Tag: second screen

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]

[polldaddy poll=7748197]

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

Gabriel Dusil • Czech Sales Academy • Interview on Start-ups

2013 December 4 / Gabriel Dusil / 0 Comments

Q&A with the Czech Sales Academy

This interview with Gabriel Dusil, Chief Marketing and Corporate Strategy Officer at Visual Unity, was produced by the Czech Sales Academy, to educate students on sales and marketing best practices. This is one in a series of interviews with different senior executives across the Czech Republic, focusing on their experiences in the field of sales and marketing, after leaving the education system and entering the workforce. These sessions help to educate students in what to expect when working in these departments, as told from different sales and marketing perspectives.

About Gabriel Dusil

Gabriel Dusil is currently 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).

About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our vuMedia™ platform inspires clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

About the Czech Sales Academy

Extract from the Academy’s web site: “The “sales school system” was established in order to enable access to a high-quality specialized education for our students without having to pay the school fees during their studies. The whole concept is primarily aimed at the inhabitants of poorer regions of our country. This way the system allows us to choose the quality students who are motivated in the area of personal development and they are also keen to study… …Another important target is the English language education. Learning of English language is divided into two parts – the first, more intensive one, is comprised of the standard classes and the second one is realized during the weekends’ activities… …The students have a unique opportunity to practice English language in various everyday situations which they solve outside the classrooms.”

www.csacademy.cz

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]