Tag Archives: broadcast

Netflix CEO predicts broadcast TV will die by 2030


Netflix CEO Reed Hastings predicts the death date of TV
The head of video-streaming service Netflix has foreshadowed the death of broadcast TV, claiming it will be fully obsolete by 2030.

Reed Hastings, the chief executive of Netflix made the comments earlier this week in Mexico City where he was discussing the service’s growth in the Lat Am region.

He was quoted by the Hollywood reporter claiming that conventional TV services are “kind of like the horse, you know, the horse was good until we had the car.”

He added: “The age of broadcast TV will probably last until 2030.”

Hastings also admitted there are big plans in the works for Lat Am: “It is one of the fastest growth areas in the world in terms of broadband households and Internet connectivity.”

The firm, which accounts for a third of all US traffic, has 53 million subscribers worldwide and is largely responsible for the rise of on-demand content – it could possibly be the service which deals the killer-blow to satellite TV.

Hastings has his eye on an international expansion too with New Zealand and Australia set to see Netflix launched in the coming months, he said: “We are trying to get to a place where it’s fully global and you can get anything, anywhere.”

However, despite impressive growth, in October Netflix issued a profit warning after vastly overestimating how many people had subscribed to the service.

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SmarDTV plugs in cable ops for STB-free VOD on connected TVs

Kudelski Group subsidiary SmarDTV, in partnership with Wiztivi, is claiming to have successfully combined CI Plus content protection with HbbTV hybrid interactive technology so that for the first time cable pay-TV operators can deploy their video-on-demand (VOD) services directly to any connected TV, without using a set top box (STB).

The HbbTV VOD application is designed to be easily customised to the requirements of the operator, both for the user interface, and for the VOD back-end interaction. With interfacing between the application and the SmarCAM conditional access module provided using standard OIPF (Open IP forum) defined interfaces. This means that the solution is entirely based on open standards and will not require specific developments for each different brand of iDTV.

“We believe that the addition of video-on-demand, on top of the premium TV decryption, is a major milestone in the history of CI Plus” said Guillaume Reillon, Head of Product Strategy at SmarDTV. “By combining the successful CI Plus specification with the emerging European standard for interactive applications, we have the ideal solution for cable operators wishing to deploy VOD.”

“HbbTV is rapidly becoming the European standard solution for interactive services and combining it with CI Plus makes complete sense” added Olivier Cechura, CEO at connected TVs turnkey solutions provider Wiztivi.

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Cinegy Workflow – Complete Production and Archive Media Asset Management Solution

Cinegy Workflow is an integrated, end-to-end, HD/SD, digital media production and management system designed to meet the challenges of 21st century television and media production. Based on standard PC hardware and IT infrastructure, Cinegy Workflow is a modular, open platform consisting of a suite of tools, applications and open APIs that allow television production to shift into the next gear without being taken hostage by a particular vendor’s proprietary solution. It also integrates fully with traditional production and post production processes, including non-linear editing systems, and can be implemented without requiring investment in a completely new infrastructure.

“We have been able to use Cinegy not just as a richly featured production tool, but as a crucial element in our post workflows. As well as moving media into Avid, Cinegy’s handling of different file types for capture and export have helped to fulfill many other integration requirements. In addition, the use of the system for catch-up TV editing has allowed us to benefit even further from our investment.”  Paul Drewett (Technology Consultant (Production) – Innovation & Business Change – ITV)

Cost efficient,   Easy to deploy,  Simple to use,  Digital asset management based Workflow driven production, Standard IT hardware, Non-proprietary storage, SD & HD ingest, Logging,  Storyboarding, Team collaboration,  Non-linear workflows,  News integration,  Broadcast automation,  Real-time playout,  Third-party integration

Flexible and scalable 
Cinegy Workflow encompasses every aspect of media production, including real-time media ingest in multiple quality levels, automatic shot detection, speech recognition, advanced logging, production notes, voice annotation, rights management, digital asset management, search and retrieval, sequencing, storyboarding, non-linear editing, workgroup collaboration, remote screening, review and approval, conform and playout. It also manages multi-media output for web and to DVD or Blu-Ray. Cinegy has a proven track record, having provided media technology to more than two million users worldwide either directly or through its many OEM customers. Cinegy deployments range from a single seat to hundreds of concurrent users.

“It is impossible to compare what we had before to what we have now. Cinegy Workflow is completely integrated, the workflow is much better and operationally it is very easy to use. The cost benefits are tremendous.”Hasan Kiragi, Director of Broadcast Operations Dogan TV

Cinegy Workflow is an open platform consisting of a suite of software tools, applications & open APIs covering every stage of the digital production process.

“PBS has operated a limited DDMS in the past but is modernizing to a more comprehensive service restoration approach,” “Because Cinegy’s architecture is hierarchical and flexible, allowing channels to be added or reconfigured with minimal costs and high operational efficiencies, a full DDMS is now possible.”Jim Cutright, Sr. Project Manager at PBS.

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French Competition Authority to market test Canalsat-TPS merger

The investigation services of the French Competition Authority have begun a market test to gain stakeholder views on possible solutions that could address the effects of the TPS-Canalsat merger.

The market test will focus on whether any anti-competitive effects have resulted from the merger and will include some measures that were suggested by market players. It will, says the Authority, provide, in a transparent way, “the opportunity for interested stakeholders to share their analysis on remedies that could be deemed necessary at the end of the procedure.”

Interested stakeholders can submit their comments by Wednesday 6 June 2012.

Following the 2007 merger and acquisition by Canal+ group of TPS activities, 59 commitments had been implemented by the parties. On 20 September 2011, the Competition Authority established that 10 of these commitments were breached by the parties and decided to withdraw its decision to authorise the merger.

As a consequence, on 24 October 2011 the Vivendi and Canal Plus groups, which simultaneously filed an appeal against the Authority’s withdrawal decision before French Administrative Supreme Court, Conseil d’Etat, changed the terms of their acquisition of sole control of TPS and CanalSatellite. The application was then completed by the parties at the request of the investigation services. On 28 March 2012, an in-depth examination of the merger was opened.

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Google Joins Global Innovators at CommunicAsia2012

SINGAPORE, 29 MAY 2012 – Industry giant Google, is set to join a host of industry experts and thought leaders at the Marina Bay Sands next month for the leading global event in converging broadcast and telecommunications. CommunicAsia2012 organisers have announced that Ms. Aliza Knox, Managing Director of Commerce for Google Asia Pacific, will deliver the Visionary Address on Wednesday 20 June, at the CommunicAsia2012 Summit, focusing on how ‘Asia defines the Internet’ by following the trajectory of the smartphone across Asia and how it can lead to a better understanding of the region’s current and future growth.

Until recently mobile-internet innovations in one Asian country had little impact on its immediate neighbours, which effectively meant the region was growing apart. Now that’s changing and Asia is growing together. Ms. Knox, who joined Google in 2007, has been responsible for creating a major brand presence in Singapore and for driving the company’s strategy and growth across APAC.
Ms. Knox comments, “CommunicAsia2012 Summit is an exciting space to discuss the latest technological developments taking place in the Asia Pacific region. It is my great pleasure to present the Visionary Address at this international platform. I am excited to share my views on these developments, especially of the smartphone, with fellow colleagues from the industry, and how technology has changed and enabled businesses in Asia to grow.”
Delegates at the CommunicAsia2012 Summit can look forward to over 170 conference sessions, workshops, and panel discussions that will foster dialogue among industry and government leaders, and provide executive insights and analysis on the exciting ICT developments across the globe.
A wide range of topics from cloud computing to mobile marketing will be presented by prominent speakers such as Mr. Simone Brunozzi, Technology Evangelist, Asia Pacific, Amazon Web Services; Mr. Dan Scoffer, Vice President, Marketing and Business Development, VeriFone; Mr. Vivek Jhamb, Senior Vice-President, Vodafone Global Enterprise, India; Mr. Christian Geissendoerfer, CEO of Yoose; Mr. Wayne Purboo, President, CEO & Co-Founder, QuickPlay Media; Mr. Rodrigo Donazzolo, Head of IP Interoperability, BT Global Telecom Markets Asia Pacific, and many more.
Mobile technology will be a key focus at the CommunicAsia2012 Summit and will feature dedicated workshops on mobile marketing strategies and mobile security. Other tracks include next-generation broadband, satellite communications, cloud computing, over the top technologies (OTT), customer experience management and augmented reality strategies.
“As mobile technologies transform the ICT landscape and revolutionise business models and marketing approaches, understanding this small but powerful device is vital to manoeuvring through the future ICT landscape. CommunicAsia2012 Summit brings together industry thought leaders, government ministries and international industry associations to generate in-depth discussion and knowledge sharing of strategies and solutions,” says Ms. Lindy Wee, Director of PR and Conferences from event organiser, Singapore Exhibition Services (SES).
Delegates at the Summit can also experience these technologies first hand at the exhibition hall, where more than 200 debut exhibitors will be located. These exhibitors will be sharing their expertise and showcasing their newest and latest products and solutions at CommunicAsia2012.
To view the full event programme and register for the CommunicAsia2012 Summit, please visit
http://www.communicasia.com/conference-programme.html. Alternatively, keep up to date with the event via Twitter by following @communicasia

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In online video, minorities find an audience – By Hayley Tsukayama

A disproportionate share of YouTube’s top personalities are minorities, a striking contrast to the most popular shows on mainstream television, where the stars are largely white. These minority-produced, home-grown shows are drawing massive audiences — the top one has 5.2 million subscribers — enough to attract the attention of major advertisers.

On Wu’s videos, ads for Mazda and Toyota pop up. Michelle Phan, a Vietnamese American beauty guru, who ranks 20th among YouTube’s most popular channels, has become a spokeswoman for Lancome. YouTube declined to reveal how much such producers earn, but it says hundreds of them make at least six figures annually.

“A lot of U.S. marketers are leaving minority audiences on the table,” said Seneca Mudd, the director of industry initiatives at the Interactive Advertising Bureau. “Advertisers would ignore that trend at their own peril.”

Among the 20 most-subscribed-to channels on YouTube, eight feature minorities. Most are Asian American. Many more black and Latino shows populate the top 50. These producers are also finding an audience that has been largely neglected by Hollywood. Nearly 80 percent of minorities regularly watch online videos, compared with less than 70 percent of whites, the Pew Internet & American Life Project says.

Wu, who ranks 11th among YouTube channels, said he does not intentionally target Asian American issues. But those viewers more easily understand his jokes on dating, stereotypes and the generational clash between parents and kids, he said. “I just tell my stories honestly, and usually Asian Americans will relate to me because they say, ‘That’s how I am and with my parents,’ ” he said.

Added Phan: “If you look at mainstream media, there aren’t many Asian Americans. But it’s also shown non-Asians that they’re not that different from a girl with a different skin tone and a different background.”

Analysts say the trend of minority content on YouTube makes sense. Networks feel pressure to appeal to a broader audience, but Internet video can thrive by just targeting niches because the cost of producing a show is so low, said David Bushman, television curator for the Paley Center for Media.

But the audience for shows like those of Wu and Phan extends beyond their niche. The viewership numbers are eye-popping. Ryan Higa, a Japanese American comedian, has 5.2 million subscribers, second among all YouTube channels, according to the company. In total, his videos have been viewed 1.1 billion times.

Wu has 2.3 million subscribers, but often many more than that watch individual shows. While precise numbers are not available, a large majority of his users live in the United States, YouTube says. The same is true of other minority content producers.

Other analysts note that these figures cannot be neatly compared with Nielsen television ratings, which measure the U.S. audience tuning in to programs on the day they air, both live and on DVR.

Still, the growing popularity of online video — and the time it is taking away from other types of media — is turning heads in traditional studios, experts say.

For minorities, the medium offers a way to push back against stereotypes on network television, said Maureen Guthman, the head of brand strategy and acquisitions for the African American-focused channel TV One. Blacks can present themselves “completely unfiltered and without [someone] telling us, ‘You’ve got to be more this’ or ‘You’ve got to be more that,’ ” she said.

Although much of what’s on YouTube is raw, the production behind some of the shows is growing more sophisticated. Tutele, a popular Hispanic American channel, was launched by Maker Studios, a company with 70 million subscribers over 400 YouTube channels. Maker, which is also behind YouTube’s biggest hit, Ray William Johnson, also recently snagged former Disney vice president Chris Williams to be its chief programming officer.

“The Internet is moving so quickly in many directions that it’s hard to predict,” Guthman said. “I see some sort of merging” between online video and traditional television, she said.

It’s too early to say how this will play out, but a shift is coming, said Forrester analyst James McQuivey. Future content producers might choose to bypass the networks altogether, for instance, because they can go to advertisers directly with proof that there’s a demand for their content, he said.

“That may not be the case when you’re Joss Whedon or J.J. Abrams, but what about the next J.J. Abrams?” he said. “Will that person ever do a network television deal? I don’t think so.”

Regardless of the future of television, McQuivey said, the trend of minorities on online video is welcome.

“There’s a thriving opportunity for any of these groups to see a rise of content targeted at them from their own people,” he said, “and that will be a great thing.”

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Confirmed Participants at De Hoeksteen Live on May 25th

Yolanda Duarte (Venezuela) 

The songbirds spells words,
chapter 6 internal landscape 2012
Kai Steamer (Colombia) in 2nd Life 
Intensecity (Audio Experience) .jpg
Isabel Cuesta (Colombia) 
Jan Voss 
Carlos Cuellar Brown (New York)
Onno Peer
Brian Benjamin
Sebastiaan Capelle
John Goring 
Svetlana Mircheva
Ton van Kesteren 

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Highlights of De Hoeksteen April 27 – May 2012

Performance of artist Jolanda Jansen

Journalist Rosario Hernandez and Freddy Galeano (De Hoeksteen Team) During CableCasting


Interview with Director of the CCV Utrecht Province Onno Peer by Willem Lust.


Performance of artist Carlos Llavata


Stevens Gallery exhibitions live


Live Interview with the Museum of Contemporary Art of Bogota, Colombia.


Interview with Sebastiaan Capelle by Francois Engers


Martin Verbeert interviewed by Robert Paques


Eric van der Burg interviewed by Tom Compaijen


Live online performance of Colombian Artist Kai Steamer (Miguel Angel Montoya)


Colombian artist Alejandro Ramirez interviewed by Els van der Plas


Owners of Qlick Editions Gallery Esther Munsters and Fleur Shekel interviewed by Francis Beukeveld


Designer Interviewed by Els van Der Plas

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Kai Steamer on performance tonight at De Hoeksteen Live


Colombian artist Kai Steamer will perform “Intensecity (Audio Experience)” tonight – Friday 27th of March at De Hoeksteen Live, transmitted by Salto Tv

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Carlos Llavata on his live performance “Me meto tus lagrimas por el culo” at De Hoeksteen!


Tomorrow – Friday 27 of april 2012, spanish artist Carlos Llavata on live performance at De Hoeksteen Live, which will be transmitted by Salto Tv Amsterdam.

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