March 2017 MANAGEMENT 21 and call for flows
to fight against advertisement fragmentation , mainly via local ad insertion , Monteverde reports .
One of VSN ’ s key focus in 2017 , he adds , is to provide the ability to interface more social media platforms and third-party OTT platforms within VSN- EXPLORER BI .
“ We expect to have a higher demand on the VSNEXPLORER BI platform associated to longform programmes , once the mobile strategy is further developed by broadcasters and advertising agencies . The OTT platform and ‘ on-the-go ’ media consumption enables smarter association with audiences , providing enriched metadata of the subscriber , such as location , gender or age range .”
Where broadcasters may be used to having full control over the output format of their content , material management for a video-ondemand ( VoD ) service is “ significantly different ” from man aging material for traditional linear TV , suggests Michel Beke , SVP , product strategy , MediaGeniX .
“ For VoD , the video format needs are so diverse that most broadcasters have chosen not to change their internal video formats to the needs of VoD services ,” he observes . “ Instead , they transcode the available video material to the required VoD file format . Often , multiple video files in different formats are created to comply with the needs of every platform operator , online video shop or website that serves the broadcaster ’ s content .”
This is a costly endeavour because broadcasters need to pay for transcoding processing power and for storing files so they can then be delivered to the VoD platform .
The dilemma thus arises , Beke asserts . Do broadcasters store the transcoded files so they will be reused , or do they transcode the files from a single broadcast-quality file every time they are needed ?
The choice lies between storage space or the more expensive processing power , he says , explaining : “ In practice , the optimal choice is different for every broadcaster as it mainly depends on their business model . The deciding parameter
Michel Beke , SVP , Product Strategy , MediaGeniX : Where broadcasters may be used to have full control over the output format of their content , material management for a video-on-demand ( VoD ) service is “ significantly different ” from managing material for traditional linear TV .
is the likelihood that a file will be re-used , and the frequency with which that will happen .”
Beke also acknowleges that orchestrating the different transcoding systems and MAM systems , and delivering content to distribution platforms , is a “ very complex ” process , where each of the various business models of broadcasters requires a different balance .
To alleviate this complexity , MediaGeniX ’ s WHATS ’ On content and lifecycle management tool enables VoD material needs to be incorporated into the total workflow of the content lifecycle . This includes rights management , content description , linear scheduling , BI reporting and material handling .
Beke , however , is quick to point out that as the broadcast business continues to move to a content-centric model that blurs the difference between linear and VoD , there will be no single answer to the broadcast dilemma .
“ For a software provider like MediaGeniX , it is crucial to constantly enable customers to adapt their processes to reduce costs and improve efficiencies ,” he highlights . “ This constant change and innovation is needed to help broadcasters and telcos develop successful businesses in this very competitive market .”
As the transition to broadcast IP continues to gain momentum , how might this potentially impact or dictate how broadcasters design and manage their MAM systems ?
SAM ’ s Dix answers : “ With the roll-out to IP comes a potential requirement for additional metadata to support more detailed information about IP capabilities , and the need to potentially understand and process new file formats that move away from traditional broadcast formats .”
If IP refers to uncompressed video , there will not be a great impact on MAM / BI systems , as it is simply a case of adapting content acquisition modules to a new interface , says VSN ’ s Monteverde .
When referring to IP compressed video , however , IP transport streams ( IPTS ) is an enabler aspect for MAM in-the-cloud , he
suggests . “ The rise of IPTS is easing the distribution of broadcast programmes over the Internet and thus its acquisition — and this is where MAM in-the-cloud becomes a more attractive option .”
However , there is much to be learnt on what MAM in-the-cloud truly means , including the ability to deal with hybrid workflows where content does not necessarily have to reside in the cloud , Monteverde says .
VSNEXPLORER MAM , for instance , manages storage area networks ( SAN ) and network attached storage ( NAS ) configured locally on-premises , and which is available to be accessed for editing high-resolution broadcast-quality content . It can also support nearline storage for archival on the broadcast station premises , no matter where the MAM ( database repository and the Web services ) sits on the cloud .
Be fully aware of the implications of getting all your content into the cloud and the costs of retrieving from the cloud before moving to cloud-based operations . Also , give due attention to disaster recovery in the event of loss of connectivity between operators and the cloud , advises SAM ’ s Dix .
“ Which model suits which broadcaster will be entirely down to the specific requirements of the individual , typically around the volumes of content that needs to be processed ,” he concludes .
The changing face of media management
by lee sheppard
The way in which we consume content has fundamentally changed . We want to watch what we want , when we want , where we want and how we want , and we want to find programmes quickly , preferably in HD or , increasingly , 4K / Ultra HD ( UHD ). Content is king and in order to satisfy consumer requirements , it is essential that media companies can locate their material quickly and easily .
The influx of over-the-top ( OTT ) services has been a game changer . Media companies must now deliver millions of different files in different formats to multiple destinations . Automated media asset management ( MAM ) workflows with seamless integration to archive technology are essential to allow the retrieval / archive of assets quickly .
SGL has close technology partnerships with leading MAM / production asset management ( PAM ) providers , including Avid , Grass Valley , Marquis , SAM , VSN and CatDV , which provide a complete toolset with simple workflow rules that allow content to be efficiently archived and restored .
Configured to create a collaborative production environment , these technical solutions and asso ciated workflows supply media organisations with all the tools necessary to plan , create , publish and archive their production .
To handle these demands , archiving options are developing quickly and storage environments are becoming more complex . This has resulted in an increase in hybrid archiving models . As cloud systems continue to evolve , assets are likely to be stored for specific time periods on appropriate storage technologies for business reasons .
Media companies need to be able to take advantage of the benefits of each type of storage mechanism and use what is appropriate and cost-effective at each point in the content life cycle . Management of these decisions and processes requires sophisticated storage management systems . This is primarily what we are seeing now .
Tape is here to stay , but as the archive becomes a more fundamental part of the workflow , not just at the end of the chain , customers are examining how they can achieve the benefits of using the cloud while managing the risks and costs . Therefore , hybrid archives utilising the respective benefits of tape , disk , optical storage and cloud are becoming more common .
Cloud-based workflows are also becoming a reality with companies offering services directly within cloud storage — encoding , transcoding , edit , QC and so on . While it is still early days , these services will offer significant benefits in terms of cost and organisational changes , which will no doubt impact future decision-making .
SGL is working closely with multiple companies to ensure that archive workflows can dovetail with cloud-based operating workflows .
The way in which we consume content has fundamentally changed . We want to watch what we want , when we want , where we want and how we want , and we want to find programmes quickly .
Lee Sheppard is Director of Product Management , SGL .
Transmit 8K video with the DP1.2-Vision-XG KVM
KVM ( keyboard , video and mouse ) supplier Guntermann & Drunck ( G & D ) is bringing to market the DP1.2-Vision-XG KVM extender .
According to G & D , this KVM extender is not only capable of transmitting 4K / Ultra HD ( UHD ) but also the “ first and only ” KVM extender that can support uncompressed , latency-free transmission of 8K video at 60Hz .
The DP1.2-Vision-XG system consists of a computer module and a user module , allowing users to operate their computers remotely , as well as benefiting from the uncompressed transmission of high-resolution DisplayPort video over four video channels and distances of up to 10,000m .
Because of the source synchronicity of the video channels , even the highest video resolutions can be extended over long distances , said G & D , adding that the dedicated transmission over optical fibre provides enough bandwidth for uncompressed DisplayPort 1.2 video signals , keyboard / mouse , RS232 , USB2.0 and audio .
The DP1.2-Vision-XG system also includes many mission-critical features , including the screen-freeze function , the monitoring function , a redundant power supply , Single Network Management Protocol ( SNMP ) and two network ports .
G & D ’ s DP1.2-Vision-XG KVM extender can support uncompressed , latency-free transmission of 8K video at 60Hz .