WASHINGTON—The November 2019 edition of Broadcast Engineering Extra, covering the major news from October’s SMPTE 2019 Annual Technical Conference, is now available for download.

Learn about the live, UHD interview with astronauts on the International Space Station, or what media creation may be like in 2030, as well as some of the latest technological advancements regarding AI and neural networks.

To read this month’s issue, and all future months, subscribe for the Broadcast Engineering Extra Digital Edition.

LOS ANGELES—The National Aeronautics and Space Administration (NASA), working with Amazon Web Services (AWS Elemental), tested a cloud-based streaming alternative to long-haul satellite distribution of video originating on the International Space Station at the 2019 Annual SMPTE Technical Conference and Exhibition.

Astronauts Christina Koch and Jessica Meir aboard the space station were interviewed via the link for attendees of the SMPTE conference, which is dedicating Thursday to space and imaging to mark the 50th anniversary of Apollo 11 astronauts Neil Armstrong and Buzz Aldrin landing on the moon.

The test aims to prove the viability of one day replacing the long-haul satellite link NASA uses to transport coverage from the Johnson Space Center in Houston of crew interviews, press conferences, launches and other events to the media, as well as to feed 24/7 365-coverage to NASA Television, says Rodney Grubbs, Imagery Experts program manager at the Marshall Space Flight Center in Huntsville, Ala.

NASA is considering replacing its round-the-clock coverage on NASA Television with a model that’s akin to the Olympics or ESPN coverage that presents live content when an event is actually happening via over-the-top distribution and web or phone apps, he says.

“Until very recently, it was very difficult to replace satellite for interactive content,” says Grubbs. “If we were relying strictly on the wild internet, the latency was just too great to make that viable,” he says.

Reliability is also an important concern, particularly since the space agency wants to make sure media outlets receive its feeds for their coverage of space developments, adds Grubbs.

For the SMPTE test, AWS Elemental Media Services is being used to transport content, produce it for the live event and ultimately deliver it through its cloud services, says Josh Winstead, technical marketing engineer at AWS Elemental.

“With the workflow we’ve put in place, MediaConnect [AWS Elemental’s live video transport service] allows us to replace what satellite transmission is usually used for,” says Winstead.

That workflow involves taking the content from the ISS that is downloaded at the Johnson Space Center, encoding it with an AWS Elemental live encoder and transporting it to MediaConnect, which is being used as the long-haul alternative to transport the content to SMPTE in Los Angeles, he says.

A backup path using the same steps is also being sent through NASA vendor Encompass, adds Winstead.

In Los Angeles, the signal is decoded and input into AWS Elemental production services for video switching, audio mixing and all of the other production tasks that are necessary. That content is then being output and re-encoded, sent to AWS Elemental’s MediaLive video processing service where an adaptive bit rate (ABR) stack is being created, sent to the AWS Elemental MediaPackage origin server and sent out to the CloudFront CDN for viewers of the livestream, says Winstead.

NASA is looking for ways to cut costs and complexity as it readies its Artemis project to return to the moon in 2024. Shifting most of its traditional video workflow and transport to the cloud could save expense, says Grubbs.

A few years earlier, Grubbs first saw the potential of transitioning away from long-haul satellite distribution to the cloud model at an AWS event. “What caught my attention with this was the demonstration that AWS showed me at AWS re:Invent in 2017, where they had the NFL side-by-side with digital satellite and an earlier version of this technology. I couldn’t tell a difference in the quality and AWS was ahead [of the satellite source],” says Grubbs.

At the SMPTE Conference, Grubbs and co-presenter Dylan Mathis, communications lead with the ISS at Johnson Space Center in Houston, are also discussing the challenges of sharing imagery from space and the need for solutions to help protect sensors and other electronic components from damaging radiation during space flight.

The interview from the ISS is being produced in 720p HD. In 2017, AWS Elemental worked with NASA on the first Ultra-HD video coverage from space.

The event is being broadcast on NASA TV and streamed live online. 

LOS ANGELES—The Society of Motion Picture and Television Engineers this year is honoring Cristina Gomila Torres, managing director of Content, Technology & Innovation, at Sky, with its prestigious Progress Medal—the first to be awarded to a woman—during this week’s 2019 Annual SMPTE Technical Conference & Exhibition at the Westin Bonaventure Hotel.

The award honors an individual for his or her outstanding technical contribution to the progress of engineering in the motion picture, TV or motion imaging industries. The medal is bestowed for an invention or R&D that has resulted in a significant advancement in the development of motion picture, TV or motion imaging technology, according to SMPTE.

Gomila Torres, who joined Sky this year, is being honored for her leadership and contributions to advances in several areas, including the science of algorithms where she holds multiple patents in video coding and other media technologies.

I had a chance to sit down with Gomila Torres this morning at the SMPTE conference and talk to her about what it means to receive the Progress Medal, where women are today in M&E industry, what areas of research interest her today, what the industry can do to attract more young people to its ranks, especially to technical careers and what organizations like SMPTE can do to encourage young women to pursue motion picture, TV or motion imaging careers.

(An edited transcript:)

TVTechnology:Congratulations on being named this year’s recipient of the Progress Medal. What does that honor mean to you, especially since you are the first woman to receive the award?

Cristina Gomila Torres: It’s very emotional. When I thought of all my peers getting me to this level of recognition. My first thoughts were for all the people who helped me on the journey to get here and also for all of the women in this industry who have not been visible for all of these long years and have contributed strongly.

So, I felt really for all of them a lot of weight and responsibility.

TVT:You hold patents for video coding and many other media technologies. What areas of research interest you the most today?

CGT: I started my career on media formats, where the focus was about getting the best possible images to the consumer, focusing on video quality. And I have progressively moved toward what would be the best consumer experience.

Quality is certainly important, but it’s not the only thing. It’s all about how we convey content. How do we make it available everywhere? How do we provide a seamless viewer experience and surprise them with different types of content?

This is today an area that requires harnessing many fields of science. It’s not just one of them. It goes from transmission, but it also goes to machine learning techniques, to cognitive science. Everything that puts the consumer in focus.

TVT:Can you elaborate a bit on how you will leverage these various areas, such as machine learning and cognitive science, to come up with something that achieves what you envision for the consumer?

CGT: We are trying to make the entertainment experience for consumers unique, easier—because we have more and more content to offer them, and at times that can be overwhelming to find what you like—and then mostly we need to listen to them.

What do they like? How do they consume content? And all of the different types of experiences they are looking for. That can go from the current types of content to augmented reality or many different things.

TVT:You brought up unique experiences. Given growing bandwidth availability and other technical advancements do you foresee someday being able to personalize the entertainment experience for individual viewers?

CGT: The future could be much more of a personalized experience. I think there is no doubt about it. We want to better understand the people we serve. We are all very different. So that is not easy. As you said, it has challenges. How are we going to be able to bring all of that content to them? But that is part of the challenge and why we have many years ahead.

TVT:At Sky, where you are managing director, Content Technology and Innovation, one of your responsibilities is the transformation of the existing content supply chain. Can you tell me what your highest priorities are for this effort and why?

CGT: The content supply chain in a media company is the heart of everything. We care about content from acquisition up to delivery for all the processing and enrichment that it goes through, I think it is very important when we look at the future to eventually challenge the established workflows, think about what we could do differently and for that really rely on the new technologies.

I am talking about using the cloud, for example, for everything to scale and for flexibility. I am talking about machine deep learning and all the areas of computer science to assist the editors and the creatives to be more efficient and to make the process more robust.

So, I think that there are plenty of opportunities to introduce new technologies in workflows that have been there for many, many years that sustain the industry.

TVT:How would you characterize where women are today on the technical side of the motion picture and television industry?

CGT: I have seen a major shift during my career. I think right now we are at a moment when the value of diversity is fully recognized, and I think that will encourage many women to step up and prove their value while being true to themselves.

I think in a few years we will see a major change in women taking on more leadership roles and being more visible and really proving that you can think from a different angle and that also brings value.

TVT:What should the Media & Entertainment industry in general—and organizations like SMPTE specifically—be doing to encourage more young women to consider technical careers in TV and motion pictures?

CGT: I think that for many years we have failed to communicate in terms that are attractive to the next generation. If you look at them, it’s all about content. They create content. They consume content all around us. That’s the same thing we do. So why aren’t we connecting?

I think that we need to find ways to communicate that are appealing. Maybe you are doing a YouTube channel, and maybe I am broadcasting sports. But are we that different? Aren’t we looking at creating experiences for people, and why is that not the common future?

So, I think we should approach the young generation, first on their terms, and try to listen because they are the future of consumers, too. But the foundations are the same. When I think of media and entertainment, it’s for me something that the next generation should embrace.

TVT:I have often thought that young people with an interest in technology think first, maybe solely, about careers with companies like Google, Facebook, Apple, etc., and maybe our industry is yesterday’s news in their minds. What are your thoughts about that?

CGT: Come on. It’s all about images and content. As I said, you can create your YouTube channel, or you can start broadcasting. But it’s all about how we transmit images and ultimately experiences. And I think we can find common ground that motivates us all.

I think we have talked for too long about our industry being only about engineering. But what it takes to get a film out there is much more than engineering. It’s creative. It’s many different things. Again, I think we should communicate about that more and more.

TVT:Specifically related to young women, what things could an organization like SMPTE be doing to attract young women to the technical ranks of the motion picture and TV industry?

CGT: Definitely we should not show pictures of our workflows. I talked to you about the value of the consumer experience. So, maybe the way to attract women is to talk much more about the impact of what we do—about the emotions we create when our images get out, like on the night of the Super Bowl. How many emotions there are among the followers of sports.

Or, when we get a new movie at the cinema. You should look at the faces of the kids. I would put more emphasis on the impact of the images that we carry. Let’s talk about news for example. We should think about how to fight fake news and bring good content to the people.

Let’s think more about that, and then in the many different areas—whether in science or art—that are required to do that.

TVT:Would you like to add anything else?

CGT: It’s an incredible period to be alive. I would like to thank all my peers in this community from who I have learned a lot and enjoyed every single moment.

LOS ANGELES—The Society of Motion Picture and Television Engineers this year is honoring Cristina Gomila Torres, managing director of Content, Technology & Innovation, at Sky, with its prestigious Progress Medal—the first to be awarded to a woman—during this week’s 2019 Annual SMPTE Technical Conference & Exhibition at the Westin Bonaventure Hotel.

The award honors an individual for his or her outstanding technical contribution to the progress of engineering in the motion picture, TV or motion imaging industries. The medal is bestowed for an invention or R&D that has resulted in a significant advancement in the development of motion picture, TV or motion imaging technology, according to SMPTE.

Gomila Torres, who joined Sky this year, is being honored for her leadership and contributions to advances in several areas, including the science of algorithms where she holds multiple patents in video coding and other media technologies.

I had a chance to sit down with Gomila Torres this morning at the SMPTE conference and talk to her about what it means to receive the Progress Medal, where women are today in M&E industry, what areas of research interest her today, what the industry can do to attract more young people to its ranks, especially to technical careers and what organizations like SMPTE can do to encourage young women to pursue motion picture, TV or motion imaging careers.

(An edited transcript:)

TVTechnology:Congratulations on being named this year’s recipient of the Progress Medal. What does that honor mean to you, especially since you are the first woman to receive the award?

Cristina Gomila Torres: It’s very emotional. When I thought of all my peers getting me to this level of recognition. My first thoughts were for all the people who helped me on the journey to get here and also for all of the women in this industry who have not been visible for all of these long years and have contributed strongly.

So, I felt really for all of them a lot of weight and responsibility.

TVT:You hold patents for video coding and many other media technologies. What areas of research interest you the most today?

CGT: I started my career on media formats, where the focus was about getting the best possible images to the consumer, focusing on video quality. And I have progressively moved toward what would be the best consumer experience.

Quality is certainly important, but it’s not the only thing. It’s all about how we convey content. How do we make it available everywhere? How do we provide a seamless viewer experience and surprise them with different types of content?

This is today an area that requires harnessing many fields of science. It’s not just one of them. It goes from transmission, but it also goes to machine learning techniques, to cognitive science. Everything that puts the consumer in focus.

TVT:Can you elaborate a bit on how you will leverage these various areas, such as machine learning and cognitive science, to come up with something that achieves what you envision for the consumer?

CGT: We are trying to make the entertainment experience for consumers unique, easier—because we have more and more content to offer them, and at times that can be overwhelming to find what you like—and then mostly we need to listen to them.

What do they like? How do they consume content? And all of the different types of experiences they are looking for. That can go from the current types of content to augmented reality or many different things.

TVT:You brought up unique experiences. Given growing bandwidth availability and other technical advancements do you foresee someday being able to personalize the entertainment experience for individual viewers?

CGT: The future could be much more of a personalized experience. I think there is no doubt about it. We want to better understand the people we serve. We are all very different. So that is not easy. As you said, it has challenges. How are we going to be able to bring all of that content to them? But that is part of the challenge and why we have many years ahead.

TVT:At Sky, where you are managing director, Content Technology and Innovation, one of your responsibilities is the transformation of the existing content supply chain. Can you tell me what your highest priorities are for this effort and why?

CGT: The content supply chain in a media company is the heart of everything. We care about content from acquisition up to delivery for all the processing and enrichment that it goes through, I think it is very important when we look at the future to eventually challenge the established workflows, think about what we could do differently and for that really rely on the new technologies.

I am talking about using the cloud, for example, for everything to scale and for flexibility. I am talking about machine deep learning and all the areas of computer science to assist the editors and the creatives to be more efficient and to make the process more robust.

So, I think that there are plenty of opportunities to introduce new technologies in workflows that have been there for many, many years that sustain the industry.

TVT:How would you characterize where women are today on the technical side of the motion picture and television industry?

CGT: I have seen a major shift during my career. I think right now we are at a moment when the value of diversity is fully recognized, and I think that will encourage many women to step up and prove their value while being true to themselves.

I think in a few years we will see a major change in women taking on more leadership roles and being more visible and really proving that you can think from a different angle and that also brings value.

TVT:What should the Media & Entertainment industry in general—and organizations like SMPTE specifically—be doing to encourage more young women to consider technical careers in TV and motion pictures?

CGT: I think that for many years we have failed to communicate in terms that are attractive to the next generation. If you look at them, it’s all about content. They create content. They consume content all around us. That’s the same thing we do. So why aren’t we connecting?

I think that we need to find ways to communicate that are appealing. Maybe you are doing a YouTube channel, and maybe I am broadcasting sports. But are we that different? Aren’t we looking at creating experiences for people, and why is that not the common future?

So, I think we should approach the young generation, first on their terms, and try to listen because they are the future of consumers, too. But the foundations are the same. When I think of media and entertainment, it’s for me something that the next generation should embrace.

TVT:I have often thought that young people with an interest in technology think first, maybe solely, about careers with companies like Google, Facebook, Apple, etc., and maybe our industry is yesterday’s news in their minds. What are your thoughts about that?

CGT: Come on. It’s all about images and content. As I said, you can create your YouTube channel, or you can start broadcasting. But it’s all about how we transmit images and ultimately experiences. And I think we can find common ground that motivates us all.

I think we have talked for too long about our industry being only about engineering. But what it takes to get a film out there is much more than engineering. It’s creative. It’s many different things. Again, I think we should communicate about that more and more.

TVT:Specifically related to young women, what things could an organization like SMPTE be doing to attract young women to the technical ranks of the motion picture and TV industry?

CGT: Definitely we should not show pictures of our workflows. I talked to you about the value of the consumer experience. So, maybe the way to attract women is to talk much more about the impact of what we do—about the emotions we create when our images get out, like on the night of the Super Bowl. How many emotions there are among the followers of sports.

Or, when we get a new movie at the cinema. You should look at the faces of the kids. I would put more emphasis on the impact of the images that we carry. Let’s talk about news for example. We should think about how to fight fake news and bring good content to the people.

Let’s think more about that, and then in the many different areas—whether in science or art—that are required to do that.

TVT:Would you like to add anything else?

CGT: It’s an incredible period to be alive. I would like to thank all my peers in this community from who I have learned a lot and enjoyed every single moment.

LOS ANGELES—It might seem like a tall order to chart where content production should be in 10 years, but that’s exactly the task MovieLabs tackled in a recently published white paper laid out by Jim Helman, CTO of the non-profit research lab, during his Oct. 22 keynote during the 2019 Annual SMPTE Technical Conference and Exhibition at the Westin Bonaventure Hotel.

“So, why are we doing this now?” Helman asked, rhetorically. “The move is motivated by several changes… [that are coming] together to really create a transitional point now where we have the opportunity to change the future of production in a way that will benefit the entire community.”

Chief among the changes are the growing availability of bandwidth and the availability of real-time computing engines, which at the moment are most widely deployed in pre-visualization applications but hold the potential to unlock many other workflow benefits in television and motion picture production, he said.

The white paper, “The Evolution of Media Creation,” was authored by contributors from MovieLabs member studios, including Paramount, Sony Pictures, Universal Studio, The Walt Disney Studios and Warner Brothers Studios.

It lays out 10 principles underpinning MovieLabs’ vision for 2030 that are categorized into three buckets: a new cloud foundation; security and access; and software-defined workflows.

“Most fundamental… is that assets go up to the cloud, and they stay in the cloud,” said Helman. “And the applications come to the assets rather than transferring files… from one facility to another facility.”

For this goal to be achieved, it will be important for vendors to be able to deploy their applications into multi-cloud environments. Helman acknowledged that this goal “is a little bit aspirational” because it is very likely post houses and VFX facilities will continue to work in their own cloud.

“We need to enable the ability to have multicloud applications…,” he said. “We think… [it is] very important to have abstraction layers that can allow these applications to be easily moved to whatever cloud is needed or to share data across clouds.”

Of course, with the cloud at the foundation of production 10 years hence, security and access become critical. Uploading assets to the cloud will mean media organizations no longer have “a well-defined perimeter” around their facility, and the same is true for hybrid cloud setups, he said.

“So, we really need to think about security and make it more asset-centric and more capable so you can address a wide range of production,” said Helman.

Helman introduced the concept of scalability to securing media assets in the cloud. While one studio might want to employ the most stringent set of security measures for a high-budget blockbuster, another, such as the producer of a cooking show, may not be too concerned about a segment showing up on YouTube because little revenue is at stake, he said.

The white paper also advocates for software-defined workflows in the future. Real-time engines, such as the Epic Games Unreal Engine, will one day enable a new degree of flexibility in building media workflows, he said.