SPEAKER BIOGRAPHIES & SYNOPSIS

Day 1 - Tuesday 26 January

KEYNOTE SESSION

Simon Fell is Director of Technology & Innovation for the EBU, a position he took up in September 2013. He has more than 35 years’ experience in senior broadcasting technology roles, including at British broadcaster ITV, where he was Director of Future Technologies (2008-2009) and Controller of Emerging Technologies (2004-2006).

From 1991 to 2004 Mr Fell worked for Carlton Television, the ITV franchise holder for the London region, where he held several executive roles linked to operations and emerging technologies.

Mr Fell, prior to joining the EBU, was Chairman of the Technical Council at the Digital Television Group, the industry association for digital television in the UK. He also Simon Fell represented UK broadcasters on the EBU Technical Committee between 2006 and 2009. (EBU)

Dr Hans Hoffmann is EBU Senior Manager and head of unit on media fundamentals and production technologies in the EBU Technology and Innovation department. He has been for 9 years with the Institut fuer Rundfunktechnik (IRT) as research staff in new Television production technologies department until moving to the EBU in 2000. In the EBU he has been leading many activities on media integration, production technologies, video codec evaluations, he established the EBU HDTV testing lab, and work with EBU Members on IT based digital workflows and recently UHDTV. He has been author of many EBU Technical Hans Hoffmann documents; IEEE papers and is a standing speaker and contributor to international (EBU) conferences.

Hans is a fellow of the SMPTE and a member of the SID and FKT and IEEE and was the SMPTE Engineering Vice President from 2011-13.

Charles Bebert has a diploma of engineer of the School of Mines of Paris (ParisTech) and a master of physics of Paris7 University. He worked at EDF (French Electricity Utility) to test an optimization model to manage hydraulic lakes, and worked as organization and IT consultant for Gamma, now integrated in Cap Gemini. He created information systems for paper, and then turbine industries; he became a specialist of IT strategy. He focuses on media since 1992 and on broadcast since 2000. He has worked in 16 countries in the world.

Charles has completed more than 50 benchmark studies on broadcasters best practices, He has visited more than 100 television stations since 2001, and counts amongst his clients some of the principal television groups in Europe (RTBF, France Télévisions, BBC, TF1, RTL, ORF, SSR, ARD, France24, Canal+). He was involved as consultant in the management of large projects such as RTBF studio planning and digitization, Sonuma Charles Bebert Archive creation, France24 creation, France24 and RFI convergence, RTHK archive (Kane) preservation and 24 hours TV channel project in Hong Kong, Euranet and RTBF visual radio studio. He has completed 25 market sizing assignments and product competitive assessment for Apple, Avid, IBM, Siemens, EVS, Grass Valley, British Telecom, Quantum and Imagine Communications.

Producing cross-media: a 360̊ perspective of production

This presentation is based on 4 different benchmark studies, completed since 2006 about radio-TV and new media convergence (for Radio France, RTBF, France24- RFI and RTHK in Hong-Kong). It also integrates the BBC experience of Simon Andrewes who is working with Kane on several projects. It focused on describing the various stages of newsroom integration, the matrix model of organization replacing the traditional silo model, the evolution of multiskilling and specialization and the emergence of new specialty jobs (graphics, IT development, and marketing) dedicated to newsrooms. It looks to the impact on IT systems architecture in the absence of universal CMS (Content Management Systems): i.e. interfaces, cross-media application layers and metadata middleware buses. It identifies a change on broadcasters IT strategy (return of home-grown IT developments for broadcasters to differentiate from competition). It identifies the emergence of cross-media facilities such as visual radio studio. Endplay broadcasters use cost reduction made through digitization, multiskilling and 360° cross- media workflows (best practices) to finance additional news production or a higher quality of news content.

Karl Petermichl started working for the ORF in 1985 as a sound engineer, supervised the first digital broadcast systems, was technical manager of the regional production center in Vienna and currently serves as strategy officer to the CTO.

Smart&Lean: Transforming Production Standards

Over many years, broadcasters worldwide silently agreed on how to produce HDTV content, especially in the OB domain. The transition to digital production, network streaming and overall cost pressure question many of the established rules and procedures. This Karl Petermichl keynote analyses the cost drivers of the current production model and examines options (ORF) according to specific scenarios.

SESSION 1: LATEST TRENDS IN CONTENT PRODUCTION

Moderator Thomas Saner is Senior Advisor at SRG SSR the public broadcaster in Switzerland. Until 2014 he was Head of Strategic Distribution planning. With the introduction of digital platforms and Online services, distribution is more and more linked with the production. His new duties are therefore elaboration strategy inputs for new integrated production and distribution architectures.

Mr. Saner is a member of the EBU technical committee.

Thomas Saner (SRG)

Phil Tudor is a Principal Technologist at BBC Research & Development, London, U.K. He read Electrical and Information Sciences at Cambridge University. Phil's technical background includes video compression research, software engineering, digital television standardisation, and the development and standardisation of professional media file formats.

Phil leads a team of researchers looking at file-based workflows for production & archives, high-speed IP networking for live production, capturing richer production data sets, and the development of open standards.

He was awarded the SMPTE workflow systems medal in 2014 for his work on MXF, AAF, IP production and the UK’s Digital Production Partnership. Phil is a SMPTE fellow, a Chartered Engineer and a member of the IET. Phil Tudor Page 2 of 17

(BBC) All about object based production

Michael de Lucia Big Data for Content Recommendation for Broadcasters (RTS)

Theo Mäusli has a Ph.D. in social history. He published numerous books and articles on popular culture history, radio/television history and audio-visual social memory. 2002-2014 his main activities are in RSI (Radiotelevisione svizzera), first as head of the archives of RSI, where he manages the transformation of analogical archives into a completely digital media asset management. Later on his main occupation is on valorization of r/tv archive content in public educational and cultural context. Mäusli is an active member of FIAT/IFTA (B&P, Save your archives). In 2014 he leads for FIAT/IFTA an assessment on audiovisual Archives of National Archives of Zimbabwe. From 2010 on Mäusli teaches at Università della Svizzera italiana on digital archives and history of radio. Actually he is project manager for SRG SSR General Direction on archive strategy.

Archive 2020 (including automatic metadata production?) Theo Maeusli

(SRG) Television archive’s world organisation FIAT/IFTA kept at this year’s annual conference a workshop about the broadcaster’s archives in 2020 – and the way how to get there. Delegates from NHK, ORF, RAI and SRG who exchanged some of their own experience, ideas and projects moderated the workshop. The main challenges to be affronted on technical, organisational and political level are: storage of exploding capacities, increasing quality factors (HFR, HDR, UHDTV) and new formats of content; traceability and management of rights; metadata automation and representation; new models for archive content access and exploitation; governability, financing and business models; role of service providers and government institutions.

Our presentation at EBU PTS 2016 refers about the main technical issues and wish to discuss ways to do further steps forwards. There is a strong conviction inside audio-visual archivists community that progress can only be attended if production-near standards for the next generations of Media asset management will be defined and community members insist towards their service providers on standard solutions.

The following main issues and hypothesis will be briefly discussed: 1. Increasing data quantity versus increasing storage performance 2. Multiple formats of the same content (object-based archiving?) 3. Frame accurate identification and traceability 4. Metadata: more dataflow management and clever machines, less manual annotation 5. New archive in new production architecture: processes and services instead of departments and compact Mam Systems 6. A concrete application: rights management 7. A proposal: EBU wide shared content and metadata for international news and sports.

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SESSION 2: USE CASES

I began my professional career as Engineer in TV laboratory at Ljubljana Faculty of Electrical Engineering in 1988. Main focus of my initial work at that time beside other duties was the research and development of Teletext video broadcasting devices. My career then continues at RTV Slovenia as Development Engineer.

Past works includes in-house development of large Analogue Video and Audio routing systems, special Multichannel Video server system and dozens of special video software packages mainly for TV production. As worldwide technological progress advancing over time also my personal work converges into new IT Engineering challenges with intermediate work activities as a Head of TV System engineering department and after few years I returned back to TV IT Engineering activities and development work. Last activities include Bernard Vrh the development of a TV Archive MAM system which will be presented on the forthcoming (RTV Slovenia) presentation on EBU PTS in Geneva.

A New Archive MAM system

On RTV Slovenija developed Archive MAM system named ENTErMAM is a combination of enterprise MAM system and time code (frame accurate) based multilayer metadata TV archive system for TV Production archive. Designed as the integration of pre-existing production workflows with multiple PAM production islands and also enabled for future proof exploitation and external data mining as no proprietary storage technologies are implemented.

Essence and structured metadata relies on standard file system with clearly structured human and machine readable metadata files. Modular design allows the integration with various TV Production PAM systems, Multimedia systems, Traffic systems and Business management systems while are all based on modern interconnecting standards such are REST compliant Web Services and BXF protocol and also traditional data import/export workflows are supported.

Because nobody is perfect in traditional video editing sometimes additional corrections is needed even after video editing is already finished or even clips played out, so a unique non- linear (correcting) workflow is implemented. In mentioned non-linear workflow the whole archiving process relies on Intermediate archive, where integrated Video & Metadata correcting functionality greatly helps perfecting of the video clips and associated metadata. Beside the general search queries of long term TV production Archive lit it is implemented in modern web search engines or specialized by Archive catalogue search terms functionality there is also implemented local – secondary search functionality inside retrieved frame based metadata layers.

The whole system offers full Audit trail adopted from long term Archive preservation requirements and also complete working statistic for ear user. External systems could also interrogate and index stored metadata with associated clips and documents or import-export EBUCore based metadata. The opposite path is also configurable, so the system is able to connect to and index other archive platforms. By tracking Continuity Playout systems and playlist from Traffic system enables to the MAM system automatic retrieval of video clips and multiplatform subtitles files from LTO Archive Library.

I have been working in several positions in the RTL Group, and since nearly 2 years for Broadcasting Center Europe in Luxembourg. BCE is a European leader in technical services in the areas of television, radio, production and postproduction, telecommunication and IT. I am actually responsible for the technical coordination of the project "RTL City", the new headquarter of the RTL Group in Luxembourg.

Making IP a reality Andreas Fleuter (BCE) RTL Group is building a new premises in Luxembourg. BCE as the associated system Page 4 of 17

integrator is planning the technical infrastructure for the production and broadcast of actually 30 TV channels. To be prepared for future business and upcoming new formats we are deeply attracted by the capabilities of a modern IP-Infrastructure to be used also for transport of live video signals. The presentation shows how BCE has structured their analysis of the possible solutions and what learnings are achieved until now.

Jean-Pierre Evain joined the EBU’s Technical Department in 1992 to work on “New Systems and Services” after several years spent in the R&D laboratories of France-Telecom (CCETT) and Deutsche Telekom. He is now looking after “Media Fundamentals and Production Technologies” and coordinates all EBU technical activities concerning metadata and new production architectures. He is the co-author of several EBU metadata specifications. He is actively promoting the use of semantic web technologies in broadcasting. He is the Project Manager of the joint AMWA-EBU FIMS Project on Service

Jean-Pierre Evain Oriented Architecture. He represents EBU in many standard groups and industry forums like AES, ETSI, IPTC, MPEG, SMPTE, UK-DPP, W3C, among several others. (EBU)

Semantic data in sports production

EBU operates EUROVISION, which is where sports and broadcasting meet. As the vital link in the journey from stadium to screen, EUROVISION gathers all the relevant information and promotes video, audio and now metadata standards. EBUSport is a vocabulary that extends EBUCore (audiovisual content) with sport specific information using W3C's semantic technologies. The presentation takes EBUSport out of the development kit box and shows a proof of concept for biathlon

SESSION 3 : TUTORIALS

Stephan Heimbecher (born 1967) has been working at Sky Deutschland (formerly Premiere) since July 2002. As Director Innovations & Standards in Technology, his post involves representing Sky on national and international committees, technical work with major Hollywood studios plus technical innovation management tasks within Sky Deutschland.

The electrical engineering graduate began his career as research associate at the Institut Stephan Heimbecher für Rundfunktechnik (IRT) where he worked on audio coding. Since 1997 he has dedicated (Sky Deutschland) his work at IRT to the standardisation of Digital TV before joining Top5 MediaConnection in 2001 (a company of the former KirchGruppe) as manager within the consulting department. & At Sky Stephan Heimbecher has significantly been involved in the launch of some technical innovations including Sky+ (PVR), Sky HD and Sky 3D. Since 2011 his major focus is on Ultra HD and Stephan Heimbecher serves as chairman of a respective working group and member of the board of the German TV Platform in that regard. On European level he is co- chair of a similar working group of FAME (Forum for Advanced Media in Europe). Stephan Heimbecher is also member of the DVB Steering Board as well as of the Steering

Committees of the Innovation Center for Immersive Imaging Technologies (3IT).

Benjamin Bross is a Project Manager at the Video Coding & Analytics Department of the Fraunhofer Institute for Telecommunications - Heinrich Hertz Institute, Berlin and a part-time lecturer at the HTW University of Applied Sciences Berlin. He received the Dipl.-Ing. degree in electrical engineering from RWTH University Aachen, Germany in 2008. During his studies he was working on three-dimensional image registration in medical imaging and on decoder side motion vector derivation in H.264 | MPEG-4 Advanced Video Coding (AVC).

Benjamin Bross Since the development of the new H.265 | MPEG-H High-Efficiency Video Coding (HEVC) (Fraunhofer) Standard, which started in 2010, Benjamin was very actively involved in the standardization process as a technical contributor and coordinator of core experiments. In July 2012, Benjamin was appointed as a co-chair of the editing Ad Hoc Group and became the chief & editor of the HEVC video coding standard. At the Heinrich Hertz Institute, he is currently responsible for the development of HEVC encoder- and decoder software as well

as investigating new video coding techniques for the next generation of video coding Page 5 of 17

standards.

Besides giving talks about the emerging HEVC video coding standard, Benjamin Bross is an author or co-author of several fundamental HEVC-related publications, and an author of two book chapters on HEVC and Inter-Picture Prediction Techniques in HEVC. He received the IEEE Best Paper Award at the 2013 IEEE International Conference on Consumer Electronics – Berlin in 2013 and the SMPTE Journal Certificate of Merit in 2014.

Peter Sykes is the Strategic Technology Development Manager for Sony Professional Solutions Europe. He has worked in the content and media technology industry for 30 years and has been involved in the introduction of some of Sony’s most exciting professional developments including the Digital Betacam, XDCAM and HDCAM production formats. Peter first became involved in the product management and marketing of Sony’s High Definition cameras and systems over ten years ago, when he was tasked with widening the discussion beyond the traditional cinematography audience in readiness for widespread broadcast roll out starting in the mid-2000s. He then worked on the introduction of file-based HD technologies such as XDCAM HD, before taking up the role of Strategic Marketing Manager for Digital Cinematography in 2010, leading the introduction of the CineAlta F65, F55 and F5 cameras and workflows. Peter Sykes As Strategic Technology Development Manager, Peter is currently involved in the (Sony) introduction of key technologies such as Ultra High Definition for the European professional market. Based in the UK, he recently lead the project to create Sony’s new Digital Motion Picture Centre for Europe located at Pinewood Studios.

First HDR live production – a step-by-step walk-through

Synopsis: In August 2015 Sky Deutschland attempted a first live HDR live production at the Supercup 2015 soccer match between VfL Wolfsburg and FC Bayern Munich. The endeavor was supported by Sony for both the professional and the consumer side as well as by Fraunhofer HHI in regard of the HEVC encoder. Besides the establishment of the end-to-end live workflow, different “flavors” of HDR were tested, namely SMPTE 2084 (PQ) and Hybrid Log Gamma (HLG). The tutorial will provide a hands-on walk-through of the production with guests talks by Sony and Fraunhofer HHI.

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Dan Tatut benefits from over 15 years of expertise in computer science, computer graphics and colorimetry. He has founded Chrome Imaging in 1998 (products for the motion picture industry) and in 2010 he joined, as VP Business Strategy & Development, Marquise Technologies, a manufacturer and developer of high-end image processing solutions, in both broadcast & digital cinema fields. Today Dan focuses in the implementation of the IMF standard in Marquise Technologies product’s range.

Dan Tatut (Marquise Technologies)

& Melanie Matuschak, born in 1990 in Gera, Germany, began her bachelor studies in Media Technology at Technical University of Ilmenau in 2009 where she focussed on audiovisual media as well as stereoscopy. She completed her Bachelor of Science with her thesis on the topic of 2D to 3D video conversion and was nominated for the German award “ARD/ZDF Förderpreis Frauen+Medientechnologie 2014”. In 2014, Melanie Matuschak continued her academic career at RheinMain University of Applied Science with the Master of Media and Communication Technology. Among others, she focussed on UltraHD in an international project on HDR in collaboration with BBC. Her Melanie Matuschak master thesis on the Applicability of the Interoperable Master Format (IMF) to Broadcast Workflows was successfully completed at the EBU in December 2015. From March 2016 on, she will join the Cologne based systems architect Qvest Media.

The Interoperable Master Format (IMF) master course

This master course tutorial will provide a comprehensive overview of the IMF standards and their current implementation in the industry. Along with the existing workflows, the tutorial will also present the new extensions for broadcasters and new features such as the adoption of the SMPTE ST2084 standard for HDR and much more. Beyond the theory, the tutorial will provide a hands-on experience around the mastering, playback & QC as well as the transcoding phases existing in the IMF ecosystem.

Florian Camerer joined the Austrian Broadcasting Corporation (ORF) in 1990. From very early on, he has been mixing small programs and working on location. In 1995 he became a staff-sound-engineer (“Tonmeister”) mainly in the field of production sound and post- production. High quality audio for documentaries became his field of special interest. In 1993 he started to get interested in surround sound. He mixed the first program of the ORF in Dolby Surround (“Arctic Northeast”), played an integral role in ORF’s move towards multichannel audio transmission (starting with the New Year’s Concert 2003, Europe’s first live discrete surround sound transmission) and is now involved with all aspects of multichannel audio at ORF. He lectures on an international basis especially in dramaturgical aspects of surround sound productions, microphones for surround sound and multichannel audio for HD. Recently he has expanded his international activities to the field of loudness Florian Camerer issues, chairing the EBU group PLOUD since 2008. This resulted in the recommendation R (ORF) 128, a breakthrough in audio levelling. Camerer is also an active member of the AES, the Audio Engineering Society, serving as Broadcast Session Chair on the committee for the past 5 conventions.

Loudness - strategies for production and transmission (including streaming)

Currently working as a project manager at VRT's Technology & Operations department, Karel De Bondt is involved in VRT's technology accelerator program called Sandbox (sandbox.vrt.be/liveip). Sandbox engages in short-term innovative collaborations with start- ups. Together they implement and try-out their new products and ideas in VRT's media ecosystem. Next to that he’s managing projects where technology, operations and content production meet. Typically this involves introducing new workflows and implementing new technology infrastructures.

Karel has also worked as a business analyst & business relationships manager at VRT Page 7 of 17

Karel de Bondt In that role he acted as a go-between and mediator between the technology division, the TV facilities provider and the TV production division. The work ranged from ad hoc problem & solving over initiation of and follow-up on projects, to negotiating the long term technology investment plans.

Wouter de Cuyper During his 13 years at the Belgian broadcaster VRT, Wouter executed many different technology related roles and gained a high level of experience in a broad media spectrum (television, radio and digital products). He built a substantial part of the file based video production system and was part of starting the digital shift in distribution and production. Currently Wouter is working as technology architect responsible for implementing state of the art media facilities in VRT’s new building, planned for 2021.

Wouter de Cuyper (VRT) &

John Sparrow has specialised in production intercom and talkback solutions since joining Drake Electronics in 1989, when talkback was all analogue audio and TTL logic. After a spell as the only field service engineer at Drake, John moved to the proposals and the sales divisions, ending up responsible for UK and Southern Europe sales development. 10 years later John was approached by Trilogy Broadcast to join them as they were developing their first matrix based intercom system. He continued to use his expertise to work with customers with a technical and applications focus, and was involved when Trilogy (now called Trilogy Communications Ltd) launched the world’s first IP-based intercom system in 2000. John Sparrow (Trilogy) John has worked with the VRT Live IP project since Phase 2 of this ground-breaking project. At the EBU PTS seminar, John will present his thoughts on IP in the intercom world, leveraging 15 years of experience in this segment of the broadcast and defence business. In his spare time John supports his local community radio station as an engineer, presenter and vice chairman, as well as running live OB events for the station. Many of these events use IP as a link between sites, utilising John's experience with live IP communications in a real world scenario. John can be contacted via his email, [email protected] and also Linkedin.

What can we learn from the LiveIP experience?

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DAY 2: WEDNESDAY 27 JANUARY

SESSION 4 : VIRTUAL REALITY – REAL-WORLD EXPERIENCES SEVERAL VIRTUAL REALITY DEMOS WILL BE PROVIDED DURING THE BREAKS

Moderator Simon Gauntlett is Chief Technology Officer at the Digital TV Group (DTG) with responsibility for the organisation’s technical strategy through directing the Groups’ technical programme, technology team and supporting the DTG Council. He currently supports the development and evolution of services on the cutting edge of TV technologies, including: connected TV; the delivery of video to mobile devices; and the introduction of ultra-high definition / 4k, through management of the industry-led UK Ultra HD Forum. Simon has published four updates to the technical specification for digital terrestrial television in the UK (‘D-Book’) since joining the DTG in 2006. In 2008 he supported the launch of the UK’s free to air satellite platform, Freesat, through a successful test and conformance project before working with DTG members to introduce Freeview HD using the Simon Gauntlett new DVB-T2 standard. (DTG) Simon joined the DTG after spending seven years with the BBC’s Research and Development department where he specialised in compression technologies for High Definition video — working on the BBC’s HD trials across satellite, cable and terrestrial television. VR360 – Opportunity, threat or gimmick? Synopsis: Virtual Reality and 360 degree videos is making a lot of waves in the industry. Is it the next big thing for video or is it more an application for gaming? What are the challenges for the content producers, content distributors and consumers?

Chris Johns has been with BSkyB since its inception in 1989 having started his career in broadcast with the BBC. Chris formed part of the initial technical team tasked with launching Sky’s multi-channel analogue satellite offering. As Chief Engineer, Chris has been at the forefront of delivering broadcast functionality to the platform such as the Multi channel Digital Playout facilities, Dolby Digital audio, Server based solutions and Compression Systems. Most recently Chris played a key role in Sky's HD launch and design of its High Definition infrastructure and continues to oversee the product quality. He has taken a lead in the capabilities of delivering 3D broadcasts to the home user over existing infrastructures and through Sky's HD PVR products and continues to manage the technological evolution. As part of Sky’s Technology department, Chris is now helping Sky deliver entertainment Chris Johns across a multitude of different platforms from a common core whilst maintaining the audio (BskyB) and visual quality the customer has come to expect from today’s technologies.

Making news in VR

Mylene Verdurmen is Drama Editor in Chief at AVROTROS, an independent broadcasting association that promotes freedom in our society by providing content on a cross-media basis with an open-minded attitude to life. AVROTROS drama is challenging, distinctive, expressing an opinion, inciting discussion, inspiring, dealing with contemporary relevant themes, profound yet accessible, intends to appeal to as wide a public as possible, and has top casts and crews, as well as top authors and directors. In 2016 AVROTROS has 26 drama projects in development among which 5 animation, and 2 VR projects.

Mylene Verdurmen (AVROTROS)

&

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Benjamin de Wit is partner, executive producer and new business director of WeMakeVR. He is responsible for partnerships and is involved in the creative process on many projects. He was trained as an actor and worked with the internationally acclaimed Toneelgroep Amsterdam from 2001-2007. Since he has developed several successful businesses, Spot On Agency, agency for actors and Studio Stomp an digital agency. Benjamin de Wit is the driving force behind The Classical Story, a virtual reality experience for classical music, as well as the Dutch VR Days, conference/event on VR. He is on the board of Norma, the Dutch neighbouring rights organization for musicians and actors.

Drama in VR: project Orpheus & project Ashes to ashes Project Orpheus is a short VR spin - of an AVROTROS drama series with the same title. A group of medical students get a once in a lifetime change to kick start their careers in a Benjamin de Wit prestigious hospital. But then they discover an experiment that will change their lives for (WeMakeVR) good.

Ashes to Ashes is a 15 minutes VR Drama project written by Anne Barnhoorn, winner of Prix Geneva in 2014. The story of a family fighting about the ashes of grandfather, will be directed by three different Dutch directors from different disciplines

Kay Meseberg studied political sciences at the University of Potsdam, graduating with a Diplom. After contributing to Polylux at ARD, reporting for ARTE formats and working on Foyer for 3sat, he spent many years as an online editor and TV author for ZDF’s investigative magazine Frontal21. Parallel to his career in television, he has been involved since the late nineties in conceiving and implementing numerous award-winning online projects. He moved to ARTE in 2013, where he developed the platform ARTE Future and laterjoined the editorial board of the magazine SQUARE IDEE. Following the success of Polar Sea 360°, he continued exploring content from a 360° video and virtual reality perspective. Conceptual and editorial work on many again award-winning thriving, innovative web formats such as scroll docs and web documentaries – examples: GPS-Jagd nach Kay Meseberg Elektroschrott/Follow the Money, Netwars, Polar Sea 360°, Atterwasch, Falcianis (ARTE) Swissleaks: The Great Bank Data Robbery. Numerous distinctions, including three Grimme Online Awards, Deutscher Reporterpreis, Deutscher Wirtschaftsfilmpreis, LEAD Award. Reality. Only better.” – ARTE’s 360/VR strategy 360-Video and Virtual Reality are not new. Both are technologies based on the dream of immersion – the question how to make the audience a part of the program, how to get them. This was the goal in greek theatre and also the dream of film-pioneers like the Lumiere brothers, Sergej Eisenstein and Walt Disney. Now the technical tools are in place to fulfill these dreams. Is 360 and VR a possible future of TV and moving images?

Christian Weissig is the head of Capture & Display Systems Group at HHI/ Vision & Imaging Technology Department. He received his Dipl.-Ing. degree in "Information Technology in Mechanical Engineering" from the Technical University of Berlin in 1998. After the employment as a visiting scientist he joined the Heinrich-Hertz-Institut (HHI) in Berlin in 1999. Since then he has been involved in numerous German and European projects related to novel multimedia production technologies and services in the area of UHD and 3D.

Christian Weissig is member of the experts group "Film Technology" of the German Christian Weissig "Society for Information Technology" (ITG). Within the HHI Christian Weissig is responsible (Fraunhofer) for ultra high resolution video panorama solutions in particular UHD acquisition and presentation systems. Since 2009 he led the build-up and development of the "Tomorrows immersive Media Experience Lab" (TiME-Lab) and the development of the omnidirectional panoramic video acquisition systems such as the OmniCam360. Christian Weissig is an expert for Virtual Reality (VR) and responsible for the VR-relevant activities within the HHI.

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VR camera technologies

Already since the early years in the history of film, breath-taking panoramic films follow up the tradition of the large painted panoramas. Despite of some spectacular projects over the history, immersive film projects has always been a niche application. Virtual Reality (VR) is currently the hot topic in the film industry and this is the first time where mass market applications for immersive film are within reach. One of the first questions regarding VR applications is the content creation. After the beginning of the current VR hype a growing number of camera systems are coming on the marked. This presentation will give a basic classification of current camera systems available for VR applications. The Fraunhofer- HHI’s OmniCam360-system will be introduced and shown in different production environments. Finally the next versions of VR camera systems will be announced.

SESSION 5: INTEGRATED MEDIA PRODUCTION

Félix is Senior Project Manager of multi-disciplinary workgroups related to the transformation to networked media production at the EBU Technology and Innovation in Switzerland.

Felix has “grown up” in studios as his parents worked in TV production. His inherited curiosity for technology led him to a diploma in electrical engineering at the École Polytechnique de Montréal completed by a research project at the Massachusetts Institute Félix Poulin of Technology. After graduating he began work as a wireless and digital audio expert on (EBU) international productions, including at Cirque du Soleil. Prior to the EBU, he has worked for national broadcaster CBC/Radio-Canada as engineer in Radio-TV production technologies. Felix is Member of the SMPTE and co-chair of the Joint EBU/SMPTE/VSF Task Force on Networked Media (JT-NM).

The IP studio: a roadmap of developments

Yvonne Thomas graduated in Television Technologies and Electronic Media Engineering from University of applied Science Wiesbaden (HSRM), Germany, in Oct. 2010. She received a prominent award of the ARD/ZDF Academy for her thesis in September 2011 at the IFA in Berlin. Following these studies she started beginning of 2011 to work at the European Broadcasting Union (EBU) in the Technology & Innovation Department as Project Manager. She was responsible for projects and strategic programs on 3D and Future Television technologies, such as UHDTV or LED studio lighting.

Since September 2015 Yvonne joined arvato Systems´ Digital Media Management division. As a Product Manager she is responsible for the MAM system VPMS and follows new Yvonne Thomas trends in the media landscape. & Ralf Jansen studied computer science at the university of applies science Bonn-Rhein- Sieg. During his studies he started his career working at RTL Cologne and graduated in the field of “Real time algorithm to generate 3D clouds based on satellite images in a terrain engine” in 2004 in cooperation with the Fraunhofer institute for media communication (IMK). Since he worked for arvato Systems´ Digital Media Management Division (former S4M) in several roles such as Software architect and Product Manager. Ralf was involved in several national and international projects and is responsible for the development of a new client generation.

Advanced technical tools for integrated media production in the news room

Ralf Jansen "One view, all in? – How journalists take up the global search challenge"

(arvato Systems) Users and journalists are creating new requirements and demands for the media industry. Shortened news cycles and increasing pressure to deliver content rapidly, means that users expect their tools and platforms to help them quickly find all relevant information for new stories from any source. Arvato Systems will discuss the coming changes in the media landscape and will present concepts that address the new requirements and demands from journalists and media users. Page 11 of 17

Bruce Devlin has been working in the Media industry for 30 years and looks after Media Technology in Dalet Digital Media Systems. Formerly the CTO of AmberFin, the VP of Technology for Snell and Principal Engineer at both Thomson in France and the BBC, Bruce has designed everything from ASICs to software algorithms. Best known for being @MrMXF, Bruce wrote the book and chaired the SMPTE working groups on the format.

Bruce is an Bruce Devlin • alumni of Queens’ College Cambridge England (Dalet) • member of the IABM • fellow of the SMPTE • recipient of SMPTE’s David Sarnoff Medal • recipient of BKSTS’ Achievement award • keen to educate the world about media and a rider of bicycles (occasionally quickly)

The next generation of file based production - IMF+BPM+versioning = revenue

Working on the assumption that delivering the right version of a title to the right platform at the right time maximises the income from that title, this presentation looks at how automation methodologies like BPM (Business Process Management) can be used with new file formats like IMF (Interoperable Mastering Format) and management tools like a MAM (Media Asset Management) to deliver lower costs of production.

The presentation will focus on subtitle workflows and will hopefully feature a live demo of the workflows. It will be based on the SMPTE presentation delivered in October this year (attached) brought up to date with the latest evolutions in IMF, TTML and cloud based workflows.

SESSION 6: ADVANCED AUDIO AND RADIO PRODUCTION

Chris Baume is a project research engineer at BBC R&D in London and the BBC lead for the Orpheus project. His research interests span a number of areas including semantic audio analysis, interaction design and spatial audio. Previously, he has collaborated with Queen Mary University to create a system for extracting mood information from music. He is currently developing next-generation audio production tools as part of his PhD research at the University of Surrey. Chris is a Chartered Engineer and a founding member of the BBC’s audio research group where he leads the production tools work stream.

Object based audio production

In this presentation, Chris will introduce Orpheus – a new EU-funded project that will build an IP-based end-to-end object-based audio broadcast system. Over 2.5 years, Orpheus will demonstrate the potential of this new approach through two pilot radio programmes that will Chris Baume be interactive, personalised, scalable and immersive. Chris’s talk will focus on the tools and (BBC) systems needed to produce content in this way, and the challenges and opportunities it brings. He will also be demonstrating a prototype audio editing system he has developed which allows users to edit speech-based content using automatically-generated transcripts.

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Florian Camerer Loudness reloaded (ORF) Same as above

Matthieu Parmentier started his audio career recording classical music CDs. He joined France Televisions in 1999 as a sound engineer for live programs, then in charge of sound recording, video editing and outdoor satellite transmissions for the news department. Since 2008, he has been working as manager for 3D audio and UHD video development projects, also organizing conferences and professional workshops. Matthieu chairs the audio strategic programme of the European Broadcasting Union, the French section of the Audio Engineering Society and Matthieu Parmentier chairs or participates in several collaborative R&D projects. He holds two license (francetélévisions) degrees in sound recording and video post-production and a master degree in audiovisual research from the Toulouse II University. France Televisions is the French public TV broadcaster in charge of 5 national channels, 49 local channels and 9 overseas TV and radio channels. All its programs are available live and on demand through IP networks over connected TV, PC, smartphones, tablets and video game consoles.

HTML5 for immersive audio

The BiLi project led by France Televisions and Radio France is developing HTML5 modules to bring advanced audio rendering into web browsers. This presentation will focus on several use-cases where these modules definitely raise the quality of experience, in the context of non-linear TV and radio. A few keywords: loudness-adapted contents, object- oriented audio, spatial and binaural rendering.

Fabian Kuech received the Dr.-Ing. degree in electrical engineering from the Friedrich- Alexander-University Erlangen-Nuremberg, Germany, in 2005. During that time he was a member of the audio group at the Chair of Multimedia Communications and Signal Processing. Since 2006, he is at the Audio Department of Fraunhofer IIS, where he holds the position of a group manager. His responsibilities include research and development in the area of acoustic front-end processing for spatial audio recording and processing as well as loudness and dynamic range control. Fabian is a member of the Technical Committee on Transmission and Broadcasting of the AES and the EBU P/LOUD group. He has contributed to the standardization of MPEG-D Dynamic Range Control and MPEG-H 3D Audio.

3D audio capturing for virtual reality Fabian Küch

(Fraunhofer) Audio reproduction represents a crucial component of a VR experience. Immersive audio that is consistent with the visual cues makes the difference whether the consumer feels as being part of the virtual scene or whether the illusion entirely breaks. In this presentation immersive audio capturing for VR applications will be considered. The audio related workflow including 3D audio recording, delivery and binaural rendering of immersive sound for head-mounted displays is discussed based on a prototype system. On the recording side, special focus is put on live recording of 3D audio scenes that are consistent with simultaneously captured 360° video.

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DAY 3: THURSDAY 28 JANUARY

SESSION 7: DIGITAL WORKFLOWS AND FILE SYSTEMS

Moderator Rainer Schaefer (born 1961) is General Manager TV at the IRT, the R&D institute of the public German broadcasters (incl. ORF in Austria and SRG in Switzerland) since May 2009. He joined the IRT in 1986 after studying electrical engineering at the technical university of Munich. During his career, he worked in several positions as hard- and software developer, project leader, seniour engineer and as head of the TV production systems section. Working areas were analogue and digital television, video coding and DVB, production chains, standards converters, interactive television and integrated media production systems.

He is regularly active as participant or in chairing positions in DVB, EBU and other national or international bodies, as well as EU projects. Currently, he is vice chair of the board of the FKTG in Germany. Rainer Schaefer (IRT)

François Abbe is the founder and president of Mesclado, an international consultancy providing strategic vision, solution architecture & programme management of broadcast IT systems for broadcast & media organisations. Clients include Arte, Ericsson Broadcast Services, France Télévisions, RTBF. François is a respected media expert with 20 years in the broadcast industry, with experience in Research and Development, Product Management & solution architecture. He was instrumental in the conception of MPEG-2 coding for Digital Terrestrial Television (DTT), the HD MXF file format, IMF for Hollywood majors, objective image Quality Control and High Definition within a data processing and file based environment. François Abbe (Mesclado) Exchanging programmes: the media group's prospective

Receiving masters still is a painful process. AS-10, DPP, IMF are candidates for standardisation. Are we really there yet? We'll summarise pros and cons of popular options and give practical examples.

Peter tho Pesch is a Technical Engineer at Institut für Rundfunktechnik (IRT) where he chairs the ARD workgroups “Quality Management” and “Technical Production Guidelines Television”. After completing his thesis at IRT in the area of binaural localization, he graduated in Media Technology at the University of Applied Sciences “Oldenburg / Ostfriesland / Wilhelmshaven”. He then traveled through South America nine months. Since 2011 he works at the IRT in the Department of Production Systems Television.

ARD / ZDF file based master format for exchange and editing

The MXF File Format has been established as the standard format for program material over the entire production chain. Despite all the progress, there is still room for improvement Peter tho Pesch when it comes to reliability in production environments. And the standard conformity of a file (IRT) alone does not ensure interoperability between applications. Narrowing down the MXF standard to a user defined subset or profile, can be a way to improve reliability in production workflows. This approach is taken by different user groups, among others by ARD / ZDF / ORF / ARTE, the digital partner productionship (dpp), or (in a broader sense) the IMF Forum. The presentation gives an insight into the work and aims of the ARD / ZDF Quality Management workgroup. Further it shows the motivation behind the profile specification as well as an outlook to future formats.

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Maarten is founder and CEO of Limecraft, dedicated to giving media professionals the best possible solution to manage their digital workflows. Prior to this, in his capacity as a programme manager for the R&D department of VRT (VRT-medialab), he was responsible for several innovative technologies to enable computer assisted manufacturing and automatic indexing of audiovisual media. These experiences eventually led to the incorporation of Limecraft and its unique selling proposition.

Author of several distinguished publications and often invited as a speaker to conferences, Maarten is an acknowledged subject matter expert on a range of topics including multimedia techniques, semantic technologies and media production infrastructure. Relying on his critical appreciation of current and future trends, and capitalising on his extensive

experience as a systems architect, he strives to move media technology beyond the state of Maarten Verwaest the art. (Limecraft) Online Collaborative Workflows enabled by Cloud-based Technology

Modern media production workflows involve specialized teams and a network of freelancers, interacting during different phases of the production process from different locations. The media themselves are digital, but managed by singular Media Asset Management solutions in each location. Due to structural gaps in the overall flows of data and metadata, collaboration relies on informal methods like email and ftp. The process is prone to errors and the production facility suffers from excessive bandwidth and storage consumption.

The key to solve this problem is to ensure all involved parties share the same up-to-date view on the actual production processes. By properly employing cloud-based technologies, journalists, directors, editors et al. can concurrently and interactively manipulate the script and the pre-cut, indifferent of their physical location. Using streaming, watermarking and encryption, there is less need to transfer raw material, an approach which perfectly scales to UHD formats. In turn, increased transparency leads to more control over the production process and post-facilities free up a significant portion of their editing capacity.

In this session, you will learn how cloud-based technologies should be implemented to deliver a secure online and collaborative workflow. To fully discover the potential, we will highlight two recent cases, notably France Télévisions and NRK.

SESSION 8: UHDTV: BEYOND RESOLUTION

Moderator Andy Quested was a much sought-after editor with BBC Resources for many years, working on programmes as diverse as The Human Body and Keeping Up Appearances but about ten years ago Andy gave up the life of a hermit editor and moved into the sunshine and bright lights of the BBC Technology Group.Since 2005, Andy has been leading the BBC’s high definition technology strategy as Head of Technology for HD and leading the work for the BBC’s automated quality control project. He also chairs the EBU strategic Quality Control programme.During 2010 the BBC started a series of transmission and production 3D trials. As part of this Andy has also taken on the role of Head of Technology for the BBC’s 3D output and strategy. Part of his role is to be part of the process of developing standards for 3DTV production and international programme exchange.As part Andy Quested of the process of developing 3DTV standards, Andy was asked to become an ITU Special (BBC) Rapporteur with the task of examining the current world 3D production status and providing a report with recommendation at the September 2011 and April 2012 ITU meetings in Geneva. Andy also chairs the EBU 3D group.

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Dagmar Driesnack graduated in Media Technology at the University of Applied Sciences in Mittweida. In her diploma thesis at IRT, she focused on quality investigations of HD codecs and on a comparison of HDTV formats. In summer 2006, she joined IRT as a research engineer and is now active in the department “Production Systems Television” working on topics like compression in production, contribution and distribution for HDTV and beyond HD. She was leading the EU funded project DIOMEDES at IRT. She chaired the former EBU D/HDrec-group and now vice chair of the SP BHD group. She is also a member of the DVB project, SMPTE and the FKT.

Advising on UHD – what to do today, what over 3 years Dagmar Driesnack

(IRT)

Jérôme Viéron Jérôme Viéron received the Ph.D. degree in computer science from Rennes 1 university in (ATEME) 1999. He joined Thomson R&D France as Research Engineer working on Advanced Video Coding. He is an active contributor to standardization efforts led by ISO and ITU-T groups. He was very active to the H264/MPEG-4 SVC standardization process. In 2007, he joined the Video Processing and Perception Lab of Technicolor R&I as Senior Scientist and explore new technologies for future video coding applications and Standards. He joined ATEME in 2011, as Advanced Research Manager. He is in charge of French and European collaborative R&D projects and works on new generation video coding technologies. He is an active contributor to the standardization process of HEVC (High Efficiency Video Coding) and is implied in the 4EVER (for Enhanced Video ExpeRience) consortium which aims at researching, developing and promoting an enhanced Television Experience, using HEVC as well as Ultra-HD including High Dynamic Range and Wide Color Gamut.

The compressor: Compression formats overview

Matthieur Parmentier Let’s go to UHDTV phase II (francetélévisions /4EVER) France TV and 4EVER partners have started the assessment of High Dynamic Range and High Frame Rate to figure out their impact on non-expert viewers. The results have shown a

real greater experience of UHD phase 2 signals compared to UHD phase 1. It is now time to Same as above renew these studies with real TV contents such as recorded shows and live events, while setting the necessary infrastructure to handle UHD phase 2 production. This presentation will focus on 2 experiments: a teaser (3’ long) shot at 100 fps in 4K HDR and the comparison between a live UHD + HDR production and its HD reference.

After several years working in fiber optics and access netwoks I started my career in broadcast when I entered RTVE. Now I am an engineer at the DTT group, dealing with DTT headends, video contribution, video quality and DVB-T network. During the last year I have been involved in the UHD trials performed by RTVE.

RTVE UHD DTT and HbbTV Trials

The presentation reviews two different UltraHD trials carried out by RTVE during November 2015:

− DVB-T2 transmission of UHD HDR content − UHD offered on RTVE HbbTV platform Miguel Melgar (RTVE)

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HDR the great industry debate

Tim Borer works as a Lead Engineer at BBC Research and Development, focusing on aspects of UHDTV such as high dynamic range and high frame rates. He is currently actively involved in the development of HDR standards. Previously Tim led the video compression team at BBC R&D developing “Dirac” and the SMPTE VC-2 compression standard. He maintains an interest in compression for production. Prior to the BBC he designed professional broadcasting equipment, including motion compensated standards converters and compression equipment, for both Snell and Harris. Tim holds degrees in video processing, electronics and physics. He is a Chartered Engineer (MIET), a senior member of the IEEE and a member of the SMPTE. He is the inventor of 20 patents. Tim Borer (BBC) & Craig Todd is Sr. Vice President and Chief Technical officer for Dolby Laboratories. He has a Degree in Physics from the California Institute of Technology, and has been with Dolby since 1977. With more than 40 years of experience, Craig has been involved in many state- of-the art entertainment technologies. He designed the surround sound matrix system that enabled 35mm film prints, and stereo media, to deliver surround sound. Craig led the development of Dolby Digital and was heavily involved in the effort to set the Digital TV standard for the U.S. He is considered an expert in many areas of audio/video technology. His current activities include bringing wide color gamut high dynamic range imagery into the home via both legacy, and new electronic media, formats, as well developing and bringing to market next generation audio technologies. Craig has participated in a variety of standards setting activities including ITU-R, DVB, SMPTE, AES, IEC, CEA, and ATSC. He has contributed to many of the key ITU-R audio and video Recommendations. He is a Craig Todd member of the Board of Directors of the Advanced Television Systems Committee, a Fellow (DOLBY) of both the AES and SMPTE, recipient of the SMTPE Samuel L. Warner Medal for achievement in motion picture sound, recipient of an Emmy for his loudness metering work

in ITU-R, and holder of more than 20 patents.

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