The Viewthority platform-as-a-service streamlines the content and security workflow in an effort to increase transparency and trust and simultaneously reduce technology friction and cost when content owners hand their assets to service providers. It could encourage distribution of content to more endpoints. It is also an example of how, in an increasingly cloud and SaaS-based world, vendors with bright ideas can move up the value chain.
Satellite can join the multiscreen party, boosting revenues with streaming services in shopping malls...
Neotion and Broadpeak have been outlining the potential impact of multicast ABR on the satellite industry if service providers use the technology to deliver TV into public spaces, from bars to cruise ships. Hotspots convert the multicasts back to unicasts so consumers can watch multichannel TV or VOD on their mobile devices. Satellite overcomes terrestrial congestion, scales well and can serve remote locations like petrol stations.
The broadcaster is using algorithms to search archives for programmes, or components of them, that will appeal to contemporary audiences, on a scale that is not practical using humans. Scene recognition and subtitle analysis are among the techniques used before the AI system creates a new piece of compilation content for editorial review. BBC Four is broadcasting a show next month that is partly AI-created and which explains the BBC’s progress in this exciting field.
Object-based broadcasting breaks down media into component parts that can be repackaged for individual viewers, bringing new meaning to the term ‘personalised TV’. BT Sport and the BBC are among the broadcasters proving its usefulness and the next challenge is to drive scale and standardisation. This concept impacts every area of the media business, starting with rights management. Metadata becomes all-important, while AI and machine learning are other technology building blocks.
Bitmovin provides an encoding SaaS that harnesses just about every cutting-edge innovation available, providing a vision of what modern compression can look like. Encoding is a software application, architected as a microservice, containerised for total portability, available in the cloud and on-premise. The video is split into chunks and distributed across multiple instances where they are processed in parallel. Artificial Intelligence is thrown into the mix.
More online distribution and the growth of UHD content, especially with higher frame rates, puts the spotlight on encoding efficiency. Content adaptive encoding (CAE) takes advantage of variations in content complexity to reduce bandwidth for a given perceptual quality, carving off 50% for some ‘talking heads’ video. The Ultra HD Forum has added CAE to its list of core technologies for its Phase B second wave specs.
There are calls for digital media to be made as accountable as traditional publishers for the dissemination of content. A British parliamentary committee says tech companies should be held responsible for “harmful and illegal content on their platforms”, while a report funded by Sky calls for a Code of Practice and an oversight body, plus incentives and sanctions. But just as citizens enforced the law in the wild west, the weight of public opinion may yet be sufficient to force digital platforms to govern themselves effectively.
The regulator has suggested politicians should level the playing field between Netflix and Amazon so it is just as easy to find British programming on the Internet as on traditional TV. Ofcom is keen to defend broadcasting from growing online competition nearly a decade after the Competition Commission killed the Kangaroo joint streaming service proposal from ITV, Channel 4 and BBC Worldwide.
The Chief Executive at the UK communications regulator Ofcom has inferred that broadcasting could go the same way as High Street shops in the face of an Amazon (and Netflix) onslaught. Its new Media Nations report highlights the growth of streaming, but also the decline in broadcaster investment in UK-originated first-run programming. Favourite SVOD genres are being neglected by the incumbents, it seems.
IHS Markit is using the term ‘fat channel’ to characterise online services like Netflix and BBC iPlayer that curate huge volumes of content and use analytics to surface a fraction of it based on relevance to each individual viewer. The company has also been stressing the value of localised online content and identifying barriers to entry for virtual Pay TV operators.