Category Archives: streaming media

#LowTechLabLondon2016

#LowTechLabLondon2016 is a project developed by Raúl Marroquín and coordinated by Daniela Medina Poch for the Educational Program of the Saatchi Gallery that will take place on January 15th, 16th and 17th of 2016.

“‘LowTech means technology that is cheap or free.”
James Wallback, LowTech Manifest for The Next 5 Minutes conference in Amsterdam, March 1999.

This experiment is inspired in the role artists have had in the development of technologies and innovation from very early stages. To mention a few, alchemy in the Middle Ages, multidisciplinary advancements throughout the Renaissance and more recently during the second half of the XXth Century and the first decade of this millennium: Video of the 1960’s and 1970’s, cable television of the 1980’s and 1990’s (USA & Canada and later in the Netherlands and Continental Europe) digital communications of the first decade of the 2000’s up to the present with user information and communication platforms, internet, streaming mobile, social media, augmented reality, etc.

As Klaus Fruchtnis mentions: “LowTech applied to communications has given the possibility of having a more exhaustive control in the management of information.”

Today artists continue to play a crucial role in the development of hardware, software and applications. The last four decades are full of examples; to mention a few: “Music Video” is based in the progress and achievements of video artists in the 1960 – 1980’s, video and media art have also influenced audio visuals in education, news gathering and journalism, activism and, last but not least, the advertisement industry.

#LowTechLabLondon2016 is a three day lab that makes use of LowTech, user and discarded technologies coupled with the repurposing of existing hardware and other facilities. It involves those present at the Educational Space of the Saatchi Gallery taking part from tabletop stations devised to interact in one-to-one and one-to-few engagements, as well as remote contributors from abroad, via social media: WhatsApp, Illustrated Twitter, SnapChat, video conferencing and live streams.

The aim of #LowTechLabLondon2016 is to generate a brief, concise and powerful event, that will include artists, students (PCA, Paris and Universidad Nacional, Bogotá, and others) musicians, writers, stage actors and directors, academics, researchers, journalists, politicians and designers realising artworks, workshops, tutorials, experiments: successes and failures, processes, interviews and discussions, presentations, discussions, performances and recitals, as well as urban bootcamps, klutges, scale models and prototypes either live or transmitted from other locations in London, the continent and the Americas.

One of the goals of the lab is to monitor the developments of LowTech throughout the last 50 years and how it has been redefined through the beginning of the second half of the XXth century. From low quality and low resolution, evolving into current user technologies were, for instance, average phone cameras are better than a betacam of 30 years ago, the LowTech have expanded and transformed into user technology.

Additional to the activities taking place at the Educational Space and taking into account the historical past of the area: Kings Road, the Punk Movement, etc, the lab includes works realised outdoors on locations such as streets, parks, shops, bars and terraces near the location of the gallery.

Social Media plays an important role in the daily coverage of the experiment: Everything will be streamed via Periscope, LiveStream, YouTube Live and ephemeral platforms like SnapChat.
A final publication will round up the event.

This event is produced in collaboration with PCA Master’s students in Transdisicplinary New Media.

FREE ENTRANCE.

LIVESTREAM: http://livestream.com/hoeksteenlive

The #LowTech Blog: DeHoeksteen.live.nu
Facebook Event: LowTechLab London2016
LinkedIn:  hoeksteencornerstone
Recordings in YouTube:  StudioMarroquin
Instagram:  StudioRaulMarroquin
Google+:  StudioMarroquin.
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Participants LowTech Lab London2016 Saatchi
  • Muu Blanco
  • Operating in Miami
  • C C Brown
  • Operating in New York
  • Nicolás Canal
  • Operating in Ubaté, Colombia
  • Elena Corchero
  • Operating in London
  • Catalina Correa
  • Operating in Chile
  • Melissa Cruz
  • Operating in The Hague
  • Yolanda Duarte
  • Operating in Bogotá
  • Alejo Duque
  • Operating in London
  • Jackie Fei Yongqing
  • Operating in London
  • Max Franklin
  • Operating in London
  • Klaus Fruchtnis
  • Operating in London
  • Cheryl Gallaway
  • David García
  • Operating in London
  • Jakobson Helga
  • Operating in London
  • Johanna Ibañéz y David Motos
  • Operating in Bogotá
  • Claire Leggett
  • Operating in London
  • Carlos Llávata
  • Operating in Valencia
  • Filippo Lorenzin
  • Operating in Düsseldorf
  • Raúl Marroquín
  • Operating in London
  • MauzZ
  • Operating in Amsterdam
  • Svetlana Mircheva
  • Operating in Sophia
  • Michael O’Connell
  • Operating in London
  • Catalina Rodriguez
  • Operating in Bogotá
  • Basma Seif
  • Operating in London
  • Sanet Stegmann
  • Operating in London
  • Iván Tovar
  • Operating in London
  • Alberto Vejarano
  • Operating in Paris
  • Andrew Voxakis
  • Operating in London
  • Carlos Zatizabal
  • Operating in Bogotá

 

#LowTechLab London2016

#LowTechLab London2016

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Filed under Art, Communication, crossmedia, Evolution of LowTech, LowTech, Media, mediaart, multimedia, New media art, social media, streaming media, StreamlineMedia Asset Management, Technology, telecommunications, Uncategorized

streaming media east

SME2015_sponsorhead-468

Call for Speakers Open!

This is your chance to share your industry knowledge with our attendees as a speaker at Streaming Media East. Each year, Streaming Media events receive many more speaking submissions than available speaking slots. Because of that, we strongly suggest you submit your proposal early. Don’t wait to be a part of this industry-leading event.

Deadline is January 19. 
Find out more now!

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Found in Translation: How to Stream Video in Multiple Languages

Reach out to an international audience. Here are video translation steps to follow for strong results, as well as expert tips for high quality.

By  

Many companies consider multilanguage video to be so valuable that they will not talk about it on the record. That’s right, for many companies, multilanguage video amounts to a trade secret.

That fact alone should cause any producer to think for a moment: How much more value would my videos have if they were immediately accessible to people who do not speak my language? The answer applies equally when considering a public audience, as it does when communicating with a diverse pool of employees or customers.

Moving pictures in multiple languages is nothing new. Movies and television have been translated and dubbed for decades. In the U.S., secondary audio tracks have been on TV since the 1980s and are part of the DVD and Blu-ray standards. It’s common to find major releases in two or more languages.

Multiple audio tracks are widely supported by major streaming platforms, CDNs, and players. Yet, the availability of multilanguage video lags. In the U.S., the iTunes Store offers a pretty good selection of new releases, and Netflix has a limited inventory. However, you’ll be hard-pressed to find anything in more than one language on Amazon Instant Video or Google Play.

What we can conclude, then, is that the most critical aspects of creating and distributing multilanguage video aren’t technical. Translation, the key element of multilanguage video, is its own specific skill. Doing it well requires expertise that most producers do not have in-house.

The good news is that a growing range of options is available. I talked with representatives from four vendors that offer translation services to match a variety of applications and budgets.

Sovee and Moravia both offer services to localize a wide variety of content—including documents and websites—as well as video. Ramp is a cloud video platform that is rolling out a translation product in the fourth quarter of 2014. Groovy Gecko specializes in live webcasts, with the option to provide live multiple language tracks.

On-Demand Video

There’s a wider array of multilanguage services available for on-demand content than live content. Working with finished productions allows for more options to balance quality and turnaround time with cost.

Many of these services are offered by vendors that started in localization of documents and websites. They also offer broad expertise that can help clients with some of the cultural and practical implications of delivering videos in languages other than your own. At the same time, the increasing accuracy and accessibility of computer-based tools allows more companies to enter the space.

Still, as it stands, there is no commercially available software that will automatically translate speech. Therefore, translation requires several steps.

STEP 1: TRANSCRIPTION

The first step is creating an accurate transcript in the original language, as you would for captioning. If you already have an accurate script or transcript, most vendors can work with that.

Otherwise, speech-to-text engines have come far enough that you can choose to have a fully machine-generated transcription, have a machine-generated one that is corrected by a human, or a fully human-generated transcript. Machine transcription speeds up the turnaround time and reduces cost, but is not yet perfect.

When choosing among these options, Moravia CMO Renato Beninatto says the source language is a factor. For videos in which the source is English, the company uses a hybrid approach, with humans editing a machine transcription. He noted, however, that the accuracy of automated transcription is lower with some less-common languages.

STEP 2: TRANSLATION

The choice of transcription method also depends on how your video will be translated. Here you also can choose from machine-generated, machine-generated with human assistance, and fully human-generated translations.

Ramp will offer machine translation with its service. That’s why president and COO Stuart Patterson says, “If you’re going to translate that video you need to start from a human-transcribed version of the audio track.”

Automated translation can be around 90 percent accurate, as can automated transcription, Patterson says. “If you are 90 percent accurate on the transcription and 90% accurate on the translation, then you would be around 80 percent accurate in the final piece.”

Sovee also uses machine translation, which is then corrected by people. Those corrections are entered back into the company’s Smart Engine system to help improve future accuracy. Even so, Sovee founder Steve Steele says, “We don’t ever encourage people to produce a video through just raw machine translation. I don’t think that most people would be happy with that.”

103617-Translation-Fig1-ORG

Translation can be machine-generated, machine-generated with human assist, and fully human-generated. RAMP’s upcoming product will use machine translation.

STEP 3: ADD VOICE

The third step is voicing the new language soundtracks. Once again, the choice is between human and machine, using a flesh-and-blood voice actor or a synthesized voice. Using a synthesized voice is both faster and less expensive than a real human, though it might not be appropriate for all projects.

“The synthesizers are powerful,” Patterson says. “It’s amazing how many languages can now be synthesized automatically.”

Sovee President Scott Gaskill says that using synthetic voice technology allows the company to quickly translate and provide the language soundtrack for “perishable videos,” such as when “you’ve got to have the video out in 24 hours and it’s no longer valid in 2 weeks.”

With synthesized voices, Steele says, “a lot of our customers are saying, ‘Hey, that’s more than adequate because I can get something done faster, and a whole lot cheaper than with human [voice] talent involved.’”

Yet using human voice talent offers a wider range of expression to match the content and tone of your video in way that computers just aren’t able to. Synthesized voices might work well for an instructional video with only one or two speakers, but things grow complex when there are more voices. Things like regional accent and dialect should also be kept in mind.

As Beninatto says, in some countries or regions, “You wouldn’t want a particular accent associated with your brand.”

103618-Translation-Fig2-ORG

In the Sovee SmartEngine, the English and Spanish (Mexico region) translations are displayed side-by-side in sequence. The boxes below each sequence allow human post-editing if needed, such as telling the SmartEngine to keep a certain word in English.

For instance, he says, “In Brazil there are five accents, and two major ones. You want to pick the appropriate one and have it be natural and consistent” across your productions. Although Portuguese is spoken in both countries, using a voice actor from Portugal might not be appropriate for a video intended for a Brazilian audience.

Another consideration that might not be obvious is that different languages require different lengths of time to express the same idea. That means a translated audio track can get out of sync with the video.

Beninatto says that even though English is commonly thought to be more compact than most other languages, “A more accurate statement is that translation always increases the length. In my experience it doesn’t matter. If I translate Portuguese into English it will grow by 20 percent, even though English is theoretically shorter.”

There are two ways to compensate: Edit the video or edit the voice script. With screencasts or videos where the speaker is not seen, it can be appropriate to add or remove frames to fit the timing of the translation. However, vendors also are able to edit videos featuring live action and on-camera speakers.

Steele gives the example of a promotional video that a client, real estate contractor CGL, wanted Sovee to translate into Spanish and Arabic. The original English video was 2 minutes long, but went to 2:36 in Spanish and 2:45 in Arabic. (Both videos can be viewed atetheatershowcase.sovee.com.)

The different lengths were not an issue for the company’s website. However, CGL wanted to use them as commercials, fitting a slot of exactly 2 minutes. Ultimately, they offered to edit content “without disrupting the message,” or speed up the speaker a bit, and ended up using a combination of the two strategies.

Beninatto says that for “artistic videos” with significant investment in production value—such as commercials—Moravia will edit the script to fit the length and pacing. In some cases, particularly with animated or slide-based instructional and elearning content, Moravia will produce the video itself, along with all language versions.

On-screen text is another thing to consider in editing. If that text is relevant to understanding the video content, then it should be translated, too. Some vendors will help with this, too.

Quality Matters

When having a video translated it’s best to provide the vendor with a master file. Steele says Sovee “will take any file they have. There has not been a format that we cannot use.” Nevertheless, he still recommends providing the highest-quality file, “because you can never have output that’s higher quality than the input.”

Although it seems obvious, to get a good transcript it’s very important that the voice track have clear and comprehensible audio. If the video contains background music or sound effects, Steele also suggests providing them as separate tracks so that they can be mixed back in with the final translated voice track.

Because translating videos requires so many steps, most vendors like to work closely with clients to make sure that the workflow, cost, and the final translated video meet the client’s goals.

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De #Hoeksteen Video-On-Request 2013.02.08/09

De Hoeksteen Live! 2013.02.08/09 on SALTO 1 TV & the web from Arti et Amicitiae Amsterdam.

Rudolf Buurma at De Hoeksteen Live! Feb 2013

ATTENTION: These online video files are usually deleted after 4 weeks! Please record the mms video to your hard disc, instructions here. (Some Rights Reserved)

 . . . .    PART ONE 22:00-00:00 http://salto.nl/streamplayer/salto1_ondemand.asp?y=13&m=02&d=08&t=2200 mms://195.169.148.57/LogDepotStream/6/1302082200.asf PART TWO 23:00-00:00 http://salto.nl/streamplayer/salto1_ondemand.asp?y=13&m=02&d=08&t=2300 mms://195.169.148.57/LogDepotStream/6/1302082300.asf PART THREE 00:00-01:00 http://salto.nl/streamplayer/salto1_ondemand.asp?y=13&m=02&d=09&t=0000 mms://195.169.148.57/LogDepotStream/6/1302090000.asf Gangman Style

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Filed under Amsterdam, culture, digitalTV, entertainment, Holland, Journalism, livestreams, Media, Netherlands, News, Rokin, show, streaming media, streams, talkshow, television, video

Major Businesses AT&T, Verizon see double-digit IPTV growth in Q3 2012

Michelle Clancy | 28-10-2012

IPTV continues to be a growth area for video in the United States, with the two biggest purveyors of the service, AT&T and Verizon Communications, both keeping up their records of subscriber additions in the third quarter of 2012.

AT&T saw a net addition of 198,000 U-verse TV subscribers and 613,000 high-speed Internet subscribers for the quarter—strengths that drove a 2% increase in wireline consumer revenue growth year-over-year—the telco’s best show in more than four years. U-verse TV customers totaled 4.3 million out of 7.4 million U-verse subscribers in the third quarter.

Third-quarter wireline revenue totaled $14.8 billion, a 1.6% decrease from last year’s figures, but its expenses, $12.9 billion, also decreased 2.1% year-over-year.

The news could be even better for the fourth quarter, as carrier is looking to convert at least three million of its 18 million DSL customers to its U-verse TV offerings. DSL broadband connections decreased by 42,000 in the third quarter, but the broadband average revenue per user (ARPU) increased almost 10% year-over-year as online video use has pushed users to convert to higher tiers of service.

“[Our] strong performance allows us to increase our free cash flow guidance to $18 billion or higher this year, exceeding our previous outlook by $2 billion,” said Randall Stephenson, AT&T chairman and CEO, offering full-year guidance heading into Q4.

Verizon meanwhile saw a 4.6% year-over-year increase in consumer wireline revenues, the highest in a decade; and consumer ARPU was up 10.3% year over year, to $103.86.

The company added 119,000 new subscribers for FiOS TV, ending the quarter with 4.6 million video connections. That was less than the 150,000 that the telco was expecting, but still a year-over-year increase of 15.4%. The FiOS network now claims 17.4 million households. Verizon said that it expects to add 150,000 new TV additions in the fourth quarter as well.

Together, AT&T and Verizon claim 8.9 IPTV customers, accounting for the lion’s share of the U.S. customer base. Overall in the U.S., IPTV subscribers will more than double to 18.6 million in 2017, according to Parks Associates. Parks also said that satellite’s share of the pay-TV market will drop to 30% by 2017, while cable’s share will fall to 52%, even as IPTV’s will rise to 18%.The resulting competitive shift will drive cable in particular to roll out innovative service bundles in order to retain customers.

The firm said that IPTV will thus lead the next stage in pay-TV service growth as telcos leverage their fibre-based broadband offerings to attract new customers with advanced IP-based features and higher speeds to accommodate connected set-tops and TVs. A new, big player on the scene will impact the market as well: Google is rolling out fiber-based, 1Gbps Google Fiber+TV in Kansas City.

“Cable TV providers are losing subscribers to IPTV services from AT&T, Verizon and CenturyLink,” said Jim O’Neill, Research Analyst, Parks Associates.. Satellite providers also will experience subscriber loss as telcos continue to expand fiber footprints, leverage pricing on triple- and quad-play bundles, and offer advanced TV Everywhere products. Going forward, subscriber retention will become the focus for cable and satellite providers.”

Read more: AT&T, Verizon see double-digit IPTV growth in Q3 2012 | Rapid TV News http://www.rapidtvnews.com/index.php/at-t-verizon-see-double-digit-iptv-growth-in-q3-2012.html?utm_source=newsletter_843&utm_medium=email&utm_campaign=rapid-tv-news-current-edition-2810#ixzz2Ad4SzIOv

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Filed under Asset Management, content, digitalTV, Europe, facebook, Google, interactive, interactiveTV, ip, Media, Microsoft, Public Access, Qik, Skype, social media, streaming media, television, webcasting

Te pienso (I think of you) Combi Streams

Te pienso (I think of you) Combi Streams

Combinations for live streams “Te pienso” (I think of you) by Jessica Lasso, Live performance for Sunday Matinees Museo de Arte Contemporaneo Bogota Case Study for Streaming Media West, Los Angeles October 30-31.

Combi Streams: Mobile/laptop, live real time: Qik cast (Bogota) Syndicated Livestream (Amsterdam) parallel webcasting.

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by | 2012/10/05 · 17:23

Reflections observations of crossmedia from live stream

Reflections, observations of cross media from live stream

Using “Las huellas de Wuaneetunail” (The tracks of Wuaneetunail) performance real time animation by Yolanda Duarte for Sunday Matinees at the Museo de Arte Contemporaneo Bogota, as a case study for Streaming Media Europe, London October 15-17, via: http://www.livestream.com/hoeksteenlive

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by | 2012/10/05 · 16:26

Steve Hawley interviews Ibrahima Guimba-Saidou,IBC 2012.

Steve Hawley interviews Ibrahima Guimba-Saidou, Commercial, Africa, SES, during press conference and reception for IBC, at Blakes Hotel Amsterdam September 6, 2012.

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by | 2012/10/03 · 14:04

Steve Hawley interviews Ferdinand Kayser IBC 2012

Steve Hawley interviews Ferdinand Kayser CCO SES ASTRA Satellites during press conference and reception for IBC, at Blakes Hotel Amsterdam September 6, 2012.

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by | 2012/10/03 · 02:15

Interview Rob Zwetsloot met Anne Lize van der Stoel VVD Campaing Watch 2012.

NL Verkiezingeng 2012, Rob Zwetsloot in interview met Anne Lize van der Stoel VVD.

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by | 2012/10/03 · 01:55