The Impact of Online Video Distribution on the Global Market for Digital Content
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Understanding Digital Content and Services Ecosystems the Role of Content and Services in Boosting Internet Adoption
Understanding digital content and services ecosystems The role of content and services in boosting Internet adoption Strategy& is part of the PwC network Contacts Beirut Düsseldorf Madrid Seattle Chady Smayra Dr. Roman Friedrich José Arias Mathias Herzog Partner Partner Partner Principal, PwC US +961-1-985-655 +49-211-38900 +34-91-411-8450 +1-206-398-3000 chady.smayra roman.friedrich j.arias mathias.herzog @strategyand.ae.pwc.com @strategyand.de.pwc.com @strategyand.es.pwc.com @strategyand.us.pwc.com Rami Maalouf Frankfurt Milan Shanghai Manager +961-1-985-655 Olaf Acker Luigi Pugliese Sarah Butler rami.maalouf Partner Partner Partner @strategyand.ae.pwc.com +49-69-97167-0 +39-02-72-50-91 +86-21-2323-2020 olaf.acker luigi.pugliese butler.sarah Delhi @strategyand.de.pwc.com @strategyand.it.pwc.com @strategyand.au.pwc.com Ashish Sharma Helsinki Paris Vienna Partner +91-124-499-8700 Santeri Kirvelä Pierre Péladeau Klaus Hölbling sharma.ashish Partner Partner Partner @strategyand.pwc.com +358-20-787-7000 +33-1-5657-58590 +43-1-518-22-900 santeri.kirvela pierre.peladeau klaus.hoelbling Doha @strategyand.fi.pwc.com @strategyand.fr.pwc.com @strategyand.at.pwc.com Bahjat El-Darwiche Jakarta Riyadh Partner +974-44026-777 Abhijit Navalekar Hilal Halaoui bahjat.eldarwiche Partner Partner @strategyand.ae.pwc.com +62-21-521-2901 +966-11-249-7781 abhijit.navalekar hilal.halaoui Dubai @strategyand.ae.pwc.com @strategyand.ae.pwc.com Jayant Bhargava London São Paulo Partner +971-4-390-0260 Hugo Trepant Nuno Gomes jayant.bhargava Partner Partner @strategyand.ae.pwc.com +44-20-7583-5000 +55-11-3674-8736 hugo.trepant nuno.gomes Jad Hajj @strategyand.uk.pwc.com @strategyand.br.pwc.com Partner +971-4-390-0260 jad.hajj @strategyand.ae.pwc.com 2 Strategy& About the authors Bahjat El-Darwiche is a partner with Strategy&, part of the PwC network, and is based in Doha. -
GCLC-BT Conference 5 December 2005, London Competition Law and Media Content
GCLC-BT Conference 5 December 2005, London Competition Law and Media Content I. MORNING SESSION 9:00 – 9:10 General introduction to the conference Damien Geradin Director of the GCLC Paolo Palmigiano Head of Competition and Regulatory Law, BT Retail 9:10 – 9:30 Welcome words Dan Marks CEO TV Services, BT Paolo Palmigiano Head of Competition and Public Law, BT Retail SESSION 1: THE LAW AND ECONOMICS OF MEDIA CONTENT 9:30 – 10:00 The economics of media content Stefan Szymanski Professor of Economics, Tanaka Business School, Imperial College London 10:00 – 10:30 Overview of the legal framework applicable to the media content Romano Subiotto Partner, Cleary Gottlieb 10:30 – 10:50 Coffee break SESSION 2: REGULATORY AND COMPETITION LAW APPROACHES TO MEDIA CONTENT IN THE EU, THE UK, AND THE US 10:50 – 11:10 The situation in the EU Speaker from the European Commission to be advised 11:10 – 11:30 The situation in the UK Becket McGrath Partner, Berwin Leighton Paisner 11:30 – 11:50 The situation in the US John Thorne Deputy General Counsel, Verizon 11:50 – 12:20 Roundtable discussion 12:20 – 13:30 Lunch break II. AFTERNOON SESSION 13:30 – 13:50 Tomorrow’s world – How will the media content industry look like in the future SESSION 3: CURRENT ISSUES REGARDING MEDIA CONTENT Chairman: Bernard Amory, Partner, Jones Day 13:50 – 14:10 Competition law issues raised by exclusivity Didier Théophile Partner, Darrois, Villey, Maillot et Brochier 14:10 – 14:30 Cross platform bundling of rights Andrea Appella Vice President & Associate General Counsel - Time Warner Europe 14:30 – 14:50 Collective selling and buying of premium content rights Helmut Brockelman Partner, Martinez Lage & Associados 14: 50 – 15:20 Commentators Dr. -
Digital Distribution
HOW DIGITAL DISTRIBUTION AND EVALUATION IS IMPACTING PUBLIC SERVICE ADVERTISING Aggressive Promotion Yields Significant Results By Bill Goodwill & James Baumann It is no surprise to see that digital distribution of all media products is fast becoming the de facto standard for distribution of media content, particularly for shorter videos such as PSA messages. First let’s define the terms. Digital distribution (also called digital content delivery, online distribution, or electronic distribution), is the delivery of media content online, thus bypassing physical distribution methods, such as video tapes, CDs and DVDs. In additional to saving money on tapes and disks, digital distribution eliminates the need to print collateral materials such as storyboards, newsletters, bounce-back cards, etc. Finally, it provides the opportunity to preview messages online, and offers media high- quality files for download. The “Pull” Distribution Model In the pre-digital world, the media was spoiled because they had all the PSA messages they could ever use delivered right to their desktop, along with promotional materials explaining the importance of the campaigns. Today, the standard way for stations to get PSAs in the digital world is to go to a site created by the digital distribution company and download them from the “cloud.” Using a dashboard that has been created for PSAs, the media can preview the spots and download both the PSAs, as well as digital collateral materials such as storyboards, a newsletter and traffic instructions. This schematic shows the overall process flow for digital distribution. To provide more control over digital distribution, Goodwill Communications has its own digital distribution download site called PSA Digital™, and to see how we handle both TV and radio digital files, go to: http://www.goodwillcommunications.com/PSADigital.aspx. -
Downloaded Mp4 Video Playback Time Restrictions Videohunter
downloaded mp4 video playback time restrictions VideoHunter. VideoHunter is an all-featured HD video downloader, providing user-friendly features and speedy performance to download online videos/audios from over 1,000 sites to MP3, MP4 formats, including YouTube, Facebook, Twitter, Instagram, SoundCloud, Vlive, Pornhub, Niconico, Bilibili, TED, CNN, and so forth. VideoHunter's provided qualities can reach 1080p, 4K, and even 8K, bringing fantastic offline playback experience. Grab Online Videos in High-Definition (HD) Quality. VideoHunter makes it incredibly convenient to download HD videos from popular media sites. All videos will be preserved in their original quality without re-encoding. Once you provide the video link to this amazing online video downloader, it will give you a list of video quality options for output. The available quality largely depends on what you’re downloading. Normally, video quality can be achieved to 1080p, 2K, 4K, or even 8K at maximum. What You Should Know about DVR Format and DVR Player. Have you ever meet some DVR format files? I would assume most of you are coming here for the reason involving with DVR format and DVR players. We will introduce the explanation of this type of format and some DVR player software in this post. For your consequent questions, there are two detailed solutions to play DVR/H.264 being illustrated. Moreover, in the below part, we have listed the best DVR players for you. So if this is exactly what you are looking for, just read the below passage and get the right one as needed and wanted. Part 1: bout DVR and H.264A. -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
Video Codec Requirements and Evaluation Methodology
Video Codec Requirements 47pt 30pt and Evaluation Methodology Color::white : LT Medium Font to be used by customers and : Arial www.huawei.com draft-filippov-netvc-requirements-01 Alexey Filippov, Huawei Technologies 35pt Contents Font to be used by customers and partners : • An overview of applications • Requirements 18pt • Evaluation methodology Font to be used by customers • Conclusions and partners : Slide 2 Page 2 35pt Applications Font to be used by customers and partners : • Internet Protocol Television (IPTV) • Video conferencing 18pt • Video sharing Font to be used by customers • Screencasting and partners : • Game streaming • Video monitoring / surveillance Slide 3 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : • Basic requirements: . Random access to pictures 18pt Random Access Period (RAP) should be kept small enough (approximately, 1-15 seconds); Font to be used by customers . Temporal (frame-rate) scalability; and partners : . Error robustness • Optional requirements: . resolution and quality (SNR) scalability Slide 4 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : Resolution Frame-rate, fps Picture access mode 2160p (4K),3840x2160 60 RA 18pt 1080p, 1920x1080 24, 50, 60 RA 1080i, 1920x1080 30 (60 fields per second) RA Font to be used by customers and partners : 720p, 1280x720 50, 60 RA 576p (EDTV), 720x576 25, 50 RA 576i (SDTV), 720x576 25, 30 RA 480p (EDTV), 720x480 50, 60 RA 480i (SDTV), 720x480 25, 30 RA Slide 5 35pt Video conferencing Font to be used by customers and partners : • Basic requirements: . Delay should be kept as low as possible 18pt The preferable and maximum delay values should be less than 100 ms and 350 ms, respectively Font to be used by customers . -
Sample Pages
Connected Consumer Survey 2019: TV and video in Malaysia and the Philippines Connected Consumer Survey 2019: TV and video in Malaysia and the Philippines Martin Scott Connected Consumer Survey 2019: TV and video in Malaysia and the Philippines 2 About this report This report focuses on aspects of Analysys Mason’s Connected GEOGRAPHICAL COVERAGE Consumer Survey that relate to the behaviour, preferences and plans of consumers in their use of pay-TV and OTT video services Emerging Asia–Pacific: in Malaysia and the Philippines. The viewership of video content is ▪ Malaysia changing rapidly and the interaction between pay TV and OTT ▪ Philippines services is complex. The survey was conducted in association with Dynata between July and August 2019. The survey groups were chosen to be representative of the internet-using population in these countries. We set quotas on age, gender and geographical spread to that effect. There were a minimum of 1000 respondents per country. KEY QUESTIONS ANSWERED IN THIS REPORT WHO SHOULD READ THIS REPORT ▪ How should pay-TV providers evolve their services in order to remain ▪ Product managers and strategy teams working for pay-TV providers or relevant in a world of changing viewing habits? operators with pay-TV operations, or companies that use video services ▪ How are consumers’ viewing habits changing in light of increased OTT as a value-added service (VAS) to support their core services. video use? ▪ Marketing executives and product managers for pay-TV providers and ▪ How exposed are pay-TV providers in Malaysia and the Philippines to the operators that are making decisions about TV and video service design disruption caused by the COVID-19 pandemic? and its impact on customer retention. -
Reuters Institute Digital News Report 2020
Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media. -
Unit 2 Setting
History of Television Broadcasting Unit 2 Unit-2: HISTORY OF TELEVISION BROAD- CASTING UNIT STRUCTURE 2.1 Learning Objectives 2.2 Introduction 2.3 Origin and Development of Television 2.4 Transmission of Television System 2.5 Broadcasting 2.6 Colour Television 2.7 Cable Television 2.8 Television News 2.9 Digital Television 2.10 High Definition Television 2.11 Let Us Sum Up 2.12 Further Reading 2.13 Answers to Check Your Progress 2.14 Model Questions 2.1 LEARNING OBJECTIVES After going through this unit, you will be able to - describe the evolution of television discuss the discoveries made by the pioneer of television inventors analyse the television technology development list the recent trend of Digital Television 2.2 INTRODUCTION In the previous unit we were introduced to the television medium, its features and its impact and reach. The unit also provides the distinctions between television and the audio medium. In this unit we shall discuss Electronic Media-Television 23 Unit 2 History of Television Broadcasting about the overview ofthe history of television, inventions, early technological development and the new trends in the television industry around the globe. 2.3 ORIGIN AND DEVELOPMENT OF TELEVISION Television has become one of the important parts of our everyday life. It is a general known fact that television is not only providing the news and information but it is also entertaining us with its variety of programme series and shows. A majority of home-makers cannot think about spending theirafternoon leisure time withoutthe dose of daily soap opera; a concerned citizen cannot think of skipping the prime time in news channel or a sports lover in India cannot miss a live cricket match. -
Corus Secures High-Profile Partnerships in Continued Multiplatform Digital Expansion
CORUS SECURES HIGH-PROFILE PARTNERSHIPS IN CONTINUED MULTIPLATFORM DIGITAL EXPANSION Corus Brings Complex Networks and its Leading Youth Culture Brands to Canada in 360° Partnership so.da partners with Twitter to launch custom content initiative Twitter Originals, fueled with so.da Kin Expands with New Male Vertical so.da originals Launches with Four Social Series for Brand Integrations For additional photography and press kit material visit: www.corusent.com To share this socially: http://bit.ly/2HPaFdW For Immediate Release TORONTO, June 3, 2019 – Corus announced today its latest big moves in the digital space: becoming the home to premium digital brands and audiences in Canada through pivotal partnerships with Complex and Twitter; adding new branded content opportunities for advertisers with the launch of so.da originals; as well as the expansion of Kin with a new male creator vertical. Corus Brings Complex to Canada Continuing to deliver premium content to its highly engaged audiences across multiple platforms, Corus brings Complex Networks, a global media company, to Canadians through a new 360° partnership. As the #1 youth culture brand in the U.S. for the Male 18-24 demo with more viewers than Netflix in this demo*, Complex offers a portfolio of premium video-first brands positioned to serve diverse audiences, bringing unparalleled reach with Millennials and Gen Z. Corus will serve as the exclusive ad sales partner for Complex Networks in Canada and will license content from the Networks’ diverse library to be distributed on various platforms, including linear and on demand. Beginning this fall, Complex Networks’ Hot Ones, from the food brand First We Feast, will get a one-hour block on Global Television, following Canada’s #1 late night show for millennials and A25-54, Saturday Night Live**. -
Music Law and Business: a Comprehensive Bibliography, 1982-1991 Gail I
Hastings Communications and Entertainment Law Journal Volume 13 | Number 4 Article 5 1-1-1991 Music Law and Business: A Comprehensive Bibliography, 1982-1991 Gail I. Winson Janine S. Natter Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Gail I. Winson and Janine S. Natter, Music Law and Business: A Comprehensive Bibliography, 1982-1991, 13 Hastings Comm. & Ent. L.J. 811 (1991). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol13/iss4/5 This Special Feature is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Music Law and Business: A Comprehensive Bibliography, 1982-1991* By GAIL I. WINSON** AND JANINE S. NArrER*** Table of Contents I. Law Review and Journal Articles ......................... 818 A . A ntitrust ............................................ 818 B. Bankruptcy .......................................... 819 C. Bibliographies ....................................... 819 D . Contracts ........................................... 819 1. M anagem ent ..................................... 821 2. Personal Service ................................ -
(A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format.