Professional Documents
Culture Documents
John R. Naylor
Contents
Producing
and
Distributing
Live
Content
.....................................................................................................
3
Signal
Chain
Overview
from
Cameras
to
Consumers
............................................................................
3
Produce
................................................................................................................................................
4
Encode
.................................................................................................................................................
4
Distribute
.............................................................................................................................................
4
Consume
..............................................................................................................................................
4
Cameras
...................................................................................................................................................
5
Production
...............................................................................................................................................
7
Encoding
..................................................................................................................................................
8
Bandwidth
and
Distribution
...................................................................................................................
12
Guidelines
for
Reliable
Delivery
.........................................................................................................
13
Securing
Your
Content
.......................................................................................................................
13
Producing
Social
Media
.........................................................................................................................
13
Test!
.......................................................................................................................................................
14
Commercializing
your
Content
..................................................................................................................
14
Whats
a
CPM?
......................................................................................................................................
14
Whats
an
Alexa
Rank?
..........................................................................................................................
15
Whats
a
Paywall?
..................................................................................................................................
15
Pay
Per
View
......................................................................................................................................
16
Subscriptions
.....................................................................................................................................
16
Linear
Ads
or
Paywall?
...........................................................................................................................
16
Case
Study,
Eventstreams
The
Mens
Room
....................................................................................
17
Conclusion
.................................................................................................................................................
17
Acknowledgements
...................................................................................................................................
18
References
.................................................................................................................................................
18
Notices
.......................................................................................................................................................
18
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John R. Naylor
CDN or SSP
Produce
Encode
Distribute
Consume
Whether your production is of a conference papers session, or a high school sports event, it will be more interesting to watch, and more practical to capture all the action available if you use multiple cameras, and switch the angles frequently to show your viewership the most relevant or compelling action. Figure 1 illustrates a four-camera production, though its possible to use more or fewer to match your production needs.
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Produce The switcher, represented by a TriCaster in the figure serves a number of important functions to allow your content to stand out: Use it to switch between the different camera angles, with wipes, and transitions Add titles and graphics such as logos and idents Mix pre-recorded content into your production using the integral Digital Disk Recorders Record the show for later editing or sharing via upload to a hosted distribution service such as YouTube. And, of course, stream to the Internet using the integrated feature for this purpose, which is why TriCaster is shown straddling the Production and Streaming phases of the workflow.
Encode This is the process by which your content is transmitted from the live venue, usually into the cloud in the form of a Content Delivery Network (CDN) or Streaming Service Provider (SSP). There are quite a few tradeoffs to consider at this stage which we cover later: Do I transmit one stream from my venue, or multiple streams at different bit-rates and for different targets. Both can be a good choice. What resolution or set of resolutions should I use? What frame rate should I use? Should I use an interlaced or progressive picture format? Note that all modern displays are natively progressive, and all streaming formats including HLS, Flash and Windows Media are natively progressive. So if you can produce in a progressive format such as 1080p or 720p your production will be better matched to the distribution and viewing devices. However, its fine to use an interlaced production format as long as your equipment can de-interlace it prior to encoding.
Distribute Unlike traditional television which distributes programming in a one to all fashion by using satellites, radio towers, and cable networks to broadcast content; each web stream viewer is served by a single point to point TCP/IP connection. There is no practical broadcast or multicast protocol yet available on the Internet that can be used for live web streams which is why a CDN or SSP is necessary. By moving content to where its needed, these entities recreate the scalability of traditional broadcast solutions. This is also a good place for content to be re-purposed so that it can be viewed on all the different viewing devices that are needed. Consume NewTek recently polled their registered users to find out which devices they targeted with their live stream. The results are summarized in Figure 2, which shows that the main device types (PCs, Macs, iOS, and Android smart-phones and tablets) are all important.
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0.0% Personal computer based web browsers iPad iPhone and iPod touch Android phones Android tablets Web appliances such as ROKU, Apple TV, Internet enabled "Smart" TVs Blackberry devices Symbian devices
25.0%
50.0%
75.0%
100.0%
What
devices
is
it
important
for
you
to
reach
with
your
web
streams?
Please
check
all
that
apply.
Figure
2:
Target
Devices,
Source:
NewTek,
Inc.
Used
with
Permission
Well see later how this variety of viewing devices informs the encoding trade-offs discussed earlier, as we offer practical, battle-won advice for each element in the live streaming workflow; starting with Cameras.
Cameras
For
web
streaming,
you
do
not
need
the
same
3-chip,
2/3
sensor
instruments
with
$30k
lenses
that
are
common
in
Network
TV
production.
The
trade-off
youre
making
is
one
of
access
versus
picture
quality,
and
for
live
content,
access
wins
for
the
audience
who
want
to
see
the
green
room
at
a
concert,
or
celebrity
interviews
behind
a
partys
velvet
rope.
The
types,
capabilities,
and
costs
of
cameras
that
are
commonly
used
in
live
web
production
are
summarized
in
Table
1.
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Great For Well-lit areas where the lighting and framing is predictable e.g. red carpet entrance. Camera can be clipped to scenery. Confined areas that wont admit a crew (or your budget doesnt run to one) e.g. in a House of Worship
Robotic
From $5k
Good
ENG/Shoulder Mounted
When you need the best $10k and pictures, when action is up, also dynamic and requires requires quick adjustments to crew framing, and exposure. Follow these guidelines to get the best from your cameras:
Best
The extra cabling will cause too much labor or expense. Be especially aware of this in union shops. Budget and/or access isnt practical
1. Make sure they arent facing a light source. Strong lights will quickly drown out all the detail in what youre trying to capture. Talk with the lighting guys before you mount your cameras so that you dont point one where theyll later mount a strong light. 2. If shooting outside, test at the same time of day as the event, or anticipate the lighting conditions. The brightness and color temperature change over the course of a day, as should your cameras exposure and white balance settings. 3. On the subject of white balance, if available, white-balance all your cameras to the same reference before production. Some production switchers provide the means to balance individual inputs, which can be useful if it isnt possible to balance the cameras. This ensures that objects dont change color dramatically between different camera angles which can distract viewers from enjoying the content to paying more attention to your production values. Something always to be avoided! 4. Avoid consumer cabling solutions such as HDMI. Analog cameras can look great side by side with digital ones and MUCH better after someones tripped over the (non-locking) HDMI cable. Of course the best combination of performance and ruggedness will come from HD-SDI cameras and cabling. 5. Dont mount cameras on structures that can vibrate if you expect there to be loud bass at your event. Even small amounts of vibration are magnified by tight zooms to make them unusable. Having a number of cameras (and mics) that are capturing the sort of content your audience wants is a great start, but a lot needs to happen between the lens and the live-stream to create truly engaging content.
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Production
A
Network
Quality
product
is
desirable
and
achievable
on
a
web
production
budget.
Elements
that
will
make
your
content
stand
out
for
the
right
reasons
include:
Multi-camera
production.
As
mentioned
above,
this
makes
for
a
more
engaging
viewing
experience.
You
will
need
a
switcher
to
change
between
different
angles,
and
the
cameras
should
be
matched.
Character
Generator.
Sometimes
also
known
as
Titles,
or
just
CG,
are
the
essential
ingredient
that
stamps
professional
onto
your
production.
Introduce
talent
and
interviewees
with
lower
third
overlays.
When
producing
sport
you
can
take
a
data
feed
directly
from
the
scoreboard
to
keep
the
viewership
on
your
content;
and
not
looking
elsewhere
for
the
score.
The
same
technology
allows
you
to
connect
to
a
news
ticker
to
make
your
news
show
look
as
good
as
CNN.
Pre-recorded
clips
(sometimes
called
stingers
or
bumpers)
that
can
be
played
from
DDRs
are
another
means
of
elevating
your
production
above
the
others.
Both
short
clips
that
carry
a
sponsors
animated
logo,
or
key
sporting
moments
(e.g.
goal!,
touch
down!),
and
longer
ones
such
as
interviews,
or
highlights
should
be
supported
by
your
production
system
which
should
make
it
easy
to
load
and
play
whats
appropriate.
Computer
integration.
Often,
an
off-site
interview
or
talent
is
brought
into
a
live
event
by
a
Skype
call,
or
you
may
need
to
switch
between
a
shot
of
a
speaker
and
their
PowerPoint
presentation,
or
somebody
may
need
to
share
their
Keynote
presentation
or
a
movie
from
their
iPad
using
Apple
AirPlay.
Virtual
Sets
can
be
used
to
turn
your
bedroom
into
Broadcasting
House.
Social
Media
Integration
You may read this list and think that a full broadcast facility such as an HD production truck is required to create it, and youd be correct! Fortunately there are an increasing number of affordable systems, exemplified by TriCaster, that integrate all the things you need into a system that occupies as little as 2 rack units. This works for a web budget.
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Live Camera Inputs HD-SDI, Analog Component, Composite Network Inputs iVGA and Airplay
Preview
Program
DDRs
Virtual Set
CG
Figure 3 shows how these capabilities are accessed from the TriCaster 450s user interface. Comprehensive demos on its use are available on YouTube. The Program output video signal that TriCaster and many other systems produce meets every industry standard necessary to be broadcast to air. But if your target audience is viewing on the Internet, the signal needs to be encoded first.
Encoding
The
choices
you
make
when
encoding
content
affect
almost
everything
you
care
about:
Viewer
Engagement,
Production
Expenses,
and
Audience
Maximization,
and
are
summarized
in
Figure
4.
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Picture and sound quality Smoothness of streaming Reliability of stream Transparency of encoding
Cost of bandwidth (ISP charge) Cost of content distribuoon (CDN or SSP charges)
Perhaps the choice with the largest impact is what device or devices are used as a stream encoder. The advantages and trade-offs of the three main choices are summarized in Table 2. Audience engagement is maximized when the pictures look great, the stream doesnt stall due to buffering, and the viewer isnt distracted by the picture quality changing suddenly. The problem of meeting these requirements for all your viewers is solved by using multi bit-rate streaming. This is where your Program is encoded at multiple different bit-rates and the consumers viewing device chooses the best stream for its prevailing Internet conditions. This presents you with yet another decision: whether to stream all the versions at the live venue, or to stream a master version to the cloud from which your SSP can create copies to target multiple different device types at multiple bit rates. Table 3 summarizes the advantages and trade-offs of these two approaches.
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Advantages
Trade-offs Flash and Windows Media stream formats only, no HLS yet Single stream format at any one time Multi-rate streaming limited to 2 streams
Lower overall system cost Some systems, including TriCaster automatically de- interlace the Program before stream encoding, which improves picture quality and compression efficiency. Ability to set different audio levels for stream vs. main output important! Ability to adjust color, brightness and contrast of streamed video separate to main output. Use presets to directly connect to CDNs and Streaming Service Providers one click streaming Outboard Encoder Distributes risk of equipment failure Potential for multi-format streaming Potentially more support for multiple bit-rates Third Party Integrated Some systems, including TriCaster Encoder support streaming SDKs through which 3rd party developers can integrate their streaming solutions. One such is Livestream, which can eliminate the trade-offs required to use an outboard encoder, while preserving the advantages of TriCasters native encoder.
Significantly higher system costs Limited ability to adjust Program out (e.g. audio level, contrast, interlace) depending on encoder used. Some of these only work with one SSP.
What bit rates should you use in your stack? It depends on the uplink bandwidth available, and the network conditions that your viewers will experience. Firstly you need to allow for the overhead of the TCP/IP protocol. Just because your ISP has provided you with 800kb/s of uplink doesnt mean that you can stream this fast. You should allow approximately 20% of the bandwidth for TCP/IP overhead, so that 800kb/s from your ISP will only be good enough for a 600kb/s stream out of the venue. Next, consider some different viewing conditions for viewers on mobile and fixed Internet connections. Many households still only have DSL connections, so their downlink bandwidth will be limited to 512kb/s or 768kb/s. Using our 20% rule, this means theyll be best served by profiles at 400kb/s and 600 kb/s respectively. 10 | P a g e
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Address
mobile
users
by
keeping
the
resolution
at
or
below
that
of
smartphones
(the
pictures
will
still
look
great
on
tablets),
and
offering
a
range
of
bitrates
that
serves
users
on
3G
networks
(video
bandwidth
limited
to
c.
768
kb/s)
and
also
on
Wi-Fi
in
the
office
or
home.
Table
3:
How
to
Create
Multi-bitrate,
Multi-device
Streams
Advantages Closer control over encoding parameters, improves ability to adjust them mid-stream if needed.
Trade-offs Significantly higher equipment costs if external encoders are used Uplink bandwidth is split among multiple streams. Not a problem if bandwidth is plentiful Need to check that your CDN or SSP will support all the device types and stream speeds you need ahead of time. Restrict Android and IOS streams to use the same resolution and bit-rate parameters, so only the wrapper needs to be changed because the H.264 essence is compatible for both device types.
Minimizes equipment at venue Faster set-up times Best use of uplink bandwidth, if thats limited. Potentially lower ISP costs because less uplink bandwidth is needed. Only pay for the trans-rating and repurposing services you actually use
MTV
use
the
term
rendition
to
indicate
a
combination
of
video
resolution,
and
the
bit-rate
of
the
encoded
stream.
Table
4
illustrates
a
typical
set
up
from
one
of
their
live
events.
Note
how
the
resolutions
grow
from
those
suitable
for
mobile
phones
to
HD
TVs.
Also
important
to
the
viewer
experience
is
the
way
the
bit-rate
never
doubles
between
different
renditions.
This
is
because
network
conditions
can
change
dynamically
and
cause
whatever
player
the
viewer
is
using
to
hop
to
the
next
rendition
(either
higher
or
lower).
Experience
has
shown
that
large
changes
in
bit-rate
cause
discontinuous
changes
in
picture
quality
when
this
happens
which
can
be
distracting
to
the
viewer.
Remember
that
you
want
them
to
be
engrossed
in
your
content,
not
looking
for
compression
artifacts!
Table
4:
Example
Stack
of
Different
Renditions
Bitrate, kb/s 400 700 1,200 1,700 2,200 3,500 Total = 9,700
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Note how high the total video bandwidth requirement is for this stack. Padding this for TCP/IP overhead means youll need a 12Mb/s uplink from your DSL if you were to make all the renditions at the venue. Whereas the approach of mastering to the cloud can reduce your uplink requirements by approximately 2/3rds.
Content Distribuoon Network E.g. Akamai, Level 3 Bulk carrier. Not parocularly opomized for AV
Streaming Service Provider e.g. NeuLion, DaCast, Livestream Opomized for AV. Value add services (trancoding transraong, mulo-device repurposing, moneozaoon)
Do
It
Yourself
Adobe
Flash
Media
Encoda
+
Amazon
hosted
Web
Servers
or
Wowza
Remember that you have a separate TCP/IP connection for each viewer. To reach a large or geographically distributed audience you need a scale of server power thats not practical for most content creators to provide for themselves. This is the DIY option. Another option is to use a CDN such as Akamai, or Level 3, or many others. Think of these as being the bulk carriers of the Internet. By siting data centers around the world and connecting them to the Internet backbone, and mirroring content across them, they can deliver it quickly to consumers. CDNs take care of delivering many types of internet traffic and are not necessarily optimized for streaming video. The other choice is to use a Streaming Service Provider. Example companies are NeuLion, DaCast, and Livestream, though again, there are many others to choose from. These are optimized for streaming video, and some specialize in certain genres such as music or sports. They often use CDNs for actual delivery, but provide value-added services such as taking a single stream from your live venue, and
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creating the multi-bitrate, multi-target versions of it required to serve all the different viewer profiles out there. An important additional service and one covered in more depth later is monetization. SSPs will let the content creator or rights holders choose among several options such as: ad supported, subscriptions, and pay per view to turn content into money. Once youve decided how to distribute your content, you need to ensure that it has the best chances of being delivered reliably by following a few practical guidelines. Guidelines for Reliable Delivery Although important, the bandwidth available on the uplink from the venue does not fully characterize your connection to your distributor. Ping times are just as important. These measure the latency or delay of IP packets between the venue and your distributors ingest point. Lower numbers are better, with anything above 50ms likely to be problematic. Ensure that you are connecting to your distributors closest ingest point. This is a great way to minimize ping times. Youll be able to find out where the nearest ingest points are by asking your CDN or SSP. Be careful if youre production is on the road, that ingest point in LA isnt going to be the best option for a venue in Boston! So check your streaming configurations regularly to ensure that old settings are not being used. Streaming video is subject to a lot of compression of the sort that exploits the differences between successive pictures to reduce the amount of data transmitted. This means that you should test your uplink with video that contains as much motion as the content you intend to produce. If you test with stills, but produce a soccer match, you may find that your uplink isnt as adequate as you thought. Securing Your Content There are three mutually reinforcing technologies that can be used to protect your content against unauthorized use: SWF Hash tags, which restrict your content to authorized players. Token Authorization. This makes links time-out and prevents sharing. RTPME/HTTPS. These use encryption so that you content cannot be intercepted and copied.
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This need to publish content around local and remote networks immediately is new and live production has to provide a lead into what is uncharted territory. Logically, the one single best place from which to make these deliveries is the production switcher itself because it sees and hears all the live content.
Test!
This
is
probably
the
most
important
component
of
a
successful
live
stream.
Best
practice
means
doing
a
dry
run
of
your
production
the
day
before
going
live.
For
events
that
draw
big
crowds,
and
when
its
likely
that
other
media
producers
could
show
up
on
the
day,
be
aware
that
you
may
not
get
the
same
performance
out
of
your
ISP
as
during
the
dry
run.
For
this
reason,
make
sure
you
plan
enough
time
to
reconfigure
your
streaming
profiles
and
verify
that
they
work
well
before
the
start
of
the
event.
Also
look
out
for
ISPs
that
test
out
well
on
tools
such
as
speed
test,
but
then
dial
down
the
bandwidth
they
provide
after
30
minutes
or
so
connection
time.
The
best
way
to
verify
the
bandwidth
your
ISP
is
supplying
is
to
time
the
transfer
of
a
huge
file.
So
far
weve
presented
a
practical
guide
on
how
to
create
a
technically
excellent
live
stream
that
has
the
production
values,
features
and
smooth
delivery
that
will
engage
your
viewership.
In
the
next
section
well
explore
the
options
and
trade-offs
available
should
you
wish
to
monetize
your
content.
Whats
a
CPM?
Consider
this
sequence
of
letters:
I,
V,
X,
L,
C,
D,
M.
Congratulate
yourself
if
you
recognize
these
as
Roman
numerals
with
M
representing
the
number
one
thousand.
CPM
is
an
acronym
meaning
cost
per
thousand
impressions.
An
impression
is
created
when
someone
watches
an
ad,
clicks
thru
a
banner,
or
finds
junk
mail
in
their
mailbox.
CPMs
are
the
currency
of
ads,
but
theyre
not
all
created
equal!
The
value
of
your
CPMs,
i.e.
how
much
you
can
charge
an
ad
service
depends
on
the
value
of
your
audience
to
the
advertiser.
The
broadcasting
equivalent
is
cost
per
minute.
Some
reference
CPMs
(Ellis):
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$95 for banner ads served on www.wealthmanagement.com. This is a site frequented by high net worth individuals that are highly valued by advertisers selling investment products. $13-90 for a 30s spot on Hulu.com during primetime. $42 for mobile sports content. $6-7 for typical low traffic website with an Alexa rank above 300,000. TV primetime equivalent is approximately $40
You can discover your sites Alexa rank simply by typing it into the tool provided at www.alexa.com/siteinfo. Some criticisms of this measure are that it can be manipulated (usually by marketing companies), and that it is fairly unresponsive, taking around 3 months for changes in visitor volume to be reflected in the ranking. However, it remains popular with ad purchasers, so you need to understand how it can work for you.
Whats
a
Paywall?
A
Paywall
is
an
alternative
to
linear
ads.
Instead
of
selling
your
audience
to
advertisers,
youre
selling
content
to
your
audience.
The
basic
principle
is
that
viewers
must
somehow
pay
to
access
the
content
they
want
to
consume.
The
Freemium
model
is
a
good
way
to
engender
this
desire.
The
idea
is
to
provide
free
content
to
the
point
that
it
engages
the
interest
of
the
viewer
who
will
then
pay
to
access
premium
content.
There
are
three
types
of
paywall
in
common
use,
each
with
their
advantages
and
trade-offs.
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Live Streaming: Production, Distribution, Monetization Pay Per View There are two variants to Pay Per View:
John R. Naylor
Pay-per-download. This is the model used by iTunes. After paying a fee, or setting up a charging mechanism, the viewer can download the content. This is great for the viewer because they can use multiple devices to consume the content, and easy for the content creator to recognize revenue and analyze their portfolio of content offerings. The main disadvantages to this model are that it is unsuitable for live streaming, and the content is often subject to Digital Rights Management (DRM) which can undermine the portability of the content that the viewer values so highly. Pay-per-stream. From the viewers perspective, this is like buying a ticket to a concert or a sporting event. The content can be live or on-demand, so it is well suited to live streaming. The benefits compared to pay-per-download include: instant access, usually lower fees, and DRM can be avoided because the security methods touched on above can be deployed.
Subscriptions The subscription model is similar to how cable TV works today. An access all areas pass is granted to the purchaser in return for a monthly subscription. For the producer, this has the huge benefit of providing smooth, regular income but it comes with the challenge of retaining subscribers by keeping the content fresh and interesting. Whether subscriptions give access to downloads or streams is discretionary, with the pros and cons described above.
Net Revenue
$2,500
Of
course,
these
assumptions
are
just
that.
Your
content
may
not
command
as
much
as
$10
per
CPM,
but
it
may
be
much
more
valuable.
Your
audience
may
be
willing
to
spend
a
lot
less
or
a
lot
more
than
1
Only 1.3% of time spent viewing video online is spent viewing ads, compared with 25% for TV. (Piech, 2011)
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the $5 PPV illustrated here. In either case, it will take time and marketing effort to build to an audience of the size used in this illustration. So its more helpful to think of these two options as a progression, rather than a dichotomy, because a great way to build an audience while keeping distribution costs low initially is to use an ad-supported channel. These are provided free to producer and viewer by companies including YouTube, UStream, DaCast, LiveStream and others. Case Study, Eventstreams The Mens Room Mike Dawson of Eventstream is one producer to have made this progression with his show The Mens Room2. This chat show about dating started life as a scripted program that was supported by ad revenue. It gradually built to an online audience of around 1600. Mike was able to dramatically cut production costs, and increase revenues by making two key changes: He changed it into a live show. This eliminates the costs associated with post-production, and also shortens production time because there are no re-takes allowed when youre live! Live content is also inherently more engaging than its scripted cousin as the rise of reality TV has demonstrated. This helped Mike keep his audience when he made the second change. He switched to a paywall access model, charging viewers $2.00 subscriptions.
The success factors here are: Creating content that addresses an existing market Growing an audience Keeping it while reducing costs and increasing revenues by taking it live
Conclusion
Creating
content
and
streaming
it
live
over
the
Internet
is
a
large
subject,
and
as
a
tour
dhorizon
this
paper
has
provided
you
with
some
starting
points
for
further
enquiry.
By
now
you
should
have
a
good
idea
of
how
to
create
content
that
is:
Technically
transparent
so
your
viewers
concentrate
on
your
content
without
being
distracted
by
artifacts
and
buffering
delays.
Consumable
on
the
devices
your
audience
wants
to
use.
Trouble-free
to
produce
because
youve
designed-out
the
pitfalls
identified
here,
and
done
thorough
pre-production
testing.
Effective
in
addressing
social
media
outlets
that
are
increasingly
important
to
satisfy
your
viewership.
Weve
shown
that
the
barriers
that
used
to
exist
between
content
creators
and
remunerative
distribution
have
been
eliminated
by
the
ease
and
low
cost
of
being
your
own
broadcaster.
The
onus
is
2
http://eventstream.ca/events/mens-room-live/
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John R. Naylor
now much more with you, the creator, to imagine, innovate, and create programming that will attract, engage and grow an audience.
Acknowledgements
This
paper
started
life
as
a
couple
of
webinars
delivered
to
SMPTEs
Professional
Development
Academy
earlier
this
year
(Naylor
&
Roskin,
Live
Web-streaming
-
technologies,
techniques
and
production
values,
2012),
(Naylor,
Ellis,
&
Dawson,
The
Business
of
Live
Web-streaming,
2012),
and
it
would
not
have
been
possible
to
write
it
without
significant
permissions
and
contributions
from:
Chuck
Silber,
COO,
NewTek,
Inc.
Rob
Roskin,
Senior
manager,
video
operations
&
emerging
technologies,
Viacom
Greg
Ellis,
VP
Business
Development
North
America,
DaCast
Mike
Dawson,
CEO,
Eventstream
Joel
E.
Welch,
Director
of
Professional
Development,
SMPTE
References
Ellis,
G.
(n.d.).
Making
the
Paywall
Work.
Retrieved
2012
30-March
from
www.dacast.com:
http://home.dacast.com/files/emailing_311011/making_the_paywall_work.pdf
Naylor,
J.
R.,
&
Roskin,
R.
(2012
January).
Live
Web-streaming
-
technologies,
techniques
and
production
values.
From
https://www.smpte.org/education/pda-ondemand-access
Naylor,
J.
R.,
Ellis,
G.,
&
Dawson,
M.
(2012
February).
The
Business
of
Live
Web-streaming.
White
Plains,
New
York,
USA.
From
https://www.smpte.org/education/pda-ondemand-access
Piech,
D.
(2011
July).
Online
Video
by
the
Numbers.
Retrieved
2012
30-March
from
www.comscore.com:
http://www.comscore.com/Press_Events/Presentations_Whitepapers/2011/Online_Video_by_the_Nu mbers
Notices
Copyright
2013,
John
R.
Naylor,
All
Rights
Reserved
UStream
is
a
registered
trademark
of
UStream,
Inc.
TriCaster
is
registered
trademark
of
NewTek,
Inc.
Adobe
Flash
is
a
registered
trademark
of
Adobe,
Inc.
Windows
is
a
registered
trademark
of
Microsoft
Corporation
in
the
United
States
and
other
countries.
YouTube
and
Android
are
registered
trademarks
of
Google,
Inc.
iOS,
iPhone,
iPod,
iPad,
iTunes,
AirPlay,
and
Apple
TV
are
registered
trademarks
of
Apple
Corporation.
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John R. Naylor
Level 3 is a registered service mark of Level 3 Communications, Inc in the United States and other countries. DaCast is a registered trademark of DaCast, LLC. Alexa is a registered trademark of Alexa Internet.
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