Researchers in UT-Austin’s LIVE (UT-LIVE), Directed by Professor Al Bovik, have singularly pioneered the use of visual neuroscience to create picture and video quality measurement and monitoring tools that control the quality and bandwidths of a large percentage of all streaming videos, television, and social media. Their breakthrough inventions include the iconic Structural Similarity (SSIM), Multi-scale SSIM (MS-SSIM), and Visual Information Fidelity (VIF) “reference” visual quality tools, which delivered dramatic leaps in performance when introduced, and are still dominant today. These tools are used today to control the quality of most streaming and social media pictures and videos in the US and beyond. Bovik and his team also disrupted the field by inventing the first accurate and practical “blind” visual quality models (BRISQUE and NIQE), using models of neuro-statistical distances, at the neural level, between distorted and distortion-free visual signals. These tools are also globally marketed and used in numerous industry applications, including inspection of streaming and social video uploads, control of cameras, and remote video transcoding in the Cloud.
With growing consumer demand for content across an increasing array of platforms, territories and languages, suppliers are creating and localizing massive amounts of new content and resurfacing existing libraries. This immense content volume requires high-quality metadata for accurate and compelling content description to power search, discovery and recommendation.
Amidst India’s rapidly evolving video landscape it is becoming increasingly difficult for consumers to discover the content of their choice. Currently, in India there are many OTT apps, each with vast content libraries consumers have to download, register, subscribe, use and renew separately. Key features like content recommendations based on watching history, resume watching incomplete content etc are also specific to each app.
IABM Adoption Trends reports annually track the adoption of specific emerging technologies within the broadcast and media sector.
Faced with ageing infrastructure that was impacting the creative team’s ability to deliver, A+E UK turned to Blue Lucy to provide a solution that put production needs first.
While the demand for content shows no signs of slowing, the wide range of production and workflow tools combined with interoperability issues can add to workflow complexity and preventable errors in the media workflow. How can PAM users select the right asset management strategy and leverage PAM to transform their workflows effectively?
Consumers are spending more time streaming video content than ever before. The video on demand market was already valued at $53.96 billion in 2019 and a recent report projects that it will grow to $159.62 billion by 2027. Content producers and media companies are faced with the challenge of producing enough high-quality content to meet this ever-increasing demand.
With the emergence of cloud applications and services, changes in business and technology in the M&E market are accelerating. The multitude of streaming formats and platforms has pushed the technology used up to now, to implement the media supply chain to the limit, revealing its limitations and overwhelmed by the complexity of localization, UHD/HDR production and content distribution, among others. A successful media supply chain requires an efficient multiplatform reception, production and distribution of contents.