Digital Transformation Through Data: a Guide for News and Media Companies to Drive Value with Data March 2019 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. -
State of Oklahoma
STATE OF OKLAHOMA 1st Extraordinary Session of the 47th Legislature (1999) SENATE BILL 1x By: Robinson AS INTRODUCED An Act relating to the Corporation Commission; amending Section 2, Chapter 408, O.S.L. 1997, as amended by Section 9, Chapter 246, O.S.L. 1998 (17 O.S. Supp. 1998, Section 139.102), which relates to the Oklahoma Telecommunications Act; modifying definition; and providing an effective date. BE IT ENACTED BY THE PEOPLE OF THE STATE OF OKLAHOMA: SECTION 1. AMENDATORY Section 2, Chapter 408, O.S.L. 1997, as amended by Section 9, Chapter 246, O.S.L. 1998 (17 O.S. Supp. 1998, Section 139.102), is amended to read as follows: Section 139.102 As used in the Oklahoma Telecommunications Act of 1997: 1. "Access line" means the facility provided and maintained by a telecommunications service provider which permits access to or from the public switched network; 2. "Commission" means the Corporation Commission of this state; 3. "Competitive local exchange carrier" or "CLEC" means, with respect to an area or exchange, a telecommunications service provider that is certificated by the Commission to provide local exchange services in that area or exchange within the state after July 1, 1995; 4. "Competitively neutral" means not advantaging or favoring one person over another; 5. "End User Common Line Charge" means the flat-rate monthly interstate access charge required by the Federal Communications Commission that contributes to the cost of local service; Req. No. 5010 Page 1 6. "Enhanced service" means a service that is delivered over communications transmission facilities and that uses computer processing applications to: a. -
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. -
Understanding Digital Content and Services Ecosystems
CHAPTER 1.3 Internet adoption continues to vary widely across countries. The average Internet penetration rate in Africa is 14 percent—vastly lower than the 85 percent rate in Understanding North America, according to the World Bank. Given the well-recognized role that wider Internet adoption plays in Digital Content and accelerating economic growth, raising Internet adoption rates is an imperative, particularly for developing Services Ecosystems: countries. Barriers to Internet adoption also vary across countries. Although the lack of affordable infrastructure The Role of Content is considered to be a major obstacle, a lack of local, relevant digital content and services is equally important. and Services in Boosting According to a Pew Research Center survey, 34 percent of offline individuals in the United States mentioned that Internet Adoption the Internet was not relevant to them.1 Eighty percent of the Wikipedia articles are written in just 28 languages, BAHJAT EL-DARWICHE whereas 80 percent of the world’s population speaks MATHIAS HERZOG one of 80 languages. Even the quantum of content MILIND SINGH available per user continues to be widely uneven. RAMI MAALOUF Akamai data show that in the United States, page views Strategy& in the media and entertainment category peak at 282 (formerly Booz & Company) per Internet user, while in Africa this number dips to 32 per user—highlighting the dearth of content relevant to African users.2 Ensuring a sustainable supply of local, relevant digital content creates incentives and reasons for subscribers to get online; such content is an imperative for driving Internet adoption for the 60 percent of the population not currently connected. -
Digital Television Systems
This page intentionally left blank Digital Television Systems Digital television is a multibillion-dollar industry with commercial systems now being deployed worldwide. In this concise yet detailed guide, you will learn about the standards that apply to fixed-line and mobile digital television, as well as the underlying principles involved, such as signal analysis, modulation techniques, and source and channel coding. The digital television standards, including the MPEG family, ATSC, DVB, ISDTV, DTMB, and ISDB, are presented toaid understanding ofnew systems in the market and reveal the variations between different systems used throughout the world. Discussions of source and channel coding then provide the essential knowledge needed for designing reliable new systems.Throughout the book the theory is supported by over 200 figures and tables, whilst an extensive glossary defines practical terminology.Additional background features, including Fourier analysis, probability and stochastic processes, tables of Fourier and Hilbert transforms, and radiofrequency tables, are presented in the book’s useful appendices. This is an ideal reference for practitioners in the field of digital television. It will alsoappeal tograduate students and researchers in electrical engineering and computer science, and can be used as a textbook for graduate courses on digital television systems. Marcelo S. Alencar is Chair Professor in the Department of Electrical Engineering, Federal University of Campina Grande, Brazil. With over 29 years of teaching and research experience, he has published eight technical books and more than 200 scientific papers. He is Founder and President of the Institute for Advanced Studies in Communications (Iecom) and has consulted for several companies and R&D agencies. -
Customer Brand Engagement on Snapchat
Faculty of Economy and Business Msc. in Business Administration Track Digital Business Customer brand engagement on Snapchat A conceptual model and empirical analysis Master Thesis Author: Pien Uittenbogaard 11152435 Supervisor: Nick van der Meulen June 22th, 2017 Final version University of Amsterdam Academic year 2016-2017 Statement of originality This document is written by Pien Uittenbogaard who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document is original and that no sources other than those mentioned in the text and its references have been used in creating it. The faculty of Economics and Business is responsible solely for the supervision of the completion of the work, not for the contents. 2 Abstract This research has the purpose to shed more light onto the field of customer engagement through social media platform Snapchat. It focuses on exploring the relationship between customer engagement and different types of digital marketing content, on Snapchat. The research question states: “What is the effect of different brand related content types on customer engagement for beauty brands on Snapchat?” A survey with an experimental design was conducted for three conditions, representing three different types of digital marketing content. Snapchat stories were shown to the participants were after their customer engagement level was measured. The results show that digital marketing content including remuneration on Snapchat scored the highest on two of three customer engagement dimensions, namely on cognitive processing and intention to buy. This insight is not supported by existing academic literature which states that entertainment and information based content should yield higher customer engagement. -
Legal-Process Guidelines for Law Enforcement
Legal Process Guidelines Government & Law Enforcement within the United States These guidelines are provided for use by government and law enforcement agencies within the United States when seeking information from Apple Inc. (“Apple”) about customers of Apple’s devices, products and services. Apple will update these Guidelines as necessary. All other requests for information regarding Apple customers, including customer questions about information disclosure, should be directed to https://www.apple.com/privacy/contact/. These Guidelines do not apply to requests made by government and law enforcement agencies outside the United States to Apple’s relevant local entities. For government and law enforcement information requests, Apple complies with the laws pertaining to global entities that control our data and we provide details as legally required. For all requests from government and law enforcement agencies within the United States for content, with the exception of emergency circumstances (defined in the Electronic Communications Privacy Act 1986, as amended), Apple will only provide content in response to a search issued upon a showing of probable cause, or customer consent. All requests from government and law enforcement agencies outside of the United States for content, with the exception of emergency circumstances (defined below in Emergency Requests), must comply with applicable laws, including the United States Electronic Communications Privacy Act (ECPA). A request under a Mutual Legal Assistance Treaty or the Clarifying Lawful Overseas Use of Data Act (“CLOUD Act”) is in compliance with ECPA. Apple will provide customer content, as it exists in the customer’s account, only in response to such legally valid process. -
The Epic Guide to Branded Video “There's Always Room for a Story That Can Transport People to Another Place.”
The Epic Guide to Branded Video “There's always room for a story that can transport people to another place.” J.K. Rowling Foreword Jerrid Grimm Co-Founder & CEO, Pressboard Our sincerest thanks to The power of video is undeniable. The combination of sight and sound evokes emotional responses difficult to replicate through any other format. A story told through video can make people burst into laughter or shed tears of sadness. Video transports the viewer to another place, another time — and with advances in virtual reality it’s even possible to see the world through someone else’s eyes. What video is not, by any means, is easy. Fraught with challenges in production, distribution and measurement, video is one of the most resource-heavy creative processes out there. As brands move from making one or two TV commercials a year to creating weekly or even daily video for social media, these challenges grow exponentially. Pressboard is a story marketplace. We make it easy for brands to collaborate with hundreds of media publishers on video content — instead of ads. In that same collaborative spirit, we created this guide to combine the wisdom of the greatest video minds in the world and turn those insights into actionable advice that marketers, publishers, creators and technologists can all apply to their own brands. We cannot wait to see the stories that you will tell. 3 Foreword Mark Greenspan Chief Influencer, influenceTHIS Founding Members In an effort to support the growth of the branded content industry in Canada we have partnered with Pressboard to distribute this report to marketers, advertisers, influencer networks and creators. -
The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi T Audiovisual Archives
Copyright ©2012 Academy of Motion Picture Arts and Sciences. “Oscar,” “Academy Award,” and the Oscar statuette are registered trademarks, and the Oscar statuette the copyrighted property, of the Academy of Motion Picture Arts and Sciences. The accuracy, completeness, and adequacy of the content herein are not guaranteed, and the Academy of Motion Picture Arts and Sciences expressly disclaims all warranties, including warranties of merchantability, fi tness for a particular purpose and non-infringement. Any legal information contained herein is not legal advice, and is not a substitute for advice of an attorney. All rights reserved under international copyright conventions. No part of this document may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without permission in writing from the publisher. Published by the Academy of Motion Picture Arts and Sciences Inquiries should be addressed to: Science and Technology Council Academy of Motion Picture Arts and Sciences 1313 Vine Street, Hollywood, CA 90028 (310) 247-3000 http://www.oscars.org Printed in the United States of America Library of Congress Cataloging-in-Publication Data The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi t Audiovisual Archives 1. Digital preservation – Case Studies. 2. Film Archives – Technological Innovations 3. Independent Filmmakers 4. Documentary Films 5. Audiovisual I. Academy of Motion Picture Arts and -
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. -
Public Youth Radio in Europe
Public Youth Radio in Europe Executive summary June 2008 European Broadcasting Union Strategic Information Service (SIS) L’Ancienne-Route 17A CH-1218 Grand-Saconnex Switzerland Phone +41 (0) 22 717 21 11 Fax +41 (0)22 747 40 00 www.ebu.ch/en/sis European Broadcasting Union l Strategic Information Service Public Youth Radio in Europe Executive summary June 2008 Public Youth Radio in Europe 1 Executive summary Introduction The aim of this report is primarily to give an overview of EBU Members youth radio services, but also to describe the new media landscape, in which Members operate, by looking at sociological and economical trends important to the youth radio business; radio consumption trends, the digital music industry, Internet youth usage and new radio platforms. A quantitative analysis have been based on an internal EBU survey and covers channel formatting, programming output, targeting and distribution strategies of their youth channels. It is also looking at the competitive youth radio climate, the offer of interactive services and successful initiatives, platform consumption and key media changes effecting radio. In-depth case studies have been carried out in addition to the survey analysis to give a more detailed description of Members’ activities. Overview The media consumption among young people in Europe is shifting. Sociological trends and new technologies are increasing users’ flexibility and the way they consume media. The market is becoming more and more fragmented and radio content is no longer limited to traditional transmission means. The Internet boom has lead to fast pacing globalization of websites, and the new media landscape is becoming more personalized and diversified. -
Downloading, Streaming and Digital Lending
Music in the Digital Age: Downloading, Streaming and Digital Lending James Mason, University of Toronto Jared Wiercinski, Concordia University Introduction The ways in which we listen to music, and the places we look to find it, have changed radically in the last thirty years. In 1980, Philips and Sony proposed the Red Book standard for Compact Discs (CDs),1 with a little help from Beethoven.2 Although it was not the first storage medium for digital audio, the introduction of the CD signaled that the world of digital music was about to go mainstream. The technology behind communications devices such as telephones, radios, and personal computers continued to evolve, and before long, the foundation for the Internet was firmly in place. This multifaceted and complex "global system of interconnected computer networks"3 was about to revolutionize the distribution of sound recordings. As Leiner says, "The Internet is at once a world-wide broadcasting capability, a mechanism for information dissemination, and a medium for collaboration and interaction between individuals and their computers without regard for geographic location."4 Only fifteen years after the introduction of the Red Book, music was being distributed over the Internet. RealNetworks' RealAudio Player, for example, was released in April 1995, and was one of the first media players capable of streaming media over the Internet.5 Now, recorded music is more accessible than ever before. We enjoy unprecedented access to music through a variety of means, including both web access and via mobile devices such as smartphones, the iPod touch 1 British Broadcasting Corporation (BBC) News, “How the CD Was Developed,” http://news.bbc.co.uk/2/hi/technology/6950933.stm (accessed March 16, 2010).