Category: The Front Line

NAB 2014 In The Rear View Mirror

The 2014 NAB Show has come and gone, and although attendance was strong, this year’s edition didn’t have quite the buzz that I expected. Given all that is happening with UHDTV currently, that’s surprising: We are seeing a transformation of television into something very different from traditional models, including demonstrations of next-generation broadcast systems (ATSC 3.0), more powerful encoders (HEVC), and a migration to IP-based video production facilities (the cloud, AVB).

I spent three and a half days at the show, taking it all in while setting aside some time to present a paper at the Broadcast Engineering Conference on the current state of wireless AV connectivity and moderating a Wednesday Super Session on the future of video technology. If I really had to pick one word to characterize this year’s show, it would be “flux.”

Some trends were clear. The Japanese brands (aside from Canon) continue to down-size their booths as their business models shift away from traditional cameras, switchers, recording devices, and monitors. There were numerous companies showing cloud-based storage and media delivery over IT networks, and more than a few booths featured demos of HEVC H.265 encoding and decoding; most of it done with software.

Only a handful of booths emphasized monitors, and some of those had super-sized screens for digital signage out for inspection. In the north and central halls, you could find the traditional purveyors of broadcast transmitters, antennas, and coaxial cable, along with microphones and conventional audio products. But the emphasis seemed to be on “connected” anything – video, audio, cloud storage and delivery, and even wireless cameras for field acquisition and live events.

Given the sheer number of booths, it was difficult to compile a “pick hits” list, but I’ll give it a shot. To me, these companies/products/demos made the trip to Las Vegas worthwhile (and having traveled there over 70 times in the past 20 years, that’s saying a lot!).

Visionary Solutions may not be on your radar, but these clever folks are building some impressive hardware and software codecs at affordable prices. This year, they rolled out their PackeTV system, an end-to-end IP-based video delivery product with scheduling, recording, security, and delivery of real-time and recorded H.264 video, all rolled into one. The graphical user interface (GUI) for controlling the system was well-designed and easy to figure out.

Altera showed how easy it is to stream 12 G HD-SDI (4K) over a single piece of plain coaxial cable.

Altera showed how easy it is to stream 12 G HD-SDI (4K) over a single piece of plain coaxial cable.

 

LG and Gates Air demonstrated their vision for ATSC 3.0, using OFDM and HEVC in a standard TV channel.

LG and Gates Air demonstrated their vision for ATSC 3.0, using OFDM and HEVC in a standard TV channel.

LG and Gates Air had an impressive demo of an ATSC 3.0 concept broadcast. They combined Quad HD, 2K, and SD video programs into one 6 MHz channel, using HEVC encoding and decoding. The signals were encoded at 14, 1.6, and .98 Mb/s respectively, and the signal-to-noise threshold for the SD cast was just 1.5 dB. Multipath sets emulating mobile reception were also demonstrated with the 2K and SD streams holding up very well even at 50 mph.

Sony demonstrated a beautiful 30-inch OLED reference monitor that will soon take its place in the existing Trimaster series. This is a home-grown product and employs the same top-emission system with optical bandpass filters found on the 17-inch and 25-inch products. No price has been announced yet, and Sony has a real challenge in trying to figure out what that price should be as its customers aren’t willing to shell out 1990s bucks anymore for reference displays.

Altera had a clever demo of 12 Gb/s HD-SDI streaming over a piece of “conventional” coaxial cable. 3G HD-SDI has a nominal data cap of 3 Gb/s, so this demo used linked HD-SDI streams to hit the magic number (coincidentally, the data rate for a Quad HD video stream with a 60 Hz refresh rate and 4:2:2 coding). The coax link was 60 feet long and the transmission was flawless, aside from some hiccups on the PC playout server.

Ericsson showed there is more than one way to stream live 4K content. They set up a system that transported a live Quad HD video stream (3840x2160p/60) from a server in England, through satellite and fiber links, to the Ericsson and Intelsat booths at the show. But they used conventional H.264 encoding, breaking the 4K signal into 2K quadrants and using their Simulsync process to stich them together at the receiving end in a seamless presentation on an 84-inch monitor.

Ericsson stiched together four 2K image quadrants to stream this 4K image live from England.

Ericsson stiched together four 2K image quadrants to stream this 4K image live from England.

 

NHK's 4-pound Super Hi-Vision camera records video with 7680x4320 pixels @ 60 Hz and is a marvel.

NHK’s 4-pound Super Hi-Vision camera records video with 7680×4320 pixels @ 60 Hz and is a marvel.

NHK once again had their 8K Super Hi-Vision booth set up, but this time they were streaming live 8K (7680×4320) content from a new, compact 4-pound camera head. The signals were broadcast across the booth in two separate streams on a standard UHF channel, using 4096 QAM at 91 MB/s. Half of the data traveled as a horizontally-polarized signal and the other half as a vertically-polarized signal, both on UHF channel 36. (At that frequency, you can achieve about 20 dB separation between polarization angles.)

Haivision was demonstrating their Secure Reliable Transport (SRT) system over at the Renaissance Hotel. SRT is a hardware/software overlay for existing Haivision encoder/decoder products that is intended to better manage end-to-end streaming over public Internet connections. It offers adaptive streaming rates and two levels of encryption (AES 128-bit and 256-bit). SRT is positioned as an alternative to more expensive satellite backhaul links and dedicated MPLS point-to-point connections.

Korea’s Electronics and Telecommunications Institute (ETRI) had a small but intriguing demo of facial recognition linked to ad servers. The recognition system is built into a standard TV and has a range of about 10 feet, can discriminate between older and younger viewers, and will recognize a face turned 45 degrees to the right or left of center. An appropriate advertisement for the viewer is then displayed during a commercial break.

Fraunhofer HHI always has clever technology demos at NAB, and this year they spotlighted real-time software-based HEVC H.265 encoding and decoding at bit rates up to 40 Mb/s. They also showcased a real-time, hardware-based H.265 decoder using an Altera Stratix V FPGA. This decoder can handle bit rates to 80 MB/s and uses standard interfaces for set-top box designs. Fraunhofer also had an intriguing demo of surround sound playback for tablets in a nearby isolation booth.

BlackMagic's Ursa 4K camera costs only $6,000 (EF lens version)!

BlackMagic’s Ursa 4K camera costs only $6,000 (EF lens version)!

Sony's 30-inch Trimaster OLED looked great, but will its price tag break the bank?

Sony’s 30-inch Trimaster OLED looked great, but will its price tag break the bank?

No plasma? No problem for Panasonic, which showed new 84-inch and 98-inch 4K LCD monitors at the show.

No plasma? No problem for Panasonic, which showed new 84-inch and 98-inch 4K LCD monitors at the show.

BlackMagic Design continues to introduce powerful camera systems at bargain basement prices. Their new Ursa 4K field/studio camera has a huge 10-inch LCD monitor, touchscreen control, RAW and ProRes recorders, and upgradable Super 35mm shutter. The EF lens-compatible version lists at $5,995 while the PL-compatible version is $6,495. Their Studio Camera 4K, also equipped with the 10-inch LCD monitor and 12 GB HD-SDI connections, had an even more amazing price – $2,995.

Intel showed a clever use for Thunderbolt technology: Using a display interface for file exchanges. Thunderbolt runs on the DisplayPort physical layer and has a maximum speed of 20 Gb/s. By using a simple mini or regular DisplayPort cable; two MacBooks, two Windows laptops, or a MacBook/Win laptop can link together for file transfers, working just like a 10GigE network connection.

Panasonic showed it still has game after shutting down plasma manufacturing. Two new large digital 4K LCD displays were up and running in their booth – an 84-inch model (TH-84LQ7OU) and a 98-inch model (TH-98LQ7OU). We’ve seen the 84-inch LG Display LC glass cut before offered by other manufacturers, but the 98-inch hasn’t been in wide circulation. These will replace the 85-inch and 103-inch plasma monitors previously offered.

Finally, Christie had regular screenings to show off its new laser cinema projector system. This projector uses two sets of color primaries and matching eyewear, using wave division multiplexing to achieve a high degree of left eye/ right eye separation. According to a Christie rep, the system can achieve a brightness level of 72,000 lumens, and what was interesting to me was virtually no difference in image brightness through the glasses or without them.

Stuffing Your Brain With Video

A recent poll conducted by the Harris organization revealed that 81% of respondents engage in “binge viewing” on a regular basis – that is, watching two or more episodes of a TV program in a single sitting.

The survey, conducted in mid-March on behalf of Comcast, included over 2,000 adults nationwide and 200 viewers in each of the top ten media markets. Dallas, San Francisco, and Washington D.C. had the highest number of binge viewers among respondents (88%), according to a story on the Home Media web site.

Philadelphia, New York, Los Angeles, and Houston also placed well above 80%, with half of the Los Angeles respondents saying they “binge view” at least once a week. Typically, a viewer decides to check out a new series via pay TV on-demand or streaming from Netflix or Hulu, and settles down in a comfortable chair with food and drink.

I’ve engaged in binging in the past. After CBS began running older episodes of Dexter on late-night TV during the writer’s guild strike a few years back, I got hooked on the show and downloaded Season 2 in SD to my TiVo HD DVR. I followed that with a download of Season 3 in HD, and then began watching on a regular basis via Showtime.

My wife and I would knock off two or three episodes at a time, for that was as long as we could remain seated comfortably. (Dexter episodes, like other premium channel series, usually run about 50 – 52 minutes each without commercials.)

Binge viewing is actually nothing new. The major broadcast TV networks used to run miniseries programming on a regular basis, playing out all episodes of a program during the course of a week. Roots started it all back in 1977, but the difference then was the absence of DVRs – you couldn’t skip the commercials. Miniseries programming ran its course in the 1980s and was largely gone by the end of the 1990s.

To binge view, you need a Netflix, Hulu, iTunes, Google Play, or Amazon Prime account, and an Internet streaming connection (Roku, Apple TV, etc.) or a DVR connected to your pay TV service. And in recent years, we’ve seen DVRs become increasingly powerful: TiVo’s Roamio Plus system has six channels of recording and you can add TiVo Mini satellite terminals to record and watch in different rooms – each Mini takes over one of the DVRs and uses Wi-Fi to stream the program.

Many of us wonder (and rightly so) why we’d want to record six programs at once in the first place. With my circa-2006 TiVo, I can record two shows at once and if need be, use my TV’s antenna to watch a third. But there have been a few times when a third DVR would have been really handy.

Apparently, I’m a piker. Verizon just announced it will roll out a set-top box with the ability to record 12 shows at once, offering enough storage capacity for 200 hours of HD programming. (A good rule of thumb for determining DVR capacity is about 8 – 9 GB per hour for HD programs, so I’m guessing the solid state/hard drives used in the Verizon box, manufactured by Arris, have a maximum capacity of 2 terabytes.)

Memory is cheap. You can pick up 32 GB micro flash cards for about $16 these days and a quick check online shows 256 GB flash drives selling for less that $200 at Amazon. So that 2 TB drive doesn’t add an awful lot to the cost of the new Verizon set-top box. Until Verizon’s announcement, Cablevision customers had bragging rights for the “monster truck” of DVRs, with the ability to record ten channels at once.

Even so, you can pile up programs in a hurry this way, creating a formidable list of time-shifted programs that you may never get to. (We don’t always watch everything we record.) A study conducted by Motorola Mobility (now owned by Arris) one year ago revealed that at least 41% of the programs we record are never watched – yet we continue to schedule recordings and pile up TV shows in our DVRs and complain about not having enough recording space.

All of this begs the question: Why not just stream the programs when you want, and skip the recording process altogether? For binge viewing, this approach seems to make more sense, particularly since you can access a video stream from any platform – TV, phone, computer, or tablet.

The devil in the details is bandwidth. We never seem to have enough of it, and it is costly to expand. During my booth visits at the NAB Show next week, I’ll be paying particular attention to demonstrations of the new HEVC H.265 codec. H.265 promises to slices bit rates by half for any video content, meaning it should be possible to stream 1080p video at data rates in the range of 3 – 4 megabits per second (Mb/s), with 720p streams requiring as little as 1 – 2 Mb/s.

If H.265 really takes off (it’s already supported in some 2014 models of televisions), the balance could be tipped back towards streaming from cloud storage and away from DVRs – that is, if there is a way to retain the commercial-skipping feature that viewers love so much and which you can’t use with most Internet streams.

Perhaps the future model is an online cloud with a monthly subscription that lets you watch shows when you want, anywhere you want, commercial-free. (Oh wait, we’ve got that already – it’s called Netflix…)

Smart Watches Have Not Excited Consumers — But They’re About To

Smart-watch makers are trying to find the right combination of design, functionality, interface, and price that will galvanize a customer population that is curious, but not yet motivated to open their wallets in large numbers. Probably the best-selling smart watch is Samsung’s first-generation Galaxy Gear, which Samsung says sold about a million units through the first quarter of this year despite a $299 price and generally unfavorable reviews. Supply-chain analyst David Barnes (db@bizwitz.com) has told me privately that he is skeptical and believes that if Samsung made a million Gears, at least half of them are sitting in warehouses.

The second-generation Gears (there are versions with and without a camera, and for both the Galaxy moniker has been dropped) are have physical designs that is a bit more refined. Still, they look devices made made by a consumer electronics company, not by a watch company.

As Richard Windsor noted in a recent Radio Free Mobile newsletter, nearly all smart watches look like objects only a nerd could love. What is required for

Motorola Mobility's Moto 360 Smart Watch, here looking like a classically designed upscale watch.  (Photo:  Motorola Mobility)

Motorola Mobility’s Moto 360 Smart Watch, here looking like a classically designed upscale watch. (Photo: Motorola Mobility)

major success is a product that looks like an attractive, upscale watch. Motorola’s Moto 360, which is powered by Google’s new Android Wear OS, could be such a watch. And Motorola Mobility, still under Google’s managerial hand, spent a lot of time and effort on the physical design of the product, including the design of the images displayed. If the price is about right, which I would judge to be $250 or less, this could be a breakout product. Motorola says the watch is coming this summer “in a selection of styles.”

It is encouraging that watch and fashion company Fossil is also working with Google and is likely to be producing watches incorporating Android Wear later this year.

LG and Samsung are also on board with Android Wear, and the LG G smart watch is getting high-level support. “The opportunity to work with Google on LG G Watch was the perfect chance for LG to really pull out all stops in both design and engineering,” said Dr. Jong-seok Park, president and CEO of LG Electronics Mobile Communications Co., in a March 19 press release. Photographs of a prototype show a rectangular, plastic-bodied watch in consumer-electronics-company — rather than watch-maker — style. There’s plenty of time for that to change, though, since LG is saying further details will be released over a period of months.

Moto 360 with turn-by-turn directions on a now smart-watch-looking screen.  (Photo:  Motorola Mobility)

Moto 360 with turn-by-turn directions on a now smart-watch-looking screen. (Photo: Motorola Mobility)

The baseline performance of newly designed smart watches will be established by Android Wear. A highly polished iWatch with a great UI could be a formidable competitor, but in Apple’s post-Steve Jobs era, there is less confidence that the company can pull off anything better than what it’s competitors are already developing. And, despite the endless rumors, Apple has made no iWatch announcements.

If, as is very possible, Android Wear becomes to watches what Windows once was (and to a significant degree still is) to PCs, Google will command the attention of application developers and chipmakers, which will make it even more difficult for others to establish other watch OSs that will take significant market share. In this context, it will be interesting to see if Samsung abandons the Tizen OS for its third Gear generation.

The confined spaces and small battery size inherent in a smart-watch design obviously create interesting problems for the display and display sub-system designers. Motorola Mobility is seeming going with a round full-color LCD. The current generation of smart watches and prototypes use LCD, OLED, and Qualcomm mirasol. E Ink electrophoretic displays have been used successfully in

The LG G Smart Watch prototype, which looks like it was designed by a consumer electronics -- rather than a wristwatch -- company.  (Photo:  LG)

The LG G Smart Watch prototype, which looks like it was designed by a consumer electronics — rather than a wristwatch — company. (Photo: LG)

commercial watches made by Phosphor Watch and other companies, and have also appeared in smart-watch prototypes. Qualcomm’s Pixtronix MEMS

display technology, which I predict will soon eclipse the problematic mirasol, could also be a candidate. But the first commercial Pixtronix-based displays will be in a larger size.

Currently, the most exciting project for me is the Moto 360. For the larger market, I’m very interested in seeing what

Fossil produces. And technically, the LG G might expand the envelope. This is a fascinating new industry, crying its birth cries as we watch.

Ken Werner is Principal of Nutmeg Consultants, specializing in the display industry, manufacturing, technology, and applications. He consults for attorneys, investment analysts, and companies entering or repositioning themselves industries related to displays and the products that use them. You can reach him at kwerner@nutmegconsultants.com.

Samsung Has No Trouble With The Curve

Yesterday, Samsung held its annual home entertainment press event to show off its 2014 line of televisions. Not surprisingly, the emphasis was on curved screens, so Samsung chose an appropriate venue for the event – the striking, spiraling Guggenheim Museum on 88th Street and Fifth Avenue in New York.

At the International CES a few months ago, curved 4K televisions were all the rage. And Samsung wants to lead this category, based on what I saw at the press event. There will be two series of curved 4K LCD televisions in this year’s line – the HU9000 series (55”, 65”, and 78”) and the HU8700 series (55” and 65”).

Prices range from $4,000 to $8,000 for the 9000-series models, while no pricing has been announced yet for the H8700 line.  In addition, Samsung will start shipping the yet-unnumbered 105” curved widescreen LCD (also seen at CES) later this year. And there will be a line of curved 2K sets, numbered H8000 (48”, 55”, and 65”).

Samsung's Ultra HD

Samsung’s Ultra HD “tree” was right at home in the Guggenheim lobby.

There are also some “in your face” models for 2014. The current 85S9 UHD TV (85”) will be joined by the 110S9 (110”). Aside from Vizio’s 120-inch behemoth shown at CES, the 110-inch offering is the largest television ever offered to consumers – and it comes at a dear price of $150,000!

Two of the more interesting products shown at this event weren’t televisions. Samsung’s SEK-2500V UHD Evolution Kit is designed to add some degree of future-proofing to all of the Ultra HD sets in the line. It comes with a Quad Core processor, supports HDCP 2.2 and has HDMI 2.0 interfaces, and is intended to update features of the operating systems on these TVs as needed. (They are, after all, just computers with really big displays.)

Samsung also unveiled a UHD Video Pack (CY-SUC105H), not unlike Sony’s 4K media player. The Video Pack is loaded with five 4K movies, three documentaries, and an assortment of short subjects and costs $300. Supposedly, another UHD Video Pack is on the way later this year.

Samsung's Joe Stinziano and Fox's Mike Dunn discuss the details of the two company's 4K content partnership.

Samsung’s Joe Stinziano and Fox’s Mike Dunn discuss the details of the two company’s 4K content partnership.

A partnership with 20th Century Fox was also announced at the press event to “…establish a secure and sustainable next-generation UHD content ecosystem.” Samsung wants to deliver 4K movies and television programming directly to viewers through its Smart Hub platform (which also got a redesign).

There wasn’t much meat in this announcement, but with television sales continuing to decline worldwide (down by 3% for 2013, according to NPD DisplaySearch) and retail prices for television in free fall, there will be more opportunities for profit in software than in hardware, going forward. And although Samsung continues to sit atop the heap (27% worldwide market share in TV sales revenue), they must be wondering where to go from there.

Conspicuously missing from the Guggenheim show was the company’s 55-inch curved 2K OLED TV. Whether that was intentional or not, Samsung’s focus clearly was on LCD technology and all of the ways it can be manipulated. In the Lewis Theater below the main lobby, Samsung demonstrated its PurColor image processing, along with a new dynamic contrast engine and 4K scaling demos. There was even a side-by-side comparison of 4K and 2K LCD panels displaying standard eye charts to show how much more detail could be resolved in a 4K display.

Members of the press get up close and personal with Samsung's Ultra HD technology demos.

Members of the press get up close and personal with Samsung’s Ultra HD technology demos.

I’ve written previously about the HDMI 2.0 interface and how it is barely fast enough to support 4K RGB images with 8-bit rendering, and have wondered on more than on occasion why more TV manufacturers don’t incorporate the faster, royalty-free DisplayPort interface. Well, I spotted one on the back panel of the Samsung Ultra HD TV used for the PurColor demo, although it was marked “TV One Connect” and no one seemed to know much about its function. (A subsequent follow-up with a Samsung executive clarified that this port is designated for an “evolution” hardware/software connection.)

Almost lost in all of the hype was the fact that Samsung will have a pair of 75-inch flat screen 2K LCD TVs in the lineup for this year. The H7150 version will carry a price tag of $3,999, while the “entry level” H6350 will be tagged at $3,299. These prices are competitive with Sharp’s 70-inch and 80-inch Aquos 2K sets that are wildly popular for commercial and educational installations, and I suspect Samsung wants to grab a piece of that action for itself.

They jury’s still out on the benefits of curved screens. Yes, Samsung did talk about everyone having a great viewing angle and how curved screens make viewing a more immersive experience. That’s certainly true for the 105-inch 21:9 screen, but I don’t see the advantage for 55-inch 16:9 TVs. And if there are any sources of glare, the curved screen doesn’t eliminate them – it just moves them to some other viewer’s disadvantage.

I will admit, though, that curved TVs do look cooler than flat screen sets. And the choice of the curved, soaring Guggenheim (designed by Frank Lloyd Wright and opened in 1959) as a showcase was inspired.

Now, let’s see if consumers are similarly inspired to purchase a curved TV…

Aereo And The Law Of Unintended Consequences

For readers who aren’t up to speed, Aereo is a new service that receives terrestrial digital TV broadcasts in major markets and re-transmits them over the Internet, using AVC coding with IP headers. The concept is to provide local reception for those who can’t pick up these signals for one reason or another on their regular TV.

Now, the devil in the details: Ever since Aereo launched a couple of years ago, it has been in court, fighting off challenges by the major broadcast networks who are crying “foul!” and saying that Aereo’s retransmission is a violation of copyright laws. They also claim that Aereo owes them retransmission fees.

Aereo’s rebuttal and defense centers around a flimsy (to me) technical argument: Each subscriber gains access to an individual antenna about the size of a dime, which then is connected to an individual receiver, decoder, DVR, and encoder. It’s as if the subscriber built his or her own TV antenna system, which is certainly within their rights.

I remain skeptical because the cost of actually setting up thousands of individual antennas, terrestrial receivers, video decoders, and video encoders would be prohibitively expensive and never be recovered by the $8 monthly subscriber fee (for 20 hours of recording time, $12 for 40 hours).

And anyone who has ever taken a modicum of courses in electrical physics and RF theory knows that (a) the tiny antennas Aereo assigns to each subscriber can’t possibly have enough gain to work for high band VHF reception, let along UHF reception, and (b) the close spacing of those antennas – as seen from earlier PR photos released by the service – means they interact with each other to form a larger array, based on the principles of inductive and capacitive coupling. That, in essence, is a master antenna TV system – delivering TV channels to many viewers, not one.

Thanks to a sub-par presentation by expert witnesses called by broadcasters at the first hearing, the 2nd Circuit Court (New York City) ruled 2-1 that Aereo didn’t infringe on copyrights and cited the earlier Cablevision “cloud” DVR decision as precedent. Aereo’s right to operate was subsequently upheld in the 1st Circuit (Boston). Service is active in both cities now.

However; two weeks ago, Aereo was rebuffed by a 10th Circuit judge in Salt Lake City, who unequivocally stated that “The plain language of the 1976 Copyright Act supports the plaintiffs’ position. Aereo’s retransmission of plaintiffs’ copyrighted programs is indistinguishable from a cable company.” As a result, Aereo had to shut down its service in Salt Lake City and Denver for the time being.

While this case winds its way on to the Supreme Court, another twist in the story has surfaced. Apparently subscribers in New York City had massive problems with the Aereo stream of the Oscars telecast on WABC-TV a week ago Sunday. Consequently, the company’s Twitter feed was lit up with complaints about “buffering” and “locked-up pictures.”

Here are some of the dozens of tweets I found: “Awful service, bad image quality & not recording scheduled shows but it sad you treat ORIGINAL customers the way you do.” “It goes out now and then requiring me to select Oscars all over again. Common? I have it on auto quality.”  “Thanks for doing work on the site tonight. It’s not like I wanted to watch the Oscars. No big deal.” (Gotta LOVE that sarcasm!)

And more: “C’mon Aereo. Get your s–t together.” “Anyone else watching the Oscars using Aereo like me? S–t keeps buffering every 30 seconds. Frustrating the hell out of me.” “Hmm is Aereo down for anyone else? Is it just an East Village or Roku thing? #CordCutting fail during the Oscars” “@Aereo Support I keep getting the message “The Oscars has ended.” A total of 8 seconds recorded. Worst. Oscars. Ever.”

This one was my personal favorite: “@Aereo I don’t have time to run to Best Buy and buy some rabbit ears right now.” Well, maybe that would have been the best thing to do.

A couple of observations are in order. First, I don’t know how exactly Aereo has its front end configured, but if they’ve actually tried to keep every single subscriber’s hardware separate by various technical tricks to pass legal review, then they might have run out of server capacity and brought this service failure on themselves. (Apparently this also happened during the Golden Globes, according to a story on the Quartz Web site.)

There is a reason why cable and satellite companies use a single receiver for each broadcast and premium channel they carry, and multiplex (copy and repeat) those channels on their outgoing RF and IP channels: It’s WAY more cost-effective and less troublesome! So they have to pay a retransmission fee: Big deal! What will the cost be now to Aereo in dropped subscriptions, not to mention bad publicity from these service problems?

Second, I’ll bet that more than a few Aereo subscribers could actually pick up the HD broadcasts from New York City stations if they tried. Over the years, I’ve tested numerous indoor TV antennas and there have been some real winners out there like the Mohu Leaf Ultimate series and Winegard’s amplified FlatWave antenna.

Both are reasonably priced and perform adequately on VHF channels and very well on UHF channels, which in New York City means you can also use them to watch WNBC, WCBS, and WNYW among the major networks. (By the way, those are the three networks that carry NFL games in the New York City metro area.)

Third; if you can pick up local TV broadcasts with one of the aforementioned antennas, there are terrestrial DVR products that will let you record those channels, like Channel Master’s new DVR+. It has dual tuners, built-in capacity for about 2 hours of HD recording (expandable with any external hard drives or solid state drives through USB ports), plus Wi-Fi connectivity and support for Internet video services like Vudu.

Or you can pick up one of Hauppauge’s WinTV receivers that plug directly into a USB port on your computer and provide terrestrial digital TV reception, letting you use your hard drive as a DVR. I carry around a few of the Hauppauge Aero-M stick receivers and a Mohu Leaf for reception on the road, and they work great.

We’ll never know the actual reason for Aereo’s system failures during the Golden Globes and Oscars, but it’s entirely possible that the company was too clever for its own good by engineering and building a system that was designed to neatly parse and side-step copyright laws.

It’s funny how the law of unintended consequences works, isn’t it?