The battle of YouTube, TV and Netflix – an empirical analysis of competition in audiovisual media markets

The world of audiovisual online markets is rapidly changing. Not long ago, it was dominated by linear television, transmitted terrestrially, through cable networks or via satellite. Recently, streaming services like Netflix, YouTube, Amazon Prime and others have emerged as new suppliers of audiovisual content. In this quickly changing industry, competition interrelations between such different formats like traditional TV, videos on YouTube, and streaming via Netflix are subject to controversy. In particular, doubt is cast on services like YouTube exerting competitive pressure on services like Netflix and traditional TV. Based upon a survey with almost 3,000 participants, we provide an empirical analysis of consumption behavior of audiovisual contents. Using descriptive and analytical statistics, including multiple equation models, we show that there are specific areas within audiovisual content markets where YouTube exerts considerable competitive pressure on both Netflix and classic TV, for instance, through prime time video entertainment. However, our analysis yields dif-ferentiated results as we also identify areas where competition intensity between different service types appear to be low, for instance, through daytime and regarding the intention to shorten waiting time

A Survey on Energy Consumption and Environmental Impact of Video Streaming

Climate change challenges require a notable decrease in worldwide greenhouse gas (GHG) emissions across technology sectors. Digital technologies, especially video streaming, accounting for most Internet traffic, make no exception. Video streaming demand increases with remote working, multimedia communication services (e.g., WhatsApp, Skype), video streaming content (e.g., YouTube, Netflix), video resolution (4K/8K, 50 fps/60 fps), and multi-view video, making energy consumption and environmental footprint critical. This survey contributes to a better understanding of sustainable and efficient video streaming technologies by providing insights into the state-of-the-art and potential future directions for researchers, developers, and engineers, service providers, hosting platforms, and consumers. We widen this survey's focus on content provisioning and content consumption based on the observation that continuously active network equipment underneath video streaming consumes substantial energy independent of the transmitted data type. We propose a taxonomy of factors that affect the energy consumption in video streaming, such as encoding schemes, resource requirements, storage, content retrieval, decoding, and display. We identify notable weaknesses in video streaming that require further research for improved energy efficiency: (1) fixed bitrate ladders in HTTP live streaming; (2) inefficient hardware utilization of existing video players; (3) lack of comprehensive open energy measurement dataset covering various device types and coding parameters for reproducible research

Measurement And Improvement of Quality-of-Experience For Online Video Streaming Services

Title from PDF of title page, viewed on September 4, 2015Dissertation advisor: Deep MedhiVitaIncludes bibliographic references (pages 126-141)Thesis (Ph.D.)--School of Computing and Engineering. University of Missouri--Kansas City, 2015HTTP based online video streaming services have been consistently dominating the online traffic for the past few years. Measuring and improving the performance of these services is an important challenge. Traditional Quality-of-Service (QoS) metrics such as packet loss, jitter and delay which were used for networked services are not easily understood by the users. Instead, Quality-of-Experience (QoE) metrics which capture the overall satisfaction are more suitable for measuring the quality as perceived by the users. However, these QoE metrics have not yet been standardized and their measurement and improvement poses unique challenges. In this work we first present a comprehensive survey of the different set of QoE metrics and the measurement methodologies suitable for HTTP based online video streaming services. We then present our active QoE measurement tool Pytomo that measures the QoE of YouTube videos. A case study on the measurement of QoE of YouTube videos when accessed by residential users from three different Internet Service Providers (ISP) in a metropolitan area is discussed. This is the first work that has collected QoE data from actual residential users using active measurements for YouTube videos. Based on these measurements we were able to study and compare the QoE of YouTube videos across multiple ISPs. We also were able to correlate the QoE observed with the server clusters used for the different users. Based on this correlation we were able to identify the server clusters that were experiencing diminished QoE. DynamicAdaptive Streaming overHTTP (DASH) is an HTTP based video streaming that enables the video players to adapt the video quality based on the network conditions. We next present a rate adaptation algorithm that improves the QoE of DASH video streaming services that selects the most optimum video quality. With DASH the video server hosts multiple representation of the same video and each representation is divided into small segments of constant playback duration. The DASH player downloads the appropriate representation based on the network conditions, thus, adapting the video quality to match the conditions. Currently deployed Adaptive Bitrate (ABR) algorithms use throughput and buffer occupancy to predict segment fetch times. These algorithms assume that the segments are of equal size. However, due to the encoding schemes employed this assumption does not hold. In order to overcome these limitations, we propose a novel Segment Aware Rate Adaptation algorithm (SARA) that leverages the knowledge of the segment size variations to improve the prediction of segment fetch times. Using an emulated player in a geographically distributed virtual network setup, we compare the performance of SARA with existing ABR algorithms. We demonstrate that SARA helps to improve the QoE of the DASH video streaming with improved convergence time, better bitrate switching performance and better video quality. We also show that unlike the existing adaptation schemes, SARA provides a consistent QoE irrespective of the segment size distributions.Introduction -- Measurement of QoE for Online Video Streaming Services: A Literature Survey -- Pytomo: A Tool for measuring QoE of YouTube Videos -- Case Study: QoE across three Internet Service Providers in a Metropolitan Area -- Adaptive Bitrate Algorithms for DASH -- Segment Aware Rate Adaptation for DASH -- Performance Evaluation of SARA -- Conclusion and Future Research --Appendix A. Sample MPD Fil

Entertainment in the 21st Century: Is an Independent Networked Multimedia Production and Promotion Firm a Viable Business Option in the Modern Entertainment Industry?

“Artists are being stifled by the ‘major label’ stance that exclusively demands what’s ours is ours and can only be handled by us. It should be more about creative freedom” (Monstercat Manifesto). Over the past fifteen years, we have witnessed how the internet has changed how entertainment is distributed and consumed. This has led to a change in behavior from major entertainment production firms, and has given way to the surge of independent labels and production houses. Now, entertainers can lead successful careers by reaching their audience through digital platforms, successfully decreasing production and distribution costs. Consumers can find an unlimited amount of ad-supported content that they can access for free. Understanding these change is vital in finding and solving the problems these changes have produced

The digitization of music and the accessibility of the artist

©Journal of Professional Communication, ISSN: 1920-685. All rights reservedThis article uses case studies to explore two ways in which technology can impact on artist production. First, technological innovations could facilitate many things that are not new by rather making existing processes better or cheaper in ways that might alter the situation meaningfully. Second, technology can change art through the more profound revision of the role of artist and art-perceiver (Fineberg, 2006). This article examines several examples of how the music industry has been impacted by new technology: Radiohead Rainbows, slicethepie.com, Ditto Music, Music Rainbow, YouTube Orchestra, micro-chunking and LiveFi. The article examines the impact of new technologies on classical music.Peer reviewe

How the Introduction of Streaming Has Changed the Financial Focal Points of the Music Industry

For this thesis, the gathered research will demonstrate how the introduction of music streaming has made a monumental impact on the music industry and the financial effect it has had on various aspects of the creation and distribution of recorded music. The areas of research will range from the music labels in charge of producing and providing the music to the streaming services in charge of distributing the music. Focus will be on how music streaming developed in the late 1990s and took the music media world by storm, devaluing and diluting the power of the physical music industry in the process. This thesis will also provide evidence of how the shift to music streaming has fractured the financial stability that an artist previously had in pursuing music as a full-time career, as well as the current legal troubles associated with creating and maintaining value in the digitalized industry

A Better Understanding of College Students\u27 YouTube Behaviors

The purpose of this research study is to get a closer look into the behavior of college students towards the video streaming website YouTube. The objective is to understand whether the benefits of publishing videos on the site are positive for business organizations. The study looks at many variables that would help companies better understand what exactly publishing a video on YouTube would do for them. These variables include gender, hours of television watched, hours of Internet used, hours spent reading and whether a video is made by a regular user or a professional company. It was found that males are more likely to use YouTube then females, despite using the Internet much less. It was also shown that there are both pros and cons for implementing user and corporate developed videos