Posts for 'Technology'

In a quick call yesterday with FreeWheel Co-CEO and Co-Founder Doug Knopper, who was on his way to NYC for tonight's VideoSchmooze, he told me that the company is poised to manage 1 billion video ads next month, all against premium video streams.

In addition, FreeWheel has now been integrated by AOL, MSN and Fancast, among others, with Yahoo testing currently and ready to go live soon. It looks like the major portals are being encouraged to integrate with FreeWheel's Monetization Rights Management system by the company's premium content customers. The benefit to the content providers is better control and monetization of their ad inventory across their portal distribution deals. The portal activity comes on top of FreeWheel's recently-reported implementation with YouTube, allowing the site's premium content partners to sell and insert ads against their YouTube-initiated streams.

FreeWheel is another great example of the Syndicated Video Economy (SVE) I've frequently talked about. Doug says FreeWheel's progress is proof that the SVE is really "hitting its stride."

It is hard though to put FreeWheel's 1 billion number into perspective. One way of thinking about it is comparing it to the data that comScore reported for August '09 for the top 10 video sites. Assuming only 5-10% of YouTube's views are from its premium partners and maybe half of Fox Interactive's are (due to MySpace's user-generated videos being included in its 380M streams) the top 10 video providers would account for about 3.5B videos. If each video had an average of 2 ads (which is a decent assumption when averaging short clips vs. full programs), then the top 10 video sites would account for about 7B video ads.

What do you think? Post a comment now.

New research shows TV viewing shifting - Mediapost had a good piece this week on Horowitz Associates' new research showing that 2% of all TV programming watched now occurs on non-TV devices. This translates to 2 hours of the 130.2 hours of TV that viewers watch each month shifting. This top line number is a little deceiving though, as the research also shows that for viewers who own a PC or laptop, they watch 9%, or 13 hours of TV programming per month, other than on their TV. I plan to follow up to see if I can get breakout info for young age groups, my guess is that their percentages are even higher.

I've been very interested in these kinds of numbers because there has been much debate about whether making full-length programs available online augments or cannibalizes traditional TV viewing. The broadcast networks have forcefully asserted that it only augments. I agree online augments, but I've suspected for a while that it is also beginning to cannibalize. If networks generated as much revenue per program from an online view as they do from an on-air view this shifting wouldn't matter. But as I wrote in Mediapost myself this week, the problem is they probably only earn 20-25% as much online. TV viewers' shifting usage is a key area to focus on as broadband video viewership continues to grow.

PermissionTV becomes VisibleGains, targets B2B selling - PermissionTV, one of the original media-focused online video publishing and management platforms, officially switched gears this week, changing its name to VisibleGains. Cliff Pollan, CEO and Matt Kaplan, VP of Marketing/Chief Strategy Officer briefed me months ago on their plans and I caught up with them again this week. Their new focus is on enabling companies to provide their prospects with informative videos during the information-gathering phase of the sales process.

Cliff argues persuasively that in the old days the sales rep presented 80% of the information about a product to a prospect; now prospects collect 80% of what they need to know online, and the sales rep then fills in the blanks. Through VisibleGains "ask and respond" branching format, companies better inform their prospects, qualify leads and add personality to their typical text-heavy web sites. It's another great example of how video can be used beyond the media model.

Unicorn Media demo is impressive - Even as PermissionTV changes its focus, Unicorn Media is entering the crowded video platform space. I mentioned Unicorn, which was founded by Bill Rinehart, founding CEO of Limelight, in my 4 items post a couple months. This week I got a demo from CTO AJ McGowan and Chief Strategy Officer David Rice and I was impressed. Key differentiators AJ focused on were an enterprise-style user rights model for accessing the platform, APIs that allow drag-and-drop content feeds, and an "ad proxy" for configuring ad rules.

Most interesting though is Unicorn's real-time data warehouse feature, which provides granular performance data up to the minute. Data can be displayed in a number of ways, but most compelling was what AJ termed the "magic Frisbee," a clever format for showing multiple data points (e.g. streaming time, ad completes, # of plays, etc.) all at once, so that decision-makers can hone in on performance issues. AJ says prospects are responding to this feature in particular as assembling this level of information today often requires multiple staffers and data sources. David reports that Unicorn is finding its biggest opportunity is with large media companies that have built their own in-house video solutions, as opposed to competing with other 3rd party platforms. Unicorn doesn't charge a platform fee, instead it bills by hours viewed. Separately, I have a briefing next week with yet another stealthy platform company; there seems to be no shortage of interest in this space.

Vitamin D shows breakthrough approach to object recognition in video - Speaking of demos, Greg Shirai, VP of Marketing and Rob Haitani, Chief Product Officer from startup Vitamin D showed me their very cool demo this week. Vitamin D is pioneering a completely new approach to recognizing objects in video streams, using "NuPIC", an intelligent computing platform from Numenta, a company founded by Jeff Hawkins, Donna Dubinsky and Dileep George. Some of you will recognize Hawkins and Dubinsky as the founders of Palm and Handspring.

The demo showed how Vitamin D can recognize the presence of moving humans or objects throughout hours of video footage. While the system starts with the assumption that upright humans are tall and thin, it learns over time that their shapes can vary, if for example they are crouching, or carrying a big box, or are partially obscured behind bushes. Once recognized, it's possible to filter for specific actions the humans are taking, such as walking in and out of a door to a room. Vitamin D is first targeting video surveillance in homes or businesses, but as it is further developed, I see very interesting applications for the technology in online video, particularly in sports and advertising. Say you wanted to filter a Yankees game for all of CC Sabathia's strikeouts, or insert a specific hair care ad only when a blond woman was in the last scene. Vitamin D and others are continuing to raise the bar on visual search which is still in its infancy.

Adobe launches Flash 10.1 with numerous video enhancements - Adobe kicked off its MAX developer conference with news that Flash 10.1 will be available for virtually all smartphones, in connection with the Open Screen Project initiative, will support HTTP streaming for the first time, and with Flash Professional CS5, will enable developers to build Flash-based apps for the iPhone and iPod Touch. All of this is part of the battle Adobe is waging to maintain Flash's lead position on the desktop and extend it to mobile devices. The HTTP streaming piece means CDNs will be able to leverage their HTTP infrastructure as an alternative to buying Flash Media Server 3.5. Meanwhile Apple is showing no hints yet of supporting Flash streaming on the iPhone, making it the lone smartphone holdout.

Hulu gets Mediavest multi-million dollar buy - Hulu got a shot in the arm as Mediaweek reported that the Publicis agency Mediavest has committed several million dollars from 6 clients to Hulu in an upfront buy. Hulu has been flogged recently by other media executives for its lightweight ad model, so the deal is a well-timed confidence booster, though it is still just a drop in the bucket in overall ad spending.

IAB ad spending research reports mixed results - Speaking of ad spending, the IAB and PriceWaterhouseCoopers released data yesterday showing overall Internet ad spending declined by 5.3% to $10.9B in 1H '09 vs. 1H '08. Some categories were actually up though, and online video advertising turned in a solid performance, up 38% from $345M in 1H '08 to $477M in 1H '09. Though still a small part of the overall pie, online video advertising's resiliency in the face of the recession is a real positive.

Yahoo ups its commitment to original video - Yahoo is one of the players relying on advertising to support its online video initiatives, and so Variety's report that Yahoo may as much as double its proportion of originally-produced video demonstrates how strategic video is becoming for the company. Yahoo has of course been all over the map with video in recent years including the short tenure of Lloyd Braun and then the Maven acquisition, which was closed down in short order. Now though, by focusing on short-form video that augments its core content areas, Yahoo seems to have hit on a winning formula. New CEO Carol Bartz is reported to be a big proponent of video.

AEG Acquires Incited Media, KIT Digital Acquires The FeedRoom and Nunet - AEG, the sports/venue operator, ramped up its production capabilities by creating AEG Digital Media and acquiring webcasting expert Incited Media. Company executives told me late last week that when combined with AEG's venues and live production expertise, the company will be able to offer the most comprehensive event management and broadcasting services. Elsewhere, KIT Digital, the acquisitive digital media technology provider picked up two of its competitors, Nunet, a German company focused on mobile devices, and The FeedRoom, an early player in video publishing/management solutions which has recently been focused on the enterprise. KIT has made a slew of deals recently and it will be interesting to watch how they knit all the pieces together.

Product news around video delivery from VBrick, Limelight and Kaltura - Last but not least, there were 3 noteworthy product announcements yesterday. Enterprise video provider VBrick launched "VEMS" - VBrick Enterprise Media System - a hardware/software system for distributing live and on-demand video throughout the enterprise. VEMS is targeted to companies with highly distributed operations looking to use video as a core part of their internal and external communications practices.

Separate, Limelight unveiled "XD" its updated network platform that emphasizes "Adaptive Intelligence," which I interpret as its implementation of adaptive bit rate (ABR) streaming (see Limelight comment below, my bad) that is becoming increasing popular for optimizing video delivery (Adobe, Apple, Microsoft, Apple, Akamai, Move Networks and others are all active in ABR too). And Kaltura, the open source video delivery company I wrote about here, launched a new offering to support diverse video use cases by educational institutions. Education has vast potential for video, yet I'm not aware of many dedicated services. I expect this will change.

5Min, the video syndication platform company focused on the instructional and lifestyle categories and Scripps Networks, owner of HGTV, Food Network, DIY, Fine Living and Great American Country, are announcing this morning a content and advertising partnership. 5Min, which I described in December, '08 and again in July when it raised $7.5M, is a classic "Syndicated Video Economy" company. Its VideoSeed syndication tool drives relevant video from its content partners to specific pages within its distribution network's web sites. I talked to 5Min CEO/co-founder Ran Harnevo late last week to learn more about the new Scripps deal.

Scripps will be contributing thousands of clips to 5Min for syndication across 5Min's network, which now generates 22 million unique viewers/mo. This is significant because Scripps owns the premier brands in the food and home & garden categories and so for 5Min the content is an important enhancement to its library. For Scripps, choosing to partner with 5Min is a strong endorsement of the syndication model as a driving force for online video.

I've been saying for a while that to succeed in online video, established media companies need to evolve from being "destination-centric" to being "audience-centric." In other words, instead of solely focusing on attracting users to a specific channel or a web site (the traditional approach), it's becoming as important to proliferate content to the Internet's nooks and crannies, to ensure content is available wherever audiences live (niche sites, social media outlets, portals, etc.).

However, I think a key to content providers' succeeding with this model is retaining control over ad inventory that the syndicator creates, to fully leverage their ad sales capabilities. This is another element of the 5Min-Scripps deal. As Ran explained, Scripps will sell ads against its clips that run in the 5Min network and also against all clips in 5Min's food and home & gardening categories. 5Min will collect a revenue share in exchange. Even though 5Min's own ad sales efforts have been strong, Ran reasoned that with Scripps' reach and relationships, this was a better approach to optimizing the value of the ad inventory.

This model underscores how important the concept of scale is in online video advertising. Ad sales professionals understand that it is not just targeted audiences that appeal to prospective advertisers, it's being able to offer sufficient scale to make them matter. Sub-scale media businesses have a hard time attracting major brand advertisers because their audience sizes are not large enough to meaningfully move the brand's numbers. In other words, no matter how targeted the audience, and how effective the ad campaign, the campaign's results likely will not be sizable enough to register a difference. Scale is not just a problem with niche vertical sites. Larger horizontal sites can have the same problem in certain of their content categories. In fact, whenever you visit a site (or a section of a site) and only see Google AdSense ads, that's likely an example of sub-scale.

The scale issue is particularly relevant in online video and the Internet in general because there's so much audience fragmentation. Barriers to entry for starting a web site are incredibly low, and many sites can obtain some initial traffic flow. But generating ads is another story. Brands and their agencies are not set up to deal with a lot of the Internet's minnows. Their media planning focus is on the whales that have at least reasonable targeting and significant reach. In fact, ad networks often rep smaller sites that don't have their own sales teams (as well as some that do), but even they require some minimal size to ensure they can deliver results.

All of this leads to why smart, automated video syndication is so important for the syndicated video economy to work. High-quality video is still expensive to produce so to really succeed online it needs to drive monetizable views wherever it can, not just at a single destination site. Scripps clearly understands this, and I think others are beginning to as well. Syndication platforms like 5Min's, which allow both content providers and would-be distribution points to be easily and effectively matched, are important glue in this process, which I see only becoming more critical going forward.

What do you think? Post a comment now.

The Big Ten Network has selected thePlatform to manage its two main streaming video initiatives - "BigTen Ticket," a live and on-demand package of all televised men's football and basketball games, available exclusively for international (non-US, Canada and Caribbean) audiences, and a package of 200 webcasts of other sports (women's basketball, volleyball, etc), for domestic audiences. Big Ten Ticket is available for single game pay-per-view and for school and conference-based subscriptions.

The Big Ten Network is a joint venture of Fox Cable Networks and subsidiaries of the Big Ten conference. It has been operating since August 2007 and gained carriage into 30 million U.S. homes within 30 days of launch, attesting to the appeal of its big-name conference members. The network's increased commitment to online video delivery is part of a broader trend in major sports to augment broadcast/cable TV rights deals with consumer paid live and on-demand delivery.

Online sports distribution represents a new level of complexity for video publishing and management platforms because they are live, not just on-demand, require multiple monetization paths, involve unpredictable audience sizes and must implement strict access rights, by both geography and package. Sports are on the leading edge of online video with widespread syndication and distribution to multiple mobile devices still ahead.

At VideoSchmooze on Oct 13th, we'll get great insight into online sports from 2 of our 4 panelists, Perkins Miller, SVP, Digital Media and GM, Universal Sports, NBCU Sports and Olympics and George Kliavkoff, EVP & Deputy Group Head, Hearst Entertainment & Syndication (and formerly EVP, Business at Major League Baseball Advanced Media).

Daisy Whitney and I are pleased to present the 33rd edition of the VideoNuze Report podcast, for September 25, 2009.

This week Daisy and I first discuss Daisy's New Media Minute topic of how technology firms should balance free/revenue-sharing business models with paid/licensed approaches. Daisy reports on two companies that have successfully migrated to licensing. The so-called "Freemium" business model has been in the news a lot recently, especially with Chris Anderson's new book, "Free," so the discussion is timely.

Then I touch on my post earlier this week, "Why the FCC's Net Neutrality Plan Should Go Nowhere," which has generated plenty of reader reaction, and has been circulated widely. I'm very dismayed by new FCC chairman Genachowski's decision to intervene in the well-functioning Internet market, and only hope that as the FCC goes through its planned data collection process, it will rethink things and conclude that no new regulatory action is needed at this time.

Click here to listen to the podcast (14 minutes, 6 seconds)

Click here for previous podcasts

The VideoNuze Report is available in iTunes...subscribe today!

VuClip has an ambitious goal of making video search available to all video-enabled mobile handsets. Yesterday the company announced a $6 million Series B round, led by Jafco Ventures, with participation by prior investor NEA. The round brings to $14.2 million the total amount raised to date. I caught up with Craig Gatarz, VuClip's Chief Administrative Officer yesterday to learn more.

VuClip offers a direct-to-consumer search portal, which the company plans to have account for 60-70% of its business, and a white-label solution to power video search for content provider partners' WAP sites which will account for the remainder. VuClip brings a couple of differentiators to the market. First is an ability to detect the type of handset you're using and its specific multimedia capabilities. This allows VuClip to serve video in a format compatible with and optimized for 3,000 different handsets in 150 different countries.

VuClip does this by keeping a database of User Agent Profiles ("UAProf") which most handset manufacturers offer. But with this data scattered about, it isn't trivial to build a database like VuClip's (which it calls "Devicepedia"). Once the handset type is detected and the video selected from among the search results, VuClip then does an on-the-fly transcode to suit that phone's particular capabilities.

I did a little test and VuClip passed. I have a Blackberry Pearl, which does not support Flash, from Verizon Wireless. I did a search on VuClip on my BlackBerry for "David Pogue" and found a result at Metacafe. Separately I found the same result online at Metacafe.com and verified it was in Flash. I clicked play on the VuClip result, and sure enough, the same original Flash video played out. It took a few seconds for it to start and though it wasn't full-screen, it worked.

While VuClip appears to succeed on the technical side, its business approach is still confusing to me. For the portal, Craig said VuClip has indexed over 100 million videos. But an important caveat is that VuClip has not indexed any content from any premium providers unless it has a partnership deal with them. In India and China, where VuClip's main focus has been, it has signed a number of the major providers (plus wireless carriers for promotion). But in the U.S. where it is less used, Craig identified only CBS and Versaly Entertainment as current partners, with others in the hopper. This explains why when I searched for David Pogue I didn't get any results at NYTimes.com, which would have been most logical.

You might ask why a company positioning itself to be a search leader would proactively decide not to index all video content that's available, since doing so inevitably creates a highly incomplete search experience for users? As best I understood, it's because VuClip wants to be part of the ad revenue stream associated with the video view. It has developed something it calls "Dynamic ad stitching" which allows it to pull ads from different ad servers and properly transcode those as well. Absent this step, if the content provider has an existing pre-roll ad it has a hit-or-miss chance of being viewable on that particular handset. Dynamic ad stitching allows VuClip to approach content partners with the proposition that it can not only enhance viewership of their videos, but also help monetize them.

While it will take VuClip time to build its U.S. content partnerships, the company seems to address well the thorny problems of the highly heterogeneous mobile video market (different handset capabilities, browsers, operating systems, wireless networks, etc.) which have handicapped video's growth. Conversely, on the wired broadband side, these things have been largely non-issues, significantly contributing to the market's strong growth.

What do you think? Post a comment now.

Another building block for delivering video applications to the home through broadband connections is being announced this morning by ActiveVideo Networks and Videon Central. The companies are unveiling a partnership in which AVN's client software will be embedded in Videon's middleware stack used in millions of CE devices. I talked to AVN's SVP of Marketing Edgar Villalpando and Videon's VP of Business Development Michael Daulerio last week to learn more.

For those not familiar with AVN, it is a cloud-based provider of interactive video applications, with customers like Showtime, Fox Reality, HSN and others. AVN initially focused on delivering apps to service providers' set-top boxes, but has also expanded into the Internet-connected CE space. Videon provides middleware to semiconductor and CE manufacturers, driving user interface and navigation in various devices. As an example, its middleware can be found in over 2M Blu-ray players from Samsung, LG, Insignia and others.

As Edgar and Michael explained, the goal of the partnership is to enable content providers and others to deliver up-to-date video apps to the growing universe of connected-CE homes. In some ways this is comparable to what Intel and Yahoo are doing with the Widget Channel and other industry initiatives.

To understand how this works, think of a consumer who rents The Dark Knight Blu-ray disc. The disc itself has additional content like Director's cuts, etc. The problem is that the disc's content is fixed, whereas there's always new Dark Knight-related content being produced (e.g. branded entertainment, product-tie ins, games, user-generated content, etc.). Simply using a bumper to promote the Dark Knight's URL on the disc is a start, but it leaves a lot to be desired in terms of specific promotion. Given the amount of money now involved in ancillary revenue streams, Warner Bros, the Dark Knight's distributor, is highly motivated to drive stronger engagement.

Once implemented, a Blu-ray player with AVN/Videon that's connected to the web allows additional video apps and targeted advertising to be presented seamlessly. The idea of joining offline and online media is a powerful draw for content providers trying to build larger franchises around specific titles. The apps are built with AVN's tools that use web standards like JavaScript and HTML. And with cloud-based delivery, storage needs are minimal and content updates can be frequent. Of course, this is not just restricted to Blu-ray players; Michael explained that Videon's middleware is being included in Internet-enabled TVs and other devices as well.

There is much speculation about how convergence between broadband and TVs is going to unfold. A big sticking point is how the convergence device gets into the home and who pays for it - consumer, content provider or both. From my perspective, building blocks like AVN-Videon are important because they open up new revenue opportunities for content providers and others to help offset the cost of the device. I expect these kinds of initiatives throughout the ecosystem will only accelerate, bringing the convergence era ever closer.

What do you think? Post a comment now.

The partnership between Magnify.net and American Business Media announced last week is further evidence that online video is gaining ground in b-to-b media, and that video shouldn't be looked upon as solely consumer-centric.

For those not familiar with ABM, it's a professional association for 300 business information companies, comprising 6,000 print and online titles, plus trade shows and databases that reach over 100 million professionals. Late last week Magnify's Steve Rosenbaum gave me more details about the deal.

Magnify has focused consistently on helping vertical publishers create engaging video offerings. It does so with tools to curate and aggregate all video relevant to the publisher's audience, rather than requiring the publisher to create all of the video itself. I originally wrote about Magnify's approach a year ago and how it was powering Taste of Home magazine's video initiative.

For editors, the challenge - and opportunity - is to evolve from the mindset of controlling all editorial, and instead think of the web as a rich trove of content that can be sorted through so that the best nuggets can be offered to their audiences. With the cost of creating high-quality original video still relatively high, the economy suffering, and product companies and users getting better at creating worthwhile video, this approach makes a lot of sense.

In the ABM deal, Magnify will initially power ABM's own web site, but the more important part of the deal is that it gives Magnify a stamp of approval to seek out ABM members to power their video offerings. Many of these companies, which focus on niche markets, have long offered their IP in multiple forms - print, online, email, databases, conferences, etc. Video is the newest media opportunity for them, and Magnify's goal is not only to support original video they create, but also educate them about how to harness video that's available from 3rd party sources.

In general, video is becoming more central to b-to-b media. For example, just last week, the WSJ, long an online video leader among business media, launched the News Hub, a twice-per-day show featuring its reporters and guests. As a side note, the show feels a lot like cable with its split screens, fast cuts and guests talking over each other. The News Hub joins sibling FoxBusiness.com which offers a robust video section. Moving a little more into the consumer space, CNNMoney.com continues building on its leadership. There are scores of other video suppliers as well.

Increasingly b-to-b media seem to be recognizing that with their audiences spending more and more time on sites like YouTube and Hulu, it is essential to reach them with video as well. I see no let up in this trend.

What do you think? Post a comment now.

Following are 4 news items worth noting from the week of Sept. 14th:

1. Ad spending slowdown continues - TNS Media Intelligence reported that 1st half '09 U.S. ad spending declined 14.3% vs. a year ago, to $60.87 billion. Spending in Q2 '09 alone was down 13.9% vs. a year ago, the 5th straight declining quarter. The only bright spots TNS reported were Internet display ads (up 6.5%) and Free Standing Inserts (up 4.6%).

Rupert Murdoch and others in the industry have lately been suggesting that advertising is starting to improve and that the worst is behind us. But TNS SVP Research Jon Swallen was less sanguine, saying only that "Early data from third quarter hint at possible improvements for some media due to easy comparisons against distressed levels of year ago expenditures." While the online video ad sector has held up far better than most, the ad spending crash has caused many in the industry to re-evaluate whether ad-only models are viable, particularly for long-form premium content online. Subscription-oriented initiatives will only intensify the longer the ad slowdown lasts.

2. Veoh's court victory is important for all in the industry - I'd be remiss not to note the significance of U.S. District Judge A. Howard Matz's granting of Veoh's motion for summary judgment, effectively throwing out Universal Music's suit alleging Veoh had infringed UMG's copyrights. Judge Matz articulated the specific reasons he believed Veoh operated within the "safe harbor" provisions of the DMCA.

As a content producer myself (albeit at a completely different level than a music publisher or film studio!), I've generally been a huge advocate of copyright protection. But the fact is that DMCA - for better or worse - set out the rules for digital copyright use and they must be enforced clearly and forcefully. Anything less leaves the market in a state of confusion, with industry participants wary of inviting costly, time-consuming legal action (Veoh has said the UMG suit cost it millions of dollars in legal fees). For online video to thrive the rules of the road need to be well-understood; Judge Matz's ruling made an important contribution toward that goal.

3. Digitalsmiths announces new senior level hires - This week Digitalsmiths announced that it has brought on board Josh Wiggins as its new VP, Business Development, West Coast and two others, who will collectively be the company's first L.A.-based presence. They'll report in to Bob Bryson, SVP of Sales and Business Development.

I caught up with Digitalsmiths' CEO Ben Weinberger briefly, who explained that with tier 1 film/TV studios and other content owners (news, sports, etc.) the company's major focus, it was essential to have a full-time presence there staffed with people who know the industry cold. Ben reported that the company has honed in on target customers who have very large files, have video as their core business/revenue center, require sophisticated metadata management and often need a rapid video capture, processing and playout workflow. Digitalsmiths is proving a solid example of how to effectively differentiate through product and customer focus in a very crowded space. Announced customers include Warner Bros., Telepictures and TMZ.com, others are in the hopper (note Digitalsmiths is a VideoNuze sponsor).

4. New EmmyTVLegends.org site is a worth its weight in gold - On a somewhat lighter note, this week the Academy of Television Arts & Sciences Foundation unveiled EmmyTVLegends.org, which offers thoughtful, introspective video interviews with a wide range of TV's most influential personalities. If you have nostalgia for the classic TV shows from your youth, or just appreciate the amazing talent that has made the medium what it is, this site is for you. It is remarkably well-organized and accessible and brilliant proof of online video's power in presenting invaluable material that was previously available only to a lucky few.

I happily got lost in the site listening to Alan Alda talk about the fabulous writers of M*A*S*H and Steven Bochco describing the magic of "Hill Street Blues." I searched by "Happy Days" and quickly found the exact clips of Ron Howard talking about the role of his "Richie Cunningham" character in the show's arc and Henry Winkler revealing the influence of Sylvester Stallone on how he developed the voice of "Fonzie." Mary Tyler Moore is irresistible discussing specific scenes of the Mary Tyler Moore show and her poignant memories of Mary Richards navigating the working world. Kudos to the Academy, the site is a gem.

Enjoy the weekend and L'shanah tova (Happy New Year) to those of you, who like me, will be observing Rosh Hashanah this weekend!

Late yesterday Adobe surprised the market by unveiling a $1.8 billion cash acquisition of Omniture, the web analytics and optimization company. With Omniture's trailing 4 quarter revenues of $335 million, the deal was done at a little over 5x revenues and a 45% premium to Omniture's average stock price over the last 30 days - not ridiculous bubble-era terms by any stretch, but still plenty rich in this down economy.

I listened to yesterday's investor relations call explaining the rationale for the deal, talked to a number of industry executives for their reactions, and read some of the online coverage. My takeaway is that while the deal could work out, I'm somewhat skeptical until I see actual proof.

First, when I look at Adobe, I'm focused narrowly on its video-oriented products and strategy (Flash, Flash Media Server, Strobe its open player framework, etc). While a leader currently, Adobe has significant challenges ahead in the video space. It faces major competitive threats from Microsoft, which is ramping up a Silverlight and Smooth Streaming onslaught (we've seen this movie before and know how it ends) and Apple, which has frozen Flash out of its world-beating iPhones in an attempt to thwart the advance of Flash's desktop hegemony to mobile devices. From my perspective, an acquisition the size of Omniture must provide specific differentiated value to Flash, in order to help Adobe compete in the video space.

I hear the top-line rationale being provided for the acquisition: that integrating Omniture's measurement and analysis tools into the front-end creative process will help digital media executives more effectively monetize content and improve advertising ROIs. In Adobe CEO Shantanu Narayen's words, the deal "completes the loop of content creation, delivery and optimization." Omniture's CEO Josh James put the goal simply: "to drive ad dollars from offline to online."

That's an incredibly important goal; I have written many times that advertising, particularly for long-form online video, is not remotely close yet to supporting the high cost of creating premium-quality programs. To the extent that eyeballs shift from offline to online without a parity (or better) economic model, content providers will be in a death spiral - racking up profitless online viewership.

While the deal's high-level rational makes some sense, I have 3 concerns about whether it's robust enough to ultimately pay off for Adobe, and more specifically strengthen their hand in the video space: (1) Are there actually incremental product integration opportunities beyond those already being pursued through the companies' existing partnership? (2) Are there actually incremental sales to be gained (and for which products), by putting the companies together? (3) Is this the optimal use of Adobe's resources given current and future market conditions for video?

The product integration issue received a lot of attention in the analyst Q&A portion of the investor call. Yet, despite the number of times both CEOs answered it, few specifics were ever revealed, leaving what I perceived as a sense among the analysts and me (manifested by repeated similar questions), that the product benefits might not be well-understood, or worse, overblown.

In my mind optimal product integration requires that the same person or team in an organization gets value from the 2 products being put together. Yet today the creative people using Flash are different from the marketing people using Omniture. In the organizations I've worked with there's already significant interaction between these groups as they continually modify apps to enhance user engagement and monetization. Maybe more can be achieved here, but with different audiences for the respective products, I'd want to see evidence.

Incremental sales were another area of intense analyst interest. Typically in acquisitions a key deal driver is that one (or both) of the companies' products can be put through the others' sales channels to increase volume. Yet, per the above, Adobe's creative tools are typically purchased in the creative group, not the marketing organization (sometimes it's even more complicated as a whole different entity is the buyer, as with CDNs and Flash Media Server). However there is a case to be made that as digital revenues become more important to companies, marketing will exert more influence.

But still, is it likely that notoriously autonomous creative types are going to be swayed to use Adobe's tools because marketing types say that improved integration with Omniture makes analysis/tracking better? Conversely, is a marketing executive going to be persuaded to use Omniture because the creative group insists it must use Flash? Looming also is the question of whether one sales team and channel versed in selling packaged software (Adobe) can effectively help sell SaaS analytics (Omniture) and vice versa.

These questions ultimately raise the final one - is this the best use of Adobe's resources? On the one hand, Omniture helps diversify Adobe's revenue and product base, opening up new markets for it. Diversification isn't a bad thing per se, but if the acquired products don't help the core business, it can quickly turn into a distraction, changing the organization into cluster of silos. Plus, while Omniture's revenues have quadrupled in 3 years, it has already forecast slowing growth. Generally I'm very skeptical of big acquisitions. Evidence has shown they rarely deliver the intended results, and often (as in the case of Ebay-Skype) they can actually be a value destroyer.

My guess is that much of what Adobe will eventually achieve with Omniture could have likely been achieved through expanding its current partnership. But I stand ready to be proven wrong as it's quite possible I just don't get it. Both leadership teams are intelligent and savvy about the market. They obviously see the benefits of the deal. We'll eagerly await the proof.

What do you think? Post a comment now.

Have you noticed that live streaming video is getting more and more popular? Lately, sports in particular have been leading the charge, with live streams of PGA golf, US Open tennis, NFL football, Major League Baseball games and British soccer, among others. But sports are hardly the only area where live video streaming is taking off.

Two key catalysts for this part of the live streaming market have been mobile access (with the iPhone and other smartphones' video capture and playback driving the market) and social media/video sharing (with Twitter, Facebook, YouTube and others providing instant outlets). A lot of this activity is Flash-based. As both mobile and social trends gain ground, we can expect even more activity in this segment.

Aside from sports, live streaming is also gaining traction for high-profile events, with some companies moving to support this end of the market. For example, today Kyte, which positions itself as a full mobile and online video platform, is introducing "Kyte Live Pro," an add-on that allows HD live streaming from multiple sources and encoding using Adobe Flash Media Live Encoder.

I chatted with Gannon Hall, Kyte's COO yesterday, who explained that while "authentic" content - mainly short live clips - remain popular, Kyte's customers have also been asking for the ability to live stream longer-form events in HD. For example, TV Guide is using Kyte Live Pro this Sunday night to stream the Emmys red carpet pre-show online. Gannon expects other video platform companies, recognizing the opportunity, will start to offer live HD streaming as well. Swarmcast is one company I'm aware of that has made a name for itself broadcasting high-profile live events over the years. Microsoft is also putting a big push behind live, with its Smooth Streaming product.

Moving even further up-market, there's also a huge amount of live video streaming happening among enterprises, educational institutions and government agencies. These entities have much tighter requirements, often needing an on-premise, behind-the-firewall configuration for capture, broadcast and viewing, multi-location secure distribution, transcoding into various formats, integration with other network and other IT components, and mission-critical reliability.

The leader in this part of the market is a company called VBrick (according to research compiled by Frost & Sullivan), whose executives I've spoken to a couple of times recently. VBrick has over 6,000 customers in 56 countries, including 50 Fortune 500 companies, 100 Federal agencies and 900 schools, among others. The range of VBrick uses includes executive broadcasts, training and education, digital signage and surveillance and monitoring, to name a few.

VBrick deploys a hardware appliance that does video capture and transcoding into multiple formats, high-quality distribution over varied networks (LAN, WAN, Internet) and secure viewing at desktops or conference rooms. VBrick also offers "VBoss," which is a SaaS alternative for less frequent/more budget-minded users.

To date, most online video has been consumed on-demand. But this appears to be changing fast. With nearly infinite use cases and technology providers addressing all potential market segments, live video streaming appears poised for lots of growth ahead.

What do you think? Post a comment now.

I was only able to catch a little bit of the Titans-Steelers came last night on NBCSports.com, but what I did see was pretty impressive. This was the first of the "Sunday Night Football Extra" games that NBC Sports and the NFL plan to stream live this season. NBC Sports is using Silverlight for the first time, and the live HD broadcast included 5 different camera angles to choose from. Akamai is providing CDN services and Microsoft's Smooth Streaming for delivery.

NBC has been a pioneer in the delivery of online sports content, and with the 2008 Beijing Olympics setting a new standard. The NFL is not alone in pushing into online delivery though. As I noted recently in "2009 is a Big Year for Sports and Broadband/Mobile Video," there have been a ton of new initiatives this year across baseball, basketball, football, golf, tennis, auto racing, etc.

I'm looking forward to having Perkins Miller, SVP, Digital Media and GM, Universal Sports, NBCU Sports and Olympics on my discussion panel at VideoSchmooze on Mon evening, Oct 13th in NYC. No doubt he'll have lots of great insights and data to share about how the season is progressing.

The next game on NBCSports.com is this Sun night, Bears vs. Packers, 8pm ET.

Following are 4 news items worth noting from the week of Sept. 7th:

1. Hulu's boss says it needs to charge for content - Bloomberg ran a story this week quoting Chase Carey, deputy chairman of News Corp (Fox's owner, and therefore a part-owner of Hulu) as saying at a BofA investor conference, "Ad-supported only is going to be a tough place in a fractured world....You want a mix of pay and free."

VideoNuze readers know that while I've admired Hulu's user experience from the start, I've long been critical of its thin ad model, which falls well short of generating revenue/program/viewer parity with traditional on-air program delivery. That lack of parity has caused Hulu's owners to cordon off access to Hulu on TVs for most viewers. But the networks' fear of cannibalizing their own P&Ls only frustrates loyal Hulu users, who neither understand nor care about such legacy concerns. All of this and more led me months ago to conclude a subscription offering is inevitable from Hulu. The impending TV Everywhere launches, which further marginalize ad-only business models, and now Carey's public remarks, solidify my thinking. We'll soon see some type of Hulu subscription tier.

2. Move Networks notches a win with Cable and Wireless deal - Score one for Move Networks, which this week announced Cable and its first tier 1 telco customer. Move enables C&W to deliver an HD, linear multichannel video service, plus on-demand and broadband content to its broadband customers, all through existing DSL connections. Move's repositioning, which I wrote about recently, obviates telcos' need to invest billions in upgrading their networks to get into the IPTV business. Indeed, Roxanne Austin, Move's CEO told me yesterday that C&W has for years considered all the various options for getting into video, but has never pulled the trigger until now. The deal covers up to 7 million homes and interestingly, rather than getting a license fee, Move will be paid a share of subscriber revenue. Roxanne says another big deal will be announced shortly.

3. iPod Nano gets video, battle with Cisco's Flip escalates - As you likely know, Steve Jobs unveiled the new iPod Nano this week, which incorporates an SD video camera. Following the iPhone 3GS adding video recording capability, I think it's pretty clear that Apple has decided video is the next big thing for its devices. As I suggested recently, Apple's embrace is going to drive user-generated video - and YouTube, as the undisputed home for it - to a whole new level.

But one wonders what this all means for Cisco's recently-acquired Flip video camera, and others from Creative, Sony, Kodak, etc? Cisco in particular has a lot on the line since it just shelled out almost $600M for Flip's parent Pure Digital. Granted Apple's devices are still SD, while Flip now emphasizes HD, but still, getting video recording "for free" as Jobs put it at the launch is pretty compelling for consumers. Even if the Flip deal doesn't work out as planned, Cisco will still be selling a whole lot more routers to handle all of this newly-generated broadband video, so it's a winner either way.

4. AT&T Wireless adding 3G capacity - In last Friday's "4 Items" post, I noted a great story the NY Times ran showcasing the frustrations that AT&T Wireless customers are experiencing due to the millions of data-intensive iPhones clogging up the network. AT&T has been hearing complaints from all sides, and this week announced 3G network upgrades in 6 cities this year, with plans to cover 25 of the top 30 U.S. cities by the end of next year, and 90% of its current 3G footprint by the end of 2011. These upgrades can't come soon enough for iPhone users. Meanwhile the company's YouTube video, featuring "Seth the blogger guy" explaining how AT&T is addressing network issues itself came under attack, as AdAge reported. There's no pleasing everyone.

Enjoy the weekend!

Daisy Whitney and I are pleased to present the 31st edition of the VideoNuze Report podcast, for September 11, 2009.

This week Daisy and I first discuss my post from yesterday, "StudioNow Begins March Into Video Platform Space with AMS Launch." For those not familiar with StudioNow, it has been operating a network that links geographically-dispersed video professionals with its clients' projects using a backend work flow/project management platform.

Yesterday the company launched its Video Asset Management & Syndication Platform ("AMS"), which its clients can use to manage, transcode and syndicate their videos. It's a clever move by StudioNow, and I believe paves the way for the company to compete more directly in the video management and publishing platform space. StudioNow will benefit by leveraging its position as a trusted partner to content providers and directories which it serves on the video creation/production side.

We then discuss the new Coalition for Innovative Media Measurement (CIMM) which was just announced yesterday. CIMM brings together 14 different broadcast and cable TV networks, media agencies and advertisers to create new audience measurement for TV and cross-platform media. CIMM intends to run pilot studies focusing on TV measurement through set-top box data and cross-platform media measurement. It's hard not to see CIMM as a "Nielsen-killer" though CIMM has asserted that it should not viewed as such.

With so many companies involved, Daisy is skeptical of the venture's likelihood of success and favors a more market-driven solution. I think it actually can succeed, but only if the partners are truly committed and invest accordingly. I haven't followed measurement that closely, but in my view the partners' commitment level will likely be correlated to the level of dissatisfaction they each have with Nielsen, and this will determine CIMM's eventual success. More detail in the podcast.

Click here to listen to the podcast (15 minutes, 1 second)

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StudioNow, which has built a nationwide network of thousands of creative professionals providing outsourced, on-location video shooting and editing, is announcing its Video Asset Management & Syndication Platform ("AMS") today. With the move, StudioNow looks poised to enter the crowded video publishing and management platform space, but from the angle of video production partner. Earlier this week I spoke to StudioNow's CEO and founder David Mason and its COO David Corts to learn more.

StudioNow's core business has been linking video professionals to its clients' projects (competitors in this space include TurnHere, Geobeats and others). There have been two primary types of customers; directories like CitySearch (which I wrote about here), who increasingly want to sell video ads to their local customers, yet lack the means to fulfill orders themselves and content publishers who want to add video to their sites, but for a variety of reasons don't have the capability to do so solely on their own. A good example of the latter is Maxim magazine which hired StudioNow to shoot and edit video from 100 different locations around the world for its "Hometown Hottie" feature.

These projects have been managed using the company's video creation platform, which allows all of a project's participants (videographers, editors, client project team, StudioNow producer, etc.) to gain access and manage the project's work flow through to completion. Given the geographic dispersion of project participants, the platform plays a crucial role in tracking projects and keeping them on schedule and on budget.

David explained that as StudioNow has produced these videos, a new problem has cropped up: how to manage them, especially as the quantity grows over time. Originally StudioNow would just FTP the videos to the client and they would manage them using in-house or 3rd party management platforms. But more recently, with clients asking StudioNow to get more involved, the company spotted a need to roll out a full service offering that manages, transcodes (in the cloud using Amazon's services) and syndicates the video to its intended destinations. AMS also enables metadata creation and management and next, analytics. StudioNow is announcing Simon & Schuster as its first AMS customer today.

Add in a player, a CDN offering, and integration with monetization options and it sounds a lot like another new competitor in the video platform space, right? Not exactly, or at least not yet anyway according to David. For now, StudioNow is positioning AMS as an intermediary stop, with video still getting pushed to third-party platforms like Brightcove, Ooyala, Delve, or others that its clients might use.

But from my standpoint, it seems inevitable that StudioNow will add features and become another full-fledged video platform competitor. Assuming it goes that route, its advantage is that it is already a trusted partner to customers on the video creation side. This could be a significant entry point, as more companies conclude they need to offer video to remain competitive. But lacking the capabilities to do so on their own, on-demand video creation services will likely become ever more popular, providing a strong toehold for StudioNow to leverage.

This is yet another example of how the video platform space is continuing to evolve, with newer players finding ways to differentiate themselves.

What do you think? Post a comment now.

thePlatform is announcing this morning that another 20 companies have joined its "Framework" partner program originally rolled out in Feb. '08. There are now over 80 companies participating.

In its release, thePlatform notes that its "role is to make online video publishing a seamless process for our customers...." That's a commonly-shared goal among video platform companies, yet I continue to hear from various content providers that stitching together the various pieces they require into a total solution can be difficult. That's why these kinds of programs, where partner products are pre-integrated, add a lot of value for customers.

Among the many companies thePlatform cites as new partners are quite a few I've written about previously on VideoNuze (click to see each write-up): Aspera, Azuki Systems, BrightRoll, EveryZing, Transpera, Visible Measures, YuMe and others.

(Note: thePlatform is a VideoNuze sponsor)

Inevitably, the explosion of broadband video programming has led to the problem of how to keep viewers' favorites organized and receive updates when new episodes appear. Recognizing this problem and believing it is likely to become even more acute as more mainstream users adopt video and choices continue to grow, Channels.com is launching today, positioning itself as "your web video DVR." Last week, Sean Doherty, Channels.com's CEO and founder gave me an overview.

I've known Sean since our cable days in the mid-'90s, and he's been tweaking Channels for a couple of years, providing me periodic sneak peeks. The best way to think of Channels is analogously: Channels is for video what RSS readers are for text. Sean's insight was that most serialized video is now published with MRSS, RSS 2.0 or iTunes feeds which can be collected and then presented well in a central viewing environment. Channels is like a feed reader that is optimized for video.

Importantly, Channels doesn't touch the source video or the accompanying ads; everything is passed through as is. That means for content providers Channels increases reach and ad inventory without disrupting the experience. Channels also doesn't actually record web shows, making its "DVR" tagline and references to "recording" somewhat misnomers. More accurately Channels is a "network DVR" since it's simply organizing feeds that exist in the cloud. Channels' secret sauce is how it crawls the web searching for feeds that may contain video "enclosures" or files. Those that do are then incorporated into the Channels directory with searchable metadata. Sean reports that Channels now includes 160K+ shows, including 400+ TV shows.

Daisy Whitney and I are pleased to present the 28th edition of the VideoNuze Report podcast, for August 21, 2009.

In this week's podcast, Daisy and I first tackle the subject of the Southeastern Conference's new media policy fumble that I wrote about on Wednesday this week. For the upcoming football season, the SEC first banned all social media in the stadiums by game attendees, and later revised it to just exclude fan-generated video of game action.

I took the SEC to task, suggesting that the policy was wrongheaded because it limits the role that fan video could play in expanding the game experience and incorrectly assumes that fan video might actually compete with live game feeds from partners ESPN and CBS. Further, the policy is completely impractical to enforce, requiring security officers to frisk entering students and examine cell phones for video capability.

Daisy raises the example of when YouTube posted the infamous SNL "Lazy Sunday" clip, and NBC ordered it to take the clip down, foregoing tons of free promotion. That incident occurred almost 4 years ago, and since then major media companies have come a long way in adopting the role of user-generated video and video sharing as a promotional tool (see this week's Time Warner-YouTube clip deal as further evidence). On the other hand, the SEC still appears to be living in the stone ages. Somebody there needs to get their game on.

Shifting gears, Daisy explores the idea of how technology is helping video producers collaborate far more extensively than ever before. Producers and creators are now able to share images and raw footage to an unprecedented degree, which is making the creative process far more efficient. That in turn leads to more extensive creative output. Daisy identifies a slew of technology providers who are active in this emerging space.

Click here to listen to the podcast (13 minutes, 50 seconds)

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If your family or extended family is like most, then someone in your home is what Josh Grotstein, CEO of Motionbox, refers to as a "Chief Memory Officer" or family "CMO." That's the person who's responsible for toting the camera/camcorder, uploading, developing and distributing the family's photos and videos to family and friends, and storing the treasures for future use.

And just as the proliferation of digital cameras launched Ofoto, Shutterfly and SnapFish (plus sites like Flickr, Picassa, etc.), who targeted the family CMO to help manage and create further value from their growing digital photo collections, the advent of inexpensive video cameras is creating a new set of companies looking to help CMOs manage their family's video assets.

While still early days, the impending explosion of video-capable smartphones, coupled with cheaper HD camcorders and popular low-end video cameras (e.g. Flip, etc.), all suggests this is yet another growing corner of the market fueled by broadband video's adoption. To learn more I spoke last week with Josh and with Andres Espineira, President and co-founder of Pixorial, which recently emerged from private beta.

The primary play here is to get the CMO engaged in the act of editing raw video footage, to stay organized and/or optimize their memories. Sharing becomes a pretty logical extension though, as does getting other stakeholders involved. For example, these stakeholders could include other moms/dads uploading video from their kids' soccer games to multiple wedding guests who shot their own video. Getting these people to mix and edit (and then share and order hard goods/gifts) is the behavior these companies hope to engender. Since most people don't fancy themselves as video editors, the online tools need to be extremely easy-to-use.

Another point of commonality is that these companies all use some type of "freemium" model, where a base level of service is offered for free, with the goal of converting a percentage of freebies to paid services tiers. The freemium model has become widely used online, and has been further popularized recently by Chris Anderson's new book "Free," which contends "freemium" is the way of the future.

Yet as Josh explained, freemium creates a delicate balance, where user behavior must be carefully monitored. The biggest cost driver is storage, so as more free users look to these services as providing back-up redundancy, a higher percentage of them need to be converted to paying in order to make the whole model work. Josh explained that Motionbox (which has raised $17M to date and is the granddaddy of the category with 2M+ registered users) has continuously tweaked its model to optimize the conversion process. It is moving to a model where free users get a finite number of free uploads, and then beyond that you have to pay. In a world where YouTube is the free standard for video sharing, creating and effectively communicating the value of being a premium sub is all-important.

Assuming this hurdle can be surmounted, the proliferation of convergence devices suggests even more tailwind for the category. Think about being able to easily share and access your movies online through devices like Roku, Xbox, Internet-connected TVs, etc. Even incumbent service providers (cable/satellite/telco) could find value in offering personal video services, white-labeled by these companies.

While video is a more complex media format than photos, as more CMOs shoot more video that they want to save and share, it's likely this category will continue to see plenty of growth.

What do you think? Post a comment now.