Asia-Pacific Broadcasting (APB) January-February 2017 Volume 34, Issue 1 | Page 8

8 NEWS & VIEWS
January-February 2017

Take a deep dive into IP this May

SINGAPORE – Broadcasters are under increasing pressure to produce more and more content at lower costs , even as they look for more effective ways to interact with their audiences .
This is why , suggested Phan Tien Dung , technical director , Vietnam Digital Television ( VTC ), broadcasters will continue to look at full-IP and software-based systems in 2017 .
While potentially making programme production faster and more flexible , these systems can also provide a platform for broadcasters to gather more in-depth feedback on what content their viewers want — with the provision that audience measurement metrics for video content across platforms and devices are made available .
Phan told APB : “ This will help content producers , advertisers and media planners make better decisions about developing content and allocating resources .”
With a focus on digital content and its delivery over all platforms , VTC will be investing in more IPbased production equipment and solutions for its over-the-top ( OTT ) operations this year , Phan revealed , although he stressed that a hybrid deployment of IP / SDI remains the best investment bet — for now .
For Malaysia ’ s Media Prima , the integrated media company sees the need for “ large-screen ” content in 2017 . These , explained Dr Ahmad Zaki Mohd Salleh , group GM , engineering , Media Prima , include 4K / Ultra HD ( UHD ), high dynamic range ( HDR ) for HD and high frame rate ( HFR ) for sports . “ We may start to produce in 4K / UHD but not in large quantities due to limited resources and expertise ,” he added .
What role will IP then potentially play in this ecosystem ? Dr Zaki answered : “ Although I am a strong proponent of IP-based production , I feel that it is a little too early for us to implement IP production on a large scale for the moment .”
This is a sentiment shared by many broadcasters across Asia- Pacific and is perhaps justifiable , considering the many issues that need to be addressed before IP can be fully embraced . Or is it ?
In a bid to further alleviate the concerns surrounding IP , APB , in collaboration with Singapore Exhibition Services and systems integrator Ideal Systems , will be setting up a Broadcast IP Inter-Op Lab at BroadcastAsia2017 this May .
The lab , which will showcase what is working in IP today and highlight interoperability between different manufacturers , will offer hands-on approach of working on an all-IP ecosystem . It will include a live broadcast studio , content editing and distribution to OTT platforms , all in real-time IP .
The lab is also endorsed by the Asia-Pacific Broadcasting Union ( ABU ), where IP in production and interoperability issues will be “ hot topics ” in the coming years , said Dr Javad Mottaghi , secretary-general , ABU . “ ABU is happy to endorse this event and we believe this will provide an opportunity for ABU members to experience the deployment of IP in broadcast media , including production .”
To find out how you can participate in the IP Inter-Op Lab at BroadcastAsia2017 , turn to page 4 for information and contact details .

HDR a good creative tool to help tell stories

1 8
good training tool to tell stories ,” he added .
Another cinematographer Kelvin Chew , highlighted how HDR is enabling him to make certain creative decisions while utilising the additional headroom for exposure . One example he gave was skin tone , where HDR opens up the ability to bring out the lighting and details on the skin .
He continued : “ HDR equips us with a new creative tool , yet also makes us quite ‘ naked ’ because
Dr Javad Mottaghi , secretarygeneral , ABU : IP in production and interoperability issues will be “ hot topics ” in the coming years .
cameras used to be a lot better than our displays . There was a lot of room to hide around previously , and we could fix it during post production .
“ But with expanded range , the size of the display and the size of camera capture , it doesn ’ t allow us to hide anymore so we have to start rethinking on the techniques that we have been using when working in our current colour spaces .”
Besides using HDR for storytelling , Mocha Chai Laboratories ’ colourist , Chen Junbin , suggested that this technology can also be

Deviate , transform & collaborate to thrive

1 8
or service providers , listed efficiency as the top priority in their spending , followed closely by total cost of ownership , support and interoperability .
Disruption , and how to embrace it by transforming businesses , was a recurring theme during the conference , where Corey Bridges , CEO of LifeMap Solutions and a co-founder of Netflix , observed : “ It ’ s a tumultuous , turbulent time in technology , but there is huge opportunity — keep your head in a swivel .”
Fortunately , change , and the challenges it brings forth in 2017 , is not dampening the general mood of optimism , said Peter White , CEO of IABM , as he reported : “ Despite all this change , end-users remain optimistic , with 70 % expecting either to increase or stay level on advertising revenues and 78 % on subscription revenues .”
And it would appear that this is a sentiment shared by broadcasters across Asia-Pacific , as APB found out .
Shaped by a number of world events , the only certainty in 2017 is likely to be uncertainty , mulled Guillaume Sachet , head , strategic planning , Mediacorp , Singapore .
Mainstream players will continue to face disruption and increased pressure , as both local and global competitors target previously uncharted territories .
Yet , there are opportunities , as Sachet explained : “ In an uncertain environment , where fake news is proliferating , people will need reassurance and confidence , and which they will only find in trusted brands like Mediacorp .”
The continuing fragmentation of traditional TV viewers to alternative content platforms such as Netflix , is shaping a decline in audience and revenue . This , however , is also crystallising the “ significant innovation ” required from both a content and operational perspective , said Andrew Anderson , head of broadcast , operations , Seven West Media , Australia .
Therefore , while reducing the
cost of production and operations is a priority , another key goal for Seven is to create exclusive , compelling local content , Anderson extolled .
This , he believes , is the only way for broadcasters to compete with the likes of Netflix , who have budgets broadcasters simply can only dream about .
“ Audience retention in today ’ s world is more and more difficult as choices have grown … We will seek to continue to approach the ‘ any screen ’ ideal and expand our business to a ‘ total video ’ concept that is not tied down to a single platform or screen .”
In an increasingly crowded marketplace , broadcasters need to address how they differentiate themselves from their competition , advised Bernard Anthony , CEO of Cambodian Broadcasting Services ( CBS ).
In Cambodia , for example , there are already 17 free-to-air ( FTA ) channels , with two more scheduled to launch this year . “ Existing channels are finding it difficult to compete in this overcrowded space ,” Anthony lamented , although he is quick to point out how this is compelling broadcasters to react , in terms of embracing new technologies and identifying what best works for their audiences .
He added : “ In 2017 , CBS and CTN ( Cambodian Television Network , a channel operated by CBS ) will be focusing on rebuilding and reshaping its core capabilities — building on our own production and dramas , and providing highquality programmes .
“ Engagement and quality programme offerings remain the key driver of audience retention .”
Dr Ahmad Zaki Mohd Salleh , group GM , engineering , Media Prima , Malaysia , warned that 2017 can “ turn ugly ” very quickly for broadcasters if they are not ready for the “ continuous onslaught ” from alternative digital platforms .
“ Traditional broadcasters will have to take drastic measures to improve efficiency ,” he explained . “ New digital players with extremely lean operations will be increasing in numbers , offering niche and tailored content .”
While the revenue base of these new players will be small in comparison with traditional broadcasters , this is offset by high operational efficiencies that the latter will find difficult to match .
Outsourcing thus will be the new order of the day , with broadcasters no longer owning expensive infrastructure and resources .
Instead , expect automation and scalable infrastructure , such as cloud and virtualisation , to be widely adopted , predicted Dr Zaki .
Like many of his peers , he sees an opportunity to retain audiences through the creation of good quality and relevant local content … as lifestyle changes demand device flexibility and time-shifting . “ And as viewing behaviour continues to evolve , so too must broadcasters ,” said Dr Zaki .
The power audiences today exert over what content they consume will be even more apparent in 2017 , reiterated Mediacorp ’ s Sachet . “ How do you make them feel special , and how do you answer their call for personalisation ( of content )?” he asked .
While Mediacorp is accelerating the adoption of virtual reality ( VR ) and 360-degree technologies across its content production value chain , this will involve stepping beyond technology . Sachet reiterated : “ We need to focus on offering a unique experience that will make all our customers feel special . This will require unique , local and the highest quality content .
“ This will also involve a deep and thorough understanding of our customers ’ needs and wants through gaining customer insight .”
Perhaps , the most thoughtprovoking thought came from Tom Griffiths , director of broadcast and distribution technology for the UK ’ s ITV , at the IABM conference : “ A great-looking picture without compelling content is a waste of time .
“ Quality is about the whole viewing experience , not simply just picture quality and higher resolutions .”
From left : Mocha Chai Laboratories founder Chai Yee Wei , colourist Chen Junbin , and independent cinematographers Kelvin Chew and Lim Teck Siang shared their experience working in an HDR ecosystem at a recent HDR workshop organised by Mocha Chai Laboratories and Sony . used for advertising as it not only brings out the details of the person or an object , but also the texture and colours that the advertiser would like to highlight .
While many associate HDR with 4K / Ultra HD ( UHD ), one can also integrate HDR into HD workflows , thereby enhancing the quality of the end-product .
However , Lim explained that 4K / UHD represents a more natural progression from HD , as it is more lucrative for TV manufacturers to produce 4K / UHD TV sets .
Chai Yee Wei , founder of Mocha Chai Laboratories , concluded : “ 4K / UHD visually does not seem like a big jump from HD , but with
4K / UHD HDR , viewers will have more reasons to change their TV sets than just 4K / UHD alone .”