Use Cases of 5G Broadcast Technology
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Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD by Steve Sternberg
April 2021 #105 ________________________________________________________________________________________ _______ Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD By Steve Sternberg Last year’s upfront season was different from any I’ve been involved in during my 40 years in the business. Because of the COVID-19 pandemic, there were no live network presentations to the industry, and for the first time since I’ve been evaluating television programming, I did not watch any of the fall pilots before the shows aired. Many new and returning series experienced production delays, resulting in staggered premieres, shortened seasons, and unexpected cancellations. The big San Diego and New York comic-cons were canceled. There was virtually no pre-season buzz for new broadcast or cable series. Stuck at home with fewer new episodes of scripted series than ever to watch on ad-supported TV, people turned to streaming services in large numbers. Netflix, which had plenty of shows in the pipeline, surged in terms of both viewers and new subscribers. Disney+, boosted by season 2 of The Mandalorian and new Marvel series, WandaVision and Falcon and the Winter Soldier, was able to experience tremendous growth. A Sternberg Report Sponsored Message The Sternberg Report ©2021 ________________________________________________________________________________________ _______ Amazon Prime Video, and Hulu also managed to substantially grow their subscriber bases. Warner Bros. announcing it would release all of its movies in 2021 simultaneously in theaters and on HBO Max (led by Wonder Woman 1984 and Godzilla vs. Kong), helped add subscribers to that streaming platform as well – as did its successful original series, The Flight Attendant. CBS All Access, rebranded as Paramount+, also enjoyed growth. -
From Broadcast to Broadband: the Effects of Legal Digital Distribution
From Broadcast to Broadband: The Effects of Legal Digital Distribution on a TV Show’s Viewership by Steven D. Rosenberg An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Science Undergraduate College Leonard N. Stern School of Business New York University May 2007 Professor Marti G. Subrahmanyam Professor Jarl G. Kallberg Faculty Adviser Thesis Advisor 1. Introduction ................................................................................................................... 3 2. Legal Digital Distribution............................................................................................. 6 2.1 iTunes ....................................................................................................................... 7 2.2 Streaming ................................................................................................................. 8 2.3 Current thoughts ...................................................................................................... 9 2.4 Financial importance ............................................................................................. 12 3. Data Collection ............................................................................................................ 13 3.1 Ratings data ............................................................................................................ 13 3.2 Repeat data ............................................................................................................ -
Huya (HUYA): Winner Takes All
JAGUAR MEDIA AUG 3RD, 2020 UPDATED AUG 6TH, 2020 (see end of research note) “CHINESE TECH DEMYSTIFIED” SERIES – EPISODE 2 DouYu (DOYU) & Huya (HUYA): Winner Takes All Often referred to as China’s Twitch equivalents, DouYu and Huya are the providers of China’s biggest game livestreaming platforms. In Chinese, DouYu means “fighting fish”, while Huya is a nonsensical phrase where “Hu” means “tiger” and “ya” means “tooth”. Hence why the latter’s logo is a tiger with teeth. As a company, Huya was a late-2014 spinoff from JOYY (previously known as YY), with the latter as the new entity’s biggest shareholder. However, in 2018, Tencent acquired a 35% stake in Huya with an option to boost its control to 50.1% within the period March 8th, 2020 and March 8th, 2021. Then in April 2020, Tencent proceeded to exercise that option, effectively becoming Huya’s biggest controlling shareholder as JOYY's stake was reduced to 43% from 56%. Meanwhile, DouYu began as a livestreaming sub-segment of AcFun, a video hosting platform geared towards animation and games. But due to constant ownership issues and former employees leaving to start up their own competing businesses, a lot of spinoffs resulted from AcFun (including Bilibili, which we’ll cover another time). And not liking the direction AcFun was headed, DouYu founder Chen Shaojie decided in 2014 to sever ties with the parent company and run DouYu as its own entity. Then in 2018, Tencent invested ¥4B in DouYu in exchange for a controlling stake, on the very same day it acquired its 35% stake in Huya (see above). -
Media Ownership Rules
05-Sadler.qxd 2/3/2005 12:47 PM Page 101 5 MEDIA OWNERSHIP RULES It is the purpose of this Act, among other things, to maintain control of the United States over all the channels of interstate and foreign radio transmission, and to provide for the use of such channels, but not the ownership thereof, by persons for limited periods of time, under licenses granted by Federal author- ity, and no such license shall be construed to create any right, beyond the terms, conditions, and periods of the license. —Section 301, Communications Act of 1934 he Communications Act of 1934 reestablished the point that the public airwaves were “scarce.” They were considered a limited and precious resource and T therefore would be subject to government rules and regulations. As the Supreme Court would state in 1943,“The radio spectrum simply is not large enough to accommodate everybody. There is a fixed natural limitation upon the number of stations that can operate without interfering with one another.”1 In reality, the airwaves are infinite, but the govern- ment has made a limited number of positions available for use. In the 1930s, the broadcast industry grew steadily, and the FCC had to grapple with the issue of broadcast station ownership. The FCC felt that a diversity of viewpoints on the airwaves served the public interest and was best achieved through diversity in station ownership. Therefore, to prevent individuals or companies from controlling too many broadcast stations in one area or across the country, the FCC eventually instituted ownership rules. These rules limit how many broadcast stations a person can own in a single market or nationwide. -
Flex Control Network Control the Devices That Control Your Broadcast
DNF CONTROLS. PROBLEM SOLVED. Flex Control Network Control the Devices That Control Your Broadcast Flex Control Network® is DNF’s modular Flex Control Network unleashes more power The Business of Flex platform of professional IP-based machine than ever for integrating production equip- controllers. The Flex platform consists of 25 ment, workflows, and the multitude of Flex Control Network provides a complete types of intelligent devices and interfaces playout platforms. With Flex’s native Web- control and connectivity infrastructure that can combine to create systems for based configuration interfaces, wide range that: solving even the most complex control of tactile control surfaces, and onboard Integrates with existing equipment, problems. Customized combinations of Flex bridging of control technologies, it affords protecting equipment investments products create an infrastructure that vast new, more affordable ways to meet delivers both centralized and distributed your control challenges head-on. Whether Incorporates new equipment and control over machinery and workflows in any you are replacing an impossible-to-support technological advances to streamline industry or scenario. With its advanced custom solution, extending the life of your processes and increase efficiencies, design and secure embedded OS, Flex is equipment, or integrating sophisticated minimizing expenses and increasing unlike anything on the market. control with multiformat delivery, the DNF profitability Flex Control Network is the cost-effective Flex offers infinite -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
A Brief Genealogy of Hanmai
China Perspectives 2019-3 | 2019 Sinophone Musical Worlds (1) A Brief Genealogy of Hanmai Ge Zhang and Jian Xu Electronic version URL: http://journals.openedition.org/chinaperspectives/9528 DOI: 10.4000/chinaperspectives.9528 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 September 2019 Number of pages: 63-68 ISSN: 2070-3449 Electronic reference Ge Zhang and Jian Xu, « A Brief Genealogy of Hanmai », China Perspectives [Online], 2019-3 | 2019, Online since 01 September 2019, connection on 22 December 2020. URL : http:// journals.openedition.org/chinaperspectives/9528 ; DOI : https://doi.org/10.4000/chinaperspectives. 9528 © All rights reserved Current affairs china perspectives a Brief Genealogy of hanmai Ge ZhaNG aND JIaN XU Introduction Discotheques and revitalised Dongbei folk culture anmai 喊麥, literally “shouting [at] a microphone,” first came to public Hanmai’s musical origin can be traced back to China’s discotheques attention and scrutiny as a distinct sound gaining both popularity and dance halls of the late 1990s in the context of China’s “revolution of and notoriety in 2015, when livestreaming platforms such as YY consumption” (Davis 2000). The history of disco dance clubs from the 1990s H 1 (which launched as a voice chat client in 2008) were growing exponentially. to 2000s in Shanghai is well documented by Andrew Field (2008) and James Contemporary hanmai is therefore predominantly associated with Farrer (2000). Shanghai discotheques (disike 迪斯科) emerged as “large, livestreaming media.2 However, its origin can be traced much further back. cavernous, dark, and simply decorated” (Field 2008: 21) “free-flowing zones The sound culture can be linked to the broader context of market reform of interaction among clubbers from different backgrounds” (Field and Farrer and the emergence of disco music in the 1990s, as well as to the evolution 2018: 128). -
Applications: A
Applications: A This chapter contains the following sections: • ABC, on page 8 • Abonti, on page 9 • About.com, on page 10 • ABS-CBN, on page 11 • ACA Services, on page 12 • ACAP, on page 13 • Access Network, on page 14 • AccessBuilder, on page 15 • AccuWeather, on page 16 • Ace Hardware Corporation, on page 17 • Acer, on page 18 • AcFun, on page 19 • Achetez Facile, on page 20 • ACI, on page 21 • Acoon.de, on page 22 • ACR-NEMA, on page 23 • Acrobat.com, on page 24 • Active Networks, on page 25 • ActiveSync, on page 26 • Ad Advisor, on page 27 • AD Backup, on page 28 • AD DRS, on page 29 • AD DSAOP, on page 30 • AD DSROL, on page 31 • AD File Replication Service, on page 32 • Ad Marvel, on page 33 • Ad Master, on page 34 • Ad Mob, on page 35 • Ad Nexus, on page 36 • AD NSP, on page 37 • Ad Redirector, on page 38 • AD Restore, on page 39 Applications: A 1 Applications: A • Ad Tech, on page 40 • AD XDS, on page 41 • AD-X Tracking, on page 42 • Ad4mat, on page 43 • Adap.tv, on page 44 • Adaptive Receive Node Scheduling, on page 45 • Adblade, on page 46 • Adcash, on page 47 • Adconion Media Group, on page 48 • Addicting Games, on page 49 • Addictive Mobility, on page 50 • AddThis, on page 51 • AddThis Bot, on page 52 • AddToAny, on page 53 • AdF.ly, on page 54 • AdGear, on page 55 • Adify, on page 56 • AdJuggler, on page 57 • Admasters, on page 58 • Admeld, on page 59 • ADMETA, on page 60 • Admin5, on page 61 • AdNetwork.net, on page 62 • ADNStream, on page 63 • Ado Tube, on page 64 • Adobe Analytics, on page 65 • Adobe Connect, on page 66 -
GLAAD Where We Are on TV (2020-2021)
WHERE WE ARE ON TV 2020 – 2021 WHERE WE ARE ON TV 2020 – 2021 Where We Are on TV 2020 – 2021 2 WHERE WE ARE ON TV 2020 – 2021 CONTENTS 4 From the office of Sarah Kate Ellis 7 Methodology 8 Executive Summary 10 Summary of Broadcast Findings 14 Summary of Cable Findings 17 Summary of Streaming Findings 20 Gender Representation 22 Race & Ethnicity 24 Representation of Black Characters 26 Representation of Latinx Characters 28 Representation of Asian-Pacific Islander Characters 30 Representation of Characters With Disabilities 32 Representation of Bisexual+ Characters 34 Representation of Transgender Characters 37 Representation in Alternative Programming 38 Representation in Spanish-Language Programming 40 Representation on Daytime, Kids and Family 41 Representation on Other SVOD Streaming Services 43 Glossary of Terms 44 About GLAAD 45 Acknowledgements 3 WHERE WE ARE ON TV 2020 – 2021 From the Office of the President & CEO, Sarah Kate Ellis For 25 years, GLAAD has tracked the presence of lesbian, of our work every day. GLAAD and Proctor & Gamble gay, bisexual, transgender, and queer (LGBTQ) characters released the results of the first LGBTQ Inclusion in on television. This year marks the sixteenth study since Advertising and Media survey last summer. Our findings expanding that focus into what is now our Where We Are prove that seeing LGBTQ characters in media drives on TV (WWATV) report. Much has changed for the LGBTQ greater acceptance of the community, respondents who community in that time, when our first edition counted only had been exposed to LGBTQ images in media within 12 series regular LGBTQ characters across both broadcast the previous three months reported significantly higher and cable, a small fraction of what that number is today. -
Chinese Grocery's Age of Empires
CHINESE GROCERY’S AGE OF EMPIRES TWO GIANT GROUPINGS ARE CARVING UP THE MARKET CHINESE GROCERY’S AGE OF EMPIRES Chinese retail is evolving into two rival empires, each dominated by competing e-commerce giants. One realm is centered on Alibaba, which owns two of China’s largest e-commerce platforms, Taobao and TMall, as well as an electronic payments system, AliPay. The other is an alliance between JD, a leading online retailer, and Tencent, an internet and digital-technology conglomerate that owns WeChat, China’s most popular social-media app. These two empires already own the digital lives of Chinese consumers today, where the average Chinese spends over 60% of their mobile app usage on either ecosystem. Now Alibaba and Tencent/JD have set their sights on physical retail, including acquiring stakes in six of China’s top 10 hypermarkets, the country’s biggest electronics retailer, one of the largest department stores and the largest commercial property and entertainment conglomerate. Exhibit 1: Empire of JD/Tencent and Alibaba Experiece Online Physical Online Offline Social retail retail influence influence JD/ Mobike, QQ Vip.com, Little Walmart, Tencent Video, WeChat Pay, WeChat, QQ, Tencent University, Red Book, Yonghui, Dianping, JD logistics, LY.com, Qzone, Tencent Cloud, YHD.com, Wanda, Sogou, QQ Meituan Pengyou.com QQ Gaming, Zhuanzhuan Carrefour Music, WeChat DiDi ChuXing Pay Alibaba Ali Health, Taobao Etao, Taobao, Intime Retail, MGTV, YTO express, Sina Weibo, Group Education, Hema, Tmall, New Huadu, Yicai.com, 36Kr, Cainiao, Alipay, Momo, Amap.com, Suning.com Bailian, SCMP, Alipay Ali LST, Koubei Qyer.com, Xiami, Eleme, Century Mart, AcFun, Youku DiDi ChuXing, Sanjiang, Sun Ali Cloud Art, Hema Source: Oliver Wyman analysis Underlying their growing dominance is Chinese consumers’ enthusiasm for online shopping: In 2006, just 11 percent of the population enjoyed internet access; today, more than 460 million Chinese – one-third of the population – regularly shop online. -
Bilibili (BILI): a Leader in ACG with Room to Grow
JAGUAR MEDIA SEPT 8TH, 2020 “CHINESE TECH DEMYSTIFIED” SERIES – EPISODE 5 Bilibili (BILI): A leader in ACG with room to grow Bilibili is often labeled as China’s version of YouTube, but that comparison is only half-accurate. Fundamentally, it is a video sharing and vlogging platform. But if we dig a little deeper, we will find that it caters almost exclusively to a dedicated under-30’s crowd while shunning older audiences, and the video content is overwhelmingly focused on animation, comics, and games (or ACG in short), fashion, pop culture, and music. No news, no politics, no academic discourse, no finance, none of that mundane stuff. Bilibili was founded in 2009 with the intention of being a worthy ACG competitor to AcFun (recall AcFun is the former parent company of DouYu). Bilibili’s founder Xu Yi was formerly a top user with a huge following on AcFun, but grew increasingly frustrated over time with community and website-related issues. And following a series of high-profile disagreements with AcFun management, he decided to sever ties and create Bilibili on the back of funding from now-CEO Chen Rui, a games/animation-loving billionaire investor who currently owns over 20% of the company. Before long, Bilibili saw significant traffic, enough to challenge AcFun’s. Due to this rivalry and history, Bilibili is commonly referred to by the Chinese internet community as “B Site” or “Station B”, while AcFun is nicknamed “A Site” or “Station A”. Fun fact: The word “Bilibili” doesn’t have any literal meaning. Rather, it is a playful reference to a main character from A Certain Scientific Railgun, a popular comic/animation series at the time, whereby “Bilibili” is the sound she makes when firing her weapon. -
Boston San Francisco Munich London
Internet & Digital Media Monthly August 2018 BOB LOCKWOOD JERRY DARKO Managing Director Senior Vice President +1.617.624.7010 +1.415.616.8002 [email protected] [email protected] BOSTON SAN FRANCISCO HARALD MAEHRLE LAURA MADDISON Managing Director Senior Vice President +49.892.323.7720 +44.203.798.5600 [email protected] [email protected] MUNICH LONDON INVESTMENT BANKING Raymond James & Associates, Inc. member New York Stock Exchange/SIPC. Internet & Digital Media Monthly TECHNOLOGY & SERVICES INVESTMENT BANKING GROUP OVERVIEW Deep & Experienced Tech Team Business Model Coverage Internet / Digital Media + More Than 75 Investment Banking Professionals Globally Software / SaaS + 11 Senior Equity Research Technology-Enabled Solutions Analysts Transaction Processing + 7 Equity Capital Markets Professionals Data / Information Services Systems | Semiconductors | Hardware + 8 Global Offices BPO / IT Services Extensive Transaction Experience Domain Coverage Vertical Coverage Accounting / Financial B2B + More than 160 M&A and private placement transactions with an Digital Media Communications aggregate deal value of exceeding $25 billion since 2012 E-Commerce Consumer HCM Education / Non-Profit + More than 100 public equities transactions raising more than Marketing Tech / Services Financial $10 billion since 2012 Supply Chain Real Estate . Internet Equity Research: Top-Ranked Research Team Covering 25+ Companies . Software / Other Equity Research: 4 Analysts Covering 40+ Companies RAYMOND JAMES / INVESTMENT BANKING OVERVIEW . Full-service firm with investment banking, equity research, institutional sales & trading and asset management – Founded in 1962; public since 1983 (NYSE: RJF) – $6.4 billion in FY 2017 revenue; equity market capitalization of approximately $14.0 billion – Stable and well-capitalized platform; over 110 consecutive quarters of profitability .