Categories
Apple Metadata Video Technology

How is Apple using metadata in iMovie for iPhone?

I was finally watching the Steve Jobs Keynote from WWDC on June 7. (I know, but this was our second try – we get talking about stuff, what can I say?) I got to the iMovie for iPhone 4 demo and was blown away by the creative use of source metadata.

At 58 minutes into the keynote, Randy Ubillos is demonstrating adding a title to the video he’s editing in iMovie and iMovie automatically ads the location into the title. Not magic, but it’s simply reading the location metadata stored with images and videos shot with an iPhone and using that to generate part of the title. This is exactly how metadata should be used: to make life easier and to automate as much of the process as possible.

Likewise the same metadata draws a location pin on the map in one of the different themes. Exactly like the same metadata does in iPhoto.

In a professional application, that GPS data – which is coming to more and more professional and consumer video camcorders – could not only be used to add locations, but also to read what businesses are at the address. From that source and derived metadata (address and business derived from location information) we can infer a lot.

Check out my original article on metadata use in post production and for a more detailed version, with some pie-in-the-sky predictions of where this is going to lead us, download the free Supermeet Magazine number 4 and look for the article (featured on the cover) The Mundane and Magic future of Metadata.

Categories
Apple Distribution Media Consumption

Why are Google TV and Apple TV the wrong approach?

As a long term user of an Apple TV (useful when hacked) and reading recently about the Google TV and adapter boxes to come, as well as other ventures into merging “internet Video” and “The lounge room experience”. These approaches almost always have a 20′ interface: one that can be read from the comfy chair remote from the screen.

Apple’s minimalist approach certainly fits that screen factor, but there’s no real way to get Internet content there, other than where there’s a special deal, such as with the YouTube access. But here we run into the fundamental problem with this kind of interface: try searching for a video in YouTube, or heaven forbid (if you’ve hacked the Apple TV with ATV Flash to get a browser), actually typing in a URL!

Yahoo and Google want to bring a “social” presence to the big screen, as do Boxee and others, but I think they’re fundamentally going about it the wrong way.

Why do we watch TV on that big screen anyway? I think there are two fundamental reasons why we watch TV on a big screen instead of a computer screen (and one of them may indeed be bogus): a bigger image and watching socially.

In our household we have an old G4 laptop that serves as the primary media server via an Apple TV to the biggest screen in the house: in the living area. We frequently watch shows on our computer screen instead of the big screen, particularly when it’s a show I might enjoy, but my partner may not. Or I watch old TV episodes while scanning slides or processing images. But we watch some TV together and when we do that, we watch it on the big screen. Why? Because we’re watching communally.

When I’m watching TV communally I’m already involved in a little social networking with the person, or people, across the room. If I wanted to tweet my approval (or not) of a particular program, I wouldn’t want to do that on the communal screen, I’d do it on a personal screen: in my case my laptop.

The big screen argument may well be bogus: where I’m sitting right now I have a view of our main TV and my laptop screen and my laptop screen takes up approximately 4x more of my field of view than the TV. I would have a bigger screen experience watching on my laptop at 3′ than a big TV at 20′. So, for a lot of content, it’s really only the social aspect that requires the large TV.

I simply don’t want Twitter/Facebook etc. on the program screen. (That big TV.) And I don’t really ever want to explore web video on a big screen TV display without a keyboard or better input device.

And the it hit me: Apple and Google (et al.) are going about it the wrong way. The program goes on the big screen. Period. The interface is on our laptop, or iPhone, or iTouch, or (the killer one) an iPad. All have a keyboard for easy entry of urls and search; there are social applications that work just fine on those existing screens.

Trying to put the interface on a screen 20′ away without a keyboard (and wireless keyboards aren’t really an option) is just wrong: not only is it the wrong place, I don’t want to clutter my program communally (which presumably I’m watching because I enjoy it) with social media that’s personal.

The two screen approach makes much more sense. Put the program on the screen – uncluttered like  the program’s director intended – and put the control and any desired interactivity on another screen. An iPad would seem to be perfect for this, but since I don’t plan on getting one, an iPhone or iTouch or Laptop could also run the interface anywhere on the same local area network.

It turns out that an interface designed for a 20′ experience works equally well as a 2′ experience, but with touch and keyboard at hand.

Ironically a display designed for 20′ all works well at 2″ on a smaller display.

Categories
Apple Distribution Media Consumption Video Technology

What is it with Flash?

I’ve just been reading my daily round of news, and there’s still more on the whole “Flash v HTML5” or “Flash v H.264” thing and I’m just arrogant enough to believe I can contribute something here.

Flash is an interactive player that produces a consistent result across browsers and platforms. That’s why publishers like it. But most Flash use is at a very basic level: a simple video player. That is also why early QuickTime interactive programmers liked to use Flash (yes, as a QT media type) for controls and text as QT text did not display consistently across platform.

Flash is a player and not a codec or file format. The current iteration of the Flash player plays:

  • the original “Flash video” format, which is sequential JPG files, up to 15,000 a movie
  • Sorenson Spark, the first real video codec for Flash; based on the very ancient H.263 videoconferencing codec it did not produce good video quality.
  • On2 VP6, a good, high quality codec now owned by Google with their purchase of On2. Still not a bad choice for Flash playback if you need to use an alpha channel for real-time compositing in Flash.
  • H.264 in MP4 or MOV (with limitations) format. Licensed from Main Concept (now owned by DivX).

Note that those same H.264/MP4 files can be played on Apple’s iDevices using the built-in player; or using the <video> tag supported by HTML5 in Safari or Chrome (and IE9 coming sometime).

Flash as a simple video player is probably dead in the water. Flash for complex interactivity and rich media experiences probably will continue for a while, at least until there are better authoring environments for the more complex interactivity provided in “HTML5”.

That brings me to HTML5, which is not a simple player but a revision of the whole HTML tags supported by browsers, that allow native video playback by the browser without plug-in (the <video> tag); local storage (similar to Google’s temporary Gears offering, now replaced by HTML5 support) and a whole bunch of other goodies. Add to this CSS for complex display (and I mean complex – mapping video to 3D objects in the browser, for example); Javascript for interactivity and connectivity to remote servers/databases; and SVG (Scalable Vector Graphics) for creating graphic elements in a browser (useful for interface elements in rich media).

Javascript used to be very slow and not even comparable to the speed of interactivity possible in Flash, but over the last three years all Javascript interpreters have become massively faster, making complex software possible in the browser. (Check out Apple’s implementation of iPhoto-like tools in their Gallery – online version.)

Summing up: HTLM5/CSS/Javascript is already very powerful. Check out Ajaxian for examples on what is already being done. For simple video playback, Flash is probably not the best choice. MPEG-4 H.264 video AAC audio probably is the best choice. For rich interactivity targeted at anything Apple, build it with HTML5/CSS/Javascript – it’s the only choice. It is also a powerful one: Apple’s iTunes Albums are essentially HTM5-based mini-sites; iAds are all HTM5/CSS/Javascript based and not lacking in rich interactivity or experience.

If you’re building a rich media application to connect with a web backend targeting mostly desktop computers, then Flash could still be the best choice.

For building Apps for iPhone, iPad: use the Xcode tools Apple provides free. While Adobe might be complaining to the Feds looking for “anti-trust” sympathy, they won’t get it as Apple is nowhere near dominant in any market, which has to be proven before taking up the point as to whether or not they have abused a monopoly position. Apple are not the dominant smartphone manufacturer; nor dominant MP3 player, nor dominant Tablet manufacturer. (Ok, they probably are dominant in MP3 players and Tablets but they are not, by definition, a monopoly, and Apple will work very hard to ensure they never are.)

Categories
Apple Video Technology

There’s no QuickTime on Apple’s Mobile Devices Either!

In the discussion about Flash-on-iDevices following yesterday’s post it occured to me that not only was there no Flash on the iPhone, et al., but there was no QuickTime either!

Not what QT was at least. The iDevices support H.264 video and AAC audio, primarily in a MPEG 4 file wrapper (although some devices will play H.264/AAC in a MOV wrapper) that is really not what QuickTime has been. (More below). Try playing a Sorenson video file on an iPad. What about QuickTime interactivity (Wired Sprites)?  Ever seen a QT VR play on an iPhone?

Of course not. QuickTime is not supported on any Apple device other than desktop and laptop computers. I also believe that the QT I loved and evangelized heavily late last Century is destined for the scrapheap. It’s been increasingly obvious, since around 2002/2001 that Apple decided that the future of web video was MP4: open standards. Initially they supported the MPEG-4 Simple Profile (just MPEG-4 in Apple’s world) in QuickTime 6 and then H.264 – the Advanced Video Codec from MPEG 4 Part 10.

Now, a lot of MPEG-4 is adopted from QuickTime. Apple donated the QT container to the MPEG group for consideration as their container format. Because of that MPEG-4 can do pretty much anything that QT could do, except there are very few implementations of anything beyond basic video playback. So with the QT container at the center of MPEG-4 it was easy for Apple to adopt and support this evolving (at the time) technology.

So QuickTime became the pre-eminent MPEG-4 player. When it came to the Apple TV, iPhone, iTouch and now iPad, the decision was made to only support simple MP4 playback. When QuickTime X was announced it referenced “the experience of the iPhone video” suggesting that QuickTime X was a different approach. When it was released it’s clear that QuickTime X will be the next generation of consumer-facing video playback.

So I expect that QuickTime X will never get the advanced features that QuickTime currently has. There’s no business model for it within Apple, which was always the problem with QuickTime. Frankly that Apple never provided a development environment was why Flash was able to so quickly “take over”. Remember that in QuickTime 6, Flash 5 was a supported media type. (Support was dropped because of security concerns with that version of Flash.) It took Flash to version 8 before it equalled all the features of QuickTime 3! (Seriously).

Few people made use of the advanced features of QuickTime. Our Australian company was one of them, making all the movies for the DV Companion for Final Cut Pro, and most of the other Intelligent Assistants with QuickTime wired sprite animations so the file size was acceptable. We were in the era of small hard drives after all. There was never a development environment from Apple: Totally Hip stepped up with our development environment (LiveStage Pro). Had there been a business model within Apple for QuckTime then the story of the web would have been different.

The advanced features in QuickTime have had no development since, well, QuickTime 4 (before the return of Jobs to Apple). I believe, without proof, that there was a fundamental shift within Apple around that time to, really, abandon the features they could get no return on, and make QuickTime the best MPEG-4 player; a great architecture for creating media and the foundation of their total media strategy. Without the advanced features, because, by this time Flash had “won” the interactivity war.

Now we can have better interactivity using features from HTML5, Javascript and CSS, which are all web standards overseen by a body outside of one company. It’s not just Flash that won’t see the iDevices, but any resemblance to the old QuickTime won’t make it either.

And I’m OK with that. QuickTime – MOV distribution – served Apple well and continues to power their iLife applications and Professional Video and Audio applications, but without the features that it had, and no longer needs. Apple are always “good” at dumping technology that no longer meets their need. I think it’s one of Jobs’ strengths.

I also believe Apple are being consistent by not allowing Flash: it’s on a par with their own technology also not getting on the platform.

Categories
Apple Distribution New Media

Why are 99c TV shows only a step in the right direction?

In a January article “Apple pushing TV Networks to slash prices on iTunes” and more recently “Apple to offer $1 TV shows in April” Business Insider/Silicon Alley Insider suggest Apple are pushing the price of programming through iTunes down, with the goal of selling “some shows” for 99c.

This is absolutely a step in reality’s direction but it still prices individual programs at well above the traditional income-per-viewer that networks have traditionally received, and way above what it would cost for an average viewer via a cable or satellite subscription.

At 99c, the content owner would get 65c per download as Apple take 35% and pays for the bandwidth (at about 10c a GB).

65c per viewer per show is right at the top end of what the big four networks have been able to command from advertising: per show, per viewer. (Even the Superbowl only gets 85c average per viewer per 3 hours show).  At the other end, the big four get a low of 25c per viewer per show.

But not all television is “big four” nor is it always worth the network premium. Take one of my favorite shows: The Daily Show with Jon Stewart. The best research I can find is that Comedy Central pays Stewart’s company about $5 million a year or $32,000 each for the 160 shows a year that are produced. The Daily Show has an audience of around 1.5 million viewers according to Wikipedia and other sources. Cost of production to Comedy Central is just about 2c per viewer.

Presumably Comedy Central are turning a profit between the 60c per subscriber per month they get from cable carriage and whatever advertising revenue is generated across the 5 or so showings of each episode.

And yet, through iTunes that show is currently $1.99 or 99c per episode if you buy a season pass for 20 episodes. (One of the few cases where a season pass gives significant savings). It’s still too much.

If Jon Stewart’s company sold direct through iTunes at, say, 10c an episode (because once watched it has little future rewatching value, unlike episodic drama or comedy) then gross revenue would be $150,000 per show or $97,500 after Apple’s cut. (Apple’s bandwidth cost would be around .6 of a cent in SD, or $8550 leaving Apple $43950 gross profit on the sales.)

On the other end of the equation, the content creator (Stewart) gets $97,500 or three times the income for the same show as working for Comedy Central brings.

So, while 99c TV shows are a step in the right direction there’s still a long way to go before Internet, on demand, video reaches fair price parity with traditional revenues. This is not an opportunity for the existing entrenched players to dramatically increase their margins: it will kill the nascent future.

Categories
Apple Interesting Technology Video Technology

What is QuickTime X?

With the release of Snow Leopard (OS X 10.6) this week, we finally get to see QuickTime X.

Simply put, QuickTime X is, as predicted, a simplified media player and simplified architecture optimized for playback of linear video streams. Most of what made QuickTime interesting to interactive authorers back a few years, is not present in QuickTime X.

We gain some new features: 2.2 gamma, screen capture and easily publish to major online video sharing sites. Screen capture is a nice addition and easy sharing probably would have been predictable if we’d seen Final Cut Pro 7 earlier.

The 2.2 gamma will no doubt take some time to get full adoption but at least it provides a way for us to add or change a color profile. Files with color profiles automatically adjust display to look correct on all screen. (At least, that’s the theory.) Within the Final Cut Studio it seems that correct gamma will be maintained *if* conversions are done with Compressor and not QuickTime 7’s Pro Player.

Chapter display has changed from a pop-up text list to thumbnail images. Better for consumer focused movies; less good for professionals.

Fortunately, it’s not an either/or. You can choose to install QuickTime 7.6 in addition to QuickTime X. If you try and access a movie that requires QT 7 features, users will be prompted to install QT 7 (aka “the real QuickTime!). If you want to make sure it’s installed, Apple have instructions on installing it.

So that’s the story of QuickTime X – a simple, consumer-focused player with a modern-looking interface, just as I predicted a little over a year ago.

Added 8/31 Just got this off a QT Apple email list. It’s not an official word from Apple but I think it sums it up well:

Quicktime X at this time isn’t a replacement to Quicktime 7, just allows faster multi-threaded playback of some of the older codecs.

Added 9/1 Ars Technica has a deep article on the difference between QT X and QT 7 and how QTkit negotiates between them,  that confirms I got my “educated guesses” right and provides more depth in how Apple achieves this.

Categories
Apple

Why no ExpressCard34 slot on new MacBook Pro models?

Digital Rebellion blog called it “one step forward, two steps back” and questioned whether or not Apple are in touch with their “pro market”. I’m sure they care about their pro markets. Note the plural? While the pro video market is significant, the pro photography and pro audio markets by comparison are huge.

As for the ExpressCard34 slot. Sure I’m disappointed. I’m ready to upgrade laptop and want to use it for video and now my storage won’t be able to connect. That said, I have to take a step back and look at the business from Apple’s perspective. As Phil Schiller said during the presentation, only “single digit” numbers of their users use the ExpressCard34 slot. At least 90% of people were paying for a feature they didn’t use.

It’s not like the SD card slot is useless. There are a couple of Sony HDV models that optionally record to SD cards; the new JVC FCP-specific camera records XDCAM EX to a SD card and most digital still cameras work with SD cards (including a Canon 5D Mk II).

It won’t be as convenient for SxS users either, but USB adapters, although probably slower, are available as they have been for the old P2 form factor when CardBus was dropped.

I think it’s important to know that, while I’m convinced Apple are serious about Pro Apps long term, that division does not control the hardware direction of the company. There is still a model MacBook Pro that has everything (well except an eSATA connector natively) that a pro video or audio person would need. It’s bigger and more expensive than I’d prefer for most of my needs, but if my primary application for the laptop was digital video, then the 17″ meets the need as well, or better, than the 15″.

Frankly, my experience with the ExpressCard34 slot has hardly been stellar: cards unmount with the slightest bump.

So, I’m personally disappointed that Apple haven’t tailored the perfect laptop for me personally. Boo hoo. Life is full of compromises and I’ll either limit myself to digital ingest via FW or SD card or I’ll compromise and go for the 17″. I’d probably appreciate being able to play 1080 video full screen at last! That’s not possible on either of the other models.

As for QuickTime X – like OS X pronounced “ten” not “x” – we still don’t know anything more than when I wrote about QuickTime X about a year ago after the last WWDC. Sure, we’ve seen a new interface and we’re told it’s “all new” underneath (again – QT 7 was all new also). What we don’t know is if it supports all the non-video features of QT or if it’s an optimized video player targeting the <video> tag in HTML 5. (I’m not a developer and if I was I’d be under NDA on the subject, fwiw.)

It’s clear Apple’s goals for QT are now much more modest than the complete Rich Media Architecture that QT 3 introduced but hasn’t received much development since QT 5. Practically speaking, that also makes sense for Apple (and will annoy many QT-loyal developers) as Flash/Silverlight currently dominate the interactive space. But with faster and faster Javascript (note how much that was mentioned today), HTML 5 and a QT that was open to both and supported the <video> tag, that might be enough to replace most of what QT 3 introduced.

A while back I conjectured that Apple’s answer to Flash was QT/HTML 5 Canvas element/Javascript. Of course, my good friend James Gardiner pushed back, given Flash’s current dominance, how could Apple get traction against Flash?

Well, we now have Apple and Google actively pushing the HTML5/Javascript combination with the <video> element. (While what format the video element must support hasn’t been finalized MP4/H.264 is almost certainly to be one format with support for the significantly inferior quality Ogg codecs, which are open source, included in some browsers.) Two of the biggest companies pushing open standards against another two big companies with their own competing proprietary standards. But still, Flash is very entrenched.

Except there are 40 million active Internet users who see every Flash site as a black blob (iPhone and iTouch users according to figures from today’s keynote). Use Flash and alienate these mobile users (which account for 65% of mobile browser usage). Add in 20-30 million OS X desktop users who have a very poor experience with Flash, but who will get great performance with Javascript/QT X, also hating Flash.

If you were building a site, what would you use? Can you afford to alienate 40 million potential users? If you can, go ahead and use Flash or Silverlight. The rest of us aren’t able to be so arrogant.

Categories
Apple Business & Marketing Random Thought

What is the future of the trade show?

Seems like everyone is withdrawing from trade shows. Apple has removed itself from all trade show exhibits, with 2009 being its final MacWorld. That was the last trade show that Apple had not formally withdrawn from. Apple has better ways to meet the needs of its bigger market – Apple stores! Along the way, the Mac, while still important to Apple, is not Apple. Once upon a time you could pretty much use them interchangeably, but no longer.

Avid, and then Apple’s withdrawal from NAB 2008 seemed shocking at the time, but it makes sense. They have better ways to reach their customers: More cost-effective smaller – but focused on the Apple product – Pro Apps events and better online communication.

Today it became public that RED Digital Cinema would not be attending NAB this year. The stated reasons echo what Avid and Apple said last year: there’d be too many mock ups on the NAB booth because key components won’t arrive until a month later. NAB (like MacWorld) puts deadlines on developers calenders that don’t really suit them. RED will be holding “RED Day” somewhere, some time in the future instead. Their brand is strong enough, so they can do that.

Isn’t it crazy that in April Apple announces a version of Final Cut that doesn’t ship until September of that year? It was barely in beta testing and really not ready to be seen. Not exhibiting at NAB leaves Apple flexible as to whether they announce an upcoming version of Final Cut Studio at a special event coinciding with NAB; or they hold it back until after Snow Leopard ships because it will use features only available in Snow Leopard and not yet announced. Hypothetically. (Please, that is NOT a rumor, it’s a hypothetical case. I know nothing!)

Why were trade exhibitions valuable? There’s the opportunity for direct comparison, theoretically. But the camera folk are all over the place and you’ll probably get a better “shoot out” at a local dealer or through a user group. And you don’t have to shout at anyone to do it.

A Trade Show was a way for companies to get attention, because media focused on shows. But that kind of changed with the Internet. In 1998 my then editor at Digital Media World magazine in Australia wanted a decent article on the latest news. By the next year, he wanted a “color piece” because all the news was on the Internet and he didn’t need no expensive journalist writing that up. (It could have been written in India as one local Glendale, CA website does for its local news.)

They are also a way of stumbling over unknown little companies or technologies that you might not already know about, but with news sites like Digg, Blogs like newteevee.com, freshhdv.com (and another 293 I use to keep in touch) all feeding the latest stream of information, it’s unlikely I’ll miss something.

So why am I going to NAB 2009? To socialize and to see what I would have missed otherwise.

Categories
Apple Interesting Technology

QuickTime X???

Boy, it’s dusty in here!! Been busy with lots of things, including just this week releasing The Hd Survival Handbook, but there was one thing from WWDC that caught my eye.

Using media technology pioneered in OS X iPhone™, Snow Leopard introduces QuickTime X, which optimizes support for modern audio and video formats resulting in extremely efficient media playback. Snow Leopard also includes Safari® with the fastest implementation of JavaScript ever, increasing performance by 53 percent, making Web 2.0 applications feel more responsive.*

Now, I’m surprised at myself for even bothering to attempt to second guess Apple by hypothesizing wildly, but that doesn’t stop my friend James Gardiner so it won’t stop me!

There are few clues and most of my usual sources are cold. There’s the rub, anyone who has Snow Leopard is under NDA and won’t talk. Anyone who is talking is guessing – we should keep that in mind.

Tim Robertson hopes that “modern codec support” would include .AVI, which is funny because .AVI has not been developed since being abandoned by Microsoft in 1996 – 12 years ago, just after QuickTime was introduced! James Gardiner thinks it might be a Flash/Silverlight competitor. Who knows they could be right as we’re all guessing wildly.

In Apple’s world “Modern codec support” means H.264 in .mp4 wrappers, and just maybe H.264 in .mov wrappers but that’s depricated as they say. (You can still use it but it’s not the recommended method.) Apple have totally moved away from all the rich interactive features that attracted me to the technology in the first place. (Much of what was added to Flash 9, was available in QT3 but never pushed by Apple.)

Then there’s this on Apple’s Snow Leopard page

Using media technology pioneered in OS X iPhone…

The media playback support on iPhone is very basic: H.264 video, AAC audio, MPEG-4 Simple Profile video, mp3 in .mp4 containers with limited support for .mov playback of those codecs. That’s it. A simplified form of media player with none of the older codecs not supported by MPEG-4. None of the wired sprite features, no VT objects or panoramas. A simple, lightweight media player that developers can draw on. (I should note that Flash Player and Adobe Media Player now support those exact same codecs.)

Looking also at what Apple have been doing with Javascript, and knowing there’s already limited Javascript support in QuickTime, my further guess is that QT X will be very open to Javascript, Apple’s new favorite browser language thanks to Sproutcore and the new Webkit Javascript engineSquirelfish. It’s interesting that Apple announced QuickTime X and the new Javascript engine for Safari in Snow Leopard in the same paragraph. Other features went into separate paragraphs.

So my guess is that QuickTime X is a newly optimized media player engine with hooks to good Javascript for interactive programming. Perhaps even to Ruby/Ruby on Rails since Apple’s also adopting that.

But who knows for sure? Only those who can’t tell.

Categories
Apple Distribution

NBC Points gun at own head, Apple pulls the trigger

In case anyone missed it, there has been a war of words this week between Apple and NBC Universal that ended with Apple refusing to put any new NBC shows in the iTunes store because NBC are withdrawing from the store at the end of the year. That’s all we really know to be factual, although Apple asserts that NBC wanted to “double the price” of their TV shows to force a “$4.99” per episode show, force bundling of shows, and insisting on beefed up DRM.

Could NBC be more idiotic and go more against the obvious trends? Is the management of NBC as Fake Steve Jobs points out:

They’re all buffed and polished and about a hundred and fourteen years old. They look like cadavers who’ve been done up by the world’s best funeral home makeup artist. A lot of them are just GE lifers who did time in plastics and then airplane engines and then somehow got dropped into the TV group.

That whole article, actually penned by Senior Editor at Forbes, Daniel Lynons who writes Fake Steve Jobs, is well worth a read. He says it better than I can. I think it’s reasonable to assume that none of the executives or board at NBC watch their own network as broadcast or have ever downloaded shows from the iTunes store and are really, really out of touch with changes in digital distribution. Otherwise they would not have moved 180 degrees contrary to every trend!

Let’s consider the three points that supposedly lead to the falling out between Apple and NBC. Because I want to address pricing in most detail, I’ll go in reverse order. It’s worth noting that NBC denied that they pushed the “$4.99” pricing, but in a very carefully worded press release, that really does little to deny the accusation.

More DRM

Allegedly, NBC wanted Apple to “beef up” DRM beyond Apple’s Fairplay. Now, I’m no fan of DRM because the concept of “keeping honest people honest” is so stupid that no-one with intellectual integrity could possibly hold that thought in their head without it exploding. You actual, paying customers, are the very people who are honest: didn’t they just pay real money for the product? DRM does not prevent piracy (otherwise why would every NBC show, including those they don’t sell on iTunes, be available much more easily on bittorrent sites?). Even with free content available, customers chose to pay money, so why treat them like potential criminals?

Commercial piracy is a crime and deservedly so. Content creators need to be compensated for their work. That’s a given. What is fundamentally stupid is adding more and more egregious DRM that simply does not prevent piracy. See above – everything is already available free, and yet in 18 months NBC has taken $50 million in income from the iTunes store from paying customers. DRM does not prevent piracy. DRM causes all sorts of complications for customers and devalues the content. To even contemplate adding more DRM is counterproductive at best.

To do what NBC allegedly were pushing Apple to do – to ONLY allow DRM’d content on an iPod – is mind numbingly, absolutely, without doubt the most stupid idea to come out of a dinosaur’s mouth since the advent of mammals. Have these people not heard of “Fair Use Rights“? (BTW, Defend Fair Use is a new website by the Computer & Communications Industry Association, which is backed by Google, Yahoo, Microsoft and others.)

What about family videos or personal recordings or podcasts? NBC would want Apple to ban all from iPods? Legitimate, legal rips of purchased CDs would also be banned? Yeah, right. If that’s what NBC were asking for, see comments above about levels of stupidity never before experienced by mankind!

Bundling

I guess I can understand why NBC might think bundling was a good idea. After all it’s the only business they know! They bundle shows together and sell advertising against it. That’s been the Broadcast Television model since it started. However, it’s over. Gone. Finished. The Television Mk II era of VCR/Tivo/PVR/many channels appointment television (watch it at our schedule or not at all) is going the way of the dodo.

Increasingly we’re moving toward a program-oriented model. I’ve said it before: people watch programs, not channels. At a time the FCC are pushing for unbundling of cable channel packages NBC wants to go the other way and push packages of programs when customers want their own choices?

See above comments on levels of stupidity!

Increased pricing for TV shows on iTunes

At least now we can get away from blind stupidity and get to egregious greed! At $1.99 per show Television shows are grossly overpriced. Even the season pass price is on the high side. If I were to buy all the programs we watch via the iTunes store, my TV viewing bill would be around $200 a month. Compare that to Cable or Satellite at $55 a month (my most recent Satellite bill.)

NBC are simply being greedy. Networks like NBC look to get 25-65c per viewer per show in advertising revenue. Even the most popular show on American Television, the Super-Bowl, brings in only about 95c per viewer. Let’s say the average is 50c per viewer (on the high side – my research suggests 35c per viewer is a more likely average) from advertising revenue. For the networks to receive the same revenue per viewer for their premium content sold through iTunes, then that 50c would translate to about 75c per show. That assumes that Apple make the same percentage gross margin on TV shows as they do on music, out of which they pay the credit card processing costs and the cost of bandwidth for delivery.

So, at $1.99, a TV show is already over-priced. There’s another benchmark to consider and thanks to John Gruber for pointing this out: TV shows released on DVD average out to around $2 an episode but for that you get a physical disc, packaging, liner notes, extra content and marginally higher quality. You also have a tradable asset thanks to the First-sale Doctrine. You get none of that with DRM-infested digital downloads, so the purchase is of much lower value.

Another way of looking at price is to compare buying two shows – The Daily Show and The Colbert Report – from iTunes on Season Passes (20 shows each) when the total for these two Comedy Central shows is $19.95 per month. Subscribe to cable or satellite and Comedy Central will get 60c to $1 from your Basic Cable subscription, at best. Sure, there’s advertising support but that Basic Cable subscription gets you access to view (and record) the entire month’s content on Comedy Central. Not just two shows! Sure, the Daily Show and Colbert Report are advertising supported on Comedy Central – not only do you have to pay to get the cable channel but you have to also pay with attention to commercials (or not).

What would be “fair” for those shows? Exact numbers are a little hard to come by, but even taking Jon Stewart’s reportedly $5 million a year salary, it’s hard to imagine that each episode having a budget over $60,000 an episode. (Mr Stewart’s salary breaks down to around $32K an episode based on 40 weeks of shows a year, 160 shows, New York studio with crew $10K a show and correspondents with production crews and writers account for the rest – feel free to correct me in the comments.)

At 10c per episode (this is disposable television – watch it once and it’s done) and an audience variously estimated at 1.3 to 1.7 million (1.5 used for simple math), that’s $150,000 an episode. Bandwidth and Apple’s margin might add another 10c to that (although 20c is incredibly hard to charge using conventional methods, allow me the conceit for the moment) for a retail price of 20c that would return the producer (or Comedy Central) a very tidy profit over the current budget and cost less than 1/3 the cost of a season pass.

Does NBC need Apple more than Apple needs NBC?

I’m certainly not claiming that Apple would be happy losing 30% or so of their iTunes TV content, and at least one analyst thinks it will hurt Apple more than NBC. Given the general level of accuracy of analysts in the tech sector, I’m always skeptical of such “analysis”. Almost all the rest of the writing on the subject reflects my own feeling that “NBC Could Not Have Screwed This iTunes Thing Up Any Worse“. Do they expect that the unreleased hulu which is also touted as a competitor to YouTube, or are they relying on the spectacularly unsuccessful Amazon Unboxed?

My prediction is that within 18 months NBC will be back in the iTunes store, with much less favorable conditions than they have now because they’ll have come back with tail between legs.

And here’s some other opinions. I think the headlines alone will give you a feel for “the wisdom of the crowds”.

From Cnet – NBC says bye to iTunes, hello to piracy and lost revenue

After this new PR campaign is complete, NBC executives–obviously without any grasp on reality–will sit there and expect their assistants to bring them financial numbers that show exploding growth in programming sales. With cigars firmly in place, the big shots will open up the revenue reports and come to one damning conclusion: revenue from programming has gone down, yet piracy has increased tenfold.

From iLounge – An Open Letter to NBC re: Leaving Apple’s iTunes Store

Let me explain something to you, because you don’t seem to understand it already. Your TV shows are available every day, every week, and every month of the year for free. They fly through the air (and travel through cables) at no a la carte charge to customers.

From blogger Thomas Hawke – iTunes Store To Stop Selling NBC Television Shows, Who the Hell Cares (not safe for those of delicate dispositions)

Who in the hell would pay five bucks for a TV show? Especially when all you have to do is hop on over to that old bittorrent thingy and just borrow a copy for free. …Nice move NBC. Way to go from being mostly irrelevant to entirely irrelevant.

From Podcasting News – NBC Betting On Losing Strategy

Proprietary portals, like Hulu, also have a long history of failure. NBC would be better off keeping its content in iTunes and working with other networks to create open standards for commercial video downloads. This would create a competitive environment for digital video sales and increase competition among portable media manufactures.

For a very satirical view, Phil Ryu describes an alternative universe: Zuckerland! – bizzaro reverse world where NBC’s decision makes sense.

In Zuckerland, customers on iTunes pay $4.99 per episode for NBC shows, which, though it may sound ludicrous at first, actually makes perfect sense within this fantasy world, because in Jeff Zucker’s mind, this is war with Apple, and wars cost a lot of money. So he’ll need some funding from all those hardcore customers on iTunes for the effort.

And someone should perhaps remind Jerry Zucker that, according to Angela Bromstead, Executive VP, NBC Studios, (yeh, she works for Zucker) The Office should have been cancelled but thanks to sales through iTunes it’s now a hit for NBC. Likewise sales through the iTunes store probably gave 30 Rock an extra season, and influenced the extension of Studio 60 on the Sunset Strip to a complete season. Would that have happened if “Studio” didn’t have just the slightest traction on iTunes? (Four episodes placed recently in the iTunes top 50.)

Perhaps it’s true, as Michael Gartenberg of Jupiter Research (yes another analyst so treat with caution) says:

Sometimes I think God put video content guys on the planet to make the music guys look progressive and visionary.

The last word goes to some intrepid photoshop artist who previews how NBC shows are going to be distributed in the future.