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NBC’s delayed Olympics coverage and sports’ fans quest to find pirated livestreams online has officially become the media story of the games. Even the New York Times has chimed in, noting what it referred to as the “game of digital whack-a-mole” between pirates and NBC that took place during the opening ceremony. The network’s fight against unauthorized streams on sites like Ustream.tv and Justin.tv continued all weekend, with streams going down quicker that you can say Dick Ebersol.

The network may win a fight or two, but the battle is far from over. I’m watching a broadcast of the Cuba vs. the Netherlands beach volleyball game — which NBC’s cable channel USA Network won’t show for another two hours and won’t air online at all — live on my laptop as I’m writing this article, courtesy of some folks in France that relay a live TV signal from heaven knows where. To be fair, there are some occasional hiccups with the video, but the overall quality is actually pretty good. Good enough to keep me engaged, and definitely good enough to question the whole idea of NBC-like restrictions in the age of global online video.

NBC is not alone in its fight against the Olympics pirates. The state-owned Chinese TV network CCTV sued the Google-backed P2P startup Xunlei last week, alleging it had broadcast parts of the torch relay earlier this year without getting a license from CCTV. The lawsuit was a clear warning shot against the dozen or so P2P TV platforms that have popped up in China in recent years, most of whom responded by putting IP number-based geolocation restrictions on CCTV streams or filtering them outright.

Sopcast, for example, has blocked access to its CCTV streams, making them inaccessible from within the client’s program guide. But the software also allows users to transmit their own streams, and a number of them use this feature to relay TV broadcasts from all around the world. I gave it a shot this weekend, and quickly found satellite TV feeds from Malaysia in surprisingly high video quality, video feeds from Poland and even a Portuguese video stream that someone apparently was filming off his TV in real time. A little tough on the eyes, but pretty amusing nonetheless.

Granted, watching pirated TV feeds via P2P TV isn’t always easy. A few other clients left me empty-handed. PPLive, for example, is an official licensing partner of CCTV. The company told us last week that it was going to block access to all CCTV stations for viewers from outside of China, and it has kept its word. Sina Live is a web plug-in that only works with Internet Explorer. The CCTV channels are embedded into Sina’s web site and seemed to be blocked for overseas users as well. At least I think that’s what happened; the language barrier didn’t help. Peercast.org, one of the oldest P2P streaming solutions, featured one Olympics channel, but I couldn’t get it to play on my machine.

So I decided to stick with Sopcast, and was rewarded with lots and lots of live coverage. Pretty much all the competitions were available in real time. To be fair, a lot of the minor events were also broadcast live on NBCOlympics.com, and in a few some cases the official streams had a much better quality (I’m talking to you, anonymous Portuguese pirate!). Overall, save for the occasional bandwidth hiccup, the quality of the pirated streams was surprisingly good. At least I got to watch the games in full screen, complete with live commentary, and let me tell you: Those sportscasters in Malaysia speak English with less of an accent than half of my neighborhood, me (obviously) included.

The downside of watching pirated P2P TV streams is that you have to install software from companies that you’re probably going to trust less than NBC, and rightly so. Sopcast for instance, comes bundled with an adware app, but users are reporting online that it can be erased without affecting the performance of the client. I bet many sports fans are willing to take that chance.

Epicenter from Wired.com

“For some time, the trend has been that people are moving away from network [TV] to cable,” says David Joyce, an analyst with Miller Tabak & Co.

The nominations say a lot about the state of television, but they also say a lot about the value of piracy as a marketing tool. It’s probably no coincidence that the most pirated cable programs of 2007 made it to the Emmy nomination table. Cable shows that have historically been totally inaccessible to non-subscribers are now readily available online for download and streaming (both legally and illegally), which could help grow traditional viewership.

“Some studies have shown that people who watch the shows on TV are more engaged since they can catch up with the shows online,” says Joyce.

But popularity and critical acclaim still don’t translate into a richly profitable program — there’s a history of canceled TV shows that belatedly get recognition from the Academy of Television Arts & Sciences.

“Emmys are not financially significant,” says David Joyce. “The Oscars may help sell DVDs, and they may extend a box office run, but Emmys are more of a look in the rear-view mirror.”

Epicenter from Wired.com

Jesse Alexander, co-producer of “Heroes” and “Lost,” says file sharing isn’t all bad.

It’s mighty big of him to admit, given that P2P has undoubtedly eaten profits from his shows — downloads of “Heroes” and “Lost” can run up to 10 million per week.

Alexander sees the silver lining, though.

“People watching shows such as ‘Lost’ and ‘Heroes’ on BitTorrent is the present world reality,” Alexander told Torrent Freak. “TV Networks have to recognize this, give their viewers more ways to interact with the shows, and find ways to generate revenue from every member of the global audience.”

Incidentally, Alexander is also reportedly working on a 13-part TV show about piracy.

Filmmaker Michael Moore has a similar take: He has said on the record that he doesn’t have a problem with people who download his movies, as long as they don’t make a profit off it.

Ars Technica

Hollywood has been granted another victory in its war against piracy, this time at the expense of two linking sites that the Motion Picture Association of America believes profited from enabling copyright infringement. Both ShowStash.net and Cinematube.net have been hit with multimillion dollar judgments recently for copyright infringement of various movies and TV shows.
Even though ShowStash and Cinematube didn’t host any of these files, both were found guilty of contributory copyright infringement, according to the judges’ opinions, because they searched for, identified, collected, and indexed links to illegal copies of movies and TV shows. Aside from monetary damages, both sites are now prohibited from engaging in further activity that would infringe upon the studios’ work.

The damages totaled $2.7 million for ShowStash and $1.3 million for Cinematube, neither of which were particularly well-known to the general Internet community. The MPAA doesn’t seem to care much that it gives free publicity to these tiny sites when it makes announcements of its litigation plans, however. The organization apparently hopes that others will merely feel threatened by the prospect of paying out millions of dollars and shut down voluntarily.

MediaPost Publications -  – 03/18/2008

Using CBS as an example, Keane said the online video audience for one episode of “Jericho” boosted the show’s TV ratings by almost a full point: from 4.2 to 5.1. While Keane made no mention of it, this extra audience is especially valuable for a show like “Jericho,” which has struggled to build a larger audience. The show’s hardcore fans saved the show from cancellation once, but it’s hanging by a thread–and another ratings point may help.

Citing another example from CBS, Keane said that while the Grammys attracted 16.9 million TV viewers–down 15% from the previous year–it also generated 7.9 million online video streams and 4.9 million page views.

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Mashable

NBC Direct, the free service from NBC that lets you download full episodes of The Office, 30 Rock, Scrubs, Heroes and more, has gone live on the NBC site.

Currently in beta, and originally scheduled to launch in October, the new video viewing service allows you to download the latest episodes of NBC shows directly to your computer for viewing in a special player. Getting set up to do this is rather annoying. First off, it’s Internet Explorer only, then once you download the player, if you don’t have the latest .NET framework, you’ll be downloading that also. Next: Windows Media needed a security update on top of it all. On a Mac? Sorry, can’t help. Outside of the US? You’re out of luck too.

BBC NEWS

BBC shows such as Doctor Who and EastEnders are to be
made available on-demand after the BBC’s iPlayer service was given the
green light.

The service – which will launch later this year – allows
viewers to watch programmes online for seven days after their first TV
broadcast.

Episodes can also be downloaded and stored for up to 30 days.

The BBC Trust gave the iPlayer the go-ahead after consultations with members of the public.

BBC iPLAYER

  • iPlayer will allow viewers to catch up on TV programmes for seven days
  • Some TV series can be downloaded and stored for 30 days
  • Viewers will be able to watch shows streamed live over the internet
  • Users will not be able to download programmes from other broadcasters
    Classical recordings and book-readings are excluded from iPlayer

Kevin J. Delaney. Wall Street Journal. (Eastern edition). New York, N.Y.: Apr 17, 2007. pg. A.1

newtube-wsj.gif“It’s out there — you just have to hunt around for it a bit,” says the 28-year-old Mr. [Sam Martinez]. Like many similar sites, YouTVpc relies heavily on video-sharing sites outside the U.S., such as a French outfit called Dailymotion and Ouou.com in China. Mr. Martinez estimates that about 40% of the shows and films on the site — including episodes of “Desperate Housewives” and Fox’s “Prison Break” are provided by Ouou.com.

Last year Mr. Martinez’s childhood friend, Mr. [Billy Duran], built on the idea and created a site called “VTele” as an assignment for a computer-science class at Central New Mexico Community College. Through it, users could view TV shows and movies that he and Mr. Martinez copied from DVDs and uploaded to the school’s computer servers. The 23-year-old Mr. Duran says he got an “A” on the project. But within a month, the site attracted so many users that some of the school’s computer servers crashed. Administrators threatened Mr. Duran with expulsion.

Mr. Duran dropped out of Central New Mexico, and the two friends relaunched the site in September. At first it relied on volunteers to store video files on their own servers, until a user pointed Mr. Martinez to Dailymotion. “I was like, ‘Oh my gosh — gold mine!’” recalls Mr. Martinez. “We had all 18 seasons of ‘The Simpsons’ in two hours.”

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| The Register

Australian TV viewers are waiting longer than ever to view their favourite overseas produced televisions shows, driving them to use BitTorrent and other internet-based peer-to-peer programs to download programmes from overseas, prior to their local broadcast.

According to a survey based on a sample of 119 current or recent free-to-air TV series’, Australian viewers are waiting an average of almost 17 months for the first run series’ first seen overseas. Over the past two years, average Australian broadcast delays for free-to-air television viewers have more than doubled from 7.9 to 16.7 months.

A survey of TV programmes found that while some aired very close to their US air date, many popular programmes were significantly delayed.

Average broadcast delays were shortest for TV series’ on the Seven and Ten Networks, at around nine months. The average delay for TV series’ airing on the Nine Network was 22 months, while TV series’ on ABC and SBS aired on average 23 and 30 months behind the US.

Among popular programs, fans of Nine’s Without a Trace had to wait nearly nine months for an episode that aired in the US. A recent episode of Seven’s My Name Is Earl aired a year after its US broadcast date. Fans of Ten’s American Idol have just seen last season’s finals – nine months after they were seen in America, while Americans vote for the new Idol.

The ABC recently showed an episode of The West Wing 21 months after its US broadcast date, but Nine’s Antiques Roadshow and SBS’s Iron Chef take the cake with recent first run episodes shown over 11 years after their first overseas broadcast.

The survey followed a similar survey from two years ago which found the average delay for first run TV programmes on free-to-air TV at the time was just under eight months. Popular prime time TV programmes currently subject to substantial delays including the following:

* Close To Home (8.6 months)
* CSI: N.Y. (9.3 months)
* Desperate Housewives (4.4 months)
* Grey’s Anatomy (4.9 months)
* Heroes (4.2 months)
* House (5 months)
* NCIS (4.1 months)
* Third Watch (22.1 months)

While film and music content owners have attempted to cater for digital consumers through services like iTunes, Australian TV networks appear to be unable or unwilling to change their programming policies or provide new digital based options for consumers that don’t want to wait to view their favourite shows.

FT.com

Google’s strategy for its newly acquired YouTube site was dealt a serious blow on Friday when Viacom, the owner of MTV, demanded that all its clips be removed from the user-generated internet company’s site.

Viacom, which owns youth brands such as Nickelodeon and Comedy
Central, made the demand after months of negotiations with YouTube and
Google. It said more than 100,000 affected video clips on the YouTube
site had generated more than 1.2bn video streams.

The
move threatens to wreck Google’s attempts to cement commercial
relationships with traditional media groups, which supply most material.

Since
acquiring YouTube for $1.65bn in October, Google and Eric Schmidt, its
chief executive, have made a frantic effort to forge relationships with
traditional media companies. They have managed to sign short-term deals
with
CBS, Warner Music, Sony-BMG and Universal Music.

Discussions
with Viacom appeared to break down over the splitting of advertising
revenues from Viacom content. There was also a fight over which company
would make those sales.

Viacom executives were frustrated that
YouTube had failed to implement a content-monitoring system by the
beginning of the year, as it had promised, so companies could easily
tell when their material was being posted.

It accused Google and
YouTube of reaping all the revenue from their material “without
extending fair compensation to the people who have expended all of the
effort and cost to create it”.

YouTube said it would comply with the request.

“It’s
unfortunate that Viacom will no longer be able to benefit from
YouTube’s passionate audience which has helped to promote many of
Viacom’s shows,” YouTube said in a statement. “We take copyright issues
very seriously. We prohibit users from uploading infringing material,
and we cooperate with all copyright holders to identify and promptly
remove infringing content as soon as we are officially notified.”

Viacom
and other traditional media groups are eager to distribute their
content to audiences of social networking and user-generated websites,
which are wildly popular with young consumers. But they are wary of
losing commercial and editorial control.

They complain that most
clips posted on the sites are derived from their copyrighted work and
have been appropriated without permission.

Viacom believes it
has particular leverage because it specialise in youth-oriented and
short-form video clips. It has previously demanded that clips from
programmes such as Comedy Central’s Daily Show be removed.

Under
US copyright laws, sites are protected from legal action as long as
they respond in a timely manner to requests to remove unauthorised
material.
NBC Universal, Disney and Viacom complain that they have to monitor hundreds of thousands of clips.

Now this is public service.

BBC NEWS | Entertainment | BBC’s download plans get backing

TV shows like Doctor Who are expected to be available for download later this year after the BBC Trust gave initial approval to the BBC’s on-demand plans.

Under the proposals, viewers will be able to watch popular programmes online or download them to a home computer up to a week after they are broadcast.

But the trust imposed tough conditions on classical music, which could stop a repeat of the BBC’s Beethoven podcasts.

Full approval of the on-demand plans will follow a two-month consultation.

Guardian Unlimited Technology

The BBC is in advanced negotiations with Google to make programming available via a branded channel on the search giant’s video-sharing site, MediaGuardian.co.uk can reveal.

It is understood that BBC executives are keen that the deal, which involves BBC Worldwide and the BBC, is eventually expanded to include putting content on Google-owned YouTube.

BBC Worldwide is understood to be looking at commercial options for the agreement, such as a share on contextual advertising that will run alongside BBC content.

Several large broadcasters in the US have similar arrangements with
Google-owned YouTube including CBS, which claimed 200,000 extra viewers
for The Late Show with David Letterman after clips from the show were
posted on the video-sharing website.

BBC NEWS | Technology

Hundreds of episodes of BBC programmes will be made available on a file-sharing network for the first time, the corporation has announced.

The move follows a deal between the commercial arm of the organisation, BBC Worldwide, and technology firm Azureus.

The agreement means that users of Azureus’ Zudeo software in the US can download titles such as Little Britain.

Until now, most BBC programmes found on peer-to-peer file-sharing networks have been illegal copies.

The titles will be protected by digital rights
management software to prevent the programmes being traded illegally on
the internet.

Users will also be able to link to programmes from blogs, social networks and fansites.

No pricing structure for the BBC content on Zudeo has been revealed.

Lost Remote TV Blog:

It’s been a month since CBS began its partnership with YouTube, and the network has uploaded 300 videos. Since that time, the clips have racked up a total of 29.2 million views for an average of 857,000 views a day. Many of the clips are from CBS’ Late Show with David Letterman and The Late Late Show, and the network says ratings have risen 5 and 7 percent respectively since the YouTube deal began. “Although the success of these shows on YouTube is not the sole cause of the rise in television ratings, both companies believe that YouTube has brought a significant new audience of viewers to each broadcast,” reads the press release, which follows below along with a list of the top 15 clips so far…

Techcrunch » Blog Archive » YouTube Going Mobile… in 14 Months?:

Crunchgear caught an AdAge story today about YouTube founder Chad Hurley telling attendees at the OgivlyOne Digital Media Summit in New York that YouTube hopes to be able to deliver user generated short video clips to mobile devices by the end of 2007.

Wired 13.09: Reinventing Television:

Ben, I read something in which you talked about how network television and cable were going to become one and the same.



Karlin: Only in the sense of perception. From a creative standpoint, there used to be this idea that network was the holy grail and that cable was where people went who couldn’t work on network. That’s the old model. And now that there’s just as many quality shows coming out of cable – on FX there’s good shows, Comedy Central has good shows, HBO … I think the audience is going to cease noticing, “Oh, that’s got the NBC logo on it.”



Stewart: It’s the idea that the content is no longer valued by where it stands, in what neighborhood it lives. What matters is what you put out there, not its location. I think that’s what people have come to learn from the Internet – it doesn’t matter where it comes from. If it’s good, it’s good. Just because our channel is after HGTV and right before Spanish people playing soccer doesn’t make it any less valuable than something that exists in the single digits on your television set.



Karlin: The bottom line is network television is going to have to figure out a way to produce its shows less expensively in order to survive and compete. And cable shows are going to have to figure out a way to pay people a little more, probably, as they start getting the same kind of revenue out of their shows that the networks get.

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