View TV Media Group News

Our latest posts and rants

Students’ TV Licence trap: plug your laptop in to watch TV and risk £1,000 fine

Students could be unwittingly putting themselves at risk of a £1,000 fine if they misunderstand the rules around a TV licence.

Plugging in a laptop while using it to watch live TV could be the difference between complying with the law and breaking it. The TV Licensing Authority allows students to watch live TV on “devices powered by their own battery” and claim cover under their parents’ licence. Tens of thousands of students take advantage of this in order to watch TV without a licence while living away from home during term time.

But the little-known quirk about being attached to a mains plug or aerial means many may fall foul of a technicality.

The rule exists to allow those who want to watch live TV on-the-go on a laptop or tablet to do so without risk of prosecution, as long as they have paid for a licence covering their home address.

The TV Licensing website offers guidance to students that says they will be covered so long as the device is not connected to an aerial or plugged into the mains. This leads to a bizarre scenario in which a student watching TV on their laptop is covered by their parents’ licence, but as soon as they plug it into the mains they are no longer covered.

A spokesman said: “The provision in the legislation (about equipment being powered by its own batteries) is the same provision which enables someone to be covered to watch television on any equipment used away from their address as long as they have a licence at home.

“This means you’re covered to watch TV on your phone or laptop for example, when you’re on the go. If you plug the equipment in, the provision no longer applies. This [is] due to the way in which TV Licensing legislation is drafted.”

You will need a TV licence if you intend to watch live programmes or BBC iPlayer while at university. If you have a shared tenancy agreement one licence should cover the entire property, but if your tenancy agreement covers only your room you will need a licence of your own.

It costs £147 a year, but you can apply for a refund if you don’t need it to cover the entire year. The maximum fine for watching live TV without a TV licence is £1,000.

Written by : Sam Meadows

Taken from :

‘Handmaid’s Tale’ wins top Emmy in breakout for online TV

‘Handmaid’s Tale’ , Hulu’s series based on Margaret Atwood’s novel about a dystopian near-future, wins five Emmy prizes, including best actress for Elisabeth Moss

Los Angeles: The Handmaid’s Tale, Hulu’s series based on Margaret Atwood’s novel about a dystopian near-future, won the Emmy award for best drama on Sunday, the first time an online network has won the top honor in television.

The win is a coup for the streaming service, which is owned by four of the world’s largest media companies. Streaming services have upended TV, spending billions on original series and freeing viewers from having to watch dramas or comedies live. They’ve led millions of people to cancel their cable.

Hulu, initially conceived for people to watch reruns online, has trailed Netflix Inc. and Inc. in the race to sign up viewers and craft original shows. Yet Hulu, owned by Walt Disney Co., 21st Century Fox Inc., Time Warner Inc. and Comcast Corp., now owns the ultimate bragging rights over its rivals with a show that has captivated critics since its release in April.

“They were bold and behind us,” Bruce Miller, creator of The Handmaid’s Tale, said of Hulu. “If streaming services continue to do that, I don’t see any limit to how many they can win.”

The show won five prizes in all Sunday night, including best actress for Elisabeth Moss’s portrayal of Offred. Moss had been nominated eight times previously, including for her performance as Peggy Olson on Mad Men.

Time of fear

Published in 1985, The Handmaid’s Tale won and was nominated for several prizes at the time, and was adapted into a movie in 1990. Atwood wrote the book while living in Berlin at a time of fear and suspicion. The Cold War was still on, and residents on both sides of the Berlin Wall had to worry about being monitored by security forces.

The book depicts a world in which fertility rates have fallen and women are subjugated. The few fertile women are captured and forced to help wealthy families procreate. Many viewers and critics drew parallels to modern fears about the current state of politics, and the ascension of right-wing politicians across the West.

It’s still unclear how many people have seen the show because Hulu doesn’t release audience metrics. But the win Sunday night paves the way for the service to sign up more viewers, and lure top talent at a time when new competitors in video, including Apple Inc. and Facebook Inc., are also bidding for their services.

“There have never been more platforms,” Emmy host Stephen Colbert said in his opening monologue on CBS from the stage of the Microsoft Theater in Los Angeles. “You have broadcast, cable, Amazon, YouTube, Hulu, Vudu, Netflix, Vitamix. These days everybody loves streaming video.”

Netflix earned four prime-time Emmys for three different shows, Black Mirror, The Crown and Master of None. Aziz Ansari and Lena Waithe won for their writing on the latter. Waithe became the first black woman to win an Emmy for comedy writing and was joined by Donald Glover, who became the first black man to win a comedy directing Emmy for Atlanta on FX, one of two awards he garnered Sunday night.

HBO’s haul

While HBO ceded the drama category to Hulu, Time Warner’s premium cable network took home the most awards of any network, with 10 on the night, by claiming the top prize in two categories, comedy and miniseries.

Voters in the Academy of Television Arts & Sciences crowned HBO’s Veep the best comedy for the third year in a row. Star Julia Louis-Dreyfus won her eighth Emmy with the prize for best actress in the comedy, tying with Cloris Leachman for the most wins of any actress.

Big Little Lies nearly swept the awards in the limited series category, winning three of the four acting prizes and the directing prize. The show is an adaptation of Liane Moriarty’s novel, which depicts five feuding mothers in a rich California town.

“I’ve been acting since I was 11 years old and I think I’ve worked with maybe 12 women, so I just want to thank the television academy for honoring our show and working with this incredible tribe of fierce women,’’ Laura Dern said after winning best supporting actress in the series.

Political humour

Politics were ever-present at the Emmys from the outset, with Colbert going after President Donald Trump following the opening number and NBC’sSaturday Night Live garnering four Emmys, largely because of its election-year sendups of Trump and Hillary Clinton. NBC was second in total awards for the night and the only broadcast network to take home an Emmy.

Colbert has gained viewers and media attention with his nightly mockery of the president, with the audience for his late-night show soaring more than 20 percent this year, often topping all late-night hosts.

Colbert brought out former press secretary Sean Spicer toward the conclusion of his opening monologue, which poked at Trump’s dismay over not winning an Emmy for his shows The Apprentice and The Celebrity Apprentice. Alec Baldwin won the Emmy for supporting actor in a comedy for his portrayal of the president on Saturday Night Live and said, “At long last Mr. President, here is your Emmy.”

SNL earned the award for best comedy sketch series, the first time the show has won that prize since 1993. Kate McKinnon, who has portrayed Hillary Clinton, won for best supporting actress in a comedy. Saturday Night Live is the most-nominated show in Emmy history.

“I remember the first time we won this award. It was after our first season in 1976. I remember thinking as I was standing there alone that this was it,’’ creator Lorne Michaels said. “This was the high point. There would never be another season as crazy, as unpredictable as frightening, as exhausting or as exhilarating. Turns out I was wrong. Bloomberg

Written by : Lucas Shaw

Taken from:


Voice search: the key to simplifying user experience?

IBC2017: Consumers have been given access to an ever-increasing range of content and platforms but don’t always have the tools to navigate and discover programmes.

The answer to making things simple again is voice, according to TiVo, one of the original disruptors of digital TV.

Speaking at IBC during a session on the consumer experience, TiVo Senior Director of Marketing Charles Dawes claimed that the company’s natural language voice controls – which are currently being integrated into Sky Q’s premium service – would radically simplify the user experience.

“It can take more than 10 clicks to find the search.

“Voice search is a quick and simple way to get to content more easily,” he said.

TiVo’s new solution claims to enable natural language voice searches for finding digital content across linear TV and VoD.

Viewers can find their desired programme by pressing and holding the voice button on the side of a touch remote and simply saying what they’re looking for.

“Voice search is a quick and simple way to get to content more easily” – Charles Dawes

Dawes said that the technology is based around the conversational way that people really speak and takes into account pauses in requests such as “Find me an action comedy….one with Tom Hanks.”

Viewers can also use their voices to search for films from a specific director or actor and even through using a selection of well-known movie quotes such as “Show me the money!”

The future user experience

TV is falling behind other content mediums in design terms, writes Mark Mayne.

Fabian Birgfeld, CEO & Co-Founder, W12 Studios, said: “TV must do better – there is some catch-up to be done when you compare it with other platforms. People talk about the paradox of choice, because there’s so much content, but we can’t seem to design an interaction method that solves the problem.

“I always use the metaphor of the supermarket – nobody complains about supermarket choice, because the design is understood, and allows people to choose freely.”

He reminded the packed auditorium attending “Future User Experience’ that the stakes are rising: “In the future, 20% of user interactions will take place via intelligent personal assistants – this will change the behaviours and expectations of the consumer. The tolerance for bad customer experience is dropping incredibly fast, and it’s thought that customer experience will overtake price and product as key brand differentiator by 2020.”

Senior Creative at Crackle and former UX Lead at the BBC Ida Olsen shared a series of tips for designers too, saying: “TV is about emotion, it brings people together, and not much has changed about the values people ascribe to the TV screen since 60s – in many ways there is nothing new.”

Olsen’s tips for design strategy included holistic design. “Scattered teams and tools that break down workflows don’t help this…I don’t have a solution for all that, but I do believe that everyone from QA to product person to designer – should have face to face time with developers and the customer – it’s important to know who you’re designing for!”

She also stressed the need for consistency in tone of voice and language. She said: “Humans are very good at pattern recognition so tap into that and work with it not against it.

“Think about steps before and after an object you’re designing, for example a content page – don’t accept thinking about it in isolation, it’s essential to have the context of how whole thing hangs together.”

Fellow panelist Freeview Australia Chief Executive Liz Ross also shared her insight into research which was gathered ahead of launching Freeview + in her home territory.

“People don’t like it when you only provide a grid text based guide for browsing or relying on the use of coloured buttons.

“You need to be able to make content search and discovery easy and integrate it into all browsing screens.”

Discovery Communications Senior VP of Data and Analytics Chris McGrath also advised broadcasters to think carefully about how they programme their recommendation engines.

“Think about the bias that you are putting in the algorithm. If you like shows such as Breaking Bad, then you usually get reccomendations for lots more shows with anti-heroes in them – there’s not a whole lot of variety and it can result in audience fatigue which may flatten out the success a show,” he warned.

Written by : Anne-Marie Corvin and Mark Mayne

Taken from :

Putting the multiscreen OTT puzzle pieces together

By the end of 2017 OTT revenue is forecast to surpass $50 billion, driven by the proliferation of broadband and connected devices writes Robert Guest, Global Director at Access.

Unsurprisingly, everyone wants a slice of the OTT pie. For instance, Disney recently announced the upcoming launch of its own direct-to-consumer streaming service in 2019, while Apple has set a $1 billion budget for original programming as it prepares to move into the film and TV space.

With more streaming services launching, consumers will have more subscriptions and apps to navigate than ever before. However, according to Altman Vilandrie & Company findings, 9 out of 10 US-based pay-tv subscribers are getting confused with the myriad of ways they can access content, and do not want a further increase in the number of video apps.

This discrepancy between the industry’s needs for control and consumer demand for simplicity of the user interface needs to be addressed. Otherwise, the operator-subscriber relationship could break, with device manufacturers in a good position to build strong relationships with consumers.

Research from Deloitte found that over half of the consumers surveyed reach for their connected device within a quarter of an hour after waking up and in the half hour before going to sleep, demonstrating how personal devices have fast become an extension of the consumer.

Yet, the battle for the consumer’s trust is not lost for traditional operators, as long as they follow three golden rules:

• Serve a plethora of devices: today’s consumers use a range of devices to watch content and it is crucial that operators can provide the same user experience on all screens – a feat easily solved by implementing HTML5 in a browser-based environment, enabling a unified user experience across all platforms.

• Syndicating all content sources: distribution rights mean that consumers cannot rely on one single service to meet all of their entertainment needs. Instead, operators need to offer a simplified service that aggregates all of these content sources in a single branded environment.

• Securing content delivery: with more devices comes a much bigger challenge to protect multiple content sources, delivered across a variety of networks. Operators need solutions that enable them to secure media across this plethora of options, with multi-DRM offering a unique solution to securely deliver content.

Forward-thinking operator Reliance Jio Infocomm, one of the world’s largest provider of mobile and digital services, has already deployed a multiscreen service providing its 100 million subscribers with access to multiple content sources – from Jio’s catalogue through to personal content and YouTube – across a wide range of devices.

Operators who want to compete or collaborate with pure OTT players can adopt this new type of service. By taking a holistic approach to multiscreen, operators can recapture the eyeballs of consumers by becoming their only point of content consumption.

This will ensure that the next generation of multiscreen and OTT services not only allows consumers to access content everywhere at all times, but also in an environment controlled and managed by the operator.

Taken from :

Apple unveils iPhone 8 and £1,000 iPhone X with all-screen display and wireless charging

  • Apple has unveiled its latest product range, including the iPhone X, iPhone 8, iPhone 8 Plus and Apple Watch 3
  • Apple launches £999 iPhone X with edge-to-edge screen, Face ID and wireless charging 
  • Why £1,000 isn’t too much to pay for an iPhone X 
  • New iPhone 8 and iPhone 8 Plus announced – best features, price and release date
  • New Apple Watch 3 works independently from the iPhone – here are the best features and everything you need to know 
  • Animojis, facial recognition software and no home button: How the new iPhone X features work  
  • ‘RIP home button!’ How the internet reacted to the iPhone X launch 
  • Wireless charging: How the new Apple technology works 
  • Apple suffers embarrassing demo Face ID fail at iPhone X launch 
  • iPhone X: Hands on with ‘the future of the smartphone’ 

Apple has unveiled the £1,000 iPhone X, the latest generation of its flagship device. The all-glass device has an edge-to-edge display and no home button. It unlocks using facial recognition software and features wireless charging.

Tim Cook also launched the iPhone 8 and iPhone 8 Plus, two new phones that have 4.7-inch and 5.5-inch screens. Like the iPhone X, the devices also have an all-glass design and can be charged wirelessly.

In addition to the phones, Apple announced a third generation of its Watch and a 4K Apple TV.

iPhone X 

The iPhone X celebrates the 10th anniversary of Apple’s smartphone, featuring a radical redesign and new technology.


iPhone X
iPhone X CREDIT: AP 

The phone has a 5.8-inch OLED screen, which fills the entire front of the device. Apple has removed the iconic home button to make way for the display, replacing it with facial recognition software called Face ID.

Face ID is used to unlock the phone, authenticate Apple Pay and cutomise the new animoji.

The phone starts at £999 in the UK for the 64GB version, going up to £1,149 for the 256GB model. Coming in space grey and silver, it will be available to pre-order from October 27 and will ship on November 3.


iPhone 8 and iPhone 8 Plus

Apple also announced the iPhone 8 and iPhone 8 Plus, an upgrade to its current offering. The new devices have an all-glass design and can charge wirelessly.


iPhone 8 and iPhone 8 Plus have a glass back and come in space grey, silver and blush gold
iPhone 8 and iPhone 8 Plus have a glass back and come in space grey, silver and blush gold CREDIT:REUTERS

The 4.7-inch and 5.5-inch devices start at £699 and £799 for the 64GB versions. They come with iOS 11 software, which will be available to download from September 19, and an upgraded camera and processor.

Apple Watch 3

The third generation of Apple’s smartwatch is the first that works independently from the iPhone. A cellular version of the device is available form £399 and can make phone calls and browse the web.

Apple also unveiled a 4K version of its set-top Apple TV box at the event.


Taken from :

Quarter of Younger Viewers Watch TV Exclusively Online

Another 30 percent say they will do the same within two years

The viewing habits of those under the age of 35 have been a key area of interest for broadcasters as online and streaming platforms become more prevalent, and a recent study by Adobe Digital Insight reveals that the move away from traditional TV looks to continue to grow.

The survey of more than 1,500 U.S. consumers showed that two-thirds of consumers under the age of 35 regularly watch television through online streaming subscriptions. However, the more important number is that more than a quarter of the respondents under 35 said they are watching TV exclusively online, with another 30 percent expected to begin doing so in the next two years.

Traditional TV still has a solid base of support among those over the age of 35, with more than 40 percent saying they don’t plan to use online streaming services as their only method of watching TV. Still, online cable, direct TV or satellite is proving to be the primary method for half of the respondents over 35.

Another result of the move toward online streaming services is the rise in binge watching, again, especially among younger viewers. ADI reports that more than 50 percent of consumers between 13 and 22 say they prefer to binge watch TV series. A third of those over 35 said they prefer the traditional one episode a week.

Despite the move to more online sources, TVs are still the preferred box to view the content. More than 75 percent of all respondents prefer a 35-inch or larger TV screen to watch content. How they watch content through the TV is what is changing, as gaming devices and smart TVs join cable boxes as the most popular devices used to access entertainment at home among 13-34 year olds. Cable box, smart TVs and Blu-ray players are the most popular for 35 and older.

ADI’s study also looked into the way that viewers consume news, sports and where they prefer to watch movies. To see the details on these subjects, click here.


Written by : Michael Balderston

Taken from :

Verizon CEO Sees Decision on Online TV Service in 6 Months

Verizon Communications Inc. will decide in the next six months how to deliver an online TV service, Chief Executive Officer Lowell McAdam said.

Although web-based TV is becoming “a crowded field,” the telecommunications giant needs to participate to take advantage of the advertising capabilities of its AOL and Yahoo! acquisitions, McAdam said Wednesday at Bloomberg’s Sooner Than You Think conference.

“An over-the-top platform is absolutely critical for us,” McAdam said. Verizon may offer the service in partnership with someone, he said. Even so, “there’s no big M&A planned for us.”

Verizon offers traditional pay-TV service over its fiber-optic lines in parts of the U.S., with 4.7 million subscribers, but growth has stagnated as competition heats up with streaming-video providers such as Netflix Inc.

In March, people with knowledge of the matter said Verizon was planning to unveil an over-the-internet TV service this summer to compete with Dish Network Corp.’s Sling TV and AT&T Inc.’s DirecTV Now. As of last month, Verizon was struggling to sign up TV networks to get the service started, people said.

AT&T gives mobile-phone subscribers a discount on DirecTV Now, an online collection of cable channels such as ESPN and HGTV. Google and Hulu LLC are among other companies selling web-based television.

Unhappy Investors

Verizon rose 1 percent to close at $47.25 in New York. The shares have fallen 11 percent this year, while the S&P 500 Index has gained 12 percent.

For more on Verizon’s possible M&A, read this Gadfly piece

Long term, Verizon has its work cut out for it. Almost all Americans already have a wireless subscription or two, leaving little room for growth and putting pressure on the company to come up with a growth strategy for the future. Analysts project sales will fall this year.

The company is focusing on a media venture, Oath, that includes the assets acquired in the purchase of AOL Inc. and Yahoo! Inc. Verizon wants to challenge Google and Facebook Verizon CEO: Online TV Decision in Next 6 Monthsin mobile advertising by building a big audience with streaming-video offerings like go90.

Written by : Scott Moritz and Olga Kharif

Taken from : 

UK government: 15% of web users watch content illegally

Approximately 6.7 million UK internet users, some 15%, consumed at least one item of online content illegally during the three months prior to March 2017, according to government stats.

The UK Intellectual Property Office’s ‘IP Crime and Enforcement Report 2016/17’claimed that “criminality threatens to implicate millions of ordinary consumers” as the use of set-top boxes to stream unlicensed TV shows rises.

The report cites Industry Trust for IP figures that suggest that 19% of adults now watch copyright free material through IPTV set-top boxes, such as Kodi devices.

It also said policing ‘technological misuses’ and ‘social media distribution’ requires investment, cooperation and raised awareness of the consequences of IP crime amongst consumers and business people.

“Illicit streaming devices, which were highlighted as an emerging threat in last year’s IP Crime Report, have become mainstream products in some parts of the UK, and the subsequent threat to those working to create, produce, distribute and sell films and TV programmes is enormous,” according to the Alliance for Intellectual Property section of the report.

Chief Constable Sussex Police, Giles York, commented that the emerging threat of illicit streaming devices is “undermining the creative industries involved in bringing films and TV shows to market.”

FACT, a UK intellectual property organisation that works on behalf of the sports, TV and film industry, said that 70% of its active ongoing cases relate to ‘illicit streaming devices’, and that 47% of its public complaints in 2016/17 related to these devices – up from 18% in 2015/16.

Government figures claim that the UK economy loses £9 billion per year through IP crime, while the European Observatory on Infringements of Intellectual Property Rights and the Organisation for Economic Co-operation and Development (OECD) estimates that the value of Europe’s illegal market is £76 billion.

Taken from :

Disney confirms Stars Wars & Marvel for SVOD app

The Walt Disney Company’s upcoming international SVOD service will offer Star Warsand Marvel Universe content, Bob Iger has revealed.

One of the key questions over the upcoming app, which is due for launch in 2019, was whether it would offer series andfeature films from its premium Lucasfilm and Marvel Entertainment subsidiaries.

Speaking at the Bank of America Merrill Lynch 2017 Media Communications conference, Disney chairman and CEO Iger told delegates these would comprise part of the offer.

“We left open what we are going to do with Marvel and Star Wars,” he said. “We’ve now decided that we will put the Marvel and Star Wars movies on this app as well.”

This means the Disney SVOD app will offer Star Wars and Marvel Universe movies and series, plus those from its own studio and Toy Story producerPixar Animation.

“In addition to that, we have been spending a fair amount of time developing original content on the movies side for the app,” said Iger. “The studio is already developing and will produce four to five original films exclusively for the app, primarily live action.”

There will also up to five Disney-branded original TV series, and between three and four branded telemovies offered exclusively, to go with around 500 library movies and about 7,000 episodes of in-house shows and thousands of shorts.

“We’ll produce more original short-form content for this app, but we use a lot of the short-form content that we’ve already created,” said Iger.

Disney shocked the entertainment world this summer by announcing it was ending its long-term output agreement withSVOD service Netflix in order to launch a rival subscription streaming app. It already has a smaller offer, Disney Life, available in the UK.

He added that further details on pricing and investment levels would follow “in the months ahead”, adding: “We’re going to launch big, and we’re going to launch hot. We’re very confident that as you look at the TV space or the media space, there is not only room and demand for Disney, but we’ll have a content to back that up.”

There is a potential the service will launch in certain international territories before the US if movie windows fall ahead of schedules.

Taken from :

IBC Show Celebrates 50th Anniversary

Media technology exhibition and conference maintains its focus on the cutting edge

Broadcast and media professionals from around the world will descend on the RAI Convention Center, Sept. 15–19 for the annual IBC Show, which celebrates its 50th anniversary this year.

Nearly 56,000 attendees took in the technology exhibition and dozens of conferences in 2016, but along with the show, IBC has also expanded its services with the launch of IBC365, an online editorial platform and weekly e-bulletin that covers the latest developments in television technology, earlier this year.

TV Technology recently spoke with Michael Crimp, president of IBC to discuss how changes in the industry are impacting the annual gathering.

TV Technology: What do you think are the biggest changes that have occurred in the industry since IBC 2016?
Michael Crimp: Broadcasters have traditionally been the trusted brand for news: Is the era of social media and universal internet access changing that? It is a critical topic to debate at IBC, because the industry’s response to it is central to its future, both commercially and technically.

More broadly, the industry continues to widen beyond traditional media, entertainment and technology into adjacent markets; IP interoperability is far more widely accepted than it was this time last year; and nascent technologies like VR and AR are increasingly being seen as far more than mere gaming gadgets. IBC will be exploring all these areas and more.

Michael Crimp

TVT: Are there any new areas in the media industry that IBC is focusing on for the 2017 show? And if so, why?
Crimp: There are many new markets melding with the traditional broadcast sector, including cloud, AR/VR, mobile, IoT, social networks, artificial intelligence and telecoms, and there is much we can all learn about different ways to produce, manage, monetize and aggregate content. We are pleased to welcome a number of high-profile speakers from these sectors, as well as from broadcast networks, to discuss the changing media landscape.

TVT: How successful have your efforts been at increasing IBC’s presence beyond the annual show?
Crimp: Last year we carried out extensive independent research to pinpoint areas where IBC could offer greater value to IBC exhibitors and visitors. A key feature of the research results was a desire for more IBC-generated industry intelligence outside of show time. This led to the launch of IBC365, an online portal with a treasure trove of content including hundreds of IBC videos, technology papers, and analysis of industry trends, as well as commissioned content specifically aimed at adjacent markets in order to engage them more fully with IBC.

TVT: Who are some of your keynoters this year and what will they be focusing on?
Crimp: The opening keynote will explore how the rise of fan and friend power in the media ecosystem is driving new approaches to broadcasting, as well as paving the way for new partnerships and funding models. Speakers include Dan Danker, product director at Facebook and Jørgen Madsen Lindemann, president & CEO at Modern Times Group.

Brian Sullivan, president & COO, Digital Consumer Group, Fox Networks Group at 21st Century Fox, will take to the stage to deliver insight into the American market and developments of Fox Network’s leading TV Everywhere services. Balan Nair, executive vice president and chief technology officer at Liberty Global will join other key industry leaders for the “CTO Roadmap” keynote. With many CTOs certainly facing the same challenges as most executives in the broadcast and media industry, this panel will explore what they see as the biggest challenges and most importantly, how they intend to address them.

Delivering the Technology Forward Keynote, ‘What’s Happening in VR, AR and Mixed Reality’ is Rikard Steiber, president, Viveport and SVP Virtual Reality, HTC. The session will look at the emerging swathe of consumer devices and services, as well as showcasing successful VR experiences across platforms.

TVT: What new features/pavilions/attractions can we expect this year? Any new features for the mobile app?
Crimp: The C-Tech Forum offers two days of specialist presentations and debates, on the same invitation-only, behind-closed-doors basis as the established Leaders’ Summit. The first day will focus on the critical topic of cyber-security, while the second day will look at the potential for 5G.

The IBC Startup Forum also launches this year. Our industry is based on innovation, on people with bright ideas who can create new techniques and the technologies to support them. Working in association with Media Honeypot, we are aiming to bring together startup and scale-up businesses, investors and media houses, to take the best new ideas from the spark of invention to full fruition.

This year’s IP Showcase will show how far we have come in just a year. IP is no longer ‘the future’—real-time IP for production, playout and contribution is a practical, flexible, efficient reality that is rapidly taking hold in mainstream broadcast operations. The IP Showcase will offer demonstrations, real-world scenarios and education sessions, showing the full potential of IP workflows.

The free mobile app now features a fully interactive map, including 3D views to find exhibitors, save their locations, and plot your route around the RAI. It also has a neat tool to help you request and schedule meetings, with inbuilt social media to enable informal online chat. There is also a searchable conference schedule, and you can even check which of the many catering locations in the RAI have queues, ensuring you always make the best use of your time.

TVT: How has your partnership with other industry associations evolved over the years and affected how you develop the conference section of the show?
Crimp: IBC is organized by the industry for the industry, and at the top of our organisation is the Partnership Board which contains representatives of the six leading professional and trade bodies in the industry: IABM, IEE, IET, RTS, SCTE and SMPTE.

My day job revolves around the invaluable feedback we receive from our partner bodies and from the committees, which draw upon valuable industry knowledge. We take all that input and develop a strategy for the continuing development of IBC as an agile platform for industry education, ready to respond to new trends and technologies as they arise.

TVT: Are there any new changes at the RAI itself? I heard a rumor that “The Beach” is no longer, is this true?
Crimp: A large new hotel is under construction between Hall 12 and the station, scheduled to be open in time for IBC 2019, and the North-South metro line is due to open in July 2018. As for “The Beach,” anyone visiting the RAI earlier this year might have been dismayed to see the popular waterfront bar area looking like a building site…but fear not, The Beach has now reopened with a completely new look, with a restaurant as well as various bar areas and rooms for private events.

Taken from :