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(English) Hype-ometer: Comparing lack of rate adaptive buzz with 3D buzz

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The more hype the less genuine importance?

Rate-adaptive technologies occupy very little media space but will radically transform the Internet and broadcasting industries.

3D on the other hand is yet again making all the headlines (yes is has done several times over the decades), but I’m convinced this new surge of interest will barely be remembered as just another blip on the radar, a few years from now.

Counting Google hits is by no means science, and you write ‘3D’ in most languages as oppose to “rate adaptive” which is English only, but getting 170 million hits for the search “3D cinema OR TV” (limited to English language) while the search ”rate adaptive cinema OR TV” gets 240 thousand must portray a bit of the hype imbalance between the two topics.

Walking through the booths at IBC for example, you’ll see 3D used on booths whichever way you look, to entice wanderers-bye to stop. Counting the number occurrences of “rate adaptive” on booth walls will be easier!

First let’s look at one reason why 3D is generating such a fuss at places like IBC.

The global economy is apparently picking up after a recession and cyclic industries like the electronics industry need to have something new to push. 3D serves that purpose well. For set makers, there is now a wider and wider array of new high tech parameters to get people to think they need a new TV. On top of the traditional TV specs like screen resolution, size, contrast, colour management etc., there’s also now Internet connectivity, widgets, OTT services and home networking.

This list of features is also used to differentiate from competition. In the end, even if 3D never really takes off in the living room, the likes of Sony, Philips, LG, Sharp or Samsung will have benefited from the hype. 3D is just one of many many features and can only help sales.

Device makers make cool devices but - Apple apart – they don’t deliver cool services. For the 3D revolution to happen, content needs to start flowing.

Apart from the set makers, the other group that have a vested interest in making 3D take of are service providers who feel it would give them an added value.

Now for some reasons why this might remain hype and never make it to mass-market.

Today’s side-by-side trials by satellite operators actually have to reduce resolution. They basically split the screen and send the left and right components of the 3D stream on each half of the screen. Feedback I’ve had has been disappointing as viewers notice the drop in resolution from HD, which is not compensated for by 3D.

3D will have to be broadcast in full HD resolution to have an outsider’s chance of delivering its promise. To do this a bandwidth of 20% to 100% increase will be required. DSL and unmanaged Internet will drop out of the race, at least for live content. So the only stakeholders I see pushing hard to get the 3D bandwagon rolling are satellite operators – and in some cases FTTx and Cable operators – for whom bandwidth is less of a blocking point. That’s why Sky has several 3D initiatives and been showing some impressive demos for over a year, they rightly see 3D, if it takes off, as keeping them one stage ahead of the game.

But even the biggest marketing muscles are ineffective to make a person adopt something that doesn’t bring any benefit to them.

When a movie especially thought of for 3D comes along people will notice. But beyond aesthetics, this doesn’t answer a need expressed by users or yet imagined by marketers.

HD improves the experience of any content, whereas 3D is beneficial only to content specially designed and created for 3D. It’s a funny contradiction that the sex industry was one of the last to take up HD, (indeed who wanted more gynaecology?) but may take back its role as innovator for 3D (have a beautiful body passing right by your fingertips can have more effect that just seeing it in 2D). But beyond that early adoption, 3D will remain niche for most of us for a few years yet, because it doesn’t answer any of our needs. It might even remain niche forever like 3D photography has for over a hundred years.

Aesthetics alone can however make an impact if 3D becomes part of our culture. 3D will have to permeate all aspects of production, starting with design of the content; this is underway, but will take years.

***

Rate adaptive is a lot less sexy to talk about than 3D. Indeed there isn’t all that much to show, except maybe to geeks who understand what’s happening under the hood.

Rate adaptive technologies will however enable the delivery of services people have been wanting from the Internet from the outset. This month’s Wired magazine cover reads “The Web is Dead”, inside you’ll see they mean that it’s video in particular that is killing it. Delivering video over the Internet remains a challenge though. In the media space one of the rare companies out there that was saying this out loud was Verimatrix with their white paper from last year "Adaptive Rate Streaming: Pay-TV at an Inflection Point". They don't seem so focussed on the subject (at least on their Website in the sun up to IBC), I'll try and find out why and keep you posted.

An early implementation of rate adaptive technology from Move Networks led the market by several years and almost made it to the mainstream when they were rolling out web streaming services with major US studios. Somehow they failed in the last stretch. Positioning and marketing must be to blame, because the technology is beautiful. They have now moved out of the B2C space and head-ends and are concentrating on enabling TV delivery for corporate customers.

Rate Adaptive technology is picking up speed in the consumer market. It is one of the latest exciting things from all of Microsoft, Apple and even Adobe. Of course all the encoder manufacturers like Envivio support it too now.

UK’s project Canvas CTO Anthony Rose recently said it’s “essential for Quality of Experience on a range of Internet bandwidth”.

He’s right and there should be more fuss about it in the media it’s really much more significant than 3D.

Bad quality and unreliability have been real killers to both user aspirations and business models for all Web streaming efforts from even before the Internet bubble days.

The traditional pay-TV model may survive in a renewed shape, but even the most conservative execs in the industry agree there is a major shake-up underway and OTT is one of its names. Content owners frown upon many OTT ventures, but to reassert control, content owner are investing themselves heavily in TV-Everywhere initiatives so that consumers have access to premium content from anywhere. That means pushing content across unmanaged networks.

Google’s entry into the market reinforces the feeling of unstoppable change.

As the MP3 and music industries debacle showed, people want more freedom in consuming content. Companies, TV content creators included, need to make money. Rate adaptive technology is the key enabler for both to be satisfied.

User surveys invariable show that consumers are happy to pay for content; as long as technology is seamless and doesn’t get in the way. Price points will find their natural equilibrium on their own.

Finally a little technical perspective [geeks only from this point]: what do you actually need to deliver rate adaptive say in a STB? A recent LinkedIn post by Amino’s CTO Dominique Le Foll puts it nicely in a nutshell.

The most high-level requirement is to adapt quickly and automatically to a change in available bandwidth. All components of the stream must of course remain synchronised (video, audio, teletext / closed caption). All features requiring significant processing must be supported by hardware (demux, decode, etc.). Trick modes must be supported for Fast Forward, Rewind, Pause, etc. Of course the technology license must be affordable and content protection must be possible. I also agree with Dominique that streaming should be based on http. This is the best solution via the NAT in end-user’s home, but it also means that in some implementations of the technology (e.g. Move Networks), streams can make use of cheap HTTP caches throughout the Internet (this is akin to free multicast feature in the network). Adjusting the initial buffering level will be tricky to achieve good TV user experience, but who said it would be easy?

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(English) IP Vision was back in the news in August with concerns about Canvas

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IP Vision formally lodged a complaint with Ofcom on August 18th.

As several others in the industry, IP Vision, claims to be the leading provider of hybrid DTT/IPTV over-the-top (OTT) TV. They do ad credibility to the claim by stating in the same sentence that it’s a nascent sector, which shows that they know what they're talking about and so must be active in it Q.E.D! Numbers of subscribers are still less important than mindshare. Their core technology, from Netgem is also doing well elsewhere, like for example in the Telstra launch in Australia.

Clearly they are legitimate in asking Ofcom to examine whether the Canvas joint venture will “stifle industry innovation, inhibit competition and ultimately restrict consumer choice”.

But are they founded, or is it just sour grapes for not being part of Canvas?

By calling the Canvas gang “Goliaths, supported in part by BBC licence fee funds”, IP Vision’s CEO Eddie Abrams is casting himself as David.

As an industry observer, my initial response is that he’s right and that it just ain’t fair, but that thought is immediately followed by the one telling me that he’s wrong to be worried.

The background to this story is that the BBC must remain technology agnostic. Last year they prevented IP Vision from releasing their own implementation of iPlayer. Of the two main reasons stated at the time, one was maintaining the BBC brand value. I can buy that, although it could have been managed in a more creative way, maybe by creating an “iPlayer Compatible” brand.

The other reason was about preserving the value of the investment the beeb had already made in iPlayer. That argument doesn’t hold water. Despite having some of UK’s best techies onboard, the beeb will always be a behemoth (suits better than Goliath), and managing libraries of source code, some proprietary, some public domain, accompanying API’s and the likes, is not the core business of a public broadcaster.

However I can see both arguments and understand how the situation would leave IP Vision with some grievances.

Why IP Vision shouldn’t be worried though, is because If Canvas fails, well it’s all benefit to that company; but if they succeed its even better.

A successful Canvas will turn what Abrams calls a nascent industry into something really big. IP-Vision will always be more agile & nimble than a bunch of Goliaths. In the end, OTT is also about giving power back to the end user. If IP Vision and their technology partners focus all their energies on delivering the best product (and I won't write the "instead of" part of this sentence), which they can, then IP Vision can reclaim their first mover advantage. After all David didn't have the strength to confront Goliath head-on, but he was fast and accurate with a slingshot.

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(English) Does the 3D emperor have any clothes on?

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I went to see the latest Shrek4 in 3D with a party of 9 of all ages a few weeks ago. As we left the cinema, comments were all very favorable: «much better than the last shrek», «almost as good as the original», «the villain was really well portrayed»‚«great scenario, shame they didn't have Shrek seduced by a someone younger than Fiona so he would have had a complete mid-life crisis then»; nobody spontaneously mentioned the 3D.

When I asked the first response was «oh yes I did get a bit of headache» and «apart from the opening scene with the white horses, I didn't really notice it was 3D», «nothing like Avatar».

I agreed with all these comments.

The experience pushed me to write this blog and say what many have been thinking and a few saying for a while now:«The 3D emperor hasn't got many clothes on» which can only really interest the sex industry.

Here are my reasons:
Specific content specially written with 3D in mind, will always have a niche, and people will pay for that. So there will be more Avatar-like blockbusters, although Avatar in plain HD (gosh that's already no longer an oxymoron) is still beautifully made.
It seems only natural that Gaming would adopt 3D, but that's just an assumption we're all making. People presume that the games and sex industries will be first to adopt a new technology, but actually, they only do so if the new technology brings them value (the sex industry was most definitely not an early adopter of HD, but was first and to date, the only one to successfully adopt multiple angle views) so there's no golden rule. 3D must bring something to succeed. I'm not actually saying that gaming will not adopt 3D, just that it's not a done deal, and even if it does, there's no guarantee this will lead to adoption of 3D in TV usage.

[Last minute: just read a post in French here about Marc Dorcel a French Porn mogul that is investing in 3D. I suppose the author is right that when a beautiful ass passes literally under your nose it might have more effect than with regular video].

If 3D does impact these innovation hungry industries, it'll only concern their hardcore from the outset, maybe even for good.

The 3D Emperor will certainly take his clothes off if he's a porn star.

One of the main battle cries of our industry for the last couple of years has been “3 screens” or more openly “multi-device”. This will be an obstacle for 3D. Repurposing 3D designed for the cinema, where viewers are typically 10m from the screen, will be difficult for a PC let alone a mobile device. There is an issue of base-line calculation.

The industry needs a big subject to federate around. HD was one such example and does bring a deeper sense of immersion to all content, whereas 3D has is only relevant to content specifically designed for 3D. Just adding 3D for effect leads the latest Shrek movie as opposed to Avatar.
Technologies come to enable something new and go when they serve no purpose other than their own. 3D technology will be useful to enable the viewing of 3D content. Even if I'm wrong and 3D does end up bringing something to any old video, the “3D-ing” of all that video still needs to be done. Remember how may years it took the plain vanilla VoD sector to take off because of ingest problems.
Oh and if like me you spend an average 10 minutes a week or more looking or shouting at your kids for the remote, just imagine what'll happen in the average household with multiple pairs of glasses yikes!
One last reason I can see hindering 3D adoption: as an early adopter myself I have a 450€ HDMI 1.3 compatible A/V system that all my devices talk to. Enabling 3D is going to require HDMI 1.4 for the extra bandwidth beyond HD, which basically means I need to change that expensive sound kit to get full functionality. Otherwise I'll need to plug all my future 3D sources directly into my future TV set. Yikes again.

I can see one main reason why I could be wrong. In UK and France, Sky and Canal+ respectively, have both started promoting 3D. If they do decide to put all their marketing weight behind 3D, that kind of juggernaut could push mass adoption. The reason they, and satellite operators in other markets might do that is simple.
Operators delivering over multiple networks especially including DSL are severely handicapped when it comes to HD let alone 3D. HD with its fourfold bandwidth requirements really hurts TV over DSL eligibility. When 3D comes along, even if it turns out to only require another 20% (which is the optimistic estimate, others talk of a 50%-100% increase), things will only get worse. So if Sky promotes 3D, that hurts BT but more importantly Canal+ will really want to hurt Orange.
Of course the set makers are aggressively pushing 3D already, but I think they are making a big mistake. People will either think their message is irrelevant or worse, succumb, buy a set and then feel conned by the brand, with the scarcity of content where 3D actually makes any difference. If I were a set maker, I'd promote 3D as a cool extra feature, not the one big reason to buy a new set. As Jeff Vinson reminds us on his blogpost on 3D, «Don't believe your own hype!».

But in the end, early-adopters aside, mainstream customers buy mainly things whose added value they fully understand. I can easily imagine the articles in 2011 and 2012 explaining why 3D never made it mainstream.

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(English) Brain Drain: Is British Innovation here to stay?

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I recently spoke on a panel at ei's Comment conference.
It was a privilege to be among the speakers see here; http://www.commentconference.com/
I was quite taken by Sam Roddick, Coco de Mer's founder, world view. Innovating our attitude to sex is quite a way from the usual technology based discussions I have about innovation and IPTV.

Anyway, here are the ideas I put together in anticipation of the conference.

If British Innovation is here at all, can there actually be a Brain Drain in the first place?
If there is, then Britain is already sliding down a slope towards decrepitude of some kind. The second part of the question implies some kind of divine right or duty to shine out.
My (and Julia’s) Viennese grandma told me of her Honeymoon in London just before the 1st world war. In Trafalgar Square her brand new husband told her “darling I’ve just brought you to the centre of the world”.
Well, that was a century ago.

I’ve lived in France for twenty years, so my brain must have gone down the British drain. Drains lead to sewers so that’s how I got to Paris.
Well maybe not. Britain is now part of Europe; at least that’s what the other Europeans think. If this talk had been about European Innovation and mobility we’d be taking quite different stances.

Innovationuk.org clearly state that innovation is about raising the standard of living.
Innovation for its own sake has never created any value. True innovation must be useful, It’s about creating or reinforcing/reasserting a role a person or organisation plays in an ecosystem or society at large.

Some examples of failure and success from the past include: Chrome car bumper makers of the 50`s & 60`s. They went out of business when plastic came along because they thought their business was to do with chrome and a certain style, it wasn’t, they were absorbing shocks as cheaply as possible. In the same vain cinemas almost lost it, in the eighties, so they got smaller & cheaper but that just made things worse until a crazy Belgian guy created the first cinema multiplex. That was all about big seats, huge screens, lots of choice, ludicrously expensive popcorn galore, huge entrances, requiring a car journey to get there … it brought cinema back to the role it was always meant to have in society: a real night out, a break from reality, the opposite of home TV.

So if technology alone is extremely rarely a success or failure factor in innovation, what is? It’s the marketing ideas around something new and especially the way they’re perceived. That’s why this is a really interesting place for me to be instead of the usual techie conferences I attend.

The “Brain Drain” concept is very twentieth century. If British innovation were about being faster and more agile in the knowledge society that we’ve just entered into, then it’s a lost battle anyway. Spend just a few days in an Indian High-Tech company and you’ll see what I mean. These companies may not yet be the cause of a British Brain Drain, but they will very soon make a mockery of a previous worldview that implied that we, the chosen, (I mean Brits and a few other select nations) would somehow be superior in a knowledge-society world, just because we had more educated people.
Innovation in a knowledge-based society requires mobility and agility and the concept “Brain Drain” just doesn’t fit in.

A “brand” new Britain could capture a new set of criteria by which to measure success and innovation. Setting an example for the future of society rather than trying to win previous battles over again. Shifting the balance to social and environmental progress away from technological prowess might be part of the answer (ouch that last sentence hurt as I’m a technology person).

The new government can play out previous bust & boom scenarios and Britain will quickly get better including in terms of old-school innovation (no that’s not an oxymoron).
If the government plough loads of cash into making life great for technology start-uppers, of course we’ll see more twentieth Century innovation from London. Reducing capital gains tax and the likes would reduce the perceived Brain Drain. But is that all there is?
If such Innovation were the yardstick, Britain would fall to its true place well behind many other nations like for example South Korea or Israel.
Britain is one of the rare nations that could try a different route. What Obama has done to the US economy by pushing “green” into business could be even more powerful if done in a European context. European society is more intricate. You can’t “just do it” in London for example. You need to first get everyone on board to discuss, have tea, discuss some more then maybe decide over tea a few months later.
Going green in more than rhetoric would require more political will than in America, but the end result would be proportionally more significant. If Britain embarked on such a journey for this decade, it could spearhead a European move. In the next decade she would have an army of consultants and thousands of companies of a new kind.
The political entity we call our Country might not be better in terms of GDP or standard of living, as InnovationUK.org would have it, but could be leaps ahead in terms of quality of life.
Britain can innovate again on a global scale if she changes the rules. One new one could for example involve happiness creation as criteria for measuring the success of innovation.

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(English) EUROITV2010 – first impressions from an academic conference

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EUROITV2010, Tampere Finland June 9th-11th

Expectation.

From 2004 to 2010, I must have been to well over 25 IPTV or broadband conferences. I’ve presented, held a booth, run a workshop or chaired sessions. In the last year I’ve also taken up blogging from these events. But all were trade shows and the life span of their conferences is inversely proportional to the energy the organisers deploy to milking the event for profit. So its rarely a good sign when these things get too big if it’s the conference you’re interested in.

When I first heard of EUROITV2010, an academic digital TV conference, from Arian Koster of KPN, a few months ago, I wrote to the organisers saying who I was and that I was interested and could help promote the event. I was half expecting to be invited as a guest or something.

I got no answer. Of course that’s always a bit off putting; but getting past the vexation, my curiosity was piqued. At last I would go to a conference where presenters have to fight amongst their peers with the quality and originality of their presentation to get a slot. It is not the amount of money you’re paying for a sponsorship package.

So here I am on the plane on my way to a conference I’m paying to attend. The last time I paid was almost ten years ago! Actually the investment for the independent consultant I am, is only hitting home now: 500€ for the conference 400€ for travel, 350€ for accommodation and I expect at least 150€ for extraneous (I’m flying Finnair so a beer & nuts is already 7€ for starters) is 1300€ plus three days away from home & work + missing the first two world cup games. I really must get something out of this.

After a day of around Tampere, one of the larger inland cities in Finland, I Was getting an idyllic view of the place. If Finland were only what my eyes have seen so far, then this is a land of light - this time of year at least - with no houses, just blocks of flats, beautiful people whose women have exclusively blond or jet black hair. There are seagulls in the city miles from the sea, pleasant fried fish smells at meal times, really boring handsets and market butchers with large Nokia blue-tooth earpieces.

OK enough tourism, what about the content? Did academia stand up to my high expectations?

Well yes in most ways.

A trade-show conference is 30% rubbish, 30% boring, 30% OK and 10% interesting. EuroITV2010 showed a very different profile.

From what I saw there was probably as much rubbish (lets round it at a third), but then the rest was all interesting, with another third being scientific reasons that explain hunches a lot of us have in the industry, and the final third being really new, at least to me.

I attended the Quality of Experience workshop the day before the main event. Of course it had a proper academic title (QoEMCS or something), but really was just a QoE workshop. I was the only non-academic out of 12 participants.

A first researcher presented a huge mobile 3D project that must have cost lots of our tax Euros. They have uncovered some stereo Video encoding issues with a current debate on MRS Vs. AVC Simulcast. The project started using DVB-H, which was politically correct at time of project funding. “Actually a very good standard form a technical point of view” according to the presenter.

This is clearly a mid to long-term project as the main technologies considered where auto-stereoscopic which means “Glasses-free”. There are three ways of achieving this:

  • Stereoscopic for single user with one small “sweet spot”
  • Multi-view for multiples observers with a larger viewing region but multiple but even smaller “sweet spots”
  • User tracking with various techniques – this seemed to be a bit of science fiction, I mean what if a fly landed on you nose or something …

In the work done so far, an interesting hypothesis has arisen that 2D & 3D artefacts are independently perceived. What this means was left to the listener to deduce, I suppose that must be the academic way of seeing who’s a member of the club. I’m not a member of that elite club yet and didn’t get what the implication of this hypothesis might be.

Focus groups conducted within this research program concluded that user expectations of mobile 3DTV were primarily for social gathering: to achieve a sense of “being there”. In terms of content the two genres that came up most as potentially interesting were action movies and documentaries.

Mobile 3D coding is less resilient to network error and is therefore harder to standardise than 2D.

Amongst ongoing challenges, the project team is working on an objective perceptual quality metric for mobile stereo-video, which delves into neuroscience as much as into video expertise.

Priorities for bringing 3D to the mobile devices are first the User Interface, then games, video being last.

The corpus of 3D cinema that will be available with films like Avatar will pose a challenge. They are designed for viewing from a distance. It will be difficult to repurpose them for mobile and “convert the baseline” or extend the background.

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Then followed a short punchy presentation of user driven adaption of H264/SVC streams. Its was one of those “why didn’t I think of that” moments.

Rather than have streams adapt, just on available bandwidth parameters, this idea is to let the user influence the adaption of bandwidth, frame rate or resolution with several use cases. When there is incomplete information on usage environment, when the user’s interest in the content varies significantly, when billing conditions change, … This is just a project proposal but so far Jordi Ortiz from the University of Murcia in Spain has considered 3 adaption parameters: varying priority, adjusting minimum values and bandwidth adaption.

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I said academia has its quota of time wasting and there followed a really lame presentation on QoE measurement from multiple points in the networks: several years behind the industry.

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The next talk was one of those “I knew that was true, but now I know why” moments. Controlled resource reduction affects QoE much less than uncontrolled packet loss. Doh! A few slides of arcane scientific explanation illustrated how the overall Quality of Experience is less affected by lowering bit rates proactively than by letting packets get lost at network bottlenecks. The researcher came up with a really interesting question: “If we knew why users leave streams, QoE tools could improve by a quantum leap.” That’s the beauty of academic research. We can ponder this even if there is still no workable way to progress this issue.

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Yohann Pitrey, from Nantes University then gave a crisp talk about research he’s conducted into ‘Subjective Quality Evaluation of H264 HD Video Coding Vs Spatial up-scaling’. The study clearly shows that it is better in QoE terms to downscale rather than interlace a full HD video to save bandwidth. Interestingly the study also shows that 720p at 6MBPS is close to 1080p at 9MBPS in user perception of quality.

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Shelley Buchinger from Vienna then gave a short talk on findings from her project on ‘Content Aware enCoding for Mobile TV’ or CACmtv for those in the know.

An interesting question was that if the minimum number of non-expert users required to test video quality is 15, how many expert users does it take to produce video quality measurement (MOS) that is as reliable? The University of Vienna study shows that you can achieve similar results with just 6 expert users & simplified procedures, but interestingly only as long as the video used to benchmark has only one Area of Interest.

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A presentation on using Metadata for video quality assessment reminded us of the shortcomings of the usual suspects like MSE or PSNR for determining signal quality. There was a new one for me: MSSIM, which is a Mean Structural SIMilarity index. It uses luminance, contrast and more importantly structure, to compare a reference image with the one being tested. Apparently it’s been around since 2004 and competes with another new approach called VIF. Quality impairments in dark regions are less important than in light ones. An MPEG7 semantic description of sequence helps define a region associated with the semantic content so quality assessment effort can be focussed there.

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Florian Wamster from the MNRG lab in Würzberg, Germany presented a project which should really turn some heads. YoMo is a YouTube “Application Comfort” Monitoring tool.

Their starting question was how to measure QoE for YouTube viewing. The worst influence on YouTube viewing is stalling when the video just stops before the end, waiting for the buffer to fill up again. The results so far use both network parameters and the YouTube API and show that network management could react if stalling seems likely. Operators could soon offer premium services with enhanced YouTube viewing.

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The last presentation from the QoE workshop basically explained that there’s a trade off between the quality of the image and the time users are prepared to wait for it to load. Wow that was worth coming to Finland to hear. Oh yes, there’s an HIQM metric used to measure this.

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The conference itself kicked off with a sleek presentation on the future of content distribution by Siemens’ Marcos Gonzalez-Flower. He compared broadcasters with Venetians and warned: "the battle for the lounge is almost over and the natives are revolting". It was witty and entertaining but didn’t contain any new information.

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During the coffee break I saw a demo of http://www.smeet.com. It’s a lightweight Flash based virtual world particularly suited for watching YouTube videos with your buddies & discussing the film.

http://madm.dfki.de showed a video content analysis demo called ‘smartvideobuddy’. The demo was impressive for automatic tagging within narrow range of possibilities. The demo said which of 16 predetermined sports was this video about. But this kind of approach doesn’t work at all in a context where you have no idea what the video is about.

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Mike Darnell for Microsoft’s MediaRoom gave an interesting presentation about ad-skipping, which is the most frequent DVR interaction. It turns out thumbnail-skipping where users get to skip over each add represented as a thumbnail at the bottom of the screen is the preferred method, but unfortunately it’s bad for brand recall. Ad skipping is or course a much bigger issue in the US, I can only hope it stays that way.

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A “Hypernews” project by Päl Aam of Volda University in Norway was about clickable or hyper-video to go beyond the typical 90s TV news story (which is roughly 200 spoken words). The idea is to go beyond the shallow pieces without nuance. I must have misunderstood something because this really gave me a sense of déjà vu.

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Tanja Erdem, a rare non-academic, from Momentum, Istanbul described the complete environment including authoring tools that they have built for getting PPT and PDF on TV. Their market is eLearning and exams. For once it was something down to earth but maybe the price to pay for that was that it was that it wasn’t very intellectually stimulating.

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IPTV personalisation based on non-identity attributes basically means using age and gender to tailor the content. Wei-Yun Yau from Singapore’s A*STAR presented a project they are is developing with a camera sitting on top STB (could an STB-Top-Camera be a STBTC or maybe an S2TBC?) for such gender and age recognition. (http://www.a-star.edu.sg)

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A thought that has been germinating in my mind for a while, finally came to fruition during the last panel of the day as Roger Lay of SapientNitro gave a suave talk including a Friendly Filtering concept (actually FF could also mean Fast Forward, or skip all the junk and get me to where I want to watch). Content recommendation has been a key concern of mine for 5 years, but with OTT here at last, for the TV it’s more about getting rid of all the rubbish. Recommendation was yesterday’s battle when we thought VoD would succeed within walled gardens. OTT changes that: "Friendly filtering' is the new mantra!

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During the panel Jussi-Pekka Koskiranta from YLE the national Finnish broadcaster told us that live TV viewership was doing fine for adult and kids segments, but not for teens. So their WebTV efforts target them in particular, with Internet-only programs and a chat-enabled viewing experience. The service is apparently successful but we didn’t get any hard figures to prove this.

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Olof Schybergson, CEO of Fjord, a Nordic user experience (UX) company that was involved in BBC iPlayer rollout, told us that "the couch potato is resistant to change but technology has already taken him away from linear TV and there no way back."

Wrapping up

There was a whole stream of presentations about market research techniques. Despite never-ending process enhancement, I still feel that research based on asking people what they want remains as shaky as ever. You can always get the research to say what you want. The latest trend is about “living labs” where a few families are followed in their usage for several years. Maybe this will help change my mind on this sociological approach.

A recurring theme during the conference was giving meaning to video with:

  1. better use of existing metadata (e.g. EPG),
  2. user generated tags
  3. automatic generation of tags through semantic analysis. MPEG7

I had to miss the second day for personal reasons. So I’m looking for a write up of that. And of course EUROITV2011 in Portugal.

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(English) Google TV off to a bad start

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Google is undisputedly good at advertising and search. I’ve been convinced for a while now that Google & TV make sense, see this IPTV News interview from 18 months ago.

If Google had decided to enable a business model for companies from say Roku to NDS using its advertising capability linked to search, I’d be totally confident in the venture even though success might have still taken time to reach.

But by embracing the whole middleware environment with a complete solution, Google has bitten off too much to chew even for them. Large companies from Intel to Microsoft (including Apple) have all failed their initial entry into the TV market. Different reasons apply in each case; one commonality is the size and lack of agility of these companies that always want to fix the whole problem instead of concentrating on their strengths. In spite of still branding its products as betas, Google has now become such a behemoth that its legendary light-footedness has all but gone.

As Mike Elgan points out in his entertaining computerworld blog, the TV experience is mostly stuff you don’t want. The lean-forward Web experience is one of finding a needle you do want, in a haystack that you don’t. TV’s problem is more about sweeping out all the rubbish. This is where the traditional pay TV business fits in, although it is not clear whether this is cause or consequence.

Google may have some flashy (or should that read HTML5?) animations explaining what Google TV is. However, just reiterating that they’ll deliver the best of the Web and the TV together is not reason enough for this to happen.

So ...  what actually needs fixing for the Web and TV to Merge?

  • 1. reliability or stability of the set-top-boxes (or stuff inside the connected TV)
  • 2. ease of use of the user interface
  • 3. navigation within all the newly available content

Starting with the last item on this list, Google’s premise seems to be that they will be in a better position to resolve the difficult issue of content navigation. They do indeed have a unique selling point here with their search technology. But the other blocking point needs to be fixed first. I have 6 separate devices in my living room, all with the latest firmware; I can crash any of them, with sometimes just a few button presses. Android, the operating system that will power Google TV, is still pretty shaky, and that is a no go in my book. The lack of robustness of the demos at Google’s I/O event that amused many of the bloggers present, is telling in this respect.

Working up the list, despite its relative failure to date, Apple TV introduced the poster Art concept that all modern TV UI now mimic with variable success. Nobody has yet provided an adequate solution to navigating Web amounts of content from a lean-back TV viewing posture. Should Steve Jobs up the Apple TV status from its official “hobby project” to something more strategic, then whomever can fix this usability issue, second in my list, Apple can.

As for the first blocking point, Google delivered Android for the Smartphone at breakneck speed. But in so doing, confused the market with a multiplicity of unstable versions. This is almost the opposite of MacOS on the iPhone.  Apple’s closed approach furthermore ensures both a seamless user experience and a certain level of quality. Google’s open approach can open up a Pandora’s box of faulty or incompatible apps. For robustness in the TV space one would more naturally look to the NDS’s or the OpenTV’s of the world to fix this issue.

If I were Eric Schmidt, I’d put Android for TV back into the R&D labs for another couple of years. Then choose a partner, or to be more true to their philosophy, publish open API’s for anyone to monetise OTT content through an ad system designed for hybrid TV. Going for gold during a rush, the way Google is now doing is risky business and they may well fail. If they just sold the shovels, Google would be sure to succeed and they could always buy back into the whole TV experience when the dust settles.

Combining the Web with TV, which is the Google TV bottom line, has been tried more times than any industry expert can count.

If it finally succeeds because big HD screens let you read text in the living room and devices let you interact with cloud based services, maybe with voice control or gesture based interfaces, then surely it’s the set makers that stand to win. I don’t see how current the Google-Sony-Logitec alliance could withstand the strains of success.

If the glue that finally sticks the Web and TV together turns out to be a reshaped entertainment and media ecosystems, with OTT becoming the norm and content flowing directly to TV’s through bit-pipes, then we would see a fragmentation of the content industry. Google could then dominate this space just like it does the Internet - thanks to its search/advertising model. However, the advent of file sharing and the MP3 saga have woken the sleepy content industry.  I don’t believe they will let Google reach such prominence here. Even if I’m wrong and they do, what revenues does Google derive from MP3 file sharing, legal or otherwise?

Quality live TV & film are still associated with subscription services. During the advent of the Internet over the last decade, the Pay TV industry has only gotten stronger with rising numbers of subscribers. TiVO tried to innovate a new model but has seen its active subscriber base drop from 3.3m to 2.5m in the last 18 months.

An executive from the TV industry once told me that young enthusiastic techies like myself had been explaining to him how new technology would radically change the TV business for over ten years. This conversation took place over five years ago! His point was, and I suppose still is, that for fifteen years, waves of technical change have only reinforced the basic pay TV model. The still topical world recession hasn’t dented their subscriber numbers.

Let me revisit the content navigation issue once more. Beyond the sheer mass of available content where Google’s search will solve problems, the problem is also going to be about home networks. There’s no point having a great search engine if it cannot index the content on all the different devices in the home. Google is no better equipped than others to achieve seamless home networking. In fact, some like the proponents of the DLNA standard are probably better equipped for this.

I’ll end with lack of clarity from Google TV’s positioning.

Google champions the search paradigm where revenue is generated from advertising. With it’s Android operating system, Google is moving also into the iTunes/Appstore model where revenue is generated from the sale of apps. It’s not clear to me how Google will be able to play both hands simultaneously on the TV.

A blog entry by Vintner: If Google TV were a bicycle, I'm a fish also points to the lack of clarity. This fun read states that Google is no longer a start-up and that pushing technology is no longer enough, even if it’s cool technology.

Indeed, there’s already too much technology in the crowded TV space. What the industry desperately needs are viable business models to enable OTT content flows to complement - rather than replace  - existing pay TV platforms. So Google, please put your TV technology back in the R&D lab where it belongs and bring us the tools to find & monetise video from the web on the TV.