NATURAL LIGHT The stuff you don t see. STEAMY SCENES Shooting in the dressing room. SUMMER STREAMING Capturing anything under the sun

Transcription

1 ISSUE 126 JULY / AUGUST 2017 STEAMY SCENES Shooting in the dressing room REVIEWED: CANON CN-E 18-80MM T4.4 SERVO ZOOM STORAGE INFRASTRUCTURE FOR 360 VIDEO PRODUCTION THE PERFECT STORM... AND BROADCAST IS AT THE CENTRE OF IT IP BASED REMOTE PRODUCTION - FIRST INTENTIONS COUNT NATURAL LIGHT The stuff you don t see LET THE FANS FACE THE MUSIC - LIVE SUMMER STREAMING Capturing anything under the sun

2 X Welcome ISSUE 126 JULY / AUGUST 2017 Magazine Office: 9F Lambourn Business Park, RG17 7RU Switchboard: +44 (0) Editor: Simon Tillyer, simon@tv-bay.com Production Editor: Matt Robbins, matt@tv-bay.com Advertising: advertiser@tv-bay.com Accounts: Lucy Pittock, lucy@tv-bay.com Events: show@kitplus.com Subscriptions: subcribe@tv-bay.com Design and artwork: John Fryer, john.fryer@fl ytrapltd.co.uk Back copies: Online at: kitplus.com/magazine Hard copies available from the offi ce on request. Website: kitplus.com Whilst every effort has been made to ensure the accuracy of all advertisements and other items in this publication, TV-BAY can accept no responsibility for any errors or omissions or incorrect insertions. No part of this publication may be reproduced without the written permission of TV-BAY. E&OE Terms & conditions available at: kitplus.com/terms_and_conditions Copyright tv-bay Limited All trademarks acknowledged. A very big welcome to this issue in more ways than one. If you ve been hunting round for the June issue then worry not, we ve made the magazine somewhat thicker and it is now bi-monthly. Why you might ask? After 125 issues we decided that change needed to happen. In the words of Winston Churchill To improve is to change; to be perfect is to change often and whilst we will never be close to perfect we always want to improve and give the best experience to our readers, contributors and advertisers which we know will come about by the changes you re about to see! Print remains the preferred way to read articles and whilst online news stories appear by the second the printed word is something people want to pick up, put down, share, leaving laying around, take to bed and generally get absorbed in. Finding time to indulge in this medium is harder for everyone. That s where we ve made the change. A bi-monthly allows you to dip in and out and with the 50% of extra added content you ll certainly be kept absorbed until the next issue thumps on your door mat! We do hope you like it. Cover picture credit: GHOST IN THE SHELL Scarlett Johansson plays The Major in Ghost in the Shell from Paramount Pictures and DreamWorks Pictures in theaters March 31, Cover Photo Credit: Paramount Pictures 2016 Paramount Pictures. All rights Reserved. We ve also taken a fresh look at how we lay out the content and you will see 5 editorial sections presented to include relevant news, reviews and articles in each area of the workfl ow. No matter where you work in the industry there will be something relevant for you. We ve also scrapped the idea of feature issues, the industry is moving so fast these days that we want every issue to be relevant, up to date and as diverse as possible. I ll fi nish with another quote, from one of our regular contributors, which anyone over the age of 40 will relate to, in the 1980 s what I learnt lasted me 10 years, what I learn now lasts only 10 months. The need to change and keep learning has never been greater and we hope the KitPlus Magazine can play a small part in your journey. Enjoy the issue Simon Tillyer +44 (0) kitplus.com Streamline your broadcast workflow Draco tera KVM switches connect operators to vital production equipment with no transmission delay. IHSE GmbH - Headquarters Maybachstrasse Oberteuringen Germany IHSE GmbH Asia Pacific Pte Ltd 158 Kallang Way #07-13A Singapore IHSE USA LLC 1 Corporate Drive Cranbury, NJ USA ihse.com info@ihse.com KITPLUS MAGAZINE - ISSUE 126 JULY / AUGUST

3 BRIAN ELDREDGE WAZEE DIGITAL CAPTURE & PRODUCE - LIVE PRODUCTION HOW A LIVE EVENT SERVICE CAN TRANSFORM PRODUCTION OF LIVE SPORTS & EVENTS 54 KITPLUS MAGAZINE - ISSUE 126 JULY / AUGUST 2017

4 There is an overwhelming amount of content being recorded by sports broadcasters and digital services teams. A broadcaster might capture hundreds of hours of content over the course of, say, a golf tournament, yet only a fraction of that content makes it to air. But what about the rest of it, such as interviews, scenic shots, promos, and behind-the-scenes footage? Too often, priceless moments that don t make it into the broadcast get left on the cutting room fl oor because they re either not preserved or the right people can t access them, or both. Compounding the problem is that sports broadcasters and rights holders often run duplicate workfl ows in parallel. For example, a sports-governing body s communications, digital, and video services teams all might be after the same piece of content to use for different purposes. Communications wants to capture and upload a clip to its FTP site for an end user, while the digital team grabs the same content and posts it to social media, and video services saves it to a fi le-hosting portal for delivering to the host broadcaster. When a single video gets replicated in several places, and no one is communicating or using the same workfl ow, obvious ineffi ciencies result. On top of that, the way people consume sports media has evolved. Rather than spending hours watching an entire round of golf or a baseball game on TV, viewers would rather catch the highlights through a digital platform, such as an app, an OTT service, or social media. Fans want a brief glimpse into the score and status of the event while using video highlights to gain context. This change in viewing habits places new importance on highlights production and real-time data. All those factors lead to one conclusion: Host broadcasters need a way to consolidate workfl ows and centralize access to content, so all stakeholders can fi nd and use it whenever they need to for whatever purpose. The solution captures every moment even ones that don t make it into the linear broadcast so video services teams can create highlights and distribute them quickly, while at the same time archiving them for ease of use later. CAPTURE ONCE, ACCESS FOR MANY The idea behind a live event service boils down to the simple concepts of centralization and capture once, access for many. By capturing the content once; storing it in a central, easily accessible location; and making it available to any stakeholder who needs it, media organizations eliminate ineffi ciencies and make better use of their content during and after the event. THE THREE PILLARS OF A LIVE EVENT SOLUTION 1. Archive Preservation Key to a live event service is archiving. As the event is being fi lmed, every moment from every source is ingested into a cloud-based digital asset management (DAM). From there the content is tagged and saved in the cloud-native DAM, where it will be searchable and shareable for future generations to discover. Behind the scenes, live event technology within a DAM ecosystem, integrates into the host broadcaster s on-site network as far upstream as possible to gain access to all camera streams. Integrating the technology at the source means the content can be captured one time and used for many purposes by many people. 2. Cloud Access and Distribution Once the content has been ingested and archived in the cloud, it is available immediately for dynamic viewing, production, and distribution using cloudbased acceleration. The idea is to give permissioned access to the people who need it such as internal stakeholders, broadcast partners, and sponsors with the aim of getting content out of the compound as quickly as possible during the event (and making it easier to use later). Cloud access and distribution happens through a centralized, web-based portal tied to the cloud-native archive - serving as a central access point through which users can acquire, enhance, and distribute media gleaned from the live event. The portal allows any authorized users to interact with the content in real time as if they were sitting in the broadcast compound, even though they might be thousands of miles away. One option is a live event service that combines a real-time access and distribution cloud platform and a services team well versed in archiving, workfl ow customization, and highlights production during live events. Such a service would make it much easier for rights holders to capture, amplify, and monetize the most compelling moments in sports and live events. KITPLUS MAGAZINE - ISSUE 126 JULY / AUGUST

5 CAPTURE & PRODUCE - LIVE PRODUCTION HOW A LIVE EVENT SERVICE CAN TRANSFORM PRODUCTION OF LIVE SPORTS & EVENTS CONTINUED 3. Highlights Production A true live event service provides an on-site team that handles all content capture, upload, management, metadata, and user support during the event. Considering the signifi cance of highlights in today s world of bite-sized digital viewing, highlights production is an important part of what the on-site team does. The team curates the video as it is coming in and works closely with on-site producers to make insightful and informed editorial and production decisions about how to use it. Once complete, the highlights are delivered to the client for syndication through the client s website, app, or other branded platform or digital channels. Real-time scoring data is a critical component of highlights production. At sports events, especially golf or tennis tournaments, there are so many shots or plays occurring simultaneously that it s extremely diffi cult to stay on top of everything in real time. A live event service powered by a DAM platform, uses a standardized metadata schema that integrates with scoring-data providers to allow robust, timelinesearchable metadata on site and in the archive. That means both the on-site team and remote operators can rely on instant scoring data to zero in on the moments that resonate with viewers, and a single producer can track, manage, and make better decisions more quickly in a fast-paced live-production environment. THE BIG BENEFIT A live event service taps into a broadcast network, gathers content in real time, and accelerates that content into the cloud, where it becomes accessible through the web by anyone with permission. From there, content is transcoded into multiple formats that various end users can accept. Meanwhile, on-site teams create highlights that meet fans where they are... on digital platforms. In using such a service, broadcasters and sports rights holders can expand the reach and lifecycle of their content, get it to the right people at the right time more quickly and effi ciently, and ultimately open more opportunities for monetization and fan engagement. 56 KITPLUS MAGAZINE - ISSUE 126 JULY / AUGUST 2017