06/01/2016

FCC Auction Promises Bonanza for Small TV Broadcasters



LIMA, Ohio—Workers accidentally struck oil here in 1885, putting this tiny city on the map as the world’s biggest oil field—a valuable patch that John D. Rockefeller later controlled. 

Now Lima, (pronounced lye-ma), a rust belt town of 38,000 people, has another highly sought-after resource. This time, the riches are above ground and the deep-pocketed buyer is the U.S. government. 

The Federal Communications Commission recently set opening prices for an auction of airwaves it gave away to many local TV stations across the country more than half a century ago. And by next week, broadcasters have to decide if they want to join the auction that will let wireless carriers like AT&T Inc. and Verizon Communications Inc. acquire those station rights for tens of billions of dollars. 

The process gives small TV stations a chance to cash out just as their business faces challenges from online video, wireless services and shifting audience behavior. After multiple delays, the process is expected to begin in March. Nearly 2,000 stations across the country could join the auction to sell their broadcasting licenses. 

In giant media markets like New York City and Los Angeles, the bidding will start out high. One station broadcasting in Manhattan, an affiliate of Telemundo, has an opening bid of $900 million. But smaller cities may hit the jackpot, too. In Lima, the first—and maximum—offer for its most-watched station is about $110 million.Changing habits 

The auction demonstrates the shift in technology taking place across the media landscape—and resources being adapted to meet new needs. Momentum is tilting from over-the-air television to the Internet. As people use their smartphones to stay connected and watch video on the go, more bandwidth is needed to provide that connectivity. 

“The FCC’s goal is to make the most efficient use of the spectrum,” says Lawrence Chu, an investment banker who worked as an adviser to the agency. “It is in high demand.” 

The process will start off similar to a Dutch auction, in which values are set at a high level and then diminish until the FCC gets the licenses it needs at the lowest possible price. Once it determines the amount it will pay for each station, the agency will then turn around and sell the licenses to carriers like AT&T, Verizon and T-Mobile US Inc. in a traditional auction with rising bids. Sprint Corp.has decided to skip the auction. Any difference in the amount paid out to the broadcasters and the resale will go in the U.S. treasury. If the bids from the buyers are too low, the whole process will restart. 

Television stations that agree to sell their spectrum have two options: Take the full payout and go off the air, or be moved to another frequency for a lesser cut of the money. Either way, those channels could still be viewable on systems like cable and satellite. Stations that decide not to join the auction may be relocated to another spot on the dial whether they want to or not. 

The FCC’s auction is optional but the participation of certain stations in smaller markets could unlock important licenses in much larger markets. For example, channels relinquishing their airwaves in Lima could give the government more options for moving around stations in Toledo, which in turn could free up space in Detroit. 

In Lima, stations could pull in as much as those in much bigger cities like Phoenix, a city nearly 40 times its size. 

Like any auction, the outcome isn’t a sure thing for any participant. Some stations could be frozen immediately, meaning their sale is accepted, while others could ultimately find that they aren’t in demand. 

Local media mogul Allan Block is one owner who has a quandary on his hands. The 61-year-old is the scion of a 115-year-old media dynasty which owns nearly all the local TV stations in Lima, a small cable television system—as well as the Toledo Blade newspaper and the Pittsburgh Post-Gazette. His twin brother John is editor in chief and publisher at both. 

In a quirk that could only happen in a small-town market, Block Communications owns all four network affiliates in Lima. The same live nightly local news program is simulcast—both at 6 p.m. and 11 p.m.—across its NBC, CBS and ABC channels. The stations, including the local FOX channel, broadcast from a single 550-foot tower that sits in the middle of a residential neighborhood. 

“Lima has never been a great growth market,” says Mr. Block, who lives in Toledo, about an hour-and-half drive away. “But it is very steady.” 

Block’s portfolio of local broadcast stations, which includes the Fox affiliate in Louisville, and an NBC station in Decatur, Ill., have opening bids of more than $1.2 billion from the FCC, he says. He has hired lawyers and financial advisers and is planning to jump into the auction. 

To drum up interest in the auction, officials at the FCC spent months on the road trying to convince stations to give up their licenses. They even took the unusual step of enlisting Mr. Chu—now a managing director at investment bank Moelis & Co.—to make the pitch directly to station owners. The agenda for the roadshow listed Lima among the roughly 50 markets whose participation the agency deemed as potentially crucial. 

The airwaves being shuffled around are prime for sending signals far into the countryside but are also good for penetrating deep into buildings, both qualities that are attractive for wireless service providers. The government’s last airwaves auction—the first major sale since 2008—closed in January 2015 with bids of nearly $45 billion. 

The dollar amounts connected to the auction are staggering for some of the stations in the government’s sights, especially outfits such as PBS affiliates and religious broadcasters that are used to operating on shoestring budgets. 

“We have spectrum and we always need money,” says PBS Chief Executive Paula Kerger, referring to member stations. She is worried that some areas could lose their access to local PBS stations, noting that some of its member stations have 20% of their audience receiving an over-the-air signal. 

“There are no do-overs,” she says, “once you sell your spectrum, it is gone.”Tough choices 

In Pittston, Pa., a town of 7,700 nestled between the bigger markets of Scranton and Wilkes-Barre, local PBS channel WVIA has decided to enter the auction after months of deliberation. The FCC’s opening bid for WVIA’s broadcast license is more than $300 million. 

The station occupied two rooms in a church at a local college when it was founded in 1966. It now resides in a small one-story building on a side road with few other businesses nearby. One of its most popular shows is “Pennsylvania Polka,” which features locals dancing to a live polka band. 

But it won’t consider going off the air, President Tom Curra says, because it would lose its PBS affiliation and go against the station’s stated mission of serving the public. 

The channel, which has a $5 million annual budget, estimates its signal covers about a third of the state and that 10% to 15% of its viewers watch using over-the-air reception. 

Although bids will likely fall from the opening price, a station like WVIA could still walk away with substantial funds. In a report, the FCC estimated in October 2014 that the median compensation for channels in the Pittston area would be $140 million—more than the $120 million projected for stations in Chicago and enough to cover WVIA’s strained annual budget for decades. 

The issue is delicate. In Bowling Green, Ohio, PBS station WBGU triggered public outcry when it said it was considering entering the auction and shutting down its broadcast. The station’s signal covers Lima, but it is considered to be in the Toledo market. Feedback at local town hall meetings helped convince the station’s owner, Bowling Green University, to keep it on the air—but it will enter the auction nonetheless. 

“It is a very complicated issue and one of the challenges was separating the emotion from the facts,” says university spokesman Dave Kielmeyer. “It was a painful process but it was a good process.” 

Back in Lima, nonprofit religious broadcaster WTLW could get an almost unthinkable amount of cash from the auction. The station, with 12 full-time workers and an annual budget of $1.3 million, hired consultants to help it reach a decision to enter the auction. It prefers to stay broadcasting but hasn’t ruled out going off the air, says station President Kevin Bowers. 

WTLW operates out of an old airport, a relic of the days when the city was served by commercial flights. Its programming tends to be family oriented, ranging from local sports and Christian-oriented shows, alongside reruns of The Donna Reed Show and The Beverly Hillbillies. The station’s sports editors work out of the old waiting room and the studio was once the airplane hanger. 

The station gets a third of its donations from over-the-air viewers and 12% of households in the viewing area depend on antennas. That has made the station sensitive to cutting off viewers, but it says it plans to use proceeds from the auction to invest in ways to deliver its programming other than on cable and satellite systems. 

“We aren’t blind to changing technology,” says Mr. Bowers. “How people view is changing.” The station, he says, is looking into wireless streaming and over-the-top options that would allow people to continue watching its offerings. “Even older viewers have an expectation of video on demand.”Weighing options 

For Mr. Block, the issue is whether the final bids will be high enough to relinquish the airwaves above Lima. With four affiliates going over the air, he could free up some bandwidth by downgrading to standard definition from high definition for some of the over-the-air signals. 

Mr. Block expresses frustration that a station’s market share or community role won’t factor into the amount of money being ultimately paid by the government. Struggling or failing stations could get the same bids as more successful channels. “Some of these people did nothing but run bad stations,” he says. 

An FCC spokesman says the bid prices strictly reflect the licenses’ value in the auction. 

Block Communications first arrived in Lima in 1972, when it bought local station WLIO for about $1.5 million. In 2008, it reached a deal to buy the other affiliates in the city, which were being broadcast at lower power, for $2.3 million. 

WLIO has always broadcast from the same small brick building, which resembles a ranch house, and could blend into the surrounding residential neighborhood except for the 34 satellite dishes on the lawn. During the 1969 Moon landing, it provided a live video feed to U.S. networks from Neil Armstrong’s parents’ house in nearby Wapakoneta, Ohio. 

One possible solution for some broadcasters may be a channel-sharing agreement, which would let a station sell its spectrum in the auction and share a signal with another local broadcaster. 

Mr. Block acknowledges he owns excess spectrum in Lima and that his business may vanish with the opening bids. 

“I’d rather not have to deal with this,” he says. “I suppose the day after we get the check I might think differently.” 

It’s Better to Wait on That 4K TV

Television makers like Sony, Samsung Electronics and Panasonic will be working overtime this week to sell you on so-called ultra high-definition 4K television. 



My advice: Wait at least another year or two before buying it — the hype and the TV sets themselves. 

Keep that bottom line in mind as you hear more about 4K TV, named for the high-definition resolution display. Plenty of announcements about the technology are expected this week at International CES, the consumer electronics show in Las Vegas that is one of the tech industry’s largest tradeshows. The high-definition televisions will be a featured attraction at the four-day event, alongside virtual reality devices, drones and new smartphones. 

4K TVs began surfacing about three years ago. To decode the marketing jargon: 4K is the successor to 1080p, the current high-definition resolution found on modern TV sets. The term 4K, also called Ultra HD, refers to screens with two times the vertical resolution and twice the horizontal resolution of current high-definition TVs. 

The 4K resolution and other new TV technologies “take a television screen picture much closer to the capabilities of the human visual system,” said Neil Hunt, Netflix’s chief product officer, in an interview. “They are big steps forward in delivering better quality.” 

But after interviewing several technology companies and testing a premium Samsung 4K TV for more than a week, I was less than convinced that 2016 would be a good year to buy one of the sets. Televisions with the 4K feature remain expensive, ranging from $1,000 to tens of thousands of dollars. More important, the content available in the new 4K video resolution is sparse. And while images encoded in 4K do look better than normal high-definition ones, the differences aren’t jaw-dropping. 

Consider the available catalog of 4K content. Netflix has just 25 programs to watch in Ultra HD, including its original TV shows like “Jessica Jones” and “Daredevil.” Amazon has a bit more — hundreds of titles are in 4K, but many of them are older movies (like “Jerry Maguire”) that you may have little desire to watch again. Amazon’s original series, like “Transparent” and “The Man in the High Castle,” are also in 4K. Both Netflix and Amazon said they expect all the original content that they produce this year to be available in 4K. 

Continue reading the main story 
Still, even with more 4K content coming, the higher resolution may not be worth it. In my tests, I compared Samsung’s flagship 4K television, the JS9500, which costs $4,500, side by side with my three-year-old Panasonic 1080p plasma TV. On the 4K version of “Jerry Maguire,” I could see some details that were lost in the 1080p version, such as Cuba Gooding Jr.’s pores, along with some details in the shadows of his face and horizontal lines on a television screen showing a football game. In other words, not breathtaking. 

More profound differences could be seen in newer content that was produced with 4K in mind, like Amazon’s TV series “Mozart in the Jungle.” The colors in that show looked especially vibrant and vivid, and the picture was noticeably clearer in 4K than in 1080p. Amazon declined to make an executive available for comment on its 4K offerings. 

Continue reading the main story 
What makes “Mozart in the Jungle” look exceptional is a new color technology called H.D.R., or high dynamic range. This software feature enhances the contrast and color profile of a picture. In bright colors, you will see brighter highlights; in dark colors, you will see more details. In my side-by-side comparisons, 4K content with high dynamic range was noticeably superior to 1080p content, whereas 4K content without high dynamic range had a negligible difference in picture quality compared with 1080p. 

Yet only a small number of 4K televisions include high dynamic range, and only a sliver of 4K content so far is encoded with the richer color profile. Amazon started offering 4K content with high dynamic range last year, and Netflix plans to begin offering titles supporting the feature this year, starting with its show “Marco Polo.” Those two features combined — 4K and high dynamic range — will probably be the gamechanger for television. But that is still coming later rather than sooner. 

Right now, there isn’t much to watch in 4K on cable TV. Comcast in 2014 began offering its first 4K-capable streaming app, and this year the cable provider will release a new box, the Xi6, that also supports high dynamic range. Despite these efforts, a Comcast spokesman said the total number of shows and movies produced in 4K is “still pretty small.” 

A telltale sign that it’s too early to buy a fancy television is you still won’t be able to enjoy arguably the biggest show on television in ultra high definition: “Game of Thrones.” Jeff Cusson, a spokesman for HBO, which airs the show, said the company had “no plans at this time” to begin supporting 4K content. So fans who were hoping to gaze at the pores of characters like Daenerys Targaryen this year are out of luck. Other popular HBO shows like “Girls,” “Silicon Valley” and the “The Leftovers” will not be offered in 4K either. 

Over all, sales of 4K TVs are picking up, which should incentivize content providers to make more shows and movies in Ultra HD. Amazon said that in 2015, sales of 4K televisions tripled compared with the previous year, though it declined to reveal underlying sales numbers. Samsung, the No. 1 TV manufacturer, said it hoped that 60 percent of its TV sales in the United States this year would be 4K televisions, up from 30 percent last year. IHS, a research firm, predicts that 34 percent of American households will have big-screen 4K TVs by 2019, up from about 10 percent this year. 

“4K adoption has been phenomenally quick,” said Dave Das, a Samsung executive, in an interview. “Adoption has been as fast, or faster, than when we launched 1080p.” 

Samsung estimates that altogether there are now 800 titles to watch in Ultra HD. Mr. Das said Samsung this quarter will begin selling its first 4K-capable Blu-ray players, which will give consumers another avenue for obtaining 4K content other than streaming. 

At CES, all the big TV manufacturers, including Sony, Samsung and Panasonic, will be highlighting their 4K televisions. Many new sets this year will include high dynamic range. Samsung on Tuesday will highlight its next flagship TV, the KS9500, which it says will deliver the most realistic color range it has ever offered. Roku, the TV streaming device maker, said on Monday that it was working with TV manufacturers to introduce 60 Ultra HD television sets including Roku’s software this year. 

Continue reading the main story Continue reading the main story 
And there is new branding for 4K television sets, too. The TVs that include high dynamic range will be called Ultra HD Premium. The Consumer Technology Association, a trade group that represents the electronics industry, said on Monday that the new specification would help consumers understand the differences between various Ultra HD technologies and navigate the growing marketplace. 

Beware: The sets will take a bite out of your wallet. Well-reviewed TV sets, like Vizio’s M60-C3 or Samsung’s JU7100, cost $1,000 to $1,600. Because the software included on television sets is typically terrible, you will probably also want to buy a 4K-capable media player, like the Roku 4 streaming box ($130). If you’re streaming content, you may also want to make sure your Internet connection is fast enough: You’ll need roughly 20 megabits a second to consistently stream content in 4K resolution, according to Amazon and Netflix. 

If you’re happy with your current high-definition TV, do yourself a favor and wait at least a year or two before buying an Ultra HD television. By then, there should be plenty more 4K content to watch. Plus TV prices drop rapidly as their features become more commoditized — if you buy a 4K television set today, a TV with the same features will probably cost less than $1,000 in 2017 or 2018.

16/12/2015

Sony adds Chromecast support for its PlayStation Vue TV streaming service

Sony's PlayStation Vue TV streaming service has always been a bit of an odd sell. The subscription service lets users pick between different TV packages (the basic $50 a month plan including channels like CNN, Fox, and NBC) and acts as DVR for favorite shows, but it originally launched on the PS3 and PS4 only. Since then, Sony has been working on making the service more widely available, adding support for the Amazon Fire TV, iPhone, and iPad, and now, Google's Chromecast as well. However, in somewhat typical fashion, the service will only work with iOS devices, as it's not yet available on Android. Still, if you're subscribed to Vue and are looking for a cheap way to see you favorite shows on another TV, buying a Chromecast and connecting it up might be a good way to go.

IPTV kicks off December Celebration, Dec. 2-6

December Celebration will feature new specials, in-studio celebrity guests and classic favorites. The schedule is below. Viewers can visit Iptv.org for schedule updates. 

Each day of December Celebration, viewers will have the opportunity to support the programming and services they enjoy all year long and help make it possible for all Iowans to continue to enjoy these programs. Special thank-you gifts, including tickets and exclusive items, will also be available. 


JOHNSTON - There's something for everyone during Iowa Public Television's December Celebration. This annual event airs Dec. 2-6 on IPTV and will feature everything from musical performances and travel specials to history documentaries and science programs. 


Wednesday, Dec. 2 

• 6:30 p.m. A Salute to Downton Abbey-Hugh Bonneville showcases high points of the show's storyline and its memorable cast of characters. 

• 7 p.m. Simon & Garfunkel: The Concert in Central Park-The iconic duo performs "Mrs. Robinson," "Sounds of Silence" and more hits in this 1981 concert. 

• 8:30 p.m. Joe Bonamassa: Muddy Wolf at Red Rocks-Guitar hero Joe Bonamassa celebrates the music of blues legends Muddy Waters and Howlin' Wolf. 

• 10 p.m. Suze Orman's Financial Solutions for You-Suze Orman provides advice to help individual viewers "find financial solutions for you." 

Thursday, Dec. 3 

• 6:30 p.m. IPTV's Iowa Stories Collection-Iowa Public Television has a long tradition of telling stories from the uniquely Iowa perspective. IPTV's Iowa Stories Collection is a compilation of highlights from documentaries produced by IPTV between 2002 and 2015. Each clip will be introduced with exclusive interview content from the producers, videographers and editors who were integral to the creation of these iconic Iowa stories. 

• 8:30 p.m. Doc Martin: Seven Grumpy Seasons-Featuring interviews with producers, cast members and director Ben Gregor, this special is an enjoyable sneak peek at what Martin Clunes-the Doc himself-is calling the "best" series yet. 

• 10 p.m. On the Psychiatrist's Couch with Daniel Amen, M.D.-In his 10th national public television special, Dr. Amen gives viewers the most important lessons he has taught thousands of patients over the last 35 years. 

Friday, Dec. 4 

• 6:30 p.m. Rick Steves' Festive Europe-Rick ventures into the Parisian streets on Bastille Day and takes in the royal pageantry in London. 

• 7 p.m. Iowa Press-Iowa Press explores the issues affecting the lives of Iowans. Newsmakers, policy makers and elected officials join political reporters in a weekly discussion. 

• 7:35 p.m. Market to Market-From global trade conflicts and environmental controversies to changing technologies and emerging enterprises, Market to Market continues to explain the issues and illuminate the alternatives that challenge rural America. 

• 8:30 p.m. Country Pop Legends (My Music)-Roy Clark and Glen Campbell highlight classic country pop tunes from the 1950s, 1960s and 1970s. 

• 10:30 p.m. Brain Maker with David Perlmutter, M.D.-Dr. Perlmutter explains how nurturing gut health can alter your brain's destiny for the better. 

Saturday, Dec. 5 

• 5:30 a.m. Suze Orman's Financial Solutions for You-See Dec. 2. 

• 7:30 a.m. Rick Steves Special: European Christmas-Customs and practices of the holiday season are explored in England, France, Switzerland and more. 

• 9:30 a.m. Jacques Pepin's 80th Birthday Celebration-Chefs Lidia Bastianich, Rick Bayless and Ming Tsai prepare a celebratory feast for Jacques Pepin. 

• 11 a.m. Iowa Ingredient: Potluck Celebrations-Potluck meals are a warm and friendly way to celebrate the holidays. On this special episode, meet two chefs who are masters of cooking delicious dishes for large groups. 

• Noon Aging Backwards with Miranda Esmonde-White-Valuable insights on how to combat the physical signs and consequences of aging are presented. 

• 1 p.m. Super Genes with Dr. Rudy Tanzi-Explore how we might shape our genetic future through self-directed biological transformation. 

• 3 p.m. Quilts of Valor II-National quilting celebrities Alex Anderson, Mark Lipinski and Marianne Fons reunite to work on a new Quilt of Valor. 

• 5 p.m. Frank Sinatra: The Voice of Our Time-Archival footage and song performances trace Sinatra's career from the 1940s through the 1960s. 

• 6:30 p.m. Lawrence Welk: God Bless America-This special, featuring 18 stars from the Welk Musical Family, marks the 100th birthday of Lawrence Welk by looking at the nation's history through the eyes and experiences of the famous bandleader. It is co-hosted by Mary Lou Metzger and Tom Netherton. 

• 9 p.m. The Carpenters: Close to You (My Music Presents)-The band's career is traced. "(They Long to Be) Close to You" and "Top of the World" are featured. 

• 10:30 p.m. Joe Bonamassa: Muddy Wolf at Red Rocks-See Dec. 2. 

Sunday, Dec. 6 

• 6 a.m. The Pain Prescription with Dr. Mitchell Yass-Dr. Yass highlights the use of simple exercises to find lifelong relief from chronic pain. 

• 7:30 a.m. The Power of Purpose-Discover the key to happiness and fulfillment by understanding and acting upon your life's purpose. 

• 9 a.m. 30 Days to a Younger Heart with Dr. Steven Masley-Steven Masley, M.D., shares three simple steps that will help reverse the onset of aging and disease. 

• 10:30 a.m. Brain Maker with David Perlmutter, M.D.-See Dec. 4. 

• Noon Iowa Press- See Dec. 4. 

• 12:35 p.m. Ken Burns: The Civil War-Celebrate the 25th anniversary of the landmark documentary with an in-depth overview and interviews. 

• 1:35 p.m. Classical Rewind 2 (My Music)-Actor and conductor David Ogden Stiers presents a visual and aural feast of works from the masters. 

• 3:05 p.m. Songbook Standards: As Time Goes By (My Music)-Host Jack Jones presents a nostalgic hit parade of best-loved songs from the 1950s and 1960s. 

• 5:05 p.m. Father Brown: Saving Souls, Solving Crimes-This behind-the-scenes special features interviews with the co-creators and stars of Father Brown. 

• 6:35 p.m. A Salute to Downton Abbey-See Dec. 2. 

• 8:05 p.m. Josh Groban: Stages Live-The world-renowned performer explores classic songs from the Broadway songbook. 

• 9:35 p.m. Suze Orman's Financial Solutions for You-See Dec. 2. 

• 11:35 p.m. A Salute to Downton Abbey-See Dec. 2. 

For a complete Decembr Celebration schedule and other program information, visit

Four in ten pay-TV homes in Hungary now opt for digital cable or IPTV services.







Data produced by the regulator NMHH for October, obtained from the leading service providers, shows that as of the end of the month there were a total of 2,179,149 cable and IPTV subscriptions, of which 1,268,100 were digital.

There were also 897,484 DTH and 107,642 pay-DTT subscriptions, with the total number of digital TV subscriptions amounting to 2,273,226.

The leading providers of services, irrespective of technology, were UPC, Telekom and Digi, with market shares of 26.9%, 25.3% and 24.3% respectively.

Invitel, the next largest player, claimed a 4.4% share. 

Huawei partners with 3 Screen Solutions for OTT and IPTV







The appointment of 3SS as a certified partner follows a certification process which saw the integration, testing and approval of frontend clients and apps developed by 3SS for Huawei’s smart TV sets, set-top-boxes, smartphones, tablets (iOS/Android) and games consoles. 

3 Screen Solutions (3SS), a German provider of customised software solutions and services to the multiscreen digital entertainment industry, has been certified as a Huawei technology and development partner by the global consumer electronics company. 


The German company’s customised IPTV frontends will complement Huawei’s hardware and software offerings for IPTV, OTT and multiscreen platforms. 

Huawei has completed pre-integration with 3SS and the partners now want to jointly pursue new customer opportunities to help service providers building audiences and generating enhanced revenues from their multiscreen businesses. 

15/12/2015

How to Encode Video for HLS Delivery

If you need to deliver to mobile devices and via OTT platforms, you need to deliver HTTP Live Streaming (HLS). Apple provides plenty of advice for compressionists, but here are some tips and tricks for encoding and testing your HLS files

HTTP Live Streaming (HLS) is a simple and elegant architecture created by Apple for delivering adaptive bit rate streams to iOS devices and compatible browsers, essentially Safari. Since its release, HLS has been incorporated into technologies that enable desktop computers to play HLS streams with Flash installed (JW Player) or within HTML5 browsers (THEOplayer from OpenTelly). HLS has also been (poorly) adopted by Google for Android and incorporated into most (if not all) OTT platforms like Roku. Though Dynamic Adaptive Streaming via HTTP (DASH) gets all the press, HLS gets all the eyeballs, and is as close to a “one-spec-fits-all” technology as is available in the adaptive streaming space. 

If you’re submitting an app to the Apple App store that incorporates video playback over cellular networks, you must use HTTP Live Streaming if the video exceeds either 10 minutes duration or 5MB of data in a five-minute period, or roughly a stream with a data rate of 133Mbps. In these cases, you must also incorporate at least one audio stream at 64Kbps or lower bandwidth, either with or without a still image. 

For all these reasons, understanding how to produce for HLS is a critical skill for most streaming producers. After describing how HLS works, I’ll cover the four phases of HLS production: configuring the variants, encoding the variants, creating the segmented data and metadata files, and validating the streams.More About HLS 

Though the name implies only live streaming, HLS can also distribute on-demand videos. Beyond simple playback, the architecture includes features like AES-128-bit encryption, CEA-608 closed captions, and timed metadata capabilities like opening a web page automatically when the stream is played. 

 

Figure 1. How HLS works. 

The HLS encoding and playback schema is shown in Figure 1. Like all HTTP-based adaptive streaming technologies, HLS encodes the original video into multiple variants at various resolutions and bitrates. It then divides each variant into multiple segments. 

The location of each segment is defined in a index file with a .M3U8 extension, which you can see off to the right of each variant. A master .M3U8 file, on the extreme right of the figure, describes the data rate, resolution and other characteristics of each variant, and the location of the index file for that variant (Figure 2). All these are uploaded to a standard HTTP web server. 

 

Figure 2. The master .m3u8 file with bandwidth, resolution, and profile-related info. 

To trigger playback, you create a link to the master index file. During playback, the HLS-compatible device checks the master .M3U8 file and retrieves the first segment (segment 1) from the first variant listed in that file (the red arrow). Then it monitors bandwidth conditions. If bandwidth is plentiful, the device will check the master .M3U8 file, find the location of a higher-quality stream, check that stream’s .M3U8 file for the location of the next segment (segment 2), and retrieve and play that segment. If bandwidth status is not good, the device will perform the same basic procedure, but find and retrieve the next segment from a lower-quality stream. During playback, the device continuously monitors bandwidth conditions, changing streams as necessary to continue playing the highest-quality stream. 

Job one when producing for HLS is to choose the number of variants and their configuration. So let’s start there.Configuring the Variants 

Anyone producing for HLS should start with a look at Apple Technical Note TN2224, a sampling of which is shown in Table 1. What’s important is not so much the precise configurations recommended, but the recognition that you’re producing for three different scenarios: low bitrate for cellular connections, moderate bitrate for cellular and Wi-Fi connections on older devices, and very high bitrates for exceptional quality on newer and high-end devices. This segmentation is particularly important when creating a single set of streams for mobile, computer and OTT playback, such as when you might be using the JW Player to deliver HLS streams to Flash enabled desktops. 

 

Table 1. Apple’s recommendations for variants in TN2224. 

When configuring your streams, you should consider each segment individually. For cellular, ask the question, “What’s the lowest-speed/quality configuration we want to distribute?” Besides the audio-only file, TN2224 recommends a 416x234 stream at 200Kbps video/64 Kbps audio, but many producers provide a lower quality stream, say at 100Kbps video/64Kbps audio for those watching on very slow cellular connections. 

Then consider the middle tier. For full screen playback on iPhones, 640x360 is a reasonable configuration, but iPads (and desktops) will play the video in the playback window on your web site. Since it’s most efficient encoding- and playback-wise to encode/playback video at the same size as the display window, you should also have at least one variant for each video playback window on your website. 

The 960 and higher-resolution screens are all for full-screen or OTT playback. Here, the question is “How much can we afford?” In other words, send the highest quality stream you can within the fiscal constraints of your monetization program.Page 1 of 3 next » 













How to Encode Video for HLS Delivery 

If you need to deliver to mobile devices and via OTT platforms, you need to deliver HTTP Live Streaming (HLS). Apple provides plenty of advice for compressionists, but here are some tips and tricks for encoding and testing your HLS files 

How many streams do you need? That depends upon a number of interrelated factors, including the following:
  • The original resolution of the video--you need more for HD than for SD.
  • Whether the customer is paying for the video--usually you need more for subscription services than for free Internet video.
  • The configuration of your lowest and highest quality streams--you need sufficient streams to provide a good quality stream at all relevant connection speeds.


There is no magic number, but Apple recommends that bitrates be a factor of 1.5 to 2x apart; otherwise, the streams are very similar in quality and you’re wasting encoding resources and storage space. 

Otherwise, when choosing your variants, you must use the same aspect ratio, you can’t switch from 4:3 to 16:9 or vice versa. Note that if you’re encoding 4:3 source videos, there’s a separate table in TN2224 for those files. 

In addition, as Table 1 suggests, don’t worry about mod-16, or a file resolution with the width and height both divisible by 16. Many compressionists recommend mod-16 because H.264 uses 16x16 blocks to encode the video file, and mod-16 files are the most efficient to encode. Typically, however, the playback windows chosen by website developers dictates the resolution, which is why 640x360 is the most widely-used resolution on the planet. No worries, at this resolution, the inefficiency of using a non-mod16 resolution is very small, well into the lower single digits. 

Finally, some data rates used by Apple are unnecessarily high, particularly at the upper end. For example, YouTube and ESPN deliver 720p video at 2.5Mbps, almost half the lowest data rate recommended by Apple. Similarly, 1.8Mbps for 640x360 is quite generous. So you might adjust the data rates downward to save bandwidth dollars, but the overall schema is quite sound. 

Once you’ve chosen the number and configuration of your variants, it’s time to encode the files.Encoding the Variants 

At some point, I should mention that HLS is only compatible with H.264; now is a good time as any. Note that Apple changes the profile used for each variant to maintain compatibility with older devices. This is essential, or the video files won’t play, so this is one area where I wouldn’t diverge from Apple’s recommendations. 

There are several other critical areas of focus; let’s take those one at a time.Keyframe Settings 

TN2224 directs that each segment have at least one IDR keyframe per segment, most preferably at the beginning of the segment. Complying with this will involve multiple configurations that will vary by encoding tool. 

First, if the encoding tool gives you the option, set all keyframes to be IDR frames. If this option isn’t provided, don’t worry, invariably, the encoding tool is making each keyframe an IDR frame. Next, make sure the keyframe interval used to encode the file is consistent for all variants, and divides evenly into the segment size. At the recommended segment size of ten seconds, you should use a keyframe interval of one, five or ten. 

Most encoders have an option to insert keyframes at scene changes, which can improve stream quality. When available, don’t enable this option unless you’re certain that this won’t reset the keyframe interval, which could result in the first frame of a segment not being a keyframe. For example, some encoders, like Sorenson Squeeze, offer a control to enable “Fixed I-Frames Distance,” which ensures that there’s a keyframe at the specified interval, even if another intervening keyframe was inserted at a scene change. When this is available, you should always enable it.Bitrate Control 

The HLS schema works best when the data rate of each variant is consistent. For this reason, you should encode your streams using either constant bitrate (CBR) encoding, or constrained variable bit rate (VBR) encoding, with a maximum data rate of 125-150% of the target data rate. 

As we’ll discuss below, data rate consistency is one of the file characteristics checked by Apple’s MediaValidator tool. If the actual data rate of the file exceeds the listed data rate by more than 10%, you’ll see an error message like that shown in Figure 3. In the figure, segment 16 was off-target by 54%. Interestingly, I produced that error by encoding the file in Sorenson Squeeze using VBR constrained to 300% of the target. Since the final segment contained the most motion, that’s where Squeeze packed the most data, resulting in the error. Note that when I encoded using CBR, which is Squeeze’s default for HLS video, the files passed MediaValidator’s scrutiny without any problems. 

 

Figure 3. This file failed in Media Validator because the segment bandwidth exceeded the target bandwidth.Audio 

As Table 1 reflects, Apple recommends that you encode all variants using the same audio parameters. Though not stated in TN2224, this is because switching audio parameters during playback can cause popping or other audible artifacts. Because the recommended audio data rate is rather low, some authorities recommend using High Efficiency AAC (HE-AAC), rather than the Low-Complexity profile (AAC-LC), because HE-AAC delivers superior quality at lower bitrates. 

If you decide to use different parameters to reward your high end viewers with a superior audio experience, use the same sample rate and change the data rate or number of channels (mono or stereo) in the higher-end streams.Segmenting Your File 

After encoding your files, you need to create the segments and index files, for which there are many options. For example, once you become an iOS developer ($99/year), you can download Apple’s HTTP Live Streaming Tools, which include the aforementioned Media Stream Validator, and the Media Stream Segmenter and Media File Segmenter. Both the segmenters are command line tools that create the segments and index files. The Media Stream Segmenter works with live and disk-based MPEG-2 transport stream files, while the Media File Segmenter works with disk-based MP4 files. For more information on using these tools, check out Apple’sHTTP Live Streaming Overview

In terms of segment duration, the most confusing aspect of TN2224 is the recommendation of a segment size of ten seconds, and a keyframe interval of three seconds, as this wouldn’t seem to produce a keyframe at the start of each segment. Interestingly, the new default settings in Apple Compressor 4.1 follow these recommendations, creating a segment duration of ten seconds, but using a keyframe interval of three seconds. 










Encode and Segment 

How to Encode Video for HLS Delivery 

If you need to deliver to mobile devices and via OTT platforms, you need to deliver HTTP Live Streaming (HLS). Apple provides plenty of advice for compressionists, but here are some tips and tricks for encoding and testing your HLS files« previous Page 3 of 3 


In contrast, most authorities recommend making sure that the keyframe interval divides evenly into the segment size. For example, cloud encoder Zencoder’s well-written Best Practices for Encoding HLS Video states, “keyframe rate should be an even interval of the segment size.” As you see in Figure 4, all of the HLS templates implemented in Sorenson Squeeze ensure that the keyframe interval divides evenly into the segment duration, called a fragment in the application UI. As discussed above, that’s what I recommend as well, though I’ve asked Apple to explain this inconsistency, and await word back. 

Beyond Apple’s tools, there are a number of programs that can encode your files and create the segments and metadata files in one operation, which is the simplest workflow. One of the least expensive is Apple Compressor 4.0 ($49.99), which only runs on the Mac. Sorenson Squeeze is cross platform and starts at $549, and offers one of the most elegant interfaces for producing HLS output, with all variants shown within a single interface (Figure 4) that ensures a common keyframe interval and consistent audio parameters. 

 

Figure 4. Sorenson Squeeze has a very elegant interface for HLS output. 

Telestream Episode, which starts at $594, can also output segments and index files, but only via command line arguments, not through the user interface. Most enterprise and cloud encoders can output HLS compatible segments and index files via the user interface or application programming interface (API).Testing Your Files 

MediaStream Validator is a command line tool included with Apple’s HTTP Live Streaming Tools. In essence, during testing, it simulates HLS playback, so you have to upload your files to a web server (or install a web server on your computer) to run the tool. 

 

Figure 5. Running Apple’s Media Stream Validator. 

Operation is simple and the command line argument is shown in Figure 5. Run time will depend upon the length of your video and the number of segments. For reference, it took for the program 65 seconds to analyze the nine streams shown in Figure 5 for a 90-second test file. 

The tool can reveal a range of problems in your files, including the bandwidth issue discussed above. It will also send an error message if your segments don’t have IDR keyframes. Apple explains all error messages produced by Media Streaming Validator in Technical Note TN2235. Lack of compliance with all HLS requirements may cause playback to fail, so testing your files before making them available is recommended. If you’re submitting an application with media files to the App store for approval, you should definitely test first with Media Stream Validator. For more on this, check Apple’s Technical Q&A QA1767 entitled Resolving App Store Approval issues for HTTP Live Streaming

This article first appeared in the 2014 Streaming Media Industry Sourcebook. 


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