A new global OTT managed service launched on time under remote working restrictions validates the strength of Red Bee Media’s relationship with client TV5MONDE, the resilience of its team and the flexibility of the platform’s architecture.
Never.no was founded in 1999, by Lar Laurizson, a Norwegian creative genius. The company was originally a technology solutions business, with a crack-team of coders providing software for flows and managing data. Some of this would go into traditional development, such as website build, but in essence the approach was about how to improve digital delivery in general.
The company slowly evolved into the broadcast sector, where the initial ideas of what our content management platform, Bee-On, is now – focusing on audience engaged formats. Never.no were the creators of the very first automated music jukeboxes, people could pick up the phone and send an SMS to vote for a music track, which would influence the end result, in real-time. It’s a precursor to where we are now in terms of developing an easy-to-use platform for data management, particularly social, and publishing into or changing broadcast graphics in real-time.
Once upon a time, content was all that mattered for a streaming service to be successful.
It’s still the main concern, of course. But with the proliferation of streaming services, it’s no longer enough. Great content at the right price lets you in the game; great quality of experience differentiates you.
But delivering a high quality of experience on an OTT platform can be a challenge. And the challenges are intensifying with the emergence of next-generation video formats – with 4K and HDR entering distribution streams and a potentially embracing surround viewing, virtual and other extended-reality formats, volumetric holographic content and, eventually, 8K.
The past decade has seen an influx of digital-native media companies which have thrived completely online. These are companies that have scaled up without the legacy infrastructure that their traditional counterparts have long relied on (and now have to wean themselves off).
The proliferation of digital-native media companies can be largely attributed to shifting demographics and consumption patterns. Today, millennials often dictate the trends and technologies of the time as they form a large part of the consumer base. As a generation, they gravitate towards digital platforms to access information on the go.
On 19th November 2019, Ajit Pai, chairman of the United States Federal Communications Commission (FCC), announced a public auction of the C-band spectrum (about 500 MHz of bandwidth between 3.7 to 4.2 GHz) to facilitate the development of 5G. The C-Band, a swathe of satellite spectrum that has been historically used for fixed wireless services, plays a crucial role in broadcasting and live production of content such as news reporting and sports feeds.
COVID-19 has ripped through the global economy. As people adjust to the new reality of social distancing and remote working, consumer behavior too, has transformed. And, as a majority of global population self-isolates at home , media consumption levels have gone through the roof. According to a recent report from Global Web Index, 87% of US consumers and 80% of UK consumers revealed that they are consuming more content than ever before.
Unfortunately though, these high media utilization rates come at a time when new content production— from live sports to sitcoms and movies—has come to a grinding halt. Cast and crew members are now safely ensconced in their homes, often in separate countries.
But there’s good news too. Progressive incumbents in the media industry have taken creative approaches to cater to viewer demand. For instance, traditional sports are increasingly turning to virtual competitions to keep their fans, sponsors and broadcasters engaged. Major sports and Esports leagues are making it possible for star athletes like Kevin Durant and Charles Leclerc to participate in live tournaments. This lets supporters watch their favorite athletes live, and fills up empty airtime for broadcasters. Even celebrity talk shows are now playing out of hosts’ living rooms and bedrooms .
As indicated by a number of research companies, Online TV episode and movie revenues will more than double from $68 billion in 2018 to $159 billion in 2024, with around $17 billion added in 2019 alone. Stay tuned as we explain why now is a great time to launch an OTT channel.
The great hook from the 1971 song by Gill Scott-Heron never felt so apt when we think of it in context to the streaming revolution that we are witnessing today. A phenomenon which was spearheaded by Netflix and Hulu about a decade ago has now gone mainstream. On-demand content has broken linear viewing schedules and led traditional broadcasters to rethink their business model around this change.
With vast improvements in internet speeds and an increase in the number of video-supporting handheld devices, consumers have shifted their focus from traditional television broadcasters to over-the-top (OTT) media services that stream over the internet.
NRWision, a community TV station serving the state of Nordrhein-Westfalen, used a filebased system for the first nine years of operations, to upload non-live content created in the studio over an internet connection to a playout server in Unitymedia’s network operation center (NOC). While NRWision had been part of Unitymedia’s channel line-up for quite some time, it was not able to broadcast live over the internet.
This may sound strange given the fact that NRWision has 1 Gb/s connections to the desktop and – as a university – has a high-speed direct access connection to the Internet backbone. However, NRWision realized that high-speed internet connection is not enough to ensure successful live broadcast.
Today’s consumers have an insatiable appetite for high-quality, on demand content. This hunger to watch what they want, when they want, and how they want, has fueled an explosion in new streaming services; the “Streaming Wars”.
Now, in addition to the well-known players Netflix, Hulu and Amazon Prime, major studios and tech-giants such as Warner Media, Disney, NBC Universal, and Apple have all launched (or will launch) their own streaming platforms. As of March 2019, it’s estimated there were more than 300 over-the-top (OTT) video options in the US alone.
That number only continues to grow.