As you’ll see throughout the latest issue of Video Edge, video is now used in so many innovative forms and for so many objectives. It’s amazing to observe (and report on) every experiment and development.
Installation view of T.J. Wilcox: In the Air, 2013 (Whitney Museum of American Art, New York, Sept. 19, 2013-Feb. 9, 2014). Photo by Bill Orcutt.
Advanced video capabilities have spawned new art forms, from projection mapping to video art installations to immersive online experiences. If you’d like to see how video is impacting art and culture, I recommend both of these adventures:
There is a lot of buzz in the media today surrounding 4K, the cloud and streaming technologies, with a demand for “TV anywhere and content everywhere.” Consumers want access to high-quality content on all of their devices, and content owners are scrambling to provide it.
In the aftermath of the Boston Marathon bombing on April 15, user-generated video would come to tell a big part of the story, as eyewitnesses uploaded photos and footage shot on cell phones, smartphones and other mobile devices to social media, YouTube and local news stations.
The development of systems for managing and distributing content continues apace. Delivering rich media to users on diverse platforms requires innovative, high-performance solutions, especially as expectations in terms of speed and reliability continue to increase. Here, we’ve assembled a guide to some of the newest solutions for getting your content to your customers, users and viewers.
From a business perspective, sports rights are a powerful moneymaking tool, a principle we know well at MTV Oy in Finland (not to be confused with MTV, the music network). We have exclusive rights here to broadcast the matches of the national ice hockey team, which we air on our largest channel—MTV3—and also on our pay-TV channels.
In an effort to maximize our rights—and to drive viewers to MTV3’s online TV portal, Katsomo—we decided to build an online, interactive TV service focused exclusively on ice hockey.
Since 2008, HDEnvironments.com, the parent company of NatureWindow.tv, has been delivering high-definition ambient nature programming to American Airlines for its boarding video; Princess Cruises for its giant outdoor screens; and Costco, Walmart, Sam’s Club and Target for in-store video walls that demonstrate the resolution of HD. Our videos have also been distributed on Blu-ray and DVD under the Earthscapes and Living Landscapes brands by Allegro Media Group. We’re now looking forward to bringing NatureWindow.tv to many more screens digitally in partnership with OneScreen’s great development team.
With so many different formats currently being used to deliver video content to mobile devices, it might seem logical to question why another new format is necessary. With Apple championing HLS (HTTP Live Streaming), Adobe providing HDS (HTTP Dynamic Streaming) and Microsoft advocating Smooth Streaming, it may seem as if there are already enough formats to satisfy even the most rarefied technology requirement. The DASH (Dynamic Adaptive Streaming over HTTP) format is a somewhat late entrant to the marketplace and has been slow to gain traction. But that could be changing due to efforts by the DASH Industry Forum (DASH-IF) and large vendors like Adobe. Also, since DASH is an international standard that is not under control of a single vendor, it stands a good chance of gaining widespread adoption in the long run.
Organizations are facing increasing pressure to not only get their audience’s attention faster but to keep it. There’s so much digital noise out there that it’s becoming increasingly difficult to do so.
Check out how much video has grown over the past few years, and is expected to grow in the coming years.
According to a recent study conducted by TechValidate in conjunction with Limelight Networks, organizations are increasingly seeing video as the key method to engaging better with their digital audiences:
In 2010, several video-centered content management projects developed on our campus. Our library was tasked with adding a large body of video to its catalog. At the same time, a new professional studies building was being completed that would house a clinic for speech, language and hearing disorders. Both of these projects introduced technological demands that exceeded the ability of content systems used at the college at that time. We initiated a search for a service that could handle—and hopefully exceed—the new requirements.
Liz Shannon Miller of Gigaom provides yet another perspective on this weekend's live-streamed YouTube Music Awards.
She writes,"How was the actual show? Depending on who you ask: A trainwreck or exuberant. (There doesn’t appear to be a lot of middle ground. Here’s the thing: YouTube is currently in a place where it’s trying to determine what, exactly, its aesthetic is. After all, it’s a platform whose roots are arguably based in authenticity; letting Schwartzman and Watts literally run around a warehouse with little clue to what was happening next feels like a much stronger fit than a heavily scripted variety show. But YouTube has also been courting the notion of being a home for premium content, which in theory brings along premium advertising dollars. Partnering with Spike Jonze, then, seems like a logical move — Jonze’s past films, including Being John Malkovich, represent this idea of roughhewn elegance."