Posts Tagged ‘NeTV’
Ain’t No Cure for the Summertime (TV) Blues – Pete Putman
- Published on Friday, 14 September 2012 17:49
- Pete Putman
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With the economy wobbling steadily towards a recovery and the digital TV transition well behind us, most consumers appear content to sit on their existing TVs, looking for a rock-bottom deal as an incentive to upgrade.
There are a host of reasons why TV sales remain sluggish. The most obvious is spiking interest in so-called ‘second screen’ TV viewing platforms, such as tablet computers, laptops, and mobile phones; all at the expense of conventional TV sets.
Another reason is the low rate of turnover on TVs purchased within the past 5 to 10 years. (Yes, I know people that are still using older Samsung, Sony, and Mitsubishi rear-projection TVs from the start of the last decade!) I’ve even run into a few folks lately that have massive flat-CRT TVs from 12+ years ago that are still humming along. ‘Yes,’ they want to replace them, but ‘no,’ they don’t have the cash right now.
You can’t fault TV manufacturers for trying. There was plenty of hoopla back in 2009 when 3D TVs made a splashy entrance. Today? 3D functionality is mostly an afterthought, and is built-in to more than half the models in any given line-up.
I’ll take a contrary position to many of my colleagues at Display Daily and state that 3D isn’t going to be a factor in driving TV sales for several years – that is, until a workable, quality glasses-free solution comes to market. And that will likely require 4K display glass to implement. Sales of 3D TVs have consistently been tepid in North America (stronger in China and Indonesia), and manufacturers aren’t talking much about them these days, as Chris Chinnock detailed in his CEDIA report last week.
What about demand for Internet-connected TVs? I figured Internet connectivity to be a big driver of future TV sales, but it looks like I guessed wrong – at least, in this part of the world. A recent study by GfK Associates revealed that NeTVs were most popular in China, Brazil, and India, while the United States, Great Britain, and Germany lagged behind. GfK went so far as to say that viewers in the latter three countries “…are stuck in an ‘analog’ mindset, whereas viewers in emerging markets are more likely to exploit the digital capabilities of Connected TV.”
According to the GfK report, only 29% of United Kingdom and 29% of U.S. consumers indicated that they were specifically looking to buy an Internet-connected TV, as opposed to 61% of respondents in India and 64% in China.
There was a hidden “ah-ha!” in the GfK report, though. 67% of all respondents are definitely interested in some form of touch and/or gesture control in a television, and 43% want to control their TV with something other than a traditional remote control. Perhaps TV manufacturers need to focus more on improving the user interface to drive future sales?
One of the problems with NeTVS is the diverse and non-compatible operating systems and GUIs used by different manufacturers. At the recent IFA show in Berlin, LG Electronics and Philips announced they would join forces to develop a common NeTV platform for listening to music, watching Internet videos, and playing games on line.
Both companies are founding members of the Smart TV Alliance (http://www.smarttv-alliance.org/) and are actively soliciting additional members. Their goal is to develop one common platform for apps and the OS so that consumers feel comfortable working with any TV brand.
However, CE giants like Panasonic and Samsung are deeply invested in their own platforms, like VIERA Cast and Smart TV, and have shown no enthusiasm for working with competitors. “Alliances may be possible, but we’re not at that stage yet,” Hyun-suk Kim, the head of Samsung’s TV business, said in a Bloomberg story. “Everybody is using their own platform right now, but the small companies find it very difficult to get content and services. Having a unified platform would be very helpful for the industry but I’m not sure it’s the right time for Samsung.”
Could Google’s Android platform be the answer? The first version of Google TV was met with a large yawn, and the second roll-out isn’t faring any better, according to Bloomberg. Both Sony and LG have built-in Google TV GUIs in their TV products – a huge improvement over the clunky, slow first version. But to date, consumers aren’t buying it.
Perhaps the answer is content delivery. TV manufacturers have tried for years to incorporate some sort of content pipeline interface and advanced program guide, with limited success. At one time, LG even built hard drives into several of their plasma TVs for time-shifting, and the number of ‘boxes’ available for Internet streaming is seemingly endless.
Today, most popular video and movie streaming sites are directly accessible from ‘apps’ and built-in channel buttons on late-model TVs; the best-known being Netflix, Hulu, and YouTube, which together account for better than 70% of all Internet video traffic.
Harnessing content and selling it is what Apple is all about, and it’s long been rumored that they will launch a TV this fall. Not so fast! says another story on Bloomberg.com. According to the story, Apple has run into a brick wall with cable companies such as RCN and Comcast, along with major networks like CBS.
The reason? Cable and media companies are concerned that a better-designed Apple product will undermine their business model, and fear that Apple will create a better user interface. As a result, analysts are predicting that we will definitely not see an Apple-designed television this year. “If I’m a cable company, do I really want to let Apple into my house?” said Jason Hirschhorn, the former chief digital officer at MTV.
The last consideration is 4K, which for 99% of all consumers is simply a pipe dream – too expensive, no content (yet), and little perceived value. Yet, that didn’t stop Sony and JVC from both announcing 84-inch 4K LCD TVs at IFA and CEDIA. (And yes, they are plenty expensive!)
There are two problems with these announcements. First off, Sony hasn’t made a profit for the past 8 years in televisions, and in fact has lost a considerable amount of money, dragging the company’s stock price down. So why bother with a $20,000 TV product that will sell in miniscule amounts? Probably to be cutting-edge and trendy, a mindset that has driven Sony’s marketing and sales efforts for many years now.
Second, JVC is a very minor player in the TV business. As a small Japanese electronics manufacturer working under tight budgets, they can’t hope to have significant sales in televisions, and may have just brought this product out to make a splash. They do much better with their industry-favorite D-ILA LCoS home theater projectors, of which there is now a 4K version.
Throw in LG’s recent announcement that they won’t be able to ship a 55-inch OLED TV to market in Q4 after all, and you can hear a loud, collective sigh of despair and frustration rolling eastward across the Pacific Ocean. We’re less than three months from Black Friday, and no one has the answer(s) yet…
Hey, This Is Really Hard!
- Published on Friday, 28 October 2011 15:45
- Pete Putman
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A story in the October 27 edition of the Wall Street Journal states that television may no longer be the ‘king of the hill’ when it comes to watching programming.
Food for thought: Apple’s high-end 10.1” iPad costs more than a 42-inch LCD or plasma TV (even a 42-inch LED-backlit LCD TV). And based on a presentation in my Display Technologies session at the just-concluded SMPTE Fall Technology Conference, more and more sales of ‘displays’ are going to switch to smaller, portable devices like the iPad, and away from conventional TVs.
Neither Internet-connected TVs nor 3D have helped revive TV sales, which slowed considerably after the 2008 recession. According to DisplaySearch, more than half of all new TVs shipped by 2015 will have Internet connections, just as more and more TVs will include 3D as a feature and not a premium upgrade.
The WSJ article quotes TV industry executives as speculating Apple, Google, and Amazon might enter the TV arena with products of their own. Apple’s TV prototype is already circulating through factories in China, according to several published reports. And Amazon already has experience in mass distribution of content over its Kindle platform.
Profits are hard to come by in the TV business. Three of the top four Japanese TV manufacturers said they lost money on TV operations during Q2 ’11, with Sharp being the exception – although Sharp’s LCD fabrication business was its biggest loss leader in the same time period. I have previously documented Sharp’s rapidly-diminishing market share in U.S. TV sales, which has been accompanied by a worldwide decline to about 8% of the market for the latest reporting period.
Over in Korea, similar red ink was seen at Samsung and LG’s LCD fabs, according to the article. In contrast, the TV marketing and sales operations were profitable. The challenge that all manufacturers face is continually declining values even with larger and larger shipment volumes, and the fear that TVs will soon fall into the low-priced commodity trap of computer monitors.
Sony’s continuing struggle to make a profit in LCD TVs for the past eight years shows that even a strong brand can’t carry the day anymore. The real threat is between smaller, portable wireless tablets that can do an amazing job with video playback.
On my flight home last night from SMPTE, I counted two dozen iPads in use playing back cached video or DVDs, plus numerous notebook computers. Each and every one of those products is now climbing the hill, ready to topple the king…
Sony: “Make. Believe” Isn’t Making It Anymore
- Published on Monday, 08 August 2011 11:02
- Pete Putman
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An August 2nd Reuters news story said that Sony is preparing to overhaul its LCD television business to reduce costs and attempt to remain competitive against the likes of Samsung and LG. That means selling off TV factories to Chinese companies such as Foxconn Technology (manufacturers of the iPad) and moving more and more to a Vizio-style rebranding model.
Sony’s TV business has lost money for eight consecutive years, which about as long as Sony has been selling Bravia LCD TVs. The company cut its sales forecast for the current fiscal year by 19% to 22 million units, and now there is talk among analysts of the possibility that Sony might exit the TV business altogether – something that is almost inconceivable, given Sony’s long involvement with television.
But the facts are hard to argue with. Ever since Sir Howard Stringer took over at the helm six years ago, Sony Corporation has lost 50% of its market value. According to the Reuters story, Sony is currently valued at just $25 billion, less than 25% of the market valuation of Samsung.
Over the years, pursuing profitability in the TV business has led Sony to form an alliance with Samsung (S-LCD), announce plans to take a 34% investment stake in Sharp’s Gen 10 LCD fab (later pruned back to less than 10%), and search high and wide throughout Taiwan and Hong Kong to find a competitive source for the smaller LCD panel TV sizes that still dominate the market.
Sony’s initial TV strategy was to position themselves as an Apple-like brand, getting people to pony up a premium for a perceived advantage in Sony product quality and engineering smarts. Trouble was; it was all too easy to surf the Internet and discover that smaller Sony LCD TVs were being sourced from many of the same manufacturers as 2nd-tier LCD TV brands.
Sony’s “own the manufacturing chain” business model was blown out of the water by Vizio, the ultimate OEM TV partner, who spent millions of dollars in advertising and went for the jugular with aggressive pricing in wholesale clubs and discount outlets. And of course, Samsung is responsible for much of Sony’s misery, given how aggressively the Korean TV giant followed its ten-year blueprint to become “the next Sony.”
It doesn’t help that 3D and Google TV have done little to stem the losses. 3D TV is still struggling to gain widespread acceptance and will likely become just another option built-in to all future TVs; one that cannot command a premium.
Google TV is even more of a bust. If you’ve ever had a chance to use the remote control for Sony Internet TVs, you’ll know why: It’s complicated and intimidating to use. People like the idea of watching Internet-delivered video, but they don’t want to search for it with a computer-like interface.
To make matters worse, the Sony name doesn’t command respect like it used to. Interbrands’ annual survey of global brands places Samsung 15 places above Sony. That is mind-boggling, given the strong brand equity Sony used to have.
The Reuters story states that Sony could lose close to a billion dollars this year in its TV operations, and that would push total losses to almost $5 billion since 2004. So the question is – how long will Sony continue to spill red ink?
One obvious solution to the problem is for Sony to wash its hands of TV manufacturing completely and instead license the Sony name to a line of OEM TVs, much like Kodak is doing these days with digital cameras and photo frames.
There is a precedent: Earlier this year, CE manufacturing giant Philips threw in the towel on its TV business, citing increasing losses and an inability to remain competitive even on its home turf in Europe. Going forward, Philips has licensed its brand to Funai for all future Philips LCD TV manufacturing.
By following this model, Sony could finally achieve profitability in the TV game. Ironic, isn’t it?
It’s Just Not That Complicated!
- Published on Thursday, 09 June 2011 17:43
- Pete Putman
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In a survey guaranteed not to bring smiles to the faces of TV manufacturers, 14,000 TV owners around the globe are downplaying the importance of Internet connectivity and 3D capability as they decide to purchase a new TV.
The DisplaySearch study, which is summarized here, shows that 3D capability runs a distant third behind LED backlights and LAN or WiFi connections in order of importance, and that order of importance is remarkably consistent worldwide, except in Indonesia (3D was ranked #1, just ahead of LED backlights) and India (Internet connectivity and 3D functionality were close behind LED backlights).
In some countries, 3D was one of the weakest drivers of the TV replacement cycle, ranking near the bottom of the list in Germany, Japan, and the United Kingdom. LED backlighting was three times more important than 3D in the USA, and about twice as important as Internet connectivity. In urban China, 3D commanded about 25% of the interest of LED backlighting, while in Russia, the number was closer to 10%.
Indonesians are apparently contrarians. They ranked 3D capability as “most important” of all three features, edging out LED backlights by about 20%. In India, the three drivers were almost equally weighted, while in France, Internet connectivity outranked both LEDs and 3D.
This must be the season of studies! DisplaySearch’s parent company NPD also released a report last week that stated 15 percent of U.S. consumers reported using a Blu-ray player in the prior six months to March 2011, up from 9 percent the prior year. By way of comparison, 57 percent of U.S consumers reported using a standard (red laser) DVD player in 2010, unchanged from 2009.
The NPD summary doesn’t break down how, exactly, the study group “used a Blu-ray player” in the six month period. Was it for streaming Netflix? Watching Hulu? Watching rented or purchased Blu-ray movies? We don’t know.
Other interesting tidbits: 49 percent of Sony PlayStation 3 owners are viewing Blu-ray movies on their consoles at least once a month, and Y-Y sales of Blu-ray players have increased 16%.
In their press release, NPD makes the case that sales of Blu-ray discs are starting to offset the decline in DVD sales. Keep in mind that NPD identified 116 million current physical disc buyers in the United States (not sure how they made that determination), down from 128 million in 2009 – a decline of about 10%. The 26 million Blu-ray buyers ‘offsetting’ that number amount to about 22% of the ‘current’ total.
The most interesting part of the study was summarized near the end, where it was reported 50% of consumers who intend to buy a Blu-ray player in the next six months said that they were primarily interested in using said players to view “available subscription video download services” (read: Netflix) as opposed to buying and/or renting Blu-ray movies.
If NPD had told us how respondents were using their Blu-ray players, we might have enough information to spot a trend. Alas, we can only assume that streaming is becoming a bigger driver of Blu-ray player sales than the discs themselves. 50% is a substantial number!
Even so, both surveys may tie together nicely. The lower levels of interest in Internet-connected TVs in the first survey may be due to the fact that late model TVs can add Internet connectivity a lot less expensively with a connected Blu-ray player.
Why replace a perfectly good 5- or 6-year-old LCD or plasma TV when you can ‘soup it up’ for another $125 – $150? That’s exactly what I did with my 2008-vintage Panasonic TH-42PZ80U 1080p plasma TV, installing a Panasonic DMP-BD85 connected Blu-ray player to replace an older red laser DVD player. I watch about 1-2 Blu-ray movies per month on it at most, and it streams Netflix quite nicely.
There’s no question we’re seeing a big change in how movies and TV shows are acquired and watched, and the playing field is tilting more towards streaming with every passing month. This change affects everyone from movie studios (some of which have been announcing sizable layoffs in recent weeks) to cable companies (Gen Y viewers are more likely to cut their cable ‘cords’ and rely on free OTA TV and broadband streaming) and retailers of packaged media (Wal-Mart and Best Buy have scaled back the size of their CD, DVD, and Blu-ray departments in the past year, and of course, Blockbuster went into bankruptcy last year and has been closing stores left and right).
In the meantime, I’m still waiting for that consumer survey that really drills down to see (a) just how consumers are using Blu-ray players, (b) what they think of renting and purchasing packaged media in general, (c) if they are seriously considering ‘cutting the cord’ – or have cut it already, and (d) if and how they supplement streaming video and YouTube with free over-the-air digital TV and HDTV.
Of course, that survey would have to be conducted by an organization that is primarily interested in finding out the truth, and letting the facts point to a conclusion instead of jumping to one like the DEG did recently, or advancing an agenda as the CEA has been doing.
NAB 2011: It’s All About Streaming, Displays, and Connectivity
- Published on Wednesday, 20 April 2011 13:25
- Pete Putman
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With each passing year, NAB looks less and less like a broadcaster’s show and more like a cross between CES and InfoComm. It’s a three-ring circus of product demos, panel discussions, conferences, and media events that all points to the future of ‘broadcasting’ as being very different than what it was at the end of the 20th century.
Officially, slightly less than 90,000 folks showed up to walk the floors of the Las Vegas Convention Center, and it was elbow-to-elbow in some exhibits. But there was another trend of smaller booths for the ‘big name’ exhibitors like Panasonic and JVC.
That reflects the reality of selling products that have mostly three and four zeros in their price tags. At my first NAB in 1995, it wasn’t unusual to see $50,000 cameras and $80,000 recorders. Now, you can buy some pretty impressive production cameras for about $5,000.
Streaming and over-the-top video was big this year. Ironically, NAB featured an enormous streaming media pavilion back in 1999, but it vanished the next year. The reason? A lack of broadband services across the country that could support streaming at reasonable bit rates.
Obviously, that’s all changed now, what with Netflix at 21 million subscribers and climbing, and MSOs deploying multi-platform delivery of video and audio to a plethora of handheld devices. Concurrently, the broadcast world is trying to roll out a new mobile handheld (MH) digital TV service to stand-along portable receivers and specially-equipped phones.
And behind all of this, the FCC continues to make noise that it wants to grab an additional 100 – 120 MHz of UHF TV spectrum to be repurposed for wireless broadband, a service you’ll have to pay for. Attendees had mixed thoughts on whether the Commission will actually be able to pull this off – there is some opposition in Congress – but there appeared to be a high level of opposition to the plan, considering there is plenty of other spectrum available for repurposing, much of it already used exclusively for government and military purposes.
Like last year, there were lots of 3D demos, but the buzz wasn’t really there. 3D still has a ways to go with its roll-out and it simply can’t compete with the interest in content delivery to smart phones, tablets, and other media players. Still, there were some cool 3D products to be found here and there.
Here are some of the highlights from the show.
ATSC MH Pavilion – several companies exhibited a range of receivers for the MH services being transmitted during the show from Las Vegas TV stations and low-power rigs in the convention center. LG and RCA both showed some snazzy portable MH receivers, with LG’s exhibit putting the spotlight on autostereo 3D MH (as seen at CES) and a service call ‘Tweet TV’ which would allow viewers to comment on shows they’re watching and have those tweets appear on their MH receiver.
Another demo had CBS affiliate KLAS-DT transmitting electronic coupons for local retailers and restaurants during the show. These showed up on a prototype full-touch CDMA smart phone with a 3.2” HVGA screen.
In a nearby booth, RCA unveiled a lineup of hybrid portable DTV receivers. There are two 3.5” models (DMT335R, $119, and DMT336R, $159), a 7” version (DMT270R, $179), and a pocket car tuner/receiver that connects to an existing car entertainment center. It will sell for $129.
Motorola had two intriguing demonstrations. The first showed full-bandwidth 3D content distribution, using the full 38.8 Mb/s bandwidth of a 256 QAM channel to transport frame-packed 1080p video with full 1920×1080 left eye and right eye images, encoded in the MPEG4 H.264 format and sequenced through active shutter glasses.
Nearby, an HD video stream was encoded for four different displays, with all four signals carried simultaneously in the same bit stream. First up was a 1080p/60 broadcast; next to that a 720p/60 version, followed by a standard definition version (480i) and a version sized for a laptop computer or tablet. Both MPEG2 and MPEG4 codecs were used.
Red Rover attracted quite a crowd with their 28″ 4K (3840×2160) 3D video monitor which uses two 4K LCD panels arranged at 90-degree angles to each other (one on top, facing down). A half-mirror with linear polarization is used to combine the left and right eye images for passive viewing. Both LCD panels are Samsung vertically-aligned models, and the whole works will sell for (ready for this?) $120,000.
Volfoni showed dual-purpose 3D glasses at NAB. When powered on, they function as active shutter eyewear. Powered off, they are usable as passive 3D glasses. The whole shebang is controlled by an external power pack the size of an iPod nano that clips to your pocket or shirt, and this ‘pod’ can ‘learn’ any IR code from active shutter TVs.
The pod controller can step through several neutral density filters and there are several levels of color correction possible from the remote power pack. (Electronic sunglasses – imagine that!) The glasses use 2.4 GHz RF signaling technology to synchronize with any active shutter monitor or TV. And despite all of the bells and whistles, they weigh just over an ounce.
Sony’s 17″ and 25″ BVM-series OLED monitors that were first shown at the 2011 HPA Technology Retreat now have siblings. The PVM-E250 Trimaster OLED display is structurally the same as its more-costly BVM cousin, but has fewer adjustments and operating features. And it’s going to sell for quite a discount over the BVM version – just $6,100. There’s also a 17-inch version which wasn’t operating at the show, and it is expected to retail for $4,100.
Up at the front of the Central Hall, Panasonic was showing the TH-42BT300U, their first plasma reference-grade monitor. It’s not all that different from the exiting 20-series industrial plasma monitors in appearance, but there’s a big difference in operating features. Black levels have dropped and low-level noise has been minimized with a half-luminance PWM step. This results in more shades of gray and a smoother transition out of black.
In addition, the TH-42BT300U supports 3D playback for side-by-side and top + bottom color and exposure correction. Panasonic has also added automatic ’snap-to’ color space menu options, along with a user-definable color gamut option. When calibrated, it was an eye-catcher. There’s a 50-inch version also in the works, and both monitors will go on sale this fall.
Hyundai unveiled the B240X, a new 24″ passive stereo LCD monitor. It sports a 1920×1200 display with circularly-polarized film-patterned retarders and supports 3D side-by-side and top + bottom viewing formats. The pixel pitch is about .27 mm and brightness is rated at 300 nits. Hyundai also created an eye-catching 138″ (diagonal) 3×3 3D video wall for NAB, using its flagship S465D 46″ LCD monitor.
Sisivel has come up with a unique way to deliver higher-resolution 3D TV in the frame-compatible format. Instead of throwing away half the horizontal resolution for 1080i side-by-side 3D transmissions, Sisivel breaks the left eye and right eye images into two 1280×720 frames. The left eye frame is carried intact in a 1920×1080 transmission, while the right eye is broken up into three pieces – the top 50% of the frame, and two half-frames that make up the bottom.
All of this gets packed in a rather unusual manner (see photo), but some simple video processing and tiling software re-assembles the right eye fragments into one image after decoding. Then, it’s a simple matter to sequence the lefty eye, right eye images as is normally done. The advantage of this format is that it has higher resolution than ESPN’s top+bottom 3D standard (two 1280×360 frames).
JVC announced two LCD production monitors at NAB. The DT-V24G11Z is a 24-inch broadcast and production LCD monitor that uses 10-bit processing and has a native resolution of 920×1200 pixels. The extra resolution provides area above and below a 1080p image for metering, embedded captions, and signal status. The incoming signal can also be enlarged slightly to fill the entire screen.
The DT-3D24G1Z is a 24-inch passive 3D monitor with circular polarization patterned films. It has 1920×1080 pixel resolution, 3G HD-SDI and dual-link inputs, a built-in dual waveform monitor and vectorscope, left eye and right eye measurement markers, and side-by-side split-screen display for post production work including gamma, exposure, and color/white balance correction.
Nearby, crowds gathered to see two new 4K cameras that use a custom LSI for high bitrate HD signal processing. The demo used a Sharp 4K LCD monitor, and the cameras were running at 3840×2160 resolution. They have no model numbers or price tags yet.
Ikegami’s field emission display (FED) monitor that attracted so much attention a few NABs ago, but was written off when Sony pulled out its investment from the manufacturer, is now back. Its image quality compared favorably with Sony’s E-series BVM OLED monitors, and the images displayed with a wide H&V viewing angle and plenty of contrast pop. It was being used to show images from a Vinten robotic camera mount at NAB, and no pricing has been announced.
Dolby showed their PRM-4200 42-inch HDR LCD reference monitor at NAB. While this product is not new, there was a substantial price cut announced at the show to $39,000. Initial comments from the post production community have indicated the price is too high for today’s economic environment. As a result, Dolby has apparently sold a few to video equipment rental houses for location and studio production work.
Digital SLRs are being used to shoot TV productions such as “House” and independent films, and they could use a couple of good monitors with hot shoe mounts. Nebtek had a 5.6” model at the show, as did TV Logic. Both models sport 1280×800 (WXGA) resolution, compatibility with HD-SDI and HDMI inputs, and have on-screen display of waveform/vectorscope details, focus assist, and chroma/luma signal warnings. Embedded audio from the cameras’ HDMI output can be displayed on screen, and there are several scan and pixel mapping modes.
One of the more significant announcements at the show – at least, at first reading – was Verizon’s Digital Media Services. The idea is to serve as an electronic warehouse for everyone from content producers to digital media retailers – in effect, an Amazon e-commerce model, except that Verizon wouldn’t sell anything; merely ‘warehouse’ the assets and distribute them as need to whomever needs them.
Numerous companies showed real-time MPEG encoders, among them Z3 Technology, Visionary Systems, Haivision, Vbrick, Adtec, Black Magic Designs, and (of all people) Rovi, otherwise known for their electronic program guide software. Many of these encoder boxes can accept analog video (composite and component) as well as HDMI and DVI inputs. The general idea appears to be ‘plug-and-play’ encoding for IPTV streaming across a broad range of markets. The Black Magic encoder was the cheapest I’ve seen to date at $500, while price ranges on other models ranged as high as $9,000.
Tektronix had one of the funnier (unintentionally) demonstrations of test and monitoring gear. A new combination monitor, the WFM300, has a color anaglyph mode where you can see the interocular distance for red and cyan color anaglyph program material. Never mind the fact that color anaglyph isn’t being used for much of anything except printed 3D these days, so what were the folks at ‘Tek’ thinking?
Finally, Sony showed they can be all wet but still on top of things with their demonstration of an HXR-NX70U 1080p camcorder operating normally while getting a pretty good hosing. The camera is completely water-sealed and dust-sealed for use in hostile environments, and records to internal hard disc drives and memory cards. The shower ran continuously during the show and the camera never even hiccupped. Fun stuff!