De nombreux bénéfices économiques, mais également sociaux et culturels, découleront d’une offre riche et diversifiée de spectacles en ligne. L’offre actuelle est déjà très variée mais fort disparate et très mal référencée. Elle repose en grande majorité sur des contenus non officiels et est encore très peu monétisée. Alors qu’elles tendent de plus en plus à devenir la règle, de nouveaux modes d’exploitation des captations de concerts et spectacles se développent sur Internet et sur l’ensemble des nouveaux médias, des chaînes Youtube à la télévision connectée. Non sans soulever un certain nombre de questions.
Offering another view of the impact being felt by over-the-top video services, a new study from multiscreen video tech company Clearleap found that the penetration of streaming services is “on par” with traditional cable TV.
The study, based on an online survey of 1,111 U.S. consumers 18 or older in July 2015, showed that 78.5% said they subscribed to cable, while 71.37% said they use or once used a streaming service.
Unsurprisingly, of the millennials (ages 18-29) surveyed, 70.32% use a streaming service, versus 64.41% that take cable. Just more than a quarter of them (26.48%) have never taken a pay TV service. (...)
Compressed video signals transported via IP are now an essential element of broadcast infrastructure. This paradigm originated more than a decade ago in distribution applications, where underlying connectivity challenges could be improved with techniques imported from IT networking environments. In this scenario there remained islands of broadcast-specific, SDI-based functionality alongside IP, adding complexity to the workflow. A simplified broadcast infrastructure that seamlessly combines light and heavy compression techniques with uncompressed signal flows over IP simply wasn’t possible... until now.
Internet-based over-the-top and authenticated video distribution arrangements enable data collection. This data is a critical business asset because it allows programmers and distributors to improve their services and deliver more relevant ads by better understanding who is watching their programming, when and how they watch it, and – when combined with other data, including third-party data sources – viewers’ other interests and characteristics.
This data, however, also raises potential business and legal risks. These distribution deals may provide distributors access to data about the traffic and users on the programmer’s digital properties because, in addition to directly distributing a programmer’s content, distributors may authenticate users on the programmer’s own sites and mobile apps. (...)
French telco Altice has launched Zive, a new SVOD platform solely for its customers that will be included into new packages and new Box Fibre Zive settop boxes. The new product will be introduced on November 17 as SFR, which is set to become the global brand for current subsidiary cable…
For $15 per month, some Comcast internet subscribers will now be able to watch TV around their house, too. The new deal is for an internet TV service that Comcast is launching today called Stream. Stream allows subscribers to watch live TV from "about a dozen networks," including all of the big broadcasters — ABC, NBC, CBS, and Fox — and HBO. It also includes "thousands" of on-demand movies and TV shows, as well as access to a cloud DVR service to record live broadcasts. (...)
Facebook just announced 8 billion video views per day. This number is made out of lies, cheating and worst of all: theft. All of this is wildly known but the media giant Facebook is pretending everything is fine, while damaging independent creators in the process. How does this work?
The just-announced Sony α68 interchangeable lens camera will likely arrive with a budget price tag, but its video recording capabilities might make it an attractive option for some professional work. And it passes some stringent broadcast criteria. (...)
On dit les chaînes de télévision traditionnelles en perte de vitesse face aux plateformes numériques comme Netflix. Mais, forte de ses millions de téléspectateurs, la télévision linéaire n'a pas dit son dernier mot.
One must wonder if Roku waited to release its fourth-generation media streamer until the aptly named Roku 4 was capable of streaming 4K content. The newest Roku box can connect to compatible UHD TVs streaming 4K movies, TV shows, and videos from Netflix, Amazon, YouTube, M-Go, and a growing number of 4K streaming sources. Although 4K streaming is the Roku 4’s main appeal, improvements in hardware and software make it the best Roku box yet. ...
Molotov, service de distribution de chaînes de télévision notamment cofondé par l'ancien président de Canal+ Pierre Lescure, et Jean-David Blanc, fondateur d'Allociné, a détaillé mercredi son offre devant le CSA. Le service permettra dans un premier temps à plus de 80 chaînes d’être disponibles que ce soit en direct ou en replay. Pensé utilisateurs, Molotov se veut un savant mélange de notifications, d’information et d’enregistrement des programmes à l’avance, soit la possibilité d’un véritable « bookmark des programmes », assure-t-il. Pour ce faire, les programmes sont stockés dans un espace personnel mis à la disposition de l'utilisateur par la plateforme, « équivalent virtuel du disque dur intégré des box », souligne-t-il, permettant ainsi à tout à chacun d’accéder à son espace de télévision depuis n'importe quel écran avec l’ensemble de sa programmation et de ses préférences. A l’instar de Deezer, Spotify ou Netflix, l'utilisateur dispose d’un identifiant et d’un mot de passe pour retrouver son univers.
Molotov has been quite secretive over the past two years. The French startup wants to revolutionize your TV experience and partners with existing French networks. This is no small feat as you need to negotiate with many different companies one by one. That’s why today’s news is important as the startup just announced deals with most French networks, with a notable exception — Canal+. (...)
France has always liked to go its own way on technology, but not many remember its pioneering efforts with 819-line monochrome television. Given its role in HD history, however, maybe more should. And as for Secam... Always wary of the creeping influence on its own culture of Perfidious Albion, or, more precisely, the English language, France has a history of gleefully pursuing its own technological path. Justified by ministers over the years as a way of maintaining France and her overseas territories' own unique, for want of a better word, Frenchness, broadcast has long been part of that effort. But while most people can vaguely remember SECAM - or even MINITEL, its 'pre-internet internet' - fewer recall the 819-line broadcast technology that it deployed just after WWII. Some history: just before war broke out, pretty much every country that operated a television service - and these were very much state controlled beasts back then – had its own broadcast standard. The co-operation that had made radio such an international medium was completely absent in the TV world, which in the equal absence of any appreciable number of viewers was left to do its own thing with nobody being much bothered. Outbreak of war meant that all of a sudden the world's research scientists had something rather more urgent to occupy them for several years. And when nations returned to the technology the main focus, for the French anyway, was to improve picture quality by adding lines to the transmission.
Just a week after Plex released its official app for the fourth-generation Apple TV, popular media player VLC has today announced that it is looking for beta testers for its app. Details on the app’s features are still sparse, but we can only assume that it will let you play all sorts of media formats on the device.
Telecoms operators now provide around one-fifth of the world’s pay-TV subscriptions. Operations owned or controlled by telcos accounted for 140 million retail pay-TV customer connections globally at the end of 2014 and this total soared to 177 million during 2015 – equivalent to 19 per cent of the total pay-TV subscriber base (up from 14 per cent year-on-year), according to global analyst firm Ovum.
According to the findings of Ovum’s Telco TV Forecast: 2015–20, the Telco TV subscriber base is projected to grow at a compound annual growth rate (CAGR) of 4 per cent to 2020 (compared with 2 per cent across the wider pay-TV market), reaching 210.4 million. While IPTV will remain the dominant means of delivering Telco TV, traditional cable and satellite platforms will also continue to play a big role. (...)
Have you been wondering what is T-Mobile US doing with your video on Binge On? Here is a small guide and analysis of the service, its technology, features and limitation.
T-Mobile announced at its Uncarrier X event on November 11 the launch of its new service Binge On. The company's CEO remarked that video is the fastest growing data service with +145% compared to 2 years ago and that consumers are increasingly watching video on mobile devices, in wireless networks and cutting the cord from their cable and satellite TV providers. Binge on was created to meet these two market trends. (...)
Ad-blocking is a growing concern for Free-to air services relying on advertisement to monetize their service. Between 20 and 50% people are using video ad blockers around the world, and popularity is growing fast. YouTube and other UGC websites rely on standard but also easily blockable, bad experience VAST ads for preroll advertisement. iReplay.TV offers an alternative path with a dynamic server-side ad insertion solution relying on streaming standards but also compatible with VAST 4.0 and lower to make it compatible with any device (iOS, Android, PC, Mac, Apple TV, Roku, etc). Non-obtrusive for viewers, iReplay.TV ads management is also reliable for broadcasters and can be enriched with interactivity. (...)
Okay, so the title is a bit of an eyeball grab, but it is based in fact. In preparing for a session on making the switch from Flash to HTML5 to be held in a couple of weeks at Streaming Media West, JW Player VP John Luther prepared some statistics about codec usage in the JW Player network. By way of background, JW Player is used on over 2 million websites and plays over 17 billion videos a month. John reported that while the majority of playbacks are via HTML5, as opposed to Flash, the dominant share of these are progressive, not adaptive. This means that they are based on the generation 1 HTML5 video tag, rather than the Media Source Extensions. As shown in the pie chart below, of the adaptive streaming formats, HLS has a dominant share at 14.7%. In contrast, DASH usage in the JW Player network is around 1%. (...)
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