Favour'IP'e
Digital Studio|February 2019

The IP technology has been embraced and reviewed extensively, tagging along with it a need to comprehend its future projection

Anisha Gakhar
Favour'IP'e

The IP technology has been raved about within the M&E industry and has been under the radar of broadcasters and consumers alike, since quite some time now. Technologies come and go, but a few manage to stay and for good. The constant augmentations and enhancements have continued to add value to the existing IP know-how, making it far more diversely applicable as compared to its history. We live in an era of digital disruption, which has led to the metamorphosis of the way content is consumed. IP spells accessibility, less friction, more options; targeting consumption and segmentation. Alexander Stoyanov, sales director, PBT EU said, “This results in a trend of unseen proportions compared to previous technological eras now everybody can be a self-proclaimed entertainer with almost unlimited access to their audience, thus, putting an end to the monopoly of media mastodons.”

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IP for broadcasting and media revolves around the theme of transition. It constitutes migration to unconventional platforms, with efficient management. Grass Valley recently conducted research among nearly 750 media professionals, to gauge the progress of the industry’s migration to IP. It confirmed a strong industry desire to migrate to IP, as nearly 70% of respondents indicated that they expect to have IP projects underway by mid 2019. The Devoncroft’s Big Broadcast Survey of 2018, which garnered responses from over 8000 broadcasters globally, had posed a question - when were they expecting at least 50% of their infrastructure to convert to IP? 22% of broadcasters stated that they had already migrated to IP, while 39% were planning the transition over the next 5 years; which means over 61% of the worldwide playout facilities would have made the big jump to IP in the sub-sequent 5 years.

This story is from the February 2019 edition of Digital Studio.

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This story is from the February 2019 edition of Digital Studio.

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