Video

Cycle to Work

This is a quick video I shot the other day of my ride to work. Shot with a cheap GoPro Hero 4 Session, I’ve run it through Microsoft’s Hyperlapse application.

I’m not sure that app gets an awful lot of love, despite being really useful for making this kind of video. The stabilisation is immense, even if it can require a reasonable amount of computing power to do a good job.

The ride is about an hour condensed down to two and a half minutes. You’ll note that the first third and the last third are actually pretty good cycling paths and back roads. Only the middle section, from Wood Green to Finsbury Park, is on a main road.

The music is some free music from YouTube.

Empty Essex

Empty Essex from Adam Bowie on Vimeo.

Empty Essex is the name of ride in Jack Thurston’s excellent Lost Lanes book (NB. The first one. There have been two others since, for Wales and the West Country). The route starts in Southminster in Essex, heading out to Bradwell-on-Sea and past the St Peter-on-the-Wall chapel on the Dengie coast. The route goes offroad around the northern tip of the peninsula, past the now decommissioned Bradwell Power Station (although it may be redesigned and recommissioned in the future).

The route runs along the mouth of the River Blackwater, and the area is popular with the sailing community. Then it heads south passing through Southminster before reaching the southern part of this coast at Burnham-on-Crouch. From there, it was the train back.

This video was shot with a combination of my DJI Mavic Pro drone, and my Garmin Virb Ultra 30 camera mounted on my bike.

Note that there is an off-road part of this ride, meaning that thoroughbred racing bikes are not suitable. Something like a cyclo-cross bike, mountain bike, touring bike or hybrid will be much better. It’s a fairly flat route since, as the video and photos show, it’s a flat part of the world. On the other hand, you do have to face wind. It’s not for nothing that there are on-shore and off-shore windfarms all over the place.

As well as the photos below, there are more over on Flickr.

Dimanche à Vélo

Dimanche à vélo from Adam Bowie on Vimeo.

From last Sunday, trying out a different way to mount my Garmin Virb Ultra 30. I’m not completely convinced that I wouldn’t be better off with a high end GoPro rather than this, although it does let you add data overlays to video very easily. Inevitably, the experimenting also means playing with output settings of Premier Pro CC and seeing how they play with Vimeo. I tend to use 2.7k as I can still get some in-camera stabilisation if I use that. But it still seems to struggle with skies.

The music comes from the soundtrack to a film called Les Gants blancs du diable. The track appears on the recently released compilation album, Paris in the Spring compiled by Bob Stanley and Pete Wiggs of St Etienne. This in turn I learnt of via the Bigmouth podcast. Invariably, you can’t go wrong with a bit of 60s French pop as you’ll know if you’ve watched any of my other videos. But now I need to explore some of the other albums Bob and Pete have collated (NB. They don’t seem to appear on services like Google Play Music or Spotify. So you may have to, you know, actually buy them!)

Snow and Mist

Snow and Mist from Adam Bowie on Vimeo.

The country has been covered with snow for the last week or so, but it’s not straightforward to get some spectacular drone shots because of the weather. Consumer drones aren’t capable of flying while it’s snowing. And you also have to consider wind speed, and there’s been quite a lot of that.

So my only practicable solution was to get up very early in the morning. Although a fresh fall of snow had been dropped the previous afternoon, and overnight the temperatures had remained sub-zero, but this morning the melt was very much on.

I shot this video and these pictures during a misty dawn. There was still plenty of snow on the ground, although it would disappear fairly rapidly as the day went on. The key thing to always remember with snow photography is that you need to increase the exposure beyond where the camera thinks it should be.

Faster, Faster, Faster!

There was a Buzzfeed piece recently, exploring those people who listen to podcasts at super-fast speed. I don’t just mean 1.2x or something, but some of them listen at 3x speed or even faster.

Elsewhere, a Guardian writer thanked Netflix for allowing him to skip all the intros to TV series and the ability to skip the end credits.

To me, both of these are problematical, and not really to be encouraged. My biggest question would be, what are you trying to get out of what you’re listening to? Are you listening or watching for pleasure, or is it more a list ticking exercise?

“Yesterday, I did Ozark on Netflix, and I burnt through all of S-Town at 3x speed!”

The pacing of these series is important. While I wouldn’t pretend that every series needs all 13 episodes it was commissioned for, I have to wonder what kind of enjoyment you’re getting out of it if you’re racing through. It can be the equivalent of picking up a paperback copy of The Lord of the Rings, and then deciding that the Wikipedia plot summary is all you really need.

Recently I’ve been seeing adverts for a company called Blinkist which claims to boil down the ideas of business books into packages that take 15 minutes to read! While I’ve no doubt that some business books probably do only really contain one idea, and it perhaps should have been boiled down to something simpler, I know too that reading a book for several hours lets the ideas contained within seep into your mind better. The quick hit approach is not going to have that effect, and I wonder whether the ideas taken from such material might stay with you.

It’s like reading the York’s Notes of Julius Caesar rather than the Shakespeare play itself.

TV series introductions are key to setting the tone of the programme you’re about to watch. At their best, they can be beautiful artefacts that lower you slowly into the world that you’re about to enter. They say to, “Settle down and join us, where serial killers/dragons/mafia gangsters reign…” You put down your smartphone, and let the story takeover.

Similarly, at the end, the closing music brings you back to reality slowly once more. Certainly the credits also recognise the dozens or more people who were involved in the programme’s creation, but the tempo is a nice outro from what you’ve been watching. Of course on some network shows, this is instantly interrupted by trailers or continuity announcers desperate to keep the audience from channel surfing. And in the on-demand world, you have perhaps a three second window before the next episode starts automatically. I find myself desperately flailing around looking for the remote – particularly with Star Trek: Discovery where I might have the obnoxious After Trek start streaming. As far as I can tell, Netflix has no setting to let you turn this off. [Update: Thanks to James in the comments pointing out that there is a way to turn this off. Go to https://www.netflix.com/HdToggle and turn off Auto Play. Update 2: I found the same setting in Amazon. In the UK at least, go here: https://www.amazon.co.uk/gp/video/settings?ref=atv_surl_aiv_settings and scroll down to Player Preferences and Auto Play.]

I understand that if you’ve just spend your Sunday afternoon binge watching all 8 episodes of The Marvellous Mrs Maisel back to back, you might be a little fed-up with intro sequences, but I wonder more what that says about you? Perhaps you should take a break between episodes?

And who on earth wouldn’t want to watch the pitch perfect Stranger Things opening credits each and every time it comes on? That series simply couldn’t have had a better opening sequence in all its simplicity.

What about podcasts? Well technology means that we can speed up audio without making every show sound like it’s voiced by people with ADHD on helium. And software will also take out silences – you know, the bits of space where you’re supposed to think about what has just been said. If you’re listening to a podcast with someone who has an especially languorous way of speaking, then that is surely part of the show? Are you listening to ideas and thoughts, or a horse race commentary?

I suspect that for many, this high speed reading/viewing/listening is really to enable them to say that they have “done” such-and-such. Tick another one off the list. You’re a complete-ist and in an age when new works never stop coming, you feel you must run just to stand still.

I say slow down.

Appreciate things for what they are.

You might actually get a little more out of it.

Premier League TV Rights – 2019-2022

The new Premier League TV rights auction for the UK has just got under way, with bids due in at the end of January, and the results announced in early February. Such are the scale of these rights now, that the announcement tends to be made to accommodate the stock market. If a PLC is spending several billion pounds on something, this is “of note.”

Where do we stand, and where are we likely to go?

At first glance, there really doesn’t feel like an enormous growth left in the UK market. Last time around, the value of UK live rights rose a colossal 70%, from £3bn to £5.1bn!

This increase in cost didn’t come without consequences. Subscribers to both Sky and BT have seen increases in their subscriptions, while Sky in particular (who’s packages increase the most in value), has cut costs elsewhere, reducing some coverage – notably tennis.

But different players have different needs from Premier League football.

Sky

As the bid from 21st Century Fox for complete ownership of Sky continues to navigate regulatory hurdles, Rupert Murdoch himself is selling out to Disney. While the Disney deal itself will need to overcome any US regulatory concerns, the general feeling is that it will get through unscathed (While it shouldn’t involve the US President, Trump is reportedly more concerned about the future of Fox News than anything else, and Murdoch keeps ownership of that). Meanwhile, the prospect of Sky News being a Disney property rather than a 100% Murdoch owned, is probably more palatable to more people. The separation organisationally from the unsavoury practices at Fox News is probably helpful too. There perhaps remains a question of when the various deals go through, so that waving the Sky deal through before the details of the Disney deal have been finalised might be problematic.

But returning to the Premier League, for Sky the rights are an important – not to say critical – part of its overall offering. Sports also remain an important part of Disney’s offering.

ESPN has for many years been a substantial revenue generator, but of late it has began to suffer. So-called “cable cutters” don’t all want ESPN. It had been regularly bundled into all basic cable offerings, taking a substantial share of a household’s monthly cable bill, regardless of whether that household actually wanted to watch sport. As such, it became a cash cow. That’s still the case, but as younger subscribers choose their digital offerings in a piecemeal way – Netflix here, HBO Now there – ESPN was beginning to miss out. It was losing overall subscribers, and has of late announced a series of redundancies to cut costs.

In part to bolster that, Disney has picked up Fox’s regional sports networks as part of the Fox acquisition, qne they provide very solid ratings revenues.

The problem with all sports for broadcasters is that in large part, they are not actually owned by the networks. Every few years, the rights are put out to tender, and the rights owners tend to expect big increases.

That extends from the Premier League to the NFL, the IOC, the ICC, the NBA and so on. Sport has become disproportionately important because for the most part, the value is in live rights, and an audience that advertisers love being unable to skip the built-in advertising.

Sky needs the Premier League, and it has to pull out all the stops to maintain the crown jewels of the packages offered. But at some level there will be a red line beyond which it doesn’t make sense to bid.

BT

BT is in a slightly different position, as it built its TV offering as much as anything to support its broadband proposition. This has developed further when BT trumped Sky to buy Champions’ League and Europa League rights. Unlike previous minority rights holders of Premier League football, BT was clearly a serious player with serious cash available. By offering sport initially free, and later at a discount to its broadband customers, it was able to stem the flow to other broadband providers.

In TV terms, BT does still feels like a smaller player in the wider marketplace.

There may be a slight shift at BT now, as it develops a stronger TV offering built around IP delivery, but the company is really in the business of running wires and cables into your home.

Sky and BT Making Up

Interestingly, Sky and BT have recently reached an agreement to properly wholesale their packages to each others’ customers. While BT Sport has been available to Sky customers since launch, viewers had to deal separately with BT to view the channel on their Sky box. The new agreement will make it easier for Sky customers to add BT Sport to their existing Sky package, buying it directly through Sky. In return, BT will make available Sky’s Now TV offer via its own BT TV platform. That effectively provides a mechanism for BT to offer the full range of Sky Sports channels through its platform.

Commentators have suggested that the pair have reached this agreement in part to mitigate the chances of the pair outbidding one another in the upcoming auction. While I doubt they’d collude (which may be illegal anyway), it’s likely that the status quo would suit both parties just fine. The pair do potentially face some opposition however…

Sidenote: One curious consequence of the Disney takeover of Fox (and in turn Sky), is that BT currently has a deal with ESPN for much of its US sports programming. In essence this leaves Disney with at least a small foot in both camps.

The Packages

Note: This is based on published information. Precise details of first picks is likely to appear in the tender documents which aren’t ordinarily made publicly available.

Under this contract, we will be up from 168 matches to 200 of the 380 total Premier League fixtures being broadcast live on UK TV.

Previously, there were five packages of 28 games, and two packages of 14 games. BT won the rights to 28 Saturday 1730 fixtures, as well as a further 6 midweek matches and 8 Saturday matches. Sky won all the remaining fixtures.

This time around the seven packages are built somewhat differently, with Saturday evening primetime being added into the mix, as well as some intriguing midweek packages.

2019-2022 Packages
Package A: 32 matches on Saturdays at 12:30
Package B: 32 matches on Saturdays at 17:30
Package C: 24 matches on Sundays at 14:00 and eight matches on Saturdays at 19:45
Package D: 32 matches on Sundays at 16:30
Package E: 24 matches on Mondays at 20:00 or Fridays at 19:30/20:00 and eight matches on Sundays at 14:00
Package F: 20 matches from one Bank Holiday and one midweek fixture programme
Package G: 20 matches from two midweek fixture programmes

Packages A and B are the same as before, but increase from 28 to 32 games. Package C had previously been exclusively 2pm fixtures, but now has eight primetime Saturday night games.

Package D tends to be the most valuable package, in the past containing the majority of first picks (in other words, broadcasters can put the biggest matches in this slot, other considerations such as police advice notwithstanding).

Package E now gets some 14:00 Sunday games as well as Monday and Friday night football.

But, beyond an overall increase in fixtures and the Saturday night slot opening up, it’s packages E and F that see the biggest changes. Previously these were a mix of mid-week and Bank Holiday fixtures throughout the season. But under this auction they will account for four individual programmes. For example, when there’s a full midweek fixture list, all games are usually played on a Tuesday and Wednesday. But by offering rights to all these games in a given week, any one viewer can only really watch two of them, since multiple games take place simultaneously. So while there are 40 games in total across the two packages, there are potentially only 8 opportunities for a viewer to watch a game, with the other 32 happening during one of those 8 timeslots

So while it’s technically innovative, you wouldn’t expect this package to go for a vast amount of money compared with the others. It’s fewer games than other packages for starters. But it also seems squarely aimed at getting streaming services involved.

Both Sky and BT would be able to offer this choice – they both did or do similar things with Champions’ League group stages. But a decent number of the games are not fixtures a broadcaster might ordinarily choose to televise – think of those matches towards the end of an average edition of Match of the Day.

But if this is aimed at getting digital players involved, it would seem to require an awful lot of marketing for just 8 opportunities to watch on as few as 7 individual days.

The Premier League can only really show all its fixtures in midweek slots because there’s a blackout during Saturdays at 3pm to support the wider football world. But I wonder whether by 2022, we’ll see every Premier League game played outside the 3pm Saturday window? That would enable all matches to be shown live, and perhaps a 2pm Sunday slot having the majority of fixtures.

Potential New Entrants

A bit like the broadcasters, different digital groups have different reasons to use video. Are they looking to increase dwell time on their services, are they looking to grow their user numbers, or are they looking for something else altogether?

Sport isn’t out the question with streaming services, bringing with it loyal fans. But it also brings issues with having a robust technical backbone, and excludes those who don’t have solid broadband.

Furthermore, only UK rights are being sold. While the UK remains an important market for most of the big players, being able to offer streaming to multiple territories is preferable to global operators. The Premier League, of course, sees greater value in selling international rights in different territories to different operators rather than bundle them all together.

What is certain is that the Premier League is desperate for one or more of these companies to enter the market. If Sky and BT would be prepared to stick with the status quo and only offer modest increases in their bids compared with last time, it would take a third party entering to push bids upwards. The only possible existing TV group who might be persuaded would be Discovery via its Eurosport channel. But it’s just not clear that the rights make sense for that brand. While Discovery has spent big on the Olympics, it doesn’t have much of a UK footprint at all in football beyond various secondary UEFA and FIFA competitions.

Facebook

Facebook notably did bid for Indian Premier League cricket rights for a large number of territories, but the deal the IPL eventually did with Star India (also being sold to Disney as part of the Fox deal) included global streaming rights, so they lost out.

You wouldn’t count out Facebook from bidding for Premier League football, but the challenge for them is that these are UK rights. While Premier League football potentially offers increased dwell time on the platform, assuming that the games are broadcast free to viewers, there’s relatively little in it for Facebook in terms of gaining new subscribers.

However Facebook is investing in premium video, and they have money to burn, so a bid isn’t out of the question.

Google/YouTube

YouTube has bought sports rights in the past – cricket immediately springs to mind. Google is constantly evolving its offerings, with a rumoured reversioning of its music offering in both audio and video terms, due to be launched soon.

As with Facebook, Google doesn’t face any problems in being able to afford rights, but it’s not clear what it really gains for them. YouTube is already phenomenally successful, and Google’s reach is nearly complete.

Again, that doesn’t mean that they wouldn’t bid, it’s not entirely clear why they would.

Apple

Apple is also making a play to develop a premium video offering, but it hasn’t as yet entered the sports arena. It’s platform is much less developed in the UK, and if made available exclusively via Apple apps or devices, any bid would curtail audiences a bit.

It seems much less likely that Apple would bid compared with other digital players.

Amazon

Amazon may be interested. Their model is slightly different, and they’ve not yet achieved the prestige in the video marketplace that others have. They’re certainly jealous that Netflix has developed stronger video brands than they have. The recent acquisition of The Lord of the Rings rights shows their ambition in this area – spending $250m on the rights alone to make a series, before they spend a single cent on production.

Notably they have now bought a range of tennis rights, outbidding Sky for the men’s ATP tour rights, as well as buying US Open rights. However we should be careful here. The entire ATP rights package cost Amazon less than Sky pays for a single Premier League fixture.

Tennis feels like a toe in the water for Amazon. They also stream Thursday night NFL games – something Twitter did previously, but outside the US you may not have noticed (games happen after 1am local time in the UK, and 2am in central Europe). It should also be remembered that Thursday night NFL is the least valuable package, and Amazon shares the rights with CBS and NBC in broadcast.

Amazon certainly has the technology to offer streaming, both via its Amazon Prime Video platform, as well as Twitch, potentially allowing it to reach a younger audience.

As such, it feels the likeliest bidder of all the digital platforms, even if the strange nature of packages F and G don’t really seem to make sense for anybody.

Twitter

Twitter has played with live streaming, offering everything from an alternative election night programme with Buzzfeed, to eSports and, as mentioned above, some NFL games last season.

Of all the digital players, it feels like Twitter perhaps has the most to gain in terms of getting new sign-ups from something like this. However it’s not trivial to get Twitter video onto your TV set.

As a company, Twitter is a scale lower than other digital businesses (see also Snapchat, who I’ve not even considered here), and so cost may be an issue.

Netflix

This feels to be the least likely digital bidder. Their business has not been built on sport, and as mentioned above, the real problem with sport is its lack of repeat-ability. If you’re paying £10m+ for a property, then they want to sweat that asset over a number of years. The value of a live match is a one-time thing, and really doesn’t seem to fit their model.

Outcome

We’ll find out the answers to all these questions in a couple of months’ time. Would the Premier League leave Sky and/or BT without games or a severely reduced offering? If the money was right, then yes. How would pubs show games “broadcast” on Twitter? Someone’s phone hooked up to a TV set?

Just because these businesses have the cash, it doesn’t mean that it makes sense for them to bid for rights. There has to be a reason. It might be adding value to a wider package such as Amazon Prime; it might be growing the number of users, or increasing a site’s dwell time. But many of these services are doing quite nicely already.

I can’t see BT and Sky increasing their bids at anything near the level they’ve previously managed. The value just isn’t there. Sky has managed to diversify its offering with originals and exclusive deals with providers like HBO. Renewing that HBO deal feels almost as important as doing another Premier League deal.

In the end, it’s probably best not to second guess these things too much. All will become clearer in February when consumers will discover just how many subscriptions they need to get the full range of Premier League football on television.