also announced the new STX-200 broadcast-grade professional interface, which brings any Skype user worldwide into the professional broadcast environment, and the Tango TNG-200, the company’s first fully networked platform based on the AES67 and AVB standards.


The RSP-2318 Smartpanel


offers features and capabilities that will enrich the user experience and change the way broadcasters and AV professionals communicate, the company stated. The feature set of the Smartpanel includes three


high resolution, sunlight- readable, multitouch colour displays, premium quality stereo audio, a multilingual character set, and 18 keys in just 1 RU. Thomas Riedel, CEO of Riedel Communications, told The IBC Dailythat the three platform releases marked the start of a new era for platform-based products at Riedel. He explained: “For us these platforms really are a paradigm shift. We are moving away from being a purely hardware driven product company, to becoming a software solutions player; this is the start of platforms for Riedel. “We are, more or less,


mirroring the mobile technology evolution. In the same way that smartphones have far surpassed traditional mobile phones in enriching the user experience, the Riedel RSP-2318 Smartpanel will bring broadcast workflows to a whole new level,” he added.


Sky upgrades Mistika suites


Sky Production Services in the UK has upgraded its 4K- capable SGO Mistika suites to boost its colour grading and finishing services. Sky now has additional capacity to host multiple client platforms from their Mistika systems which have their own localised storage for realtime 4K playback, but also integrate with their large near-line storage infrastructure, supported by several background render nodes. Said Sony’s Cara Cheeseman: “We have consolidated and upgraded our systems, which also include the addition of 4K grading monitors from Canon. Our Mistika systems serve as our client-focused colour grading and finishing suites.” 6.A11


theibcdaily


EDITORIAL Editorial Director Fergal Ringrose


Managing Editors Melanie Dayasena- Lowe, Adrian Pennington, Andy Stout


Reporters Kate Bulkley, Michael Burns, Chris Forrester, David Fox, Carolyn Giardina, Monica Heck, George Jarrett, Heather McLean, Ian McMurray, Will Strauss, Catherine Wright


Website/Social Media Writer Neal Romanek


Photographers James Cumpsty, Sander Ruijg, Chris Taylor


Web Videographer Tim Frost


IBC Chief Executive Officer Michael Crimp


SALES Publisher Steve Connolly Tel: +44 (0)20 7354 6000 Email: steve.connolly@intentmedia.co.uk


Sales Manager Ben Ewles Tel: +44 (0)20 7354 6000 Email: ben.ewles@intentmedia.co.uk


Sales Executive Richard Carr Tel: +44 (0)20 7354 6000 Email: richard.carr@intentmedia.co.uk


US Sales Michael Mitchell Tel: +1 (631) 673 3199 Email: mjmitchell@broadcast-media.tv


ART & PRODUCTION Head of Design & Production Adam Butler


Editorial Production Manager Dawn Boultwood


Senior Production Executive Alistair Taylor


Thomas Riedel says Smartpanel marks the beginning of a new era


Meanwhile, the Skype STX-200 meets broadcasters’ increasing need for a reliable single-box solution that enables them to engage both reporters and viewers in live programming. Collaborating with Microsoft, Riedel now has access to Skype TX which was developed by Microsoft specifically for the needs of the broadcast industry. 10.A31


Page Design Adam Butler


Page Design at show Dawn Boultwood, Jat Garcha


Managing DirectorMark Burton


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