synchronise content around a programme so that what appears on the tablet or smartphone
never.no interactivity suite is directly coupled with the broadcast playout systems and ‘listens’ to events in the live broadcast and fires off triggers to a Content Delivery Network to determine what functionality the second screen will show at any time
ompanion devices, because they are IP-based and are personal by nature, introduce the interactivity and addressability that broadcasters cannot get via the television alone.
hese could also be synchronised in real-time so that the third-party can sell advertising inventory that coincides with the advertising breaks during the show or live event.
reater engagement, greater understanding of the audience and increased advertising potential
IBC: Impact of second screen apps proven with TV 2 Tour de France
Never.no provided the Synchronized Companion App Framework, which is part of the company’s Interactivity Suite (IS), a framework for connecting fragmented media technologies like TV, mobile and socia
Investment in new mobile networks in North America helped
lift the overall mobile network equipment market 25 percent
above the year-ago level, showing the fastest growth since 2004,
Dell'Oro said.
North America remains a difficult region for Huawei to crack due to political pressure, the company’s European operations have been extremely successful in the past few years.
ost of the vendors analyzed are technically skilled, so the key differentiator may rather be the perceived overall risk profile of a vendor, with the smaller ones, and those whose financial results may be a concern
one with the widest possible selection, better service, and more respect for people’s ideas and lives.”
Amoeba Musi
huge chain stores were mercilessly swallowing up independent store
depriving communities across the country of a personal relationship with their musi
HMV chief executive Simon Fox reported that CDs currently account for about a quarter of HMV’s business
If HMV merely maintains its share of the shrinking CD pie over the next three years, the company projects its annual revenues from CDs to fall to £120 million
the entire CD market in the UK would be worth just £300 million in three years’ time
£145m of turnover that has to be replaced by “digital entertainment devices”.
1 million subscribers in Europe already pay the monthly premium subscription fee, while more than 10 million users go the free route.
Billboard reported that Spotify in just three weeks amassed at least 1 million total US users, and 70,000 paid subscribers in the first week
Spotify’s partnership with Facebook
ny labels or musicians who want to make money from CDs better wow buyers with unforgettable packaging
consumers have demonstrated that they’re willing to sacrifice sound quality for convenience and portability.
enough audiophiles – and videophiles for that matter – to sustain an entertainment ecosystem to cater to their needs?
Not having actual possession of a digital file is the premise of ‘cloud’-based computing, a
The Death of Bunny Munro, w
transmedia storytelling’ is a technique of telling stories
mass media to develop media franchises
type of thing that CD-ROM started doing in the 1990s