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Thread: Daily Satellite TV News

Time brings NYC Marathon to VR Time Inc’s Sports Illustrated and LIFE VR, and multimedia company Cyberlink have teamed up

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    Time brings NYC Marathon to VR



    Time Inc’s Sports Illustrated and LIFE VR, and multimedia company Cyberlink have teamed up for a virtual reality (VR) video that puts viewers in the shoes of a ten-time NYC Marathon runner at the 2016 race.

    The energetic 360 video was captured by runner Alex Christison using a special stabilisation rig and a Samsung Gear 360 camera as he traversed 26.2 miles and five boroughs in the largest marathon of the world, for the tenth time. Viewers can join his journey from Verrazano Bridge in Staten Island, through Brooklyn and Queens to the Queensboro Bridge, along the 59th street stretch in Manhattan and finally back to where it all began, in Central Park. It was produced and edited by multimedia company CyberLink using its flagship software PowerDirector, in collaboration with Sports Illustrated and LIFE VR.

    The three-minute immersive content, 26.2 in 360, was shot entirely at this week’s iconic race and is available on the LIFE VR app for iOS and Android, with 360° video on SI.com and across SI’s social channels.

    “With the launch of 26.2 in 360, we’re able to not only take our viewers on a journey that many will never otherwise take, but we are particularly excited about the timeliness of offering this experience,” said Mia Tramz, managing editor of LIFE VR. “By collaborating with the talented teams at Sports Illustrated and CyberLink, we’re thrilled to be able to offer this to our viewers the morning after the race.”

    This is the latest launch from Time’s dedicated virtual reality platform, LIFE VR. An extension of the historic LIFE brand, LIFE VR launched earlier this year with a slate of immersive experiences from across the company’s stable of global brands. Scheduled to launch early next year is Messages to Mars, a new production in conjunction with Time that will bring holographic recordings of Buzz Aldrin and Reggie Watts to the platform.
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    Film, TV series account for three-fifths of Euro VOD services



    Films and TV fiction are clearly the main driver for pay on-demand services but not TV channels in general, says research from the European Audiovisual Observatory.

    Data from the MAVISE free access TV and video-on-demand (VOD) database found that in October 2016 pay on-demand services specialised in film and TV fiction accounted for 61% of all pay-on demand services in Europe, compared with only 14% of TV channels.

    In a breakdown of the main pay on-demand services active in Europe by distribution, the Observatory also found that over 60% of the 723 main pay on-demand services established and active in Europe are available online, whereas almost 40% are operated by the main TV distributors on their managed networks. Among the pay-on demand services, transactional services (TVOD) outnumber subscription services (SVOD) by 416 to 307.

    Among thematic channels, fiction, sport and entertainment are the most prevailing genres and only 9% of the 5,462 international and national TV channels established in Europe are generalist.

    Nearly a quarter of international and national TV channels established in Europe are available on DTT, either free or pay, in at least one country in Europe. Generalist channels access more easily to DTT: close to 46% of generalist channels established in Europe are available on DTT.
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    Viacom drives Spike to 24/7 service in Netherlands



    Netherlands cableco Ziggo is to be first in the country to launch the Viacom International Media Networks (VIMN)-owned Spike entertainment brand on an all-day basis.

    Aiming to address 20-49-year-old audiences through what VIMN says is ‘bold, high stakes’ original programming, Spike was initially launched in the Netherlands as a five-hour programming block in November 2015. Since then has seen ratings increase rapidly to reach a 1.12% share among its target audience. The brand is perhaps best known for programme such as global hit Lip Sync Battle and fight series Bellator MMA.

    Internationally, Spike has expanded rapidly since being introduced in the UK in April 2015. In addition to growth in the Netherlands, Spike will launch in Hungary on 1 December through a partnership with local commercial free to air broadcaster, RTL. With the launch of Spike as a 24-hour channel in the Netherlands and the addition of Spike in Hungary, the brand will reach 39 million subscribers outside of the US by the end of the year.

    The channel will be available in the Netherlands 24-hours a day for Ziggo basic package subscribers who will have access to a line-up of international shows, as well as local programmes like Gamekings and a new reality series focused on Dutch kickboxer Nieky Holzken.

    “Since we launched the Spike block in Benelux, we’ve seen ratings grow 128%. With a combination of global hits including Lip Sync Battle, Ink Master and Bellator MMA, as well as local favourites such as Game kings, the channel appeals to both women and men in the hugely importantly 20-49-year-old adult audience,” explained VIMN EVP and general manager, international brand development Michael D Armstrong. “We’re excited to be expanding the brand even further in the Netherlands and beyond.”
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    Monterosa creates live fan app for new series of I’m A Celebrity



    The UK’s largest commercial broadcaster ITV has selected digital fan interaction technology company Monterosa to deliver the next generation of its I'm a Celebrity app when it returns for its 16th series in November.

    The new app will mark repeat business for Monterosa, which has now been tasked by ITV to produce a modernised, versatile product that builds on the growing trend for live content and competitive social gaming. The new app will showcase a new live content grid with features, stories and a live play-along game to keep fans entertained both during the show and 24/7. It also includes a highly entertaining, all-new, 8-bit play along arcade game in partnership with headline sponsor, Aunt Bessie’s. Aunt Bessie’s and other advertisers will be able to capitalise on ITV’s AdSync formats, injecting interactivity into the app during ad breaks.

    At the heart of the app is Monterosa’s LViS fan interaction platform and Fan Companion products. Fan Companion is a live native app framework designed for shows and events providing a real-time personalised experience that is claimed to deliver value through loyalty, engagement and brand activation for sponsors. By using LViS Monterosa says that ITV will have a ‘robust and engaging’ mobile app that will provide its millions of viewers with an unrivalled opportunity to remain even more engaged with the programme wherever they are, via exclusive experiences, gaming, quizzes, predictions and up-to-the-minute news.

    Commenting on the contract, Athena Witter, ITV’s head of entertainment, comedy and drama, ITV Digital Studios - Online, said: “We are extremely happy to be working with Monterosa on our new app. We had an overwhelmingly positive response to free voting last year, with in excess of 56 million votes cast, and over a quarter of a billion total app interactions from our highly engaging play-along and content offering. We wanted to go even further, by enhancing what we can offer fans this year through targeted digital engagement and the use of Monterosa’s versatile platform we can continue to maintain our strong audience share and give our fans unprecedented levels of engaging content.”
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    CASBAA 2016: Verimatrix launches operator analytics evaluation programme


    Aiming to offer pay-TV providers fast access to subscriber intelligence, security specialist Verimatrix has announced of a quick-start evaluation programme for its Verspective Operator Analytics solution.

    The programme is designed to help operators better understand how to securely and rapidly collate data from various sources in video services and demonstrate the benefits of actionable analytics across multiple departments in their organisations. Verimatrix believes that through the availability of this programme, service providers have the opportunity to expand their analytics capabilities with more census-based data sources and complement traditional network monitoring analytics to get a comprehensive view of subscriber intelligence and network performance.

    Implemented in the cloud, the programme consists of a pre-configured, software-based analytics platform that can integrate with an operator’s sources of operational and consumption data, including VOD, CDN or client device sources. Service providers also receive a set of report templates that help analyse data and determine return on investment (ROI) potential.

    “Every operator we speak with is interested in truly harnessing the power of Big Data to make quicker and better informed decisions that ultimately drive the bottom line,” said Verimatrix president Steve Oetegenn. “We have recognised the need to provide a secure entry point that service providers can use to adopt a centralised analytics approach that ties together insights from operations, product development and marketing. The Verspective Operator Analytics evaluation programme provides that point of entry, plus the confidence knowing that data is both secure and compliant with appropriate privacy regulations.
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    Artel expands InfinityLink platform



    Artel Video Systems has expanded its InfinityLink platform of broadcast media transport solutions.

    It has introduced the ILC103A 3G/HD/SD-SDI and ASI Transmitter/Receiver. In combination with the IL6000 chassis, the ILC103A integrates within the InfinityLink platform to create the backbone of a video transmission network that can span feet or miles. The ILC103A provides bi-directional fibre-optic transport of 3G, HD, SD and ASI formats, and is user-configurable as a transmitter, receiver, transceiver, repeater or four-channel distribution amplifier.

    The module uses externally accessible SFP optical components available in a wide range of options, from low-cost multimode for short distances to 80km-plus CWDM versions. End users can remotely configure, monitor and upgrade the ILC103A via HTTP or SNMPv2 using the InfinityLink Manager element management system (EMS).

    "Artel understands the complex workflows involved in transporting video across and between broadcast studios, large venues and campuses," said Rafael Fonseca, vice president and director of product management, Artel Video Systems. "End users require flexible solutions to manage the multi-faceted network challenges they face. The ILC103A and InfinityLink platform provide the versatility necessary to manage diverse infrastructures and, along with other modules in the InfinityLink chassis, achieve greater efficiencies in providing transport over IP- and fibre-based networks."
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    Scripps won’t renew Netflix streaming deal



    Flying in the face of deals by other broadcaster and operators, Scripps Networks Interactive will not be renewing its streaming video-on-demand agreement with Netflix when it expires at the end of the year.

    Speaking on Scripps Networks’s Q3 earnings call, COO Burton Jablin said the company, which has popular networks like Food Network in its stable, had “looked closely” at its digital strategy and decided that making its shows available for streaming on Netflix was not the best way to monetise its content.

    Meanwhile, Scripps recently inked an expanded digital rights deal with AT&T to include the networks on the DIRECTV NOW and DIRECTV Freeview streaming services when they launch later this year.

    That decision comes as ratings and advertising grew across five of the six US networks during the third quarter of 2016, despite competing coverage of the Olympics and the US election. HGTV saw its highest-rated third quarter ever in all key demographics.

    "Scripps Networks Interactive delivered solid revenue growth at both our US and international business segments, helping drive a double-digit improvement in net income," said Kenneth Lowe, president, chairman and CEO. "Our successful strategy to focus on our differentiated lifestyle brands in the home, food and travel genres continues to pay off. Our popular networks are available on more platforms and reaching more new audiences than before, positioning the company for continued growth."

    Travel Channel completed its fourth consecutive quarter of year-over-year ratings growth. Cooking Channel and DIY Network each delivered their best-rated quarters ever, while Great American Country saw its highest rated third quarter since 2007. Food Network continued to perform well with millennials, earning a top ten ranking for the quarter among ad-supported networks.

    Scripps’ third quarter 2016 consolidated operating results showed that revenues had increased 3.5% during the quarter. Consolidated operating income declined 4.8%.
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    JW Player launches JW LIVE



    Online video provider JW Player has launched JW LIVE, a cloud-based live streaming service for publishers.

    The platform bills itself as an enterprise-grade live streaming product that is as simple to use as Facebook Live and YouTube Live. It allows publishers to increase viewer engagement, create new channels and drive revenues, while requiring limited technical resources or know-how from users.

    JW Live has a dashboard that enables publishers to set up and begin broadcasting a live event in minutes via a ‘Create Live Stream’ workflow. They can enter event details, connect sources to stream, and go live.

    “The ability to monetise live streaming without handing over audience or revenue streams to aggregators is new and exciting for both brands and marketers seeking more innovative ways to capture consumer time,” said Chris Mahl, president and chief revenue officer at JW Player. “JW Live provides publishers an engaging and thrilling opportunity to create, deliver and monetise their live content.”

    JW LIVE simplifies publishers’ workflows by providing a single RTMP publishing endpoint that can be simulcast anywhere, with dynamic, cloud transcoding to HLS. It also has real-time audience analytics to determine size and engagement by domain, device or country. Native integration with the JW Platform puts assets and management tools all in one place, and publishers can auto-archive events as an asset so viewers can access a broadcast as an on-demand video after the event.

    It also transcodes publishers’ live stream to multiple resolutions and bitrates and supports HD.

    “It’s a surprisingly simple workflow,” said Kevin Galligan, president of Android development and design company touchlab. “Live streaming dashboards across online video players are complicated and clunky to use, basically limiting usage to technical users and impacting workflow. JW Player’s clean and intuitive UI unlocks live streaming to all user types and improves publisher efficiency. JW Player is also the only player in the OVP space that provides an out-of-the-box Facebook simulcast, ensuring that we have maximum reach for our content.”
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    Fifth of millennials more likely to buy after seeing a video ad



    Research from video production company Groundbreak Productions has found that 20% of millennials are more likely to purchase a product or service after watching a video advertisement.

    The study, which surveyed 1,000 consumers in the UK, also revealed that 42% of consumers like video ads that are informative and ‘to the point’, and 22% would be more likely to make a purchase after watching this kind of video content.

    More than 30% of people surveyed like video ads that tell a story, with 29% favouring those that make them feel nostalgic. About 12% said that they would potentially buy a product or service after watching one of these ads.

    Perhaps surprisingly, just 8% of consumers like video ads that have one of their favourite celebrities in them, with only 3% more likely to make a purchase after seeing one of these.

    “This research really highlights the importance of brands carefully considering the way they use video to advertise their products or services to their target market,” said Geoff Brooks, CEO at Groundbreak Productions. “The fact that millennials’ spend is most likely to be influenced by video adverts is good news for those businesses targeting these consumers.”

    All of that said, older generations are less receptive to video ads. With only 12% of 45-54-year-olds, 13% of 55-64-year-olds, and only 6% of those aged 65 and over said that they would be more likely to purchase a product or service after watching a video ad.

    “For those that have different or more varied target markets these statistics shouldn’t be off-putting,” said Brooks. “Instead of packing in video advertising altogether, the research suggests that to influence consumer spending brands need to create either snappy and ‘to the point’ adverts, or invest in storytelling.”

    He added: “As marketers increasingly champion digital platforms over print advertising, consumers are being bombarded with more video content than ever. As a result, for brands to get the best return on investment they need to start paying more attention to what consumers actually want from this kind of marketing and adapt their approach accordingly.”

    The new study dovetails with research from Unruly. Millennials are more than twice as likely to share ads they like and 23% more likely to enjoy ads they find relevant but are also the demographic most likely to install ad blockers.
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    Malaysia’s Star Media serves up dimsum



    Malaysia’s Star Media Group has launched a paid-for over-the-top (OTT) streaming service called dimsum, providing Asian content online or on the move via an Android or iOS app.

    Subscribers to dimsum can choose from 10,000 hours of content including films, dramas, documentaries, variety shows and children’s TV from China, Japan, Taiwan, Thailand, South Korea and Malaysia.

    “This product will serve the best Asian content – the A-list shows, with exclusives, premières, and same-day same-time release with their country of origin. This is a big leap for us in transforming our business and preparing us for the future,” said Fu Ah Kiow, chairman, Star Media Group.

    “Our next part of the journey continues our strategy into digital entertainment within the OTT sphere,” he added. “We have specifically put our focus into the video-on-demand space, which is currently taking the world by storm.”

    The company has its roots in the Penang-based newspaper The Star.

    The opening ceremony on 8 November was officiated by Communications and Multimedia Minister Seri Dr Salleh Said Keruak.

    “Tonight we see the birth of an all new video-on-demand service,” he said. “With the rise of subscription video-on-demand services, dimsum gives access to high quality and fresh legitimate content at such a reasonable cost.”

    After a free 30-day trial, dimsum will cost RM15 a month. Content can be viewed on five devices at the same time, with subtitles available in English, Chinese and Bahasa Malaysia.

    From December users will be able to view content offline by downloading up to ten videos at a time for up to 14 days, according to The Star.
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