In an attempt to attract and maintain the youth demographic, Cox Communications plans to debut Flare MeTV, featuring a variety of streaming offerings, by the end of 2015. Similar to Comcast’s “Watchable,” which debuted in September, and Verizon’s go90, Flare MeTV will aggregate online video content and may in the future carry some licensed traditional TV content. Flare MeTV will be introduced as free without ads, but may eventually become ad-supported or subscription-based. The app will initially only be available on the iPad.   Continue reading Flare MeTV: Cox to Roll Out New Streaming Content Service

Gaming company Activision Blizzard is creating an internal film/TV studio, headed by former Walt Disney Company executive Nick van Dyk, to produce content based on its 1,000-title library. The first production is animated TV series “Skylanders Academy,” based on the “Skylanders” game that’s earned $3+ billion since its 2011 launch. The first film is likely to be based on “Call of Duty.” This move comes on the heels of Activision’s stated intent to acquire King Digital Entertainment, creator of “Candy Crush,” for $5.9 billion. Continue reading Activision to Open Film/TV Studio to Repurpose Game Library

The third edition of the Social TV Index Report, from digital services company Ring Digital, reveals that YouTube is quickly increasing as a platform where “consumers vote, post, share or comment about something on TV.” The Social TV Index Report states that 37 percent of adults aged 18 to 24 have engaged in social TV, and 29 percent of the overall U.S. Internet population, up 5 percent from last year. Among those social TV users, 14.5 percent posted TV-related comments to YouTube, more than twice last year’s 6.3 percent. Continue reading Report Shows YouTube Views Rise as Social TV Gains Traction

Up until now, the methodology to find out what TV viewers like — based largely on written surveys and machines with dials to indicate their degree of enjoyment — has been fairly primitive and, most likely, not very reliable. Comcast’s NBCUniversal and Viacom are now both trying to dig deeper using biometrics, including eye movements, facial reactions, skin sensors, heart monitors, and EEGs to monitor brain waves. Viewing measurement company Nielsen even bought a neuroscience firm, Innerscope Resesarch, to add these skillsets to its lab. Continue reading Networks Turn to Neuroscience, Biometrics to Study TV Viewing

At The New York Times’ DealBook conference, Netflix chief executive Reed Hastings pointed to a broad, sustained growth of consumer spending on entertainment as proof that there is not enough television content currently available. Great content, he said, will find viewers. The bar for quality is rising, he noted further, and said Netflix is maintaining its high standards by working with other production companies. As an example, he pointed to “Narcos,” which was produced with French company Gaumont. Continue reading Netflix Chief Exec Tells Conference: “There’s Not Enough TV”

Viacom is introducing a new strategy involving the use of big data to optimize the placement of ads. Initially known as Project Gemini (after an early NASA human spaceflight program), and now called Vantage, Viacom’s new big data capabilities were created by data scientists and other technologists hired away from Microsoft and elsewhere. As Viacom leverages Silicon Valley technology in an effort to capture Madison Avenue dollars, competitors are ramping up similar big data strategies. Continue reading Viacom Marries Madison Ave. and Silicon Valley for Better Ads

Vice Media has generated more buzz, media partnerships and revenue than most new media companies. Traditional media companies following young male viewers fleeing TV find the coveted demographic at home at Vice, making it a particularly attractive target for investments, partnerships and, potentially, acquisition. One recent blip, however, is an accounting snafu: whereas Vice says company revenue will hit nearly $1 billion this year, others have said that number is much closer to $500 million. Continue reading Vice Media, Valued at $5 Billion, Keeps Growing, Inking Deals

Competition in the OTT video market has heated up over this last year, and will likely build over the coming year, say some experts. Currently in online video, the top five online video destinations account for 85 percent of the market share. High-trafficked video destinations include YouTube and Facebook and TV brands such as ESPN, CNN and Fox Sports. But the mid-to-long tail sites have almost no video — which is worth significantly more than display advertising — making it an opportunity that’s been waiting to happen. Continue reading Internet Service Providers Compete for OTT Video Dominance

BeBop Technology has built a virtualized editing platform that uses IBM Cloud to offer a secure, cloud-based film and video editing service. The platform intends to facilitate greater speed and efficiency of media production while reducing costs. Software developer Teradici provides cloud media management with its Pervasive Computing Platform tech that enables secure virtual workspaces. Rather than moving content files between locations, which can result in errors and piracy risks, Teradici’s solution transmits only the pixels, securely on IBM Cloud. Continue reading BeBop Launches New Virtualized Editing Platform on IBM Cloud

High dynamic range is lauded for its more vivid colors and life-like imagery. Initially introduced by TV set manufacturers, an increasing number of gear manufacturers have introduced HDR capabilities and SMPTE just released standard specifications. But implementing HDR into production, post production and distribution can also create problems that degrade the image, with artifacts and banding. Several experts talked about the challenges in implementing HDR, and the potential solutions to them. Continue reading SMPTE 2015: Examining HDR Tech Challenges and Solutions

Television production facilities began incorporating IP, or Internet Protocol, technology several years ago, and an increasing number of broadcast equipment manufacturers are supporting the video/audio signal transport format. But is IP networking mature and robust enough for broadcasters to consider replacing their now-standard SDI networks with “all IP” versions? Broadcasters and broadcast equipment manufacturers have been busy trying to answer that question, and some of their results were presented at SMPTE 2015. Continue reading SMPTE 2015: Experts Greenlight IP Technology for Broadcast

In addition to tackling issues related to new technologies — from Ultra HD to high dynamic range and high frame rates — SMPTE also considers how to preserve film and assets of the past. In a wide-ranging morning of sessions, experts considered the factors required to view archival content on HDR projectors or HDR displays; how the Library of Congress maintains the viability of over 7 million audio-visual assets for a mandated 150 years; and how to restore the original, variable frame rates of silent films for digital projection. Continue reading SMPTE 2015: Preserving and Archiving for the Next 150 Years

Cable networks tend to schedule advertising with a “more is more” approach. But the added revenue comes at a cost to marketers and viewers. Marketers worry that the resulting “ad clutter” obscures their message. Meanwhile, the proliferation of commercial-free, OTT content has shortened the average viewer’s commercial tolerance, especially among the ever-valuable millennial demographic. In a move that truTV sees as a way for advertisers to “rise above the noise,” the cable and satellite channel is planning to cut down ad time and increase each slot’s value. Continue reading TruTV Cuts Ad Time, Hopes to Increase Value for Advertisers

As OTT becomes an increasingly compelling delivery platform, engineers born and bred on over-the-air, cable and satellite technologies are closely examining various schemes for deployment. On SMPTE 2015’s second day, sessions focused on that topic, featuring panelists from Prime Focus Technologies, Comcast and USC Viterbi School of Engineering. The big take-away was that going over-the-top might take some planning but it’s a worthwhile route to take, to engage viewers and provide more data for advertisers. Continue reading SMPTE 2015: Hollywood Engineers Examine OTT Deployment

The future of high dynamic range (HDR), wide color gamut and high frame rate (HFR) are a focus in the industry, so it was no surprise that several presentations at SMPTE 2015 took a closer look at these topics. One panelist made the point that the human visual system doesn’t see resolution, color gamut and frame rate as separate parameters, therefore we can’t treat them as such. Broadcasters working to playback UHD/4K TV are dealing with issues as their plants evolve from SDI-only to SDI/IP hybrid transport. Continue reading SMPTE 2015: Delineating Ways to Broadcast Ultra HD 4K TV