MEDIA TECHNOLOGY & INNOVATION ISSUE 42- • DECEMBERi 2019

Setting the pace for online platforms Read about • Online players at SVT, Yle and Rai • EuroVOX tackles the language barrier • Mastering digital transformation at Norway’s TV 2 and more...

tech-i | tech.ebu.chtech.ebu.ch/subscribe | December 2019 1 Media innovation and Europe’s digital sovereignty Issue 42 • December-i 2019 Antonio Arcidiacono Director of Technology 3 Launch of 5G-MAG & Innovation, EBU 4 JT-NM Tested; Cybersecurity takeaways These are fascinating and Policymakers want to make challenging times: attractive Europe fit for the digital age and Update on PEACH 5 content cannot reach an they certainly agree that media 6 NGA production tools interested audience if it is not play a central role in this process, 7 Introducing EuroVOX supported by innovative contributing to creating inclusive 8 SVT Play infrastructures and related and cohesive societies, promoting 9 Yle Areena technologies. Technology and fundamental democratic values, innovation are thus the basis of all and helping to develop the skills RaiPlay 10 successful new media products. necessary for informed 11 Piracy of free-to-air Since taking up this position, I citizenship. For the latter, digital content have come back again and again and media literacy play a key role 12 Low latency DASH over to the same message: it is only in empowering citizens and Multi-CDN by joining forces that we will be combatting information disorder, 13 Greenfield Playout project able to remain relevant in the very including disinformation. at TV 2 competitive media market. This Providing Europeans with includes public and private innovative and creative 14 Loudness for streaming broadcasters and the European instruments should be a priority. services media industry as a whole. And New generations should be 15 MediaRoad – what was we certainly need more collective helped to develop the ability to achieved? effort to accelerate European communicate more effectively 16 David Wood on content media innovation. using those instruments, and technology Actions speak louder than equipping them to better words, however, so allow me to understand and interrogate the 17 Partner Profiles: DASH mention just two of the projects avalanche of information they are Industry Forum I’m pleased to have set in motion exposed to. 18 Media intelligence: audio over the past 12 months. However, Europe’s media and platforms The October launch of the 5G creative industries are operating 19 In the spotlight: Anssi Media Action Group – 5G-MAG in an increasingly global and Komulainen – will help to put Europe at the competitive marketplace and the Cover story: Antonio Arcidiacono centre of the 5G conversation digital age has changed the argues opposite that accelerating when it comes to media-related speed of innovation. media innovation is crucial for Europe applications. Representing the Media innovation therefore must to strengthen its digital sovereignty. interests of the media industry in be accelerated by putting a One key element of that is competing with the global video streaming giants. the area of 5G, this new global stronger focus on the sector in In this issue of tech-i, we present three organization offers a “convergent Horizon Europe and other examples of public service media fighting voice” that was previously relevant programmes. This back to remain competitive locally in missing. support must be proportional at the global marketplace. See pages 8, 9 and 10. In a different domain, the least to the importance of media EuroVOX project has been in Europe and the related GDP it Editor-in-Chief: Antonio Arcidiacono building momentum over the past generates. More support is Managing Editor: Patrick Wauthier year. The aim is to create an open needed to adapt cutting-edge Editor: Eoghan O’Sullivan European platform for language technologies for innovative media [email protected] management and accessibility, an services, for example in the fields Design: Louise Tait open platform using AI-based of AI and data, cloud-based Printed on FSC certified paper by speech-to-text-to-speech platforms, immersive experiences, Graphius (FSC CO14767) algorithms to make any content language management and © European Broadcasting Union available to any citizen in their accessibility, as well as All rights reserved. The reproduction of articles in tech-i is authorized native language (see page 7). recommendation and only with the written permission of These are only two examples of personalization services. the publishers. The responsibility for several developments aimed at Accelerating media innovation views expressed in tech-i rests solely reinforcing the leadership role of is crucial if Europe wants to with the authors. the European media industry. strengthen its digital sovereignty!

2 tech-i | tech.ebu.ch | December 2019 NEWS & EVENTS

Launching the global 5G Media Action Group

5G-MAG, the 5G Media Action 5G-MAG is now officially active manufacturers and regulators. Group, is a newly formed and starting to globally represent The EBU has been instrumental in association designed to give the the common voice of the media the creation of 5G-MAG in line media industry a voice in the 5G community”, he said. “5G-MAG with its role to foster the debate. The EBU hosted the aims to translate the development and deployment of association’s first General standardization work of engineers technologies of strategic Assembly on 16 October 2019, in 3GPP, DVB and the EBU into importance to the media industry. when 39 member organizations operational services that are of 5G-MAG has initiated work on approved the statutes and value in media production and the various topics identified at the internal rules and elected a distribution.” General Assembly. Those who are steering board of 21 Since being announced at interested in shaping 5G representatives. Antonio IBC2019 in Amsterdam, 5G-MAG deployments for the benefit of Arcidiacono, EBU Director of has gained the support of the media industry – and the Technology & Innovation, was stakeholders from across the billions of consumers it serves – elected as chair of the steering media value chain, including are invited to join the association. board. media organizations, broadcast Visit www.5g-mag.com or “We are proud to announce that and mobile network operators, contact [email protected].

Taking stock after WRC-19 REVIEW Sharm el-Sheikh This one-day workshop, by invitation WORKSHOP only, will bring together the broadcast community to review the outcome of WRC-19, to identify common actions between the different stakeholders and to define an associated road map of OUTCOME OF WRC-19 AND activities, up to and beyond WRC-23. PLANNING FOR WRC-23 Please ensure your organization is represented.

21 JANUARY 2019 See tech.ebu.ch/wrc19workshop or contact [email protected].

tech-i | tech.ebu.ch | December 2019 3 NEWS & EVENTS

Six valuable takeaways from the Media Cybersecurity Seminar (tech.ebu.ch/mcs2019)

1. Shift Left! The idea of Shift Left security is to move security considerations to the far left of the development timeline, rather than only thinking about them at the end.

2. Crowdsource your Live IP vendors step up to vulnerability assessment! Implementing a Responsible the JT-NM Tested challenge Vulnerability Disclosure policy, possibly coupled with a “bug The EBU, through its of the NMOS standards and some bounty” programme, will give involvement in the Joint Task IT protocols). These two JT-NM ethical hackers a way to help Force on Networked Media Tested Catalogs, detailing both you without the threat of being (JT-NM), has been following the tests that were undertaken prosecuted. See EBU R 161. the development of standards and the results of those tests, are for Live IP production since available for download from: jt- 3. Take on the pirates! the very start, writes Ievgen nm.org/jt-nm_tested Kostiukevych. The JT-NM Tested In general, the success rate Content piracy is harming programme was initiated earlier at the Wuppertal event was business, even for free-to-air this year as a means of getting much better than the previous broadcasters (see page 11). a snapshot of the current state event. Vendors have recognized Concerted action is needed of product implementations for the value of JT-NM Tested and for both legal and technology- the key standards. It’s all about also accepted the introduction based solutions, including more improving the implementations of mandatory self-pre-testing widespread adoption of the and driving the industry forward. for this second run. However, EBU-led BISS-CA protocol. With the publication of the challenges remain. It was notable “EBU Pyramid” (EBU Tech 3371 that not all products were 4. You need a SOC! “Minimum user requirements to submitted for the NMOS/TR-1001 Every media company needs build and manage an IP-based testing. We had been expecting a Security Operations Centre, media facility”), we felt that the a higher level of adoption. On in-sourced or outsourced, to technology was mature enough the plus side, PTP and network monitor and detect suspicious to be publicly tested, with the stability were excellent, proving activities within its facilities and results published. that the robustness and stability networks. JT-NM Tested is not a of the implementations was certification programme. It is increasing. 5. Company culture rather a snapshot in time of how The findings from this second must catch up! vendor equipment conforms to JT-NM Tested event will be fed Security is still often seen as key parts of SMPTE and other back to the relevant standards a separate topic but it should standards, providing prospective bodies. The scope of the be a minimum requirement for purchasers and users with a programme will be expanded projects, equipment purchases reference as they undertake further for future events, with and more. Tailor-made equipment evaluation and the cybersecurity tests, which guidelines like EBU R 143 and qualification. were undertaken on a trial basis EBU R 148 can provide a head Following a first run ahead of in Wuppertal, being formally start. NAB 2019, another gathering of integrated. There will also be vendors and testers took place more workflow-oriented testing 6. Know your suppliers! at Riedel Communications in and the inclusion of further NMOS Liability in the case of a Wuppertal, Germany, ahead of specifications. cyberattack can extend also IBC2019. A total of 32 vendors to your suppliers and their participated. There were two test We are grateful to Andrew suppliers. A wide and deep plans against which the products Bonney (BBC) and Willem supply chain map is required were assessed: one was for Vermost (EBU/VRT) for their and you might want to consider SMPTE ST 2110 and the other for valuable contributions to JT-NM cyber insurance. JT-NM TR-1001-1 (covering some Tested.

4 tech-i | tech.ebu.ch | December 2019 More services, more participants and more implementations: PEACH is growing The EBU collaborative project delivering a recommendation and personalization solution is going from strength to strength, writes PEACH developer Yury Brukau.

Another year of intense the complexity and costs of data developments for PEACH has collection by moving to services seen the addition of the user provided by PEACH. The team preferences service and a GDPR is now working on their first manager. There is also now an news recommendation service improved platform for data targeting editors. The algorithms scientists and a data collection are now literally in the hands of library for mobile (both iOS and SR’s own development team: Android) – and we migrated they can themselves explore, the operations to Amazon Web experiment and learn how to Services. build products uniquely suited to Four EBU Members have SR. implemented PEACH and are actively contributing to its PEACH @ RTS development. There is ongoing In Switzerland, integration interest from other broadcasters, between the RTS Play and we are conducting several application and PEACH was trials (e.g. TG4, LRT). Get in improved over the course of 2019 touch: peach.ebu.io so that there is now a consistent user experience in the Play PEACH @ VRT application on different platforms After a successful trial of PEACH (web, iOS, Android), for content in the VRT NU web portal recommendations, continuous last year, the first use case playback and personalization. was delivered by the end of RTS can measure the impact summer, providing user-based of recommendations on overall content recommendations on content consumption. the portal’s home page. We will A new RTS Info mobile app was continue working together to released in September, providing adjust the algorithm and prepare broadcaster started by porting users with personalized news other applications of PEACH, recommendation products that feeds with audio and video such as programme or news were already in production. This content. Together with a new UI recommendations in other VRT went smoothly and the quality and separate audio and video products. of the recommendations from feeds, it brings personalization to VRT participates in the PEACH was at least on a par with users’ news feeds using services Content Personalization Network the old system. provided by PEACH. (CPN) project funded by the SR has improved the EU Horizon 2020 programme. workflow for developers who PEACH @ BR The project is focused on news use the PEACH data science The earliest implementer, BR personalization. There are platform and improved continues using PEACH for interesting opportunities for both the data collection the personal recommendation knowledge exchange between and overall performance page in the BR Mediathek. PEACH and CPN and we are of calculating and serving One of the next things on the looking forward to seeing what recommendations. Several A/B roadmap is updating its mobile we will be able to do together. tests have been conducted apps to use the data collection to learn what offerings the library provided by PEACH and PEACH @ SVERIGES RADIO audience prefers. The quality to improve evaluation of the Since joining PEACH at the end of the recommendations has recommendation algorithms. of 2018, SR has been steadily been improved through user- The PEACH team visited BR in gaining knowledge and control individualized filtering of November to discuss future use over its recommendation recommendation lists. cases and evolutions of PEACH offering. The Swedish SR has been able to reduce in BR products.

tech-i | tech.ebu.ch | December 2019 5 New standards and tools for reliable NGA workflows

Next Generation Audio is now closer to the mainstream thanks to some significant steps forward over the past year, explains IRT’s Michael Weitnauer.

At an ITU meeting last March, we finally achieved one of IRT’s main audio objectives of recent years: the standardization of an open renderer for Next Generation Audio (NGA). It was a meeting of the study group for international standards in programme production and quality assessment. The renderer Screenshot of the EAR Production Suite standard agreed is a crucial element for a reliable NGA workflow and will make sure that the sound engineer can monitor the signals in the same OPEN SOURCE TOOLS 3392). Apart from using it way as the audience. That may This is a great achievement for productions, we envisage sound trivial but was indeed not but our efforts to engage and the EAR Production Suite guaranteed until recently, owing push ADM and the ITU ADM as a role model for further to a fragmented market situation. Renderer for a truly open and ADM implementations to This renderer is a complete independent NGA workflow harmonize ADM workflows and interpretation of the Audio didn’t stop there. We also functionality. Definition Model (ADM) Format, implemented these standards in This joint development has specified in Recommendation open source software libraries already implemented most ITU-R BS.2076 and very much (such as libadm, libbw64 and basic features. These include based on the EBU ADM Renderer libear), which will simplify the the import of ADM files, the – EAR (EBU Tech 3388), our integration of the ADM workflow explosion of object-based joint project with BBC, b<>com in production tools, foster wide content to Reaper tracks, and France Télévisions, within support and guarantee smooth groups and automation an EBU working group. The interoperability. Moreover, we curves, the editing of audio EAR renderer specification was teamed up once again with our objects in each track, and published in March 2018 and, BBC R&D audio colleagues for the rendering of different precisely one year later, the ITU-R an exciting new project where loudspeaker configurations for Working Party 6C agreed on the all these developments come monitoring. This early version new recommendation BS.2127-0 together: the EAR Production was successfully demonstrated “Audio Definition Model renderer Suite. to several interested visitors at for advanced sound systems”. The EAR Production Suite is the EBU booth during IBC2019, Even though this new standard a set of VST® plugins for digital where we received valuable is very much based on EBU Tech audio workstations (DAWs) feedback. 3388, the ITU-R recommendation that enable sound engineers The EAR Production Suite will is a joint effort of multiple to produce and author content be published as an open source broadcasters and manufacturers. using the ADM format; and to project on GitHub, in addition To make sure that the renderer monitor it for any ITU-R BS.2051 to freely available release builds. is compatible with all currently loudspeaker configuration using There are still a few open issues, available NGA technologies and the ITU ADM Renderer. such as the export of ADM files systems (e.g. AC-4, MPEG-H It will enable professionals to and advanced ADM programme or DTS:X), we worked together import and export ADM files, authoring, but we expect the with industry partners like Dolby, compliant to the EBU ADM release to be available during or Fraunhofer IIS and Xperi. Production profile (EBU Tech before Q1 2020.

6 tech-i | tech.ebu.ch | December 2019 EuroVOX: tackling the language barrier with machine-based translation

For public service broadcasters, increasing the reach of their content is of prime importance. A group of EBU Members are collaborating on a tool that will tackle one crucial barrier, explains Ben Poor.

The EBU’s EuroVOX Project goals of the EuroVOX Project. translate it into another. aims to be an open toolkit for Being an open toolkit means To do this, the original video is transcription and translation, having a unified and openly ingested and transcribed from its allowing citizens easy access standardized API (application original language, after which it to media content in their native programming interface) on top is presented on the interface as a language. of language tools from a wide series of timestamped sentences. With a rich tapestry of spoken range of vendors: large, medium These sentences are then languages across Europe, there and small. This gives content translated to the target language is a greater need to involve all producers the opportunity to and spoken using a synthetic citizens in the cultural fabric perform a single integration with voice. The original audio of the of society, helped by access to their production workflows and video is then ducked (reduced in public service content, regardless tools, and then use EuroVOX to volume to 30%) while the voice of the user’s native language. access a much wider range of is overlaid. The end result is that language tools than is available the spoken elements of the video LEVERAGE AI & ML with any single provider. are automatically re-voiced into a The rise of artificial intelligence This also means that, new language. and machine learning, providing through continuous automated Currently, the accuracy of such tools for automated transcription benchmarking, as well as the transcriptions and translations and translation, has the potential collation of human feedback, the is not 100% and so the tool to provide a solution. This is “right” vendor can be selected emphasizes its assistive mode. It partly driven by the GAFAM when performing a transcription, allows a human editor to view the (Google, Amazon, Facebook, translation or other task. This results and easily make any final Apple, Microsoft) companies would be decided on a range of amendments. Once the video is that have invested billions of objectives: cost, speed, accuracy, complete, it can be downloaded dollars in creating their own etc. for publishing on social platforms, language services, as well as with subtitles and transcripts acquiring specialist companies. EL-TRADUCTOR in both the original and target There are smaller companies EuroVOX is currently under languages. that also provide services (e.g. development through the El-Traductor demonstrates Speechmatics), along with collaboration of a group of EBU the potential of EuroVOX and research institutes and universities Members, each with their own is now being trialled in Member (perhaps specializing in specific requirements. One of the first newsrooms to get real user languages). steps was to create a pilot tool feedback from editors and Having equal and open access to fulfil a specific use case: El- journalists. to a wide range of these services, Traductor is a web tool for news The next steps for the larger either from the big vendors or producers to take audiovisual project are to extend the smaller institutes is one of the content from one language and functionality of the production API layer (including adding more language vendors to increase the range of languages supported), as well as widening the group of Members involved.

Get more out of your available resources by joining EuroVOX and benefiting from a much larger team dedicated to producing a system of immediate value to you. Contact [email protected] or visit tech.ebu.ch/eurovox Screenshot of El-Traductor

tech-i | tech.ebu.ch | December 2019 7 A smart use for HbbTV in Sweden Anders Hebert is Product Owner for SVT Play on TV platforms. He describes here how the broadcaster has ensured its on-demand platform is prominently positioned in Swedish living rooms.

With our VOD service SVT Play, we have always wanted to meet the audience where they are. In 2006, we brought an on- demand mindset to the Swedish population with our desktop web service. A few years later an adaptive, mobile-first-inspired SVT Play website was launched to put our video content in the hands of Swedish commuters. As the smart TV audience started to grow, we wanted to bring television back into the living room, this time using on- demand video. Both the users and the TV manufacturers were asking us to build apps for their specific devices, but with the limited resources of a public service media organization we’d never be able to develop and maintain native apps for each platform. So, we turned to HbbTV. Just about every TV manufacturer is listed on the HbbTV member list so we approached them early and early iterations, we can easily boxes. The HbbTV-based app is about using the HbbTV standard improve our solutions and we’re used on, for example, Samsung, to publish smart TV apps. pushing code into production Panasonic and LG, for the latter Communicating our plans to the at least weekly. The deployment on devices ranging as far back as manufacturers was important to workflow automatically transpiles 2014. give them time to adjust their the modern HTML5-based code stores and devices as required to to the older web standards of NEXT TO NETFLIX support the initiative. HbbTV 1.5 making the service SVT has chosen to publish this compatible with even 5-year-old HbbTV service as a smart TV MODERN TOOLS TVs. app and not a channel-bound We decided to use version When publishing an app on service. The reason for this is 1.5 of the HbbTV standard, a new platform, we upload an that our users are familiar with to reach as many devices as application to the manufacturer other VOD apps like Netflix and possible while still using a app store. However, there’s HBO, and they expect SVT Play modern streaming format for no actual code in these apps; to be found in the same space. video. Although version 1.5 uses they just hold the URL to our This also gives us brand exposure older web technologies such HbbTV service and some basic when users are launching, for as CE-HTML and EcmaScript metadata. To the user, it’s like example, Netflix and they see 3, our in-house development any other smart TV app, but for our logo on the next icon. We team have set up a modern us there’s a huge difference: that are investigating channel-bound development environment where single HbbTV service has the services too, but we don’t have they’re using current HTML5 market penetration of tens of any plans to use them for SVT tools like TypeScript and React. native apps. Play. Our users are already They’re working like any modern Between this HbbTV service familiar with VOD apps so any web developer, giving us a lot and an Android TV app, SVT Play channel-bound HbbTV initiative of flexibility to test different covers almost every smart TV would be focused on improving ideas and improvements. With device sold in Sweden, as well as the broadcast experience. usability testing of prototypes a lot of cable and satellite set-top

8 tech-i | tech.ebu.ch | December 2019 Yle Areena – bigger than Netflix Kari Haakana, Head of Services at Yle, puts the success of the Areena streaming platform down to a combination of several factors. In general, it’s about making the right choices.

Yle, the Finnish national the live video service. We also couple of years, the stream starts broadcaster, has been able pay very close attention to the on mobile surpassed stream to beat Netflix, at least if analytics, to see what sort of starts on traditional computers. you believe a study from content works, when it works Now our mobile applications AudienceProject. According to and how it works. have been installed on more than the AudienceProject Insights two million devices and are being 2019 report, Finland is the PRODUCT DEVELOPMENT used by approximately a million only country of those covered We also put considerable effort different mobile devices weekly. (the others being the US, UK, into developing the technology Germany, Denmark, Sweden that drives the service. We don’t GROWTH ON SMART TVS and Norway) where the public have projects with Areena. We We also launched our first smart broadcaster’s video-on-demand consider it to be a product, TV application back in 2013. service is more popular than the not unlike Google search or Currently 25% of our stream American streaming behemoth. Spotify, and you can’t develop a starts happen in smart TV How has this achievement been meaningful product with a string applications, 25% in browsers possible? of projects. We have dedicated and 50% in mobile applications. First of all, we started early. We teams that combine people from The number of different smart launched Areena, our video and Yle and selected companies TV devices using our service has audio streaming service, as early to develop Areena with small already surpassed the number as 2007, the same year as BBC iterations and continuous testing. of tablets and continues to grow iPlayer and only two years after We also believe that having by approximately 100% year-on- YouTube first appeared. Since video and audio services in a year. then we have been putting lots single application is beneficial The next platforms for of work and resources into our for both. We can cross-promote Areena are car entertainment service. Currently, practically all content more easily and we avoid systems and voice-controlled of Yle’s video and audio content the need to create the same environments like Google is available in Areena, both live kinds of feature for two different Assistant. We are also and on demand. products. experimenting with audience It has taken a lot of effort to Timing is essential with product commenting for live shows, ensure we have quality content development in a fast-moving different recommendation for Areena. Most of the content technological environment. We solutions and a fully personalized on the platform is still the same try to spot changes in the usage user experience. Beating Netflix as on the broadcast services, but patterns and, at least until now, is going to be harder each we are steadily increasing the we have succeeded. We created year, but it’s still possible, if amount of online-only content, our own mobile applications for we continue making the right especially audio podcasts and Areena ten years ago. Within a choices.

tech-i | tech.ebu.ch | December 2019 9 Relaunching RaiPlay for a new era The Italian public broadcaster Rai has rebranded, re-engineered and reinvigorated its on- demand player RaiPlay. Taking care of product development at Rai Digital, Gianluca Visalli provides this overview.

The renewal of Rai’s public service charter in 2018 marked the beginning of a new era for the company. The contract with the government specifically mandates Rai to expand its multimedia platforms, looking beyond traditional linear broadcasting. One concrete outcome of this has been the November 2019 relaunch of RaiPlay.

STRONG STARTING POINT First launched in September 2016, RaiPlay had built a good market position even before its relaunch. The strategy for this first phase had been to establish an OTT (over the top) platform in the market as a means of distributing existing content. This positioned Rai as a market leader in terms of digital they include RaiPlay within their channels. Instead a completely distribution. media menu. This applies to independent offer has been A data strategy was also mature audiences as much as to created, whereby the RaiPlay added during this period. While younger people (who may not team has a full editorial remit users could freely watch the even have Rai’s linear channels with the aim of creating a wide linear services via RaiPlay, to within their current scope of native offering across different access the catalogue on demand consumption). genres: movies, (Italian) fiction, registration was mandatory. This international TV series, kids, enabled the collection of basic NATIVE DIGITAL CONTENT documentaries, music and demographic information, such The relaunched platform theatre, and archives. as age and gender, alongside continues to offer simulcast of A complete re-engineering has consumption data. This provided the linear channels alongside aligned the player with the latest the basis for a recommendation a catch-up service and the trends and expectations with system introduced in 2018. catalogue of all programmes regard to the graphical interface, As of September 2019, RaiPlay that have previously aired. What the overall user experience, had 12.5 million registered users is new is the focus on native the search engine, algorithms, and racked up 488 million video content, whether produced etc. The user experience is now views in the first nine months specifically for RaiPlay or consistent across all of the of the year. This marked a 75% acquired for the platform. The player integrations, of which increase on the same period in main challenge in terms of there are five: Android TV, iOS, 2018, so the trend was clearly product design has been to HbbTV and the dedicated apps upwards. Nevertheless, in the integrate all of these different for Samsung and LG smart TVs. face of increasing competition kinds of service in a way that’s A more basic app continues to from global video-on-demand easy to browse and still fulfils serve MHP receivers, which have platforms, and in line with Rai’s our public service remit of also a shrinking but still significant 2019–2021 business plan, a giving prominence to content presence in the Italian market. complete redesign of the player that might be less popular or On the RaiPlay app for was undertaken. commercial. smartphones and tablets, the The aim is to ensure that The placement of content on user can download content for wherever audiences are moving the new RaiPlay is no longer viewing in offline mode. This away from Rai’s linear broadcast done with reference to the offers full mobility and reduced services and onto OTT platforms, schedules of the existing linear consumption of data traffic.

10 tech-i | tech.ebu.ch | December 2019 Free-to-air does not mean free Television piracy is a flourishing business, writesDiane Hamer, Head of Content and Brand Protection at BBC Studios. The emergence of bespoke illegal “expat” channel subscription services poses perhaps the most direct challenge to the BBC’s global commercial activity.

No longer solely the preserve tied to the UK domicile of the operators boldly promoting the of teenagers in their bedrooms, licence fee payer; it does not availability of BBC, ITV and other much television piracy is legitimize or clear the rights for UK free-to-air channels on their now conducted on a highly the distribution of BBC public service. Because UK viewers organized, commercial scale by service channels to customers do not pay for this content sophisticated networks of illegal around the world.) Another is at the point of consumption, operators and may be linked to that the service is permitted these services operate on the other criminal activities. Better under the EU Audiovisual Media presumption that no one is hurt broadband speeds enable high Services Directive (wrong when it distributed to a global definition pirated content to be again: the AVMSD governs audience without the permission streamed directly to viewers – via how content is regulated in of the rights owner. set-top boxes, smart TVs, tablets the EU, but it does not permit High quality content is very and smartphones – anywhere in the distribution of copyright- expensive to produce, and the the world at any time. protected works without the BBC supplements the income consent or compensation of the it derives from UK licence fee ILLEGAL SUBSCRIPTION broadcaster or copyright owner). payers by the activities of its SERVICES Nevertheless, such claims are commercial subsidiary, BBC Like the legitimate media often sufficient to reassure the Studios, which invests in content industry from which it steals, the customer that they are buying production in exchange for global pirate television economy serves a genuine service (and not, as distribution rights, including with a range of audience demands, is often the case, handing over PSM partners. This is a virtuous from live sports to Hollywood credit card details to organized circle that helps fund high films and television box sets crime groups) and to muddy the quality content for UK licence on demand, to national linear waters for law enforcement. fee payers and enables the BBC channels streamed live and on to meet global demand through a catch-up basis. It is hard to FREE TO REDISTRIBUTE? the international distribution of quantify how many illegal “expat” A consistent, but inaccurate, programmes and services, with channel streaming subscription theme underpinning many of due remuneration of contributors services currently operate these illegal services is that and underlying right holders. But globally and the numbers change content that is broadcast free- unless the industry steps up its all the time, as law enforcement to-air, such as on the BBC’s efforts to tackle this wide-scale or civil actions shut some down linear UK public service channels, piracy, this virtuous circle is at risk and others emerge. is free for the taking. This is of being breached. A concerning feature of apparent from the number of the higher end illegal “expat” services is how legitimate they look, an impression enhanced by well-designed websites selling branded set-top boxes, the availability of customer support lines, the use of mainstream payment providers, and their reassuringly expensive subscription fees. (I have seen services offering subscriptions of USD 380 per year.) Many of these illegal services also make claims (often found in genuine looking Terms of Service or FAQs) designed to reassure customers of their legality. One common claim is that the service is legal as long as the customer has a UK television licence. (This Well-designed websites for the higher end services give the impression of is wrong: a television licence is legitimacy. tech-i | tech.ebu.ch | December 2019 11 Reducing the delay for live content over Multi-CDN The EBU’s Hemini Mehta describes how low latency was achieved over the Eurovision FLOW Multi-CDN setup for a successful IBC2019 demonstration.

Have you ever watched football regardless of any difficult network online and heard your neighbours conditions that may arise. THE IBC2019 DEMO with a normal broadcast service Therefore, reducing the pre- The demo focused on keeping cheer at least 30 seconds before buffered content has a risk of the latency below three you could see the score? As more causing a poor end user seconds for the full delivery and more viewers are watching experience. chain. live events online, and in some Many content providers stream cases are paying to watch them, their services using Adaptive Encoding profile these long delays – or latencies – Bitrate (ABR). This also improves MPEG-DASH adaptation set irritate them. Therefore, latency is the end user experience by using configured with: a key factor for the video the best stream over their Video: H.264 avc1.640029, 1 streaming experience. The available bandwidth capacity and Mbps, 1280x720@30fps Eurovision FLOW Low Latency checking it regularly to continue Audio: AAC mp4a.40.2, 192 demo at IBC2019 utilized DASH to give the user the best stream kbps, 48,000 Hz (Dynamic Adaptive Streaming they can view. When the player Video segment size: 1 second over HTTP) with a low latency requests the stream chunks, a mode based on CMAF (Common check is done on the bandwidth Origin Media Application Format), and the right chunks are served at The origin was provided by delivered through the FLOW the optimal bitrate. Therefore, the System73. It was optimized Multi-CDN setup. added complexity of low latency for delivering content in Latency is the difference in time can also introduce issues. streaming mode (as soon between the frame being Low latency increases the as it is produced), taking encoded and when it is displayed number of requests for the advantage of HTTP Chunked to the viewer. Low latency HLS chunks and so this is also an Transfer Encoding, keeping and DASH enable faster delivery increased overhead. connections alive and HTTP/2 to the end user, by specifying To have low latency, as we have session performance. The short video segments, for said, there must be some encoder and packager example. CMAF is used to unify compromises and the following implemented the CMAF the behaviour of LL-HLS and areas need to be balanced: specification with tight timing LL-DASH throughout the delivery • User size and geographic synchronization following chain, from packaging to playout. distribution MPEG-DASH requirements to CDNs need to optimize the CMAF • Encoding formats and device/ guarantee timed delivery. pass-through by not allowing the player compatibility caches to store the content • Video resolution and complexity CDN setup packages. That said, many people already Both CDNs used in this demo, Achieving low latency comes benefit from low latency on a CenturyLink and StackPath, with issues. In the current system, daily basis, e.g. with video changed the behaviour from the end user benefits from the conferencing and other video their caches to pass through use of pre-buffered content, calling services. The challenge is CMAF content without storing which ensures that they have a to perfect it for live broadcast it, to enable delays that are better viewing experience events. almost as low as the package length. The demo used the DASH-IF reference player with built- in time and CDN-switching reference, as well as manual override for the purpose demonstrating CDN-switching during IBC.

Demo partners Centurylink, Stackpath, System73, Warpcache

12 tech-i | tech.ebu.ch | December 2019 Mastering digital transformation at Norway’s TV 2 A project to entirely renew its content handling systems represents a huge step forward for Norway’s TV 2 and an inspiration for the wider industry, says Hege Marie Kallestad.

Our GPO – Greenfield Playout – project has been transformational for TV 2. To take just one example, with our previous workflow the partly manual checking of 1,000 hours of content, using different systems for linear and OTT, had an estimated delivery time of eight months’ work from five full- time staff. In the new system, the same amount of content takes 14 days with three people. We have integrated all the workflows for linear and non-linear in all operational functions: from planning and content delivery to playout and publishing, both for technology and organizationally. We’re now and rights, to sales and planning thinking. When a file has delayed running nine linear broadcast management, including content delivery, the content service channels and another 35 online delivery and publishing on operator can simply turn around only channels from one playout all platforms. We also had to the publishing desk and have control room. innovations like one of the world’s them change the publishing time first IP-based playouts. It’s all for OTT, and the CXM team can BIGGEST EVER PROJECT connected and transparent for all address the change directly to This project started out as a platforms. our consumers. No more calls or traditional IT project, but after We developed our own mails. A modern way of working. four years it has become the Enterprise Service Bus, with This project has been all biggest transformation project product-specific adapters, about learning, but also about TV 2 has ever completed, where supporting the integration unlearning old habits. It’s the objective is to totally renew between all systems. This gives about balancing the new and our content handling. It is a digital us the possibility for flexible the old side by side. It’s about transformation project with technology shifts in future and organization and structure, focus on building and using new easier scaling. Everything is culture and humans. It has been technology, but also transforming based on the use of a global ID exhausting and demanding, but in workflows and changing the way structure. With our technology the end, we finally got there. we do our daily work. strategy in the core, there is Nobody knows for sure Our business goals were opex no direct integration between what will become the future cost reduction of 30%, faster systems, even between planning business models in our industry, publishing, and easier scaling, and playout. And for the first but with this project TV 2 is modification and replacement time in our history, we now have now positioned to meet those of systems. We also wanted to access to all data in real time. unknown needs of tomorrow. combine and reduce several One of the most important roles in the organization, remove MODERN WORKFLOWS learning points from a digital duplicated workflows and We’ve had huge efficiency gains. transformation is that it never build digital competence with We achieved the targeted 30% really ends. And remember, increased skills. The project has reduction in opex and expect technology is just an enabler – the made it possible for us to prepare further reductions in future. main focus must be on people. for extremely fast turnaround and However, the real value is in the publishing to all platforms. access to data and analysis, The TV 2 Greenfield Playout We have transformed the increased time to market, fast project was shortlisted for content handling value chain, turnaround time and combined the 2019 EBU Technology & from the top of the chain with rights management for OTT Innovation Award. metadata related to contracts and linear, based on upstream See: tech.ebu.ch/award

tech-i | tech.ebu.ch | December 2019 13 Loudness: the next generation The relative calm around loudness normalization, achieved largely thanks to an EBU recommendation, has been destabilized by the rise of streaming services. ORF’s Florian Camerer chairs the EBU group that’s working on an extension of R 128.

The main focus these days via new guidelines for audio temporary. Broadcasters can regarding the deployment of streaming that seem to be veering expect the publication of this loudness normalization is online towards a target of −18 LUFS ± 2 streaming supplement in Q1 of streaming. This comes in different LU. 2020, relying on the same short forms, like OTT (over-the-top) A broadcaster may not care and sweet guidance as the core television or video and audio about any level competition from recommendation R 128 provides. streaming services. other services. In this case the Figure 1 illustrates a preliminary While the broadcast television available content can be streamed example of the two main ways to community has united around unchanged which, of course, is the stream legacy R 128-compliant a loudness normalization target easiest solution. content. level of −23 LUFS, largely due Nevertheless, the landscape If a broadcaster is of the opinion to the success of EBU R 128, the for audio levels is changing and that it absolutely must be on a situation in the streaming world is broadcasters need guidance. par with music or video streaming much less clear. With the likes of A forthcoming revision of the services, then a level change Apple, YouTube and Spotify each CENELEC European standard for towards −18 LUFS ± 2 LU may implementing their own louder earphone levels in mobile devices be looked at. The consequence target levels of anywhere from −18 (or PMPs, personal music players) of this approach is the necessary to −12 LUFS, it is understandable will allow higher output levels, processing stage to prepare the R that a broadcaster would see thus making a target loudness 128-compliant content to a higher level “competition” with the latter level of −23 LUFS very feasible. target level (including appropriate services as an argument for We also see more and more high quality true-peak limiting). deviating from the established streaming services adopting This may be performed by an norm of −23 LUFS. loudness normalization by default, appropriate dynamics processor at a reasonably low target level, during actual live streaming LEVELLING CHAOS as well as devices adapting the operations, thus keeping the There is a longer story to tell loudness target level intelligently “single inventory” strategy. For about the evolution of loudness within themselves. on-demand streaming, such normalization targets among dynamic treatment would have to streaming services. Decisions NEW SUPPLEMENT be performed beforehand. In the taken by the aforementioned The EBU project group for future, level adaptations should companies kicked off a new race, loudness, PLOUD, is currently be executed within the playback with a clear and present danger working on supplement 2 to device, with knowledge of the for a different flavour of levelling EBU R 128, addressing the issue device properties as well as the chaos. Our colleagues in the AES of loudness for streaming. Any listening environment. (Audio Engineering Society) are deviation from the “holy grail” getting to grips with the situation of −23 LUFS is likely to be See: tech.ebu.ch/loudness

Content provider (Broadcaster) Device (full quality playback) Device (less headroom)

individual programmes Loudness and peaks adapted

Loudness unchanged

Figure 1: Normalization schemes for a stream at −23 LUFS. When the device is used in a situation with sufficiently high playback gain and headroom as well as low background noise, the loudness level is unchanged. However, the loudness level is adapted when there is limited playback gain and headroom and/or higher background noise; high-quality true-peak limiting is performed where needed (see the two red arrows).

14 tech-i | tech.ebu.ch | December 2019 PROJECT REPORT MediaRoad: two years later, what has it achieved? This European-funded project was tasked with giving a boost to innovation in Europe’s media sector. BBC’s Judy Parnall, who was on the MediaRoad project team, takes stock of what has been achieved.

Over the two years of the innovation across the European MEDIAROAD IN NUMBERS MediaRoad project, each of its media sector and reawaken a 18 media innovation constituent hubs – Sandbox, “start-up” mentality in the sector. accelerators powered up by Policy and Network – has The project aimed to bring MediaRoad’s Sandbox Hub achieved a huge amount and innovative concepts to fruition 2 policy vision papers all have exceeded their and market deployment while 20 thematic conferences and original aims. The project was also helping to shape future workshops established in 2017 under the media policy and contribute to 10 SkillBytes podcasts about EU’s Horizon 2020 programme. the digital transformation. digital transformation and Coordinated by the EBU, The resources from all three the skills and competences of its aim was to support the hubs remain available on the media professionals transformation of the European MediaRoad website (www. 50 stakeholders officially media sector by building an mediaroad.eu). The Sandbox hub joined the network ecosystem for innovation. has planned its next phase and MediaRoad brought together broadcasters, media workers’ will be developing further with a broad network of media organizations, academic research additional innovation models. stakeholders. They included institutes and innovation centres, The MediaRoad network will live diverse media associations, independent producers, and on through LinkedIn, for future public service media SMEs. collaboration and sharing of organizations, commercial radio The objective was to boost developments.

SANDBOX HUB The goal was to establish a series of Sandbox incubators that would work with start-ups to pitch, test and scale their innovations and to form a network to share case studies and learnings. While the initial target was to build a network of four Sandboxes, by the end of the project, new or existing Sandboxes from 17 media organizations and two from non-media organizations had joined the hub. They are now exchanging best practice and contacts, including potential collaborators and innovation events. Several projects are emerging from these Sandboxes. The project has also published toolkits for establishing and running Sandboxes and guidelines on innovation and IPR exploitation. At IBC2019, the Sandbox hub presented awards for the best projects to receive the Sandbox Quality Label. The top award went to Newsbridge for its Newsbridge idX project with France Télévisions. The runner-up was On-Hertz, for its radio-studio-on-a-tablet project with VRT. In addition, France Télévisions was recognized for generating the most projects to attain the Quality Label.

NETWORK HUB The Network hub aimed to foster a network of researchers, broadcasters, production companies and others to encourage and share innovation. This was done through newsletters and events. The events focused on diverse topics including robo-journalism; media innovation in the age of AI, social media and fake news; and post-convergence radio. The network also produced a series of podcasts called MediaRoad SkillBytes to explore what the transformation of the media technology environment means for professional journeys with regard to jobs, skills, recruitment and training.

POLICY HUB The focus of the Policy hub was the development of a long-term policy vision for the whole radio and AV sector – including broadcasters, technology companies, social media providers, production companies, journalists and research institutes. Two major vision documents on future and emerging technologies for the media sector were published to a wide audience. In addition, the hub provided consolidated responses to seven EU consultation calls and published eight quarterly newsletters and blogs along with several presentations and workshops.

MediaRoad received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 761412. tech-i | tech.ebu.ch | December 2019 15 IN MY OPINION Content and technology: two sides of the same coin? David Wood explores whether the technology that is used to deliver content is having an increasing impact on the creation of that content and what this means for the creators.

We know about the revolution is an example. (See page 5.) taking place as programme Not only can content providers production migrates to technology learn what the user’s habits were in based on IP, Internet Protocol. the past, they can know what the Content providers will be able to users are doing at any moment, and meet the needs of changing and thus in principle could adjust the multiple content forms. It will mean content to maximize the number of greater flexibility and perhaps, users. eventually, lower costs in All of this can be said to constitute programme making. the use of big data. But will there be, in the years ahead, forces that will change the SKILLS FOR PROGRAMME- process of content creation itself? MAKING Could technology and content Bearing all this in mind, we may be eventually become, to an extent, moving on from a world where sides of the same coin? To be programme makers have required successful in future, will skills in two main areas: the first is broadcasters and broadband creativity and imagination – the providers need not only to win on process known as ideation. The content ideas but on technology second involves interwoven abilities too? The answer is probably yes. related to knowledge and experience. TECHNOLOGY INFLUENCING Such abilities will always be CONTENT necessary, but in future we may There are many areas where need to add to the list the skill to technology influences or shapes harvest and make use of big data. media content. One is that the Knowledge derived from big data public face of the content provider could help decisions on the content can change from a channel button itself as well as on which delivery on the remote control to an app on platform the use of the content will a smart TV – and the skill with which be optimized. Can we even dream of that app is created will influence a world where a media narrative can how little or how much content is be adjusted in real time using big watched. data? But if there is a change in content Ideas like these have recently “But will there making, a major impetus will be the prompted the epithet “content is growth in delivery via internet, technology – technology is content”. be, in the years whether OTT, web or hybrid This might not be Voltaire’s “best ahead, forces services. Pretty much all content is, of all possible worlds” for media. or eventually becomes, available via Maybe it could be argued that that will change internet; and that usually allows the content should challenge the user, the process of content provider to know which offering something not experienced terminal is using their content at any before. If we rely too much on big content creation moment. data, yes, we may end up with the itself? Could The characteristics and feedback popular, but will it be largely possibilities of internet delivery are formulaic? technology and becoming ever more used. Learning On the other hand, remember that content eventually the habits of users makes it possible most consumer commodities use far to offer the user recommendations more sophisticated marketing tools become, to an about what he or she may want to than the media world has ever done, extent, sides of watch, bearing in mind their and maybe this silent revolution interests. The PEACH system cannot be avoided. Perhaps it is the the same coin?” developed by several EBU Members natural course of media evolution.

16 tech-i | tech.ebu.ch | December 2019 PARTNER PROFILES Taking DASH from specification to real business In this series we profile organizations with which the EBU collaborates on technology-related matters. Thomas Stockhammer introduces the DASH Industry Forum.

The DASH Industry Forum (DASH-IF) was founded in 2012 to promote and catalyze the adoption of MPEG-DASH and help transition it from a specification into a real business. Since then, the organization has published several versions of its Interoperability Guidelines and other supporting material for the support of interoperable DASH-based streaming services for media streaming over the internet. With more than 80 members, DASH-IF represents a large footprint of the ecosystem, including service providers, content delivery network operators and broadcasters, as well as technology providers in different domains, to connect the dots in an otherwise fragmented world of internet streaming services. DASH-IF also serves as encoders, packagers, origins, growing interest in the mobile the point of contact for other and CDNs. Also included are domain with the advance of 5G. standards organizations when sections related to low latency, DASH-IF supports a multitude introducing new distribution targeted ad insertion, events and of promotional efforts, means. As an example, DASH-IF timed metadata, and updates to contributing to events such as regularly exchanges information address the latest developments the Media Web Symposium, with ATSC, DVB, EBU, HbbTV, in DRM-protected media EBU BroadThinking, DVB 3GPP, CTA WAVE, MPEG, ETSI distribution. World and the Mile High Video and the Ultra HD Forum in While many consider that workshop or organizing its own order to support their efforts DASH is done, it seems that we workshops. DASH-IF is also for improved streaming services are only at the starting point. active in supporting the research over the internet. Over the last several years, community, and regularly issues All work in DASH-IF is DASH has been established as academic awards and challenges. supported by publicly accessible the only openly standardized Last, but not least, DASH-IF is test, reference and conformance streaming distribution format well-known for its flagship social tools. These include, for example, and has, hence, received many events, one at NAB in April, and a reference DASH client (recently inputs, stemming from different one at IBC in September. Several used for EBU demonstrations ecosystems. Ongoing work will hundreds of subject matter at IBC2019, see page 12) and include: the introduction of the experts and friends gather to a conformance checker that Common Media Application meet for a beer, a snack, some can be used to check if your Format (CMAF) serving as the home-grown music and a lot service conforms to the DASH convergence between DASH of good networking. There are standards. segment formats and other more more than a few experts who New DASH-IF implementation proprietary systems; the role of come to IBC/NAB only because guidelines are on course for DASH in television distribution of the DASH-IF networking publication in early 2020. These (ATSC 3.0, DVB-I, SCTE, etc.); party! will include the specification the development of new video You can find information on of protocol interfaces for live codecs (VVC, EVC, AV1, etc.) how to join this lively group and ingest/egress of media content, and formats (HDR, 8K, VR); and, support its efforts by visiting: to be used between linear ABR of course, the continuous and www.dashif.org

tech-i | tech.ebu.ch | December 2019 17 MEDIA INTELLIGENCE Planting seeds in Spotify’s walled garden Music streaming platforms are morphing into full audio platforms, forcing public broadcasters to decide on a strategy to follow. David Fernández Quijada, Manager of the EBU Media Intelligence Service, reports on this emerging trend.

On 6 February 2019, the leading music streaming platform Spotify announced that from that day it was considering itself not just a music service but an audio platform. Since then, Spotify has acquired several podcast studios to produce its own original shows while opening its platform to any publisher. The result is a growth in podcast consumption on this platform (+39% quarter- over-quarter in Q3 2019) and imitation from competitors such as Deezer. Another result is increased engagement from public service media in Europe, targeting Spotify’s 248 million active users per month: 47 public broadcasters from 28 markets offer more than 2,800 shows on Spotify, including some television-only organizations. On one hand, platforms like Spotify are seen as competitors for audiences; on the other, they are seen as a way to reach audiences that perhaps would never go to public radio-owned platforms. As a result, up to 11 public broadcasters have some kind of ongoing cooperation with Spotify. These platforms also, of course, remain a magnet for Public radio podcast offer on Spotify (Source: EBU based on Spotify) music lovers, who in most cases are also radio listeners. That’s why public broadcasters curate more than 2,600 playlists on Spotify, adding up to more than 170,000 music tracks. This relationship with third- party platforms is not without problems: public broadcasters believe insufficient audience Public radio playlists on Spotify (Source: EBU based on Spotify) data is shared with them while complaining also about the (lack can use them to strengthen EBU Members can access of) prominence of their services. their public service mission and our recent report on music While these platforms are here deliver more value to citizens streaming platforms. to stay, identifying the areas remains a challenge for public Find it at: in which public broadcasters media strategists. ebu.ch/mis-publications

18 tech-i | tech.ebu.ch | December 2019 OUR COMMUNITY Conference videos on demand A selection of recent additions to our rich library of videos from EBU Technology & Innovation events, available to Members from: tech.ebu.ch/presentations

MANAGING CYBERSECURITY THE JT-NM TESTED TWO YEARS’ EXPERIENCE AT A LARGE MULTIMEDIA PROGRAMME AT IBC2019 WITH A MEDIA COMPANY SOC GROUP Andreas Schneider Willem Vermost & Ievgen David Garcia (France Télévisions) (Tamedia) Kostiukevych (EBU), Andrew Lessons learned from Inspiration and advice on Bonney (BBC) implementing a Security becoming an agile CISO A progress report on Operations Centre industry implementation of Live IP standards CROWDSOURCED SECURITY: 5G PRODUCTION GET HACKED BEFORE YOU AI, DATA AND PUBLIC SERVICE POSSIBILITIES GET HACKED Inti de Ceukelaire MEDIA Bob van de Velde (NPO) Ian Wagdin (BBC) (intigriti) The new co-chair of the What does 5G technology An ethical hacker explains EBU AI & Data Initiative promise for content how you can help him to covered some key topics at production? help you IBC2019

IN THE SPOTLIGHT Anssi Komulainen CHIEF INNOVATION OFFICER, YLE

WHAT ARE YOUR CURRENT RESPONSIBILITIES personal and meaningful media experiences that AT YLE? enable us to stay relevant in the lives of our users I am the head of Yle Beta, an incubator for future and audiences. I believe that PSM values and the media at Yle, the Finnish Broadcasting Company. integrity that EBU Members have managed to We experiment with new trends and emerging maintain will be a great asset in future when our technology, and aim to identify the ones that have users trust us with very personal information the potential to transform our industry and create about them. I feel that this relationship we have new ways and forms for public service media. Yle with our audiences will help us deliver the media Beta is my main tool in steering the innovation services that matter the most, despite the strategy of Yle. enormous resources of our global competitors.

WHAT DO YOU CONSIDER AS YOUR FINEST WHAT, FOR YOU, ARE THE BIGGEST ACHIEVEMENT SO FAR IN YOUR CAREER? CHALLENGES FOR EBU MEMBERS TODAY? My background is in content. I was the The biggest challenges for EBU Members today executive producer for The Marshal are the same things that have the potential to of Finland, a project in which we become our biggest assets: the complexity of explored the flexibility of the stories working together with a multitude of very we use to craft our national identity. different languages and cultures. Not everyone We produced a film telling the story of needs to agree and not everyone a highly admired Finnish war marshal, needs to be part of everything but in Kenya, with an African crew and an if we continue to find enough African screenwriter. The audience common ground with enough like- response to the film and the making- minded people, the cross-functional work of documentary was controversial to culture we create will possess a great say at the least. I feel that for a brief power to be leveraged in a myriad of ways. moment we really managed to mirror our society and truly make a TELL US ABOUT SOME OF YOUR difference. INTERESTS AWAY FROM THE WORKPLACE. WHAT ARE YOUR PREDICTIONS I have a wife and two small boys. The FOR MEDIA TECHNOLOGY IN children take care of our agenda outside THE FUTURE? work and make sure my life has never a dull I believe that public service media will moment. Whenever I get a chance, I enjoy be all about data in the not so distant exploring the world by travelling or having a future. Data is the key to creating nice conversation over a pint.

tech-i | tech.ebu.ch | December 2019 19 WRC-19 REVIEW 21 January, WORKSHOP EBU, Geneva

OUTCOME OF WRC-19 AND For EBU Members only PLANNING FOR WRC-23 Register at tech.ebu.ch/wrc19workshop

28-30 January, EBU, Geneva

Register at tech.ebu.ch/pts2019

12 February, EBU, Geneva

Register at tech.ebu.ch/drs2020

24-25 March, EBU Geneva

Register at tech.ebu.ch/ broadthinking2020

tech.ebu.ch/events20 tech-i | tech.ebu.ch | December 2019