Netflix's Chief Content Officer Ted Sarandos talks to Lacey Rose of The Hollywood Reporter about his unorthodox plans for the future of television.
He says, "I have a deep respect for the fundamentals of television, the traditions of it even, but I don’t have any reverence for it...We’re buying [the creator's] vision, not ours. Part of the conversation early on is thinking about it as a 13-hour movie. We don’t need recaps. We don’t need cliff-hangers at the end. You can write differently knowing that in all likelihood the next episode is going to be viewed right away."
Brightcove has just announced a live-streaming module for its Video Cloud Studio that will make it easier to set up and manage live events.
Writes John Moulding of Videonet, "This solution reduces the skill levels required from staff and means you can target multiscreen devices with multiple bitrate streams, including HD, but without the need for requiring multiple encoders at the outdoor broadcast location. [Brightcove CMO Jeff] Whatcott expects this to encourage broadcasters and other rights holders to cover more events live, including sports and music concerts, and for brands to use more live events to engage consumers, harnessing social-media to create a buzz around them."
December 1942: A group of physicists, scientists and engineers gathers under the stands of Stagg Field at the University of Chicago. There, hidden amidst the hubbub of one of America’s busiest, most electricity-hungry cities, Enrico Fermi and his team stand ready to make history with the world’s first nuclear reactor.
May 2013: The content leaders of a major media corporation greenlight an experimental department that will explore delivery of 4K-format content. Like the team in 1942, this project and the department that supports it stand alone, hedging bets against success.
A few web video companies are jointly attempting to establish a common standard for the viewability of web video ads via a consortium they've established called Open Video View.
Explains Mike Shields of Adweek, "The idea is get all the players on the same page when it comes to criteria for defining whether a video ad can actually be seen. And hopefully, the result is that brands get more comfortable—and dollars flow to the medium."
I’d like to welcome you to Video Edge magazine—and let you know that this is just the beginning. The magazine represents the first component of a multimedia initiative designed to provide you with the information and expertise you need in producing and delivering content for every screen.
The demand for high-quality video available anytime, anywhere is driving tremendous growth for professionals involved with digital media. Findings from comScore show that 182 million online users watched 38.7 billion online videos in 2012. Gartner forecasts that 1.2 billion smart devices will be purchased in 2013. A Javelin Strategy and Research report projects that tablet adoption will increase by at least 40 percent by 2016.
Following an involuntary “hiatus” of more than seven years, an entirely new fourth season of the critically praised, low-rated Fox sitcom Arrested Development becomes available exclusively for Netflix streaming on May 26 at 12:01 a.m. PST. As with Netflix’s initial foray into original content production earlier this year with the first-season release of the Kevin Spacey political thriller House of Cards, the Arrested Development release is widely expected to spur weekend binge viewing parties over the Memorial Day weekend by a few million fans of the Jason Bateman cult sitcom.
Joe Berkowitz of Fast Company's Co.Create explains why Netflix is exactly the right home for a cult show like Arrested Development. He writes, "Some television series serve as mere background; audiovisual wallpaper viewers can take in while attending to real life or the Internet. Arrested Development is more of a playground. Watching the deeply layered sitcom is an immersive experience, impossible to fully enjoy in just one visit. Not enough fans stopped by each week, though, when Arrested aired on Fox 10 years ago. The show was shut down in its third season. But new waves of viewers discovered it on DVD and rallied online--demanding more episodes, a movie, something.
Encoding.com's Vid.ly has integrated with ad delivery platform FreeWheel to monetize its video URLs. Explains Ryan Lawler of TechCrunch, "By integrating with FreeWheel’s ad-serving platform, Vid.ly will be able to provide all the same convenience and reach to publishers, but it will also enable them to monetize those videos across all those devices. By connecting with Encoding.com’s user interface or API, when a video is requested, Vid.ly will pass along user info to the FreeWheel ad server and pass along targeted ads along with the video. Pre-rolls, mid-rolls and post-rolls, as well as banner overlays, will all be supported."
Hayley Tsukayama of The Washington Post writes: With video becoming a bigger part of the social-media sphere, Krowds is offering its own angle at curating social video.
In fact, it’s offering lots of angles. The driving idea behind this video app is that it provides a space for multiple people at the same location to submit videos from their own point of view. Although this might have some limited applications, it could be useful for events such as weddings, concerts or speeches.
At Google I/O 2013, Google announced that it has a development kit and video streaming in development for Goole Glass. Said Timothy Jordan, a senior development advocate for Glass, "Glass is a very now device. Glass is really about what you're doing right now. You want to deliver content [to the user]."