This document discusses the future of television in 2020. It argues that television is undergoing a transformation from linear broadcasting to an on-demand, interactive medium that is highly networked and integrated with the internet. This convergence will lead television to become a more personalized, social, immersive, and mobile experience. However, television will still retain a unique experience of passive viewing that brings people together.
The document discusses the future of television as new technologies disrupt the traditional TV industry. It notes that media giants, tech companies, and internet innovators are revolutionizing TV. Experts predict more change in the next 5-10 years than the last 25 combined. Social media, user-generated content, and second screen engagement are shifting power away from traditional media elites. Television will become more social, participatory, and focused on live/event revenue as linear TV integrates with the internet and second screens. Viewership data and social TV engagement will be highly valuable for advertisers and drive new monetization models in an increasingly interactive digital television landscape.
The document provides an analysis of the colour television market in India. It discusses the history of television in India from its beginnings as a government-run monopoly to the introduction of private broadcasting and satellite television. It then covers current issues in the market such as widespread cable access and the large number of illegal cable operators. The document also examines the major players in the market, their market shares, production capacities, and individual marketing strategies. It analyzes segmentation based on television size and price as well as overall industry trends and growth projections.
This document provides an overview of a study on the future of television in 2025. It includes a complete report and PowerPoint presentation examining disruption scenarios and their impact on markets and the industry. The study predicts that linear TV will become a "lost leader" for on-demand services, tablets will become the primary screen, and networks will lose control as services move to open platforms. It was produced by IDATE, an institute that has tracked telecom, internet, and media markets for over 40 years.
India has a large and diverse media landscape, with over 70,000 newspapers, 500 satellite channels, and a growing internet sector. Print media began in 1780 and broadcasting started with radio in 1927. India now produces more films than any other country. The media and entertainment industry is being transformed by digital technologies, especially in television, films, animation, and gaming. The future of India's media looks promising as companies provide improved digital content and delivery.
Rise of an OTT Platforms in India - Explained by iStrategist Institute Rushant Pragwat
The document discusses the rise of over-the-top (OTT) platforms and the growing OTT market in India. Some key points:
- People now spend 40+ minutes per day watching content on OTT platforms like Netflix, Hotstar, and others.
- The online video market in India is one of the largest growing markets and by 2023, average time spent on OTT platforms will increase to 70 minutes per day.
- Younger people aged 25-37 spend more time on OTT platforms than older age groups like 37-60.
- The trends show people are cutting cable/DTH as OTT platform usage and digital advertising on these platforms rises.
All India Radio (AIR) is India's national public radio broadcaster. It broadcasts in 23 languages and 146 dialects, covering 92% of India's total area and reaching 99.1% of the population. AIR's mission is to inform and educate the public. It began as the Indian Broadcasting Company in 1927 and became All India Radio in 1936. Today it operates 415 stations across India and 16 external services broadcasting in foreign languages to over 100 countries.
- Television in India started as an experimental broadcast in 1959 and regular daily transmission began in 1965 as part of All India Radio. By the mid-1970s, only seven cities had television services.
- In the early 1980s, there was only one national channel, Doordarshan, which was government owned. Private channels began in the late 1980s and cable television grew.
- The television industry is large and growing, with revenue expected to reach INR 975 billion by 2019, driven by subscription and advertising growth. Digitalization of cable has expanded options and revenues.
Netflix was founded in 1997 by Reed Hastings and Marc Randolph to create an online DVD rental service. It launched in 1998 offering 900 movie titles for rental by mail. By 2013, Netflix had grown to over 36 million subscribers who streamed 2 billion hours of content per month. Netflix's mission is to become the leading global streaming service through expanding its library of exclusive original content available on any internet-connected device.
The document discusses the future of television as new technologies disrupt the traditional TV industry. It notes that media giants, tech companies, and internet innovators are revolutionizing TV. Experts predict more change in the next 5-10 years than the last 25 combined. Social media, user-generated content, and second screen engagement are shifting power away from traditional media elites. Television will become more social, participatory, and focused on live/event revenue as linear TV integrates with the internet and second screens. Viewership data and social TV engagement will be highly valuable for advertisers and drive new monetization models in an increasingly interactive digital television landscape.
The document provides an analysis of the colour television market in India. It discusses the history of television in India from its beginnings as a government-run monopoly to the introduction of private broadcasting and satellite television. It then covers current issues in the market such as widespread cable access and the large number of illegal cable operators. The document also examines the major players in the market, their market shares, production capacities, and individual marketing strategies. It analyzes segmentation based on television size and price as well as overall industry trends and growth projections.
This document provides an overview of a study on the future of television in 2025. It includes a complete report and PowerPoint presentation examining disruption scenarios and their impact on markets and the industry. The study predicts that linear TV will become a "lost leader" for on-demand services, tablets will become the primary screen, and networks will lose control as services move to open platforms. It was produced by IDATE, an institute that has tracked telecom, internet, and media markets for over 40 years.
India has a large and diverse media landscape, with over 70,000 newspapers, 500 satellite channels, and a growing internet sector. Print media began in 1780 and broadcasting started with radio in 1927. India now produces more films than any other country. The media and entertainment industry is being transformed by digital technologies, especially in television, films, animation, and gaming. The future of India's media looks promising as companies provide improved digital content and delivery.
Rise of an OTT Platforms in India - Explained by iStrategist Institute Rushant Pragwat
The document discusses the rise of over-the-top (OTT) platforms and the growing OTT market in India. Some key points:
- People now spend 40+ minutes per day watching content on OTT platforms like Netflix, Hotstar, and others.
- The online video market in India is one of the largest growing markets and by 2023, average time spent on OTT platforms will increase to 70 minutes per day.
- Younger people aged 25-37 spend more time on OTT platforms than older age groups like 37-60.
- The trends show people are cutting cable/DTH as OTT platform usage and digital advertising on these platforms rises.
All India Radio (AIR) is India's national public radio broadcaster. It broadcasts in 23 languages and 146 dialects, covering 92% of India's total area and reaching 99.1% of the population. AIR's mission is to inform and educate the public. It began as the Indian Broadcasting Company in 1927 and became All India Radio in 1936. Today it operates 415 stations across India and 16 external services broadcasting in foreign languages to over 100 countries.
- Television in India started as an experimental broadcast in 1959 and regular daily transmission began in 1965 as part of All India Radio. By the mid-1970s, only seven cities had television services.
- In the early 1980s, there was only one national channel, Doordarshan, which was government owned. Private channels began in the late 1980s and cable television grew.
- The television industry is large and growing, with revenue expected to reach INR 975 billion by 2019, driven by subscription and advertising growth. Digitalization of cable has expanded options and revenues.
Netflix was founded in 1997 by Reed Hastings and Marc Randolph to create an online DVD rental service. It launched in 1998 offering 900 movie titles for rental by mail. By 2013, Netflix had grown to over 36 million subscribers who streamed 2 billion hours of content per month. Netflix's mission is to become the leading global streaming service through expanding its library of exclusive original content available on any internet-connected device.
An interview is a conversation between two or more people where the interviewer asks questions to obtain information from the interviewee. There are two main types of interviews: assessments which evaluate a person, and informational interviews to gather facts. Television interviews can be either extended, using multiple cameras over a longer period, or short segments typical for news using one camera and minimizing equipment needs. Proper interview techniques include pausing between questions, using cutaways to cover edits, and focusing first on a tightly edited audio version before addressing video transitions.
This document discusses various aspects of media programming and production. It covers topics such as broadcast programming, automation, and the production process for radio, television, and film. For broadcast programming, it explains how programs are scheduled on different mediums. It also describes the main stages of production as pre-production, production, and post-production. For radio and television production, it outlines crew roles and responsibilities during setup and strike. The document provides an overview of the key elements involved in programming and producing content for different media.
How youtube will change the face of digital advertising ?nous sommes vivants
- YouTube has become a major platform for online video and a key destination for brands to reach audiences through video brand content.
- Many brands are creating YouTube channels to broadcast their own professional video content and integrate it into digital campaigns.
- Successful brand videos on YouTube in 2012 performed well based on metrics like views, likes, shares, comments, and time spent watching rather than just views.
- As online video consumption grows, more brands and agencies are focusing on creating engaging video content for YouTube and measuring campaigns across digital and traditional media.
Streaming technology has evolved significantly since the early 1990s. Popular streaming services today include YouTube, Netflix, Amazon Prime, and Hulu, which people use daily to stream videos, music, TV shows, movies, and live sports/concerts from their smartphones, tablets, computers, or connected TVs. While Netflix was once dominant in the US, increased competition from Disney+, Apple TV+, HBO Max, and others will likely lead streaming platforms to invest more in original content and could cause price hikes to sustain high-quality services. The future of streaming may include even more options for consumers but at higher subscription costs.
The document discusses the history and development of television in India. It notes that TV was introduced in India in 1959, initially broadcasting one hour, two days a week. Over time, coverage expanded and more channels were added. Private channels launched in the 1980s and satellite television became widespread in the 1990s and 2000s, increasing viewership. The document also outlines the growth of regional television markets and discusses emerging trends like DTH services, changing viewership patterns, and the growing television industry in India.
The document outlines the key elements that should be included in a creative brief for advertising. The creative brief provides direction for creative teams and includes the reason for the advertising, the desired end result or objective, the target market or audience, the communication strategy, rationale for the message, and any mandatory requirements. It gives background on the product and identifies the specific goals that the advertising aims to achieve, such as raising awareness of a new brand or changing perceptions of an existing one.
This document discusses different types of scripts for writing documentaries and other visual media. It outlines that scripts can be fiction or non-fiction. Fiction includes dramas, sitcoms, and commercials which come from a writer's imagination, while non-fiction is based on historical facts and includes documentaries, news, and training videos. It provides tips for preparing scripts, such as researching topics accurately from various sources and outlining the premise and synopsis. The document also describes common script formats and structures for fiction and non-fiction works.
This document discusses various aspects of television journalism and news production. It begins with a brief history of television in India and the growth of private channels. It then covers topics like the differences between print, television and internet news. It describes the roles of reporters, producers and other staff involved in electronic news gathering and production. It discusses concepts like scripts, anchors, pieces to camera. It also provides organizational structures of news channels and the workflow from news gathering to bulletin production. Overall, the document provides a practical overview of television journalism.
Bollywood and Hollywood both produce blockbuster hits and flops. They differ in their technical aspects, budgets, music, scale of production, stories, and earnings. Recent popular movies from each include Ra-One and X-Men: First Class from Bollywood, and Singham and Fast & Furious 5 from Hollywood. Both industries use similar marketing strategies including multimedia usage, contests and discounts, and integrating offline and online advertising.
This document provides an overview of the history and development of television in India. It discusses key inventors and innovations that led to the creation of the first electronic television in 1927. It outlines important dates in the development of television broadcasting globally and in India. Key events discussed include the introduction of television in India in 1959, the Satellite Instructional Television Experiment from 1975-1976, and the establishment of Doordarshan as the national television network in 1976.
The platform allows users to access the content of their favorite TV shows or movies on any device with a mobile phone connected via Wi-Fi is OTT Platform
The document discusses the regulation of over-the-top (OTT) media platforms in India. It provides background on OTT services and explains that they were previously self-regulated. It notes that the Indian government saw a need to regulate OTT content due to increasing usage and complaints. As a result, the government introduced new rules in 2021 to establish a grievance redressal mechanism for OTT platforms and require classification and parental controls for different age groups of content. The regulations aim to standardize OTT content while maintaining quality and not hurting public sentiments.
TV and digital video continue to collide and nothing represents that more than over-the-top (OTT). As an emerging medium, OTT has its share of challenges and opportunities - but one thing is clear, consumers are increasingly accessing video outside of traditional pay TV models. But how are they viewing OTT? And how are advertisers using it?
Check out The OTT Reality Check slideshow to get a snapshot on the latest trends within space.
Budgets keep video productions in line and on time. But how do you estimate costs when you’re just starting out—or planning a shoot in a new location? Rich Harrington has almost 30 years of experience in video, many of them consulting for clients who needed detailed proposals and budgets to move forward. In this course, he explains the nuts and bolts of budgeting for video production. Learn how to develop professional budgets, quotes, and proposals, and then transform those estimates into invoices. Plus, learn how to split projects with contractors, set payment terms, and make sure the bill is delivered and you get paid.
Learning objectives:
Evaluating outsourcing and partnering options
Setting your rates
Incorporating material and overhead costs
Scoping the project
Estimating the production time
Collecting data with time tracking
Creating a quote or proposal
Setting payment terms
Creating an invoice
Dealing with billing and collections
The document discusses the early history of television, including key inventors like Paul Nipkow who created the scanning disk device in the 1880s and Philo Farnsworth who was the first to transmit a picture over the air. It also mentions Vladimir Zworykin's patent for the kinescope and provides data on the growth of households with TV sets in the United States from 1950 to 1980, which reached a steady penetration rate of about 98% by 1980. The document also notes the transition from analog to digital TV broadcasting.
This document outlines various product placement strategies, including visual placement which relies on prominently displaying a product within a show's setting or storyline, auditory placement which mentions the product name within a show's script, and advertising campaigns using print, online, and television media targeted at the product's audience. It also discusses promotions like giveaways and coupons, surveying customers, demonstrations and samples to experience the product, piggybacking on existing products, sponsoring community events, and ensuring product quality.
Mapping connected tv viewership: CTV India Report 2021 by mediasmartSocial Samosa
The latest India CTV report 2021 by mediasmart highlights consumer adoption insights layered with an expert view on the possible advertising potential of the CTV medium.
Television is able to attract large audiences from all ages and backgrounds due to its audiovisual nature and ability to entertain and inform people inside their homes. It is a powerful mass medium that allows vivid impressions to be created in viewers' minds. While television and radio both use electromagnetic waves to transmit signals and have similarities in production formats, television features visual components not available on radio like footage, graphics, and live transmission of events. It also offers additional services like teletext and news tickers.
The document discusses the importance and structure of television news packages. It begins by defining a package as an edited video report for news or features, including visuals, interviews, and narration to tell a story. It then outlines the key elements of effective packages, such as focusing on a central topic, using compelling leads and endings, and writing concise narration that enhances rather than repeats the visual content. The document emphasizes researching topics thoroughly and crafting packages that engage viewers and communicate essential information through storytelling with video and sound.
Millennials are shifting how they view television content, preferring to watch high-quality shows instantly and on mobile devices. As technology advances, content will need to be available across all platforms. The future of television is providing customizable, on-demand viewing experiences across any screen.
The document discusses the future of television and video consumption. It notes that people still watch 3 hours of TV per day, mostly live, though delayed viewing is increasing. Premium and exclusive content are where the money is generated, though open platforms struggle with premium content. The role of broadcast media is still important for creating shared viewing experiences and conversations. New methods of content delivery and second screen experiences are discussed, along with the value of aggregating services rather than focusing on hardware. The future of TV is seen as an appliance for lean-back viewing combined with a strong local content ecosystem and app environment.
An interview is a conversation between two or more people where the interviewer asks questions to obtain information from the interviewee. There are two main types of interviews: assessments which evaluate a person, and informational interviews to gather facts. Television interviews can be either extended, using multiple cameras over a longer period, or short segments typical for news using one camera and minimizing equipment needs. Proper interview techniques include pausing between questions, using cutaways to cover edits, and focusing first on a tightly edited audio version before addressing video transitions.
This document discusses various aspects of media programming and production. It covers topics such as broadcast programming, automation, and the production process for radio, television, and film. For broadcast programming, it explains how programs are scheduled on different mediums. It also describes the main stages of production as pre-production, production, and post-production. For radio and television production, it outlines crew roles and responsibilities during setup and strike. The document provides an overview of the key elements involved in programming and producing content for different media.
How youtube will change the face of digital advertising ?nous sommes vivants
- YouTube has become a major platform for online video and a key destination for brands to reach audiences through video brand content.
- Many brands are creating YouTube channels to broadcast their own professional video content and integrate it into digital campaigns.
- Successful brand videos on YouTube in 2012 performed well based on metrics like views, likes, shares, comments, and time spent watching rather than just views.
- As online video consumption grows, more brands and agencies are focusing on creating engaging video content for YouTube and measuring campaigns across digital and traditional media.
Streaming technology has evolved significantly since the early 1990s. Popular streaming services today include YouTube, Netflix, Amazon Prime, and Hulu, which people use daily to stream videos, music, TV shows, movies, and live sports/concerts from their smartphones, tablets, computers, or connected TVs. While Netflix was once dominant in the US, increased competition from Disney+, Apple TV+, HBO Max, and others will likely lead streaming platforms to invest more in original content and could cause price hikes to sustain high-quality services. The future of streaming may include even more options for consumers but at higher subscription costs.
The document discusses the history and development of television in India. It notes that TV was introduced in India in 1959, initially broadcasting one hour, two days a week. Over time, coverage expanded and more channels were added. Private channels launched in the 1980s and satellite television became widespread in the 1990s and 2000s, increasing viewership. The document also outlines the growth of regional television markets and discusses emerging trends like DTH services, changing viewership patterns, and the growing television industry in India.
The document outlines the key elements that should be included in a creative brief for advertising. The creative brief provides direction for creative teams and includes the reason for the advertising, the desired end result or objective, the target market or audience, the communication strategy, rationale for the message, and any mandatory requirements. It gives background on the product and identifies the specific goals that the advertising aims to achieve, such as raising awareness of a new brand or changing perceptions of an existing one.
This document discusses different types of scripts for writing documentaries and other visual media. It outlines that scripts can be fiction or non-fiction. Fiction includes dramas, sitcoms, and commercials which come from a writer's imagination, while non-fiction is based on historical facts and includes documentaries, news, and training videos. It provides tips for preparing scripts, such as researching topics accurately from various sources and outlining the premise and synopsis. The document also describes common script formats and structures for fiction and non-fiction works.
This document discusses various aspects of television journalism and news production. It begins with a brief history of television in India and the growth of private channels. It then covers topics like the differences between print, television and internet news. It describes the roles of reporters, producers and other staff involved in electronic news gathering and production. It discusses concepts like scripts, anchors, pieces to camera. It also provides organizational structures of news channels and the workflow from news gathering to bulletin production. Overall, the document provides a practical overview of television journalism.
Bollywood and Hollywood both produce blockbuster hits and flops. They differ in their technical aspects, budgets, music, scale of production, stories, and earnings. Recent popular movies from each include Ra-One and X-Men: First Class from Bollywood, and Singham and Fast & Furious 5 from Hollywood. Both industries use similar marketing strategies including multimedia usage, contests and discounts, and integrating offline and online advertising.
This document provides an overview of the history and development of television in India. It discusses key inventors and innovations that led to the creation of the first electronic television in 1927. It outlines important dates in the development of television broadcasting globally and in India. Key events discussed include the introduction of television in India in 1959, the Satellite Instructional Television Experiment from 1975-1976, and the establishment of Doordarshan as the national television network in 1976.
The platform allows users to access the content of their favorite TV shows or movies on any device with a mobile phone connected via Wi-Fi is OTT Platform
The document discusses the regulation of over-the-top (OTT) media platforms in India. It provides background on OTT services and explains that they were previously self-regulated. It notes that the Indian government saw a need to regulate OTT content due to increasing usage and complaints. As a result, the government introduced new rules in 2021 to establish a grievance redressal mechanism for OTT platforms and require classification and parental controls for different age groups of content. The regulations aim to standardize OTT content while maintaining quality and not hurting public sentiments.
TV and digital video continue to collide and nothing represents that more than over-the-top (OTT). As an emerging medium, OTT has its share of challenges and opportunities - but one thing is clear, consumers are increasingly accessing video outside of traditional pay TV models. But how are they viewing OTT? And how are advertisers using it?
Check out The OTT Reality Check slideshow to get a snapshot on the latest trends within space.
Budgets keep video productions in line and on time. But how do you estimate costs when you’re just starting out—or planning a shoot in a new location? Rich Harrington has almost 30 years of experience in video, many of them consulting for clients who needed detailed proposals and budgets to move forward. In this course, he explains the nuts and bolts of budgeting for video production. Learn how to develop professional budgets, quotes, and proposals, and then transform those estimates into invoices. Plus, learn how to split projects with contractors, set payment terms, and make sure the bill is delivered and you get paid.
Learning objectives:
Evaluating outsourcing and partnering options
Setting your rates
Incorporating material and overhead costs
Scoping the project
Estimating the production time
Collecting data with time tracking
Creating a quote or proposal
Setting payment terms
Creating an invoice
Dealing with billing and collections
The document discusses the early history of television, including key inventors like Paul Nipkow who created the scanning disk device in the 1880s and Philo Farnsworth who was the first to transmit a picture over the air. It also mentions Vladimir Zworykin's patent for the kinescope and provides data on the growth of households with TV sets in the United States from 1950 to 1980, which reached a steady penetration rate of about 98% by 1980. The document also notes the transition from analog to digital TV broadcasting.
This document outlines various product placement strategies, including visual placement which relies on prominently displaying a product within a show's setting or storyline, auditory placement which mentions the product name within a show's script, and advertising campaigns using print, online, and television media targeted at the product's audience. It also discusses promotions like giveaways and coupons, surveying customers, demonstrations and samples to experience the product, piggybacking on existing products, sponsoring community events, and ensuring product quality.
Mapping connected tv viewership: CTV India Report 2021 by mediasmartSocial Samosa
The latest India CTV report 2021 by mediasmart highlights consumer adoption insights layered with an expert view on the possible advertising potential of the CTV medium.
Television is able to attract large audiences from all ages and backgrounds due to its audiovisual nature and ability to entertain and inform people inside their homes. It is a powerful mass medium that allows vivid impressions to be created in viewers' minds. While television and radio both use electromagnetic waves to transmit signals and have similarities in production formats, television features visual components not available on radio like footage, graphics, and live transmission of events. It also offers additional services like teletext and news tickers.
The document discusses the importance and structure of television news packages. It begins by defining a package as an edited video report for news or features, including visuals, interviews, and narration to tell a story. It then outlines the key elements of effective packages, such as focusing on a central topic, using compelling leads and endings, and writing concise narration that enhances rather than repeats the visual content. The document emphasizes researching topics thoroughly and crafting packages that engage viewers and communicate essential information through storytelling with video and sound.
Millennials are shifting how they view television content, preferring to watch high-quality shows instantly and on mobile devices. As technology advances, content will need to be available across all platforms. The future of television is providing customizable, on-demand viewing experiences across any screen.
The document discusses the future of television and video consumption. It notes that people still watch 3 hours of TV per day, mostly live, though delayed viewing is increasing. Premium and exclusive content are where the money is generated, though open platforms struggle with premium content. The role of broadcast media is still important for creating shared viewing experiences and conversations. New methods of content delivery and second screen experiences are discussed, along with the value of aggregating services rather than focusing on hardware. The future of TV is seen as an appliance for lean-back viewing combined with a strong local content ecosystem and app environment.
The document discusses the future of television over the next 3 years. It argues that TV will be "reimagined" and no longer focus on delivery mechanisms like channels, but instead focus entirely on content. TVs will act as gateways to access all content from the internet through search and recommendations. Content will be watched seamlessly across 4 screen types - smartwatches, mobile devices, tablets, and large home screens. The large home screen will become the main way to access entertainment, communicate with others, browse the internet, shop, and control connected home devices. TVs will have an app-like interface and act as a window into both digital and real world content and connections.
With growing influence of web and more time spend by users staying connected - what would be the future of television? This is my guess how the Television will adapt to going influence of Internet.
The document discusses the increasing time spent by people watching online video as well as gaming and using the internet, which has seen large yearly increases from 2011-2013. It also talks about how television is becoming just another screen to watch content on. Some of the most popular online video services are growing significantly. This signals changes in how advertising dollars are spent and challenges for traditional broadcasters and television providers. The future of television advertising is moving increasingly digital as viewing habits change.
Television evolved from early experiments in the 1920s to becoming a widespread mass medium by the 1950s. Key developments included the invention of the electric television tube in the 1920s, early broadcasts in the UK and US in the 1930s, the development of television networks in the late 1940s allowing national broadcasts, and a drop in prices making TVs affordable to most Americans by the 1950s. In India, television was introduced in 1959 in Delhi and expanded slowly over the following decades, with the launch of Doordarshan and expanding coverage through terrestrial transmitters and satellites. Color transmission and commercial broadcasts were introduced in the 1970s-80s, expanding content and viewership.
The Future of TV - Neil Hunt - Chief Product Officer Netflix - Internet World...Neil Hunt
Neil Hunt, Chief Product Officer at Netflix, discussed how internet TV will replace linear TV. Internet TV allows viewers to watch what they want, when they want, wherever they want without appointments. It will be personalized through big data and perfect suggestions. Entertainment will be democratized with many shows found for small audiences and no bad shows. There will be no more commercials or only relevant commercials, no more channels, TV will be unbundled, and viewing outside the home on mobile and smart TVs will grow. Internet TV leads in quality with support for 4K, high dynamic range, high frame rate, and wide field of view.
The document discusses the history and development of television from its early inventors in the 1920s through its establishment as a widespread technology and cultural force by the 1950s. It touches on key inventors and innovations like the cathode ray tube, iconoscope, kinescope, and fiber optic cable. Regulations and the role of the FCC in establishing broadcast standards are also summarized.
The document discusses the history and development of television from its invention in 1925 to the present digital age. It notes key early milestones like the first televised broadcast in 1928. It also outlines television's main roles as entertainment, news, and education. The impact of digital technology is described as television becoming available on multiple wireless devices through apps. The future is uncertain as phone services plan to provide multimedia that may challenge cable companies.
Presentation given as a guest lecture on "Digital Media Marketing" master of Jo Pierson, VUB, Belgium. The storytelling background of "media", what is happening to "old" and "new" media and how can we move both in the right direction for a richer society and better local ecosystem.
LUMA's Upfront Summit Keynote: "The Future of TV"LUMA Partners
LUMA Partners presents “The Future of TV,” as presented at the Upfront Summit conference on February 4, 2016. This presentation reviews some of the key topics discussed at the conference: the rise of digital video, the traditional TV model, and convergent video.
The document discusses the history and development of television from its invention to modern times. It describes some of the early pioneers and inventions that led to the development of television, such as mechanical TVs in the early 1900s and the introduction of color TV in the 1940s. It then outlines some of the major advances in television technology over the decades, including the introduction of cable TV, HDTV, plasma screens, and 3D TVs.
Recsys 2014 Keynote: The Value of Better Recommendations - For Businesses, Co...Neil Hunt
A keynote at RecSys 2014: The Value of Better Recommendations - For Business, Consumer, Producer, and Society. A story, told from the Netflix perspective, of Internet TV and how recommendations systems enable the long tail, improve economics, and spread a global culture, with thoughts on objective metrics, measurement techniques, AB testing.
The document discusses 5 key trends in the future of TV: 1) Today's technology like internet-enabled TVs and apps, 2) Social aspects like social media and shared experiences, 3) Personalization using data and recognition technologies, 4) Screens and surfaces becoming bigger, movable to any surface, and touch-enabled, and 5) Seamless experiences and interaction across devices. It predicts TVs will know users and tailor content, users will control TVs with voice and gestures, and shopping/viewing will converge on a single interface allowing instant purchases.
Cutting the Cord: Everything You Need to Know About the Shift from TV to Online ViralGains
Attention everyone: it's time to cut the cord. With your TV that is. This slideshare is all about the recent shift in programming and viewership from TV to online. Find out why it's happening and how you can be ahead of the curve when it comes to advertising in online programs. You don't want to miss this one.
1. TV consumption in Europe has continued to increase, with viewing times rising slightly in most major markets between 2008-2011.
2. The TV landscape has expanded dramatically, with over 9,000 channels now available in the EU, up from just 375 a decade ago. Connected and mobile devices are also increasingly used to access TV content.
3. While technology and devices are evolving rapidly, content remains the main driver of TV viewing. Linear TV viewing remains important, especially for live events, though social TV and second screen engagement are on the rise.
The speech was delivered in "New Era, New TV" seminar organized by Orange Labs Beijing. The presentation focuses on the business models and market trends of online video/TV and mobile TV.
A prophets view on the nearby future of TV: connected TV. How television becomes smart and connected by adding computer & internet features. Presentation by Björn Joos, partner at prophets.
This document discusses trends in television technology and viewing habits between now and the year 2020. It outlines that television is transforming from a passive medium into an interactive, personalized and networked "super medium." Specifically, it predicts that by 2020 television will be connected to the internet and mobile devices, allowing viewers to access online content and services on their televisions. It also predicts the rise of social, immersive and personalized television experiences as viewers engage with each other and influence programming through new interactive features and applications. The television is described as transitioning into a multifunctional device at the center of home entertainment and media consumption.
HbbTV brings broadcast television and broadband internet together, allowing TV channels to provide interactive applications and additional content to viewers. It provides opportunities for innovative advertising formats while maintaining the simplicity and ease of use of traditional television. As an open standard supported by major hardware and software companies, HbbTV ensures compatibility across devices and distribution systems. Channels and manufacturers benefit from the flexibility of a universal solution rather than proprietary technologies.
This document discusses trends in television and video consumption from 2008 to 2020. It outlines three potential scenarios for the evolution of the television industry: 1) "Broadcast as Usual" where the broadcast model adapts to new technologies and consumption patterns; 2) "My Video Web" where online video and internet-connected devices become central to video viewing; and 3) "Community TV" where audiences fragment into local communities. The central scenario of "My Video Web" is presented, where catch-up TV and on-demand services become widespread, audiences spend more time watching video online and on multiple devices rather than just live TV, and households connect directly to the internet rather than traditional networks. This migration to online video threatens to initially destroy
The document discusses the evolution of television and the increasing number of devices that can access video content. It describes how early televisions had simple interfaces but the proliferation of channels led to remote controls. Now, various devices like computers, tablets, phones, streaming boxes and smart TVs can access both traditional broadcast and online content through services like Netflix, Hulu and YouTube. This has increased options but also complexity for users. New tools are emerging to make content aggregation and access more seamless across devices.
The document discusses the history of interactive television (iTV) and how web-enabled TV widgets may finally provide the "killer app" that widespread adoption has so far eluded. While past attempts at iTV like WebTV failed due to high costs and poor usability, TV widgets provide familiar interactivity through applications and could benefit from consumer experience with interactive features on internet, mobile, and media devices. However, for TV widgets to truly succeed, they will need to address challenges like providing compelling content and an easy user experience on the television.
The ‘Future of TV’ outlines Mindshare's view on the evolution of TV and video, and the likely implications for broadcasters and advertisers.
This is part of Mindshare's ongoing Future Of... research programme which explores the development of the media and technological landscape, and assesses the likely impact on advertisers and media businesses.
Connected Home: Fight for the Digital LvingroomMichael Goodman
This report examines the battle for the digital living room with an emphasis on the growth of connected devices in consumers’ homes and the impact this will have on the media industry.
Multiplatform Managed OTT-TV is a promising opportunity for Telco ready to combine their direct-to-consumer services with white-label online video services for independent content providers - This presentation is a quick summary of our last 10+ yrs experience in this sector.
The internet is coming to your TV set, along with all the targeting and interactivity of digital media. This will make true Video on Demand (VOD) a reality and potentially replace traditional TV advertising models.
The document discusses the evolution of connected TV and the initiatives of Telkom Indonesia to meet customer demands in this area. It outlines how TV has evolved from traditional cable to integrated IP video experiences across multiple devices. It also discusses the challenges of connected TV relating to broadband connectivity, user experience, and content features. Customer demand is highlighted as being for time-shifted and on-demand content. Telkom's initiatives are presented as converging their services across platforms and devices to provide integrated multi-service experiences to customers on TV, PC and mobile through their SmartTV, TelkomVision and Speedy products and promotions.
This document discusses how new platforms and technologies are revolutionizing the television industry. It describes Rovi, a company that helps connect people to entertainment content across devices. The presentation outlines the evolving media landscape driven by connectivity, mobility, and social media integration. It argues that smart TVs will become the new standard as internet traffic shifts to video and consumers demand content anywhere. While some predict the demise of traditional television, the presentation asserts that television is redefining itself by offering more choice, quality, and flexibility through internet-connected devices and apps. This creates many new opportunities for advertising.
This document summarizes research from Parks Associates on changing consumer behaviors and demands regarding television viewing. As personal media collections grow larger due to devices like DVRs and online streaming/downloading, consumers want easier ways to access and share their content across devices. There is strong consumer interest in network-connected set-top boxes and TVs that allow accessing media stored on computers or streamed online. Many consumers are willing to pay extra monthly fees for these types of features. The TV is evolving from solely displaying broadcast/cable content to becoming a central hub for accessing various locally-stored and cloud-based media sources.
The document discusses the concept of connected TV and ways to leverage it. It outlines that while the TV experience is not fully interactive today, people are already connected to other devices while watching TV. The document proposes ways to augment the TV experience now through second screen applications that synchronize with TV content. Examples are given of social TV apps and ways companies can enhance TV shows, ads, and sponsoring through mobile apps and interactions.
This document provides a 150-page report on mobile TV broadcasting that analyzes its evolution. It identifies key success factors for launching mobile TV services and recognizes differences between traditional and mobile television. The report evaluates mobile TV trials in key markets and allows learning from commercial services in South Korea and Japan. It provides unique business intelligence and expert commentary to help base business decisions regarding mobile TV opportunities.
This document discusses new media and the role of the internet as an alternative to digital terrestrial television broadcasting. It describes how web television and internet-enabled TV are allowing users to access content on-demand over the internet. Several companies offering these services are highlighted, such as YouTube, Hulu, Sky, Maxdome and Fetch TV, which allow viewing of content including TV shows, movies, sports and news through internet-connected devices. The growth of online video advertising is also discussed.
1. TV consumption in major European countries has continued to increase slightly in recent years, with viewers spending more time watching television on average each day.
2. The TV landscape has expanded dramatically, with over 9,000 channels now available in the EU, up from just 375 channels a decade ago.
3. New technologies like connected TVs, second screens, and streaming services are disrupting the traditional television model, but linear TV will still focus on live and social viewing experiences.
The document discusses predictions for communication technology in 2022, including that the living room will become fully connected through wireless networks. The television will be integrated with the internet and cell phones, allowing shared content and communication. Video games will become more social through online networks. Cell phones will control all connected devices and serve as the primary communication device as landlines cease to exist. Theories like the umbrella perspective, critical mass theory, and principle of relative constancy help explain how these changes will come about.
BI Report Future of Pay TV Table of ContentsKeith Johnson
This document discusses the rise of over-the-top (OTT) TV services and their potential impact on the traditional pay TV model. Key points include:
1) Internet-connected devices are becoming more prevalent in homes and driving increased online viewing of TV shows and movies. This is challenging the pay TV industry's business model.
2) Major tech companies like Google, Apple, and Sony are pushing for cloud-based, multi-screen viewing experiences in order to own the consumer relationship.
3) Younger audiences in particular are more willing to watch TV content exclusively online, threatening cord-cutting. However, cord-shaving where consumers reduce services is more likely in the near term.
Similar to TV 2020 - The future of television (20)
Most cars are now equipped with intelligent assistance systems. However, the connection of vehicles to each other, to traffic lights, congestion warning systems and infrastructure is still in its infancy. Connected Mobility is a key future market that holds many pitfalls. In this regard, the automotive sector can benefit from the methods of Corporate Foresight.
Connected Mobility gilt als hoffnungsvoller Zukunftsmarkt mit einem Wachstumspotenzial von bis zu 45 Prozent in den kommenden fünf Jahren. Ein neues White Paper von Z_punkt analysiert die Potenziale der vernetzten Mobilität und die Voraussetzungen, unter denen die neuen Technologien überhaupt effektiv eingesetzt werden können. "Die Automobilbranche sollte aus den Pannen der Elektromobilität lernen," so die Autoren Dr. Maria Schnurr und Sivert von Saldern.
Main chapters
#1 THE NEXT WAVE OF DIGITAL TRANSFORMATIONS 06
#2 CONNECTED REALITY 2025: TRENDS AND DRIVERS 11
#3 CONNECTED MARKETS 2025: SIGNALS 33
#4 CONNECTED BUSINESS 2025: TRANSFORMATIONS 53
#5 CONNECTED LIVING 2025: ONE SCENARIO 61
#6 SMART WORLD OR NETWORKED NIGHTMARE? 66
Introduction
The next wave of digital transformations
The more digital networking takes hold of all aspects of our lives and all types of commercial transactions, the more it becomes a fundamental part of our daily reality – a changed reality, in which future generations will not be able to understand how it was possible to live with 'stupid things' that weren't permanently linked to the Cloud, nor how we managed to survive without goggles and information-forecasting services.
If, in a few years, we have become used to the constant availability of information about people, situations and things in our immediate surroundings thanks to technology about our person – so-called wearables, and if it has become the norm for intelligent products, houses and vehicles to 'recognise' us and to use networked services to cooperate and anticipate our requirements, then a world in which these magic properties are lacking will soon seem very strange to us.
Connected reality will set new parameters for businesses
Thus, value is increasingly being created in networks through the use of hyperconnectivity. The importance of individual companies is disappearing: connected reality means the key players will actually be 'business economic systems'. Manufacturers and service providers will offer complex solutions to customers' requirements, e.g. the use of wearable sensors in the field of smart health, providing cloud-based data analysis, medical diagnosis and nutritional advice that will make it possible for health to be monitored intensively in real time.
This creates a multitude of new challenges for businesses. Products that can be networked will generate a continuous stream of data, and new ways of creating value based on that data will have to be developed in order to generate added value from the data. Customer relations will come to be characterised more and more by real-time interaction. Increasingly, products and services will need to be developed and marketed as hybrid bundles. It will be necessary to open up the potential for smart automatisation along the entire value-creation chain.
Yet, as the pace of change becomes greater, the more important it becomes to evaluate the various trends and future developments in the round in order to gain sight of the big picture. This overview can then be used to guide strategic focus. This study represents a first step along this path.
Direction:
Andreas Neef, Klaus Burmeister
Authors:
Niels Boeing, Klaus Burmeister, Andreas Neef, Ben Rodenhäuser,
Willi Schroll
Find more and download also here: http://www.z-punkt.de/connected-reality2025-en.html
Main chapters
#1 THE NEXT WAVE OF DIGITAL TRANSFORMATIONS 06
#2 CONNECTED REALITY 2025: TRENDS AND DRIVERS 11
#3 CONNECTED MARKETS 2025: SIGNALS 33
#4 CONNECTED BUSINESS 2025: TRANSFORMATIONS 53
#5 CONNECTED LIVING 2025: ONE SCENARIO 61
#6 SMART WORLD OR NETWORKED NIGHTMARE? 66
Introduction
The next wave of digital transformations
The more digital networking takes hold of all aspects of our lives and all types of commercial transactions, the more it becomes a fundamental part of our daily reality – a changed reality, in which future generations will not be able to understand how it was possible to live with 'stupid things' that weren't permanently linked to the Cloud, nor how we managed to survive without goggles and information-forecasting services.
If, in a few years, we have become used to the constant availability of information about people, situations and things in our immediate surroundings thanks to technology about our person – so-called wearables, and if it has become the norm for intelligent products, houses and vehicles to 'recognise' us and to use networked services to cooperate and anticipate our requirements, then a world in which these magic properties are lacking will soon seem very strange to us.
Connected reality will set new parameters for businesses
Thus, value is increasingly being created in networks through the use of hyperconnectivity. The importance of individual companies is disappearing: connected reality means the key players will actually be 'business economic systems'. Manufacturers and service providers will offer complex solutions to customers' requirements, e.g. the use of wearable sensors in the field of smart health, providing cloud-based data analysis, medical diagnosis and nutritional advice that will make it possible for health to be monitored intensively in real time.
This creates a multitude of new challenges for businesses. Products that can be networked will generate a continuous stream of data, and new ways of creating value based on that data will have to be developed in order to generate added value from the data. Customer relations will come to be characterised more and more by real-time interaction. Increasingly, products and services will need to be developed and marketed as hybrid bundles. It will be necessary to open up the potential for smart automatisation along the entire value-creation chain.
Yet, as the pace of change becomes greater, the more important it becomes to evaluate the various trends and future developments in the round in order to gain sight of the big picture. This overview can then be used to guide strategic focus. This study represents a first step along this path.
Direction:
Andreas Neef, Klaus Burmeister
Authors:
Niels Boeing, Klaus Burmeister, Andreas Neef, Ben Rodenhäuser,
Willi Schroll
Find more and download also here: http://www.z-punkt.de/connected-reality2025-en.html
Aus dem Inhalt:
[1] DIE NÄCHSTE WELLE DER DIGITALEN TRANSFORMATION
[2] CONNECTED REALITY 2025: TRENDS UND TREIBER
• Technologische Trends:
_ Internet der Dinge,
_ Ubiquitäre Intelligenz,
_ Neue Schnittstellen,
_ Digitale Produktion,
_ Autonome Systeme
• Gesellschaftliche Treiber:
_ Digitaler Lifestyle,
_ Der neue Geist der Autarkie,
_ Echtzeit-Ökonomie,
_ Ressourceneffizienz,
_ Sicherheit
[3] CONNECTED MARKETS 2025: SIGNALE
_ Hybrides Shopping
_ Augmented Lifestyle
_ Smart Home
_ Smart Assistance
_ Cloud Working
_ Integrierte Mobilität
_ Urbane Vernetzung
_ Smart Factory
_ Smart Farming
[4] CONNECTED BUSINESS 2025: TRANSFORMATIONEN
• Transformation der Wirtschaft:
_ Akteure: Business-Ökosysteme,
_ Wettbewerb: Die neue Macht der Integratoren,
_ Märkte: Querschnittsmärkte,
_ Innovation: Systeminnovation Transformation der Unternehmen
• Transformation der Unternehmen
_ Wertschöpfung: Datenbasierte und kooperative Wertschöpfung,
_ Kundenbeziehungen: Antizipative Echtzeit-Interaktion,
_ Produkte und Dienstleistungen: Hybridisierung und Fluidisierung,
_ Prozesse: Smarte Automatisierung
[5] CONNECTED LIVING 2025: EIN SZENARIO
[6] SMARTE WELT ODER VERNETZTER ALPTRAUM?
Herausgeber
Z_punkt GmbH
The Foresight Company Anna-Schneider-Steig 2 50678 Köln
T +49 221 355 534 0 F +49 221 355 534 22
info@z-punkt.de www.z-punkt.de
Studienleitung:
Andreas Neef, Klaus Burmeister
Autoren:
Niels Boeing, Klaus Burmeister, Andreas Neef, Ben Rodenhäuser, Willi Schroll
Diese und weitere Studien/Trendreports finden Sie hier: http://www.z-punkt.de/studien.html
Aus dem Inhalt:
[1] DIE NÄCHSTE WELLE DER DIGITALEN TRANSFORMATION
[2] CONNECTED REALITY 2025: TRENDS UND TREIBER
• Technologische Trends:
_ Internet der Dinge,
_ Ubiquitäre Intelligenz,
_ Neue Schnittstellen,
_ Digitale Produktion,
_ Autonome Systeme
• Gesellschaftliche Treiber:
_ Digitaler Lifestyle,
_ Der neue Geist der Autarkie,
_ Echtzeit-Ökonomie,
_ Ressourceneffizienz,
_ Sicherheit
[3] CONNECTED MARKETS 2025: SIGNALE
_ Hybrides Shopping
_ Augmented Lifestyle
_ Smart Home
_ Smart Assistance
_ Cloud Working
_ Integrierte Mobilität
_ Urbane Vernetzung
_ Smart Factory
_ Smart Farming
[4] CONNECTED BUSINESS 2025: TRANSFORMATIONEN
• Transformation der Wirtschaft:
_ Akteure: Business-Ökosysteme,
_ Wettbewerb: Die neue Macht der Integratoren,
_ Märkte: Querschnittsmärkte,
_ Innovation: Systeminnovation Transformation der Unternehmen
• Transformation der Unternehmen
_ Wertschöpfung: Datenbasierte und kooperative Wertschöpfung,
_ Kundenbeziehungen: Antizipative Echtzeit-Interaktion,
_ Produkte und Dienstleistungen: Hybridisierung und Fluidisierung,
_ Prozesse: Smarte Automatisierung
[5] CONNECTED LIVING 2025: EIN SZENARIO
[6] SMARTE WELT ODER VERNETZTER ALPTRAUM?
Herausgeber
Z_punkt GmbH
The Foresight Company Anna-Schneider-Steig 2 50678 Köln
T +49 221 355 534 0 F +49 221 355 534 22
info@z-punkt.de www.z-punkt.de
Studienleitung:
Andreas Neef, Klaus Burmeister
Autoren:
Niels Boeing, Klaus Burmeister, Andreas Neef, Ben Rodenhäuser, Willi Schroll
Diese und weitere Studien/Trendreports finden Sie hier: http://www.z-punkt.de/studien.html
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During the budget session of 2024-25, the finance minister, Nirmala Sitharaman, introduced the “solar Rooftop scheme,” also known as “PM Surya Ghar Muft Bijli Yojana.” It is a subsidy offered to those who wish to put up solar panels in their homes using domestic power systems. Additionally, adopting photovoltaic technology at home allows you to lower your monthly electricity expenses. Today in this blog we will talk all about what is the PM Surya Ghar Muft Bijli Yojana. How does it work? Who is eligible for this yojana and all the other things related to this scheme?
Kirill Klip GEM Royalty TNR Gold Copper Presentation
TV 2020 - The future of television
1. TV
TV 2020
The Future
of Television
20
A Z_punkt
Trend Study
Andreas Neef
Willi Schroll
Dr. Sven Hirsch
20
The Foresight Company
The Foresight Company
2. TV 2020 . THE FUTURE OF TELEVISION PAGE 2
Just now that we’ve gotten
used to social networks and
web-enabled smartphones, our
living rooms are about to lose
their cosiness. TV, the dominant
media, has been dethroned, Bill
Gates even considers it to be at
death’s door. Actually, however,
TV is upgrading and changing
into a super medium: highly net-
worked, social and interactive,
occasionally in 3D, ubiquitous,
multi-functional, and individually
tailored. On the following pages
we will outline what we may ex-
pect for the future.
The Foresight Company
3. TV 2020 . THE FUTURE OF TELEVISION PAGE 3 . CONTENT
1 CHANGING TIMES: THE
TRANSFORMATION OF TV
2 TV-TRENDS 2020
2.1 CONNECTED TV
The Merging of TV and Web
2.2 SOCIAL TV
Virtual Get-Togethers in Your
Living Room
2.3 IMMERSIVE TV
3D Intensity and Gaming
2.4 MOBILE TV
TV Anywhere
2.5 SERVICE TV
Managing Everyday Life
with Your TV
2.6 PERSONAL TV
Made-to-Measure Programming
3 CONCLUSION: TOWARDS
THE SUPER MEDIUM
ANNEX
The Foresight Company
4. TV 2020 . THE FUTURE OF TELEVISION PAGE 4 . 1 CHANGING TIMES: THE TRANSFORMATION OF TV
1 CHANGING
TIMES:
THE TRANS-
FORMATION
OF TV
In 2010, the average German spent 223 minutes each day
watching TV – yet again wasting more time in front of the
often-reviled, ardently loved boob tube than the year be-
fore. The more things change, the more they remain the
same, one might think: TV remains a growth media. Yet the
raw numbers hide comprehensive structural transformations
which have been under way for quite some time.
New Patterns of Use
More and more people opt to do without a TV set. They rely
on new channels to consume moving images, channels which
have become available over the past decade. The Internet
makes it possible to receive TV on computers and mobile
end devices (smartphones, tablets, notebooks), paving the
way for two new developments: TV as a mobile experi-
ence becomes reality; and the simultaneous use of TV and
Internet is increasing. Coincident media use skyrocketed in
recent years (22 percent of all Europeans regularly use the
Web and TV at the same time; the numbers of media multi-
taskers have grown by 38 percent in Europe since 2006
(EIAA)), demonstrating a need for additional information
during the TV experience. Usage patterns established on the
Internet cross over to television. Compared to the diverse
services connected to moving images on the Internet, the
linear TV programme we are familiar with leaves a rather
quaint impression.
Convergence, the Main Driver
At the heart of this transformation is the gradual merging
of Internet and TV. The convergence of Web and TV has
two aspects: Firstly, a changeover from the broadcast
model to the Internet infrastructure, and secondly, the inte-
gration of the moving image into the World Wide Web’s
The Foresight Company
5. TV 2020 . THE FUTURE OF TELEVISION PAGE 5 . 1 CHANGING TIMES: THE TRANSFORMATION OF TV
information and communication space. This change makes
new services possible, and in this way leads to a compre-
hensively transformed media experience: users making
their own programmes; moving images closely linked to
the Web’s information offers; personalisation, interactivi-
ty, and “social TV” becoming more important. Analogue
video recorders had already made viewers independent
of programming schedules; recording with digital video
recorders (DVRs) provided new freedoms such as pausing
transmissions and time-shifted reception. The world of the
on-demand era is literally schedule-free. Also, future TV
end devices will be multi-functional. In the digital era, hard-
ware will transcend singular functionality assignments. The
TV will be the centre of home intelligence, a game centre,
a conference system.
The Nimbus of Uniqueness
In the age of convergence, TV as a technical infrastructure
will lose its autonomy. Yet this, precisely, will make the TV
experience something special. In addition to active media
usage on the Web, users will decide to consume passively,
to consciously let the TV wash over them. The fact that the
medium of TV is limited to a single source, at a specific time,
and one issue will make it more attractive, will create an aura
of uniqueness. More and more people feel a need to experi-
ence TV shows together with others. Mediated live experi-
ences have in no way made the Internet, the “electronic
campfire of the global village” (Marshall McLuhan), obsolete.
This is most evident in the public viewing phenomenon –
not only during football world championships, but also on a
smaller scale, e.g. when watching the Sunday whodunit in the
pub. And viewers follow, parallel to the show, the reaction of
others to the broadcast on twitter.
An End to Stagnation
We posit that Bill Gates sombre forecast of the “death of
TV” misses the heart of the matter (see Chapter 3, Towards
the Super Medium). What is the case, however, is that TV will
take on a radically new form. Compared to the fast-paced in-
crease in the intelligence of electronic everyday devices such
as PCs and smartphones, the abilities of a TV set have hardly
changed over the past decades. The times of convergence
will soon put an end to this stagnation: the trias of TV set,
remote control, and programming guide will very soon be
on the way out. The industry agrees: Tomorrow’s TV will be
totally different. Existing potentials for change are enormous
and will create completely new viewing qualities (see Chap-
ter 2, TV Trends 2020, for more detail). This means: when it
comes to tying viewers to the medium, the old recipes will
no longer suffice. A reshuffling of the deck will bring new ac-
The Foresight Company
6. TV 2020 . THE FUTURE OF TELEVISION PAGE 6 . 1 CHANGING TIMES: THE TRANSFORMATION OF TV
tors to the fore who will begin to have a lasting influence on
the market. Those who stonewall innovation will find it hard
to maintain their position.
Today Technology Enablers Tomorrow
Sending Model Broadcast Internet Narrowcast
Receiving Situation Stationary TV Mobile broadband LTE; Dynamic TV
tablets
Experience Limited interface Display technologies, Expanded interface
motion control, sensors
Comfort Programmed TV Intelligent algorithms, Personalised TV
semantic web, filter
Functionality Functionality focused New content formats Expanded functionalities,
on entertainment, news gaming, conferencing,
shopping
Increased intelligence, interaction, and converging infrastructures will
make tomorrow’s TV an element in a novel media use situation.
The Foresight Company
7. TV 2020 . THE FUTURE OF TELEVISION PAGE 7 . 2 TV TRENDS 2020
2 TV TRENDS
2020
CONNECTED TV
The Merging of TV and Web
SOCIAL TV
Virtual Get-Togethers in Your Living Room
IMMERSIVE TV
3D Intensity and Gaming
MOBILE TV
TV Anywhere
SERVICE TV
Managing Everyday Life with Your TV
PERSONAL TV
Made-to-Measure Programming
The Foresight Company
8. TV 2020 . THE FUTURE OF TELEVISION PAGE 8 . 2 TV TRENDS 2020
2.1 CONNECTED TV
The Merging of TV and Web
9. TV 2020 . THE FUTURE OF TELEVISION PAGE 9 . 2 TV TRENDS 2020
The music and print industries have long since been impact-
ed by the Internet’s transformative power. Industry outsiders
have entered the market, e.g. Apple with iTunes and Amazon
with the Kindle e-book reader, and established sales channels
which are both innovative and successful, making life hard for
traditional actors. In recent years, major changes have also
affected video content, funny clips on YouTube just as much
as blockbusters. In the future, web-based services will natu-
rally also be available on the TV set. Analysts forecast that
by 2015, some 500 million TV sets worldwide will be web-
enabled, either as a default option or supported by a set-top
box (In-Stat 2011). These will differ in two basic aspects from
traditional TV: movies and livestreams can be assessed as
desired, also available are a large number of new services,
functionalities, and Apps.
Service Integration and App Universe
Convergence of TV and Internet has been achieved wherever
the Web has been seamlessly integrated into the viewer’s TV
experience. With only a single click, viewers access additional
information on a show, chats, expert hotlines, addresses, or
a feedback channel. Connected TV means merging the TV’s
zapping principle and the Web’s clicking principle: stock
prices and more detailed information on a movie can be ac-
cessed without forcing users to change devices. Connected
TV makes the App world available on one’s large-screen TV
in the living room – from weather forecasts to stock ex-
change news to local bargain offers. Today, the services pro-
vided by the platform Yahoo! Connected TV already include
the video hosting service Vimeo, the photo-sharing platform
Joomeo, as well as sports and Home Shopping Network
(HSN) services.
The App universe captures the TV screen. Yahoo! Connected TV
with an inserted financial App. Web functionalities on the TV make
switching between devices unnecessary. A whole new level is
reached once services connect data streams to something novel,
e.g. if, based on automatic speech recognition of the audio stream,
relevant wikipedia articles are provided. Image: zatznotfunny.com
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Competition from the Net
Video-hosting platforms on the Net compete with traditional
content providers for the consumers’ media budget. You-
Tube, the world’s largest video portal, has brought lasting
change to the relationship between consumer and moving
pictures. Every day, users access three billion videos on
this platform alone, a growing percentage of these comes
with a commercial; for the coming year, YouTube expects
its turnover to cross, for the very first time, the one billion
USD threshold. Connected TV makes it possible to make
even better use of the Internet’s distribution structures. New
providers enter the market with video-on-demand, invoic-
ing is either based on individual transactions (T-VOD) or on a
subscription model (S-VOD).
A HIGHLY COMPETITIVE MARKET
ONLINE VIDEO
Catch-Up TV Videoportale
E.g. BBC iPlayer Bsp. YouTube
Watch later, at your leisure Largest and best-known
157m page impressions/ portal
month 450m users/month
2016: 700m
T-VoD S-VoD
E.g. Amazon Instant Video E.g. Hulu
Trusted online retailer Streaming pioneer
Access to more than 50,000 903m video streams/month
films and shows Monat (January 2010)
References: BBC: Telecompaper.com 2011; YouTube: Pingdom.com 2011,
Trefis.com 2010; Amazon: Amazon.com 2011; Hulu: NYTimes.com 2010
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2.2 SOCIAL TV
Virtual Get-Togethers
in Your Living Room
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TV goes social – The Web as a Trailblazer
When compared to YouTube or Vimeo, traditional TV lacks a
lively social communication channel. Users of video platforms
comment uploaded videos, share them on Facebook, or pro-
duce a video response within minutes. Television in the tra-
ditional sense of the word, on the other hand, appears to be
almost “socially amputated”, neither featuring a backchannel
for comments and recommendations, nor able to match the
liveliness of chat communication. Here, Connected TV makes
it possible to upgrade the traditional TV setting.
On the Web, paralleling a video stream with social interaction is often
considered natural. Conferences which livestream increase viewer en-
gagement with chatboxes or twitter feeds. On video platforms such
as YouTube, ratings and comments are common and contribute to a
feeling of community. Image: amplifyfestival.com.au
TV-Broadcasters Experiment with the Social Web
CBS is producing a news show called What’s Trending which
picks up issues that trend on Twitter or current viral videos
on YouTube and debates these with studio guests. Cross-
media conversations are also provided by Al Jazeera’s format
“The Stream”: An English-speaking social media community
produces its own daily TV programme.
In the news show “What’s Trending”, CBS looks at the issues of the day
on the Web and in this way tries to keep up with the new dominating
medium, the Internet. Image: cbsnews.com
Virtual Viewer Communities
TV consumption which adds a social to the TV experience,
i.e. offers social interaction, is referred to as “Social TV”.
Straightforward implementations include service platforms
such as getglue.com which lets friends see each other’s
favourites and what others are currently watching. The users
enjoy a connected TV experience and are able to chat – be
The Foresight Company
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it about talk show topics, referee decisions, or a game show
host’s wardrobe. The result is a virtual viewer community
with a shared experience. The platform getglue.com consid-
ers itself a “social network for entertainment” and claims
more than one million users. The iPhone App of its competi-
tor IntoNow even lets users do without actually checking into
a show. The smartphone analyses the current audio stream,
identifies, e.g., an episode of Dr. House, and the user is im-
mediately connected to the Dr. House community and may
chat with his friends there. In the future, social functionalities
such as these will, on the one hand, be integrated into TV
sets, yet on the other hand, social networks will also provide
easy-to-use “TV-CheckIns” and integrate the TV into one’s
everyday life.
Together on the virtual couch: Providers such as getglue or miso net-
work viewers with friends and fans into a virtual television community
– comfortably as an App on the tablet. Image: gomiso.com
From Social to Participative TV
If users interact with each other through a platform while
watching TV, this is structurally similar to chatting on a couch
about what you see. This is also referred to as horizontal par-
ticipation. Interaction with what you see adds another quality
to this experience. Viewers are able to influence the medium
with their feedback, they join in, become participants. Voting
systems in casting shows which use text messages or phone
numbers are common examples for this so-called vertical
participation. In the future, an increasing number of TV sets
will be equipped with cameras – just as laptops are today.
This will make new formats for shows and variations of inter-
active games possible which will turn a part of the audience
into active contestants. The boundaries between horizontal
and vertical participation often overlap. Until 2020, new for-
mats of community TV will emerge. These may be developed
towards participative TV formats: viewers networked with
each other will themselves become part of the programme.
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Vertical participation 2010: Hardly any forms of participation 2020: Social TV formats
High Call-In TV Participative TV
Quiz TV, shopping TV Interactive involvement
Viewers who call in Viewers are activated
Low Classic TV Social TV
Leanback TV TV with a conversation
“Couch Potato” Recommendations, chat
Low High
Horizontal participation
Newly emerging TV formats may be classified according to the dimen-
sions broadcaster engagement (vertical interactions) and self-engage-
ment of the viewers with each other (horizontal interactions)
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2.3 IMMERSIVE TV
3D Intensity and Gaming
16. TV 2020 . THE FUTURE OF TELEVISION PAGE 16 . 2 TV TRENDS 2020
TV Becomes an Intensive Experience
Once HD has been fully implemented, 3D in sports and mov-
ies will be much more common by 2015, higher production
costs notwithstanding. But the trend towards using the TV
screen for gaming and exercise will also continue (Wii Sport,
Kinect). Traditional remote controls will soon be a thing of
the past and be replaced by touchpads or motion control.
Interaction with large-screen TVs opens up potentials of intensive
experience. Not only in entertainment, e-sports, and gaming, but also
for the world of reading and learning. Image: Wikipedia
Immersed in the Action with 3D
The blockbuster Avatar gave the film-going public a first
experience of the feeling of 3D. Now, not only eminent Hol-
lywood directors such as Steven Spielberg, Martin Scorsese,
and Ridley Scott are taken with the new medium, and 3D has
begun to establish itself. There remains, however, a small
hitch to the pleasure of 3D – just as in cinemas, people have
to wear special glasses to have the perception of 3D depth.
The real breakthrough for 3D TV will only occur with 3D sans
glasses, the majority of consumers will then be enthusiastic
about 3D in their living rooms, and the subjective immer-
sion into a scene will become standard. Currently, e.g.,
HTC is already marketing a 3D cell phone (Gizmodo 2011),
Toshiba is developing a 3D notebook, and LG will soon offer
a 3D monitor which uses eye tracking to deliver 3D without
glasses (Golem 2011).
The TV Set Used for Gaming und E-Exercise Programmes
TV sets are increasingly used for gaming and exercise –
couch potatoes become active gamers and living-room ath-
letes. The Wii console alone sold more than 86 million units
since its launch in 2006. The gaming functionality for TV sets
opened a huge market, 65 percent of all households in the
US play video games this way. Last year, 500 million games
were sold worldwide, and 10 percent of all web-enabled de-
vices are used primarily for gaming purposes (Gameinformer
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2011). Games continue to boom: analysts of the consulting
firm Gartner forecast a turnover of 74 billion USD for 2011
and 112 billion USD for 2015 (Gartner 2011).
Motion Control and Tablet Replace the Remote
For a long time, the interface between TV and man was
defined by the button-operated remote control with func-
tions primarily directed towards switching between differ-
ent channels. Once thousands of channels are available, and
video subscriptions and Apps have to be managed, this form
of control offers too little flexibility and not enough comfort.
New control concepts will take its place – such as the tablet
or motion control modelled on Microsoft’s Kinect.
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2.4 MOBILE TV
TV Anywhere
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Living rooms have become unimaginable without TVs. In this
respect, nothing will change. Futhermore, the propagation
of end devices will continue. Once children hit puberty, at
the latest, finding a consensus on what to watch together be-
comes all but impossible. Second and third devices are also
used for different parts of the home, e.g. kitchens or bath
rooms. Furthermore, more and more PCs and laptops act as
additional end devices for videos and TV.
However, only the next upgrade of mobile broadband will
free TV from being shackled to specific locations. In many
industrial nations, mobile LTE (Long Term Evolution) net-
works are currently being installed. LTE will actually bring
lasting changes – and these will come before long. Today,
a technological coverage of 88.1 percent of all households
with an average data rate of 1 Mbit/s is already reported for
Germany (BMWi 2011) – in the world of mobile video solu-
tions, this represents a real quantum leap. Manufacturers
have LTE-enabled end devices in the pipeline. The wish to
watch one’s favourite series also on tablet or smartphone,
everywhere and seamlessly, will become reality for the first
users as early as 2012.
Ambient TV, TV-to-Go on the tablet and eyewear: today, small screens
proliferate in bathrooms and kitchens, e.g. integrated into mirrors.
Upon demand, the LTE broadband standard will deliver video streams
anywhere. The eyewear is already able to deliver 3D movies.
Image: Vuzix.
The Foresight Company
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2.5 SERVICE TV
Managing Everyday Life
with Your TV
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T-Commerce 2.0:
From TV Commercials to Integrated Points of Sale
For the marketing and sales world, connecting the TV set-
ting with the opportunities of the Web amounts to a real
revolution. In the era of broadcast TV, knowledge about the
actual individual viewer was extremely hazy, an issue which
the use of complex target group patterns helped to hide
rather than solve. All efforts to the contrary notwithstand-
ing, there remains enormous waste coverage in traditional
TV advertising. The Web, by contrast, allows for much more
precise forms of commercial communication, tailored to the
user’s interest profile. Connected TV adapts the Web’s tried
and tested e-commerce logic for television. The increased
precision will not only delight advertisers, but also viewers.
Who wouldn’t be happy about offers which are actually rel-
evant? For targeted advertising in the context of electronic
programming guides (EPG), e.g., astonishing click rates of
13 percent are reported, a ten-fold increase over ordinary
banner advertising (MediaTel 2011).
This, however, does not solve the core problem of adver-
tising: It is still not considered a value-added offer, but a
necessary evil which – depending on the medium – has to
be zapped away, skipped, or clicked away. Some 66 percent
of all owners of TV hard disk recorders say that the ability
to skip commercial breaks is an advantage (Wyman 2009).
Second only to considerations of comfort, this functional-
ity is one of the most important reasons for their purchase.
Providers with advertising-based business models have now
developed advertising formats which cannot be skipped, e.g.
by using inserts during the show. The basic trend, however,
remains.
From the perspective of advertising-sponsored TV provid-
ers, the growing number of refusals is a full-bore attack
on their business model. But what if the customer himself
became active if he was interested in an item, and a com-
plete advertising and sales chain was tied to this object?
This, precisely, is the idea of embedded advertising: any
item which appears in a video stream is a potential object of
desire. A click on the hero’s mobile opens a pop-up window
providing product information. The next click could already
by the actual purchase, similar to Amazon’s one-click shop-
ping. The advertising process is turned on its head: Viewers
follow their interests rather than having to feel hounded
by advertising. Realising this process, however, remains a
challenge. This novel, interest-driven advertising format is
currently field tested.
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The embedded advertising approach is currently field tested. It makes
it possible to replace the little-loved commercial breaks with self-cont-
rolled access to information. If, e.g., you’re interested in James Bond’s
mobile, you can immediately find out more and may purchase it with a
second click. Image: Future Media GmbH
T-Commerce 3.0:
Augmented Shopping and Support Dialogues
In the future, TV sets will naturally come equipped with a
small webcam, just as notebooks do today. This will make
new functionalities possible which are already available on
the Web today – the additional sensory input provided by
augmented reality (AR). AR technologies supplement the
real-world environment with data objects, creating a novel
use experience merging the virtual and reality. Together,
both levels let users experience an augmented reality. Today,
webcam-based AR is occasionally used in e-commerce,
making it possible to virtually try on watches or apparel and
choose between makes, colours, and shapes. Why should
this use scenario not be transferred to future TV screens and
video walls, life-sized and in high resolution?
The existing platforms for video chats can be used to de-
velop new sales and support models. Farsighted, the 1999
Cluetrain Manifesto already proclaimed markets to be con-
versations. After capturing the Web, the principle of con-
versation will also take the TV environment and deliver new
product experiences. The support assistant of a home centre
will then be able to demonstrate, via video chat, live at the
actual object how to correctly set up a recently purchased
flatpack furniture.
The online retailer Banana Flame has recently begun to use technology
provided by Zugara to offer customers a virtual fitting room. Only on
the TV screen, however, will augmented reality be possible (almost) life-
sized. Image: venturebeat.com
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Smart Home, Sweet Home –
The TV-Set as a Video Centre
Connected TV ultimately allows for connecting any data or
video source to the TV screen. It makes sense to open the
end device for functionalities which would otherwise be
executed on the smaller screens of computers or tablets.
Now, a family can get together comfortably on the couch
when wishing auntie in the US a happy birthday. Similarly, the
videophone in nursery or the camera at the door could be
superimposed at any time while following a tennis tourna-
ment. Demographic change could make the scenario Assist-
ed-Living TV attractive for a growing part of the population.
This would not only cut the number of cost-intensive doctor’s
home calls, friends and caregivers would also be able to
“drop in” without having to spend time in the commute. The
elderly would not have to face new technology, but would
use the familiar TV set with its integrated camera and robust
voice or motion control.
In many professional environments, video conferencing has long since
become an everyday occurrence. The proliferation of video chats on
the PC will make chatting on the Connected TV a matter of course, for
instance on Google’s new platform Hangout. Image: Google
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2.6 PERSONAL TV
Made-to-Measure
Programming
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More Intelligent Navigation Using Connected TV
The TV landscape is becoming increasingly “niched”. In the
US, 237 special interest channels already capture almost
one-half of all viewers. Here, Connected TV really fits the bill -
opening new ways of managing the abundance of programme
offers. Not only do background information and updated
broadcasting schemes boost this navigational intelligence, the
collective intelligence of viewers with similar interest profiles
will help to balance increased supply side complexity. If you
are aware what your friends on Facebook are currently watch-
ing or have bookmarked in their TV schedule, you will find it
easier to choose from dozens of movie premieres, thousands
of live channels, and millions upon millions of video files (music
videos, podcasts, educational videos, sports, fun). In this way,
the social dimension of Connected TV supports decision-mak-
ing. The point of Connected TV is simply that it re-combines
into one device the complexity which users currently handle
using two devices. The services which support users today in
finding the right programme or downloading a suitable mo-
tion picture from the Web now entirely migrate to the TV set.
Here, personalisation will be indispensable – being spoilt for
choice ruins the fun in any media.
Future of Personalisation:
Context-sensitive Butlers, Speedy Agents
In the near future, intelligent algorithms and networks will
support users’ in their programming choices. A personalised
best-choice service will, on the one hand, analyse the user’s
viewing habits, and on the other will access his expanded
media history. Based on someone’s browser history, the sys-
tem will, e.g., assume that the user is presently interested in
Tunisia as he is in the midst of choosing a holiday destination,
and will hence suggest a list of current TV reports and mes-
sages on “Tunisia as a holiday destination”. Once a booking
has been taking place, no further personalised offers re-
garding this topic would be shown. Like a butler, the ser-
vice would be aware of his employer’s habits and discretely
consider them.
Another scenario is intelligent leisure management: Net-
worked diaries make it possible to coordinate viewing
behaviour and other leisure activities. The service will, e.g.,
consider the user’s preference for live transmissions of foot-
ball matches, will recognise and learn his habits and favourite
teams. When selecting an evening for a bbq, users will upon
checking their electronic diary also be made aware of TV
transmission which are deemed interesting and have been
entered automatically.
The personal TV diary scenario already has components
which use simple artificial intelligence – the system learns
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the user’s preferences from his behaviour and, based on the
former, handles filters and messages. By 2020, the seman-
tic Web will have matured further, filtering will not only
be smarter, but active agents will also be possible. These
modules not only filter existing databases, but will explore
the Web on their own to actively seek for anything interest-
ing. This could be videos which remain “underneath the
radar” of usual video searches because they have not been
indexed. The agent would then search the most promising
areas of the video web and would, e.g., sift through the
video files’ image material.
Your TV Is Watching You
Since webcams will soon be a standard component of TV
sets, they can be used to create up-to-the-second interest
profiles: Our TVs are watching us. If analysed together with
the video stream, our posture and facial expressions provide
information on what we find fascinating or boring. Here, the
Internet of things could offer additional angles of attack:
tiny sensors might analyse a user’s movements on the couch,
calculate breathing frequencies and heart rates, and help to
further define user models. Viewers would be able to select
programmes such as “couch potato”, “my sports news”, or
“learning TV” and would be correspondingly observed and
supplied.
The TV is watching us: Market research has long since been tracking
eye movements of test buyers to better understand interests and the
effects of advertising. These tracking systems can now be inconspi-
cuously installed in monitors. In a few years, this technology could be
implemented at low costs in living rooms. Thinking TVs would offer
selection lists adapted to our emotional situation.
Image: Attention Tool ®, iMotions ®
As technology progresses, it might even be possible to ana-
lyse the focus of one’s eyes, as professional market research
does on a daily basis. In this case, a small eye tracker would
be placed near the couch ready to anticipate our every wish
from the movement of our eyes. If our eyes linger on an ob-
ject or a word, this is a rather reliable indicator of increased
interest. This situation might prove to be a boon to market
research, but privacy advocates will also spring into action,
and rightfully so. Even if the processed emotional data was
guaranteed not to leave one’s four walls and would merely
be used to make programming suggestions, many people
would be uncomfortable with this intrusion into our subjec-
tive selves.
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3 CONCLUSION:
TOWARDS
THE SUPER
MEDIUM
If we review the new qualities of TV 2020 described in
the previous chapter, we notice that there is little reason
More to suspect that TV might be at death’s door. Rather, TV is
service transformed into a Super Medium boasting a host of new
Greater viewing qualities. Tomorrow’s television will be connected
More to the Web, one’s friends, and the smart home’s consumer
social
control electronics. It will be everywhere – anytime, anyplace. Media
experience
TV centres will offer access to any live video feeds and an unlim-
ited archive of movies, series, event recordings, and teaching
2020 videos. Software agents help users choose. Video streams
will often be provided in three dimensions and will be en-
More Higher riched with interactive elements. The webcam, which comes
as a standard with end devices, lets viewers change to video
intelligent intensity
chat at any time and switches from television to dialogue
More and telepresence modes. The camera’s eye makes it possi-
flexible ble to identify gestures, dispensing with the remote control
and transforming the living room into a virtual gaming and
exercising arena.
Unlimited Freedom?
Children growing up today occasionally ask their parents
how earlier generations were able to achieve things without
the Web, mobile phones, or Facebook – researching infor-
mation, arranging dates, finding new friends. In 2020, the
youngest generation will look in amazement at an era when
one had to adhere to rigid programming schedules as a re-
sult of scarce frequencies and programming slots. We have,
however, also to consider the costs of the Super TV era’s
unlimited freedom. As offers multiply, does media compe-
tence have to grow likewise? And might this freedom be only
make believe? Google’s personalised search engine relies
on a user’s search history and tends to show more pages
which affirm his existing worldview, prejudices, and values.
The ease of personalisation may thus lead to the comfort
zone of mental monotony. The fact that almost unnoticeably
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28. TV 2020 . THE FUTURE OF TELEVISION PAGE 28 . 3 CONCLUSION
and in ever-more areas of life, algorithms and not people
make judgments on and decisions for us should in no way be
considered to be unproblematic. This applies to profile and
behaviour-based advertising on the Web just as to calculat-
ing one’s credit rating based on socio-demographic data.
These critical aspects of transparency and privacy have to be
considered for the architecture of a future integrated TV uni-
verse, and not merely as acceptance factors, but as concrete
design factors.
TV as an App
It will soon be necessary to re-define TV as a leisure-time
activity. In the first stage, moving images were transferred to
the Internet as video clips, with the audiovisual snack estab-
lishing itself as a common media format. Today, however,
it is no longer a difficult to spend entire evenings trawling
YouTube’s video universe, whether one is looking for funny
clips, recordings of conferences, or teaching videos for many
knowledge areas and areas of life. If, thanks to Connected
TV, this stream of images appears on domestic large screen
TVs, most people today would still hesitate to speak of an
evening spent watching TV. This linguistic uneasiness is clear
evidence of a transformation on the factual level: “Is what
I’m doing actually watching the telly?” some may enquire in
view of the new medial crossovers and mergers. This applies
even more to use cases such as Augmented Shopping, which
has nothing in common with the medium of broadcast TV –
here, the TV set is simply used like a PC.
In this context, TV in the traditional sense, distributed to
households in customary linear programming schedules, los-
es its eminent position. Here, the analogy to mobile phones
really sums things up: the world’s most successful smart-
phone, Apple’s iPhone, relegated the original core function-
ality Voice Call to the level of an App, on equal footing with a
host of other services. The conceptual consequences of this
step are hard to overestimate, after all, it ushered in a radical
re-definition of what a telephone is and what it may do.
A similar development may be expected for the TV and tele-
vision in general. We may say that TV 2020 is merely an App.
At the same time, tomorrow’s TV will be at the heart of our
media consumption – and will thus become a Super Medium.
It is precisely the combination of the strengths of the Web
with the qualities of TV which could lead to the emergence
of exciting new formats. The opportunity consists of trans-
forming the TV set – using integrated services – from a mono
to a multifunctional device which will continue to remain a
core element in consumer electronics. By comparison to the
PC, the TV set has traditionally belonged to the entire family.
Wherever media consumption has a communal aspect, TV
will be able to play to its strengths.
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TRENDING LIVE NOW ENTERTAINMENT PERSONAL NEWS social
BEST OF FRIENDS LEARNING WORLD VIDEO CHAT SPONSORED MOVIE perso
Future operating concepts could replace fixed channels and program-
ming guides with a permanently updated offer cloud based on the
best-of principle. This makes it possible to handle an overwhelming
supply. Based on moods and profiles, regulators filter which offers are
currently listed. Media sovereignty becomes a key value.
The Foresight Company
30. TV 2020 . THE FUTURE OF TELEVISION PAGE 30 . ANNEX
REFERENCES
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NYTimes.com 2010
Successes (and Some Growing Pains) at Hulu. 1.4.2010. http://
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The Foresight Company
31. TV 2020 . THE FUTURE OF TELEVISION PAGE 31 . ANNEX
Wyman 2009
TV 2013: Is It All Over? Oliver Wyman Journal. http://www.
oliverwyman.com/ow/8868.htm
Pingdom.com 2011
Royal Pingdom: Facebook, YouTube, our collective time sinks
(stats). 4.2.2011. http://royal.pingdom.com/2011/02/04/face-
book-youtube-our-collective-time-sinks-stats/
Telecompaper.com 2011
BBC iPlayer receives 157 million requests in June. 3.8.2011.
http://www.telecompaper.com/news/bbc-iplayer-receives-
157-million-requests-in-june
Trefis.com 2010
700 Million Monthly YouTube Visitors by 2016? 19.3.2010.
http://www.trefis.com/stock/goog/articles/13489/700-milli-
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Images
P. 9
zatznotfunny.com
http://www.zatznotfunny.com/2009-01/yahoos-internet-tv-
widget-platform
P. 12
amplifyfestival.com.au
http://www.amplifyfestival.com.au/watch-sessions-live
cbsnews.com
http://www.cbsnews.com/8301-504943_162-20080835-
10391715.html
P. 13
gomiso.com
http://www.gomiso.com
P. 16
Wikipedia
http://en.wikipedia.org/wiki/Kinect
P. 19
Vuzix
http://www.vuzix.com/site/_photo/products/big/Glasses_
Touch.jpg
The Foresight Company
32. TV 2020 . THE FUTURE OF TELEVISION PAGE 32 . ANNEX . IMPRINT
P. 22
Future Media GmbH
http://www.futuremedia-gmbh.com/interactive_video.html
P. 22
venturebeat.com
http://venturebeat.com/2011/08/05/zugara-ecommerce-
banana-flam
P. 23
Google
http://plus.google.com
P. 26
iMotions®
http://www.imotionsglobal.com
IMPRINT
Z_punkt GmbH
The Foresight Company
Anna-Schneider-Steig 2
50678 Köln
Fon +49.221.3555.34-0
Fax +49.221.3555.34.22
info@z-punkt.de
Z_punkt The Foresight Company is an internationally leading
consulting agency for strategic questions concerning the future.
www.z-punkt.de
Authors:
Andreas Neef
is a managing partner at Z_punkt
neef@z-punkt.de
Willi Schroll
is a Senior Foresight Consultant for Z_punkt and operates
strategiclabs.de in Berlin
schroll@z-punkt.de
Dr. Sven Hirsch
is a Senior Foresight Consultant for Z_punkt and a researcher
at ETH Zurich
hirsch@z-punkt.de
The Foresight Company