42 GENIUS INTERVIEW Andreas Jacobi, Make.TV
FEED: Can you first give us an overview of Make.TV?
now become the first newsroom in the cloud. It opens up the ability for them to acquire content from additional sources, including mobile phones. FEED: Does operating in the cloud also change the way you produce content? Rather than using new tools to do the same old thing, can they help you do new things? ANDREAS JACOBI: In the end, it will change everything. You don’t need a big station anymore, or a big control room, this hardware costing millions of dollars. You do not need all that prep time. You can do a 100-camera production like the Tour De France with professional mobile and drone feeds with two hours of prep time. The main difference is that the chain of production now is a waterfall model. It’s planned, it’s produced, it’s distributed. Cloud-based live production means that every participant – the mixer, the producer, the contributor or cameraman, and the viewer – is one step away from the other. The viewer can become the cameraman with just one click. A viewer could also change their role to become the producer – getting access to all available feeds and making their personal mix and personal commentary and sharing it back on their media platform. This could help big content brands to extend their reach by incentivising influencers to make a personal mix. An agile production will change the type of programme, but also the role of each existing player. We believe the brand itself – especially TV brands – will change their role from content creator to
ANDREAS JACOBI: We first started Make. TV to enable news broadcasters to become fast and flexible and to enable content creators to easily create multi-angle live productions in the cloud without having big costs, hardware infrastructures and prep time. So we invented the first live video router without any limit. Routing, at scale, in the cloud is finally possible. It allows for the acquisition of content at scale from different user groups, devices and locations. For sports, it allows you to aggregate fan cameras, in the stadium or out of the stadium, before the game, after the game – Fox Sports is doing that with us. And digital publishers can easily route any live video feed to most platforms at the same time. ESL, the biggest esports publisher, is using our live video cloud to receive 600 hours of live content every day from around the world and then delivering that content on certain platforms. The music industry too has been talking for years about viewers choosing an angle on a concert or that the production team can use these multiple angles for different types of content. The result of our technology is that it allows the broadcast industry to finally move into the cloud.
GLOBAL MARKETS Cloud workflows have a role to play in a number of areas, including music, sports, news and esports
FEED: And who have you been working with?
more a content curator. We don’t think it makes sense for a big station to continue producing content by themselves. We believe it makes sense for them to focus on curation, qualification and incentivising their viewers to participate in programmes. Of course, at the end it means production must be cloud based, because it needs to be an open platform and an open system so everyone can participate in the workflow. From a staff perspective, people who are managing the production at the station side, will need to be able to focus on collaboration with different user groups for different formats. FEED: It would seem that doing productions like this will require people to think in a more lateral or collaborative way. What kinds of new skills will we need to develop? Andreas Jacobi: Social media units are increasing in relevance, and that makes sense – interaction with the viewer is mostly happening on social media. Right now the work of the social
ANDREAS JACOBI: We’ve been working with ESL and Fox Sports, as well as the German broadcaster RTL. And recently we started working with Al Jazeera which has
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