"A free cloud-based video platform featuring an HTML 5 player with Flash fallback and a content management solution. Powerful Google-powered analytics and monetization options compatible with desktop and tablets.
The company is centered on breaking new grounds in online video tech with accent on HTML5 and mobile video delivery and management. The company also proudly presents our revolutionary new tech, the VEEPS plug-in, which allows video player viewers to engage in chat and video conferences while watching videos together.
Our mission is to help companies optimize their video workflows and monetize smartly.
The team consists of industry veterans: engineers, designers, and project management specialists with many years of experience working in the field of online video."
Google today announced the launch of Web Designer, a new tool for building interactive HTML5 sites and ads. The company first hinted at this launch in June, but had been quiet about it ever since. Web Designer, which Google calls a “professional-quality design tool,” is now officially in public beta and available for download for Mac and Windows.
As Google notes in today’s announcement, Web Designer was developed to allow advertisers to easily create HTML5 ads for mobile and desktop. Until recently, Google argues, advertisers “didn’t have the tools they needed to easily develop content fit for today’s cross-screen experiences” and Web Designer aims to be the tool to create these experiences.
In this post, we are going to dwell on the process of video platform design for ourTogether project. From the technical viewpoint, this project is remarkable by containing the entire content lifecycle, from its creation on mobile devices to distribution and viewing. While designing the platform, we sought to attain solution flexibility and cost-efficiency. With the new video platform you can receive, store and share videos. All video management tasks were implemented on Apple HLS.
Problem statement Design a video platform to enable online broadcast. The platform can: 1) Record content from a variety of mobile devices (iOS/Android smartphones and tablets) 2) View content from a variety of devices (MultiScreening) – iOS / Android / PC.
An important feature is to enable publishing via a wonky mobile connection, broadcast fault recovery, and broadcast pause. Also great is that in case of a connection failure the content shot is never lost, with broadcasting fully resumed after recovery. Here it is important to ensure that "It just works", regardless of unstable connection issues.
In other words, this is a common video camera that can publish your recordings online whatever the bandwidth or connection quality.
Fullscreen Labs presents the first YouTube app for Google Glass.
With Fullscreen BEAM, simply record a video with Google Glass then use Fullscreen BEAM to upload it into your YouTube channel. You can also choose to upload your video privately, or automatically share the video on Twitter.
European-based satellite bandwidth provider SES has succesful tested an end-to-end file transmsission solution for UltraHD content using the H.265 coding scheme. The compressed 3840×2160 pixel (4K) signal was broadcast from an Astra satellite at 19.2 degrees East in DVB-S2 using a data rate of 20 Mbps. According to those that saw it, the live transmission provided significant improvements in file size and image quality when compared to H.264 (MPEG-4 AVC) compression.
The company used technology from Harmonic and Broadcom Corp. to show that it can be done at the SES Industry Days in Luxembourg (April 18-19), using Harmonic’s ProMedia Xpress and a HEVC decoder reference-design system based on Broadcom’s BCM7445 Home Gateway Chip for receiving and displaying HEVC encoded UltraHD television transmissions.
Adaptive streaming protocols need to be integrated with content protection schemes. PlayReady was originally designed to work with Smooth Streaming. It has also been integrated with HLS, which is probably the most popular of the proprietary adaptive streaming schemes. Integration of PlayReady with MPEG-DASH is likely to be viewed as a safe choice, in line with the way the industry is going. That solution came into view this month as BuyDRM and Fraunhofer IIS announced an integration of MPEG-DASH with PlayReady for the HBO GO service in Europe. HBO GO is HBO’s “over the top” service for subscribers.
The first commercial implementations of Haivision's HEVC encoding allied with the company's Secure Reliable Transport (SRT) protocol, are due in the new year.
HEVC was perhaps the hottest topic at this year's IBC show in September, but while most demos sought to showcase 4K HEVC in a controlled environment,Haivision took a different tack. The company showed off its HEVC encoding delivered via Haivision's proprietary Secure Reliable Transport (SRT) protocol—sent over the public internet from a hotel close to the conference venue.
While the mainstream broadcasters are still figuring out how to provide 4K broadcasts it appears Netflix may in 2014 be offering 4K (3840 x 2160 pixels) resolution streams. The US baseddslreports.com indicates that this ultra HD stream would run at around 15 Mbps.
Only recently Netflix added super HD to its video on-demand service, which was a less compressed HD stream. The high price of 4K televisions will put many off but with Netflix offering the streams at least those with the money will now have some content thus breaking the chicken and egg situation of what to watch that exploits your recent purchase.
The DASH-IF continues move toward interoperability points and even H.265 integration. Publication will follow in mid-July.
Interoperability for DASH-AVC/264 surrounds the use of the H.264 video codec, also known as the Advanced Video Codec (AVC). DASH-AVC/264 combines AVC with the AAC audio codec and the fragmented MP4 file format (also known as the ISO Base Media File Format).
Publication is expected on July 13, including about 25 test cases and a few real-world test scenarios for bitrate variation. Conformance software is also anticipated to be available around mid-July, along with several reference clients that are released under the BSD-3 license.
DASH-IF has defined test cases for interoperability points (IOPs) to implement conformance testing. One IOP that this site has covered, in terms of a DASH-AVC/264 client, is interoperability on adaptive streaming heuristics. The DASH-AVC/264 eliminates the need to interoperate for multiplexed media downloading, and also eliminates the need to interoperate with open group of pictures (GoP) switching, relying instead on closed GoP switching.
There will be a special attraction for deaf people in theaters nationwide soon. By the end of this month, Regal Cinemas plans to have distributed closed-captioning glasses to more than 6,000 theaters across the country.
Sony Entertainment Access Glasses are sort of like 3-D glasses, but for captioning. The captions are projected onto the glasses and appear to float about 10 feet in front of the user. They also come with audio tracks that describe the action on the screen for blind people, or they can boost the audio levels of the movie for those who are hard of hearing.
This is a big moment for the deaf, many of whom haven't been to the movies in a long time. Captioned screenings are few and far between, and current personal captioning devices that fit inside a cup holder with a screen attached are bulky, display the text out of their line of vision to the screen, and distract the other patrons.
"YouTube sees itself 'very much as a platform' and believes that 'online video will push the range of channels to the thousands or even millions,' according to Ben McOwen Wilson, UK content partnerships director at the Google-owned online video site."
Robin Good: Meetingl is a free video conferencing tool that allows you to meet, talk and chat with up to eight people without having to download, install or configure any software.
Fully browser-based Meetingl works across PCs, Macs and mobile devices, and it is as simple to use as it gets. To start a session you simply click on "New Room" and instantly you are placed in a uniquely numbered room where you can invite your guests. You can share the URL of the meeting room by clicking on the "room number" that will appear on the lower left part of your interface.
It is possible to overstate the complexity of multi-screen video, but the absolute number and types of display devices are indeed increasing, which means that efforts to promote standards and greater simplicity address a live concern. A current initiative, playing out within the MPEG-DASH Industry Forum, among other places, to enable digital rights management (DRM) interoperability is a case in point.
First, however, a few words about complexity. As underscored in several recent stories (seehere and here) Apple’s iPad continues to dominate the second-screen. Pay TV operators can meet much of the multi-screen demand simply by delivering to that one device, which stands atop a sort of multi-screen pecking order.
“In order to deploy over-the-top (OTT) services quickly, operators have strategically prioritized the CE devices that they wish to support, based on consumer popularity and market adoption,” writes Steve Tranter, VP at NDS (now part of Cisco) in a paper delivered during a TV Everywhere session at the SCTE Cable-Tec Expo in Orlando. “The most popular being the Apple iPad, followed by PCs, Android tablets and smart phones, game consoles and connected TVs.”
But even delivering to a single device would not eliminate complications. “Not only do you have iOS and Android fragmentation,” said Albert Lai, Innovation Architect for Media and Entertainment at Brightcove, during another session in Orlando, “but within iOS, there is fragmentation within the devices, and within Android, much more.” Thus the countervailing efforts to promote common platforms: HTML5 in the case of Brightcove; and a common DRM framework, in the case of NDS (Cisco) and others.
Building his case for a common downloadable DRM framework that is independent of but compatible with CE devices of all shapes and sizes, Tranter names three standards that could play a foundational role, namely:
Simulcrypt—the long-standing DVB protocol published by ETSI used to enable multiple key management systems; MPEG-DASH—Dynamic Adaptive Streaming over HTTP (DASH), which became an ISO standard in late 2011; and UltraViolet—an authentication and cloud-based rights system deployed over the past few years by a consortium of studios, manufacturers and service providers.
Enhancements to Simulcrypt that Tranter believes would advance this cause include multiple encoder algorithms; in-band delivery that would move beyond proprietary manifest mechanisms; forensic watermark and key fingerprinting insertion; periodic key rotation on linear channels; and separate encryption keys for different bitrates. As for MPEG-DASH, he notes that while it provides a standard way for DRM systems to exchange encryption keys, it does not define how a system acquires decryption keys or distributes licenses. Finally, while Tranter leans toward local rather than centralized storage of licenses, which Ultra-Violet promotes, he sees value in the consortium’s common license format.
The end goal is giving Pay TV operators more control. “This is the key thing: You’re not relying on Apple or other devices to upgrade their security systems,” Tranter said during the session. “You can drive your own service portfolio.”
Reached for comment, Robin Wilson, VP Business Development at Nagra, seconded this effort to build bridges within the DRM ecosystem. “There is work well underway in the MPEG-DASH Industry Forum to come up with something analogous to Simulcrypt,” he said. The idea, proposed in one instance by Nagra and being discussed in one of the Forum’s sub-groups, is to refresh the aging standard with updates and extensions to enable that the lowest level of key that works on any given stream is shared between DRM systems.
Wilson said that UltraViolet is not trying to invent anything, but is looking at MPEG-DASH as the underlying standard, which could bring with it this ongoing work in interoperability. “But all is not totally rosy (with MPEG-DASH), because it may become too challenging to make all DRM or all file formats work together,” Wilson said.
Given enduring differences in implementation, it is likely that two branches—or what Wilson called two “half” or “partner” standards—will emerge from the overarching MPEG-DASH project. In terms of DRM, he said that even though the schemes falling within MPEG-DASH use AES encryption and 128-bit keys, they use different AES modes, which would make it hard to share keys and re-purpose streams.
“But at least the licensing and key servers will work together,” Wilson said.
So where does the 800-pound gorilla stand on these efforts? “Apple is helping around the sidelines on MPEG-DASH Industry Forum; they’re not driving it,” Wilson said. “They have their own vertically integrated ecosystem, so there’s no strong desire for them to go outside for a different DRM.”
“On the other hand, they are trying to help make HLS (HTTP Live Streaming) compatible with MPEG-DASH.” he said. “There is quite a lot of commonality between MPEG-DASH and how HLS works.”