{"id":891,"date":"2019-02-07T00:00:00","date_gmt":"2019-02-07T00:00:00","guid":{"rendered":"https:\/\/leadersinsport.com\/sport-business\/reports\/broadcast-disruptors-bulletin-11-things-you-need-to-know-today\/"},"modified":"2021-08-10T10:00:03","modified_gmt":"2021-08-10T10:00:03","slug":"broadcast-disruptors-bulletin-11-things-you-need-to-know-today","status":"publish","type":"article","link":"https:\/\/leadersinsport.com\/sport-business\/articles\/broadcast-disruptors-bulletin-11-things-you-need-to-know-today\/","title":{"rendered":"Broadcast Disruptors Bulletin: 11 things you need to know today"},"content":{"rendered":"\n\n
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\n Feb 07, 2019 <\/p>\n \t\t\t\t\t\t\n\t\t\t\t\t\t\t<\/span>Articles<\/a>\n\n\t\t\t\t\t\t

Broadcast Disruptors Bulletin: 11 things you need to know today<\/h1>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n \n\t\t\t<\/div>\n\t\t<\/div>\n\n\t<\/div>\n<\/div>\n
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Category<\/div>\n Digital & Media<\/a> <\/div>\n
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https:\/\/leadersinsport.com\/sport-business\/articles\/broadcast-disruptors-bulletin-11-things-you-need-to-know-today\/<\/div>\n <\/div>\n <\/div>\n <\/section>\n\n\n
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Eurosport celebrates 30 years; MTV goes OTT; and CBS Super Bowl production under the microscrope.<\/p>\n \n \n \n

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Eurosport celebrates 30 years; MTV goes OTT; and CBS Super Bowl production under the microscrope.<\/h4>\n

By James Emmett and David Cushnan<\/h6>\n
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In partnership with:<\/p>\n

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If you haven’t already, sign up for free<\/a> to receive the bulletin straight to your inbox every second Thursday.<\/p>\n

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Short form<\/strong><\/p>\n

Eurosport celebrates 30 years
\nNew data on media use and attitudes of children
\nCBS Super Bowl production under the microscope
\nPremier Sports gaining ground (and rights) in the UK
\nDiscovery loses Chief Technology Officer to Google
\nDiscovery hires Chief Technology Officer from Amazon
\nDiquattro takes Spanish responsibility at DAZN
\nGary Neville sells 50% stake in production company
\nSEA ride-hailing service Grab buys VoD service
\nMTV goes OTT
\nTwitter adds \u2018Go Live Together\u2019 function<\/p>\n

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Long form<\/strong><\/p>\n

BIG PICTURE<\/strong><\/h3>\n

Welcome along to the latest edition of the Broadcast Disruptors Bulletin, guiding you through the latest developments, new thinking and best-in-class activities across the sports broadcast space. Keep your opinions, insights and industry news coming to david.cushnan@leadersinsport.com<\/a> and james.emmett@leadersinsport.com<\/a>. And a reminder that we\u2019re just a couple of weeks away from opening the nominations for this year\u2019s Leaders Sports Awards \u2013 last year, the on-screen experience category featured a stellar shortlist including NBA, La Liga, Wimbledon and the winners ATP Media; this year, it could very well be you \u2013 and here\u2019s a few tips that might help you out<\/a>.<\/p>\n

Discovery was also among the shortlisted entries last year for Eurosport\u2019s multimedia, multi-screen coverage of the Olympic Winter Games from PyeongChang. This week marks 30 years of Eurosport, the brand Discovery Communications acquired five years ago, with a special on-screen rebrand celebrating all things 1989 rolled out to celebrate the occasion.<\/p>\n

It\u2019s fair to say the channel, which was launched on Sky Television following a collaboration with the European Broadcast Union initially in English, Dutch and German, has come a long way in its three decades on the air. Once, somewhat unfairly, derided as the home of events that wouldn\u2019t find a broadcast slot anywhere else \u2013 elite lumberjacking, pro tractor-pulling and the like \u2013 Eurosport has matured into a premium channel offering premium content, with specialities such as blanket coverage of winter sports, cycling\u2019s Grand Tours and its new pan-European contract for the Olympics.<\/p>\n

According to a release celebrating its anniversary, Eurosport\u2019s two primary channels now reach 246 million subscribers across 75 countries in Europe, Asia-Pacific, Africa and the Middle East. Throw in a thriving events division, the Eurosport Player and app and what it claims to be Europe\u2019s number one online sports news website (42 million unique users per month), and it\u2019s quite the sports media success story.<\/p>\n

Here\u2019s to the next 30 years.<\/p>\n

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THE NUMBERS<\/strong><\/h3>\n

UK media regulator Ofcom\u2019s annual \u2018Children and parents: Media use and attitudes report 2018\u2019 was published last week. Its research examined the habits and media literacy of children aged between 5 and 15, revealing that while TV and tablets continue to dominate device use, time spent watching TV on a TV set is decreasing; over half of 5-15 year olds consume OTT services such as Netflix, and Amazon Prime Video; and that YouTube is \u2018becoming the viewing platform of choice\u2019 particularly among 8-11 year olds.<\/p>\n

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Source: \u2018Children and parents: Media use and attitudes report 2018\u2019, Ofcom.<\/strong><\/p>\n

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Production Notes<\/strong><\/h3>\n

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In a new semi-regular segment, where we ask a prominent sports broadcast executive to review the production and output of a major event telecast, former Fox Sports Executive Vice President George Krieger<\/strong> appraises the CBS broadcast of Sunday\u2019s Super Bowl\u2026<\/p>\n

\u201cLike the players in Super Bowl LIII, the CBS production team is also at the top of their game; these are the very best CBS has, both creatively and technically. This past Sunday they were up to the challenge. Director Mike Arnold had four full production trailers including a full truck of replay producers and operators to manage the 115 cameras he had at his disposal. The show had extraordinary enhanced audio capabilities with multiple sub-mixers for field audio complimenting CBS\u2019s usually strong sound.<\/p>\n

The secret weapon<\/strong><\/p>\n

CBS\u2019s secret weapon was Atlanta\u2019s two-year-old Mercedes Benz Stadium built with sophisticated TV production needs integrated into the design of the building. The 360-degree high resolution video boards at the very top of the stadium were on display early in the telecast during the introduction of the teams. This was particularly effective with the stadium\u2019s unique roof open before the game kicked off. Graphics were big and bold, particularly in the half-page vertical configuration.<\/p>\n

The beginning of the game on the field was frantic and full of nervous energy by both teams; the television production was calm and measured as the producer got through the early game traffic and information essentials. Overall, the telecast was very good.<\/p>\n

The replays<\/strong><\/p>\n

What could have been better \u2013 granted, I am nit-picking here – was overwhelmingly in the replay area. The job of the live video coverage and play by play commentary is to tell the viewer the \u2018who\u2019 and \u2018what\u2019; the job of the various replays and the expert analyst is to tell you the \u2018why\u2019 and the \u2018how\u2019. Producers sometimes fall in love with the big lenses and super-slowmo video at the expense of why and how things happen. I found too many replays of the same thing and all way too tight to tell the story. Two examples in key sequences\u2026Tom Brady being sacked and fumbling (recovered by the Patriots): all three replays, progressively tighter, focused on Brady with no replay of the defensive coverage scheme that caused the sack (the \u2018why\u2019 and \u2018how\u2019).<\/p>\n

Throughout the game, Patriots receiver Julian Edelman was consistently open. How was he doing it? Replays focused on iso shots – Edelman coming off the ball, all very intimate and tight – lovely shots. But I would have loved to see more end-zone replays from behind the defensive side to explain how that little so-and-so was always open. Too heavy a reliance on the super tight and extremely intimate replay at the expense of (slightly) wider, all-field-coverage-perspective replays. Unfortunately, the promised enhanced audio was a no-show.<\/p>\n

The call<\/strong><\/p>\n

The CBS commentators were terrific. Only in their second year together, Jim Nantz and Tony Romo were relaxed when the game was frantic or sloppy. They had fun with each other and the viewers and it was refreshing. Championship events are NOT Head of State funerals – they are supposed to be fun.<\/p>\n

Nantz gave us relevant and timely game notes (e.g. Atlanta Aquarium, the first Super Bowl with no touchdowns thru the first three quarters, five teams beat the Patriots this year and none of those teams made the playoffs).<\/p>\n

Romo has the ability to verbalise what fans are thinking without sounding snarky or nasty; his enthusiasm is authentic and natural. Oh, and he knows the game and lets the audience in without being preachy. He notices match-ups and points them out pre-snap and where to look on the screen. He routinely follows that up with the \u2018why\u2019 and \u2018how\u2019.<\/p>\n

And finally\u2026<\/strong><\/p>\n

So sorry about the halftime show. Silly, over-produced and less relevant as each year goes by, these multi-artist mini-concerts have lost their lustre. Unless the NFL can find a way to bring Prince back to life, it\u2019s time to chart a new course\u2026all brought to you by Pepsi, of course.<\/p>\n

The television production of a Super Bowl is a massive, pressure-filled exercise for the group of outstanding and dedicated professionals above and below line. The CBS team was terrific.\u201d<\/p>\n

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RIGHTS WATCH<\/strong><\/h3>\n

Premier portfolio<\/strong><\/p>\n

As shrewdly observed by sports rights consultant David Murray on LinkedIn, one overlooked aspect of Eleven Sports ceding the UK rights to Serie A is that the low-profile Premier Sports, which has picked up the IMG-marketed package, has added another set of rights to its quietly impressive portfolio. Premier\u2019s schedule also includes live Scottish Cup football, Guinness Pro14 rugby, NHL and the Eredivisie. Meanwhile, the splintering of European football rights across UK pay channels continues. Access to live Premier League (Sky Sports, BT Sport and from next season Amazon), Bundesliga (BT Sport), La Liga (Eleven), Ligue 1 (BT Sport) and Serie A (Premier Sports) football in the UK will now cost over \u00a31,000 in subscriptions.<\/p>\n

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Lessons from Leaders: What Leaders Week London told us about 2019<\/a><\/p>\n

5 Minutes with Leaders: James Pitaro<\/a><\/p>\n

5 Minutes with Leaders: James Rushton<\/a><\/p>\n

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THE JOBS BOARD<\/strong><\/h3>\n

Honeycutt swaps Discovery for Google Cloud<\/strong><\/p>\n

Discovery Chief Technical Officer John Honeycutt has joined Google Cloud to head up its telecommunications, media and entertainment divisions. According to Variety, Honeycutt will \u2018lead development and implementation of Google Cloud\u2019s worldwide strategy, using his pay-TV background to focus on helping migrate traditional video distribution workflows from film studios, content creators and distributors to the cloud\u2019.<\/p>\n

Saxena to run Discovery direct-to-consumer<\/strong><\/p>\n

Discovery, meanwhile, has hired Avi Saxena to a newly-created role of Chief Technology Officer of Direct-to-Consumer. Saxena joins from Amazon Marketplace and will oversee all Discovery\u2019s streaming activities, including Eurosport Player and GolfTV. He will be based in a new Discovery office in Seattle, where the company is building a base for its direct-to-consumer operation.<\/p>\n

Diquattro adds Spain to remit<\/strong><\/p>\n

DAZN\u2019s Veronica Diquattro has been given an expanded role, which will see her take charge of its new Spanish service. As EVP, Revenue for Southern Europe, Diquattro, a former Spotify executive, adds Spain to her role looking after DAZN\u2019s Italian business, which launched last year.<\/p>\n

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CONTENT PRODUCTION<\/strong><\/h3>\n

Fresh Buzz<\/strong><\/p>\n

Marketing and communications group reach4entertainment has bought 50 per cent of Buzz16, the short and long form content producer part-owned by Sky Sports commentator Gary Neville. Neville and former Sky Sports producer Scott Melvin founded the company three years ago. In the period since it has produced the \u2018Class of 92: Full Time\u2019 and Soccerbox series broadcast by Sky Sports.<\/p>\n

Making a Grab<\/strong><\/p>\n

South-east Asian ride-hailing service Grab has announced plans to integrate the Singapore-headquartered Hooq video-on-demand streaming service into its app. The revenue-sharing agreement will be in effect across Singapore, Indonesia, Thailand and the Philippines, with Grab users gaining access to the 35,000 hours-plus international and local content available via Hooq. Last year Grab bought Uber\u2019s southeast Asia business. It now operates in eight countries in the region, with the app, now featuring an enhanced range of services beyond the core product, downloaded over 130 million times.<\/p>\n

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DISTRIBUTION\u00a0<\/strong><\/h3>\n

MTV jumps aboard OTT bandwagon<\/strong><\/p>\n

MTV has confirmed the launch of a new mobile streaming app, MTV Play, in the UK. Content will include box-set and catch-up content, plus a stream of the MTV TV channel. \u201cThe core demographic, 16-34 year olds, are ready for this distribution opportunity,\u201d said MTV\u2019s Dan Fahy, Vice President of Commercial and Content Distribution of the app, which will cost \u00a33.99 per month.<\/p>\n

Up Periscope<\/strong><\/p>\n

In a move that may pique the interest of sports broadcasters and rights holders searching for greater engagement with viewers, Twitter has added a new feature, Go Live Together, for its Periscope live streaming app. Users who go live are now able to invite people watching to join the conversation in a stream, effectively allowing viewers to \u2018phone in\u2019 and participate.<\/p>\n

<\/h3>\n

Thanks for reading this edition of the Broadcast Disruptors Bulletin. We\u2019ll have another for you a fortnight today; and if you haven\u2019t subscribed yet, do remember to opt-in here<\/a>.<\/strong><\/p>\n

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