[opendtv] Re: TVTechnology: Viaccess-Orca: 20 Million Watched World Cup on Illegal Streams
- From: Craig Birkmaier <craig@xxxxxxxxxxxxx>
- To: "opendtv@xxxxxxxxxxxxx" <opendtv@xxxxxxxxxxxxx>
- Date: Thu, 7 Aug 2014 22:29:30 -0400
On Aug 7, 2014, at 6:53 PM, "Manfredi, Albert E" <albert.e.manfredi@xxxxxxxxxx>
wrote:
>
> Craig, I have no idea whether what you say about "the professional side of
> the big CE companies" this is true or not. I have to doubt it, only because
> "HD production" was already being done by the TV studios, and had been
> forever. If nothing else, it's called 35mm film, and it's what most TV shows
> were shot on. We went over this, Craig, and showed that 35mm film is MORE
> than adequate to capture all the image resolution HDTV can possibly use.
And Hollywood is STILL shooting 35 mm film, for a variety of reasons. Even 4k
does not have the same look and capabilities as film, although it is starting
to take some high end projects away from film.
The most exciting development in cinema, to me, is electronic distribution and
projection. This is starting to influence acquisition and theatric
presentation, with a few producers and cinematographers starting to explore
higher frame rates for fast action content. But there are still many critics
who like the 24P look and resist technical advancements.
> As to live digital HD cameras, Sony indicated way, way back, that they could
> get HD interlaced cameras on the market in a very short time, and did.
Because they had been building and selling them for a decade. The only
significant change for them was increasing the active lines from 1035 to 1080,
just one sensor chip revision.
Still, Sony essentially gave this equipment away to key clients to seed the
market. CBS built a multi-million dollar tape based HD edit suite in Hollywood;
A few years later they were editing HD on dozens of Avid hard drive based
non-linear systems.
> Even if you argued that local TV stations couldn't produce their own content
> in HD economically (ignoring Moore's law), the bulk of what is transmitted,
> especially during prime time, is NOT locally produced material. So honestly,
> these objections never sounded convincing.
The bulk of what was transmitted was mastered on film. HD allowed them to
deliver higher quality (wide screen) content without changing any other part of
the film based production chain. It took a decade for the networks to embrace
HD acquisition and production; as expected, live sports drove the HD
transition. Ironically, the digital component 480 line DVD was good enough to
drive the sales of HD displays to watch movies - HD Blue Ray missed the window
of opportunity allowing streaming (h.264 encoded) HD to become the best quality
path the the mass market HD displays and new mobile 2nd screen devices.
>
> Ditto for the HDTV sets. CE products always "race to the bottom," so it was
> obvious the same would happen with HDTV sets.
It took quite awhile. Moore's Law was the major factor in cost reduction
followed by volume.
> Obviously. But that doesn't mean the only possible business model is one
> invented when wideband distribution media had to be walled gardens. If ad
> support is not enough, there are multiple ways of having your customers pay
> extra fees.
Absolutely. And the content congloms dominate them all.
As we have discussed many times, high quality content moves through a number of
distribution stages to maximize the revenue from a movie or program. The
Internet has enabled new and improved distribution options. The content
congloms have new customers spending billions to offer their content.
Netflix has not taken any customers away from first run outlets like the
broadcast networks; they are creating new markets for "used" content. To
attract more subscribers they are spending hundreds of millions to produce
original high quality content.
>
> Since you didn't go back and check what you had written, here is the quote.
> Read it again:
>
>> The content owners are trying to protect the walled gardens - that
>> is why they are using authentication.
>
> No! The content owners want *authentication* (to collect extra fees), that's
> why they use walled gardens. You had it backwards.
>
You are still twisted.
They are not getting extra fees when they make walled garden content available
to MVPD subscribers via authenticated streaming. They are providing an
alternative way to consume the content you are paying for with your MVPD
subscription.
Authentication extends the walled garden to the Internet, which in turn helps
sell the broadband ISP connections used to serve streams to the new second
screens.
Win-Win for them.
> *And*, there are other means of authenticating than the old walled garden,
> these days.
Authentication is used for MANY Internet services.
Netflix and Hulu Plus use authentication. Apple and Amazon use authentication.
The bottom line is unchanged. The only way to access many high value content
networks is with an MVPD subscription...
By design.
Regards
Craig
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