While Cook did not specifically mention the rumoured ’iPanel’ set in his comments, he did state of their work with set-top box system Apple TV: “This is an area of intense interest for us. We’re going to keep pulling this string and see where it takes us. We’re not a hobby kind of company, as you know. The company tends to put a lot of wood behind a few arrows. We’ve stuck to this.”

It has been rumoured that a new ‘iPanel’ set would combine the Apple TV online-connected product (which has reportedly sold over 5 million units since January 2011), with planned integration of the iCloud online storage system combined with potential content deals from major video providers.

Cook added of how creativity is a key element of the ‘company ‘DNA’, as he said: “We’re going to introduce some great stuff. I think you are going to love it. Juices are flowing and we have some incredible things coming out. For years Apple’s been focused on innovation, and this will not change.”

He summarised by speaking of the legacy left by his predecessor Steve Jobs (who is well-known as coming up with the Apple smart TV concept as one of his last great ideas), stating: ”It was the saddest day of my life when he passed away. But at some point last year somebody kind of shook me and said it’s time to get on. The sadness was replaced by this determination to continue the journey. I love museums, but I don’t want to live in one.”

With the first ‘unveiling’ of Apple’s newest product possibly coming on 11 June at the company’s Worldwide Developers Conference in San Francisco (USA), will it be the TV that is revealed to the public, or do they have another development up their fairly well-hidden sleeve?

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iPlayer watching growing most on connected devices

They also point to 2012 being a big year for streaming, as the growth in demand during the first quarter of for iPlayer demand in connected devices was 11%. Biggest growth came from tablets and smartphones, showing a 94% rise for the year and a 15% increase for the quarter

The beeb had 190 million requests for content each month during the first quarter, catch-up TV requests accounted for more than 140 million requests and radio streams got 46 million requests.

Although it is still the case that most iewers access the iPlayer vfrom a standard PC or laptop, connected devices especially consoles and tablets are becoming the TV streaming device of choice for more and more people.

The BBC also revealed that when it comes to the battle of the sexes watching iPlayer, there isn’t one. The ratio of male vs female was 51% men against 49% women.

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Forget HDTV, try Ultra HD

Working with TV industry experts, regulators, and key broadcasters from around the world, the Geneva (Switzerland)-based worldwide regulatory body (who are an ‘agency’ of the United Nations) revealed their plans as outlining what could eventually become a standard-bearing 16 times sharper imagery than current HD-quality sets.

Dubbed ‘UHDTV’, the ITU’s proposals for the ‘definition’ of the format begins with an initial level of imagery called ’4K’, featuring an equivalent of ’8 megapixels’ and a more commonly used description of ’pixel resolution’, with 4K covering a quality of 3840 x 2160. Meanwhile, the upper tier of UHDTV would be called ’8K’, with respective qualities of 32 megapixels and 7680 x 4320 pixel resolution, with this format set to be the one being applied by the BBC and NHK for open-air public screenings during the 2012 Olympic Games (under the name of ‘Super Hi-Vision’).

Noting that their proposed standard is now awaiting formal approval from administrators, an ITU statement on the matter read: “Alongside being significantly sharper than HD (which has the equivalent of 1 to 2 megapixels), [UHDTV picture quality] is accompanied by improved colour fidelity, and options for higher numbers of pictures per second than for today’s television systems.”

The ITU’s ‘Working Party 6C’ (a group of specialists assigned to discuss the terminology and progress of UHDTV) was led by David Wood, who said of the developments: “This is the dawn of a new age for television that will bring unprecedented levels of realism and viewer enjoyment. It’s a historic moment. Some years will pass before we see these systems in our homes, but come they will. The die is now cast, thanks to the untiring efforts of the international experts participating in WP6C.”

ITU Radiocommunication Bureau director Francois Rancy added: “I’ve personally seen the pictures with 8K UHDTV system, and it’s absolutely stunning – the sense of being there is superb. This agreement shows the great and continuing strength of the ITU-R and Study Group 6.”

Dr Hamadoun Toure from Mali, the secretary-general of the ITU, summarised: “Watching UHDTV in the near future will be a breathtaking experience, and I look forward to it.”

Japanese broadcaster NHK claim that after the Olympics, they could develop ‘Super Hi-Vision’ to a household-ready quality within the next 10 years, but will they end up calling it ‘UHDTV’? A video of David Wood describing the concept on behalf of the EBU (European Broadcasting Union, filmed last year) can be seen below:

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A press release made by Forrester Research’s James McQuivey has claimed that with a lack of (confirmed) licenced content to start their venture on, Apple should avoid focusing on a heavily congested smart TV market and look to provide their own unique product, setting aside their TV plans for another point in time.

He also notes that due to the lack of physical evidence that Apple are developing a TV set, it could be believed that it is not happening for their hotly-tipped 2013 release date.

Writing to investors, McQuivey gave his verdict on Apple’s current situation, stating: “The reason it has failed with the Apple TV so far is not that it hasn’t tried. It’s that the TV business is a tough nut to crack: Content is still controlled by monopolists unlikely to give Apple the keys to their content archives. And simply introducing a new display on which to watch that content as it is currently delivered by existing distributors won’t offer consumers much that’s new.”

McQuivey goes on to suggest that Apple should plan a device called ‘iHub’, instead focusing their energies on a family central organisation device that would hang on a wall with the appearance of a TV, as he writes: “Apple should sell the world’s first non-TV TV. Instead of selling a replacement for the TV you just bought, Apple should convince millions of Apple fans that they need a new screen in their lives. Call it the iHub, a 32-inch screen with touch, gesture, voice, and iPad control that can be hung on the wall wherever the family congregates for planning, talking, or eating — in more and more US homes, that room is the dining room or eat-in kitchen. By pushing developers to create apps that serve as the hub of family life — complete with shared calendars, photo and video viewers, and FaceTime for chatting with grandma — this non-TV TV could take off, ultimately positioning Apple to replace your 60-inch [TV] set once it’s ready to retire.”

While he may be angling for a job at Apple or eventual royalty fees, could McQuivey’s proposals influence Apple’s creative direction, or is the obvious lack of substance behind this innovative suggestion going to make it fall on deaf ears?

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However, this has not stopped Dutch TV innovator and media tycoon John de Mol from advising the BBC to take on a children’s version of The Voice UK, as he outlined the proposal as a way to boost the show’s popularity in the country.

de Mol, who created the franchise and format of The Voice in 2010 (which now has over 35 main editions (existing or planned) around the world) with The Voice of Holland on RTL4, also released a further edition of the format in his native country, with The Voice Kids, aimed at contestants aged between 8 and 14, said to have been a success, according to its creator.

He said of the chances of the BBC taking on an additional version of the franchise: “There was a big emotional reaction from the parents of the children talking part [on The Voice Kids], more so than on any other talent show.”

Having experienced a huge dive in ratings since first airing in March on BBC1, producers of The Voice UK may be more interested in getting through their current series (which ends on 2 June) and improving its format as opposed to adding a new edition, though de Mol has added his belief that experience gained from the wide range of Voice franchises around the world will act as a like-minded network to deliver the best feedback needed to enhance the quality of the fledgling series.

With rumours already circulating that any planned The Voice UK Kids version could appear on a dedicated children’s channel (BBC) or earlier timeslot, it appears that a channel and format-based departure from the original could be enough to see the idea given a chance, but will it actually happen?

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The proposed set-top box service, which was first announced in 2010, is a combined product being offered by a combination of leading terrestrial broadcasters (BBC, ITV, Channel 4, Channel 5), and telecommunications companies (Arqiva, BT, and TalkTalk), with the aim of providing an Internet connected set-top box that operates in the manner of a regular TV provider, but also features quick and easy access to the online catch-up services of the broadcasters, amongst other connected features.

The ‘alpha trial’ stage of the project will see 350 homes in the UK recieve a YouView box, with their activities and feedback monitored for the purpose of developing the product, with an insider claiming that success at this stage could initiate a beta test for ‘thousands of homes’ within four weeks, although that timeframe would kill off any realistic chance YouView has of launching before the 2012 Olympic Games, thought to be a key point of broadcasting competition that they will most likely miss out on.

Enders Analysis researcher Ian Maude said of the products’ diminishing prospects: “If they can’t get it out before the Olympics, which is looking less and less likely, I wouldn’t bother.”

Having planned to launch in the year it was announced, YouView have faced a number of delays to their progress, and while it has not gotten to the point where the plans have been abandoned, the product has lost a lot of potential footing after its setbacks, as a planned release price of £200 would have been seen as a lot more value-for-money if the now fairly-common connected online services were packed together on YouView as one of the first platforms to provide such services.

YouView’s development, which has been overseen by businessman, telecommunications expert, and The Apprentice star Lord Alan Sugar (as non-executive chairman) since March 2011, is noted as having progressed a lot more since his takeover, but could any bad business decisions on the product lead to someone getting ‘fired’?

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Thought to be moving into a large fanbase of mixed martial arts (MMA), expanding their offerings from the sport’s leading brand UFC is believed by Netflix to be a sure-fire way to bring in more sports fans to their online streaming service, with plans to offer increased live coverage of events as well as numerous ‘classic’ fight reruns, highlights, and the UFC’s reality TV series The Ultimate Fighter, amongst other broadcasts.

Airing over 30 live events per year (including around 15 main ’numbered’ events), UFC is considered the world’s largest PPV (pay-per-view) event provider, airing in almost 150 countries and territories and a potential audience of one billion households. Canada, much like neighbouring USA, is considered a key market for the sport, with the North American nation having provided UFC with their biggest ever event attendance in April 2011, with UFC 129 (St-Pierre v Shields) drawing over 55,000 fans to the Rodgers Centre in Toronto.

Netflix vice-president of content acquisition Jason Ropell said of his company’s latest move: “Canada has a long tradition of support for MMA and we’ve been working with the UFC for some time to bring their world leading premium content to Netflix. We’re thrilled to be able to give Canadian members a much deeper offering of UFC content ranging from classic fights, and popular compilations, to recent events, some as recent as 90 days following their PPV airing.”

In addition to the actual event-based content, the deal also covers plans to add key additional content provided by UFC, with episodes of UFC Best Of, 100 Greatest Moments, Ultimate Heavyweights, Ultimate KO, and one-off documentary Bad Blood amongst the rights acquired by Netflix for their customers in Canada. With a range of content now available to Canadian UFC fans on a number of devices, will Netflix’s venture further into the octagon pay off?

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Is full iPlayer coming to Windows phones?

Owning one of the most popular mobile TV apps in the UK region (for both iOS and Android-based systems), it appeared as though the iPlayer could have been set for an expansion onto Windows’ relatively underperforming mobile product, with the smartphone taking on the app to provide viewers with free online catch-up of BBC content.

According to a source of the deal, the iPlayer would have been on the Microsoft device within ‘the next couple of weeks’, following on from long-standing implementation on mobile phones provided by Android, Apple and Blackberry.

However, just hours after speculation was circulating over app features such as 3G streaming and EPG (electronic programme guide) integration, a BBC spokesperson has played down the rumours of the entire story, dismissing claims of their service expansion by stating: “BBC iPlayer is already on over 500 platforms and devices including   Virgin Media, BT Vision, FreeSat, Freeview, Sony PlayStation, Nintendo Wii, and hundreds of mobile phones, tablets, and Internet-connected TVs. We are always looking at new and existing platforms to bring BBC iPlayer to, but have no plans to launch a BBC iPlayer native app in Windows Phone Marketplace in the immediate future.”

The current iPlayer app for Windows phones has just basic functionality and no streaming at present, with the BBC claiming they will add it “subject to demand”. In an additional blow to Microsoft’s hopes of bringing in key integrated content providers, a representative from Sky has noted that it will be at least ’a few months’ before their Sky Go catch-up service reaches the Windows Phone. Clearly falling behind in any effort to keep up with the popularity of online video on rival devices, will the Windows Phone manage to get any names on the board within the near future?

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iPanel or iTV is said to be in production

The report says insider sources claim that Chinese manufacturer Foxconn, who are based in Shenzhen, have received an Apple smart TV order on a trial basis.

The news comes barely a day after Piper Jaffray analyst, Gene Munster, predicted that Apple will announce its connected TV in December ready for a launch early next year. The sets will range in sizes 42-55″ with a pricepoint of $1,500-$2,000.

The internet connected tv sets are said to be (like other Apple products), able to run Facetime, have icloud access and make use of Siri/ Kinect  technology. The TV’s would also be able to download and run a selection of apps, games and access iTunes content.

The idea that a small number of prototypes are being manufactured makes sense, as they can be trialled and bug tested  prior to full blown production.

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Viewers in the UK, who would have been tuning in early to see 76-year-old entrant Engelbert Humperdinck open the show (following a random draw for running order), averaged 7.47m (36.2%) throughout the night (peaking at 11pm with 9.6m), but may have been left disappointed with their final score of 12 points (and 25th place out of the 26 finalists), compared with the 372 amassed by Sweden’s entry Loreen, who beat second-placed Russia (represented by the ‘Russian grannies’ group ’Buranovskiye Babushki’) by 113 points, the second-highest margin of victory in Eurovision history (after Norway’s 169-point win in 2009).

As winners, Sweden will now host the contest next year in a venue that will be decided in the near future by host broadcaster SVT, but there are now fears that the UK (one of the EBU’s ‘Big five’) may not participate next year as a result of the humiliating points tally, with strong rumours of political bias (and infamous ‘voting blocs’) leading bookmakers to leaving odds of 25-1 of the BBC not sending an entrant in 2013, and 2-5 on not winning for the rest of the decade.

A BBC insider said of the fall-out from the result: “The BBC really thought Engelbert would have made Britain a serious player in Eurovision again and would open the door for other major singers to compete. They had really high hopes for him and insisted he would do well (and finish in the top 5). But that has all gone out of the window now and there is a very real fear that other major credible artists will not want to risk the humiliation of being thrashed in Europe like Engelbert was.”

It was reported, though, that Engelbert did find comfort in reflecting on the evening’s proceedings after he discovered that the BBC1 lead-in show The Voice UK has continued its dramatic slide in the ratings, with only 4.49m (28.8%) tuning in despite the lack of a directly competing show on rival network ITV1, with BBC executives now said to be trying to find a number of ways to improve the format for next year, in order to avoid the expensive franchise from becoming a complete flop.

The full standings from the final of Eurovision 2012 (which saw 26 competitors and voting from all 42 nations who took part during the week) can be seen below. However hardly done by the BBC feel, though, spare a thought for Dutch national broadcaster TROS, who have failed to reach the final of the contest (from the preceding semi-final rounds) in all 8 attempts since a format change in 2005. Will either be able to turn their luck around in Sweden in 2013?

Eurovision Song Contest 2012 results:

1. Sweden, 372 points
2. Russia, 259
3. Serbia, 214
4. Azerbaijan, 150
5. Albania, 146
6. Estonia, 120
7. Turkey, 112
8. Germany, 110
9. Italy, 101
10. Spain, 97
11. Moldova, 81
12. Romania, 71
13. Macedonia, 71
14. Lithuania, 70
15. Ukraine, 65
16. Cyprus, 65
17. Greece, 64
18. Bosnia-Herzegovina, 55
19. Ireland, 46
20. Iceland, 46
21. Malta, 41
22. France, 21
23. Denmark, 21
24. Hungary, 19
25. United Kingdom, 12
26. Norway, 7

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The patent outlines plans to provide an ‘Advertisement scheme for use with interactive content’, and while being filed in July 2011 (and officially granted in November), it is now being strongly rumoured that the proposal will make an active debut on the planned ‘Sony PlayStation 4′.

The system is noted as working by slowing down within the game being played, including an on-screen warning light that acts as an indication of what is to come. From there, the game will fade into the background with the advert coming into a full-screen view, with the video clip or still taking up the view for a set amount of time, before the process ends the way it started, with a warning that the game is about to come back into action.

There are also suggested plans to ‘counter’ any game-related problems by offering the option of ‘rewinding’ the game a set amount if the advert interrupts the game in a significant way, though that will not go down well either with people who have to re-do a ‘hard part’.

Meanwhile, those that think they would be able to get away from the process by playing online multiplayer games would be wrong, as Sony have listed an even more marketable proposal for that situation, with the game pausing at specific points in order to show all players involved the advert, something that could end up amplifying the symptoms of ‘angry gamer syndrome’, should the patented plans be implemented (though it is likely that with the development of ‘smart TV’ methods, the adverts would be more relevant to the game/demographic in question).

It is believed that Sony have come up with their patent as a response to similar ‘pop-up ads’ seen on free-to-download tablet computer and smartphone games, but would the home console adverts be used as a trade-off for a lower cost of a console or device?

With the plans already described for video game consoles, Sony also list DVD players and personal DVRs as further potential outlets for the advertising method, meaning that it is not too far away from putting adverts into the middle of live TV at unexpected points. Just as DVR sets such as TiVo had looked to have removed the viewer’s inconvenience of adverts, could Sony be close to developing a way of putting them back in? The real question here, though, is whether ‘Best Brand Soda’ will see a sales increase as a result of all this publicity…

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The move will be one that will prevent Sky from holding a 3D monopoly of the event in the region, with the broadcaster initially thought to have been sealing a gap in the market by having the sole 3D broadcast by re-airing Eurosport’s footage under a licenced content deal.

However, with an arrangement made between Eurosport and Virgin Media, the cable broadcaster’s channel #523 will now become a temporary home for the ‘Eurosport 3D’ station, with the new slot being filled for the duration of the tournament, with all live feeds coming from Roland Garros’ Centre Court between 28 May and 10 June.

With the introduction of the new deal, Eurosport will feature their own-brand 3D presence in the region for the first time in their history, and while it is the third year in a row that they have shown a 3D feed of the French Open internationally, it is the first time that UK viewers will be able to receive the privilege, with the rights covering two different outlets supplied by the two major pay-TV platforms.

Eurosport are considered a key tennis broadcaster in the region, holding pay-TV rights to all four of the ‘Grand Slam’ tournaments (with additional rights held by the BBC (Australian Open & Wimbledon), Sky (American Open), and ITV (free-to-air rights holders of the French Open)), but the host channel will be at the back of most viewer’s minds compared to the action on-court, so who will end up taking home the main prizes in Paris?

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Apple's long awaited TV could be revealed this year.

Talking in a research note and backing up his earlier claim, Munster says that Apple will reveal it’s highly anticipated connected TV in December 2012, and will ship the product in early 2013. He also believes that the TV will come in sizes between 42-55 inch and retail for an Apple premium price of between $1,500 and $2,000.

The price may be high-end but Munster doesn’t believe it will be a big problem as other premium suppliers will also start selling smart tv sets at a higher than average price. He points out that Bang & Olufsen will be selling their 40-inch V1 TV within the next month for an expected retail price of $3,700.

So why wait till December, when we want it now? Munster says that a December announcement means that Apple wculd “freeze the market” for consumers wanting to buy a television and create the famous Apple demand that invariably means empty shelves on launch day.

Munster also echo’s other rumors that say the Apple smart TV would be controllable using other ‘i’ products like iPhone and  iPad, and that it would have access to the app store and that a Siri voice-control technology may feature.

He thinks that an Apple TV could gain real penetration of the TV market saying, “We believe Apple could ultimately capture 10 percent of the market within 1-3 years after launch.”

All the signs are that an Apple Smart TV will arrive this year. They are said to be looking to buy German TV manufacturer Loewe AG and have been in talks with EPIX about streaming content for the device.

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Avoiding the ads has legal ramifications

CBS, NBC and Fox have all filed lawsuits against Dish, as the AutoHop feature in effect, takes the advertising revenue out of the loop. Advertisers will not want to pay for ads that never get seen.

The TV networks all filed lawsuits against Dish in the US District Court in Los Angeles and all took a swipe at the service. Fox said that Dish Network, “will ultimately destroy the advertising-supported ecosystem.”

They said the satellite company was making a, “bootleg broadcast video on-demand service” and making, “an unauthorized copy” of the entire primetime broadcast schedule. They also said that Dish was taking advantage of its right to retransmit the network’s programming, “so that Dish could advertise to the world that ‘Dish created commercial-free TV.”

CBS continued the assault claiming that the AutoHop system will deprive the broadcaster “of a vital means of payment for their works”. They also claimed that advertisers “will not pay, or will pay less, to have their advertisements placed within and around [CBS'] television programming.”

NBC are claiming that Dish are breaking the law, calling it an, “unlawful service” and accusing them of exerting an authority they dont have. They said that, “Dish simply does not have the authority to tamper with the ads from broadcast replays on a wholesale basis for its own economic and commercial advantage.”

ABC has thus far not filed suit, and a spokeswoman from ABC’s parent company Disney declined to comment on whether the broadcaster would join its rivals.

Dish who made the hoppers key selling point the fact that all ad during the show are cleared from the recording do not agree with the lawsuits (obviously). They say that as they are paying for retransmission fees,  the networks have already been paid by the advertiser when originally aired.

Speaking for Dish, David Shull, programming director said, “Consumers should be able to fairly choose for themselves what they do and do not want to watch. Viewers have been skipping commercials since the advent of the remote control; we are giving them a feature they want and that gives them more control.”

Dish feel so strongly that they have issued a counter suit, asking the court to rule that the AutoHop “does not infringe any copyrights that could be claimed by the major networks, and that DISH, while providing the AutoHop feature, remains in compliance with its agreements with the networks.”

The legal outcome could have an enormous impact on TV viewing. Imagine being able to avoid all ads if you just wait for the retransmission of a show. Networks would definately lose out, and they are not about to let that happen.

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Richard Hammond, best known for his work on BBC Two’s motoring series Top Gear, was the presenter of the former assault course-based format on BBC One, and will return to the same teatime slot in 2013, with hidden-camera prank show The Secret Service.

Commissioned for a six-episode first series, the format will show Hammond and his specially-trained collection of comedians and actors (which will be called the ’secret service’) look to pull ‘absurd pranks’ on the friends and family of the members of public that ‘hire’ them.

The show has been noted as being a co-creation, with the idea conceived by Hammond, Samwell-Smith, Richard Osman (Pointless), Catherine Lynch, and Andy Rowe. They will obviously all be hoping that their new series can last longer than Wipeout, which maintained its slot for 6 seasons (and will air its remaining episodes by the end of 2012).

BBC One’s entertainment commissioning controller Mark Linsey said of the appointment: “Richard has proved to be an enormous treat for the Saturday night audience with his own unique brand of humour. I think the viewers are going to enjoy his Secret Service as much as they have Total Wipeout.”

The production company for The Secret Service will be Initial (a subsidiary of Wipeout franchise owners and operators Endemol), with their creative director Nick Samwell-Smith adding: “Following on from the great fun we’ve had with Total Wipeout, we’re delighted to be working with Richard Hammond again. This exciting new hidden camera show… will make for great family viewing on Saturday nights.”

In other news, rival channel ITV1 seem to be planning a new evening entertainment format of their own, though they will instead be delving into their archives in an effort to bring back classic gameshow Catchphrase (in which contestants compete by guessing famous catchphrases and sayings based on a blocked animation) under a more modern format, with a pilot episode reportedly ordered for consideration by network executives. Having last been seen in 2002 (with the series originally making its debut in 1986), could the old (Catchphrase) and the new (The Secret Service) end up in direct competition in 2013?

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The series, which is set based on a 1960′s American airline (the real-life former airline Pan Americam World Airways (‘Pan Am’)), had only aired 14 episodes on ABC in its first and only season in 2011, with Amazon broadcasting all of them as an additional streaming option (under a separate deal), and it now appears that they are in talks with producers Sony Pictures Television to revive the series and hold the second season (and potentially onwards) exclusively online, with international success and awards for the first series thought to be behind Sony’s renewed efforts to retain the series.

Having already made recent announcements of their intentions to try and improve the quality of their original content by holding monthly open contests for show creators, Amazon are looking to add to their original series line-up in the drama department as a means to further rival the likes of Netflix and Hulu.

After recently being touted for a move to a cable network, the Golden Rose-winning series Pan Am could be due to make the leap online, in what would be another addition to the fast-developing form of TV show relocation.

Three months after last airing and two weeks after being formally cancelled by ABC, could Pan Am be on course for a turbulent landing onto Amazon Prime?

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Entering its fifth season, Mad Men were going in off the back of a fourth season average of 2.3m viewers, though the recent premiere drew 3.5m, meaning that in the time period between seasons, the show seems to have taken a fairly large boost in popularity, and seems to follow on from recent prophetic comments made by AMC’s CEO Josh Sapan.

Netflix are considered by many (including themselves) to be the key reason for the upturn in fortunes, with the 3.5m noted as being a record for the series, which revolves around a 1960′s advertising agency, and its creative director Don Draper (played by Jon Hamm, who is due to headline alongside Harry Potter star Daniel Radcliffe in a new show for UK satellite channel Sky Arts).

Netflix’s ‘chief content officer’ Ted Sarandos boasted of the suggestions that his company helped the show on its way (also using the statement as a defence to recent claims that they have the opposite ratings effect on children’s networks such as Nickelodeon): “We brought maybe a million viewers to AMC. These are people who had four years to watch the show [before Netflix took on the online rights], and didn’t, then we gave them the opportunity to watch the show in a well-priced and well-distributed model. In that way we’re quite additive.”

Speaking at the annual Cable Show in Boston (USA), Sarandos added of the rumours that Netflix have taken viewers from Nickelodeon: “People’s taste are so diverse that no specific program or network has such high viewing concentration that you’d see that cause and effect on ratings.”

Having developed as a dominant and respected force for rebroadcasting network content online, Netflix are currently looking to continue their development of original programming, and with what they claim to be cold hard proof that they can get people interested in TV shows, will any future Netflix formats ever end up on linear schedules to popular effect?

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Amazon Prime have taken on another licenced content provider for their online movie streaming service, with Paramount’s best features now available on the digital streaming branch of the popular online retailer.

In a deal said to be making ‘hundreds’ of Paramount titles available for Prime subscribers on Amazon, with their online instant streaming catalogue in the USA now set to rise above 17,000 pieces of content (TV shows and movies) by 2015, with Paramount’s introduction of content, like many others, set to be drawn out (in this case, over the course of three years) as opposed to being uploaded to the service ’all at once’.

A statement on the deal from Amazon ‘digital video content acquisition director’ Brad Beale read: “We are continuing to invest in building a vast selection for Prime Instant Video and are excited to bring Prime customers some of the most renowned and popular films in cinema history under this new agreement with Paramount. This deal will bring Prime Instant Video customers hundreds of new movies to enjoy on their Kindle Fire or any device connected to Amazon Instant Video, including titles such as Star Trek, Breakfast at Tiffany’s, Top Gun, The Italian Job and The Truman Show, and we will remain committed to adding even more great movies and TV shows to Prime Instant Video in the future.”

With another provider now added to their portfolio of content partnerships, will Amazon Prime’s unique service (which also includes free retail shipping and Kindle book downloads in the subscribtion package) continue to develop as a genuine challenger to Netflix, or do they still need to bring in a lot more high-profile content to their potential customers?

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Alongside advice for the channels in question, the media regulator have warned that the channels occupying numbers 3 (ITV1) and 5 (Channel 5) will need to bid for the rights like everyone else inovolved in the process in 2014. Ofcom claimed that with the general critera for ITV and Channel 5 (or any potential replacements in their EPG slots) will involve being able to prove that they: “…will be able to contribute, at a commercially sustainable cost, to public service broadcasting in the 10 years from 2015″.

While ITV1 and Channel 5 (the ‘licensees’ of #3 & #5) are noted as being in a good position at the moment, Ofcom have suggested that they may need to make alterations to assure their place in the trade-off (which sees the channels offer core public broadcasting services in exchange for a higher-quality channel slot).

One of them is addressed to ITV specifically, who they claim should provide a new division of their channel specific to viewers in Wales, as there already is for the #3 slot in Scotland (STV) and Northern Ireland (UTV). The organisation added: “We also suggest that changes to the Channel 3 service received by viewers in the south of Scotland may be appropriate to ensure the provision of Scottish news in that area.”

The options currently in place for Ofcom to handle the licences include giving the current holders first option on a 10-year renewal, an auction of the slots to open bidding (which Ofcom describe as offering potential bidders a chance to pitch ‘fresh approaches’ to being a PSB), or a combination of both by giving the rights holders a short-term first option renewal, in order to give the government time to draft a new ‘Communications Bill’ if necessary.

While Channel 4 (another commercial PSB) could be considered for this list, their status as being partially publically owned probably keeps their position more secure, with the two BBC channels in the main line-up (on #1 and #2) also assured of their position, for obvious reasons of being literal public broadcasters.

The decision on the future of the ‘open’ commercial PSB slots will be made by secretary of culture Jeremy Hunt at a later date. Could ITV1 and Channel 5 be nearing the end of their respective 56 and 15-year campaigns in top-level broadcasting?

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The organisation now seem to have called off their threat from last July, which claimed that Sky’s ‘first-run’ contracts with the six main Hollywood studios (20th Century Fox, Disney, Paramount, Sony Pictures, Warner Bros., and Universal) for their Sky Movies brand of channels was an unfair stranglehold on the market, and prevented similar movie channels from operating successfully.

Releasing a report on their ’provisional findings’, the Competition Commission stated that the consideration of online services (which often air new content at the same time or before TV broadcasters): ”…no longer provides Sky with a material advantage over its rivals in the pay-TV retail market.”

Adding that the upcoming launch of online pay-per-view service NOW TV (created by Sky to reach non-subscribers) will further this variation, the regulator seems to have exressed that online offerings are now on a similar level of availability and general acceptance as their TV counterparts.

The investigation’s chief Laura Carstensen said of her organisation’s findings: “Competition between providers of movie services on pay-TV has changed materially and, as a result of these changes, consumers now have much greater choice. LoveFilm and Netflix offer services which are attractive to many consumers and they appear sufficiently well resourced to be in a position to improve the range and quality of their content further. Moreover, Sky is about to offer Sky Movies on Now TV, which will make Sky Movies available unbundled from other pay-TV content and not requiring a subscription to a traditional pay-TV platform.”

Adding to their findings, the commission claimed that they found the main areas of consideration from consumers (over choosing services to view movies) were ‘range of content’ and ‘price’, both considered as potentially more important than covering new releases.

These factors combined seem to have contributed to the improved online offerings, as the organisation noted that while there is little change in the pay-TV market for movies since their initial report last July, improvements to Amazon-owned Lovefilm and the regional launch of Netflix have: “…enhanced significantly [their] internet-distributed movie offering”.

Carstensen summarised: “The scope of our investigation is limited by the terms of the reference to us to the impact of FSPTW movies and, in our view, Sky’s position with respect to FSPTW movies does not provide Sky with a material advantage over its rivals in the pay-TV retail market. For the purposes of our inquiry, the key effect of the market developments is that, as a result of the new options available to them, consumers’ choice of pay-TV platform can more easily be decoupled from their choice of pay-TV movie service. As a result, Sky Movies no longer provides Sky with the advantage that it used to when competing with other traditional pay-TV platforms, like Virgin Media or BT Vision. Given that we no longer find there to be an adverse effect on competition in relation to movies on pay TV, we are not now proposing any remedial action [against Sky].”

The move seems to be one that lets Sky off the hook for their domination of home movies on TV, but it also now seems to make the online streaming providers recognised challengers to regular TV, so what will be the next development in the Competition Commission’s research? If anything, it seems as though Netflix have got their wish…

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It is believed that the 4G signals interfere with those recieved by TV antennas, and that the government have pledged to put up £180m in implementing filters to avoid such problems for an estimated 2.3m homes that would be caught in the firing line. However, Freeview have claimed that it will not even cover half of what is needed, with their estimations suggesting that with the filters in place, a combined £200m would still have to be spent by consumers (an average of £86.96 per houshold) to fully resume normal signal service.

A clear and obvious solution being suggested by the digital terrestrial broadcaster is one that would also spare the government from spending, as they claim that the mobile operators who would be responsible for the 4G signals should foot the entire bill (of at least £380m), due to the initiative mainly being for their purpose.

Freeview managing director Ilse Howling said of the situation: “It is vital that any strategy listens to what consumers want and need. We strongly believe that the Freeview homes should not be subject to further inconvenience and additional cost to make way for mobile broadband. The government has committed to recouping the cost of protecting viewers from interference, using proceeds from the 4G mobile auction. However, this will still leave viewers to bear a substantial proportion of the cost. The mobile phone operators will be the ultimate beneficiaries of this new service, and we believe that they should pay to mitigate the television interference according to the ‘polluter pays’ principle.”

Freeview are now proposing that the government make revisions to their 4G proposals by focusing on the areas of households with more than one TV set (who should not have to pay extra for more filters to be installed), customers having to pay for professional installation of filters, and support for elderly and disabled viewers in need of extra assistance with the filters.

Howling also warned: “Free, quality television is part of this nation’s DNA. Almost 90% of Freeview homes and 75% of second set homes would be unhappy if Freeview were no longer available. It is crucial that as an industry we don’t turn a blind eye to consumers but ensure that technology evolves in line with what people want. It is critically important that the government finds the best way to get both – protecting free TV and addressing the need for superfast broadband.”

The plans will not go down well with average viewers once they are told they have to pay to keep a high-quality TV signal, and while a side-effect may be better streaming quality to mobile devices, the lack of TV at home might be considered a more important factor. Will the mobile device providers rightly be made to ‘pay’ for their upcoming interference?

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A recommendation from Judge David Shaw (working for the International Trade Commission (ITC)) is of the belief that the system is an infringement on Motorola (who’s ‘Motorola Mobility’ division is as of this week owned by Google (mainly for patent reasons)) amd their intellectual property rights, and that as additional compensation, Microsoft should arrange a bond worth 7% of the value of all unsold consoles in the country.

The recommendation follows on from a preliminary ruling that software in the Xbox is an infringement on a number of rights held by Motorola, and that appropriate action between the two has not been undertaken. Shaw also noted, in the interest of video game fans in the country, that enforcing the trade law: “…outweighs any potential economic impact on video game console buyers”.

Microsoft had claimed that such a ruling would not be fair on their customer base and limits options within the video games console market, though Shaw argued that Sony (PlayStation 3) and Nintendo (Wii) were more than suitable to handle an additional influx of customers, with his statement essentially serving as a free advertisement for Microsoft’s biggest global rivals.

It has also been noted that should the ITC follow the judge’s thoughts and create a ban on the Xbox 360, the matter will be in the hands of President Obama and a selection of staff to make a potential over-ruling decision within 60 days, at which point the ITC, according to regulations, would be in full control of Microsoft’s fate regarding the case.

It would not be the first time that Motorola have infringed on Microsoft’s plans, with Motorola Mobility last month winning an injunction case in (a fairly patent case-heavy) Germany to prevent the sale and distribution of a number of Microsoft products in the country due to patent disputes, but a similar scenario really affect one of America’s most popular entertainment products?

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Viewdini streaming aggregator on Verizon

CEO of Verizon, Dan Mead announced Viewdini at a panel presented by The Cable Show, and said that the new platform’s announcement was, “one of our most important of the year.”

The Viewdini app will be free for Verizon subscribers and lets them both search and stream the video all from a single app. The press release states, “By simply searching for a title, topic, or star’s name, viewdini will let customers know which services have mobile video for streaming, and whether it is available  at no additional charge, by subscription, to rent or for purchase.”

It’s unclear whether Verizon will take any financial gain or commission from rentals or pay-per-view from other suppliers, but they will probably have secured a deal of somesort with Hulu Plus and Netflix.

Verizon is said to be planning to launch the service later this month. It will be available in the Googe Play Store exclusively on Verizon 4G LTE Android devices, and they are looking to add more suppliers to the service. The streaming will also not have any data caps, so users can stream away without worrying about escalating bills.

This should prevent them from facing the stinging criticism that Comcast have, after they applied capping  of data on rival streaming services while keeping its own Xfinity service uncapped.

The idea of a service that aggregates from the web is nothing new as many do a similar thing. The difference with Viewdini is that your not then sent to another site to stream the content, it will all happen in the one app.

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Africa gets cable TV

Zuku, East Africa’s first cable television company, is betting that East Africans are tired of saying “there is never anything good on TV” and would like more channels. The larger bet Zuku is making? That East Africans desire original content created just for them.

Judging by the list of proposed channels with original programming, it appears East Africans like to watch similar types of programs as Americans. East African-focused channels covering news, music, sports, documentaries, and travel are already offered on Zuku TV. They even have an MTV station, MTV Base.

Zuku plans to create original content, as well as partner with other production companies. The company has partnered with Tanzania’s Steps Entertainment to produce two Swahili language music shows, a travel show, cooking series with famous chefs, talk shows, and movies.

“As a local brand it makes absolute sense for us to invest in fresh, relevant and highly entertaining programming for the East African region; broadcasting local content will boost and sell East Africa to the rest of the world,” Mwananchi Group CEO Richard Bell said.

Zuku currently has an estimated 400,000 subscribers in Kenya, Uganda, and Tanzania. Zuku launched in Nairobi in 2009, Kenya and Uganda in 2011, and Tanzania in 2012. The company’s goal is to begin to provide service to 11 countries in Africa, adding Ethiopia, Eritrea, South Sudan, Rwanda, Burundi, Djibouti, Malawi and Somalia. Currently, penetration stands at less than one percent in these countries.

“We project that by the end of 2012 we will have doubled our subscriber base as we plan to continuously enrich our product offering through accessible, affordable and relevant content,” said Bell.

The company is also trying to raise its profile by sponsoring events in East Africa. Zuku sponsored this month’s Nite of a Thousand Laughs, which brought together East Africa’s most popular comedians. The satellite provider is also sponsoring Zuku Slamfest, a regional basketball tournament held at Kasarani in July with a $100,000 cash prize.

While 400,000 subscribers is nothing to sneeze at for the nascent company, Zuku has a long way to go to meet its target numbers. Do you think broadcasting local content is the right path for Zuku to increase its market penetration, or should it just acquire rights to global content?

About the Author: At Cabletv.com we support the effort of getting broadcast information around the world.  It will be amazing to see what will happen in the future for this brand.  If you liked this article you can follow us on Twitter. @Cabletvcom

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The cable TV provider have announced their plans for ‘Project Dayview’, a service which they claim will become a user’s ‘own personal welcome screen’.

Comcast chief executive Neil Smit summarised the service by stating: “It’s tying your entire life together.”

While its released date is currently uncertain, the idea of Project Dayview is that it will be able to run in synchronisation with the ‘appointment calendar’ of a user, and permit reminders of their personal schedule, a system which can also be integrated with their TV set, enabling it to recognise when to record popular shows of the household when no-one is around to set it up.

An additional feature to the service will be integration of Comcast’s ’home security service’ (if the user is a member of both), allowing them to view images from their home’s security cameras on their TV through Dayview, which will also have a number of ‘homepage’-style apps (including connected news headlines, weather information, and traffic reports) that are viewable either on turning on the system UI, or in ‘screensaver’ form.

In addition, features connecting Dayview to the user will also be available through mobile, with personal and TV schedules, security, and room lighting/thermostat options all available remotely through apps on supported devices.

In the meantime while this previously far-fetched idea becomes a reality, Comcast have also announced their X1 TV viewing system to be released to the local market in Boston at the end of the month, with their connected set-top box being able to run popular internet apps and social media.

Comcast Cable SVP and chief software architecht Sree Kotay said of X1: “The X1 remote app unites the TV screen with customers’ mobile devices by creating an integrated experience between the customers’ swipe controls on their device and the viewing experience on the TV – they truly mirror each other. By building this new app, we’ve made the remote control smarter and more functional…and just plain fun.”

With new developments coming in fast from Comcast, will their plans for Dayview manage to capture the imagination of potential customers when it eventually arrives?

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