Sony announced it has updated firmware for its Bravia LCD TV sets, enabling viewers to get tweets, post on Facebook and watch hi-def videos via YouTube HD.
Bravias have also added compatibility with a version of the Remote Keyboard application, previously available only on Vaio PCs and Xperia smartphones.
“Finally, you can now get live Twitter updates along the bottom of your screen and even use a Shazam like feature called Track ID to determine the names of songs, or their artists, that are played during your shows or commercials,” reports Engadget.
The press release emphasizes keyboard compatibility: “You can already use your smartphone or Vaio keyboard to control your TV and surf the Web — and now you can use other laptops too. From typing a Web address to searching for information about the latest movies, it makes entering text on-screen even easier than using your TV remote.”
The free update is currently available for those with compatible Bravia TVs.
A new video metadata specification that would enable efficient interoperability of video between cameras, editing, playout and archiving may arrive as early as next year’s NAB Show, reports TVNewsCheck.
The Advanced Media Workflow Association (AMWA) has spent the past nine months developing AS-10, aimed at retaining and rendering readable the video metadata across devices that come from different vendors.
“Our goal is to have a single file that could move from camera to edit to playout to archive and back, really to be able to traverse the entire work flow,” says CNN’s Michael Koetter, who also serves as the AMWA director.
“I would love for CNN or CBS or whoever to be able to walk up to a [product] and see a little badge on it that says ‘AS-10 Inside’ and have some greater level of assurance than I do today,” adds Koetter.
The AS-10 effort has drawn support from CNN, NRK (the Norwegian state broadcaster), and vendors such as JVC, Sony, Harmonic, MetaGlue, MOG Solutions, Canon and Adobe.
Have you noticed a recent increase in ads that appear in Web videos?
We’re watching more Web video than ever before; comScore reports more than 42 billion online video views in the U.S. for October alone. New figures from start-up FreeWheel indicate we’re also watching more Web video ads.
According to FreeWheel, which serves and manages video ads for companies such as Turner, Vevo and Fox, there has been a 128 percent ad view growth from Q1 of 2010 to Q3 of this year.
Online viewers have also increasingly finished the ads they start watching, especially when accompanied with longer Web videos.
“Big picture, the Web video business is still very much a work in progress,” reports AllThingsD. “And there’s still a long way to go: Video ads grew 42 percent in the first half of the year, but still only make up 6 percent of the overall Web ad business. But if it keeps headed in this direction it’s going to quickly make up ground.”
Netflix subscriptions could end up costing consumers $28 a month instead of $8 if cable companies decide to add charges for Web streaming.
“U.S. providers like Time Warner Cable have weighed usage-based plans for years as a way to squeeze more profit from Web access, and to counter slowing growth and rising program costs in the TV business,” reports Bloomberg. “While customer complaints hampered earlier attempts, pay TV companies are testing usage caps and price structures that point to the advent of permanent fees.”
As online video streaming increases in popularity, Web data usage soars. Some companies have penalties in place for customers that exceed their monthly gigabyte allowance, while others do not.
Adding charges will not only help cable companies’ Internet revenue, but also possibly boost pay TV service by disincentivizing online services like Netflix and Hulu.
A Netflix spokesman told Bloomberg, “[The practice] is not in the consumer’s best interest as consumers deserve unfettered access to a robust Internet at reasonable rates.”
Wedbush analyst Michael Pachter believes Netflix cannot repair itself from the damage inflicted earlier this year after the streaming company raised prices on subscribers.
CNET reports that, “according to Pachter, by year’s end, Netflix will show a loss of 11 million ‘hybrid’ customers that previously rented DVDs and streamed video content. He said he believes that 7 million of those customers will have traded down to the streaming-only option, while another 4 million will have ‘quit the Netflix service altogether.’”
Shareholders also seem uncertain if Netflix can bounce back. “Over the past six months, the company’s stock is down 75 percent,” indicates the article.
Netflix has not given up, and believes things can be turned around. However, the company offered this honest evaluation: “If we are unable to repair the damage to our brand and reverse negative subscriber growth, our business, results of operations, including cash flows, and financial condition will continue to be adversely affected.”
In the wake of a devastating couple of months, the company is looking to rebound “brick by brick” with a strong rebranding, suggests a related Home Media Magazine article.
In addition to ongoing damage control, Netflix is working to increase its content selection, update its interface and improve user algorithms. These changes, the company hopes, will restore credibility after its recent 60 percent price increase led 800,000 people to unsubscribe.
Chairseven and App Creation Network recently announced the beta availability of Cinefy, “a mobile video editing and effects platform for iPhone where users create and share videos mixed with high quality visual effects,” according to the press release. “Cinefy empowers users with no editing skills to quickly insert footage, add music and apply visually stunning effects with its intuitive and simple interface.”
The app offers branded effects packs which opens a marketing opportunity for TV and game studios to promote in an engaging way and possibly draw “massive viral exposure.”
Users can export their videos to their device’s camera roll in addition to Facebook, YouTube and Vimeo. Cinefy will eventually be available for iPads and Android devices.
To help create soundtracks, Friendly Music has teamed up to provide a catalog of songs, “offering 100 percent legal and all rights-cleared music for personal and custom online media creations.”
After phasing out console games relating to the “Mission: Impossible” series, Paramount Pictures has created a social game on Facebook to promote the franchise.
The game, which introduces an entirely new storyline, awards players with real prizes and new content. Paramount is using the game to give out premiere tickets in addition to other promotional material.
The studio is working with Funtactix, a social game developer, on the project.
According to a related article from TheNextWeb, Paramount is also hoping to generate buzz by making it possible to rent all previous iterations of the franchise directly from the movie’s Facebook Fan Page. Each movie costs 30 Facebook credits ($2.99) to rent for 48 hours.
“Utilizing the sharing capabilities and Facebook ticker, which will alert your friends to the fact that you’re watching one of the movies, could help build excitement for an opening weekend that will destroy the last,” suggests TNW.
Miramax launched a similar Facebook rental model a few months ago. TNW wonders if Facebook rental services will take off in the face of customer comfort and loyalty to Netflix and other streaming services.
Technology R&D firm Fraunhofer Heinrich Hertz Institute in Berlin has announced a major breakthrough in direct eye-to-eye contact for video conferencing. Fraunhofer HHI hopes to implement the new technology in consumer laptops and office desktop systems.
“Called the Virtual Eye Contact Engine, the software module analyses the scene in real-time 3D from three cameras mounted around the display,” reports 3D Focus. “It computes the depth structure information of the person’s head which is used to generate a 3D model. The 3D model is then used to compute the view of the virtual camera for both parties and the rendered output appears to show each person looking directly at each other.”
Fraunhofer HHI believes the technology will help resolve the problem experienced with eye contact during video conferencing. “Eye contact is one of the most important elements of non-verbal communication and without this, each person can feel slightly disconnected from the conversation,” suggests the article.
“We are working on a product release for our system,” says Ingo Feldman, scientific project manager 3D Video & Immersive Media Group. “We expect the first version on the market in about one year’s time…On one hand we plan to provide an office desktop system with high quality virtual eye contact correction. On the other hand, we plan a consumer market solution which is capable to run on laptop environments. As we are a research institution, we are always interested in industry partners which will finance our product development.”
CenturyLink has released an infographic illustrating that 1.8 zettabytes of data will be created this year — and by 2015, that number will be 7.9 (equal to 18 million times the digital assets in the Library of Congress).
By the end of 2012, 50 percent of consumer Internet traffic will be devoted to video, making the largest contribution to the data boom. However, in 2015, most of the traffic will come from wireless devices.
Much of the data produced by consumers is “shadow data,” things like search history.
The infographic also details resource growth and notes “even as IT costs are dropping, capital expenditures are rising.”
“Naturally, enterprises hold most of the data, whether it’s created by consumers or by knowledge workers on company time,” reports ReadWriteWeb. “That’s a lot of responsibility for managing data: What’s your company’s data strategy to handle the incoming deluge of data?”
PCWorld offers its take on the Amazon’s new Kindle Fire and, overall, the review is not kind.
“The Kindle Fire is best considered a relatively inexpensive, hassle-free but flawed way to consume books, music, and videos purchased at Amazon,” indicates the article. “As a tablet, though, the Fire can’t hold a candle to the best tablets available today: It has subpar specs, a limited interface, and a surprisingly messy app store.”
The review praises the device’s integration with Amazon’s media storefronts as its strongest feature, especially in regards to consolidating the user experience: “The Newsstand, Books, Music, and Apps tabs all take you to your personal library first, and then offer a prominent but not offensive option to go to the store for that category.”
However, the write-up details problems with what the reviewer sees as several design flaws, app behavior that was “all over the map,” skimpy specs and occasionally “glitchy” software issues.
Bottom Line: “The Amazon Kindle Fire makes trade-offs to achieve a $200 price. It’s easy to dismiss some of the compromises and weaknesses of the Kindle Fire as the sacrifices necessary to achieve a price point, but the reality is that the Fire may not meet your expectations if you’re looking for an Apple iPad 2-like tablet. For those people who go in knowing what they’re getting, and who want an inexpensive tablet that capably — though not spectacularly — handles their Amazon books, music, and video, the Kindle Fire’s limitations may be acceptable. However, the Fire falls far short of providing a full and satisfying tablet experience.”
Filmic Pro is a $2.99 app from Cinegenix that transforms the iPhone’s video camera capabilities by providing prosumer features.
“The camera lets you set and lock your focus, exposure and white balance,” reports Appletell. “On the backend, a set of menus allows you to set the resolution, from 480×360 up to 1920×1080, though only the iPhone 4S supports that resolution.”
Filmic Pro can add color bars and a slate (including countdown) to the video, and bitrate can be modified. Additionally, the app enables exporting directly to YouTube, Vimeo, Facebook, or Tumblr.
“You can also set the Frames Per Second from 30 all the way down to 1,” according to the post. “There’s a simple audio meter, a thirds guide, a framing guide (2.34:1, a standard TV 4:3, and a cinematic 16:9). If you want to make your iPhone video look like it was shot on a 35mm movie camera, there’s a matte box function, too.”
Appletell suggests that Filmic Pro’s strengths involve greater control over shooting, setting frame and compression rates and the ability to export footage to Dropbox or FTP. The app does not allow users to edit, set titles, or add special effects.
Panasonic’s line of Viera TVs now ships with 12 embedded applications, including Hulu Plus and Netflix. About 120 third-party apps are also available for Viera TVs.
Just as PC users add apps to their computers, Viera owners are free to add content apps to their TVs once those apps go through quality-assurance testing by Panasonic.
The company says that more than 40 million connected TVs were sold by 2010, and 2013 projections suggest sales of connected TVs will outpace those of PCs.
“Panasonic also recently announced a new gaming app, PlayJam; a Bollywood movie/video channel, BigFlix; and the Viera Connect Market, whereby users can upload credit card information once and use it across a variety of apps, such as a demonstrated app in which users could buy 3D eyewear, among other consumer electronics devices,” reports Home Media Magazine.
The new “Harry Potter” Blu-ray disc will include an UltraViolet download from Flixster, now that Warner Bros. has added a new feature to the UV service.
“Today, the updated Flixster app enables users to not only stream movies available on UltraViolet, but also download them to iPads and iPhones, a feature that was missing from Warner’s initial movie releases on UltraViolet,” reports CNET.
When fans purchase the three-disc Blu-ray/DVD combo “Harry Potter and the Deathly Hallows, Part 2,” they’ll also have access to a copy they can maintain in the Flixster cloud.
Warner Bros. became the first studio to adopt UltraViolet, with its release of “Horrible Bosses” last month. “Warner boasts 21 percent of the DVD market, the largest share of any of the major studios,” indicates the article.
According to a new report from analytics service provider Ooyala: “On average, tablet viewers watched videos nearly 30 percent longer than when watching on their desktop.”
Additionally, tablet users are twice as likely to watch their videos to the end. “Videos 10 minutes or longer accounted for 56 percent of the time played on tablets and 84 percent played on connected TV devices and game consoles,” indicates the report.
ReadWriteWeb adds, “non-traditional TV watching devices such as cord-cutting boxes like Boxee and video game consoles tripled the amount of videos they played during the last quarter, although they still have a minute market share.”
And according to results featured on Ooyala’s blog, Apple continues to dominate in this space: “iPads crushed Android tablets in terms of total audience size. iPads accounted for 97 percent of all tablet video plays.”
Ooyala’s “VideoMind Video Index” report is available for download from the company’s blog.
Disney and YouTube have announced a partnership to produce original content for online distribution.
“Disney Interactive Media and YouTube, a division of Google, will spend a combined $10 million to $15 million on original video series; those shorts will be produced by Disney and distributed on a co-branded channel on Disney.com and YouTube,” reports The New York Times. “The channel will also include amateur video culled from the torrent uploaded to YouTube daily.”
Disney hopes that the deal will attract children to its online videos as Disney.com has seen a drop in traffic and Disney Interactive has reported losses over the last four quarters.
The goal is to “bring Disney’s legacy of storytelling to a new generation of families and Disney enthusiasts on the platforms they prefer,” explained James A. Pitaro, co-president of Disney Interactive, who added that a complete redesign of Disney.com should be completed by fall 2012.
YouTube hopes the deal will help create credibility with parents who are concerned about the site’s content as well as compete with cable providers for advertising revenue.
