Media server is a dedicated server to deliver audio / video content to users. Explosive growth of online video views has led to a substantial growth of the media server market and sharpening of competitive conditions (Adobe sued Wowza). Adobe Flash Media Server and Wowza Media Server are the main players on this market. Both products are actively developing. Their already impressive feature set is continuously enhanced with new fascinating functionalities. Earlier this year, Wowza announced its new release, Wowza Media Server 3. Wowza and Adobe are moving in the direction of cross-platform video content availability to all user screens. In this post, we’ll share our hands-on experience in testing Wowza 3 and give you an idea of its major functional innovations. First of all, in the new release, Wowza began to introduce new features as add-ons to the basic server. They plan to implement three add-ons: DRM, Transcoding and nDVR. DRM and Transcoding signify an obvious shift in favor of collateral products, and DVR is quite a long expected functionality.
In this article, we will discuss how you can use the FMS Access plugin for load balancing among all of its FMS fmscore processes. Also, we will brief you on how to apply the Access plugin to balance VoD content load over multiple FMS servers.
Access plugin is another level of FMS security, which allows you to perform lightweight authorization of incoming connections before they reach the level of SSAS applications in the fmsedge process.
The Access plugin provides the following features:
Analyze the properties of a client connectionAnalyze server statisticsAnalyze server statisticsSend requests to the external systems
Once a client connection arrives to the fmsedge process, fmsedge passes connection control to the Access plugin (if installed). The Access plugin business logic can now decide on how to handle this connection: accept, reject or forward it to another FMS.
One of the most fascinating features offered by the Access plugin is the ability to make a dynamic selection of fmscore process to forward a connection, right at the moment when the inbound connection arrives to fmsedge. This helps to more or less flexibly manage client connections at the FMS level, according to your system architecture and your resources. For example, this way you can guarantee the quality of service to certain groups of customers.
A television due out soon can tell websites and online advertisers which shows you're watching, making Web pages more intelligent.
Many people surf the Web while they watch television. Soon the websites they visit could adapt in real time themselves to the shows being watched—automatically presenting information relevant to the show, or even tuning their ads in response to what you're watching.
A new type of Internet-connected television, due out before the end of the year, has built-in software and hardware that send data about what is on-screen to an Internet server that can identify the content. Web pages being viewed using the same Internet connection as the TV set can then tap into that information. The system can identify any content onscreen, whatever the source, whether live TV, DVDs or movie files playing from a computer.
Flingo, the San Francisco-based startup that developed the technology, known as Sync Apps, says the new set is already being mass-produced by one of the top five television brands in the U.S. and will retail for less than $500.
"Any mobile app or Web page being used in front of your TV can ask our servers what is on right now," says David Harrison, cofounder and CTO of Flingo. "For example, you could go to Google or IMDB and the page would already know what's on the screen. Retailers like Amazon or Walmart might want to show you things to buy related to a show, like DVDs, or what people are wearing in it." Social sites such as Facebook or Twitter can use the service to connect viewers to a TV show's official page or stream. When a user flips channels, or a show ends, the Webpage being viewed knows about it and can instantly update to the new viewing.
Los Angeles production house Halo-8 Entertainment is banking on nonlinear storytelling with its upcoming delivery platform EtherFilms, which will give viewers greater control over how movies and other media unfold. For example, the interactive transmedia platform might serve up an extended version of a particularly fascinating interview or let the viewer dive into a comic book mentioned in a documentary.
Anchored in the principle that programming should be oriented around content rather than format, HTML5-based EtherFilms will integrate multimedia from past and future Halo-8 motion comics and documentaries like Grant Morrison: Talking With Gods.
“That means jumping from an animated film to the digital comic that tells a character’s origin or extending an interview in a documentary, or even jumping to a different documentary altogether for further insight on a topic”...
HTML5 video and audio tags were designed to make embedding a video as easy as embedding an image. They were also designed to give users a faster experience by doing away with browser plugins such as Adobe Flash.
Unfortunately, older browsers don't support HTML5 video and audio tags, and even modern browsers don't support a consistent set of video codecs, making embedding a video rather difficult.
The html5media project makes embedding video or audio as easy as it was meant to be. It's a fire-and-forget solution, and doesn't require installing any files on your server. Unlike many other HTML5 video players, it allows people to use the video controls supplied by their own web browser. It's one of the smallest, fastest solutions available, and as browser technology improves it will become even faster.
The html5media project is open source and can be found on GitHub.
Avanti GUI + FFMPEG make a perfect open source alternate to Adobe Media Encoder. The Avanti GUI also needs “Avisynth” optionally for some extra features. but basically if you intend to own a desktop tool for your video/audio needs, such as conversions, audio extraction, video extraction etc etc: then this is the thing for you. Avanti with FFMPEG renders Adobe Media Encoder completely unnecessary.
MetaFragments gives to web tools, mobile apps, browser and search engines a simple way to explore, connect and share the inside content of web videos. The idea behind MetaFragments is to use media fragments URIs and in-HTML meta-data to store timed data relating to audio and videos sequences.
WebM is surely one of the hotest streaming topics right now, because WebM is one of the two final HTML5 video standards with H.264. When Google bought On2 in 2009 and open-sourced its latest VP8 codec one year later, two promises were made : providing a codec which quality can compete with H.264 , and providing it in a royalty-free way. On the quality point, the general opinion is that the VP8 codec is slightly less performing than H.264– but it can be an acceptable trade-off regarding the royalties point.
Precisely, the royalty-free point is the one which raises the more questions now, as MPEG-LA is said to have a lineup of 12 patent owners ready to claim their rights on intellectual property, as VP8 would use compression techniques taken from H.264. Seeing their fight against Google being a success would cause a major setback in HTML5 standardization efforts around open source solutions – WebM then being another coding technology subject to royalties after H.264. Nevertheless, the patent war has not started yet and WebM is still a good alternative to H.264, on the paper. And that’s why we are curious to know how we can implement it in our existing or upcoming workflows.
So let’s walk through the different steps of the WebM streaming workflow !
"Affine Systems, a small San Francisco, venture-backed start-up built around machine learning, has created a technology to 'rip apart video frame' by frame," enabling advertisers to associate ads with desired content.
Largely under the radar, the company is working with YouTube and many of the major video ad networks including Tremor, Adap.tv, TidalTV, DBG, TubeMobul, Collective Media and AdBrite."
The multi-tasking MPEG Gearbox MF is an MPEG-2 to h.264, or h.264 to MPEG-2, transcoder or transcaler and the Intel 6 core processor based system features multi-protocol, multi-resolution, and multi-wrapper support including RTMP, RTSP, and HTTP.
The newest version of the MPEG Gearbox MF features a wide variety of IP output protocols. The MPEG Gearbox MF streams multiple channels using UDP, RTP, RTSP, HTTP, HTTP Live, HTTP Smooth, HTTP Dynamic, FTP, RTMP (Open Flash), or Windows Media Video 9 with HTTP/ASF.
The MPEG Gearbox MF can also output to HD-SDI, SDI, IP, and/or ASI, at the same time. The inputs can be simultaneous choices from HD-SDI, SDI, DVB-S/S2, 8VSB, QAM, DVB-C, DVB-T, DVB-ASI, analogue, or GigE and IP (h.264, MPEG-2, or VC-1).
Typical dedicated transcodes are up to three 1080i HD streams, four to six 720p HD streams, or 10 to 15 SD streams from MPEG-2 to h.264 (CPU dependent), or vice-versa. The system can also mix and match MPEG-2 and h.264 streams.
Concurrent focused its eFactor development efforts on reducing the complexities of delivering video to a growing population of disparate connected devices. Content producers and service providers must currently prepare and package video content for delivery over three market-leading HTTP adaptive bitrate formats, including Apple, Adobe and Microsoft. Concurrent’s Transmux solution removes that complexity by repackaging a single source asset on-the-fly, while offering flexibility to support future formats. This greatly simplifies workflow and results in savings on both capital and operational expenditures, while reaching the widest audience possible.
eFactor’s Transmux is offered as a software development kit (SDK) or as an integrated feature in eFactor multi-format origin and edge servers, offering Concurrent’s customers ultimate flexibility. CDNs with substantial investment in existing infrastructure can seamlessly add value to their services by integrating Concurrent’s Transmux SDK with their existing servers. Customers that do not have existing infrastructure will benefit from fully packaged eFactor origin and edge servers that support on-the-fly Transmux of live and on-demand content.
Ever wanted to get more information about a TV show, film or advert on TV? Of course you have. But Googling what you can see is easier said than done. What we need is something which recognises the show and can take you to more info – even let you share what you’re watching on social networks.
TVTak does exactly this. Download the app, point your iPhone at the TV, take a picture and TVTak will present more information, links and a way to Tweet or Facebook what you are watching. It’s literally magic.
This is like like Shazam for video in realtime, on a live broadcast.
At first glance, video captioning might not seem like a huge deal. Maybe it might appeal to you if you need to meet accessibility requirements in your workplace, or you're just doing it to be nice to people with hearing difficulties.
You're pretty far from the mark though. Yes, accessibility is an important driver for video captioning on the web. But it's about much more than ‘deaf people’ (and you should be providing quality captioning for them anyway!)
In addition to important accessibility benefits, captioning your video can allow automatically generated transcripts, text search-ability within videos (imagine what will be possible once Google supports crawling WebVTT!), chapter markers and powerful metadata capability, and much more! You could provide a track of time-specific comments on the video (the same way SoundCloud allows commenting on specific parts of audio) or even a live twitter feed on your video (similar in style to the ABC'S Q&A program.)
“Alright!”, you say. “I'm convinced. How does HTML5 allow me to caption my video?”
For a while, there wasn't an easy way to do it. Guys like Bruce Lawson were coming up with creative ways (if a little hacky) to implement support, in lieu of a proper standard.
But you want to caption your HTML5 video now. And for that, you need Captionator.js.
As movies move online and go mobile, sound gets some respect with updated codecs, more TLC, and a better attitude.
The next time you walk past the hollowed-out hulk of a Blockbuster store in your neighborhood, you’ll be reminded that there is a war going on. Actually, the format wars have been going on for decades now, but the debris left behind by the physical media era underscores how the battles have migrated to the virtual realm now. One of the defining characteristics of this epoch of the conflict, though, is that it’s becoming less about the origin of the content, or even the format it takes in its travels, and more about the places that it ends up. Streaming to an ever-widening selection of devices and platforms puts content under a variety of pressures, and while the HD video dogfights get all the glory, audio— media’s perennial underdog—has some pretty capable allies of its own.
There are basically two ways to sustain the extensive growth of video formats that you must, as a media distributor, serve to your different clients’ target devices : the most common answer is to choose the best in breed most-powerful encoders to prepare all the target formats during the content preparation time (see Panorama article N°1 on this topic), but you can adopt a different approach saying that you want to prepare your contents once and have the distribution part of the overall workflow take care of the repackaging and protection of the contents on the fly.
Server-side repackaging of the streams consists eventually in : - choosing languages in audio and subtitle tracks available in the original mux (optional) - transcoding/transrating the video content in different sizes/bitrates from a high quality video file (optional) - applying a DRM compatible with the output format (optional) - generating the manifest file corresponding to the target adaptive streaming technology (mandatory) - remuxing and chunking the video data according to the output protocol requirements (mandatory)
Historically, repackaging was pushed as a quick solution for broadcasters to add iOS streams on top of existing Smooth or Flash streams. In a wider OTT/Adaptive Bitrate perspective, this alternative approach means : less files to manage in the main production workflow, less storage, less bandwidth to populate the origin servers, smaller time to contents’ online availability and easier support for new formats – shortly said, an agile path.
Potentially a risky one, but quite attractive…
Let's examine the available options on the market, to do it on your own platform or in the cloud !
Maybe some of you remember the Tarari Encoder Accelerator for Windows Media which came on market in 2005 as a FPGA loaded PCI board. It was a 10K$ investment but it could seriously boost your encoder performances and it was a transparent solution for all encoders integrating Windows Media SDK. That was maybe the only real reliable option to do HD encoding decently at that time. More confidential were the Ambric cards for accelerating MainConcept H.264 and MPEG-2 SDK, which were found to be working with Inlet Armada transcoding farm.
Since these days, Tarari boards vanished, Windows Media encoding has been somehow outshined by H.264 and CPU performances have made great jumps, but the needs for hardware accelerated encoding solutions is still there, mainly because : - H.264 encoding is also hungrily crunching CPU cycles - screen types to feed have exploded with mobile, tablets, connected TVs and all other OTT devices - adaptive streaming requires far more versions of the same file that previously mono-bitrate encodings - available rackspace is not endless and it’s not convenient to manage hundreds of encoding nodes - new formats like 3D and SVC are demanding strong encoding power - you like to play with cool high-end encoders and you have strong convincing skills when it comes to make your boss buy expen$ive hardware
So let’s take a look at the different options available on the market now !
"TelVue Corporation, a leader in IP Television Broadcasting and Internet Video Streaming, announced today that it has launched a new platform to slash cable/telco local origination and leased access (LO/LA) servicing costs and dramatically improve workflow.
Believed to be a first in professional broadcasting, TelVue Connect migrates what has always been an on-premise equipment and software service entirely to the cloud.
TelVue now uses the cloud to handle large media file uploads, content management, transcoding for different destination networks or devices, and scheduling requiring only a broadband connection and browser. TelVue Connect continues a trend of cloud-based processing that eliminates high customer capital costs, maintenance management, feature upgrade logistics, equipment networking and compatibility issues."
During a StreamingMedia.com webinar Dan Rayburn moderated on the topic of Adaptive Streaming & HTTP Delivery, Cisco gave out some great details on managing adaptive bitrate resolution and encoding profiles.
Creators that want to build interactive video applications have largely been constrained by the lack of easy-to-use tools for doing so. Today those publishers can either use rudimentary tools like YouTube annotations to extend an element of choice to video applications, or they can turn to expensive, custom web design firms to build that interactivity into their videos.
Now one startup is looking to provide an alternative: Boulder, Colo.–based Flixmaster offers a platform for publishers like transmedia creators and interactive advertisers that provides most of the functionality that they desire, without requiring them to shell out tens or hundreds of thousands of dollars to build custom experiences.
A new mobile app platform called WiO is set to revolutionize the TV watching experience by allowing customers to immediately get information about the products and services they see advertised on screen, both in TV commercials and within the shows...
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.