XroadMedia, specialists in building innovative and ground-breaking content discovery and recommendation solutions, and Wyplay, a creator of software solutions for leading pay TV operators, today announced a close partnership with XroadMedia joining the “Frog by WyPlay” community.
Frog by Wyplay is the first independent open source software solution for pay-TV operators. The initiative brings together a growing ecosystem of more than 80 companies across the entire digital TV technology value chain including chipset vendors, device manufacturers, independent software vendors, software development and integration services providers and operators. This comprehensive solution includes access to the complete source code and all the components to build TV operator’s products.
Ncanto, XroadMedia’s unique cloud-based content discovery solution, offers intelligent content discovery and personalization capabilities to users and service providers alike. Consumers will be able to enjoy content delivered to them based on their location, viewing behavior, interests and social profiles. Service providers and content owners on the other hand can effectively align their service offerings and monetization strategies with the help of Ncanto’s advanced content discovery and business management capabilities.
This partnership will see the integration of Ncanto into the Frog offering, which will allow its members and customers to easily and quickly develop, deploy and deliver personalized TV and video services to consumers. Further announcements and first results of this collaboration will be announced during the TV Connect event in London, UK, in April.
Adolf Proidl, CEO and Co-Founder of XroadMedia, says:
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“We are extremely excited to be the first content discovery and recommendation solution joining the “Frog by WyPlay” ecosystem. This partnership will open up new opportunities to increase the engagement level between the consumer and the service provider. We are looking forward to working together with this unique ecosystem of key players in the TV industry to power new and exciting products and services.”
”XroadMedia’s Ncanto product is an ideal complement to Wyplay’s Frog multi-user client middleware and user interface as well as with our forthcoming Frog Backend solution” said Dominique Féral, Wyplay’s CMO and Co-Founder. He added “The integration of Ncanto with Frog will allow pay TV operators to deliver personalized content at both, the individual and subscriber household level.”
Would you like to learn more about the technical standard “HbbTV” which connects the so long separated worlds of “television” and “Internet”? Are you already working at evaluating how this standard can profitably be integrated into your entrepreneurial considerations? Or is HbbTV already established in your company, and there are still some remaining questions for the answer of which you would like to receive some support?
Then you can profit from IRT’s know-how. Based on the expert knowledge of our employees in the areas of standardization, application development and conformance testing, IRT is organizing the fourth intensive seminar in English language on the technical basics of HbbTV, including the latest information on HbbTV 2.0 and Second Screen integration.
It is important to us that you can apply your newly gained expertise later on also in practice. We will not only combine the theoretical fundamentals with live demonstrations of services and equipment, but also deal with your individual questions. Therefore, the number of participants is limited to 15 persons. The two-day event is structured in an overview on HbbTV and a deep insight into the application development. Booking just one particular day is possible.
The intensive seminar addresses content providers, broadcasters, network providers and application developers with related technical background knowledge.
Institut für Rundfunktechnik GmbH, Floriansmuehlstrasse 60
Three years ago Social TV didn't exist in Europe…it might easily have been imagined to be a comedy sketch where TVs grew legs and arms and started talking to each other over coffee (perhaps I’ve missed my comedy writing calling). It wouldn’t however, have been thought of as a new development that would shape and transition the broadcast industry into a new phase of creativity and innovation unlocking untapped commercial opportunities.
Looking over the past year, it’s clear that Social TV is well and truly here to stay. We've seen tremendous successes over the last year for 3 key reasons:
Here are some of the stand-out advances across Europe which lay the foundation of the Social TV market. Each example shows how social integrations can improve editorial quality, increase viewer payoff (which drives engagement) and add commercial value.Add a comment
Content syndication and monetization company Adaptive Medias, Inc., a leader in programmatic advertising across mobile, video and online display, is excited to announce its latest video player as part of its end-to-end video platform. Adaptive Media’s video player provides publishers, producers, and advertisers the ability to easily and effectively deliver and monetize digital content across all screens and devices through one centralized solution. This new player is devoted to delivering these capabilities seamlessly to mobile devices.
“From day one of our Media Graph platform, we have been focused on pairing our leading edge technology with the industry’s first mobile-focused video player,” said Omar Akram, Senior Vice President of Product & Technology at Adaptive Media. “Since launching our platform in September, we have delivered over 300 million premium content video streams through our video players on desktop, tablet and smartphones."
The upgraded video player framework is designed to seamlessly publish videos across every device—especially mobile devices—at unprecedented speeds. With customizable player sizes that include full screen, the player allows publishers and advertisers to simply choose a player size, embed their video and begin monetizing their content immediately. The updated video player is ad supported for all advertisers, VAST 3.0 compliant, fully responsive HTML5 design, and can handle sequence-based advertising and enhanced interactive formats. With in-house developed code, Adaptive Media’s media player is ready for immediate usage by all of the company’s existing and future partners searching to better leverage mobile video. Add a comment
Tank Top TV Ltd today announced the release of cloud-based API services enabling TV operators to provide their viewers with personalized recommendations for what to watch on live TV.
The new live TV recommendation solution complements the existing personalization offerings from the company, and was developed in response to customer and market needs.
“Recommendations and personalized offerings for real-time programming is the new frontier in TV user experience,” says Tank Top TV CEO, Liz Rice. “We’ve developed our solution to give operators the tools they need to engage users with a more personalized viewing experience.”
According to a 2014 Nielsen survey  the average US household only ever watches 17 of the 189 channels available to them.
“Perhaps they are paying for 170 terrible channels! But it seems more likely that there is relevant content on many of them, and it’s today’s discovery experiences that are terrible,” says Rice. “With our live TV recommendations, TV operators can enable viewers to find the shows they really want to see from across all the available channels.”
IRIS.TV, the leading in-player video recommendation engine, reports that its programmatic video delivery technology, Adaptive StreamTM, has increased video consumption by 50% across all its clients. The results of these findings just further solidifies that consumption of online video is significantly enhanced by a personalized user experience.
By integrating Adaptive StreamTM in their video players and mobile apps, IRIS.TV’s clients are able to deliver the most relevant streams of video to their viewers, just like TV. Yet unlike TV, viewers’ feedback is captured in real-time through interactive buttons, allowing the stream to dynamically adapt to the changing preferences. IRIS.TV’s personalization has a proven track record for increasing audience engagement and retention. In general, viewers tend to watch a video and bounce to another site or app. When users are presented with an IRIS.TV stream of recommended videos, they tend to watch four to five times as much content- higher than what is typically observed with loyal viewers. These findings indicate that value may not only lie in reducing the bounce of unique views, but in extending the viewing experience of retained audiences. Add a comment
Monterosa, the award-winning second screen specialist has again partnered with Norway’s leading commercial broadcaster TV2 to deliver real-time voting for its new live talent format My Dance Crew. The show is produced by Anti TV and premieres on Friday 9th January.
In a twist on the ‘traditional’ dance contest, My Dance Crew swaps high heels for trainers by featuring eight celebrities, including comedians, actors and even a politician. The celebrities join as one of eight professional street dance crews and must hone their skills over the course of the competition to stay in the game.
In addition to traditional SMS voting, the audience at home now uses a live Monterosa LViS-powered mobile web app to allocate their five votes over the course of the show, as they watch.
Tom McDonnell, CEO at Monterosa said:
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“Mobile interaction is one way that progressive broadcasters like TV 2 are re-inventing entertainment for younger audiences and thereby retaining ad revenues. LViS is a tool that makes live interaction part of TV production workflow, and we’re thrilled to be part of such an energetic new format”.
A little less than a week ago I published the annual-wrap-up and looking-ahead-to-next-year publication “One Year In Now Media Vol IV“. From the start, four years ago, a central part of the publication has been the interviews with creative and intelligent people from different parts of the media field. This year was no exception, as people from all over the world, from Paris to the US, from Denmark to Singapore and Australia gave their look on the highlights of 2014 and the best to come in 2015. One interview this year went a bit deeper.
Jeff Gomez of Starlightrunner Entertainment is someone most people in the transmedia field recognize. An evangelist, a creative, a renowned producer – Jeff’s been an inspiration for me and many others over the past years. I’ve been keeping close tabs on his and Starlightrunner’s activities, and entertainment franchises are definitely no longer the only things on their plate. With that in mind, I took the opportunity to talk a bit more in-depth with Jeff about their activities, and about the future of transmedia on the whole:
Q: Jeff, you’ve been diligently evangelizing about smart 21st century transmedia franchise production, which is something we’ve seen coming from Marvel, Universal, the Harry Potter universe and so on. But at the same time in a recent Facebook post, director James Gunn (Guardians of the Galaxy) famously warned against launching shared universe franchises right out of the gate. What do you think of his comments?
A: I hit “like” on Gunn’s post and actually agree with a lot of what he said. But we do differ on a major point. Gunn argues that studios and filmmakers should concentrate on making a great first film, and then consider more films and a shared universe after it has achieved success. That’s fine, but I don’t think ambition is a sin, and that there are things you can do from a creative standpoint and from a design perspective to prepare to tell a longer and more expansive story (and this goes for all storytelling media: films, video games, novels, TV series, comics…).
Gunn argues that Iron Man was a damned good movie, and that’s all Marvel needed to worry about at the outset of their self-financed film endeavor. But there was more to it than that. Kevin Feige and the filmmakers crafted the film only after making the commitment that the vision of the movie was loyal to the integrity of the Marvel Comics universe. This was done in two major ways:
1) There were any number of visual and dialog references to a greater super hero world; its past, its institutions, what is to come; and
2) Like the best Marvel Comics, Iron Man had something to say about who we are and the issues we are grappling with today and tomorrow. In a complex world of inner turmoil and human conflict, how do we become heroes and maintain our heroism?
This was asked and answered wonderfully in Iron Man, but we continue to explore facets and dimensions of the question with every Marvel movie. As in the comics, the answer is ultimately optimistic, and that resonates with people across the globe. It’s an answer all of us need to hear right now. So I would argue that there was a greater design sensibility infused into Iron Man, a message bigger than any single film, and that’s what helped to launch a consistently successful transmedia story world.
Contrast this with Dracula Untold, which was Universal’s hesitant first step toward rebooting its Classic Monsters story world. The film was scripted and shot as a self-contained story with no forethought given to how it might become the foundation of a shared universe. Additional footage was shot and added long after principal photography was finished, which brought the Dracula character into the present day. The tag tells us there’s more to come, but the decision to do this was after the fact.
So Dracula Untold conveys no sense of being an important story within the context of a larger canvas. There is no greater cosmology, no unique take on how the supernatural or the metaphysics of this world operate. Unlike Iron Man, the movie does not ask a question or offer a thesis that the greater franchise must further examine or realize. Beyond its melodrama, what does Dracula Untold have to tell this rising generation about itself? What gift is it giving to the world?
If I was in the room with Alex Kurtzman’s franchise team for Universal Monsters, those are the questions I’d be asking. I think there’s amazing potential in a story world where monsters—whose very existence demonstrates the veracity of deeply held religious beliefs, and who are capable of shifting the global balance of power—must grapple with the consequences. Those are issues young adults everywhere are facing right now. So I’m hoping they pull things back on track and hand James and I a big surprise.
Editor's Note: Videonet editor John Moulding is one of the top writers in the future TV realm and his favourite stories from Videonet for 2014 are valuable to anyone interested in how incumbents and newcomers are shifting to adapt to radical changes in technology which are affecting traditional business models and the current value chain of what we know as linear TV. Though I don't always agree with Videonet's editorial position on where we are going, I respect their perspective.
EDITOR’S TOP TEN STORIES 2014
1. Cablevision Works Towards Automation For Programmatic Linear TV
Read because: This is trailblazing and many others will follow. Programmatic trading is coming to traditional TV advertising and there are big implications for every stakeholder.
2. RDK Helps Pay TV Industry Prepare For Its Looming Battle With Apple, Google And Amazon
Read because: RDK is helping to prevent a shift in the balance of power from traditional platform operators to online services. It could be the most important collaborative effort since DOCSIS.
3. Netflix Is Posterboy For ‘Cloud’; Pay TV Is Getting Started
Read because: Platform operators can now imitate the super-fast innovation that helped companies like Netflix rise to stardom. Comcast is already showing how.
4. Three-Quarters Of GroupM's U.S. Clients Will Have Tried Addressable Ads Within A Year
Read because: Household-level addressable advertising, using dynamic advertising insertion, is a revolution that will happen (though it will complement and not completely displace 'normal' mass market messaging). Here is a detailed account of why.
5. Managing The Data Analytics Opportunity With Cloud Computing
Read because: Broadcasters are going to need their own data strategy to maintain their standing in the television value chain once data-driven advertising and programmatic trading become commonplace.
6. How UHD And Big Screens Change The Television UEX
Read because: It is time to start thinking about the ‘big screen’ again and there are a whole bunch of issues to resolve about how we use all that screen real-estate.
7. The Strategy For Success In A Hyper-Competitive Market, By Com Hem
Read because: It articulates the future of a Pay TV operator as the ‘super-aggregator’ sitting at the centre of the linear, on-demand and potentially OTT worlds.
8. Pay TV Market Becoming More Segmented; Service Providers Can Take Advantage
Read because: It sums up how Pay TV operators can harness OTT distribution to their own benefit, creating cheaper offers for new and less dedicated subscribers without cannibalizing their premium services.
9. Akamai Outlines How It Will Deliver Broadcast-Grade Streaming TV
Read because: A growing volume of content is being streamed rather than broadcast and consumers will want broadcast-grade experiences. This shows what CDNs can do to help.
10. Supreme Court To Aereo: You’re No Different To Cable TV - And You Just Lost
Read because: All hell would have broken loose if Aereo had won, and this explains why they didn’t. The court made it clear that it would defend the spirit of copyright laws in the face of clever work-arounds - so throwing down the gauntlet to all would-be imitators.