April 17, 2006
Volume 13, Issue 1
Arvato Mobile Acquires SPV
DCIA Member arvato mobile,
part of the Bertelsmann Group, has acquired one of Europe’s largest
independent record labels, SPV, as a partner to supply original content
production and worldwide marketing. SPV’s acquisition by Europe’s number one
provider of mobile entertainment marks the label’s entry into the mobile
marketing arena.
The alliance with
SPV will enable arvato mobile to strategically expand its rock and metal
portfolio. The two companies’ joint offerings will zero in on exciting
content such as Motorhead, Sepultura, Type O Negative, Motley Crue, Judas
Priest, and Blackmore’s Night.
“SPV will provide
us with the support we need to penetrate new markets. This move also confirms
our competency in the mobile and digital marketing of musical content, and
brings us a crucial step closer to long-lasting and comprehensive media
control chart coverage,” said David Barret, arvato mobile’s Vice President
for Content & Product Management.
The two companies
will realize joint worldwide marketing of music downloads, as well as the
entire sound carrier catalog (mobile and online) of all visual content such
as images and videos.
With its
innovative white-label peer-to-peer (P2P) offering GNAB and the Entertainment
Platform 2 (EP2), arvato mobile possesses two state-of-the-art platforms for
processing and distributing digital content.
Weed Files Adds New Music Portal
Artists and labels
are invited to direct their browsers to the newly launched artists.weed-files.com and sign up for free accounts that will allow them to
create artist pages, upload Weed files and promotional material such as
photos and banners, post news bulletins, and select featured and podsafe
files.
With improved
look, layout, and navigation, the website also offers new content such as
file details pages and new functionalities such as a visitor rating system to
help increase interaction between artists and fans.
The portal also
features an innovative browsing engine designed to help listeners discover
music suited to their own tastes, based on tags that artists provide to
describe themselves and their content.
Downloadable at no cost, Weed files can be played three times for free and
shared legally. Once bought, the files can be played at will, burned to CD,
and transferred to a portable player.
Artists receive
50% of the revenue from every sale of their files, and don’t need to be
signed to a label or have a full album produced to get started. Listeners who
redistribute their files are rewarded with up to 20% of the sales price.
To date, close to 90,000 titles from such diverse artists as Tom Waits, Count
Basie, The Presidents of The United States of America, Roger Joseph Manning
Jr., Abby Travis, Kelly Clarkson, and countless others, have been made
available in the Weed format. Weed is a service of DCIA Member Shared Media
Licensing.
Softwrap Partners with Softonic
DCIA Member Softwrap has signed a
strategic partnership agreement with Softonic, Europe’s leading software
download portal with over 45,000 programs, including freeware, shareware, and
trial version software titles available with reviews written in Spanish,
German, and English.
Under the agreement, Softonic will combine Softwrap’s
encryption technology with its own electronic software distribution (ESD)
services to provide software publishers a complete end-to-end e-distribution
solution. This will allow Softonic’s software partners to offer full versions
of their products as a trial download from which users can then easily
purchase a license code through the Softonic e-store. Softonic’s software
partners will also be able to secure their non-trial versions for digital
download with Softwrap’s cutting edge encryption technology.
“Softwrap brings a crucial element to the ESD mix that
Softonic has to offer. Softwrap’s encryption is a cut above the rest leaving
us confident to recommend it to any software vendor,” commented Softonic’s
Tomas Diago. “Softwrap also brings a wealth of software vendors to the party
that are able to distribute their software through the Softonic network.”
Dylan Solomon, spokesman for Softwrap, added, “Softwrap is
delighted to be working with Softonic and views the selection of Softwrap as
yet another testament of the quality and security of our technology.”
Report from CEO Marty Lafferty
 The Walt Disney
Company’s announcement that it will offer TV programs for free online
dominated new media news coverage this week with representative reports
ranging from Business Week to the New York Times and Washington Post to USA Today.
In one way, this
news augurs well for the advertising-based business models supported by the
DCIA.
Disney’s plan is
to offer four popular shows – “Desperate Housewives,” “Lost,” “Commander in
Chief,” and “Alias” – on a sponsor-supported basis via the web starting the
morning after they have been broadcast on the Disney-owned ABC television
network.
Users will be able
to view, pause, fast-forward, and rewind the programs at no charge, but not
the advertisements. Ford, Procter & Gamble, Toyota, and Unilever are among
the major consumer brands that initially will provide commercial support.
Disney’s Anne Sweeney said, “It’s a learning opportunity,
about recognizing that none of us can live in a world of just one business
model.”
While we agree that this trial is well conceived from the
standpoint of its consumer value proposition and could pave the way for
massive online video programming adoption, we urge Disney to team with the
DCIA as soon as possible to rework its technical approach by using the P2P,
compression, and swarming technologies offered by our Members in lieu of its
introductory methods.
The manner in which Disney plans to distribute its large files
– video streaming – conflicts with the basic architecture of the Internet,
which is better suited for sending such data through a series of interim
touch-points between distant computers via enhanced P2P file sharing.
Should its offering attract a large audience and Disney expand
to additional programs, and then other major studios and broadcast networks
also do so, Internet service providers (ISPs) would be severely strained.
Bandwidth consumption and demands on computer systems would
increase enormously, driving the need for new infrastructure investments
before current capital expenditures for broadband deployments have been
amortized by ISPs, and threatening use of the Internet for important business
communications and other commercial purposes in the meantime.
While the Internet is capable of handling an increasing volume
of video downloads using P2P applications, especially when enhanced with
compression and swarming technologies, and in fact together these already
account for well over half of all Internet usage, streaming video requires an
entirely different process for networks and computer grids to accommodate.
Moreover, the quality of the Disney experiment’s viewing
experience will be inversely proportionate to its popularity – and therefore
self-defeating. Delivering bits of video data between a server and distant
PCs via streaming will limit the video quality of its streamcasts to short,
uneven, bursty, unreliable viewing experiences, and the greater the demand
for a particular program episode the worse those sessions will be. Consumers
likely will not tolerate such degradation beyond a novelty phase.
ABC may have
chosen online streaming because it provides a way to determine the rate at
which video is delivered, and thereby prevent users from fast-forwarding
through commercials as they could with a digital video recorder (DVR) and TV
set. However, DCIA Members can provide technology for commercial integration
in the P2P environment that will not only stop ads from being bypassed, but
also allow rights holders to change sponsors mid-flight and provide
unprecedented tracking data.
In summary, the
costs to ISPs and content providers would be much lower, the quality of
viewer experience and therefore the likelihood for mass-market online video
acceptance much higher, and the reliability and flexibility in the execution
of advertising much improved, if Disney would abandon its current
technological implementation in favor of using distributed computing
technologies.
DCIA Members, by
developing and implementing P2P, compression, and swarming applications –
mostly using independent content, have aptly demonstrated their ability to
accomplish large video-file redistribution, with the added benefit that the
more popular the property, the more efficiently it will be delivered to
viewers.
The DCIA and our
Members would welcome the opportunity to work with Disney to translate its
excellent consumer proposition to a higher quality as well as more affordable,
practical, efficient, reliable, and scalable distribution model. Share
wisely, and take care.
Skype Buys Sonorit for $27 Million
Excerpted
from Reuters Report
DCIA Member Skype, the popular
web-based phone calling system, acquired Sonorit Holding AS and its US-based
voice-over-Internet unit, Camino Networks, in a stock deal worth about $27
million.
Skype, a unit of
eBay, has agreed to buy all the outstanding shares of Sonorit for about
700,000 shares of eBay stock. Based on eBay’s closing share price of $38.09
on Monday, the transaction is valued at roughly $27 million.
Sonorit, based in
San Francisco, also has offices in Aalborg, Denmark, and Stockholm, Sweden.
It has 10 employees. Skype said the acquisition allows it to add several
experts in online voice engineering to its own team of technologists.
Sonorit is headed
by Jonathan Christensen, President and Chief Executive. Its Chief Technology
Officer is Soren Vang Andersen.
In2Movies Beta
Launch
Excerpted from
Heise Online Report
On Wednesday,
movie actors Jasmin Tabatabai and Herbert Knaup helped inaugurate In2Movies, a joint
venture between Warner Bros. and DCIA Member arvato mobile, which
will address new target groups via the Internet.
Movies that are
purchased are stored on the customer’s hard drive and are permanently
playable. More than 300 movies and TV series were available for purchase at
the launch of In2Movies, including such recent releases as “Harry Potter and
the Goblet of Fire.” Current Hollywood blockbusters cost 14.99 euros, roughly
as much as a DVD.
Older movies such
as “Sophie Scholl” or “Batman Begins” are available for 7.99 euros, while
“Goodbye Lenin” is available for 6.99. Warner Bros. plans to charge between
99 cents and 1.99 euros for episodes from TV series.
The technical
highlight of this portal is the GNAB download system that arvato mobile developed. According to Kurt Smit, Executive Director of
Digital Downloads at arvato mobile, downloads of movie files up to 2
gigabytes in size are “outsourced to consumers.”
As with other P2P
networks, customers provide upload capacity in this service, which Smit
believes represents “the big bang” in the film industry. In return for this
upload capacity, consumers receive “MoviePoints.”
Smit explained
that a customer who offers bandwidth for a movie in great demand would
receive 250 such points. Once you have 5,000 points, you can trade them in
for a free download.
In addition,
customers also receive MoviePoints when they register for the service or
recruit new customers. Furthermore, In2Movies plans to promote the concept of
community by allowing users to set up their own homepage with a list of
recommended movies in what is called a “MovieBox.” And if downloads are
launched from there, the operator of the MovieBox will also receive points.
The file-sharing
functions are supported by a central download service. Smit explained that
P2P is intended to improve service during peak demand. The system is
monitored by a central computer that keeps account of downloads. It also
makes sure that a download does not have to be relaunched completely if it is
interrupted.
Microsoft’s DRM 10
is used. The files, which are saved in the WMV format, cannot be burned on
DVDs. However, a backup copy may be made as long as it cannot be played on a
DVD player. The videos are encoded for downloads at 1.5 megabits-per-second.
In2Movies CEO
Wilfried Geike says he would like to see the platform move beyond a “Warner
service.” His goal is to “offer a broad range of movies for all interested
parties.”
P2P Part of MSFT’s Ecosystem
Excerpted
from Australian IT News Report by Brian Buchanan
P2P is no longer a
dirty phrase, Microsoft’s Erik Huggers says. Once a byword for illegal
downloads on the Internet, he argues it is now a crucial part of distributing
legal content.
In a speech during
the Milia conference arm of the MIPTV trade fair, he revealed a distribution
deal with Spain’s Terra Networks using P2P. Huggers is General Manager of
Microsoft Windows Media in the US. He told the conference P2P was viewed as a
privacy threat a year ago, but now it was accepted by big companies.
“This deal is
about using Windows Media digital rights management (DRM) to help companies
harness P2P for the legal distribution of video across home platforms,” he
said.
DRM protects
distribution and downloading content and P2P is becoming a key part of the
Microsoft “ecosystem”. He said digital content had truly arrived, but
consumers were often still in the dark.
He was optimistic
and expected companies would rise to the challenge of educating consumers and
competing with piracy. Microsoft is focusing on home-networking technologies,
such as downloading content via the PC and then watching it on the TV in the
living room.
Huggers said MS
Media Player 11 would be out by the end of the year for the Vista operating
system and possibly even earlier as an update for XP.
PeerBox Brings P2P to Phones
Excerpted from
MobileMag Report
P2P is coming to your mobile phone. A company called Nareos is launching a
trial version of a mobile P2P downloading service called PeerBox. Once you
have downloaded the application, you have access to over 50 million songs
available on P2P networks.
As you would
expect, you can search by either artist or song title. PeerBox will also
recommend tunes similar to your choice that you might also enjoy.
The final version
of PeerBox is planned to go a step further. You will be able to speak the
name of a song or artist into your handset. If you hold your phone close to
the music, the system will recognize and locate that song for you. If the
song is not copyrighted, it is yours. If there is a copyright you can have it
after paying a fee.
The trial will run
on the Symbian operating system. It is available in English to start, but is
planned to be in Spanish, Chinese, Japanese, Korean, Portuguese, French,
German, and Italian. You can download a trial from peerboxmobile.com.
See Saw at MSNY
Excerpted from e-Content Magazine Report by Michelle
Manafy
McGraw-Hill’s
recent Media Summit was peopled by a who’s-who of media – with bigwigs from
Fox, Disney, ABC, NBC, and MTV in attendance. Given the event’s allegiance
with Digital Hollywood, it isn’t a surprise that entertainment media
powerhouses dominated the event.
But collecting the
most important players doesn’t guarantee a good game. It is an inherently
flawed concept to have a conference about the media with sessions dominated
by the media. Still, I saw glimmers of an industry beginning to accept the
consumer-generated realities of the online content marketplace.
One panel, the
Piracy Freight Train, seated Fritz Attaway, EVP and Washington General
Counsel of the Motion Picture Association of America, next to Michael
Petricone, VP of Government Relations of the Consumer Electronics
Association: content watchdog vs. tech pundit.
The juxtaposition
of their views offered some amusing scuffles, yet StreamCast CEO Michael
Weiss (Morpheus) proffered one of the most astute observations about the
content business today, “The real challenge is how to turn downloaders into
buyers.”
Marty Lafferty,
CEO of the Distributed Computing Industry Association, said, “Look at the
numbers of P2P users and conceive of monetizing them,” while Petricone added,
“Downloaders can be your best customers,” and Weiss summed it up beautifully
saying, “Consumers will dictate the business model.”
A trend arose in
other sessions and vendor conversations: the emergence of legitimized P2P
networks. Content providers are working with their former nemeses, P2P
companies, to build business models.
“One of the things
we all appreciated about the old Napster was that you could find anything,”
said Atri Chatterjee, Marketing VP of MERCORA, which has partnered with P2P
brand Grokster. “Now you have to
do this in a copyright-compliant way.”
His company
provides an old-school, peer-based music discovery universe without piracy by
using a radio model (listen but don’t record; labels receive royalties as in
terrestrial radio) within a closed P2P environment, in which rights can be
rigorously managed.
Ian Blaine, CEO of
thePlatform, said he can envision “a day when user-generated content emerges
as traditional media.”
And according to
Lafferty, “Consumers are outpacing both the entertainment and technology
industries and, at this point, we are just trying to keep up.” The customer
continues to push the boundaries of what is expected from the media and even
the definition of media itself. We need to see the future of media reflected
in the eyes of its consumers.
MVine Signs Artists via Social Networking
New UK indie label
MVine is pioneering the simple but innovative idea of signing artists on peer
recommendation. Members of MVine’s online community of musicians and fans
spot new acts with potential from among the several hundred unsigned acts
showcasing on MVine’s virtual venue. Word-of-mouth spreads a buzz about a
band and MVine takes it further by signing artists based on audience
feedback.
Calum MacColl,
MVine Co-Founder, explains the philosophy as “the missing link that musicians
have been waiting for. Having identified ‘Generation DIY’ musicians as very
net-savvy and proactive, our research showed most musicians would rather make
music than market it. They can’t afford to pay for marketing but they want to
get signed. For us, establishing a label with a free, dedicated linked
community was the obvious solution.
By engaging
musicians and fans as the label’s A&R forum, we’re also empowering
audiences with a sense of purpose. We believe the opinions of hundreds of
people are more likely to identify really special artists than relying on one
A&R person.”
The Slides are a
perfect example - a hugely exciting new band that MVine’s audience spotted
immediately on the label’s virtual venue. MacColl explains, “There was a real
buzz from our audience about The Slides, so we listened to their songs, went
to see them play live, and promptly offered them a deal. We might have found
them without the audience’s involvement, but then again we might not.” The first
single, Slow Bullet, is out on 7” red vinyl on 17th April, with their debut
album of the same name on May 1st.
MVine has now
signed five artists on the basis of peer recommendation. ‘Generation DIY’
musicians still need the support of those who can help them reach their
audiences, and while the MySpace phenomena taps partway into this, MVine goes
all the way by closing the gap between musicians, audiences, and a label.
Firm Squeezes Films into a Download
Excerpted
from Boston Globe Report by Hiawatha Bray
Euclid Discoveries says it has invented a video-compression
technology that could spawn a lucrative new market for Hollywood – or a major
new crisis.
The firm says its EuclidVision system can compress digital
images to make them much smaller than today’s most common compression
technologies, MPEG-2 and MPEG-4, which were created by the Motion Picture
Experts Group. MPEG-2 is the compression system used on today’s DVD movie
disks. MPEG-4 is a next-generation system that can reduce the size of a movie
even further.
But EuclidVision promises to squeeze video files more than
ever before. Euclid Discoveries Chief Executive Richard Wingard said
EuclidVision will let movie companies shrink a video so small that it becomes
easy to distribute films over the Internet. He said that his company has
filed 15 US patents on its compression system and is in discussions with a
number of companies to bring it to market.
That could be good news for Hollywood, which launched new
services last week to sell downloadable copies of recent films. Reducing the
size of these downloads could boost Internet movie sales. But it could also
popularize Internet movie piracy, just as MP3 music compression caused a
global boom in illicit music downloads.
EuclidVision uses ‘‘object-based compression,” which
identifies individual objects shown in a video, then calculates the optimum
level of compression for each of them.
The current generation of EuclidVision is designed for videoconferencing
over telephone lines with limited bandwidth. Euclid Discoveries says its
scientists compressed a 25-megabyte conference video to just over 8,000 bytes
using MPEG-4, but EuclidVision did four times better, shrinking the file to
about 1,800 bytes.
Wingard thinks his system will work even better with
full-length movies. ‘‘We believe that because it’s object based, the longer
the video, the better we’ll do,” he said.
That’s because the compression system can remember objects
that appear frequently in the video, such as an actor’s face, and can store
such images in memory after reading them from the disk just once. Thus, many
objects need to be recorded just once in the digital file, instead of every
time they appear in the film.
As a result, Euclid Discoveries says a full-length movie that
requires 700 megabytes of storage when compressed using MPEG-4 would use just
50 megabytes when compressed with EuclidVision. At that size, 14 movies could
fit on a standard CD-ROM disk. As for video downloading, it would take an
hour for someone with a 1.5 megabit-per-second broadband connection to
download a 700-megabyte file. But 50 megabytes would take less than five
minutes.
Read It? Watched It? Swap It
Excerpted
from New York Times Report by Michel Marriott
For Heather Perlmutter, a 41-year-old investment portfolio
manager in Manhattan, the website with the whimsical name made perfect sense.
Like many Americans, she found herself awash in CDs, DVDs, and VHS tapes that
were seldom if ever played anymore. They just took up valuable space in the
Upper West Side apartment where she lives with her husband and two young
children.
Then a friend of a friend told her about Zunafish (www.zunafish.com), a new website
that matches people with discs and tapes to trade — and video games and
paperback books, too.
To the delight of her 7-year-old son, Ms. Perlmutter recently
used the site to barter her tape of “Fried Green Tomatoes,” the 1991 Kathy
Bates drama in which an unhappy housewife befriends an elderly woman in a
nursing home, for a tape of Steven Spielberg’s digital dinosaur blockbuster,
“Jurassic Park.”
“You feel like you’re getting something special, that you’re
getting the better part of the deal,” Ms. Perlmutter said. “Wow, somebody
wants your stuff. I guess it’s one man’s trash is another man’s treasure.”
Web Video
Innovator – Friend or Foe
Excerpted
from Los Angeles Times Report by Dawn Chmielewski
Traffic is
burgeoning at YouTube, a site built to exhibit and share homemade
productions. But mass-media clips are also getting big play.
In an online world
awash with amateur videos of pratfalls and stupid pet tricks, who could help
but notice Natalie Portman’s gangsta rap on YouTube?
The
Harvard-educated star pulls a hoodie over her pixie haircut and busts into a
bleep-filled rhyme about a day in her life, delivered Snoop Dogg-style. The
skit — which uses Portman’s clean-cut image as its comedic foil — is the
edgy, irresistible stuff that exemplifies the Internet’s emergence as an
entertainment medium.
But it didn’t
originate on YouTube; it was a sketch from NBC Universal’s “Saturday Night
Live.”
Portman’s skit
wasn’t a mere technological blip. In recent months, episodes of “The
Simpsons,” Jon Stewart’s gay cowboy montage from the Academy Awards ceremony
and another “SNL” piece, known as “Lazy Sunday,” have found their way onto
YouTube, a Web community created as a place to share and watch original video
shorts.
In the four months
since it launched, YouTube has become a full-blown Internet tsunami. It
streams about 35 million videos a day and attracts an audience of more than 9
million people a month, according to web measurement firm Nielsen/NetRatings.
That makes it more
popular than Google, Yahoo, or AOL’s video services. The company plans to
eventually convert the traffic to advertising revenue.
YouTube also
illustrates the conundrum facing the entertainment industry as it struggles
to control the online distribution of its television shows, movies, and other
types of content. By all accounts, it acts like a responsible corporate
citizen when asked to remove copyrighted works.
That leaves the
studios internally conflicted about how to deal with YouTube, with lawyers
sending threatening letters alleging infringement even as other executives
contemplate how to exploit its ability to reach a young, tech-savvy audience
that is growing up in front of a computer screen instead of a TV.
“We look at sites
like YouTube and, for that matter, a multitude of other online options as
just that — new options that we look to embrace,” said Darcy Antonellis,
Warner Bros.’ Senior Vice President of Worldwide Anti-piracy. “We look to
embrace it, but not at the expense of infringing copyright.”
Founders Chad
Hurley and Steve Chen, alumni of the electronic payment service PayPal, came
up with the idea for YouTube after a San Francisco dinner party in January
2005. They wanted to share video of the party with friends but discovered
there was no easy way to do it without bumping into limits on e-mail file
sizes.
iMesh Adds IM to P2P Service
Excerpted
from TG Daily Report by Humphrey Cheung
One of
the oldest P2P services, iMesh, is offering instant messaging and an enhanced
search function in its upcoming client. iMesh 6.5 will allow users to send
messages and share songs with other users. In addition, friends can
simultaneously listen to the same songs with the “Listen Together” feature.
Originally
launched back in 1999, iMesh has had a checkered past. In the first several
years, iMesh faced lawsuits from the RIAA. In addition, there were many
complaints that files harbored spyware and viruses.
The
company has since cleaned up the files available and now allows users to
download these files without fear of the RIAA serving them with a lawsuit.
Version
6 of the service was the first RIAA approved P2P service. iMesh’s website
states that the service is “100% clean” and free of viruses, spyware, and
adware.
Coming Events of Interest
-
User
Generated and Mobile Content – The Producers Guild of
America (PGA) New Media Council (NMC) and the Emmy Awards Advanced Media
Committee, in cooperation with the New School Department of Media Studies and
Film and the Parsons Department of Design and Technology will present this timely
discussion and demonstration on April 18th from 7:00-9:00 PM at The New
School for Social Research Theresa Lang Center, 55 W. 13th Street, 2nd Floor,
between 5th and 6th Avenues in New York, NY.
-
Web Analytics Conference – April 18th in Santa
Barbara, CA and May 3rd in London, England. A forum for discussing your most
critical issues: Which metrics justify Web projects? How do you spot your
most valuable customers? How do you calculate the value of Web intelligence?
Senior Web executives, focused academics, software and service vendors, and
members of the press working together to identify and address e-metrics
issues.
-
LWNW Canada 2006 – April 24th-26th in
Toronto, Canada. LinuxWorld & NetworkWorld (LWNW) Canada Conference &
Expo 2006 is “Where the IT Industry Meets!” and the number one marketplace
for management and IT professionals to interact and learn about the newest
applications and solutions and see demonstrations of leading information
technology based products, services, across all computer platforms.
Exceptional educational programming, dynamic keynotes, case studies,
tutorials, and hands-on labs provide valuable information demonstrating
real-life applications and solutions.
-
Games & Mobile Forum – April
25th–26th in New York, NY. This year’s topics include: Games &
Mobile Innovations from Around the World; The Business of Casual Downloadable
Games; Mobile Games: The State of The Industry; Online Games: The State of
The Casual Games Industry; Portability & Brands: Strategies for Multi-Platform
Content Development & Brand Integration; Advertising in Games;
International Games & Mobile; and Brands Going Mobile.
-
First Annual DCIA Conference & Expo – The first-ever
global “P2P Media Summit” will cover policy, marketing, and technology issues
affecting commercial development of this emerging high-growth industry. June
22nd-23rd at the Intercontinental/HI, Tysons Corner,
McLean, VA. Exhibits and demonstrations will feature industry-leading
products and services. Alston & Bird’s Aydin Caginalp
& Renee Brissette will conduct a special session on corporate value
optimization for firms in the distributed computing industry. For sponsor
packages and speaker information, please contact Karen Kaplowitz at
888-890-4240 or karen@dcia.info. DCIA Members Music Dish Network and Javien are our media and e-commerce partners
respectively. Plan now to attend.
-
Washington Digital Media
Conference – June 23rd at the
Ritz-Carlton, Tysons Corner, McLean, VA. DCIA Conference & Expo attendees
can attend this executive briefing on emerging business, policy, and
technology issues & opportunities at half-price. This is a must-attend
event for media, entertainment and technology businesses, educational
institutions, and government agencies involved in the digital distribution of
media. The Washington Post calls the event: “a confab of powerful
communicators and content providers in the region.”
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