Sourcing – In or Out? It is a long cyclic debate within any business – whether it’s better to build or buy. Such discussions revolve around business investments, where any spending must be weighted alongside the value of IPR ownership.
With the global economic headwinds pressuring all industries, media companies are strategizing about expanding their content’s reach, tapping new audiences, and driving more revenue streams.
Delivering super high-quality live video content swiftly, reliably, and on a large scale is non-negotiable. As media companies pivot to reach audiences across markets, they need the right network backbone to remain agile. However, many media organizations still rely on generic transport workflows for their premium content, missing out on the advantages of new, software-defined transport networks explicitly tailored for media.
Innovation in software-defined transport networks that are media-centric in nature renders these networks ready to meet the stringent quality, synchronization, and reliability requirements of the media industry. When it comes to valuable live content, media companies can’t compromise for anything less.
It all started with a water bottle.
Love Island launched in 2015 and quickly became one of the most successful reality TV shows in history – with 22 versions launched globally, and into its ninth season in the UK.
One of the integral elements of the series is the Love Island app.
From interactive polls to quizzes, live content updates to ad inventory, the Love Island app helps to keep fans hooked on the show throughout the season.
Powered by Monterosa / Interaction Cloud, the real-time fan app drives increased levels of engagement and is an essential part of the format itself, empowering viewers to affect the show’s outcome, through a range of votes.
As the broadcasting business becomes more and more focused on efficiency – as is the case in all industries – changes in the administration of rights and royalties are not fundamental in their nature but are generally motivated by economic effectiveness. For a number of years, broadcasters have focused on maintaining as small an inventory of purchased rights as possible; currently there is increasing focus on this to further drive economic efficiency. However, this minimalization still has to provide the necessary flexibility to enable changes in broadcast planning so that broadcasters can react to competitors in order to achieve the best, or desired, position in the market by using the inventory in the most effective way. In the case of commercial broadcasters, they also have to secure the flexibility to respond to the market situation with the aim of maximizing their revenue.
Broadcasters and telecommunications companies are facing a seismic shift. The traditional powerhouses of Pay-TV services and over-the-air broadcast television are witnessing a change in viewing as consumers increasingly gravitate towards subscription and ad-supported streaming video. This progressively changes the balance of the importance between traditional and streaming services, even from the same provider. The shift demands a re-evaluation of media supply chains and infrastructures, leading many broadcasters to contemplate a move to the cloud.
The media and entertainment landscape is changing rapidly, driven by increased fragmentation and growing competition. On top of constant pressure to report positive revenue growth with limited staffing and resources amid macro-economic challenges, streaming services need to be more flexible than ever to drive business success. Today, experimenting with multiple cost points, service tiers, and viewing models like SVOD, AVOD, and FAST is paramount to attracting and growing the widest audience possible.
For 25 years innovators at nanocosmos have been pushing the boundaries of audio/video technology to connect and engage. Product and services provided have reached a significant milestone: on grounds laid in 1998, various innovations have been carefully layered to a Cloud Solution that enables connection and interaction with large audiences based on real-time. Especially with the spike in virtually broadcasted events it has become apparent that, next to the adaptability and reach, the following feature stands out: delivery of interactive experience anywhere in the world without giving up high quality.
Sustainability is undeniably a pressing concern within the video streaming industry, and the latest data about emissions generated by the sector underscores the urgency of addressing its environmental impact. As has been widely quoted, with between 2% and 4% of global energy usage accounted for by ICT and with more than 70% of internet traffic associated with video, it is clear that improving our energy footprint can have a significant impact on the problem overall.
If you’ve been paying attention to the conversation around production rooms, “cloud” is everywhere, especially the benefits. But just because we talk about the benefits of going cloud, it doesn’t mean it’s a one-size-fits-all solution.
Different productions have different needs, from the size of what’s being captured to the size of the team working on it. Not only that but transitioning to cloud can sometimes entail changing from hardware to software and adapting to a new way of doing things.
To make a leap to cloud production and make it truly work for you, some considerations must be made.