Monday, December 7, 2009
"DVR and Online Video continue to show solid growth – up 21.1% and 34.9% respectively in time spent from Third Quarter 2008"
Thanks to @AndyBeach for pointing this one out.
Wednesday, November 25, 2009
Peter's interviews for his ScribeMedia.org often focuses on topics that are both timely and somewhat controversial, but metadata often doesn't fit in the latter category, unless you count Peter's triple-X rated title for the interview.
While my slightly-pseudo-Southern accent always reminds me that I talk a bit slower now than I did when I lived in my native New York, Peter did a good job of steering the conversation to cover many of the points from my recent metadata article: Metadata: What You Need to Know (And Why You Need to Know It)
Running time for the interview is 12:29
Wednesday, November 18, 2009
Robert Pepper, Cisco
Internet Governance Forum conference
Friday, November 6, 2009
Wednesday, October 28, 2009
In announcing a partnership with Juniper Networks for Ankeena's video traffic shaping product, Media Flow Director, the company acknowledges that a partnership with a "big iron" company puts the Ankeena solution at the heart of the network neutrality debate.
In a nutshell, network neutrality, as defined by the FCC's recent policy making decision, seeks to limit what service providers would charge content owners and content viewers for delivering "non-traditional" content such as video and audio.
The intent of network neutrality, then, is to keep the network delivery charges neutral - or blind - to the type of content being delivered. In order for network providers to effectively optimize content that is time-sensitive, however, an optimization with is critical to all video and audio content tbeing delivered in real-time as a stream, it some level of packet inspection and packet shaping is required.
Otherwise, all delivery will still be the mediocre "best effort" that is currently synonymous with jerky, underpowered streaming media.
"Our solutions stay well away from the 'clear bright line' of both network neutrality and user privacy boundaries," said Sundarrajan, "while also addressing the needs of service providers."
How Ankeena can accomplish this, according to Sundarrajan, is via a three-fold approach.
"One way is to offer 'opt in' solutions for ISPs to, in turn, offer to their content owners who want to guarantee they reach customers on a particular ISP," said Sundarrajan. "This solution approach offers a uniform priority transport of packets, while a secondary value-added service - such as our AssureRate service - can also be used by content viewers or content owners."
"A third way," said Sundarrajan, "is for service provider to provide content delivery network (CDN) solutions from their own networks, where they charge the content provider to distribute content on the ISP's network."
This approach, where ISPs become CDNs, has been addressed by JetStream with its VDOx CDN-in-a-box solution for ISPs, but Ankeena's Media Flow Director solution also can work for wireless providers who need to deal with limited spectrum.
"As wireless service providers face limited spectrum and growing demands for video content," said Sundarrajan, "they will look for solutions that provide a way to bandwidth constraints."
Harking back to the example of the Terrayon Cherry Pruner, which was used by cable operators to dynamically limit the quality of particular video channels, Sundarrajan says a similar solution would be beneficial to the wireless service providers.
"Why Terrayon used its technology to allow a single channel's video quality to be lowered, as a way to charge a premium for quality," said Sundarrajan, "I like to think our solution will be more egalitarian, dynamically limiting the bandwidth for every user at key events, such as breaking news, rather than blocking mobile customers from seeing the video or attaching to the mobile network tower at all."
The company has large trials ongoing with 12 potential customers, including telcos, cable MSOs and wireless providers. Ankeena also parters with Citrix on the NetScaler VPX load balancer, and NetApp.
The company says it will be announcing additional features and product enhancements around the time of Streaming Media West, which will be held in San Jose from November 17-19, 2009.
Additional information about Ankeena can be heard as part of a Streaming Media podcast from June 15, 2009.
Monday, October 19, 2009
Returning to the US from StreamingMedia Europe, where I moderated the show's final panel with CDNs discussing HD and scalability, I'm spending the day catching up on news. The most important news I've read today may have a bit of an impact on the Content Delivery Network (CDN) space:
The Advanced Television Systems Committee (ATSC) announced the final tally in member voting for the A/153 Mobile Digital Television (DTV) standard has passed with "overwhelming support" on its first vote.
"This milestone ushers in the new era of digital television broadcasting," said Paul Karpowicz, NAB Television Board Chairman and President of Meredith Broadcast Group, as part of the ATSC press release. "This gives local TV stations and networks new opportunities to reach viewers on the go. This will introduce the power of local broadcasting to a new generation of viewers and provide all-important emergency alert, local news and other programming to consumers across the nation."
The other programming mentioned in the above quote, in my opinion, may lead to a bit of left-field competition between the broadcasters and the CDNs, especially in dense-population markets beyond the US broadcast market.
Over the last two decades, living between the worlds of broadcasting, motion picture, the telcos and streaming, I've learned to track these standards decisions to gauge the true sense of where one industry may overlap another.
Here's one tell about the potential disruptor that this standard allows: it's using the same H.264 and AAC compressions across an IP network, something the Chairman of the ATSC alludes to in his comments.
"The ATSC Mobile DTV standard is flexible and robust, enabling a range of services business models that create new opportunities for broadcasters, device makers and consumers," said ATSC Chairman Glenn Reitmeier. "It is particularly noteworthy that ATSC Mobile utilizes Internet Protocol (IP), which will enable broadcast services to be easily integrated with wireless broadband consumer devices and applications, further reinforcing the significant role of terrestrial television broadcasting in the media landscape for decades to come."
In other words, ATSC gets to put a multicast receiver on a chip and deliver via IP, with enough bandwidth overhead to also do on-demand and progressive download, at least according to the standard draft announced on September 10, 2009, the same date as the IBC international broadcasting show.
This standard may make for some strange alliances between CDNs, wireless providers and others, since this "over-the-air-broadcast" standard can be used to deliver not just live content to massive audiences in the home, in the form of other non-TV devices, but also to deliver on-demand or progressive download content to mobile and handheld devices that may not then need a service agreement with the wireless service provider.
In other words, expect a mixing up of A/153 and DVB and CDN and three-letter broadcasters, the latter of whom had been written off for dead but not have a very decent overlay network to fill in (or supersede) the gaps in wireless coverage.
Monday, October 5, 2009
Jon Landau, producer from Lightstorm Entertainment, arrived today at the Adobe MAX conference in Los Angeles, to talk about the December 18, 2009, release of the 3D movie Avatar.
"We look at 3D as a window in to a world, not a way to make things pop off the screen," said Landau, adding the movie is not about Earth, even though it starts there before movie to the (pun-intended) planet Pandora. "We've wanted to do Avatar from way back at the time we did Titanic but the technology wasn't ready to be the enabler."
Landau said the avatars of the movie are dormant hybrid bodies that contain parts of both human and Pandoran bio-mass, sitting in stasis until a medical procedure moves consciousness in to the avatar from a human. The key hero (or anti-hero, depending on your political view of corporations and mechanized armies) is a wounded Army veteran whose twin brother is set to go to to Pandora to be linked with an avatar, before meeting an untimely death.
While the concept is far-fetched, the never-before-seen clips shown at Adobe MAX bring both the movie concept - and the tools used - in to a whole new light.
Landau talked about how Photoshop, Premiere and After Effects were key to various steps in the workflow.
"This is really about pulling Adobe's tools in to our workflow," said Landau. "There are certain software tools that let you do your job, there are other tools that allow you to do your job better."
Landau provided several examples, including one about the use of After Effects for compositing on the set and off the set.
"We used After Effects, with real-time composting, immediately on the set to show Jim," Landau said, referring to James Cameron, who directed both Titanic and the new Avatar. "WETA would interpret a wide-angle video shot of the actor's faces on frame-by-frame basis, to create Kabuki masks that pasted a 'mask' of the video image on to the CG character."
Wednesday, September 30, 2009
"By year's end, as part of the Akamai HD Network, up to 45 million iPhones and iPod touches will be capable of displaying high-quality video encoded from HD source content."
She also stated that Akamai understand that "the iPhone does not display true HD by definition but can offer consumers an HD-like high quality video experience that complements what they get on TV."
Thursday, September 24, 2009
Wednesday, September 23, 2009
While much has been written today, the Elements 8 launch day, about the features, little has been written about a perplexing workflow snafu: Adobe's decision to forgo Premiere Elements 8 on the Mac platform. So we'll cover it here.
let’s address the missing Element on the Macintosh platform. While Photoshop Elements 8 is a welcome return to the Mac (Elements 7 was a Windows-only program), the fact that Adobe is staking its Elements re-introduction on Photoshop is a bit perplexing for three reasons.
First, Adobe is taking on iPhoto with Photoshop Elements, but ignoring iMovie (the closest equivalent on the Mac to Premiere Elements). This is odd, given the fact that few Mac users complain about the lack of features in iPhoto, and Photoshop Elements only adds a few differentiators, but there have been numerous complaints over the past two years regarding iMovie’s transmogrificaiton to an almost unusable program. In other words, the low-hanging fruit's in a decent low-end video application.
Second, to properly use Elements, Adobe stores content in the Elements Organizer. The company went out of its way to demonstrate how Organizer is equally at home with still images and video clips, even demonstrating the use of video tags on a scene-by-scene basis. The justification for a more robust Organizer was that customer feedback showed that users were shooting both still images and video on their capture devices (eg, disk- or chip-based camcorders, point-and-shoot or even newer D-SLR cameras).
Third, while iPhoto and iMovie have access to the system-wide media library (derived from iTunes, iPhoto and iMovie working together), Organizer is a walled-garden approach to content. This means that any content put into Organizer is available to the Elements programs, but not necessarily available to other programs, such as iPhoto or iMovie.
Adobe’s Photoshop Elements-only approach on the Mac means that Mac users must put their still image content in Organizer while putting their video content into iMovie / iTunes. This intentional splitting of content types across different media libraries means that Mac users of Photoshop Elements must work extra hard to use Organizer to segment content from the combination capture devices mentioned above, and the end result will be an inability to use both types of content between Adobe and non-Adobe programs. In other words, more work for less overall benefit. That’s a value proposition!
Adobe touts Elements as a “complete end-to-end solutions: organize, edit, create, share.” Following the logic, though, not shipping Premiere Elements 8 for the Mac must mean Adobe must feel that don't want a decent video program, that Mac users still segment their still and video capture devices and that Mac users are willing to do more work for less benefit.
It’s almost as if someone forgot to mention to Adobe that the iPhone 3GS has been out for months and has been hugely popular because it shoots both still images and video!
Sadly, a lack of uptake in Photoshop Elements 8 for the Mac, based on Mac users questioning the validity of the walled-garden approach for one type of media, may lead Adobe to the conclusion that the Mac platform is hostile to non-Apple photo or video applications. The conclusion would be wrong, if only because Adobe's current approach is providing less than half a solution to the underlying problem.
Wednesday, September 16, 2009
Advanced Digital Broadcast Hall 5, Stand 5.B48 Advanced Digital Broadcast will show how it is helping its customers to meet the challenges of delivering an enhanced consumer TV experience with linear and on-demand entertainment services across hybrid networks. Operators are challenged to bring together more content from more places, making programs and services easy to find, and presenting multimedia in new and exciting ways. In its booth at IBC, ADB will show a number of demonstrations of how it is enabling television, Internet and personal content to converge and be accessible where consumers enjoy it most: on their flat screen TV. Approximately 70% of ADB’s workforce is dedicated to engineering; developing products across all the digital television technology platforms including cable, Internet Protocol (IP), satellite and terrestrial. The company is headquartered in Geneva, Switzerland with its main Research and Development facility in Zielona Gora, Poland and Operations division in Taipei, Taiwan. ADB has local representation in Australia, Italy, Singapore, Spain, the Ukraine, the United States and the United Kingdom.
AmberFin iCR v5 now supports a few additional tools for ingest into Avid systems, including JPEG 2000 (for intermediate mastering format for high quality content such as movies, offering superior image quality with 10 bits of information for each pixel), closed captioning (applies closed captioning seamlessly for US and European broadcast delivery content and conversion), MXF AS02 (includes highly efficient new MXF application designed for streamlined New Media Factory operations and Avid interplay: AmberFin iCR (streamlining the process when working in an AVID editing environment, offering instant interoperability in delivery preparation, freeing up critical edit suites to deliver value for editing workflows).
Sunday, September 13, 2009
Whereas iPhone 3.0 would permanently trim a clip (the "trim original" option) and erase the portions of the clip that were outside of the parameters of the trim bar, which made for some harrying moments if one weren't paying close attention to the trimmed clip, iPhone 3.1 adds a "save as new clip" option that creates a separate file while leaving the original video file intact.
We tested the feature on a 32GB iPhone 3GS, using clips shot both before and after the upgrade to iPhone 3.1, to see what surprises were in store.
First, let's start with trimming. The ability to trim video within the iPhone 3GS window is very intuitive: select either end of the clip and begin to dragging the trim bar towards the center. The bar will turn from gray to yellow to emphasize the fact that you've chosen to trim. Lift a finger and the trim bar stays where you placed it, and the process can then be repeated for the other end of the clip (assuming you want to trim both the beginning and the end of the clip).
Keeping a finger on the trim bar, anywhere other than the beginning or end of the clip, will result in the video automatically lengthening out beyond the end of the screen. Don't be frightened, as this is intentional: the lengthening is Apple's way of allowing fine-tuned trimming, especially handy for long clips that may be trimmed to 10-20% of their original length.
A note for those frustrated users: 9 times out of 10 during our tests, when we chose to start trimming from the in point, the positioning slider was selected instead of the trim bar, due to the fact that they're both in the same location. The 10th time we actually ended up hitting the "camera roll" button. We suggest turning the iPhone sideways, although this still resulted in numerous touches to the positioning slider, so we also suggest starting the trim from the end of the clip, which makes the positioning slider disappear.
Once the clip is trimmed to your liking, choose the yellow "trim" button to access the two saving options. Choose "trim original" to discard all the remaining video (both before and after your trim points) or "save as new clip" to just save a copy of the trimmed portion while leaving the original clip intact.
It's also worth noting that the new clip will be saved with the current time and date, while the "trim original" clips are saved with the original time and date. While this is understandable, it makes using the iPhone 3GS less effective for multi-shot recordings (such as a short film or news reporting) since one has to search for the original and new clips in different areas (especially if iPhoto, Apple's program of choice for importing still images and video clips from the iPhone, has the "auto split events after import" box checked for splitting imports by different dates).
Finally, while we assume this workflow also works for the new iPod nano's video recording capabilities, we've been unable to test with the new nano and don't yet know which version of the iPod software it uses.
In fact, compared to QT Player 7's Pro options, such as aggregating movie clips together (appending a second clip on to the end of another in basic "cuts only" editing) and the extensive list of export options, the QuickTime X player is a step backwards.
Fortunately, for those who upgraded to Snow Leopard (10.6) from the Leopard (10.5) operating system, Apple left QuickTime Player 7 intact, including the Pro version, if Pro was already installed on the old Leopard system. Whether this is an oversight, or a nod to the fact that QuickTime X was shipped too early, the fact that QuickTime Player 7 is still functional is welcome news.
The work-around workflow, then, for aggregating clips and exporting content to more than just an Apple TV, iPhone, iPod or Macintosh computer, is to use QuickTime Player 7 with Pro options.
If you've already upgraded and didn't have Pro installed at the time, you'll need to downgrade to Leopard, or find an alternate paid application, until such a time as Apple chooses to add back the functionality it stripped from QuickTime Player.
Saturday, September 12, 2009
In this first IBC without Neal in the CEO slot, Inlet has cranked out an enhanced version of its Armada workflow, which was launched at the National Association of Broadcasters' show in mid-2008.
Like the name implies, Armada consists of a grouping of stand-alone products intended to create an invincible gestalt of speed and quality benefits.
Spinnaker, the company's encoding devices, form the core of the live ingest portion of Armada.
Semaphore, the quality control software tool used to identify out-of-range portions of an encoded file, including errors, can also be used to re-encode problem areas.
A third aspect, part of Armada 3, is Inlet's tie-in to the Apple Segmenter, which is necessary to allow adaptive bitrate HTTP streaming to the iPhone, either via WiFi or EDGE/3G. Inlet showcased this integration at Apple's Worldwide Developer's Conference (WWDC) back in June and - with Apple's release of Snow Leopard a week ago - the WWDC demonstrations will now be shown at this week's IBC.
We'll post more about Armada enhancements when an overview workflow becomes available.
Thursday, September 10, 2009
A lot has been written recently about the NeatWorks software for Macintosh and its ease of creating PDF documentation of receipts for reimbursement. David Pogue, for instance, in The New York Times gave it rave reviews for its multi-page PDF generation capabilities.
While the program can be used for many more options, such as creating records of receipts, complete with subtotals, sales tax and aggregated totals, the Windows version does a much better job than the Mac version for these tasks. The accuracy (or inaccuracy, to be precise) of the Mac version means that the practical use as a Mac replacement to the Windows version is severely limited for the time being until both applications are brought to parity (more details on this in a separate product review can be found at www.bitoftech.com).
Despite the Mac version's shortcomings, though, we've found it to be a timesaver for some of the simpler scanning-to-PDF processes that we go through for scanning phone bills, receipts and other reimbursements that we don't need a permanent record of. In fact, we've found it cuts out numerous steps for both single- and multi-page PDFs, complete with optical character recognition (OCR) when compared to the built-in solution for Apple Mac desktops and laptops, mainly Image Capture.
The NeatWorks Mobile Scanner (we have the 2008 version to test) can scan both to Image Capture and to NeatWorks.
So the primary question is, can you scan to PDF without opening Neatworks? The short answer is NO, for two reasons.
1. Due to an error in Snow Leopard Image Capture, PDF files scanned with Image Capture and the Neat Mobile Scanner 2008 generate a file that won't open up in Preview or Acrobat Pro, even though QuickLook shows the image.
The files, when opening is attempted in Preview, generate an error message stating:
The file "name.pdf" could not be opened. It may be damaged or use a file format that Preview doesn’t recognize.
In Acrobat Pro, the error message states:
Acrobat could not open 'name.pdf' because it is either not a supported file type or because the file has been damaged (for example, it was sent as an email attachment and wasn't correctly decoded).
To create an Adobe PDF document, go to the source application. Then print the document to Adobe PDF.
2. Acrobat Pro 9.0, another potential timesaving application for scanning to PDF, does not recognize the NeatWorks Mobile 2008 as a valid scanner, eliminating its 2-step process to multi-page scans (and significantly reduced file sizes of more than 66% when compared to both Image Capture and NeatWorks).
Before stepping through the workflows for single- and multi-page PDFs from NeatWorks and Image Capture, it's important to note the button settings on the top of the NeatWorks Mobile 2008 scanner. On the top of the scanner are two buttons, Scan and PDF. These buttons are considered "soft" buttons as they can be reassigned to a variety of options.
For instance, Scan can be assigned to scan in color or black and white, or to scan to PDF in color or black and white. The PDF button can be set for the same PDF settings or to "scan extra page". While this last command would be very helpful for scanning multiple pages directly to PDF, it only works within the NeatWorks database, so to scan a multi-page PDF requires launching NeatWorks, scanning into the database and then exporting to a PDF. A long process, to be sure, with room for improvement, but it still beats the Image Capture workflow by at least four steps.
WORKFLOW 1: Single Page PDF with OCR
WORKFLOW 2: Multi-Page PDF with OCR
A final note about Image Capture and Snow Leopard (OS X 10.6). Snow Leopard's Image Capture is also a bit spotty; while it will scan JP2 (JPEG2000) files, which will open in Preview, the same error message is generated in Acrobat for JP2 files as is generated for PDF files scanned via the NeatWorks Mobile 2008 scanner in Image Capture. We put this down to an Image Capture issue, but further testing will be needed to determine whether Snow Leopard's Image Capture via other scanners result in JP2 and PDF files that Acrobat can open.
Wednesday, August 5, 2009
Saturday, August 1, 2009
Wednesday, February 4, 2009
As such, they held it until mid-2008 before releasing it, coincidentally, around the same time that VP8 was released (see VP8 commentary piece on StreamingMedia.com).
Our standard contract allows any white paper we write to be a) vetted for accuracy by the client, b) published at our discretion, as we have final say over what the paper states in order to maintain objectivity, and c) re-published by Transitions, Inc., after it has been made available by the client for a six-month period of time.
Six months has now passed, so we make the Flash Video Codec Comparison paper available for general consumption.
For our test bed, we used four stock machines without accelerated graphics cards, to properly test files for consistent playback smoothness. We used both Windows and Macintosh machines:
• MacPro 8-core (not your average machine but one that guaranteed us that we could check files for playback smoothness, eliminating the potential that a file had a glitch in transcoding)
• Dell Dimension 5150 with a 3.4 Ghz Pentium 4
• Macbook (Blackbook) Core2Duo Dual Core
• Dell Inspiron with a 1.7 Ghz Pentium 4