Tag: Search and Discovery

OTT & Multiscreen • Entertainment Challenges in Today’s Digital Society • 3 • Is there a future for 4K video in broadcast?

2014 February 10 / Gabriel Dusil / 1 Comment

• Video

• 5 minutes 36 seconds

3. Is there a future for 4K video in broadcast?

Yes, there is a future for 4K in broadcast but it will take some time. Broadcasters will trail in the adoption of 4K Ultra-HD video (UHD) for a few reasons – the main one being the tremendous amount of bandwidth real estate needed to transmit 4K over a broadcast service. Looking back at high-definition adoption, many broadcasters still transmit HD video as 720p (1280×720), and not full HD (1080×1920 video). This way they can save on precious bandwidth while improving their quality of service and still offer marketing support for HD programming. Only a few global broadcasters on an international scale are utilizing full HD video for their premium channels. This is partially due to the fact that each 1080p channel takes up as much as six standard definition (SD) channels. Replacing SD with HD programming requires a solid business case – a combination of substantial revenue potential, consumer demand for higher quality, and competitive pressures. At the moment, the HD business case justification has been established in the arena of Pay TV such as sports bundles, movie channels, and other premium content like the Olympics. But for mainstream programming, SD is still the norm.

These same broadcast challenges face 4K adoption since this signal takes up 4 HD channels or an equivalent of 24 SD channels.

Meanwhile, 4K is becoming synonymous with H.265 (otherwise known as High Efficiency Video Coding or HEVC). Without consumer grade equipment to decode H.265, 4K currently must rely on H.264 which needs at least double the bandwidth. It is also worth noting that in the absence of devices that support HDMI version 2.0, there is little motivation at this early stage for broadcasters to implement 4K. This is because HDMI v1.4 only works up to 30 frames per second (in the USA, or 25 fps in Europe) at 3840×2160 (Quad HD)^[i]. Broadcasters require televisions to support 50Hz in Europe and 60Hz in the USA and that requires HDMI v2.0. Thankfully, the development of the standard was ratified in September 2013. Consumers typically need to wait at least one year before the implementation of a new standard is found in consumer electronic devices.

The transition to 4K is often compared to the 3D hype of the past. But it’s unfair to compare 3D with 4K when discussing the next frontier of video technology. Unlike 3D, which had several false starts over the past 60 years, 4K shows much more promise. History has shown that consumers are driven to better quality and a more engaging entertainment experience. Consumers want to be immersed in their entertainment, and 3D, with its cumbersome glasses and requirements for an optimal seating position takes all the fun out of it. Try to lie down or tilt your head while wearing 3D glasses and you’ll see what I mean. As home entertainment moved from VHS to DVD and then to Blu-Ray, the video quality and subsequent frame size grew significantly with each upgrade. Consumers considered 36” CRT screens huge in the 90’s, while 50” screens became the new benchmark in the naughts. Now 80″ screens as considered massive. Higher resolution allows for larger screen sizes and creates a more immersive experience from the comfort of one’s living room sofa.

Figure i – Audio-Video Adoption in USA Households

Some consumers, and even the media, consider that 4K is coming to market too soon. But this is certainly not the case when one looks back at recent history. There was a fourteen year wait between the introduction of CDs and DVDs. Consumers then waited nine years for Blu-Ray. The introduction of 4K televisions at the beginning of 2013 shows a seven year gap since full HD televisions were launched. Entertainment is moving at an increasingly faster pace, and these windows of adoption are shortening with each subsequent introduction of new technology. In fact, as shown in Figure i, looking at the adoption curve of entertainment technology over the past two decades, 4K is arriving just in time^[ii].

What initially strikes us as extraordinary soon becomes normal, and eventually becomes expected. So even today’s massive screens will eventually become passé. As consumers hunger for larger televisions, they will also need higher resolutions. Therefore, the successful adoption of 4K is just an evolutionary step to its successor 8K, which will take the reins sometime in the next decade.Some consumers, and even the media, consider that 4K is coming to market too soon. But this is certainly not the case when one looks back at recent history. There was a fourteen year wait between the introduction of CDs and DVDs. Consumers then waited nine years for Blu-Ray. The introduction of 4K televisions at the beginning of 2013 shows a seven year gap since full HD televisions were launched. Entertainment is moving at an increasingly faster pace, and these windows of adoption are shortening with each subsequent introduction of new technology. In fact, as shown in Figure i, looking at the adoption curve of entertainment technology over the past two decades, 4K is arriving just in time^[i].

In spite of 4K broadcast challenges, a recent study by IHS Electronics & Media estimates that there will be one thousand 4K channels by 2025^[iii]. In the meantime, consumers will enjoy 4K by other means, mainly through the Internet and OTT services.

[i] or HDMI 1.4 supports up to 24fps at full 4K (4096×2160)

[ii] “Building a Case for 4K, Ultra High Definition Video“, by Gabriel Dusil, 15^th July 2013, https://mykoddi.com/dusilcom/2013/07/15/building-a-case-for-4k-ultra-high-definition-video/

[iii] Tom Morrod, IHS Electronics & Media, “1000 Ultra HD channels by 2025”, http://advanced-television.com/2013/10/17/1000-ultra-hd-channels-by-2025/

• Entertainment Challenges in Today’s Digital Society

?• Check out additional thought leadership answers to the entertainment challenges in today’s digital society:

1. Is 2nd Screen a threat to broadcasters? What are the challenges for OTT moving forward?

https://mykoddi.com/dusilcom/2013/12/24/entertainment-challenges-in-todays-digital-society-i-of-vii/

2. How will 4K be adopted by consumers?

https://mykoddi.com/dusilcom/2014/01/13/entertainment-challenges-in-todays-digital-society-ii-of-vii/

• Synopsis

• Understanding the entertainment market from ten thousand meters helps industry executives make strategic decisions. This leads to tactical initiatives that drive innovation, new services, and revenue growth. This Q&A series takes a top level view of today’s digital landscape and helps decision makers navigate through the latest technologies and trends in digital video. Gabriel Dusil, Chief Marketing & Corporate Strategy Officer from Visual Unity, discusses the ongoing developments in Over the Top (OTT) services, how these platforms are helping to shape today’s digital society, and addresses the evolving changes in consumer behavior. Topics include 2nd Screen, 4K Ultra High Definition video, H.265 HEVC, global challenges surrounding content distribution, and the future of OTT.

• About Gabriel Dusil

Gabriel Dusil is the Chief Marketing and Corporate Strategy Officer at Visual Unity, with a mandate to advance the company’s portfolio into next generation solutions and expand the company’s global presence. Before joining Visual Unity, Gabriel was the VP of Sales & Marketing at Cognitive Security, and Director of Alliances at SecureWorks, responsible for partners in Europe, the Middle East, and Africa (EMEA). Previously, Gabriel worked at VeriSign and Motorola in a combination of senior marketing and sales roles. Gabriel obtained a degree in Engineering Physics from McMaster University in Canada and has advanced knowledge in Online Video Solutions, Cloud Computing, Security as a Service (SaaS), Identity and Access Management (IAM), and Managed Security Services (MSS).

• Tags

• 2nd Screen, 4K, Broadcast, Connected TV, Digital Rights, Digital Video, DRM, Gabriel Dusil, H.264, H.265, HEVC, Internet Video, Linear Broadcast, Linear TV, Multi-screen, Multiscreen, New Media, Online Video, Online Video Platform, OTT, Over the Top Content, OVP, Recommendation Engine, Search & Discovery, Search and Discovery, second screen, Smart TV, Social TV, TV Everywhere, UHD, Ultra HD, Ultra High Definition, Visual Unity

Gabriel Dusil • Your Content Has Been Viewed Over 10,000 Times!

2014 January 30 / Gabriel Dusil / 0 Comments

http://www.slideshare.net/gdusil

OTT & Multiscreen • Entertainment vs. The Internet, Turning Threats into Opportunities

2014 January 27 / Gabriel Dusil / 1 Comment

• Synopsis

• The entertainment landscape has changed more in the last decade, than in the 60+ years of broadcast. Much of this disruption can be attributed to the growth of the internet. From this infrastructure, several battles are raging under the feet of consumers; Broadcast has a new adversary called OTT (Over the Top Video); ISPs are struggling to keep up with bandwidth demands of video; mobile infrastructures have also witnessed significant changes in consumer behavior as applications overshadow handset features. This presentation explores the various battles taking place between the communication, computing and entertainment industries. The global landscape in subscriber behavior continues to change rapidly, and OTT has the potential to be at the center of it all.

• View the recorded video presentation from Visual Unity’s Digital Forum ’13:

• 23 minutes 50 seconds

• Download the Original Presentation here:

• Portfolio – Visual Unity, Entertainment vs. The Internet, Turning Threats into Opportunities (v3.0).pptx

• View the PDF version here:

[slideshare id=30475101&sc=no]

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Gabriel Dusil • You Were in the Top 4% Most Viewed in 2013!

2014 January 15 / Gabriel Dusil / 0 Comments

OTT & Multiscreen • Entertainment Challenges in Today’s Digital Society • 2 • How will 4K be adopted by consumers?

2014 January 13 / Gabriel Dusil / 1 Comment

• Video

• 4 minutes 21 seconds

• How will 4K be adopted by consumers?

Before answering this question, it’s worth looking back into the evolution of display technologies.

Higher resolution displays have been typically linked to larger screen sizes. For instance, throughout most of the 90’s the sweet spot for standard definition (SD) broadcast was around 30” (30 inches/76cm diagonal). Then the sweet spot for high definition (HD) grew to around 50″. For 4K Ultra HD (UHD), displays appear to be establishing their sweet spot at around 80″. So as monitors get larger, we need more pixels to fill in the additional screen space that consumers have purchased. At the same time, our eyes are expecting higher resolutions and higher quality as technology improves.

But this doesn’t necessarily imply that our viewing distance is changing. If ten feet (around three meters) was the typical sitting distance from televisions throughout most of SD’s existence, this vantage point hasn’t changed for 50” and 80” TVs. Living room sizes certainly haven’t grown at the same proportion to screen sizes. What is changing is an increased pixel count enjoyed by the viewer. With larger televisions, our viewing angles are rivaling that of cinema, even if our living rooms are significantly smaller. Although the ideal viewing angle varies per consumer, the sweet spot for an immersive experience converges on a viewing angle of approximately 40° (measured from one’s eyes to either edge of the screen)[i].

Consumers enjoying a cinematic experience in their own homes may partially explain the gradual decline in cinema goers over the past decade. Larger displays coupled with high-quality surround sound in the living room now mimic the same immersive experience as a movie theater.

Meanwhile, on the second screen, consumers are acclimating to higher resolution displays. Apple popularized the notion of the retina display which can now be found on many smartphones, tablets, monitors, and laptops. The market is following suit, as shown by recent announcements at CES ’14 in Las Vegas, with 4K displays reaching and exceeding 100” (2.5 meters in diagonal).

Possibly by the time 8K UHD monitors arrive to market, we will have 120” displays hanging on our walls as light as picture frames. Or better yet, the wall itself will be an 8K monitor, and we will mount them like wallpaper.

Regarding how 4K will be initially introduced to consumers, early adopters have already shown interest, with OTT providers such as Netflix announcing their plans for introducing 4K content in 2014. Even their hit show, House of Cards[ii], was filmed, edited, and mastered in 4K. In the meantime, subscribers can test 4K content on their portal with sample footage from Netflix.

One lingering question that is consistently raised by the media is the lack of 4K content. In fact, there is plenty of 4K content; it’s just not accessible to the general public. Thousands of movies have already been filmed using camera resolutions between 4K and 6K thanks to pioneers like RED digital cameras which announced their Red One camera in 2006. Furthermore, many movies shot on film have been digitally scanned in 4K. So there is definitely no shortage of 4K content. As 4K becomes mainstream then, these libraries will be progressively released to market, similar to (or maybe even faster than) the speed of Blu-Ray releases over the past seven years.

OTT providers are positioning themselves as early adopters of 4K through Video on Demand (VoD services). OTT providers are the obvious candidates for adopting 4K because they can utilize steady improvements in Internet speeds to transmit such demanding bandwidth. Initial deployments of 4K OTT may require a hefty buffer to play the video in a download-then-play approach (if the OTT provider allows for it). True live and uninterrupted playback will take a bit longer since 4K currently needs around 24-40 mbps of bandwidth when using the existing H.264 codec. With less than 24 mbps, it will be difficult for many subscribers to showcase the benefits of streamed 4K. This is expected to improve once H.265 is deployed, which anticipates around half the bandwidth, as providers are looking to implement 4K between 12 and 20 mbps.

Computing power will need to be higher for decoding 4K content. There are no consumer electronic (CE) appliances at the moment that can decode H.265 4K, although high-end desktop computers and existing GPUs (graphics processors) have the power to do the job. It’s just a matter of time before high-powered, low-cost processors will be available for mass-market distribution in CE appliances.

Finally, 4K OTT will initially need adaptive bitrate (ABR) capabilities to minimize subscriber frustrations that lack the appropriate bandwidth. Early deployments of the service may be a little bumpy for 4K OTT and may result in a lot of customer complaints. So service providers will need to be hyper-sensitive to maximizing quality of service (QoS) during the initial stages of a 4K service launch. Eventually, the entire supply chain will align to remove any bottlenecks – from the cloud down to the consumer. This includes bandwidth speeds, processor capacity, and optimized H.265 encoding.

In summary, 4K will be adopted by video enthusiasts that want an immersive theater experience in their living room. 4K content will reach the home as content owners release their libraries, and OTT providers will likely be the first to deliver the service to their subscribers. This content can be encoded using the latest video encoding standard, H.265, and sent through high-bandwidth Internet connections reaching and exceeding 20 mbps.

[i] Optimum HDTV viewing distance, Wikipedia, http://en.wikipedia.org/wiki/Optimum_HDTV_viewing_distance

[ii] House of Cards, Wikipedia, http://en.wikipedia.org/wiki/House_of_Cards_(U.S._TV_series)

• Entertainment Challenges in Today’s Digital Society

• Check out additional thought leadership answers to the entertainment challenges in today’s digital society:

1. Is 2nd Screen a threat to broadcasters? What are the challenges for OTT moving forward?

https://mykoddi.com/dusilcom/2013/12/24/entertainment-challenges-in-todays-digital-society-i-of-vii/

• Synopsis

• About Gabriel Dusil

• Tags

OTT & Multiscreen • Entertainment Challenges in Today’s Digital Society • 1 • Is 2nd Screen a threat to broadcasters?

2013 December 24 / Gabriel Dusil / 1 Comment

• Video

• 7 minutes 39 seconds •

• Is 2^nd Screen a threat to broadcasters?

Some broadcasters see OTT as a threat at the moment, mainly due to the observed loss of control of their subscriber base. For example, while today’s consumers are watching content on their living room TV, they are also simultaneously tweeting, ‘liking’ and surfing the Internet. They are commenting on what they are watching and discovering complementary content. They are researching information on an actor, athlete, or television personality. Or they are simply checking their email. It’s happening in parallel on a second screen such as a tablet or a smartphone, and all of this activity is out-of-band to the broadcast signal. For some broadcasters, this is viewed as losing control of their subscribers because they are not controlling that 2^nd screen and can’t monitor what the consumer is doing on that device.

At the same time, some broadcasters are identifying the second screen as an opportunity to further engage the subscriber in live content. By providing complementary content in parallel to live programming, broadcasters are engaging in 2^nd screen to wrest back this control. One example is the award-winning AMC show,The Walking Dead, which broadcasts complementary content over the Internet while the show is being aired.

It’s fair to say that a lot of activity by broadcasters on the 2^nd screen is still experimental, but we continue to advocate experimentation. This is how the industry will optimize subscriber engagement, make it more personal, and refine their experience in computing and in developing new and engaging applications.

Second screen is an opportunity because it can drive new revenue streams from broadcasters; not only for advertising revenue, but also for introducing subscribers to new content using recommendation engines, social networking, and responsive design.

• What are the challenges for OTT moving forward?

One challenge for OTT is in its global expansion. Namely, in the content service provider’s ability to obtain the appropriate rights of foreign content for resale in their local market. The challenge they face is in balancing the serviceable market for OTT against the cost of licensing rights from the USA, UK, or other foreign studios. This is further complicated by multi-device restrictions which can be used to consume the content. Some markets simply don’t have the capital to purchase premium titles from the likes of Hollywood and expect to get a profitable return on investment in a local market that does not have a sizable subscriber count. Some of these markets just don’t have high enough purchasing power to justify the subscription fees required to cover the upfront cost of an entertainment library.

Secondly, OTT needs to have a compelling user interface and user experience (UI/UX). It’s fair to say that content is still king. That has not changed. The basis here is that it’s not just the content that needs to be immersive and engaging – it’s the entire ecosystem surrounding it. When consumers go to a concert or live sports event, what do they remember? It’s not just how great the band or the sporting event was, but the spectacle and energy of the fans. That’s what is unforgettable – the environment is the kingdom. Content is still king, but the kingdom needs to be engaging and personal. In the context of an OTT service this is a virtual environment, but the same principle applies. The environment needs to be engaging and fun, not just the content itself. In markets where content is plentiful, then the competitive differentiator is in a compelling UI/UX.

Thirdly, Digital Rights Management needs to be seamless and portable. Certainly content needs to be protected, and today’s DRM solutions serve this need. But there is a sensitive balance between protecting the content and ease of use. DRM needs to evolve where content can be purchased once and remains portable between any operating system or device.

Coca Cola recently redid their website saying that “content is social at the core, digital by design, and emotional.” Coca Cola may not be an entertainment company per se, but that message speaks directly to the entertainment industry.

• Synopsis

• About Gabriel Dusil

• Tags

4K, Broadcast, Connected TV, Digital Rights, Digital Video, DRM, Gabriel Dusil, H.265, HEVC, Internet Piracy, Internet Video, Linear Broadcast, Linear TV, Multi-screen, Multiscreen, New Media, Online Video, Online Video Platform, OTT, Over the Top Content, OVP, Recommendation Engine, Search & Discovery, Search and Discovery, second screen, Smart TV, Social TV, TV Everywhere, Ultra HD, Ultra High Definition, Visual Unity

OTT & Multiscreen – The Rise, Fall… and Rise of the Entertainment Industry

2013 September 24 / Gabriel Dusil / 0 Comments

Synopsis

The Internet has truly changed the playing field of entertainment. With each company that shuts its doors, many more have opened to capitalize on this ever-evolving eMarketplace. The net effect has been certainly disruptive across the music, movie, broadcast, and gaming industries. Disruption can be discussed in a positive and negative context. Some industry proponents blame copyright infringement for their revenue decline. Others thank the unabated proliferation of their content through the Internet, in reaching an untapped global audience. Is the sky falling on the entertainment industry, or is it thriving? Should we be thanking the internet, or blame it. Is this a failure of legacy business models or is it just the evolution of technology? This presentation explores the effect that the Internet has had on the entertainment industry, and looks towards how subscriber behavior is advancing their consumption of entertainment.

View the recorded video presentation from IBC ‘13 at:

This session was presented by Gabriel Dusil, Senior VP of Marketing & Corporate Strategy at Visual Unity, and was broadcasted live at IBC ’13, in Amsterdam on the 14th of September 2013, via the Broadcast Show (http://www.broadcastshow.com /), and powered by TV Bay.

Download the Original Presentation here:

Portfolio – Visual Unity, The Rise, Fall… and Rise of the Entertainment Industry (13.Sep).pptx

View the PDF version here:

[slideshare id=26486627&sc=no]

OTT & Multiscreen • Digital Video Series • 4 • Search and Discovery Is a Journey, not a Destination

2013 May 13 / Gabriel Dusil / 13 Comments

Searching for content has significantly evolved in the past ten years, thanks largely to Google[1]. Consumers don’t even realize how much things have changed, and how fast we can find what we’re looking for. Those that are old enough to remember the 80’s TV experience or earlier, discovering new content was reliant on commercial previews to entice us to watch up-and-coming programs. The popularity of TV Guide[2] helped untether viewers from these teasers, and allowed searching for future programming schedules in a magazine format.

Regardless, tuning into broadcast TV was restricted to watching specific channels, during specific timeslots. Viewers needed to reserve that window in their daily schedule. Prime time[4] (between 8pm and 10pm) was established as the most lucrative timeslot in a channel’s 24 hour transmission. Broadcasters faced the constant challenge of juggling their content to optimal times, to suit the target audience – a practice that continues today.

The electronic programming guide (EPG[5]) gained traction throughout the 90’s and became a modern attempt to discover new interests. Instead of browsing a week’s programing in paper format, subscribers were doing so on the lower third[6] of their TV monitors. Although the notion of searching was still out of reach – especially in the context that consumers are familiar with today. EPG did not meet the depth of search sophistication that is expected in today’s digital generation. It also lacks modern search features that subscribers expect, such as content suggestions or peer-based recommendations.

Figure i – From Channel Clicking to “Googling”

The linear experience in TV broadcasting can be directly compared to how the PC experience entered the lives of consumers. When computers first came into the home, PC’s were arranged similar to television programs – in directories (akin to TV channels),and files (TV episodes) – albeit with greater flexibility and deeper tree structures.

Google helped fix that problem by significantly improving the search paradigm (hoping to remind us of how effective their algorithms are, Google always displays the duration of your search. Who isn’t impressed with 1.5 million hits in 0.2 seconds?) This approach led to software that would achieve similar search speed, accuracy, and ease of use on the PC. Users no longer had to remember where they put their files. All that was needed was to remember a word, or phrase that was used inside the document, and to a good level of confidence, the file would be found. The proficiency that web surfer’s achieved from googling[9], translated to the desktop. Gradually there was no longer a need for all those directories. The organization of digital lives changed from endlessly moving files around the computer, to ensuring they had meaningful file names and metadata[10] so that they could be easily searchable. Whether files were in one directory or one hundred, they could be found just as quickly.

Figure ii – Evolution of Video Consumption

Fast forward to today, and files have grown in size, quantity and frequency that are orders of magnitude higher than ten years ago. Content is accessible at any time anywhere, and on any device. Computers now consist of multimedia libraries – images, music, and videos. The need for metadata is even more important for these files because there is no inherent text from which to catalog them. Metadata comes in two forms:

Structural – For photos this may be the time-stamp of the photo, exposure, shutter speed, or geolocation where it was taken. For a video or audio file this may include the bitrate, overall duration, and compression codec used.
Descriptive – For photos this may include the names of people in the images, and the event being photographed, For music this would include the artist, song, and album titles. Or for movies this may include the actors, directors, and producers of the title. IMDB[11] (Internet Movie Database) is a good example of descriptive metadata for movie titles.

This embedded metadata forms the index needed to find multimedia files that do not have a textual base.

Search & discovery is now an industry in itself fueling its own revenue streams. Users can now discover interests which were previously inaccessible. Operating systems have followed suit. For example, modern iterations of Microsoft Windows 8[12] and Apple iOS[13] have a relatively flat structure from a user perspective. Programs are now accessible from the home screen or adjacent screens that are a swipe away. Deep directories and file structures are still there, but hidden behind an elegant front-end. Digging deep into our memories and remembering where we put something is now archaic.

Figure iii – The Challenges of Search & Discovery

To better understand the evolution of search, and the consumption of video we need to start with an understanding of user behavior. Subscriber needs have evolved to a more complex set of search parameters. These engines now juggle a dense set of algorithms to present results that appease the consumer’s behavior. To do this, multiple algorithms are at play:

Collaborative Behaviour[14] compares the subscriber’s past behaviour with other subscribers with similar activities, and clusters similar interests. In other words, users that liked Lord of the Rings[15] also liked Batman, the Dark Knight [16].
Content Based search ties related content together. If a user likes the director, Peter Jackson[17], then they may like the movie, King Kong[18], which he directed.
Recommendation engine[19] which takes behaviour to a more proactive model by asking subscribers for their opinion, then presenting their collective user ratings.
Statistical searches display cumulative totals, such as the number of views, Like’s or the amount of reviewers – suggesting a level of popularity for that content.

Figure iv – Collaborative Search Engine clusters

Due to the global nature of a video subscription service, a subscriber should be presented with search results that are relevant to their geolocation[21]. They also should not be bombarded with irrelevant or inaccurate results that cannot be monetized due to restrictions in rights management, censorship, or DRM[22] (digital rights management). This applies to any associated advertisements as well. In the same spirit as Google’s “Do You Feel Lucky”, subscribers want search results that are immediately relevant. Challenges facing modern search engines include:

Demographics and Culture add their own level of search complexity, as results are altered due to a content rights or censorship. Results may be filtered or not shown at all.
Advertisers also want to have their brands shown prominently – Whether it’s on a mobile, tablet, TV, or laptop – and have their products displayed adjusted to content that complements their brand.

This leads to a wider discussion is on the rights to censor results, freedom of speech, and the manipulation of search results to suit big brother[23]. How much leeway should be allowed in order to control search results in the presence of sponsors, political influences, media brands or internet governance?

Online search algorithms continue to face the challenge of increased accuracy. In the pursuit of excellence, Netflix ran an open contest in October 2006, to improve their collaborative filtering algorithm. The competition was awarded in September 2009 for 1 million US$ to BellKor’s Pragmatic Chaos[24] which improved the accuracy of the Netflix algorithm by 10.06%., After thousands of man-hours, the algorithm was never implemented, due mainly to the implementation costs involved, according to Netflix sources[25].

Search engines and their related services may already be considered a mature market but there is still room for improvement. Several online music services allow subscribers to find artists of similar interest through graphical means similar to collaborative engines[26]. Google recently enabled the ability to drag a photo onto their search bar so that similar images could be found[27]. IMDB has mapped 2.3 million titles. The value of monetizing such a database was recognized by Amazon.com, resulting in their acquisition of IMDB in 1998. The beneficiaries of these search and discovery improvements continue to be subscribers.

Future challenges include a continuing correlation of as may data points as available. Then making sense of the results. How can peer suggestions correlate better with statistics, past viewing, and collaborative results? How can search data correlate better with purchase behavior, and the overall personal profile of the subscriber? How can video consumption map to musical or photographic interests? How can search better integrate with personal verses business interests? Could a discovery engine reach a level of sophistication that offers search suggestion better than a close friend? Then again, would we want that level of intimacy with a computer algorithm?

This may be a lot of questions to ask at the end of an article, but isn’t that the foundation of search and discovery?

Read Additional Articles in this Series

I. Consumption is Personal
- https://mykoddi.com/dusilcom/2013/02/28/consumption-is-personal/
In the days of linear television, broadcasters had a difficult task in understanding their audience. Without a direct broadcasting and feedback mechanism like the Internet, gauging subscriber behavior was slow. Today, online video providers have the ability to conduct a one-to-one conversation with their audience. Viewing habits of consumers will continue to rapidly change in the next ten years. This will require changes in advertising expenditure and tactics.

II. Granularity of Choice
- https://mykoddi.com/dusilcom/2013/04/01/granularity-of-choice/
The evolution from traditional TV viewing to online video has been swift. This has significantly disrupted disc sales such as DVD and Blu-Ray, as well as cable and satellite TV subscriptions. With the newfound ability to consume content anytime, anywhere, and on any device, consumers are re-evaluating their spending habits. In this paper we will discuss these changes in buying behavior, and identify the turning point of these changes.

III. Benchmarking the H.265 Video Experience
- https://mykoddi.com/dusilcom/2013/04/22/benchmarking-the-video-experience/
Transcoding large video libraries is a time consuming and expensive process. Maintaining consistency in video quality helps to ensure that storage costs and bandwidth are used efficiently. It is also important for video administrators to understand the types of devices receiving the video so that subscribers can enjoy an optimal viewing experience. This paper discusses the differences in quality in popular video codecs, including the recently ratified H.265 specification.

IV. Search & Discovery Is a Journey, not a Destination
- https://mykoddi.com/dusilcom/2013/05/13/Search-and-Discovery-Is-a-Journey-not-a-Destination/
Television subscribers have come a long way from the days of channel hopping. The arduous days of struggling to find something entertaining to watch are now behind us. As consumers look to the future, the ability to search for related interests and discover new interests is now established as common practice. This paper discusses the challenges that search and discovery engines face in refining their services in order to serve a truly global audience.

V. Multiscreen Solutions for the Digital Generation
- https://mykoddi.com/dusilcom/2013/06/24/multiscreen-solutions-for-the-digital-generation/
Broadcasting, as a whole, is becoming less about big powerful hardware and more about software and services. As these players move to online video services, subscribers will benefit from the breadth of content they will provide to subscribers. As the world’s video content moves online, solution providers will contribute to the success of Internet video deployments. Support for future technologies such as 4K video, advancements in behavioral analytics, and accompanying processing and networking demands will follow. Migration to a multiscreen world requires thought leadership and forward-thinking partnerships to help clients keep pace with the rapid march of technology. This paper explores the challenges that solution providers will face in assisting curators of content to address their subscriber’s needs and changing market demands.

VI. Building a Case for 4K, Ultra High Definition Video
- https://mykoddi.com/dusilcom/2013/07/15/building-a-case-for-4K-ultra-high-definition-video/
Ultra High Definition technology (UHD), or 4K, is the latest focus in the ecosystem of video consumption. For most consumers this advanced technology is considered out of their reach, if at all necessary. In actual fact, 4K is right around the corner and will be on consumer wish lists by the end of this decade. From movies filmed in 4K, to archive titles scanned in UHD, there is a tremendous library of content waiting to be released. Furthermore, today’s infrastructure is evolving and converging to meet the demands of 4K, including Internet bandwidth speeds, processing power, connectivity standards, and screen resolutions. This paper explores the next generation in video consumption and how 4K will stimulate the entertainment industry.

VII. Are You Ready For Social TV?
- https://mykoddi.com/dusilcom/2013/08/12/are-you-ready-for-social-tv/
Social TV brings viewers to content via effective brand management and social networking. Users recommend content as they consume it, consumers actively follow what others are watching, and trends drive viewers to subject matters of related interests. The integration of Facebook, Twitter, Tumblr and other social networks has become a natural part of program creation and the engagement of the viewing community. Social networks create an environment where broadcasters have unlimited power to work with niche groups without geographic limits. The only limitations are those dictated by content owners and their associated content rights, as well as those entrenched in corporate culture who are preventing broadcasters from evolving into a New Media world.

VIII. Turning Piratez into Consumers

IX. Turning Piratez into Consumers, I
- https://mykoddi.com/dusilcom/2013/10/25/turning-piratez-into-consumers-i/
IX. Turning Piratez into Consumers, II
- https://mykoddi.com/dusilcom/2014/07/15/turning-piratez-into-consumers-ii/
X. Turning Piratez into Consumers, III
- https://mykoddi.com/dusilcom/2015/05/12/ott-multiscreen-digital-video-series-10-turning-piratez-into-consumers-iii/
XI. Turning Piratez into Consumers, IV
- https://mykoddi.com/dusilcom/2015/05/26/ott-multiscreen-digital-video-series-11-turning-piratez-into-consumers-iv/
XII. Turning Piratez into Consumers, V
- https://mykoddi.com/dusilcom/2015/09/22/ott-multiscreen-digital-video-series-12-turning-piratez-into-consumers-v/

Content Protection is a risk-to-cost balance. At the moment, the cost of piracy is low and the risk is low. There are no silver bullets to solving piracy, but steps can be taken to reduce levels to something more acceptable. It is untrue that everyone who pirates would be unwilling to buy the product legally. It is equally evident that every pirated copy does not represent a lost sale. If the risk is too high and the cost is set correctly, then fewer people will steal content. This paper explores how piracy has evolved over the past decades, and investigates issues surrounding copyright infringement in the entertainment industry.

About the Author

Gabriel Dusil was recently the Chief Marketing & Corporate Strategy Officer at Visual Unity, with a mandate to advance the company’s portfolio into next generation solutions and expand the company’s global presence. Before joining Visual Unity, Gabriel was the VP of Sales & Marketing at Cognitive Security, and Director of Alliances at SecureWorks, responsible for partners in Europe, Middle East, and Africa (EMEA). Previously, Gabriel worked at VeriSign & Motorola in a combination of senior marketing & sales roles. Gabriel obtained a degree in Engineering Physics from McMaster University, in Canada and has advanced knowledge in Online Video Solutions, Cloud Computing, Security as a Service (SaaS), Identity & Access Management (IAM), and Managed Security Services (MSS).

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