“Today, we lay the groundwork for Europe’s digital future,” declared European Commission president Jean-Claude Juncker at the May 2015 unveiling of long-mooted plans to create a Digital Single Market (DSM).
At the heart of the scheme is a desire to enable the free movement of digital goods, services and capital throughout Europe — effectively transforming the 28 member countries of the European Union (EU), including the United Kingdom, Germany, France, Sweden, Spain and the Netherlands, into one united, borderless entity with standardized business practices and online regulations.
Telstra has added two cloud-based online video platforms to its global media portfolio – the Video Monetization Solution (VMS) and Online Video Solution (OVS) – designed to help professional and digital media organizations more effectively stream, deliver and distribute online video content.
Speaking from the National Association of Broadcasters Show (NAB) in Las Vegas, Trevor Boal, Head of Telstra Broadcast Services, said the two solutions leverage industry-leading technology from Ooyala and strengthen Telstra’s professional and digital media portfolio, which includes global satellite and teleports services, Global Media Networks, SNG and miniature camera capabilities, supported from a state of the art Broadcast Operations Centre.
Continue reading “Telstra Launches New Global Digital Media Solutions”
Telestream®, the leading provider of digital media tools and workflow solutions, today announced that the latest version of its popular live streaming software Wirecast now features Facebook Live as a streaming destination, allowing users to create and stream high-quality broadcasts from their computers to their Facebook timelines with just a few clicks.
Facebook recently announced the ability for all users to stream live video to their feeds through the Facebook app for iOS and Android devices. With Wirecast, users can now elevate the production value of their live videos by using multiple cameras, graphics, effects, transitions and other professional capabilities. Continue reading “Wirecast Now Enables Professional Quality Live Video Streaming to Facebook”
Satellite radio giant SiriusXM, which is controlled by John Malone’s Liberty Media, said Monday that it has crossed the 30 million subscriber mark.
The home of Howard Stern added 465,000 net new subscribers in the first quarter, up from 431,000 in the year-ago period, to end March with 30.1 million subscribers. In comparison, Netflix, which report its latest results next week, ended 2015 with 39.1 million U.S. streaming subscribers.
“SiriusXM has grown from a pioneering start-up to a media powerhouse in less than 15 years of service by providing listeners with the best audio entertainment available,” said CEO Jim Meyer. “Our exclusive, unmatched content and ease of use has led us to this important subscriber milestone.”
Source: Hollywood Reporter
Facebook, Yahoo and Twitter are all eyeing sports media rights as a way to swell engagement on their platforms, but as social video starts to look more like TV, how will the broadcasters react?
Wariness, rather than outright fear, seems to be the initial response from the likes of Sky and the BBC as they recognise the commercial opportunities around social video as highlighted by the Twitter/NFL deal last week.
The deal happened in the same week Yahoo announced it will stream a daily basketball game and Facebook teased its plans for streaming live sports, showing just how far social video has moved on from short clips to live streaming of major events and rights properties.But for the foreseeable future, social media’s role will probably be to complement rather than replace traditional broadcasters, with many mindful of the power those platforms have to push content to viewers at scale.
Source: The Drum
Video is sexy. Video is lucrative. Video works on both the big screen and the smallest mobile screen. Video is also very hard to do, extremely hard to scale and highly unlikely to be much of a lifeline for VC-addled publishers desperate for growth areas.
Mashable, which laid off 30 editorial staffers last week, is the just latest digital publication that believes video is the future. The layoffs, as well as a $15 million investment Mashable received from Turner Broadcasting, are intended to reposition the company toward producing more video content including TV shows. To varying degrees, publishers ranging from BuzzFeed to Mic, Elite Daily and Upworthy are all betting their futures on mastering video, with the belief that distribution deals and lucrative video-ad dollars will follow.
When Jamie Morton discovered that his 60-year-old father had written an erotic novel called “Belinda Blinked”, he was appalled. A few weeks later, when reading passages of the book aloud to two university friends over dinner, Mr Morton saw the funny side—and a creative opportunity. “It was so bad,” Mr Morton says, “it was gold.”
The three decided to record their reactions to Belinda’s not-particularly-erotic escapades and the author’s idiosyncratic syntax. “My Dad Wrote A Porno”, a 13-part podcast and surprise hit, was born. The choice of medium was significant. Podcasts, series of digital audio files that users can download or stream from MP3 players and computers, were first created in 2001.
This was also the year that Apple launched the iPod, the device from which podcasting takes its name. Although it is now, in tech terms, a doughty 15 years old, it has developed only fitfully. While some veteran shows, including “This American Life”, “RadioLab” and “How Stuff Works”, have been broadcast regularly since their launches in the middle of the decade, many more withered away to nothing as quickly as they had sprung up.
Source: The Economist
The streaming music bubble may be ready to burst—and SoundCloud could be the needle that pops it. The German-based music company finally released its long-awaited streaming service, known as SoundCloud Go.
Until recently, Soundcloud was primarily known as a site that artists and amateur musicians post original work, as well as remixes and mashups of their songs (often less than legally). Bloomberg once called the service the “YouTube of audio tracks, thanks to a huge library of free, exclusive remixes, b-sides, and DJ sets that pulled in far more listeners than Spotify, Apple Music, or Pandora.”
Entering a crowded market, Soundcloud is emerging at a time when the industry has reached “too big to fail” status: In 2015, the digital music business was a nearly $6.9 billion empire, and streaming brought in 32 percent of that total. That’s a 28 percent increase from the previous year. If that trend continues, the streaming business will account for more than half of all industry revenue in two years.
Source: Daily Dot
The television industry is currently in the middle of a radical paradigm shift, as streaming networks like Amazon, Netflix, and Hulu look to create as much original content as possible. One of the most notable changes evident in the flood of new content is the total abandonment of the long-accepted idea that a show needs to hook a viewer in its first act, or at least its first episode.
But streaming shows like The Path, Bloodline, Hand of God, Love, Sense8, and many others are taking this to extremes, seeming barely concerned with letting stories pay off until viewers have sat through a whole season.
Source: The Atlantic
If Spotify wants to win the streaming battle, it needs to double down on video and invest in sharing and creating great content.
‘There are three different paths the company could take. The easiest and most obvious would be to build a library of great music video content — every time a user wanted to hear a song, they would be served the official video along with the audio.Spotify could also license concert videos and even venture into live streaming shows.
It’s not a new strategy — Tidal attempted to live-stream Kanye West’s album release party, although it was plagued by technical difficulties, but at least it is on brand and would add some value to the user experience.A more interesting move would be to launch a suite of original programming, although Apple Music and Tidal are also in this space.
The Jazz at Lincoln Center Orchestra with Wynton Marsalis and vocalist Kate Davis pay tribute to Broadway’s brightest lights.
The famed avenue has been home to some of the most talented, inventive, and sophisticated composers, many with jazz-oriented roots. Harold Arlen wrote over 500 songs, including many for the stage as well as the classic “Over the Rainbow,” which was voted the No. 1 song by the Recording Industry Association of America and the National Endowment for the Arts.
Jerome Kern and Irving Berlin are two of the most significant American theatrical composers of the early 20th century, each having been represented on Broadway hundreds of times. The list goes on: composers like Cole Porter, Stephen Sondheim, and Mel Brooks have penned time-tested musical gems that continue to uplift and entertain – both on Broadway and on record. In tonight’s performance, gutsy songstress Kate Davis shares her own fresh spin on the standards, which are sure to put you in a New York state of mind.