1. W H I T E P AP E R
3 6 0 - D e g r e e Ap p r o a c h t o V i d e o : H o w B r a n d s C o n v e r g e
O n l i n e , M o b i l e , a n d S o c i a l Au d i e n c e s t o B u i l d
C o m m u n i t i e s w i t h K yt e ' s P l a t f o r m
Sponsored by: Kyte
Melissa Webster
June 2010
I D C O P I N I O N
As the audience has moved online, global brands and media and entertainment
companies have followed, investing heavily in the online channel. That online
channel, however, is fragmenting: In addition to creating compelling destination sites
with engaging, original content, brand owners and media companies need to reach
out to consumers who access the Internet using their mobile phones and to digital
natives who spend their day on Facebook or another social networking site.
In addition, the very nature of that online channel is changing. Gone are the days of
the static one-way Web site: Today's Web is interactive, participatory, and visually
rich, with plenty of video. It's about community, and building a two-way conversation,
and that requires new types of video content: not just professionally shot and
produced video but also "authentic" video captured in the field and user-generated
content (UGC).
The need to easily and quickly create and publish all kinds of video to all of today's
online touch points for a 360-degree view of the consumer is driving spending on
online video platforms (OVPs). IDC believes that large organizations, including global
brands and media and entertainment companies, should look for an OVP that can:
Publish video to the broad variety of mobile devices that consumers are using to
connect to the Internet, via both the mobile Web and mobile applications
Publish video to social networking sites, via widgets, to reach the audience
where it is already engaged
Manage the workflow for different types of content, whether professionally shot,
authentic, or moderated UGC
Provide a reliable, scalable, highly available service with comprehensive
reporting and analysis capabilities and a full set of APIs that enable it to be
integrated with other enterprise applications
GlobalHeadquarters:5SpeenStreetFramingham,MA01701USAP.508.872.8200F.508.935.4015www.idc.com

2. 2 #223929 ©2010 IDC
S I T U AT I O N O V E R V I E W
As the world moves online, the Web is quickly becoming the primary channel for global
brands and media and entertainment companies that want to engage consumers and
build customer loyalty. By IDC estimates, 1.6 billion people worldwide are already using
the Internet, and by 2013, a third of the world's population will be online — some 2.3
billion people — with the greatest growth in Asia and other emerging markets.
Increasingly, the online experience is also a mobile experience: Most of this growth will
come from mobile users accessing the Web from laptops and handheld devices. By
2013, there will be nearly 4.9 billion mobile subscribers worldwide, and a growing
percentage of them will have smartphones capable of delivering a good Internet video
experience. Media tablets such as the iPad will also see tremendous growth during this
period. In fact, the number of Internet-connected devices will grow even faster than the
online audience will: It will almost double, from an average of one device per Internet
user today to 1.7 devices by 2013, as more people connect to the Internet via mobile
devices, media tablets, and new consumer electronics products (e.g., connected TVs).
The Web experience has also become a social experience. As IDC research shows,
more than 60% of Internet users in the United States regularly access one or more public
social networking sites, and IDC expects the number of Internet users creating blogs or
participating in online communities will more than double between 2008 and 2012.
The challenge for marketers is leveraging the power of the Web to reach that online,
increasingly mobile, and increasingly social audience. Web sites have certainly evolved
very quickly over the past few years from static, information-oriented pages to fully
dynamic, interactive applications that transact or entertain, and the continued shift of the
marketing budget to the online channel is reflected in the growth in spend on Web
content management, Web analytics, search engine optimization, and other tools that
help marketers optimize the effectiveness of the online experiences they create.
Video is becoming a key component of these online experiences: Video is compelling
and immediate, and marketers can tell a story more persuasively with video than with
any other medium. As our Web site investment survey shows, nearly half of large
companies (those with 1,000 or more employees) across a broad range of industries
rate "making Web sites more interactive/engaging via video, audio, or rich Internet
applications (RIAs)" an important priority. Certainly, the percentage is even higher
among global brands and large media and entertainment companies.
T h e R i s e o f O n l i n e V i d e o P l a t f o r m s
The need to quickly deploy new online experiences using video in creative ways has
given rise to a new solution category: online video platforms. Online video platforms
address the myriad challenges inherent in publishing video and make it easy for Web
site owners to add video to the online experience they are creating. OVPs host and
manage Internet videos and provide transcoding services; typically, they include a
customizable video player that Web site owners can use to easily embed video in
their Web pages, and they provide a scalable, high-performance, and highly available
infrastructure that ensures a good playback experience.

3. ©2010 IDC #223929 3
This very vibrant, competitive space is seeing tremendous innovation: Literally
dozens of OVP providers in the marketplace today are addressing different market
segments. At the low end are inexpensive, bare-bones solutions with simple video
publishing tools for lower bit-rate video catering to smaller organizations; these OVPs
typically make most of their revenue from the markup and resale of wholesale content
delivery network (CDN) bandwidth. More advanced OVPs offer sophisticated
publishing and syndication tools geared to global brands and media and
entertainment companies; because most of these customers already have CDN
relationships, bandwidth markup is a minimal component of their revenue model.
O V P R E Q U I R E M E N T S F O R G L O B AL B R AN D S
AN D M E D I A AN D E N T E R T AI N M E N T
C O M P AN I E S
High-quality content is core to the value proposition of global brands and media and
entertainment companies — it's an important part of how they differentiate
themselves. They need an OVP that enables them to publish high-quality video to the
Web with a good playback experience. They also need the OVP to help them reach
and engage the increasingly mobile as well as social audience through a compelling,
customized experience. This requires a combination of rich, built-in functionality and
platform extensibility. Let's look at these requirements in more detail.
B r o a d R a n g e o f C o n t e n t T y p e s : A u t h e n t i c ,
U s e r G e n e r a t e d , P r o f e s s i o n a l l y S h o t
First, the OVP needs to make it easy to create and publish all types of content, including
high-quality, professionally shot and produced video; professionally shot "raw" video
captured in the field, also known as "authentic" content; and user-generated, user-
uploaded video. Typically, a brand Web site, campaign, or "show" will blend two or even
all three of these content types to create an engaging experience.
Although online video platforms all support professionally produced content, not all
online video platforms support high-quality video. As desire grows for high-definition
content, we can expect to see that change. Today, the ability to deliver high-quality
video is closely tied to the online video platform's scalability, transcoding capabilities,
and ability to support the ever-broadening range of viewing devices.
We can think of authentic content as UGC created by professionals. Like UGC, it's
casually shot — often using mobile phones or other portable devices — and minimally
edited. It may be a TV personality or celebrity chronicling life, or a journalist capturing
breaking news at the scene using an iPhone for near-real-time playback. Ease of
upload and customizable workflows enable quick time to publish — ensuring that the
content is fresh, persuasive, and distinctive.
Ease of publishing is also important for UGC to contain production costs for the
increased video inventory that UGC provides. Equally important is the ability to
moderate that content to protect and support the company's brand. The OVP also
needs to enable viewers to comment on and rate content to help foster the
community around the content and generate buzz.

4. 4 #223929 ©2010 IDC
Live and On-Demand Video
Most online video platforms do a reasonably good job delivering short-form video clips
on demand via progressive download. Not all of them, however, are suitable for longer-
form content. This is changing as more OVPs add support for HTTP streaming, which
provides many of the benefits of true streaming via adaptive bit-rate technology. Global
brands and media and entertainment companies need an OVP that can deliver both
short- and long-form high-quality video with an optimized playback experience.
We believe that global brands and media and entertainment companies also need
support for live streamed video. There are many use cases for live video — whether
breaking news, sports events, concerts, or some other type of real-time content.
Ideally, a single platform supports both uploaded and live content with a consistent
user interface and feature set.
T h e M o b i l e W e b a n d M o b i l e A p p l i c a t i o n s
The OVP must provide out-of-the-box publishing for mobile, and it needs to support
both the mobile Web and mobile applications. Whereas we continue to see a
preference for applications among smartphone users (given their phones' smaller
screens), viewers using media tablets (like the iPad) are more likely to engage via the
open Web. Regardless, mobile use is growing and mobile devices are quickly
becoming the primary way younger viewers connect to the Internet. The ability to
create a branded, high-quality mobile experience is essential for global brands and
media and entertainment companies.
T h e S o c i a l W e b
The explosion of social networking has profoundly changed the way we think about
building online experiences. It's one thing to build a great destination site; it's quite
another to take it viral, and the way to do that is through content syndication — taking
the content to the audience where it is already engaged. Today's online video
platforms need to provide robust capabilities for content syndication to Facebook and
other popular social networking sites via widgets and other built-in features.
A n a l y t i c s , R e p o r t i n g , M o n e t i z a t i o n
In addition to publishing capabilities for the Web, mobile devices, and social
networking sites, the OVP needs to provide integral analysis and reporting
capabilities across all of these touch points. Marketers need insight into how their
content is consumed across the Web, and they need actionable information to help
them continuously improve the experience they deliver.
E x t e n s i b i l i t y
Finally, large organizations need an OVP that is easy to integrate with a broad variety
of back-end systems so that they can manage rights, profile users and customize the
user experience, tie in advertising platforms and ecommerce systems for
monetization, and so forth.

5. ©2010 IDC #223929 5
C O N S I D E R I N G K Y T E
Privately held Kyte (www.kyte.com) is headquartered in San Francisco, California,
with offices in New York, London, Hamburg, and Zurich, and has approximately 55
full-time employees. Kyte's customers include global brands and media and
entertainment companies such as ABC, Armani Exchange, Clear Channel, ESPN,
Fox News, HomeAway, MTV, Monster Energy, NATO, NBA Digital, Nokia, and Tyra
Banks. Kyte was funded by Draper Fisher Jurvetson, Steamboat Ventures, and other
venture funds, as well as the investment arms of several major wireless corporations.
Kyte's cloud-based white label online video platform supports the publishing of all
three kinds of content — professionally produced, authentic, and user generated —
and provides delivery of both live and on-demand video. The company was founded
in 2006 with the goal of providing online video platform services for the mobile and
social Web: Kyte recognized early on the impact that increasing adoption of
smartphones and social networking sites would have on the way online video is
created and consumed, and we believe that Kyte is well-positioned to benefit from the
explosive growth of both.
Kyte Console is a graphical Web-based interface that lets users upload and manage
media assets and playlists, create and manage channels and players, moderate user-
generated content to ensure against inappropriate content, and access Kyte's
extensive reporting and analytics on video production, distribution, users and
consumption, and monetization.
Kyte Player is an embeddable, skinnable, fully customizable player with built-in
community features for social video sharing, commenting and content rating,
multimedia chat, and so forth.
Kyte's platform has particularly strong support for mobile video: Its innovative Mobile
App Frameworks make it easy and quick to develop mobile video applications for
iPhone, BlackBerry, Android, and Nokia. Kyte has equally strong support for the
social Web: In addition to its player's features for social video sharing and multimedia
chat, Kyte offers application frameworks that speed development of widgets that
embed Kyte video on social networking sites.
Kyte provides extensibility at two levels. Kyte application frameworks are turnkey
solutions that let developers quickly deliver native applications based on a fully
customizable set of prebuilt functional modules core to the Kyte platform, including
video playback, video creation for UGC campaigns, real-time social interactivity,
location-aware events, Twitter and RSS readers, and more.
Kyte SDKs give developers a comprehensive set of APIs that enable them to
incorporate Kyte-powered video and interactivity into existing applications, and they
facilitate integration of third-party solutions for ad management, analytics,
ecommerce, rights management, and single sign-on, among others. As a cloud-based
(SaaS) solution, Kyte is quick and cost-effective to deploy and is engineered for Web-
scale performance and availability (see Figure 1).

6. 6 #223929 ©2010 IDC
F I G U R E 1
K y t e ' s O n l i n e V i d e o P l a t f o r m
Source: Kyte, 2010
Kyte is committed to evolving video standards such as HTML5: If you use Kyte, your
video will play on iPhones and iPads. Kyte is also committed to the three-screen
experience: It already supports "connected TV" devices from Boxee, with Roku in the
works and Google TV planned. As video publishers think about how to get their
content onto these new devices, Kyte intends to be the facilitator, whether via an
optimized Web video experience or platform-specific application.

7. ©2010 IDC #223929 7
C AS E S T U D I E S : K Y T E I N AC T I O N
We spoke with two Kyte customers to learn firsthand how they are leveraging Kyte's
online video platform to help them create and publish diverse kinds of content and
deliver an engaging experience across the Web — including the mobile and social Web.
M T V N e t w o r k s
Viacom's MTV Networks runs cable networks — including the MTV channels (MTV,
MTV2, VH1), Comedy Central, Nickelodeon, and others — that reach over 640 million
households in more than 160 countries. On air, MTV Networks is the number 1 rated
full-day ad-supported cable network for people aged 12–34. MTV.com averages 25
million unique viewers per month and is seeing double-digit growth in visitors — and
strong growth in video streams as well.
We spoke with MTV executives responsible for Internet video in New York and Berlin
about their use of Kyte's platform to deliver video streams for a variety of innovative
and successful online shows. Of course, as a top-tier media company, MTV Networks
has made significant investments in its own Internet video delivery capabilities,
including its own branded Internet video player, which is heavily customized to meet
MTV's specific needs around content protection, ad sales, and financial management.
The expectation is that MTV's online programming teams will utilize the internally
developed platform whenever possible.
Kyte, however, offers MTV Networks some unique capabilities that help it deliver on
its promise of being a "dynamic, vibrant experiment at the intersection of music,
creativity, and youth culture … that entertains, informs, and unites." Kyte's platform is
quick to deploy, and its modular design also allows MTV to take advantage of
selected Kyte services as appropriate.
MTV in the United States has used Kyte in a number of interesting projects to enable
sharing across the social Web and to deliver video to mobile devices — especially the
iPhone. Most recently, MTV tapped Kyte to develop its Hope for Haiti Now
iPhone/iPod Touch application. Hope for Haiti Now was a two-hour global telethon to
support relief work in Haiti in the aftermath of the devastating earthquake that hit Haiti
in January 2010. The benefit — by all accounts, the most watched telethon in history
— was organized very quickly: The global broadcast took place just 10 days after the
quake hit, and speed of deployment was critical.
Thanks to Kyte's Mobile App Framework, the application — which let mobile viewers
watch live and make donations in real time — was written in less than a day and
certified for the iTunes App Store just in time for the telethon. According to Michael
Scogin, vice president of wireless for MTV, "We're doing a ton of iPhone apps, and
Kyte gives us a low-cost, quick-to-market solution for these projects."
MTV US also used Kyte for It's On with Alexa Chung, a live, interactive "variety show"
hosted by model-turned-TV-personality Alexa Chung in 2009. It's On was designed as
a sort of mashup of TV and the Web and made extensive use of Facebook and
Twitter to reach out to younger audiences who have drifted away from TV. The show
used the Kyte player to deliver both professionally shot and authentic content to its
Web site, and Kyte's Get & Share functionality enabled viewers to share the show's
content via the social Web.

8. 8 #223929 ©2010 IDC
In addition, MTV US used Kyte for the 2009 MTV Movie Awards to create an
engaging iPhone application that delivered iPhone-optimized video of the awards,
reaching out to mobile viewers via notifications, Twitter, and RSS blog feeds.
Recently, MTV US released a version of its MTV News iPhone application that uses
Kyte's transcoding services to produce all its iPhone content — including a dedicated
section of videos for the 2010 MTV Movie Awards.
MTV Germany has been using Kyte for about two years. Its first production using Kyte
was Joko's Roadtrip. Joko, a popular MTV VJ in Germany, set out from Berlin at the
beginning of June 2008 with a car, a phone (Sony Ericsson was the show's sponsor),
and a little pocket money to attend the European football championship in Vienna at the
end of that month. According to Jürgen Hopfgartner, senior vice president for digital
media at MTV, "Joko only had about $50 in his pocket, so he needed to enlist the help
of MTV viewers — it was a great opportunity for direct engagement." Fans made him
offers of help — lodging, a meal, gas for his car, or something more entertaining — by
uploading a video or multimedia "pitch" (UGC) using Kyte. The audience picked its
favorite pitches (winners received prizes) and thus had a hand in determining the
course of Joko's trip. About 10,000 people helped Joko on his quest in one way or
another. Joko chronicled his adventures from the road, uploading a couple of short,
authentic videos from his cell phone each day. A longer, higher-quality video summary
was also posted to the Web site at the end of each day, and snippets from those
summaries were also put on the air — a great example of "Web-first" content creation.
As Hopfgartner observes, "Moving into 2010, and into 2011, it's time to break down the
barriers between the digital media world and television."
MTV Germany has since used Kyte in several additional projects. For example, MTV
Germany used Kyte to deliver both professionally shot and authentic content for one
of its new hit shows, Das Haus Anubis — a mystery soap on Nickelodeon Germany
targeted at young teens. The Web site lets fans watch back episodes, or view the
trailer for the following day's show, and post comments, and it has been very
successful — with 50–100,000 show views per day.
MTV Germany has also used Kyte for Vasta.tv, a television series on the VIVA
channel. The show is moderated by Nadine Vasta, one of MTV Germany's VJs, and
Vasta used Kyte to capture and upload video from her mobile phone to document her
urban, Web 2.0-ish lifestyle — continuously updating her blog and Facebook page.
Collectively, these projects highlight Kyte's ability to publish all types of content —
whether highly produced, professional content, authentic content, or UGC — to the
mobile and social Web.
P u b l i c i s
Publicis Group is one of the world's largest advertising and media services
companies. Headquartered in Paris, France, Publicis serves customers in more than
100 countries on five continents. The company had $6.6 billion in revenue in 2009
and employs approximately 45,000 people.
Publicis in the West, founded in 2001, is part of Publicis USA (www.publicis-
usa.com), the North American regional operating unit of Publicis Worldwide, which in

9. ©2010 IDC #223929 9
turn is the largest global advertising network within Publicis Groupe. Its Seattle team
has created award-winning comprehensive campaigns for clients such T-Mobile, Citi,
HP, UNICEF, Coinstar, RealNetworks, and the Washington State Lottery.
Publicis' tagline is "creating contagious ideas that ignite and change conversations,"
and its campaign for HomeAway.com this past spring is a great example of doing just
that. HomeAway.com wanted a campaign that would not only build brand awareness
but also really get a conversation going, and Publicis came up with a creative and
playful approach to telling the story about the limitations of the hotel market and the
advantages of the home rental market. It created a series of entertaining Webisodes
starring Chevy Chase that chronicled the hotel misadventures of the Griswolds and
advertised the "movie" Hotel Hell Vacation via a Super Bowl TV spot.
Publicis and HomeAway.com knew they needed a Web-scale solution, but they didn't
want just another static YouTube experience: It wasn't about sending viewers off to
YouTube to watch video; they wanted a destination that would let them really engage
users — with high-quality content, a moderated UGC component, and social sharing.
Kyte enabled them to customize the experience, skinning the player and adding
surrounding content, and provided the UGC capability. Users shared their stories of
hotel horrors in words, images, and video in exchange for a chance to win a $10,000
vacation rental, and they could comment on, rate, and share the Webisodes on
Facebook and Twitter using Kyte's integrated social and interactive capabilities.
Publicis and HomeAway.com keenly wanted to make the social-sharing aspect of their
campaign come alive — they thought that it would be key to the campaign's success,
and it was. HomeAway.com's Super Bowl TV spot was the second most trafficked
Super Bowl ad in history, as measured by Web page views on the HomeAway.com
microsite — with 4.4 million page views and 1.4 million video views in the first 24 hours
after the TV spot ran — and more than a third of that traffic came from social sites.
Reflecting on the value of using a platform such as Kyte's, Trace Cohen, vice president
of digital strategy at Publicis, says that "you need to reach the audience where they are
— the audience is out there, consuming media on Facebook or on mobile devices. With
Kyte, you get both the distribution and the destination." Cohen says Publicis is looking
forward to using Kyte for new projects and putting Kyte's mobile capabilities to use.
Among the lessons learned, Cohen notes, "One of the key facets of the success of
the HomeAway.com program was tapping into the appetite for longer-form content."
While conventional wisdom might have dictated shorter, three-minute vignettes,
Cohen says that Publicis' creative director "pushed hard for intelligently written 15- to
20-minute [funny!] Webisodes instead."
Not only did the campaign prove an unmet need for longer-form Web video, but the
Super Bowl spot itself was really a trailer cut from a Webisode — another example of
creating content first for the Web, then repurposing it for TV. According to Cohen, "It
was really a new way of doing things: Typically, the TV advertising team leads, and then
the digital team is asked to support. This was the other way around." Considering that
the lion's share of the budget today still goes to those TV spots, that's not a surprise, but
Cohen is quick to point out the value of the "incremental" spend on the digital media
side: "It really makes no sense to do it without the digital piece!"

10. 10 #223929 ©2010 IDC
C H AL L E N G E S AN D O P P O R T U N I T I E S
As a venture-backed start-up, Kyte has all the usual challenges that small companies
face in new markets. As noted previously, the OVP space is very crowded and
competitive: We've counted more than 80 OVP providers, although from a
feature/function perspective, Kyte competes with only a subset. Nevertheless, it can
be difficult to assess the strengths and weaknesses of a long list of competitors, and
intense competition tends to drive down prices in any market. This means it will
continue to be important for Kyte to innovate so that it can strongly differentiate its
service from those of its competitors.
Kyte has succeeded in opening doors through direct sales outreach as it works to
establish its customer base among global brands and media and entertainment
companies, and it will need to execute well on the marketing front to get its message
heard and ensure that it is included on evaluation lists for new opportunities. We
believe that the OVP market will undergo considerable consolidation over the next
few years: We're already starting to see acquisition activity. Kyte will want to be well-
positioned to take share as this trend gathers momentum.
Second-tier media companies and global brands are already adopting OVPs in lieu of
investing in custom-built solutions. In large media companies, however, the biggest
competitive threat for OVPs in the short term is in-house developed video platforms.
The large media and entertainment companies — particularly broadcasters and cable
and satellite networks — have already made huge investments in their video delivery
infrastructure and staff, and these investments are not yet fully depreciated. Further,
these are often elaborately customized systems with deep integration into other
proprietary systems. Wholesale replacement of an in-house Internet video delivery
platform with a SaaS service may not be an immediate option for some of the large
media and entertainment companies that Kyte is targeting, although Kyte reports that
it is seeing more RFPs from major media companies looking to accomplish just that.
Over the next few years, as both OVPs and cloud computing mature, we will also see
opportunity for in-house platform replacement at big media companies. In the
meantime, Kyte is finding plenty of opportunity today within these companies for
exciting projects. Thanks to its frameworks and SDKs, and its modular architecture,
Kyte can be used to extend the in-house platform. Further, new initiatives that require
new functionality can place a big strain on those in-house systems: Often, the choice
is a lengthy in-house IT project versus a quick and cost-effective Kyte deployment. In
an industry where time to market is all-important, it can be easy to justify the decision
to use Kyte.
We believe that over the next decade, OVP functionality may become a pervasive set
of rich video authoring and publishing services that are incorporated into larger and
more comprehensive platforms for managing the online experience in all of its flavors
rather than a separate offering. If so, Kyte will want to make sure it puts the right
partnerships in place to ensure its long-term future and a successful exit if and when
this comes to pass.

11. ©2010 IDC #223929 11
C O N C L U S I O N S AN D R E C O M M E N D AT I O N S
As the audience continues to move online, and as demand for video — both live and
on demand — grows, the need for an online video platform will become only more
acute for any company seeking to engage its customers over the Internet.
Large organizations such as global brands and media and entertainment companies
require a professional-caliber OVP that can help them create, manage, publish,
distribute, and monetize video content of all kinds — whether professionally
produced, authentic, or user generated — across all of the touch points for their
audience, including the mobile and social Web.
We recommend that these companies evaluate their current strategy for publishing
video and ask themselves the following questions:
Do current systems for publishing video enable the company to quickly launch
new campaigns or programming for iPhones, Android phones, or other popular
mobile devices? What about the iPad?
Do its current systems provide community-building features that encourage
viewers to interact and share? Is it easy to launch new online promotions or
experiences that leverage authentic or user-generated content? What about
moderated UGC?
How easy is it to customize its current player for new initiatives?
Do its current systems provide comprehensive reporting and analytics that give
the company a 360-degree view of its users and how its content is being
consumed?
Is the organization currently relying on a host of disparate, siloed solutions that
require separate skill sets (and personnel) to use and maintain?
If the answer to any of these questions is yes, it's time to investigate how an online
video platform such as Kyte's can help to accelerate time to market and time to
revenue. We are still in the early days of the digital media revolution: Now is the time
to seek the help of innovators that can anticipate emerging needs and be ready with
functionality and/or provide extensibility to address them.
C o p y r i g h t N o t i c e
External Publication of IDC Information and Data — Any IDC information that is to be
used in advertising, press releases, or promotional materials requires prior written
approval from the appropriate IDC Vice President or Country Manager. A draft of the
proposed document should accompany any such request. IDC reserves the right to
deny approval of external usage for any reason.
Copyright 2010 IDC. Reproduction without written permission is completely forbidden.