Wednesday 30 March 2016

Doing Business in India - Organised Chaos that Works


India is a place everyone should visit at least once in their lifetime. I was privileged to have had the opportunity to work out there for two years, returning to the UK with unforgettable life experiences that only India could offer.

From making an appearing on the live National TV awards ceremony, presenting technology awards on stage (and unexpectedly becoming the comedy highlight of the evening - more on that later) to witnessing a leopard lazily looking at me one morning, as it sunbathed on the rocks opposite from the other side of the River Ganges, my time in India felt more like an Indiana Jones adventure than a business vocation.

During my time there I would sit directly behind  a sulky Prince Andrew at a Quantel demo (watching him refuse to put his 3D glasses on), spend a few drunken evenings with my old mates - the Exec team from BBC Sport as they were in Delhi with the Commonwealth Games (and where half of the entire BBC crew went down with `Delhi belly'), all the while developing a cast iron immune system myself, and learning to cope with 55 degree heat.

I lived in a plush 4 bedroom apartment in Gurgaon, just outside New Delhi. Once a small dusty agricultural village, Gurgaon has since become the city with the third highest per capita income in India, harbouring 250 or 50% of the Fortune 500 companies.

My role in India was Sales Director for Vizrt, a successful office of 15 people that had been established for at least five years before I took over the reins, occupying a floor in a high-rise death trap of a rat-infested building in Nehru Place - a large turbulent, commercial, financial, and business district.

Nehru Place

I had not been working in Delhi long before calling the sales team into my office to ask why there was no shared calendar or meeting planner to view scheduled booked meetings with clients. My query was met with bemused, puzzled expressions on the sales teams faces, as though I had asked something alien. I knew the team were working hard, going out daily to see clients. We had over 100 relatively satisfied broadcast and production clients in India using Vizrt graphics, so business development, account management and sales generation didn't seem to be a main concern. Yet I couldn't understand why there were no scheduled meetings visible anywhere in the office.

Booking Meetings with Clients

I asked one of the sales team to book a trip to Mumbai, so we could visit his clients, which he then planned for the following Monday. By the end of the week prior, on a Friday afternoon, I asked who we would be seeing on Monday. `Don't worry', he said. `It's all in hand.' I decided to remain passive and just sit back to observe for this trip to Mumbai, reserving any judgement I had for later if necessary. When Monday came at Delhi airport, there was still no planned schedule before we took off. It was only once we arrived in Mumbai, and gathered our suitcases did it suddenly become apparent how this trip would unfold. The sales person began ringing clients up on his mobile. `Hi, are you free in the next half hour? Great. see you then.' Then we would be off in a taxi for our meeting - and this would be with senior management or CTO level.

Mumbai taxi - Premier Padmini (a barely modern take on the 1973 Fiat 1100)

Once the rest of the day unfolded in the same manner for each meeting, I began to realise this is how you schedule meetings in India. My thoughts were confirmed when I later bought a very good book by Paul Davies called `What's This India Business?: Offshoring, Outsourcing and The Global Services Revolution',  which covers this very topic (slightly dated now, but still highly recommended if you are planning to do business in India).

The general rule of thumb is, if you schedule a meeting one week in advance, it most likely will not happen. If you plan it a couple of days in advance, or even the day before, it is still not certain the meeting will take place. The only real guarantee of a meeting is to ring the person and ask if they are free in the next hour or so, and this can normally be at any level of management within an organisation. I used to tell the sales team that back in the UK I would have meetings scheduled sometimes three months in advance with the likes of BBC or Sky, to which was met with some amusement, as they thought I was joking!

If you observe the `rules' of the road when driving in India (at your own peril), vehicles tend to give way to anything in front of them, but with absolutely no regard to anything approaching from behind. It explains why most cars posses no wing mirrors, and it also helps in some way explain the mindset of how the country functions on this `here and now, live for today' philosophy. If everyone follows this mindset, then somehow this apparently chaotic system isn't that chaotic after all. It is more appropriately referred to as `organised chaos' by many expats living there.

Project Timescales

Obviously this mindset can conflict with the kinds of meticulous Gant charts and long term Prince II project planning that we are used to in the UK. I remember visiting a potential new client in Bangalore, who was the newly appointed CTO for the launch of a politically funded news channel (there are plenty of these agenda-driven start-ups in India, that often go bust within a few months). Our meeting took place in nothing more than a concrete shell, that would eventually become the broadcast facility. I asked when they hoped to be on-air, to which he replied `August'. As it was the month of May when this meeting took place, I presumed, with my UK hat on, that he meant August the following year. `No', he replied. `August this year.' What is more staggering, is that these ridiculously ambitious timescales do actually work in India. Yes, the TV station was built and fully functional within a couple of months, but was it built to the high safety specs and standards we are used to in the West? Of course not.

I occasionally used to bump into various UK System Integrators during my time in India, and I advised them to consider looking elsewhere for business, as their timescales, costs and standards would be way off the expectations set in India.

Because of this lack of accurate timescale planning, it makes it almost impossible to maintain an accurate sales pipeline forecast like we are accustomed to in the west. Predicting what sales would land each month, I found it just as effective to stick a finger in the air. Somehow we nearly always reached our target each quarter, yet half of what was predicted in the forecast just wouldn't happen, but luckily other sales that appeared from nowhere, left-of-field, would unexpectedly land, and would make up the numbers. You need to be prepared for this level of unpredictability, and also be prepared to give away outrageous discounts (or rely on an Indian territory price list).  

National TV Awards

During my first year in India, we embarked on several marketing activities, including open day sessions in the south, and exhibiting at Broadcast India. In my second year, I decided to sponsor the National TV Awards that was occurring at the same time as the Broadcast India show (an award ceremony equivalent to our BAFTA's), and also sponsor the Broadcast India drinks and after-show party, rather than pay for another exhibition stand at the show. As part of this deal, we were allowed a ten minute presentation slot at a hotel suite in Mumbai during the day, attended by key industry figures, before the prestigious NT Awards ceremony in the evening. The presentation I did was apparently well received, as the organiser for the whole event approached me afterwards and kindly said my presentation was the strongest they had seen that day, and asked if I would like to present a technology award live on TV the same evening. I of course said yes, not realising what I was letting myself in for.

Later that evening, I was dressed in my best Indian-tailored suit, ready for action (I would accumulate several during my time there, including a 70's Roger Moore style Safari linen suit, that is now permanently hung in my wardrobe, and will never see the light of day again, unless I'm attending a 70's fancy dress party, or in Las Vegas - the only place outside of India I can get away with wearing it!)

As the evening unfolded, I was sat in the audience of around 1,000 people with my team, wondering when I would be called up on stage for my moment, and experiencing a sudden panic attack. What if I open the envelope and I cannot pronounce the name on the card? As I tried to ignore these niggling fears, a runner approached me and asked me to follow her out of the audience and to go back stage with her, as I would be up next to present my award. She then advised me to stand behind the stage, and wait for my cue from the two comedian presenters on stage who will announce my name. I then walk on from behind the set, stand on the X marked on the stage floor, open the envelope, look up at the cameras that are beaming this live to millions around India, and read out the name on the card.


Luckily it was a name that was easy to read and announce. Phew! That went ok. I passed the award over, stood patiently to one side while the winner said his speech, and then as he walked down the steps leading off the stage back to the audience, I decided to follow, as I thought my moment of fame was over. As I began walking down the steps from the front of the stage, I heard cries of `what are you doing? Go back!' from the front row audience sat immediately below me. Oops! I thought. Maybe I have come off the wrong exit. Maybe I was supposed to exit left of stage. I then walked back up the steps onto the stage again, and walked left, looking for another exit - which there wasn't! The presenters on stage were now talking to me through their microphones. `Mr. Scott! Mr. Scott! Where are you going? You have another award to present!'

By this point, the whole place was erupting in laughter, as I stood there, red faced. One of the presenters came over to me and grabbed me by the waist. `You are going nowhere Mr. Barber. Not yet! We have you now!'

Embarrassed, I took the microphone from him and spoke to the hysterical audience. `Apologies everyone. Dumb English white guy!' was all I could bring myself to say. The presenter then coolly responded with `Well sir. You ruled us for 300 years!' to which the audience erupted again, now more loudly with a standing ovation.


The worst part was yet to come. Once I had finished my ordeal of presenting another two awards (I wish someone had told me beforehand), I then finally left the stage (to much amusement from the two presenters, who were still chuckling at me), only to wander aimlessly down below, lost, not able to find where my team was sat in the audience, and followed under the glare of a spotlight hovering over me as I looked for my seat.

As I drank several much needed ice cold Kingfisher beers afterwards at the wrap party, I lost count how many people came up to me and said I made the evening. `Oh sir! The evening was so boring before you came on stage!' This point was emphasised further next day, when my comedy of errors were being repeatedly shown on the CNN highlights of the event.

Quantel Royal Event

I was invited by Quantel to a Royal event at one of the beautiful Taj hotels in Mumbai, that Quantel were hosting. It was promoting British trade in India, and would be attended by Prince Andrew. The evening before the event, I sat having dinner with the former Quantel CEO, Ray Cross, and warned him to be prepared for things to go wrong, as they nearly always do, when a large demonstration is about to take place in India. Ray claimed that they (Quantel) never experience such failures, to which I reminded him there are often factors out of your control in India which can prevent an event running smoothly - power blocks fail, kit doesn't arrive on time, etc. Literally as we were speaking, one of the demonstrators seated with us at the dinner table was suddenly talking urgently on his mobile phone to customs. `Ray, the kit is being help up at customs!' he said anxiously. I smiled at Ray and said `There you go! Welcome to India!'

I came down for breakfast next morning and felt for the poor demo guys who had been up all night, trying to get the kit working as it should, having lost valuable time due to the kit arriving late at the hotel. I had been there myself many times, knowing what this was like, and asked if there was anything I could do to help them out.

In the evening, as the audience took their seats at the event, I could see Ray Cross stood at the front, looking rather nervous at the blue screen behind him, and across to the right of him there were several engineers huddled around the kit, pressing different buttons to get it working. Obviously things were not running smoothly!

As Ray was about to start his presentation, before he introduced himself and Quantel, he started with `Where's Scott? Where is he?' I slowly waved my hand in the air, to which Ray said to the audience, `Hey everyone! He's jinxed me!' pointing to where I was sat. Luckily the kit fired to life just in the nick-of-time, and the demonstration went well. Even Prince Andrew appeared happy with the show eventually (after initially refusing to put on his 3D glasses, as he sat immediately in front of me).


Prince Andrew (centre, seated), listens to a presentation about stereoscopic 3D


Commonwealth Games

The 2010 Commonwealth Games were held in Delhi during October 2010, and was the first time the Games were held in India. While road-widening projects were being developed, the Metro expanding to accommodate more people, and the international airport getting modernised for the event, preparation for the Games received widespread international media attention. Criticism was levelled against the organisers for the slow pace of work, as well as issues relating to security and hygiene. A newly built pedestrian bridge for the Games collapsed just days before the event was to open (below), while footage of dirty mattresses and filthy rooms for the athletes began to emerge on the news.


A friend of mine from Hull was the swimming coach for the GB team. He came out to Delhi and stayed at my apartment. With full knowledge of what was happening behind the scenes, he kept me constantly informed of the daily boycott threats and athlete withdrawals. 

From an international media perspective, things sounded no better. I went out with the BBC Sport Exec Producer for the Games one evening, and was listening to the horror stories of how unprepared and unfinished the IBC hub was as the BBC team arrived to set up. Half of the team would end up going down with severe bouts of the Delhi Belly within a few days.


Yet in typical Indian fashion, rather like an Indian wedding, manpower was thrown at the problem at the final hour, and just about got the show on the road. Five star hotel cleaning staff abandoned their daily duties in an all-hands-on-deck approach to clean up the athletes village. Due to this often short-sightedness to long term planning, everything is lastminute.com in India, even an event as big as this, but somehow they manage to find a way and pull through, which has to be admired. It's very impressive to observe the Indian resolve in action.

Hyderabad Gangsters

Don't be too surprised if clients don't pay up on time in India. We once had a customer in Hyderabad that had been using Vizrt news tickers on air for at least nine months, and still had not paid a rupee for the software. After pressing the account manager each week on why the customer had not paid up, I eventually asked him to arrange a meeting, so I could find out for myself what was going on. When we arrived at the facility on the outskirts of Hyderabad - a rough concrete block by the side of a dirt track in the middle of nowhere, surrounded by the usual rubble and piled garbage which the roaming cows grazed off - I immediately noticed the two brand new shiny black Bentleys parked outside.

The owners office was on the top floor, a vast open space with luxurious leather sofas, lined with several expensive plasmas on the walls, and an adjoining on-suite shower room. We both sat and waited for the owners to arrive. When the door opened, the two burly men that walked slowly in looked more like bearded, Indian versions of the Kray twins, and sat opposite me, stone faced. I then spent ten minutes introducing myself, trying to remain professional, ignoring the intimidating stares and silent tension that was building up in front of me. After my opening speech, their response was in heated Hindi towards my sales guy. I asked what they were saying, realising I had just spent a wasted ten minutes speaking to two men who couldn't understand a word of English (made even worse by my Hull accent!) Apparently they were not happy with the level of support and training we had provided, even though they had not yet paid a single rupee for our software and services. They also claimed that they had paid our reseller (which I was almost certain wasn't true). Eventually I was glad to leave their room with my knee caps intact, and decided to switch off their dongle enabled software licences, once I was safely hundreds of miles away back in Delhi, until they paid up.

Lifestyle

The ex-pat lifestyle in India is made ludicrously attractive by many Western companies based out there for enticing people over. In the apartment I lived in, it boasted five on-suite bathrooms, situated on the 18th floor in a plush high-rise luxury complex, complete with swimming pool. I had a servant quarter where my driver, Shiv lived (believe me, you need a driver) and two maids that would come daily to cook and clean for me. You can see why this may seem appealing for many UK ex-pats looking to escape the gloomy weather in Blighty, being offered affluence that would rival what the likes of Roman Abramovich or the Beckhams could afford in London.

I was a member of the British Embassy, which meant I could pop over there for a few English ales at the Green Parrot pub on the compound (nicknamed `Butlins', due to its holiday style complex) to occasionally escape the manic chaos of India. I was also a member of the DLF golf country club (below) - an ostentatious place with floodlit courses to allow members to tee off in the evenings when the weather cools down slightly, and plush dark-wooden restaurants and bars with green leather seats that evoked memories of the British Raj.



If this extravagant lifestyle sounds tempting for some, it does come with its drawbacks. Firstly, being brought up in a working class environment like Hull, I never felt comfortable having servants working for me. Secondly, the truly Third World poverty conditions on your doorstep, that you never escape no matter where you travel in India, would only make you feel increasingly guilty about your own privileged conditions. I wanted to buy a dishwasher for my apartment, and yet was advised not to, as you are depriving the people living on the streets of a possible job and income. This is the sad reality you face, and why you end up hiring servants. I was paying double the average salary for my driver and maids, but was warned in no uncertain terms that doing this would be screwing with the economy, as my servants would not get a similar deal again once I leave India, and which I ignored.

I organised a Team Building weekend away with the entire Vizrt India team and their families, camping and white water rafting at Rishikesh, on the River Ganges. From going over rapid fours and fives under the blazing sun and nearly capsizing several times, to jumping in the fast-flowing river to body surf, this was one of the highlights of my time in India. One memorable moment occurred early one morning. I awoke and left my tent to take a stroll across the sleeping camp site to the toilets, when I stopped suddenly in my tracks. Across the river, on the other side of the embankment was a leopard, lazily gazing at me in the sun. At that moment I wish I had my camera with me, but I knew once I would go back to my tent it would disappear (which it did).

White water rafting on the River Ganges


`Delhi Belly'

An article on India wouldn't be complete without giving the dreaded Delhi Belly (or Bombay Bum) a mention. My boss in Asia warned me that I would catch just about everything in my first year in India, but then my immune system would slowly build a tolerance level, which it did. Within the first week I was struck down with a nasty throat virus, nothing like I had ever experienced before, while my stomach would slowly go through lessening degrees of the Delhi Belly, until eventually I could just about eat anything. My immune system slowly became rock solid. A good friend of mine, Jim Irving (former BBC Sport and Delta Tre) came out to visit me for a holiday, and after arriving in Delhi only hours before, he was very ill, even though we both ate the same food - a chicken curry that my maid had cooked, washed down with a bottle of Indian red wine. I'd probably be ill too now if I had to stomach that again. I doubt my immune system is as strong as it was back then.

However, if you choose the right restaurants, the food in India is fabulous. Most of the five star hotels offer superb buffets and restaurants, and its good to try restaurants like the famous Moti Mahal in Old Delhi, where Butter Chicken was invented, but the best dish I ever tried in India was at a seafood restaurant in Mumbai. I had tandoori lobster to start, and a chilli crab afterwards, and it was delicious.  


Moti Mahal’s famous Butter Chicken

My Final Days

My last few days in India were just as memorable as they were when I first arrived, still learning new things about that place until the day I left. The reason for leaving was mainly down to my wife Gita, who was still living in the UK at the time, and travelling to see me every month in Delhi, but after two years we decided it wasn't feasible to move out there permanently, and that I should come back to the UK. It became a strain on our relationship living apart, and as an expat in India without family support around you, it is extremely difficult. I would never advise anyone to work out there without the family coming along too (there are plenty of excellent international schools for expat children in India).

I had a fully furnished apartment and needed to sell everything, as there was no room at our home in the UK for all the furniture we had in India. The good news is, many people only buy second hand furniture in India. Someone recommended a guy called Ashok, who was running a business called Ashok Auctions, and he specialised in organising house auctions. He arrived early one Sunday morning at my apartment (below) with his team ready to sell all my belongings, after putting an advert in a local newspaper a few days before. His team then promptly rearranged all the furniture in the apartment. He even asked my wife to bring over any unused or broken bits of junk we didn't want back home in the UK to the apartment, as everything would sell within an hour.



And it did - beds, tables, sofas, TV's, a treadmill, half-opened bottles of ketchup, tins of beans, even a freebie Vizrt umbrella (left out on display by accident). For an hour it was utter chaos in the apartment, people shouting and fighting over every item, my wife trying to keep up with who had paid, where everyone was paying with cash that was going straight into a sports bag by my wife's side. Meanwhile I had to keeping watching for things going missing, or people trying to leave the apartment before Ashok checked over bundles of purchased items (this guy had a photographic memory).

When it was over, the apartment was empty - everything sold, with just a sports bag filled with cash, as though we had just completed a bank heist. It would be the last of many life lessons I experienced during my time in India, and I would love to return again someday.





Thursday 24 March 2016

Life of MAM


A MAM was Born

Once the shift to file-based media began, the Media Asset Management (MAM) revolution was born, and has been giving the industry a constant nagging headache ever since, for both broadcasters and vendors alike, due to its bespoke complexity and uniqueness to every different broadcast facility. It comes in lots of different, exciting flavours - MAM-in-a-box, MAM-in-a-tin, MAM Everywhere, DAM, PAM, Uncle SAM.
When the seeds of MAM began to grow in the late 90's, it felt like an opportunity to create joined-up broadcasting, enabling users to share, view and edit media on their desktops with the click of a mouse, whether it was content just shot on location several minutes ago, or an historical piece of footage from 30 years ago, wonderfully recalled and restored from the vaults of a deep, dark archive. The ingest people would ideally press a button and it would magically appear in the control room playout.
It is a subject that is continuously challenging vendors and broadcasters alike, who are constantly trying to play catch-up with an industry that is spiralling out of control with its speeding, galloping, unstoppable changes. From IP and Cloud, to 4K and 8K, we are offered solutions from vendors that are claiming to be `Everywhere' in a bold attempt to deal with these massive transformations.

Has MAM Delivered?

With the never ending discussions in the market, it appears that most MAM solutions available so far have failed to properly address the evolving demands of broadcasters. Archive shelves are still stacked with undigitised tape without metadata in many facilities, as workflows are being placed across multiple platforms, and in desperate need of a flexible solution that can be easily integrated.
Some vendors will argue that they have addressed broadcasters’ needs, but a recent research study by Ovum showed that 40% of the respondents highlighted poor integration of broadcast systems as the primary pain point in a MAM implementation. The research indicated “poor integration, constant search for different middleware formats, and the break in the chain if one element is replaced” as significant causes of concern. Also, trying to reduce the unit costs of media assets on site was cited as a significant point - optimising ROI with an asset, being able to find it quickly, so it can then be reused when necessary.


What Should MAM do?

Needless to say, broadcast facilities have complex infrastructures, with MAM needing to be all things to all people. From vertically integrating with traffic and scheduling, rights and royalties management, monitoring, airtime sales, financial modules, managing rich objects and advanced asset relationships, accommodating legacy assets, fitting with the existing infrastructure, to being adaptable to change existing workflow expectations, this is all part and parcel of what MAM does.
But the core role of a MAM system should still be exactly what it says on the tin – to manage media assets. The best MAM installations are the ones where the MAM is almost invisible, yet manages to perform all its tasks fully.
The end goal of a broadcast MAM system is surely to allow broadcasters to make more and better programmes with fewer costs involved, making jobs more efficient, such as easier and faster access to content, tools at their fingertips, automation of technical operations such as transcoding, and a better view of the overall workflow. But unfortunately technology is continually moving the cost goalposts.
The world has changed since the MAM debuted. Now we all want instant Web access to anything at any time. Yet surprisingly, our industry is one of the last to embrace this anywhere, anytime concept. Although vendors are at least trying to address these needs, we still wait for tapes, email clips instead of collaboratively sharing them, travel to Soho to sit in edit suites, and work in big glass open plan buildings rather than collaborating from great distances. Everyone knows the experience of being holed up in the office at midnight, because that’s where the media lives.
My Experiences with MAM
My first introduction to the world of MAM was back in 2006, and wasn't a particularly pleasant one, helping the Ardendo (now Vizrt) bid team submit a proposal for the mammoth, doomed BBC/Siemens DMI (Don't Mention It) project.
It would be some five years later before I would become heavily involved with the frustrating world of MAM again, this time in India with Vizrt. Lengthy, complex discussions would drag on for hours, days, weeks, years even, with large broadcasters in India for a proposed solution, as I pushed hard for conclusions that could never be reached. Too many people in the chain deciding on what they wanted, too much money at stake, too much back and forth with the clever bods in Sweden to decide on whether we could meet their requirements off-the-shelf, or whether bespoke work had to be done - silly me, of course it did!
My last real involvement with the intriguing world of MAM was more recently, helping BBC Wales evaluate whether to keep their existing newsroom desktop editing solution, or replace it with Jupiter (and Quantel). We finally decided Jupiter was the correct decision for BBC Wales, and I was then deployed in a `Business Readiness' role for a year, as Jupiter was slowly but surely steam-rolled out across Wales. I had to ensure all users of the new system would be ready to go once Jupiter went live. This  included organising a training schedule for 300 journalists and 30 craft editors, `Show & Tell' open days in Cardiff and Bangor (one of the most picturesque BBC regional sites I have ever been to), and creating extensive, laborious User Acceptance spreadsheets, which meant spending hours in a dark room pressing every button in Jupiter and QCut to ensure the system met the requirements (and worked properly!) It's only once you have experienced the MAM world from a user perspective do you really begin to understand the difficulties and complexities involved.  


MAM in a Fluffy Cloud

Most broadcasters think about the promised land of fluffy Clouds, where content can be previewed from a tablet or mobile device, a revolution enabling people to finish their work faster from wherever they are, in a world where getting content to air quickly is always paramount, allowing more flexibility, lower costs, and reduced hardware.
But the cloud is not a bolt-on fix. It is not a technology thing, it’s a people thing. Web-enabling a MAM is not the same as cloud-enabling a MAM. Web-enabling is making an asset accessible via a regular Web browser, so that no custom software needs to be installed on a desktop.
By comparison, cloud-enabling MAM removes the reliance on local engineers to ensure that the spinning disks are online and available, user credentials and permissions to access the media are validated, while removing maintenance and upgrade costs from the operating budget, saving time and money. Until recently, however, it was not generally possible to place the entire MAM in the cloud. Internet access was unreliable, insecure or slow for the file sizes and volumes of high resolution content.
A true cloud architecture provides a secure, hardware/software-free, self-service, simultaneous access to common assets to be accessed from anywhere in the world. Putting the MAM in the cloud makes sense for a lot of broadcast and production companies. It holds substantial benefits in a global media market where content is centrally accumulated, and is globally repurposed.
Established Hollywood studios and broadcasters are unlikely to put their entire MAM in the cloud, since they have already invested millions with their local on-site systems, and the private networks to enable accessibility. Unlike smaller businesses, they have the IT resources to maintain these systems and networks.
However, even these bigger organizations with elaborate on-site MAM's have begun to explore the cloud as a way to work more efficiently — reducing the amount of storage they maintain by extending part of the MAM system into the cloud for certain areas of their business and workflows.

Conclusion

While technology started the MAM revolution, economics will ultimately drive it. Consumer technology ignited cross-platform TV, and is now the major driving force for the production and post-production markets. Creating production and distribution of premium content at scale efficiently, while looking to solve these media management and logistic headaches are the just some of the huge challenges the industry faces.



Wednesday 23 March 2016

From VHS to Netflix


TV in the 70's and 80's

I was born in the early 1970's, so I remember what it was like to have only three channels of television (four by 1982).
I remember when children's TV programmes had a countdown clock and slides for 5 minutes before a show would begin, and when channels ended transmission for the day.
I vividly remember the introduction of our first video recorder in the early 80's - a Sony Betamax VCR (a war eventually lost to the inferior VHS), and taking a trip to the local video rental store to hire a film you wanted to watch, and watching it whenever you liked, regardless of the TV schedule, long before Blockbusters came and went on the high street.

Today's TV is OTT

Today we consume films in very different ways. Yes, you can still watch movies on your bigger, wider, thinner, higher resolution TV sets, but we also have the power to watch whatever we want, whenever we want, wherever we are.
Last year OTT (over-the-top) video content moved prominently to centre stage. The shift from traditional TV continues, and broadcasters and operators have accepted OTT as the future, while the repercussions are affecting all areas of the business.
Meanwhile, consumers continue to demand change across the whole of their viewing experience ― from the content they watch, to the devices they use to watch it and the methods they choose to pay for it.
Video is not about to stop going `over-the-top' anytime soon, which could spell boom or bust for many in the entertainment industry. The OTT market is becoming more cluttered with a range of apps and services, from mass-market giants like Netflix, to niche networks targeting specific audiences.
Factoring in rising content costs with increasing competition, and with more platforms to launch from, the OTT race has only just begun.
There are only three major digital video providers that have become the standard platforms for watching movies and TV shows - Netflix, Hulu and Amazon. But Netflix is the giant, the most popular video service to watch film and TV shows online, followed by Hulu and Amazon in the US, according to a recent report from Hub Research.
Globally Netflix is even bigger. While Hulu doesn’t exist outside of the US, and with Amazon not operating anywhere else but the UK, the void is left wide open for Netflix, who ambitiously want to be in 200 countries by the end of 2017 as part of their global expansion plan, and that includes a potential launch in China.

We Hate Annoying Ads

But how is the advertising commercial model going to sustain, with annoying ads disrupting the pleasure of watching a film? In the old days of renting a VHS movie, we had the misfortune of sitting for 5 minutes pressing the fast forward button on the VCR to whizz through any annoying adverts before the film began (although these were mostly trailers for upcoming video releases).
In a recent survey which polled more than 30,000 online consumers in 61 countries, Nielsen’s Global Video-on-Demand Report reveals nearly two thirds of people who watch video-on-demand services say they would like to block the ads on them. 62% who watch VOD say online ads displayed before, during or after VOD programming are distracting, and 65% wish they could block all ads.
Neither Netflix nor Amazon have ads on their paid-for on-demand services, but others such as Channel 4 and ITV in the UK and Hulu in the US run ads. Adblocking has been growing rapidly in recent years, especially on desktops. While it is considered a greater threat to digital news publishers, it also poses a problem for ad-funded video services.
The survey of 61 countries did not specify what type of video-on-demand service it was, so the respondents could also be including ads on YouTube in their response. The questions were tilted towards programming more likely to be found on more TV-like services such as Netflix.
The report optimistically suggests that more relevant, targeted advertising might make the 65% of people saying they want to block ads “intentionally tune in for them”.
However, the survey also found that almost six in 10 respondents said they would be prepared to watch ads in return for free content, rising to 68% in North America. The survey also covered pay TV services, finding that the majority of those adopting video-on-demand subscriptions such as Netflix or Amazon Prime were not using them to replace pay TV such as Sky.
In total, nearly seven in 10 people in the UK pay for TV, but they are more likely to fork out for Sky than video-on-demand services such as Netflix. One in five have signed up to video-on-demand, below the global average of nearly a quarter and only slightly more than half of the 37% of those who pay for satellite TV such as Sky.
The survey also reveals only half (51%) of Britons online watch some form of VOD programming (be it long- or short-form content) compared to 65% of respondents globally.


Changing Viewing Trends
Nielsen vice president of product leadership, David Wong explained recent viewing trends that have shaped our viewing habits. "Young people no longer use physical media. That's not surprising; everybody is streaming," Wong said.
"When we actually take a look at video consumption on computers it's grown, almost doubling when you take a look at all different forms of video consumption. This was even downloaded video, but on computers it's gone up by 162 percent. VCRs disappeared. It's not shocking, but it actually was still being used just 5 years ago. The VCR was still being used, and now it's completely gone."
"Personalized and mobile options have taken us away from watching live TV, but we're more than making up for it. Despite all of this happening, we are seeing decreases in the amount of live television viewing," Wong explained.
"The amount of total video consumption is actually going up, so this is an interesting point which is that a lot of people talk about these days as being the golden age of television, and there's a lot of truth to that because despite the fact that people might not be tuning in during prime time, people are watching more television today than they ever have in the past."

Tuesday 22 March 2016

THE STORY OF TV GRAPHICS






History

When television began back in 1936, it brought with it the potential to enhance the visual experience with the possibilities of information graphics. However, the history of graphic design in television is one area which lacked any serious consideration in the early days, resulting in limited resources and under investment for many years.

It was nearly 20 years after the launch of BBC Television, that its first full-time graphic designer was employed, John Sewell, in 1954. This was also the year when the first in-vision weather forecast was broadcast, presented by George Cowling. The visual onscreen maps were drawn by hand in the London Weather Centre, before being couriered across London. They would later be replaced with magnetic symbols in the 70's, computer generated maps in the 80's, to the current high-end 3D graphics powered by MetraWeather's Weatherscape XT.

The Early Years

During this era of black and white TV, the quality of broadcasts and receivers were limited to a resolution of only 405-lines, resulting in pictures suffering from poor definition. Up to 20% of the screen was considered unusable to the graphic designer, due to the lack of focus around the screen’s border, coupled with the fact that different television sets cut the picture off at different points.

Because of this, graphics created for TV had many restrictions. Lettering had to be large and bold, routinely created by sticking white Letraset characters onto black card. Credit rolls were special devices which used long strips of black material onto which the Letraset was stuck, and which were physically rolled, either by an electric motor, but more often than not by hand. Any illustrations to grace the screen in those days had to embrace fairly heavy lines, lacking any fine detail.

The restrictions were, of course obvious. People were needed who could be trusted to check the spelling and achieve a balanced design layout, and one or more cameras had to be allocated to view them, in an era when a studio would never have more than four cameras.



These images above show how news graphics were originally made by hand, using cardboard and celluloid for maps and charts. An embossing machine was used to print the type for captions. The graphics department would look more like a decorators workshop, as these images illustrate...

Graphics on Film

The movie industry was no different in the 1950's. Saul Bass (1920-1996) became the first significant motion graphic designer in these early days, designing the opening title sequences for many popular films such as The Man With The Golden Arm (1955), Vertigo (1958), and Psycho (1960) among others. Bass was an extremely talented and productive designer, and is commonly cited as being a pioneer in the field of motion graphics. During this period all graphics were created by hand or on film, and were extremely time consuming and expensive to produce.

Introducing the Character Generator

The first electronic device to radically depart from this crude way of creating onscreen graphics was the Riley character generator (CG), developed in association with the BBC, which would later give way to the more successful Aston in the UK (below), and Chyron in the US, where both names became industry standard generic trademarks.



My first role as a graphic operator back in 1996 at Teddington Studios involved using a fairly hefty, robust beast called `Collage' by Pixel Power, yet whenever I was asked to play out a name strap, the director in the gallery would refer to it as an `Aston', or `Name Aston'. This is something that would never really change in the years since my first job in TV. I would go on to work in international sales roles at both Pixel Power and later Vizrt, yet even today I have seen Vizrt name straps (or `supers', which is the correct terminology) still been referred to as `Astons' in many broadcast centres, even with monitor labels in a gallery displaying this trademark name.

The early 3D character generators surfaced in the 90's, using bespoke hardware. Processing power was such that layouts had to be rendered before they could be used, and extended animated sequences were impossible because of memory limitations. The Quantel Paintbox was heavily relied on to create background images and full frame stills (a very fast, easy-to-use, broadcast-friendly version of something like Photoshop.) I remember working at Anglia TV and having to create a news story map by capturing a road atlas under a rostrum camera, and creating an image from it in Paintbox. Hard to believe now, but that's how it was back then.


Launched in 1981, and years ahead of its time, the Quantel Paintbox was a dedicated workstation, primarily used in the production of television graphics


User interfaces also tended to be rather less intuitive than we would expect in today's Windows-driven market, and operators needed an extended period of training. That was actually a major obstacle in the wider use of character generators: there was a shortage of well-trained operators, and once trained on the preferred machine, they tended to resist moving to another manufacturer and using another device.

Today's Graphics

Many of today's graphic operators now have to be 3D designers too, often possessing a whole range of additional skills to their portfolio that were not required back then. Being competent in 3D design to create elaborate and exciting real-time 3D graphical stories (or even virtual sets) is sometimes not enough these days. Having the ability to handle complex datafeeds, integrate to newsroom systems, or to create advanced templates is often expected these days of a freelancer in the market. Many of these designers even come equipped with their own kit, which makes it handy for entertainment shows on limited budgets, who only require a rental model as the production may only be running for a few weeks at a time.

Sports graphics for broadcasters are often farmed out to graphic production companies such as Delta Tre or Alston Elliot, who specialise in providing operational staffing levels, equipment, and design on fixed term contracts to the likes of BT Sport, Sky Sports, ITV and of course BBC, where I experienced this first-hand during my time as Graphic Producer at BBC Sport.



Sky Sports presenter Will Greenwood between head-to-head VR graphics of opposing fly-halves Farrell and Wilkinson



There is also a huge rise in the need for CG graphics in master control. The multi-channel world has created a whole new television concept - channel branding. Where that once meant just a simple bug inserter, now there is a need for more advanced devices, creating sophisticated branding sequences designed to stop the viewer’s finger hitting the remote and keep them loyal to the channel they are watching. 

Credit `squeezeback's' provided here by Pixel Power, wrapping the branding in multiple windows around the end of the programme, are seen by broadcasters as a powerful way of retaining viewers without reducing the amount of commercial time they can sell (not applicable to BBC and EastEnders!)

The Future

As was the case for its history, the future of broadcast graphics depends largely on its medium, the television, which is going through a substantial change at the moment, probably one the biggest changes since its conception. Although advanced 3D computer generated graphics are part of the content viewed on television, newer technologies have made it possible for these graphics to become highly realistic, perhaps shaping the way in which audiences view and interpret content via television and the web.

Through the use of innovative virtual reality and augmented reality technology, graphics have reached another level to engage viewers through quality, visually absorbing live content, seen to great effect on recent election broadcasts, and used weekly on flagship sport programmes like BBC's Match of the Day and Sky Sports Monday Night Football, that rely heavily on graphical content combined with innovation. Virtual studio graphics now sit alongside and are visually-indistinguishable from the physical-set elements, meaning graphics need to look photo-real, and the tracking must be accurate enough so that when cameras move, the rendered virtual graphics would exhibit a seamless blend between reality and virtual.


MotD makes extensive use of the Viz Virtual Studio for augmented reality


Monday Night Football - a design innovation that gave the virtual set an illusion of having a much larger physical set in the studio


As the industry is gearing more towards VOD and OTT, and the next generation of audiences are forming habits of viewing 2nd screen devices on tablets and mobiles while watching TV, this is creating the need for more interactive forms of broadcast graphics. The younger generation are much more engaged, less passive viewers, who need to be entertained through various form of social media and live interaction. 

I was introducing the 2nd screen companion app, and live social media interaction to the industry back in 2011 with never.no, but discovered the technology and concept was slightly ahead of the curve back then. I found programme editors and producers slightly wary of audience-created content being aired on their live shows, and procurement teams not entirely sure what the value of such technology was worth at that time. Obviously this has since changed with production teams, who now recognise the importance of these social media tools to engage more effectively with their audiences. 


Bringing it all together, Chyron is partnering with ConnecTV for its companion app polling technology, Never.no for its social TV platform, Mass Relevance for its real-time curation and Vibes for its text, Twitter and web voting technology


Broadcast graphics will continue to push the envelope when it comes to producing high quality, visually stunning accompaniments to informational television programming, as long as television as we know it still exists. But how long that will be, who knows...

About the Author

I have seen many changes, and been through many different experiences in the broadcast graphics sector since I began working as a CG operator in 1996, which is why I feel well-placed to write and share this blog.  I freelanced as a Paintbox designer and CG operator in the 90's, before heading up a graphics division at Granada TV. This led to an international sales career with Pixel Power, Graphics Producer at BBC Sport, UK Sales Manager for Vizrt, Sales Director for Vizrt India, Business Development for never.no and MetraWeather, and Project Managing the roll-out of Vizrt for BBC Wales.