January/February 2019
Magazine Features
Pixelon: The True Story of Streaming Video's Greatest Fraud
08 Jan 2019
A series by National Geographic uncovers the absolutely true, incredibly bizarre story of Pixelon, the streaming video company that couldn't stream video.
ATSC 3.0 and the Future of Broadcast Television: OTA Meets OTT
17 Jan 2019
A new television standard, expected to debut in live broadcasts by 2020, brings the best of streaming—such as 4K video—to over-the-air delivery.
Livestreaming Video with NDI and PTZ
17 Jan 2019
NDI connectivity and PTZ cameras let producers minimize cable requirements while enhancing opportunities for creativity in camera placement and use. A setup like this can do more with less, and it gives a glimpse into the future of live production.
Tutorial: Fixing Flawed Audio in Adobe Creative Cloud
17 Jan 2019
Suffering from common audio problem? Read this entry-level tutorial to learn how to remove transient noises like pops and clicks, clean up pervasive background noises, and punch up weak-sounding audio.
Review: Videon’s Shavano 4K HEVC Video Encoder
17 Jan 2019
If you're looking to add the capabilities of HEVC to your live streams, we recommend giving the Videon Shavano a test drive.
The Industry
Netflix's Movie Library Is Kind of Terrible, But Does It Matter?
22 Jan 2019
Today, Netflix got its first Oscar nomination for Best Picture. That doesn't change the fact that its movie library is shrinking—and often bad.
Streams of Thought
3 Things the Streaming Industry Must Do to Prepare for ATSC 3.0
28 Jan 2019
This is "The Year Before the Year of ATSC 3.0," and that means preparation—not just for broadcasters, but for the streaming industry, as well.
The Producer's View
Solutions Abound for High-Volume Live Video Cloud Transcoding
25 Jan 2019
Streaming Media West provided a look at new options for demanding live cloud transcoding jobs. Here's a rundown for those who couldn't be there.
Class Act
Online Educators Enjoy Generous Copyright Exemptions for Video
23 Jan 2019
Schools are covered by different copyright measures than the mass public, making it easy for streaming classrooms to get around access controls.