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Thread: Daily Satellite TV News

Rovi licenses programme guide to Comcast Wholesale Michelle Clancy | 22 July 2015 Rovi has licensed its DTA Guide to

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    Rovi licenses programme guide to Comcast Wholesale

    Michelle Clancy | 22 July 2015


    Rovi has licensed its DTA Guide to Comcast Wholesale, thus offering an interactive programme guide specifically for digital terminal adapters (DTAs) for both standard definition (SD) and high definition (HD) signals.

    Comcast Wholesale will use the guide for its HITS service, an MPEG-2 HD and SD cable distribution platform, which is used to deliver linear content to cable operators, of all sizes.
    "We are excited to offer this robust interactive programme guide solution from Rovi to our HITS customers on the NAS conditional access platform," said Leslie Russell, vice president for Comcast Wholesale. "DTAs allow operators to save bandwidth by eliminating the majority of their analogue feeds. The Rovi guide will further enhance the viewer experience and offer new content discovery opportunities to customers using DTAs."
    The Rovi DTA Guide provides the interactive programme guide along with detailed programme information and parental controls for both HD and SD formats. It's compatible with multiple hardware vendors and supports various types of remote control units.
    "The Rovi DTA Guide is a comprehensive and feature-rich solution specifically designed for subscribers accessing digital content on analogue televisions," said Sarah Gaeta, vice president of product management at Rovi . "We are confident that HITS customers will find value in the guide and greater satisfaction in their viewing experiences and content discovery."

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    Winx Club joins South Africa's e.tv

    DetailsRebecca Hawkes | 22 July 2015



    Fantasy cartoon Winx Club has launched on South African free-to-air channel e.tv, after a deal with the Italian production company Rainbow.


    Seasons five and six of the fairy fashion show debuted this month in South Africa.

    "We are delighted e.tv is beaming the magic of Winx Club into South African homes," said Andrea Graciotti, head of sales and co-production, Rainbow. "The many Winx fans across the country will be thrilled to see their favourite fairies on TV."

    Shalamar Zandamela, marketing manager, OpenView HD, added: "The global success and following of The Winx Club is testament to the value that the brand offers. We hope that South African kids will grow to love the Winx fairies as much as the rest of the world".

    Rainbow forged a similar deal in May with Brazil's TV Cultura for new seasons of the show, which is now shown on some 115 channels globally.
    Netflix and Rainbow are also collaborating on a new version of the show.

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    Colors Infinity to launch at end of July

    DetailsRebecca Hawkes | 22 July 2015



    The latest channel from pay-TV operator Viacom18 will be available across India's direct-to-home (DTH) satellite and major digital cable platforms from 31 July 2015.


    The Viacom18 channel, which will provide international content covering drama, action adventure, comedy, crime and thrillers, as well as a range of reality TV, will be available to subscribers in both standard and high definition (HD) with Dolby S5.1 surround sound.

    Back-to-back episodes of Orange is the New Black (seasons one to three), Better Call Saul (season one), Fargo, (season one), The Flash (season one), The Musketeers (season one and two), Forever (season one), and The Big C (seasons one to four) will be broadcast every day from 9pm.

    The launch line-up also includes the series My Kitchen Rules, to be aired at 8pm from Monday to Sunday – with all content curated by Bollywood superstars Karan Johar and Alia Bhatt.

    Around 2,000 hours of programming has been acquired for Colors Infinity from studios including NBC Universal, Sony Pictures Television, Warner Bros, Twentieth Century Fox, Lionsgate, MGM, BBC and Endemol Shine.

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    Vice UK wins appeal on UK VOD requirements

    DetailsEditor | 22 July 2015



    Ofcom has overruled on appeal the decision by the UK's independent co-regulator for video-on-demand (VOD) content to hold Vice UK liable to statutory requirements for VOD services.


    The UK's broadcast regulator was reacting to an appeal against a determination by the Authority for Television On Demand (ATVOD) that Vice UK's website constituted on-demand programme services and was therefore subject to regulation under the Communications Act. Indeed ATVOD determined that Vice UK should be regarded as an on-demand programme service (ODPS) for the purposes of Part 4A of the Communications Act 2003 (the Act).

    In reaching its decision to overthrow the ruling, Ofcom considered not only ATVOD's determination but also the submissions provided by the Appellant and further information provided at Ofcom's request regarding relevant legislation including the Communications Act and the audio visual media services (AVMS) directive.

    ATVOD's case was that the Vice (Video) tab is an ODPS service as it appears. Yet new information provided to Ofcom showed that the person with editorial responsibility for the Vice (video) tab was established in the United States and outside the jurisdiction of the Act. Therefore, said Ofcom, it had to uphold the appeal and quash ATVOD's determination. Ofcom also noted that, since ATVOD made its determination, Vice Media has made changes to the layout and design of Vice.com and Vice (Video) and has launched a new venture, Vice News.

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    Quickplay reaches 1BN addressable viewers

    Michelle Clancy | 22 July 2015


    Multiscreen video services provider Quickplay has reached one billion addressable viewers via its managed video platform service.

    That growth corresponds to 44% growth in recurring revenue since July 2014.
    The company also said that it saw a 65% year-over-year gain in video-on-demand (VOD), hours, and a 25% growth in linear over-the-top (OTT) channels, as the company secured content connections to 250 premium content providers covering Hollywood to Bollywood for clients such as AT&T, Bell, Rogers, TELUS and Singtel.
    It has recently also seen market expansion into the APAC region with addition of a delivery centre in India – now home to 25% of Quickplayers. This has been bolstered by rollout of HOOQ – Asia's new OTT service from Singtel, Sony Pictures Television and Warner Bros Entertainment – in the Philippines, Thailand and India, with additional deployments slated into 2016.
    In addition it has secured $57 million in growth capital from private equity owner Madison Dearborn Partners, financing partner Orix Ventures and Difference Capital Financial in March 2015 to accelerate expansion strategy and footprint, further enhanced with the acquisition of Roundbox, a technology provider of 4G LTE Broadcast technology.
    "Disruption in the premium video industry has fuelled successive years of strong growth and business expansion for Quickplay and we see this accelerating; these figures highlight the value and scale of Quickplay's global managed services," said Wayne Purboo, CEO and co-founder of Quickplay. "We will continue to strengthen our position by investing in platform enhancements, further build our partner ecosystem, and provide the most open, efficient, scalable, and robust solution in the market."

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    Inspiration the key driver for video sharing

    DetailsEditor | 22 July 2015



    Inspiration is the emotion most likely to encourage viewers to share online video content, research by video sharing and collaboration service provider StreamSafe has revealed.


    By analysing the 100 most shared videos online, StreamSafe's research found that just under half (48%) of the 1,000 UK consumers surveyed agreed they would share the videos they saw which inspired them, beating both happiness (43%) and excitement (41%), which were the second and third most powerful emotions in shareability.

    Almost a quarter of the 100 most shared videos (24%) were adverts or promotional clips, highlighting that the content of videos is more important for shareability than who produces them.

    "Shareability sits at the centre of the online video marketing equation," commented John Harrington, director of StreamSafe. "Taking the viewer beyond passive consumption and encouraging them to interact with a brand's content is a critical step in effective engagement. Provoking an emotional response is the key to this and how you do that differs between demographics, making it vital that marketers and content producers understand what drives sharing for their target audiences. Emotional tone and content have been revealed as more important to this than brand."

    The survey also revealed that it's no longer just the younger generation that shares online video. Though the likelihood of sharing decreases with age, the difference is less marked than many marketers might assume. "Two-thirds of our 16-24-year-old respondents said they would share at least one of the top 100 videos, but a surprising 45% of those aged 65 or older also said they would," Harrington added. "This confirms that online video content is a powerful marketing tool for reaching audiences of all ages, and not just millennials."

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    TDC takes Titan for OTT, VOD file processing

    DetailsEditor | 22 July 2015



    Video streaming technology provider ATEME has landed a big win with Scandinavian communications services provider TDC for its core TITAN encoding platform.


    TDC is in the middle of an aggressive growth plan, and the acquisitions of Blockbuster and Norwegian cable operator Get is driving demand for both new services and enhancements of TDC's current services. To assist with this service expansion, TDC will use ATEME's TITAN File virtualised software encoder-transcoder for OTT , VOD, SVOD, TVOD and playout file processing.

    "TDC is known for high quality service," said head of VOD and EPG operations for TDC, Ole Rebner. "We needed a solution that would enable us to transcode files for playout, STB and OTT VOD, with premium video quality, while meeting our bandwidth and server storage constraints."

    TITAN File is based on Intel server class CPUs, offering says ATEME ultrafast high video quality processing without GPU or other hardware acceleration. TITAN supports all CODECs, including HEVC, H.264, MPEG2, and resolutions from mobile to 4KTV.

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    Filmin lands in Mexico, eyeing Latino market

    DetailsJuan Fernandez Gonzalez | 22 July 2015



    Not only is it launching in Mexico through a new partnership with the country's film institute, but Spanish video-on-demand (VOD) platform Filmin Latino is also creating a new platform and brand, looking to expand into the Latin American market.


    Through its project with the Instituto Mexico de Cinematografía (IMCINE), the indie movie and series platform will be available for the Mexican audience, and in addition to offering the majority of its current VOD catalogue, Filmin Latino will also deliver a wide selection of Mexican films.

    Following the platform's development in Spain, Filmin Latino aims to become a serious alternative to on-demand more commercial platforms and will show cult films from Hanek, von Trier, Sorrentino and Dolan as well as classics from Bergman, Kurosawa, Truffaut and Renair.

    For IMCINE - which launched an over-the-top (OTT) platform at the end of 2014 showing Mexican films - the project will deliver easy access to Mexican-produced content as well as independent European film and series which aren't readily available in Latin America.

    According to the company: "Filmin Latino is the first step of an ambitious plan to expand Filmin's service to other territories in Latin America and Europe."

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    Spanish TV ad market grows for fifth successive quarter

    DetailsJuan Fernandez Gonzalez | 22 July 2015



    For fifth quarter in a row, Spain's advertising industry has shown growth, seeing a 7.5% increase on average by the end of H1 2015, led by TV.


    The i2p report, published by Media Hotline and Arce Media, analysed the first half of the year and confirms the sector's recovery, which had been continuously on a downward slope since 2008.

    By the end of June 2015, advertising investment had reached €2,037 million, nearly €150 million more than a year ago, while almost every media, bar print media, are on the up.

    Although the Internet is the fastest growing media and radio is showing good recovery, television is the clear winner of the general growth, as free-to-air and pay-TV now gather over 50% of the entire business. Between first half of 2014 and 2015, TV investment grew by 9.7%, reaching €1,034 million by the end of June. Such growth is only overcome by online adverts, growing by over 12%, although amounting to barely €200 million.

    With the industry and investment clearly on the up since the beginning of the year, the i2p report points to a growth scenario for the second half of the year too, surpassing the €4,000 million barrier by December, of which TV would be gathering almost €2,000 million.

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    Arris survey shows Wi-Fi to be an imperfect delivery mechanism

    Close to two-thirds of consumers around the world have issues with Wi-Fi in their homes.

    The 2015 Arris Consumer Entertainment Index indicates a growing disparity between the expectation and reality of wireless broadband around the home.

    Worldwide the average home now has access to six media devices – UPC has reported as many as 11 – while the average household spends in the region of six and a half hours streaming a subscription service over their connection.

    Cornel Ciocirlan, CTO, EMEA, Arris, told Broadband TV News the operators were missing a trick. “People are reporting problems and don’t realize that they are coming from their own Wi-Fi network. There’s clearly an opportunity here.”

    Elsewhere, the report shows the popularity of mobile TV is maturing among the younger demographic, indicating that any future growth will need to come from older generations. Here, viewing by over 65s has grown by 11% from last year’s 19%.

    Those from South Korea are the most likely to watch TV on a mobile device, with 61% claiming to watch at least once a week. 75% from Japan never watch TV away from home. Other countries, such as the US, Canada, UK, France, Germany and Australia, report a low frequency of mobile TV viewing compared to the rest of the world. In Japan there is the cultural issue of not wanting to be seen viewing a TV when attention should be paid elsewhere.

    The report shows a slight dip in the amount of hours spent watching broadcast and subscription TV. Watching an internet stream from a subscription TV service has edged slightly ahead of 2014.

    There are minimal changes in the balance between broadcast and internet-delivered television viewing with the young more likely to opt for the new delivery mode.

    [i](Note – click on infographic to see a larger version)[/]



 

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