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When you think of basketball, you may think of Lebron, Kobe or March Madness. You’re probably not thinking about Japan, but you should be.
Over the last 15 years, basketball has enjoyed increased popularity in Japan and is now one of the most popular sports in the country. With over 33 professional and semi-professional teams nationwide, there’s no shortage of players to root for.
Thanks to one of our customers, we’ve had the privilege of following the growth of basketball in Japan from the sidelines, and it’s been thrilling! Basketball Japan TV (BJTV) is one of the premier basketball leagues in the country, serving up over 1000 games per year with over 24 regional leagues.
Basketball Japan TV offers fans a subscription to games by device, so streaming video to as many devices as possible is key. With over 76 million mobile devices in Japan, that’s no easy feat. Fans want to be able to watch their favorite team play in real time, whether it’s on their Android, iOS or other device without buffering or quality interruptions.
With Ooyala, BJTV powered live streaming for over 1000 basketball games per year, streaming to fans on their mobile, desktop or tablet devices. With coverage to over 97% of Android devices, BJTV ensured that fans spent less time trying to get video on their devices, and more time cheering for their favorite team.
Takashi Sudo, Executive Officer of Human Academy Co. and BJTV, remarked, Our sites including BJTV are all paid services available for members. Compared to before introducing Ooyala, sales have increased by 230% and unique members have increased by over 500%. A miracle is happening in reality.
Basketball Japan TV brings fans closer to the basketball court with live coverage directly to mobile devices, tablets and desktops. By giving fans the ability to watch their favorite team anywhere, we can ensure that no basketball fan misses their favorite game.
Want to learn more about how Ooyala and BJTV powered basketball to fans on any device? Check out the video case study.
Basketball Japan TV is an Ooyala customer
Taking on a company that’s got momentum, the support of its customers and also offers good customer support isn’t easy just ask Verizon, which this week said it’s shutting down its lackluster foray into OTT, Redbox Instant.
The service, which was announced in December 2012 but didn’t actually launch until March 2013, announced its own demise on its website this weekend.
The service is shutting down because it was not as successful as we hoped it would be, read a notice on the site. We apologize for any inconvenience and we thank you for giving us the opportunity to entertain you.
Verizon’s Netflix killer never caught on, never mattered to consumers who saw the Netflix-lite offering as just that, a pale imitation.
That the joint venture maintained a connection to physical DVDs as well as streamed content was a sign that the telco couldn’t really commit, three years ago, to the concept that streaming was legitimate.
Redbox Instant subscriber numbers haven’t been shared, but it’s safe to say that like Comcast’s Streampix they were underwhelming.
Comcast, while not pulling the plug on its SVOD service, has move it into that netherworld of value added products that can easily be faded to black.
Concerns that Redbox Instant was on the ropes first surfaced back in May, when parent Redbox was reported to be trimming some of its 40,000 kiosks in the U.S. after yearly operating income that saw jumps of 74% in 2011 and 41% in 2012 was flat in 2013 at $239 million. The company is citing efforts to focus on efficiency rather than growth.
Back in December 2011, Verizon was rumored to be in talks with Netflix, but the talks turned out actually to be with Redbox, which analysts called a better fit.
Dish’s failed to resurrect the Blockbuster brand as its streaming service because it failed to bring enough content to the brand to make it attractive to consumers. In the case of Comcast’s stalled attempt with Streampix and now Verizon’s abandonment of Redbox Instant, the problem may be that consumers struggle with the idea of paying their providers extra for an SVOD service when they’re already paying north of $100 a month for standard services. Especially if it’s not Netflix.
Can a provider SVOD service work?
Sure. But it has to have a value proposition that’s obvious to consumers, the service needs to be robust and at least competitive with the market leader Netflix, Amazon Prime instant and Hulu Plus and it needs superior search, discovery and recommendation.
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Transcoder is a scalable, fully managed media (audio and video)
transcoding service that works on a cost-effective, pay-per-use
model. You don’t have to license or install any software, and you
can take advantage of transcoding presets for a variety of popular
output devices and formats, including H.264 and VP8 video and AAC,
MP3, and Vorbis audio formatted into MP4, WebM, MPEG2-TS, MP3, and
OGG packages. You can also generate segmented video files (and the
accompanying manifests) for HLS video streaming.
Today we are adding support for
Smooth Streaming (one of
several types of
adaptive bitrate streaming)
over HTTP to platforms such as XBox, Windows Phone, and clients that make use of
Microsoft Silverlight players.
This technology improves the viewer experience by automatically switching to data streams of
higher and lower quality that are based on local network conditions and CPU utilization on the playback
device. In conjunction with Amazon CloudFront, you can now distribute high-quality audio and video
content to even more types of devices.
New Smooth Streaming Support
Adaptive bitrate streaming uses the information stored in
a manifest file to choose between alternate
renditions (at different bitrates) of the same content. Although
the specifics will vary, you can think of this as low, medium, and high
quality versions of the same source material. The content
is further segmented into blocks, each containing several seconds
(typically two to ten) of encoded content. For more information about
the adaptation process, you can read my recent blog post,
Amazon CloudFront Now Supports Microsoft Smooth Streaming.
Each transcoding job that specifies Smooth Streaming as an output format generates
three or more files:
The following diagram shows the relationship between the files:
If you are familiar with Elastic Transcoder and already have your
pipelines set up, you can choose the Smooth playlist format during the job
creation process. For more information, see
Creating a Job in Elastic Transcoder.
If you are new to Elastic Transcoder, see
Getting Started with Elastic Transcoder.
After you create an Elastic Transcoder job that produces the files that are needed for
Smooth Streaming, Elastic Transcoder will place the files in the designated Amazon Simple Storage Service (S3) bucket. You can use the
Smooth Streaming support built in to Amazon CloudFront (this is the simplest and best
option) or you can set up and run your own streaming server.
If you embed your video player in a web site that is hosted on a different domain from
the one that you use to host your files, you will need to create a
crossdomainpolicy.xml file, set it up to allow the appropriate level
of cross-domain access, and make it available at the root of your CloudFront distribution.
For more information about this process, see
On-Demand Smooth Streaming. For more information about configuring Microsoft
Silverlight for cross-domain access, see
Making a Service
Available Across Domain Boundaries.
Get a Smooth Start with Smooth Streaming
This powerful new Elastic Transcoder feature is available now and you can start using it today!
Sure, we’ve all heard the bad news about climate change: it’s here, it’s huge, it’s devastating, and it’s not going away anytime soon. Ever wonder whether there’s any good news around this global phenomenon? Well, there is. On September 1617, 2014, the Climate Reality Project broadcasted live streaming video on Ustream for 24 hours straight, sharing Continue reading ?0
An Internet connection speed of 4 Mbps “seems too slow to be worthy of the name ‘broadband,'” the trade group Internet Association told the Federal Communications Commission this week. “The market for
Internet-connected devices has exploded over the last few years, and consumers are increasingly using multiple devices to access different services at the same time — e.g., streaming video onto a
television while surfing the Web or checking email,” the Internet Association says in its filing.
Netflix subscribers averaged 46.6 hours of streaming per month more than 1.5 hours a day — in the second quarter, up nearly 20% since 2013 and more than 27% from the same period in 2012.
Its rapidly growing subscriber numbers, however, has pushed its overall streaming up some 350% since 4Q2011 to 7 billion hours, up from 2 billion hours, according to research from The Diffusion Group.
Netflix currently has more than 50 million subscribers globally, with more than 36 million of them in the United States.
“Netflix is the big dog of online SVOD and sets the bar when it comes to viewing hours,” said TDG co-founder Michael Greeson.
In the U.S., Netflix streaming reached 5.1 billion hours in 2Q2014, an increase of 183% over the 1.8 billions hours recorded in 4Q2011.
Global streaming numbers increased nearly 10X to 1.9 million hours in the past quarter compared to 200,000 hours in 4Q2011.
U.S. streaming hours accounted for about 72% of the total Netflix streaming globally. That’s down from 94% in 3Q2011.
As Netflix continues to build out its international business a recent study from Digital TV Research estimates Netflix could have 104 million international subscribers by 2020 the U.S. share of total hours will continue to decline.
A number of other countries have been rumored as targets for Netflix’s next round of expansion including Australia and Spain, but the company also is rumored to be planning a foray into Eastern Europe and Russia soon.
When Netflix first launched in 1998 as an innovative DVD-by-mail subscription service it would have been difficult to imagine that, not only would it pass HBO to become the largest premium TV/movie subscription in the US, but that it would be ramping up a formidable international streaming business, notes Bill Niemeyer, TDG Senior Adviser and author of the new report.
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Netflix users really use their subscription. Streaming has increased dramatically, and now the average user watches 46.6 hours a month, according to company stats and a new report from The Diffusion
Marketers and consumers of HD video are being inundated with waves of messaging telling them to trade in their outdated HD video streaming equipment for the latest in 4K Ultra HD (UHD) technology.
This newer technology boasts four times the resolution of current HD along with eye-popping clarity and unmatched color richness. Still, while the promises of 4K technology sound great, there are a
couple of good reasons most marketers — especially those interested in live video/streaming media — should avoid making 4K investments anytime soon.
1) Targeted Advertising is now getting the attention it deserves, no doubt prompted by the success of the Web. Even for those who don’t have the necessary broadcast triggers, a broad range of solutions exist, many with the vital links to back office scheduling and playout. Cloud-based services were a consistent theme throughout the show with many established players recognizing the need to team up with those who have the necessary enterprise experience.
2) Confusion was abound concerning 4K and UHD, with many citing what a problem the protracted rollout of features has been on unsuspecting early adopters. Screen manufacturers came in for particular criticism. Even though there is a limited number of genuinely 4K streaming services, support is not universal across the established brands. The picture looks even murkier when you dive into the subjects of high dynamic range and color space, where the tendency of the industry is to dive into the technical detail, which doesn’t rest easily with a sector eager to purchase complete solutions. I would rather wait and see a complete solution emerge to the benefit of both TV and Cinematic applications, than a half-baked solution, which will inhibit the long term success of 4K and UHD. During the show many attendees wanted to discuss the relative merits of the main proposals and whether they will scale for live TV from streaming. The picture is a lot brighter for production, where good products are emerging because producers have faith that the format is strong enough to withstand the initial turbulence and deliver a significant improvement over current HD services.
3) Virtualization was center stage, with many visitors keen to access whether software can really replace bespoke hardware, and the likely transition paths. I had many interesting discussions on the booth prompted by presenting Harmonic’s approach to virtualization VOS.
Discussions ranged from broadcasters keen to see justification of the assertion that software based encoding has now surpassed hardware, to those within the enterprise and network domains evaluating how applicable virtualization will be to CPU and storage intensive video applications. These have been pretty contentious discussions in the past, but not this year. Many broadcasters and operators were discussing whether it will be hardware, appliance or software solutions forming the basis of future installations.
4) While UHD live services are challenging broadcasters, supporters of streaming APPs are becoming the main beneficiary. Amongst the aisles at the show were pragmatic entrepreneurs eager to enter a market focusing on content rather than having to become bogged down in technical details. The world of streaming Apps is being rationalized with many providers acting as a portal for common platforms, thereby removing a significant hurdle and cost to setting up a service.
5) It was not just the innovators who are riding the enthusiasm for Apps. Broadcasters face a significant challenge if spectrum reallocation progresses and chunks of TV bandwidth are relinquished for the ever growing demands of mobile. What is being trialed for minority long tail content online could become a very realistic prospect soon for sizeable audiences. While the merits of such a reallocation are being heatedly debated, this is a gift for those of us involved in new media distribution. The implications of this industry revamp to DTH, preoccupied many visitors wishing to map out their technical vision for such a transition while attending IBC.
6) Being a regularIBC attendee, I was at university when the show was held in Brighton and got my first job with Sony there, so I’m old enough to have been involved in the birth of digital video. Spin forward an embarrassing number of years and we see many exhibitors confidently predicting the death of SDI. While in the short-term this might be premature, no doubt they are right for the medium to long term. All but the most specialized aspects of workflow will be reworked for a brave new network centric world. My time spent recertifying my network qualifications will be useful eventually.
7) So what is holding the industry back from totally adopting an IT perspective and displacing the ever-dwindling islands of broadcast kit forever? The answer lies with standards for the carriage of video over IP. During a rare earlyish night at the show, I wasn’t the last in the bar, and avoiding a Dutch kebab, I went to bed scanning the details of SMPTE 2022 top technical porn for those technically minded visiting Amsterdam. This goes a long way to meet the needs of video carriage in the studio, but there is still some way to go if the frustration of those attending the show is anything to go by. Interoperability is still a big issue where proprietary approaches are still hindering video running on standard platforms.
8) While most broadcasters have been through a first iteration of kit to achieve brand recognition on the Web, most now require a refresh that restores profitability to multiscreen. Commonality through the use of mezzanine compression formats, automated Quality Control, enhanced graphics and branding along with dynamic advertising were key to broadcasters and operators alike. A variety of approaches were discussed at IBC2014, with many fully embracing cloud-based services for functions previously under lock and key at the heart of a facility ..and, yes, the merits of web based security, content protection and where fault lies should there be a breach were widely discussed, more on this in a future blog, after I’ve attended the Copyright and Technology London 2014 conference where I’ll be on a panel discussing 4K.
9) To those with an interest in data centers, virtualization summed up the IBC show. It was different for those from a production environment where orchestration dominated. Harmonic announced the Polaris playout management suite, offered in partnership with Pebble Beach Systems. In an increasingly complex workflow, it is vital to harness all the elements under a single umbrella management system application.
10) With extensive building construction well underway at the RAI, it struck me as ironic that as the industry adapts to extensive change with a distinct shift of emphasis from broadcast specific hardware to common software platforms, will IBC fully utilize the new space available? I suspect it will, as there was no shortage of new startups keen to enter a market which, although changing, still offers tremendous opportunities for those prepared to think about video laterally.
For more information on Harmonic’s approach to virtualization, feel free to check out TV technology’s recent Virtualizing Video Webinar, as well as the Harmonic Virtualized Video Infrastructure ebook.
– Ian Trow, Senior Director, Emerging Technology and Strategy0
As users worry about digital spying. some have turned to using client-side
encrypted virtual private networks that tend to obfuscate some internet activity. But media firms are warning VPN “pirates” to turn off the service or lose access to popular streaming video
If Vimeo’s determined to develop a pay-per-view streaming service, then the outfit is going about it in a rather strange way. The website has signed a deal with Mystery Science Theater 3000‘s distributors to bring 80 “cleared” episodes to the site’s on-demand platform. Because of the myriad rights issues that surround the show, more than half of the episodes aren’t legally available. Of course, that doesn’t mean that you can’t find them if you’ve got some time, a lax attitude to intellectual property and don’t mind typing in phrases like “mst3k.s08.e20” into YouTube. If, however, you’d prefer to get your stuff through legitimate channels, you’ll be able to rent each movie for $3, buy them for $10 or purchase the whole collection for a heavily discounted $300.
Via: The AV Club0
For A&E Networks — and likely many others — the mobile tipping point has arrived for video, with more people accessing streaming media from devices and set-top boxes than from the Web. As an
entertainment platform, the desktop Web has always been a horrid experience that no one in the industry wanted to admit, even if consumers always knew it.
Canadians are as tied to Netflix as their cousins to the south, with nearly 40% of downstream traffic in the peak evening hours on select networks attributed to the streaming service. That’s roughly triple the traffic the service generated in Canada just three years ago.
And, said Sandvine, in its latest Global Internet Phenomena Program, no other OTT service comes close. The next highest SVOD service generates just 1% of traffic. But, said the company, that may be tied more to a lack of competition from strong services like Hulu and Amazon Prime Instant Video than from a lack of interest from consumers, which should make Canada an attractive target for other services.
As for mobile traffic, more than 20% of all downstream traffic is YouTube video, making it the largest single traffic generator in Canada.
Sandvine said a variety of social networks combine to generate about a quarter of all mobile traffic, with the three largest consumers of data being Facebook, Instagram, and Twitter.
The top streaming content? Hockey. O, Canada!
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The video streaming industry is growing rapidly. As a broadcaster using a streaming or video hosting platform, it is very important to inspire, involve and keep your viewers focused with your content only. With white label video streaming it has become possible to use a sophisticated video player and brand it as your own on your [ ]0
Last week, Nielsen released new data showing that the percentage of campaigns using broad demo targeting declined 10% year-over-year, as brands are using increasingly narrower targeting to reach their
digital audiences. This apparent shift to more advanced targeting methods shows the strength of the data now available to advertisers, but also suggests they may not be taking advantage of the
branding opportunities in video advertising.
The new “Locally Crafted” campaign reinforces Windstream’s positioning to appear as a trusted advisor to its enterprise customers.0
Programmatic video has truly taken hold — so much so that it is now the predominant way in which brands buy online video ads. According to a new report from AOL’s Adap.tv, a programmatic video ad
platform, 60% of brands’ online video ad spending is now programmatic. Agencies have also turned to ad tech, with 38% of their online video spend going through programmatic channels.
Since last year, Flipboard has ramped up rich media advertising and e-commerce opportunities within the magazine-style app as it moves toward increased monetization. To that end, the company on Monday
launched video advertising for the app with a group of eight brands including Gucci, Chrysler, Sony Pictures and Lufthansa.
When you’re looking to buy a camera, the physical size of the sensor — not the megapixel rating — is what you want to keep an eye out for. The larger the better, of course, and while we may never see pocketable full-frame cameras with powerful zoom lenses, some manufacturers are getting close. Sony was the first such camera maker to debut a camera with a 1-inch sensor, the RX100, and now Canon’s trying to reclaim some of that high-end point-and-shoot market share with a model of its own. The PowerShot G7 X is Canon’s first 1-inch sensor camera, and while it costs a pretty penny ($700), you do get what you pay for.%Gallery-slideshow217852%0
The wait is over. Canon’s long-anticipated EOS 7D Mark II is here, shipping in November for $1,799, without a lens. With a price tag that high, you’d think it’d be safe to assume that the company’s consumer flagship sports a full-frame sensor. It does not. It does, however, represent an enormous step up from the original model — the Mark II includes just about every feature a pro photographer (and video shooter) could hope for, excluding a 35mm sensor, of course, and integrated WiFi. Instead, there’s a 20.2-megapixel APS-C CMOS sensor, which, despite a similar spec, is an improvement over what you’ll get with the 70D. You can also take advantage of a new 51,200 top ISO and a 10 fps continuous shooting mode (at full resolution, of course), powered by the dual DIGIC 6 processors.%Gallery-slideshow217851%0
Siano and SAMART i-mobile have announced a collaboration for enabling and delivering High-Definition TV, using Thailand’s DVB-T2 network, to smartphones and tablets delivering Live HD TV to mobile devices.
According to a new report by Nielsen, young people continue to shift their viewing activities to digital video. Since the second quarter of 2012, Americans between the ages of 18 and 34 have increased
their video viewing by 16 minutes a day and decreased TV watching by 10 minutes.
According to Ooyala’s Q2 Video Index being released today, viewing via mobile devices is destined to make up more than half of all video views by 2016. That’s right around the corner.0
As if Android apps hitting Google’s Chrome OS wasn’t enough excitement for Mountain View’s operating system for one week. Now, you can play movies stored in Google Drive via the OS’ video player app on your Chromecast. According to Googler François Beaufort, doing so is pretty easy too: simply open the Files app, select a video clip from Drive and hit the sparkly new Cast icon. Voila, cloud-stored videos are now viewable on the biggest screen in your house and even more media functionality for your Chromebook. Of course, since this is in the developer channel there might be a few bugs here and there — if you spot ’em be sure to let the Chromium team know.
Source: François Beaufort (Google+)0
Viaccess-Orca has announced that Telekom Romania has selected Viaccess-Orca’s Voyage-TV Everywhere solution to drive its upcoming new IPTV and OTT multiscreen service, ‘Telekom TV’.