82 STREAMING MEDIA INDUSTRY SOURCEBOOK 2018
false positives could result in the video platform quarantining a video (taking it offline) just when it’s needed most.
Does this mean that EVP vendors turn a blind eye
to copyright infringement? Absolutely not. But it is
similar to the way that professional audio and video
gear, such as the type found in a corporate boardroom, often have slightly more lenient copy protection
(HDCP) than, say, a consumer DVD player hooked up
to a consumer HDTV.
DASHing Against HLS?
We mentioned last year that a number of EVP solutions are built around Amazon Web Services (AWS)
and that AWS now has support for MPEG-DASH in
the Amazon Elastic Encoder.
Unfortunately for DASH, the adoption isn’t that high,
especially when compared to Apple HTTP Live Stream
(HLS). But there’s a big question mark on the horizon
HEVC is the high-efficiency video coding replacement
for AVC, also known as MPEG- 4 Part 10, or H.264. Other writers for StreamingMedia.com have kept apace
of the licensing labyrinth for HEVC, which makes the
H.264 licensing snafu of a decade ago look like a two-sentence license document.
Still even more interesting is the recent code freeze
of the new AV1 codec, championed by the Alliance for
Open Media, which Apple recently joined.
So here’s the key question to watch in 2018 for
playback to multiple devices from an enterprise video platform: Will the continued dominance of HLS in
mobile devices, including Apple iOS and Android OS
devices, become fragmented if Google takes the AV1
codec road and Apple stays on the HEVC codec path?
We’ll keep watching this fluid situation. From a
practical standpoint, DASH implementations may
end up impacting content security questions, even beyond the Common Encryption Scheme (CENC) that’s
used in DASH, which allows multiple digital rights
management (DRM) solutions to be interchangeably
used for DASH content that was delivered as fragmented MP4 files.
To keep up with this part of the DRM question, tune
into the work of the MPEG-DASH Industry Forum,
which is still pursuing a model where additional DRM
solutions could be included through the Content Protection Information Exchange Format (CPIX). It’s currently stalled at CPIX version 2.0, but there’s a possibility of advancement throughout 2018 when the codec
issues are settled in the AV1-HEVC bake-off.
The continuing trend here, which will probably accelerate during 2018, is the concept of logical storage
and asset management versus distribution control.
One company that seems to understand this is
“We started the business with an understanding
that the management of the video file needed to be
separate from the management of the actual desti-
nation where the video would be viewed,” writes Jen
Grogono, UStudio CEO. “We never believed in a single
destination management platform or a video player-
Essentially what UStudio espouses it a modular ap-
proach, one that looks to integrate high-volume, high-
availability asset management with partner platforms
for video distribution. It sounds simple, but it’s a fun-
damental return to asset management for, well, man-
“That seemingly small concept is fundamentally dif-
ferent than traditional OVPs,” writes Grogono. “Every
distribution point—whether it’s a corporate applica-
tion environment or a big, public social media plat-
form—is like its own country.”
Think about how most enterprise solutions are si-
loed within different business units and how the com-
bination of video distribution platform and asset man-
agement within one business unit may not play well
with an integrated solution in another business unit.
Got the concept? Good, because this is going to be
a trend moving forward.
While we started out with a look back, we’ll end with
a look forward.
Streaming Media is committed to covering video
platforms in both the enterprise and media market
verticals, as well as education and non-standard use
cases. In fact, that’s one of my personal goals in 2018,
starting with the “Seed Money” article in the January/
February issue of the magazine ( go2sm.com/seed
But enterprise holds a special place in the pantheon
of streaming, because most of us got our starts handling webcasts for corporate “all-hands” meetings or
encoding Quick Time videos for use in a company’s
trade show kiosk.
One key constant in 2018 will be the continued advantage—at least for those companies dipping their
corporate toe into the enterprise video waters—of
testing out EVP solutions in a cloud model before deciding on a hybrid solution that balances financial
(capex, opex) and security concerns.
Tim Siglin is a streaming industry veteran and longtime contributing
editor to Streaming Media magazine.
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