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BUILDING A DATA-INFORMED CULTURE BY ADRIAN PENNINGTON
Data is gold when it comes to driving monetisation and stemming churn in OTT, and critical if SVODs are to navigate to ad-supported tiers. “There’s a big sea change as SVODs look to build AVOD models,” Marie Fenner, SVP of Analytics, EMEA at Piano IO, told a Showcase Theatre session. “Businesses need the ability to deploy complex personalised strategies designed to acquire, engage and retain customers in an increasingly competitive marketplace.” Piano’s analytics and activation tools are being used by France TV, Canal+, BritBox and UKTV. “The more information we can get on our users, the easier it is to ID segments that advertisers
want to target,” said Andy Isaacs, Head of Data & Analytics at UKTV. “We’re now at the point where we are directly matching advertisers with email lists.” Isaacs admitted: “We were very inexperienced before Piano’s experts came in. They explained the process of how to generate more value from our data in a way that we understood. They helped design data models and essentially got us to a point of higher data literacy.” Broadcasters and SVODs are awash with data, from user consumption to CRM, but don’t necessarily know how to maximise it.
Among the insights that could be generated is on the 40% of users who do not consume a service’s content every day. Of those so-called ‘sleepers’, 30% exhibit a high propensity to cancel (churn).
(L-R): Moderator Ben Keen; Andy Isaacs, UKTV; Marie Fenner, Piano IO
“If you can identify the sleeper, you can present them with cheaper ad-supported options to lure them back to the service,” said Fenner. “The water cooler moments giving content buzz have been diluted due to remote working. You can recreate that in a social media environment to retain loyalty.”
By far the most expensive capital
CLOUD EDITING IS NOW IN CNA’S DNA Qvest BY DAVID FOX
Like many broadcasters, the pandemic drove Singapore- based Mediacorp to the cloud for production of its Channel News Asia (CNA). It turned to an existing supplier, Qvest, to provide cloud editing.
The new system has been in use since anuary starting with fi e clients, now rising to 50. CNA editors can work more fl exibly
remotely, using highly integrated cloud editing workstations, based around Adobe Premiere Pro, with central cloud management via the Qibb integration platform, and Amazon Web Services used for its infrastructure. It has a Teradici connection, for high quality at low bandwith – “even the colour correction guys are comfortable with it”, said Thomas Müller, Qvest CTO. It also uses LucidLink storage and Helmut for project management. Qvest is currently adding Vizrt integration.
expenditure in broadcast is on content, with costs ranging from $2 billion to $20 billion a year. Fenner said: “Only 20% of a content library is being used and monetised. That is where content recommendation and personalisation come in to drive monetisation of a greater portion of content. Data is the key.”
The next step will be to have MAM, project management, graphics and remote editing in the cloud. “With cloud projects it’s not a one-time shot, you are with them for a long period,” he said. Qvest has been getting interest from others in going the same route, but each customer’s workfl ow is different. ts like a recipe where you can change the ingredients,” he added. Speakers from Mediacorp and Qvest will share more about the project in the Adobe Theatre
Müller: ‘With cloud projects it’s not a one-time shot’
(stand 7.B35) today at 15:00 and tomorrow at 16:00. 10.C25
IP-MESH BACKBONE CENTRALISES CONTROL OF WIRELESS DEVICES Domo Broadcast Systems BY DAVID FOX
DBS IP-Mesh Backbone lets broadcasters centralise control of their wireless devices on a single RF channel.
The new solution allows
production teams to monitor the performance and connectivity of wireless assets from one central location, from any node in the
which improves on rigging time, reduces the weight of camera units and decreases the amount of kit transported. he easytoconfi gure system
Major Domo: Putting Backbone into low-latency IP-Mesh connections
network via any common web browser. It means that less kit needs to be attached to cameras,
promises simplifi ed workfl ows and reduces RF channel needs to a single channel. While broadcasters’ wireless camera video links can be handled by one of Domo Broadcast Systems’ conventional COFDM systems, everything
else wireless is handled by one centralised system via the DBS IP-Mesh Backbone. t uses a fl uid selfhealing self-forming, bidirectional mesh architecture that allows transmitters to exchange and relay the highest quality video and data with ultra-low latency.
Its range can be extended by using repeaters or other mesh-enabled assets. 10.D40
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