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Olympic marks

While USVO has targeted its SmartMarks technology at high value transactional marking, there are other uses for watermarks.

As reported by AP and commented upon by Michael Learmonth of Silicon Alley Insider,

NBC has taken an aggressive approach to making the Olympics available online, putting over 2200 hours of coverage online. Compare that with the 1400 hours available on the six NBC owned broadcast and cable channels.

In order to steer audiences to its highest revenue channels, NBC is strategically selecting the events and sports that it thinks will generate the largest audiences, and it is banning the use of any Olympic video online by other news organizations covering the events.

Even video from the US trials in swimming and track will have to be pulled before the Aug 7 start of the games.

And to make sure that they can enforce this, NBC will be watermarking the IOC feeds. This will let them distinguish the video that NBC has paid a fee to control from that captured and uploaded by fans.

NBC hasn’t announced any watermarking since it made a deal with Teletrax in 2003 to mark newscasts to monitor usage by local television stations and others. Teletrax monitors what passes through the air as part of its “broadcast verification and intelligence services”. Based in London, it is a subsidiary of MediaLink Worldwide. Phillips Electronics has a minority interest in Teletrax.

It isn’t clear from the announcements which company will be making the ‘take down’ calls to web sites with offending Olympic video.

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Vocabulary, or where is Hollywood?

My apologies for not posting, as there has been quite a backlog of work since the Telecosm event. One of the requests given to me was to articulate a bit the distinctions of the various terms used here regarding ‘the motion picture industry.’

“The Industry” as it likes to refer to itself, used to be a collection of companies that were based either in New York city or the greater Los Angeles area, and which had studios where their product was produced for distribution in theaters that the companies owned all over the United States. In the early 50s, these companies (‘the industry’) was forced to divest the theaters by the courts. This consent decree, along with the arrival of television in our homes, and the aging of the moguls who had founded the companies, led to an unraveling of the “studio system”.

“Hollywood” was the generic term applied to ‘the industry’ even though the physical locations of the studio facilities were spread all over the Los Angeles area. Of the original companies, only Paramount and Columbia were actually in the geographic area of Hollywood, which in the earliest silent film days did host a very high density of the many entrepreneurial start ups that had fled the east coast and Thomas Edison’s Motion Picture Patent Company, which had sought to claim a royalty on every film produced.

Today, these three terms- “the motion picture industry,” “The Industry”, and “Hollywood” have come to be applied to a wide variety of companies, and enterprises that are hardly homogenous, geographically proximate or even within the sector of motion pictures. Dominated by the big six – Fox (or NewsCorp) Paramount (Viacom), Disney, Warner Bros (Time Warner) Sony (comprising MGM, Columbia and Unitied Artists) and Universal/NBC (GE) which themselves are all part of multinational conglomerates, with activities and products in music, television, computer games, theme parks, publishing in all manner of forms – the business sector that falls under these names also includes thousands of content creation, service businesses, and related enterprises (talent agencies, unions, hardware suppliers, equipment vendors, dedicated health care etc.).

Geographically their market is truly global, crossing national, cultural, and language barriers. While “Hollywood” does not produce as much screen minutes as Bollywood in India, or the largely unknown production center of Shaighai in China, it nonetheless dominates the world market in income and sets the standards in quality, and methods.

This is why USVO focuses it attention on those big six companies, who distribute the most motion pictures with the largest value in the world. It is these companies that have the greatest opportunity, and threat, presented by the revolution in digital communications that computing and internet technologies provide.

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Telecosm 08

USVO sponsored the title panel at last week’s Telecosm conference at Lake George New York. The panel discussed the coming Exaflood- a George Gilder coined term that anticipates that by 2015 traffic on the internet will multiply fifty times.
The panel was set up by Andrew Odlyzko, Digital Technology Center, University of Minnesota, who presented measurements of current demand that questioned the Exaflood’s premise.  This led to a lively discussion that fed well into USVO’s message that the motion picture industry has immediate need for more bandwidth, and the security strategy that will let it turn that bandwidth into high value transactions.
The USVO team then had a forty-five minute breakout opportunity to discuss the value proposition that USVO represents.

The highlights of the overall conference were many, but the level of economic analysis, technical insights, and revelations in a wide variety of technical and investment areas was world class, and it was a major landmark in the company’s evolution to be marketing at this level. We were in great company.

My favorite statement from the week- Steve Forbes in his keynote said “economics is making scarcities into abundances.”

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Why Telecosm?

Telecsom is the George Gilder and Steve Forbes  hosted  conference “to promote investment in innovation”. The audience is traditionally science and technology focused executives and entrepreneurs with experience in creating and capturing future value.

This year the focus is the Exaflood- a Gilder coined term to describe the 50 fold increase in data on the internet in the next seven years. The discussions will be about the policy and investment in digital and communication technologies significant to the next phase of internet infrastructure.

This conference is a great opportunity for  USVO to present its technology and business proposition. Our target customers are the single largest potential users and beneficiaries of what is considered to be the next wave of internet growth- motion pictures on the net.

While those pictures will take many forms, live interactions such as videoconferencing, new content producers and distributors, remote medical services and so on, by far the largest application will be delivery of traditional news and entertainment programming through portals, cable and telephone company services, as well as the studios themselves selling directly to the public.

For our story to break through USVO has committed to sponsoring the title panel “The Exaflood: Managing the coming digital deluge”

Moderated by Bret Swanson, Policy Fellow at the Progress & Freedom Foundation who has coauthored articles with Gilder on the Exaflood, the panel will also feature Bob Metcalf, co inventor of Ethernet, Joe Weinman VP of strategy at AT&T, Lane Patterson CTO of Equinix , the company that supports Hulu, a Fox and NBC joint venture in online content, and Johna Till Johnson, founder of IT analyst firm Nemertes Research.

There is also a ‘commentator’ in the Telecosm format, and for this panel it will be a pioneer of VIOP, Tom Evslin.

A key element in any presentation, and a best practice from show business- is to know your audience- from the conference site: “250 - 300 senior VP and C-level executives, engineers, strategists, technologists, sales representatives, serial entrepreneurs and government representatives, as well as business leaders from technology and communications companies, institutional investment advisors, and high-net-worth private investors, accompanied by media and trade press and leading public policy officials.”

Two of these are our primary targets- media and trade press, so that we can apply the tools of mass media to amplify the message USVO shares in its story about motion pictures and the value of watermarking, and high-net-worth private investors. 

The watermarking sector is a developing technology sales and service business, and as such will require, right up until the moment of widespread adoption, investment in building and implementing watermarking applications customized to the many niches within the motion picture distribution industry. As such investors need to be interested in capturing the future value that will be reflected in conventional business metrics after that tipping point.

The USVO story, in contrast to the physical infrastructure that preoccupies most of the discussion of the next phase of internet expansion, is about technology addressing the fundamental need in business for trust. We will highlight the fact that the most visible and profitable content distribution companies in the world are missing out on the benefits of digital technology, and that our technology is an enabler that will be a key part of changing this.

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

DCI- a precedent for watermarking

Some of you have noticed that USVO is sponsoring a panel at the George Gilder produced technology investment conference Telecosm later this month.  Walt Ordway will be telling the USVO story on that panel, which has some very impressive participants.  Our agenda at this conference has a number of elements and let me start with giving some background on Walt, and his singular (as in the only time ever) accomplishment while leading the Digital Cinema Initiative.

So first let me tell you about the Digital Cinema Initiative.

Some time ago, right down the street from you, or wherever you went to see a movie in a theater, the movie was delivered as film on reels in cans. For most of you, this is still true today.  Those prints cost about $10,000 each. With the emergence of wide or world wide release ( a movie being in 3500 theaters simultaneously) a distributors’ cost of releasing a film became much more expensive (previously a ‘big’ release had required about 1200 prints). For most of you, this is still true today.

About a decade ago, some folks got the idea to put a high quality digital projector in the booth, and present the movie using high definition images using technology from computing. At the time the resolution was super VGA. While film purists agonized, audiences praised the stability of the picture ( no weaving or jitter) and lack of scratches. There were a number of challenges, but the thinking emerged that if the industry could change the third of theaters in the most densely populated areas of the United States to this type of presentation, then the distributors could save about a billion dollars annually on prints.

That’s right a BILLION dollars a year. Consider that at the time the theatrical gross revenue was just over $8 billion annually (today that is just over $9 billion).That kind of savings proportional to that gross is significant.  There were a number of issues to overcome. Technical, as in how good must the image projected really be? How will the product be delivered?  And financial as in if the distributors are saving the money, but the equipment that enables that savings is in the theater, who should pay for it, and who should own it?

For a little more than three years, these and other questions just sort of hung there. At one point a projector manufacturer brought in a bank that was willing to finance the entire project for the lease revenue on the equipment. The industry couldn’t say yes.

It didn’t take long for there to be agreement around some of these questions. For instance, there had to be multiple vendors, but a single standard form much like 35mm film. There had to security both in transport and delivery. These last two consensus led the studios to go to Congress and get the special permission required for competitors to join together in a venture. That was the beginning of the Digital Cinema Initiative (2002). Walt Ordway was given charge of this project.

One would think that now, with all of the studios committing to DCI, that the engineering, manufacturing, financial and business issues would get settled forthwith. But it took four years, not counting getting to the beginning of DCI. And it was a miraculous accomplishment even then.

It wasn’t just getting agreement between the studios. As mentioned elsewhere in this blog, the studios are not single entities led by all seeing dominant executives. Within each is a technical staff, a content security team, sales teams for all the different markets and windows the products emerge from, as well as an archive department charged with keeping the value of the products viable for as long as possible. All of these groups and individuals have their own priorities and concerns, and they all had to come to agreement about what the DCI recommendation (they gave up on the term “specification”) would be.

By the way, forensic watermarking is a part of the DCI recommendation, with every presentation of a digital ‘performance’ watermarked so that a camcorded pirated film can be traced back to its time and place of origin.

Now in spite of the fact that there were literally a BILLION DOLLARS on the table, the industry took a decade to pick it up. In fact it is still in the process, as the DCI recommendation has been out for 2 years (and was recently updated), and the second wave of converting that first third of theater projection rooms to digital is just starting.

The DCI represents the first time that the studios have in fact ever agreed on anything technical. They had different versions of sound when that first came in (1929). They had different technologies for wide screen, color, and, most recently, multi track sound. Parallel to the digital change is the advent of 3D, and there are multiple systems for this too. For digital projection, they were brought to agreement by DCI, who in the details was really Walt Ordway.

In the end, it was Walt Ordway’s engineering, business, and most significantly, diplomatic skills that made the DCI recommendation a success.

Shifting the industry to a new concept, even when it is a significant financial benefit to the industry, is a big challenge, one that we understand lies before the watermarking community as well.  DCI proved that it can be done, and we expect to gain a great deal by our association with Walt Ordway.

Next- why Telecosm?

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Business under Attack!

Another subject that we have covered previously, but that bears repeating in view of some recent announcements regarding the motion picture industry.
The business model that has served Hollywood is under siege.

Since the beginning, Hollywood decided what the public would see, and when it would see it in what venue. Today, digital technologies have made it possible for the public to get used to the idea that when and where, and increasingly, what, is up to them.

This stress, if you will, has been around for about a decade now. The music industry gave a tutorial on what not to do, yet the MPAA has cribbed many of the pages from the RIAA playbook. Based on the availability of pirated titles, both in physical and digital forms, these efforts are failures.

Being able to market and launch a ‘property” in the theaters, and then sequentially release it to wider and less expensive to the consumer channels over a period of time is how Hollywood has made a profitable industry out of a segment in which there are always more losing products than winners. Thanks to this ‘windowing’ model, even losers like “Waterworld” eventually return on the investment. (“Waterworld” eventually broke even thanks to licensing for games, theme park attractions etc). At least that is the thinking that continues to search for a way to have ‘display without capture.’ This last phrase is shorthand for the idea that we can show your eye a movie while making it impossible for there to be any kind of recording of it, or theft of the source that showed it to you. This is a modern holy grail, except that there is nothing ‘holy’ about it; just wishful.

Meanwhile new ventures are grabbing the shelf space in that modern geography of the internet. The studios, being part of multinational corporations, are buying those ventures in whole or part to hedge their risks. But neither the acquisition of such outlets, nor the selling of movies online suggests that the solution to the fundamental problem of answering the challenge to the business model has been met.

USVO’s SmartMarks offer an alternative. Engage the marketplace in ways that let people watch what they want when they want, and trust them to do just that- watch. Embed proof to catch the crooks- the people that steal to make their living off the investments of others.


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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Trust is the Foundation of Commerce

While we have covered this in the past, recent comments on EngadgetHD’s post about the Fox deployment highlight the issues faced by everybody in the content distribution business.

First of all, EngadgetHD is a source for hardware geeks first and foremost. Their pages are packed with information on the latest news from chip makers, especially those for high end graphics and gamers, but also all things techie. Today they have a post on a little known inventor claiming to have a ‘free energy’ device that will end the fossil fuel era.

So one might imagine that the readers are among those who know and understand, if not use the dark net for sharing movies for instance.  Scroll down on this post and you will see a good sample of that audience’s response- suspicion, not knowing the difference between watermarking and DRM, fear of it being cracked and becoming “another way of punishing legitimate customers.” And there is one who says that sharing isn’t illegal.

These are all examples of the current state of the motion picture industry.

Fundamentally, none of us want to buy from someone we don’t trust. Or from someone who doesn’t trust us. Yet that is exactly how the industry actions in piracy prevention have been interpreted by ‘consumers’.

Key to the watermarking promise is that with this type of security, a content distribution company can focus on make use of the power of the internet for both distribution of the content and building relationship with customers. Both through direct contact and tracking, marketing and promotion can focus on people known to like a particular type of film, or actor, or subject. By smart use of geographical information, people who want to see a film that is no longer available in theaters in their town might be able to buy the file directly from an internet store before the DVD hits rental stores. The potential is huge, but cannot be realized until the trust issue has been resolved.

In other news- Last Friday the US Trade Representive issued its annual SPECIAL 301 Report, which is an annual review of the global state of intellectual property rights

(IPR) protection and enforcement, conducted by the Office of the United States Trade

Representative (USTR) pursuant to Special 301 provisions of the Trade Act of 1974 (Trade Act).lists countries

See the full report here.

Daily Variety’s report led noting ‘progress’, but the overall tone was negative.

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Green fields and walled gardens

Some of you may have seen this author’s recent appearance on MoneyTV in which the mission and product of this company was reviewed, along with the announcement of our successful implementation at Fox Home Entertainment was discussed.

One of the points ( of the many that I struggled to jam into those precious moments of exposure) was that this is a landmark, a ‘stake in the ground’ of significance.

First let me share the basis of the analogy. The ‘territory’ of the distribution business is divided up into the mountain top, which is the now six major studios, and multiple hills, some of which send their products to the mountain top, and others that feed multiple lesser channels. For watermarking, the studios are a relative ‘green field’- an as yet untouched marketplace. At the same time these companies are also extraordinary walled gardens, where getting into business with them has multiple barriers, and the processes to overcome them are often outside what might be thought of as usual and customary.

Once inside those walls, the plots of territory for USVO and watermarks in general to work and cultivate are many. From the beginning of production till a product arrives at ‘library’ status, its value to the copyright holders depends on judicious use of both containment and exposure.

We all get teased by the promotional exposure of films ‘coming soon’ or the involvement of recognizable names, or subjects while they are in production or actively being marketed. The key to a successful product is having the public be aware of it, and develop a desire to see it, whether at the theatre, or renting or buying it for home viewing, or waiting for it to reach broadcast or cable. The vast expense of distribution is in the marketing effort which generates this awareness and desire.

Unintended release (piracy) of the product exploits the marketing without ensuring a cash return to the copyright holder. Thus from the first image captured, to the last possible stream of revenue, control of the product is desirable. Conversely, wide dissemination is also desired, because the more people with access to the product, the higher the potential return, provided that access is under license and thus revenue generating.

Within the complex enterprise of motion pictures today, the production, post production, marketing and theatrical distribution processes today, a product crosses departmental, business unit, and vendor boundaries thousands of times in a variety of forms, states, and media. Each and every one of those is a transaction that can, and should be watermarked.

Each of those boundary crossings require an analysis of security threat, workflow and optimum implementation before USVO can determine the opportunity represented by developing the unique appropriate application of its technologies. So while we have made it inside the walls of one of the occupants of the mountain top, our working of the fields within will require creative industrious effort.

That effort is significantly bolstered by the ‘stake in the ground’ that the existing implementation is. It is a point of location, stability and credibility. It is a point to push off from, not just within the NewsCorp enterprise, but all of the other occupants of the mountaintop.

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Landmarks

Today, USVO announced, in conjunction with 20th Century Fox Home Entertainment, its successful installation of MediaEscort as part of its marketing to the home video retailer business.

Over the next few posts we will examine the significance of this.

First and foremost, it represents the first server based installation of our MediaEscort application in a revenue generating relationship. The product is on the client’s server, placing SmartMarks on client product on a per delivery basis. Every single copy of a movie, television or cable show delivered to home entertainment retailers gets a unique traceable mark that is of a quality and provenance recognized by courts as a valid trail of evidence for enforcement of the license agreements that govern the transaction associated with that delivery.

That’s a mouthful, so let’s break it down. When you ‘buy’ or even receive for free (as the buyers at a home video retailer do), a movie what you get is a license to use that content. The license specifies terms and conditions for that use. Most of us have downloaded or installed software and routinely do not read the license agreement presented. We just click ‘I agree’ so we can get on with it. When you watch a movie, whether you bought or rented the DVD or tape, you agree to the license terms and conditions. Hardly anyone knows what those are. They include you agreeing not to charge people to watch the content, to not duplicate it for use outside your home, and not to make copies for sale. The home video retail buyers have similar and more restrictive terms.

When you violate that license, the party that has been wronged-  in this case that would be a distributor like our client Fox- has recourse through the courts, especially when the damage can be shown in sales of the product outside of the license. Proving the provenance of the pirated content has been a challenge as identifying each individual copy of a show is complicated logistically as well as technically. ‘Complicated’ as in expensive. By the way there are other forms of recourse too.

In SmartMarks, USVO provides a mark that satisfies the courts. In MediaEscort, USVO has provided a solution to the technical and logistical complexity that can, and in the Fox Home Entertainment installation, achieve a cost reduction.  That’s right. Added value in a lower cost process has been achieved.

Let us emphasize that this is just one B2B activity in a single business unit – Home Entertainment-  in a large enterprise – NewsCorp- in a much larger segment- the motion picture industry – of a growing part of the world economy – motion pictures and television delivered in many media – broadcast, theaters, on the web, cable etc.  By itself, it doesn’t make USVO a profitable company. The landmark is that this is a breakthrough, a demonstration, and the beginning of a shift in how this industry will successfully engage the digital technologies changing the world we live in.

We are clear that this is a beginning, although it has taken a lot of effort and time to get to this point. We look forward to sharing with you more about the significance, both for the company and our effort to make digital  content distribution not just safe, but more profitable and powerful than what has preceded it.

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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

Engaging the digital marketplace-

While recent posts have focused on how Hollywood is theft prevention focused rather than sales oriented in its approach to digital distribution online, it is worthwhile to take note of how the studios have played this field.

There was MovieLink, which several studios formed together and then sold to Blockbuster after several years. Recently BitTorrent, originally the mother of Peer to Peer video file sharing, and still the open source underpinning of much of the so called Darknet, as well as more visible file sharing efforts like The Pirate Bay, partnered with studios, raised private capital and launched a download site.

The studios have made websites, complete with teasers, free wallpaper images and other promotional tools part of all their releases since “The Blair Witch Project” success got their attention in 1999. They haven’t integrated the latest web technologies to make it possible for you to find where to watch or buy the product, the way the Energy Star program directs you to retailers of efficient appliances, or Victronox/Swiss Army has a “Where to Buy” button on the top of their page.

Last week, the operators of The Pirate Bay were interviewed by Dayrobber, a web-tv site that publishes five minute shorts. Describing Pirate Bay as “whatever you want it to be” and  ‘not a company” or “uncensored sharing”. The only boundaries are “what is illegal” of which they mostly view as snuff films and child pornography. They are cooperating with police (“they don’t know crap- we’re going there next week to explain how BitTorrent works”) and claim that The Pirate Bay makes no money, other than “speaking at conferences and seminars”. The key take away from (from part 2 on the TorrentFreak page) is their advice to Hollywood “Open a torrent site just like the Pirate Bay” and “have it ad based”.“It’s always we are getting the question of ‘how can they survive’ and shouldn’t they come up with that? Isn’t it their problem?”

While that is a good question, the fact that their solution is basically to make the internet like traditional newspaper or magazine publishing and over the air television broadcasting , makes the interviewer’s characterization of these men as “the cutting edge of the internet” somewhat questionable. But they are engineers first, not businessmen. As mentioned above, the studios currently view all of their web content as advertising. The internet is a promotion channel and a theft channel. Not a business medium.

We offer an alternative. Using the internet as a medium for business. Establish communication first, and then as a conduit for trusted transactions, and customized delivery second. Doing so would make it possible for the studios to achieve the lowest possible costs of finding their audience and delivering their product efficiently.  Our particular product- SmartMarks- is part of ‘trusted transactions” which are required in today’s marketplace as well as tomorrow’s.


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About Author : Patrick Gregston is sales manager for USVO's SmartMark family of products.

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