October 23, 2006
Volume 15, Issue 4
Welcome Abacast
Please warmly welcome Abacast Inc. to the Operations Group. We look forward to providing valuable services to this newest DCIA Member and supporting its contributions to commercial development of the distributed computing industry.
Abacast was founded in 2000 by a group of technologists, radio station owners, and private investors who saw the future of radio coming online. The goal was to create a new streaming technology that could make streaming media less expensive so that radio stations could make a profitable business model from streaming channels on the Internet.
Today, Abacast’s patented Distributed Streaming Technology (DST) not only reduces the streaming costs of live (or one-to-many) audio – and video (up to 1.2 Mbps) – by up to 98%, but also provides end-to-end quality of service monitoring and a measurable improvement in the end-users experience.
With over 10 million user-hours and 3.6 million uniques using the technology each month, and growing, Abacast is the most widely used, stable technology of its kind in the industry.
The pursuit of this goal has led to a full streaming media company specializing in streaming software, technology and service. Abacast’s DST is the cornerstone of a product offering that now includes Live and On-demand Streaming of all major formats (Windows Media, MP3, and aacPlus), easy and efficient enterprise streaming, digital rights management (DRM), ad/content injection, podcasting, cellular streaming, complete subscription systems, high-end audio processing/streaming PC cards, audio and video encoding software, custom media player/web design and 24X7 premium service, education, and support.
It’s Abacast’s unique technology, full service offering, and premium customer support that separates it from the competition. Abacast truly is "The Best Stream, for the Best Price".
Abacast CEO Michael King is scheduled to be a principal speaker at the upcoming P2P MEDIA SUMMIT LA on Monday.
Zorpia Signs with Nettwerk Music Group
Social networking company Zorpia beta-launched Zorpia Music this week allowing aspiring artists to post MP3 music files, lyrics, videos, and to interact with fans around the world. Through a partnership with DCIA Member Nettwerk Music Group, Canada’s leading privately owned record label and artist management company, the band The Submarines will be the first to showcase music on the portal
"We’re looking forward to integrating Nettwerk’s bands into the Zorpia community and giving them a platform to share their music with a new audience," said Megan Healy, Director of Online Marketing at Nettwerk.
In addition to the band The Submarines, well known artists including Sarah McLachlan have also joined Zorpia to promote their new albums. Within three days of release, The Submarines received over 10,000 plays. Equally impressive is Leigh Nash, whose music received over 6,000 plays in two days, and she is not even a featured artist.
"When music labels partner with Zorpia, we promote the featured artists with special events on our home page, and throughout the site – driving thousands of new fans to the band’s Zorpia page. Zorpia Music is about more than bands simply signing up for a free homepage," said Jeffrey Ng, CEO of Zorpia.
"Social networking sites provide global access for band/fan interaction; and it is a great way to attract loyal fans who will promote the group’s music by word-of-mouth blogging, swapping play-lists, site cross-linking, and online fan clubs. The artists can upload concert schedules, sound files and biographical information. The new Zorpia Music feature allows musicians who dream of making it without backing from major labels to start building a core base of fans online by playing their music as if they already have major radio airplay," Ng added.
Nettwerk Music Group General Manager Brent Muhle will be a principal speaker at the P2P MEDIA SUMMIT LA.
Report from CEO Marty Lafferty
 We hope to see you at the P2P MEDIA SUMMIT LA.
Our October 23rd Conference features keynotes from top P2P and social-networking software distributors, panels of industry leaders, and a workshop on IPv6. There will be a continental breakfast, luncheon, and networking cocktail reception with live entertainment.
The October 24th-26th Exposition is being held in conjunction with the Digital Hollywood Fall conference. Registration for the full Conference & Exposition also includes admission to Digital Hollywood Fall and represents a $100 savings compared to registering for these events individually.
Monday’s keynote speakers include VeriSign’s Todd Johnson (Kontiki), LTDnetwork’s Allan Klepfisz (QTRAX), and INTENT MediaWorks’ Les Ottolenghi (MyPeer).
Conference luncheon speakers are Digital Watermarking Alliance Chairman Reed Stager, who is also EVP of Digimarc, and Sony Pictures Entertainment’s EVP, Digital Policy Group, Mitch Singer.
The Policy Track features Christian L. Castle Attorneys’ Chris Castle, Dreier LLP’s Josh Wattles, Leading Ventures’ John Rodenrys, the Motion Picture Association of America’s (MPAA) Dean Garfield, RazorPop’s Marc Freedman, and TAG Strategic’s Ted Cohen, and will address the post MGM v. Grokster world – new rules for P2P.
The Technology Track features Abacast’s Michael King, Beyond Media’s John Kupice, CacheLogic’s Andrew Parker, and Digital Containers’ Chip Venters, and will address P2P file sharing – the evolving distribution chain.
The Marketing Track features FTI Consulting’s Bruce Benson, HackBack Media’s Bob Way, P2P.com’s Albe Angel, and Ultramercial’s Dana Jones, and will address P2P business models – what’s working and what’s not.
The Content Distribution panel features EZTV’s Michael Masucci, Indie911’s Justin Goldberg, MediaPass Networks’ Daniel Harris, and Nettwerk Music Group’s Brent Muhle, and will address the perspective of artists and rights holders – P2P for content creators.
The Solutions Development panel features Altnet’s Anthony Rose, Digimarc’s Nate Alvord, PeerApp’s Frank Childs, and RawFlow’s Mikkel Dissing, and will address advancement – creating the commercial P2P ecosystem.
The Support Services panel features BitPass’ Matt Graves, Javien’s Leslie Poole, P2P Cash’s Tom Meredith, and Rustic Canyons’ Nate Redmond, and will address accountability – tracking transactions and paying the players.
Command Information’s Yurie Rich, Keystone Tech Group’s Limor Schafman, and Seamless P2P’s Luke Rippy will conduct a special session on the impact of Internet Protocol Version 6 (IPv6) on this emerging high-growth industry.
A newly added special session on social networks and user-generated content (UGC) features RawFlow’s Ian Franklyn, INTENT MediaWorks’ Joey Patuleia, and Digital Containers’ Mike Farley.
Live showcase entertainers for the post-conference networking cocktail reception include Kirsten DeHaan and the "Internet’s First Rock Star" Scooter Scudieri.
Exhibits and demonstrations for the October 24th-26th DCIA Exposition, held in conjunction with the Digital Hollywood Fall Conference, feature industry-leading products and services.
Registration can be done online at www.dcia.info/P2PMSLA/register.html or by calling 410-476-7965. Share wisely, and take care.
Tiscali Embraces P2P Power with RawFlow
Tiscali Business, a leading European streaming service provider, has partnered with DCIA Member RawFlow, a leading provider of live P2P streaming technology. Together they plan to increase the scalability and quality of Tiscali’s Media Delivery Network serving inter alia over 60 private radio stations.
RawFlow’s advanced P2P technology allows broadcasters to create a network that utilizes the unused ‘upload’ bandwidth capacity of viewers. This technology will enable Tiscali to increase its streaming volume and bit-rates and hence end-user experience without increasing costs in a linear way as it is the case with traditional technology, where more users mean more traffic and thereby automatically higher costs. RawFlow’s ICD (Intelligent Content Distribution) technology will be installed in the Tiscali Data Center, enabling Tiscali to increase its capacity and quality of service in streaming while keeping bandwidth costs manageable.
Mikkel Dissing, CEO of RawFlow, who will be a principal speaker at the P2P MEDIA SUMMIT LA, commented: "P2P technology is entering the mainstream and is being seen as the solution for broadcasters who are witnessing the popularity of their online broadcast content sky rocket. The online advertising market is growing rapidly and has proven to be a stable and prosperous online business model. By partnering with Tiscali and entering the online advertising market we hope to establish a healthy revenue model which will support future exciting developments that we have in the pipeline."
Open Letter to Billboard
My name is Joey P, and I lead music industry relations at DCIA Member INTENT MediaWorks. I read with interest Brian Garrity’s article in the October 7th Billboard regarding the evolution of P2P. My interest was piqued because the title of Brian’s article is the same as our company’s campaign to monetize P2P: "From Piracy to Profit." Attached is a sample of our marketing materials distributed at SXSW and, more recently, Digital Music Forum West where I spoke on the October 4th P2P & Music panel.
I’m writing respectfully to suggest that Billboard revisit the subject of Brian’s report, because it missed the most important aspect of the movement "from piracy to profit" in P2P. This migration really is not about the introduction of closed P2Ps, as argued in the article.
Rather, it is about the conversion of copyright-infringing behavior in the steadily growing open P2P universe – which now accounts for more than seventy percent (70%) of all Internet traffic – into a profitable model for content providers.
The core collegiate (18-24) demographic and youth/young-adult (14-34) halo market habitually uses open P2P to discover music, and is not about to accept the inconvenience of changing their well-established routines without a compelling reason to do so that is in their own self-interest.
INTENT MediaWorks, whose approach was singled out for a favorable citation in the MGM v. Grokster case, saturates ALL P2Ps with ad-supported licensed content using value-added DRM windows tethering each download to offer individual track-by-track opportunities for up-sale.
INTENT does NOT attempt to force users to go to some new or different destination, which we view as a nearly impossible attempt to "compete with free" material. Instead, we flood the P2P environment with revenue-generating ad-supported promotional content, inviting upgrades to premium content to fulfill interest on impulse.
Attached is our DRM window with an example of what we distribute into all P2Ps – encouraging consumption while not changing behavior – individually wrapping each piece of content for sampling with ads as well as for upgrade purchase on demand.
We encourage Billboard to send a journalist to cover the P2P MEDIA SUMMIT LA where our CEO, Les Ottolenghi, will give the closing keynote address, providing the clear vision for a successful path "from piracy to profit" in P2P.
Your time and consideration are sincerely appreciated!
Deriving Value from P2P Traffic
Excerpted from MediaPost Report
The music industry is taking a different tack from just suing individual downloaders and file-sharing services for music infringement on the Internet.
It’s joining them by changing one of its previously employed tactics of using fake – or "decoy" – files to frustrate users searching for unlicensed content.
Instead it is distributing files that contain promotional material. An eight-minute video clip from a Jay-Z concert at Radio City Music Hall, for example, includes ads for Coca-Cola, and was produced by DCIA Member the Jun Group. It has been downloaded more than 2.5 million times.
Other music groups have placed snippets of a song into other forms of promotional files with the promise that a stream of the entire song will be "unlocked" for everyone once the teaser is forwarded to enough people. Right now, only about 1% of the decoy files on P2P networks have been replaced by promotions or ads, but the potential audience is huge. The typical downloader is the elusive tech-savvy male between the ages of 14 and 25. Please click here to read the related Wall Street Journal Article.
Does YouTube Foreshadow Licensed P2P
Excerpted from Blog Column by Michael Geist
My weekly Law Bytes column examines the parallels between YouTube and Napster, asking whether the YouTube - Google deal might foreshadow licensed P2P systems. While some media companies, including Time Warner, speculated publicly late last week about possible lawsuits, it is worth examining why YouTube appears to be succeeding where Napster failed. At least three possibilities come to mind.
First, the differences in legal status of Napster and YouTube may have contributed to the different approach. Napster’s P2P model raised the specter of contributory copyright infringement, whereas YouTube’s web-based distribution of user-generated content - much of which does not infringe copyright - likely qualifies for legal protection under US copyright law. Legal status is unlikely to provide the complete explanation, however. Though the legal risk associated with the two services may differ, viewed from the perspective of a content owner whose work is being infringed, there are clear parallels given that both services represent new distribution models not easily subject to copyright owner control. Second, some may argue that YouTube complements existing copyright owner business models since it provides a torrent of free publicity without cannibalizing other revenue streams. In contrast, the recording industry maintains that P2P file sharing is directly competitive with its own online offerings. This argument also falters under closer examination. There are a growing number of online services that sell episodes or clips of television programs, placing YouTube in a competitive position for at least some of the content found on the site. Moreover, there is reason to doubt that P2P is a significant competitive threat - in addition to the lengthy list of alternative explanations for the downturn of some record labels (retail price pressures, declining catalogue sales due to lack of availability, competition from DVD sales), a Canadian Heritage profile of the Canadian music industry released this summer found that Canadian artists have seen their sales grow steadily since 2001 with their share of the Canadian market increasing from 16 percent in 2001 to 25 percent in 2004.
The best explanation may well be that seven years after Napster’s debut, the world views the value of Internet-based distribution through a much different lens. In 1999, Internet distribution focused on the use of law and technology to control content and dictate terms of use. That control has proven notoriously elusive with consumer backlash against technological and legal controls and emergence of highly efficient user-based distribution models. Furthermore, it is Internet advertising revenues - not Internet controls - that today hold the promise of billions of dollars in revenue. Indeed, the Internet economics of 2006 have shifted so dramatically that later this fall the recording industry is planning to launch SpiralFrog, an ad-supported music download service that offers free music downloads (albeit with restrictive technological limitations).
Given these changes, what is the likelihood that a new licensed P2P model will come to the fore in the near future? Better than you might think. During the height of Napster, experts estimated that even a five-dollar monthly fee would have generated billions in additional revenue for the content industries, yet those companies chose instead to sue the P2P services along with thousands of their users. The YouTube deal may foreshadow a reversal, with the industry at long last ready to embrace the remarkable commercial potential of the Internet.
Stars Align for the Venice Project
Excerpted from NewsFactor Network Report
The timing couldn’t be better for DCIA Members Kazaa and Skype founders Niklas Zennstrom and Janus Friis to launch their new TV-based start-up, the Venice Project.
Rumors of the new startup first emerged in late July in Business Week, Business 2.0, and GigaOM. This week, more details emerged on Janus Friis’ blog where he says:
"It’s simple really: we are trying to bring together the best of TV with the best of the Internet. We think TV is one of the most powerful, engaging mass media of all time. People love TV, but they also hate TV. They love the (sometimes) amazing storytelling, the richness, the quality itself. But they hate the linear-ness, the lack of choice, the lack of basic things like being able to search. And wholly missing is everything that we are now accustomed to from the Internet: tagging, recommendations, choice, and so on. TV is 507 channels and nothing on and we want to help change that!"
While the above taken alone describes little more than YouTube, the earlier business week article above gives a few more hints: P2P distribution technology based on the same technology behind Kazaa and Skype, deals with television networks, time shifted TV over the Internet.
The time is right for this. Consumer demand is there and the networks seem ready to take the step. Apple has secured rights to over 220 television shows and sells them on iTunes. YouTube’s market valuation has been set at $1.65 billion by Google, showing the value of simply showing clips on the web.
And the networks have shown that they are open to trying new distribution options through the Internet. If Niklas and Janus have been successful in securing rights to network shows, we’re about to be introduced to something which is very likely to result in me canceling my cable television subscription once and for all.
Marketers Create Content on Social Networks
Excerpted from MediaPost Report
If you’re a marketer, sometimes you have to think in terms of stereotypes and over-simplifications to deliver the right message for your brand – and protect it from appearing in the wrong place. Therefore, you have to think that MySpace is a place for dirty old men to prey on young people, YouTube is a place to watch ripped-off videos, and Facebook is where minors go to see photos of their underage drinking exploits.
User-generated content is dangerous territory precisely because users can create their own uncensored content. But that’s what you do at these user-generated sites, so that’s what marketers need to do, too. A few have, and it’s working. On MySpace, marketers can create profiles. On Facebook, they can create groups where members can join. They can add features to these pages, like video clips, downloadable freebie coupons, ringtones and other stuff – and of course, provide links to their web pages.
They can also become "friends" themselves, and the kids don’t mind any of this, says Danah Boyd, a sociologist who studies social networks like MySpace. "Teens have grown up with being barraged with advertising," she says. "They just want it to be relevant, but they expect it."
Here’s a good example: Unilever helped turn its Axe deodorant into the No. 1 brand by interacting with its core base of 18-34 males. A recent campaign included an hour-long show on MTV devoted to "Gamekillers," or guys who block other guys from getting a girl’s attention. Unilever also posted a page on MySpace where people could trade stories, share tips and take a quiz about how to deal with Gamekillers.
The site was hosted by Christine Dolce, a blonde bombshell and MySpace celebrity who already has more than 1 million friends. The response: more than 250,000 people took the quiz, and 74,000 people designated the Gamekillers page as a "friend." Please click here to read the related NY Times article.
The UK Goes Broadband
Excerpted from eMarketer Report
The Point Topic "Spatial Broadband Forecast" for the UK predicts that the installed base of broadband lines in the UK will almost double in three years, growing from 9.77 million at the end of 2005 to 18.46 million by the end of 2008.
According to the Point Topic estimate, the proportion of households with broadband will almost double, from 34% at the end of 2005 to 64% three years later.
Remote rural areas where penetration is currently lowest today will grow fastest and nearly catch up with the rest of the country. But the highest take-up will continue to be in prosperous areas of Southeast England, where between 80% and 90% of homes will have broadband access by the end of 2008.
For data and analysis on worldwide broadband trends, read the eMarketer report, Worldwide Online Access: 2004-2010 report.
Tech/Media/Telecom: Digital Dilemma
Excerpted from Legal Week Report by Rupert Sprawson
The proliferation of digital delivery technologies has opened a fresh can of worms for service providers, rights holders and the oft-forgotten users.
Content owners such as record labels and movie studios were buoyed last year by the Supreme Court victory against file-sharing website Grokster. In turn, the creators and distributors of other file-sharing software have capitulated, paying significant damages, shutting down distribution of their software, or opting to obtain licenses from content owners. In addition, attention is now focused on user-generated content (UGC) services, which threaten to compete with services run by media giants.
Although the speed at which this recent phenomenon has taken root has surprised many, it has also spawned new opportunities for media conglomerates to invest in new methods of marketing and distribution where traditional channels of distribution are facing decline.
However, while technological developments have enabled consumers to enjoy high-quality images and recordings on devices with greatly enhanced storage capacity; video on demand, over-the-air downloads, podcasting, and interactive TV present service providers and operators with a plethora of practical, commercial and legal problems. Please click here for the full Legal Week report.
Consumer Frustration and Infringement
Excerpted from IGN Report by Gerry Block
Over the course of the past 10 years technology has penetrated homes and lives like never before. The PC has progressed from a productivity tool to a viable center of all home entertainment. In this day and age, entertainment means content: music, movies, games, and TV. The manner of consumption of this content is radically different than it was 10 years ago as well – we’ve progressed from a "push" style of simply accepting what came in through broadcast and cable TV to a "pull" style of absolutely individualized content selection. It’s a radically different entertainment world.
There are, however, serious new complications associated with a PC-centric entertainment world. The explosion of music file sharing on Napster and Kazaa, followed shortly by video content as broadband rolled out, and the wrathful response of the RIAA and MPAA made the issue of copyright infringement a very public and well known issue. The theme of this new conflict between content owners and infringing consumers was established quickly when the RIAA began to flex its litigious muscle and launched a very public campaign aimed at scaring infringement out of the populace with threats of legal destruction.
The solution to this problem is as simple as interoperable DRMs that will allow content to work on all suitable devices. It appears as though the MPAA, at least, may be trying to do the right thing. At last week’s Digital Home Developers Conference, Brad Hunt, the Executive Vice President and Chief Technology Officer of the MPAA, delivered a speech outlining the MPAA’s knowledge of this impending problem and their efforts to avoid it.
In a Q&A session following his presentation, he said, "I understand that if we frustrate consumers, they will simply pirate the content." He took it a step further, stating "The consumer, if he or she has already purchased licensed material, should certainly be able to transfer that content to any other new or old device." It was a bold statement from the MPAA, and one that should be echoed by the RIAA.
Hunt also discussed the MPAA’s work with three content protection standards groups, the Digital Video Broadcasting Project (DVB), Digital Living Network Alliance (DLNA), and Coral Consortium (CC), to build a new interoperable standard. Sadly, at the same time the MPAA may be embracing the concept of fair use, hardware providers are pulling away from interoperability. In all such cases, the anti-consumer perpetrators aren’t worried about content being infringed. Instead, they are aiming to secure their own markets and protect their own content sales businesses. It doesn’t matter whether it’s the content owners or the content sellers that frustrate consumers, the result will be the same. Entertainment and technology are destined to blend even further as the years go by, and it is important for both industries to realize that if they cannot serve the consumer, consumers will serve themselves.
RIAA Drops File-Sharing Case
Excerpted from Ars Technica Report by Eric Bangeman
The RIAA has dropped its case against Chicagoan Paul Wilke, with the two parties moving to dismiss the case with prejudice in federal court late last week. Elektra v. Wilke was noteworthy in that the defendant vigorously contested all of the RIAA’s allegations, moving for summary judgment against the record label last month.
Wilke had been accused of the usual malfeasance by the RIAA: sharing music over a P2P network. Instead of settling the suit as many others have done, Wilke denied any wrongdoing. He claimed that he was not the "Paule Wilke" named in the complaint, had never used any file-sharing applications, and that he did not own any of the songs reportedly flagged by Media Sentry.
Wilke’s argument that the RIAA did not have enough evidence for its lawsuit to go forward and subsequent motion for summary judgment apparently caught Elektra by surprise. The label responded with a motion for expedited discovery, indicating that it did not have enough evidence with which to fight the motion for summary judgment, and requested authorization for a search of Wilke’s computer in an attempt to find "evidence of copyright infringement on the defendant’s hard drive."
Attorney Ray Beckerman, who runs the Recording Industry vs. The People blog, told Ars that the RIAA’s evidence of a name, an IP address, and a list of songs in Elektra v. Wilke isn’t enough to constitute "competent evidence sufficient to create a material issue of fact that can be used at trial."
When asked if there had been a financial settlement, Wilke’s attorneys told Beckerman that "plaintiffs, the RIAA, and SBC [Wilke’s ISP] worked cooperatively and amicably to resolve this dispute."
This appears to have been another in a long string of cases of mistaken identity by the RIAA. Instead of merely saying that the RIAA had the wrong guy, as other defendants have, Wilke and his attorneys decided instead to attack the record label’s case, saying that the usual data the RIAA uses as the basis for its lawsuits is not sufficient to build a case on, let alone prove infringement.
Since the RIAA began filing lawsuits against suspected file sharers in 2003, not a single one has gone all the way to trial. In most cases, the defendants agree to write a four-figure check to the record labels to avoid a drawn-out court case. However, some of the accused are fighting back, and in some cases, it appears that the RIAA is dropping cases to avoid the possibility of losing. One case that bears watching is UMG v. Lindor, where the defendant accused the RIAA of using P2P networks and is expected to file a motion for summary judgment once the discovery period concludes at the end of the year. If that motion is denied, UMG v. Lindor may be headed for trial in 2007.
Needless Litigation
Excerpted from Online Minute Report by Wendy Davis
After weeks of posturing about copyright infringement on video-sharing sites, Universal Music Group (UMG) this week sued two web companies, Bolt and Grouper, for hosting Universal-owned clips.
Universal’s main gripe: Grouper, Bolt and other sites that allow users to upload clips unfairly "build their business on the backs of our content and the hard work of our artists and songwriters."
This statement is preposterous on so many levels, it’s hard to know where to start. Does Universal really believe that Bolt and Grouper have built their business on music videos? As opposed to comic shorts? Homemade vacation travelogs? Wedding videos?
Even if some users have uploaded music videos to the sites, how exactly does that hurt Universal? Don’t music videos help sell CDs? In fact, isn’t that one of the main reasons they’re made?
Universal’s artist roster includes The Killers, Ludacris, Mariah Carey and U2. If any of them are grousing about video-sharing sites, such complaints haven’t yet reached us.
Meanwhile, Universal’s actual end-game remains unclear. It could be that, having cut an ad-revenue deal with Google’s YouTube, Universal is hoping to force other video-sharing sites out of business so it can hold a near-monopoly on the online distribution of its music videos.
But if this is truly Universal’s goal, it’s remarkably short-sighted. The company – and certainly its artists – would be better off with the widest possible distribution of music videos. Grouper and Bolt have both said they’re eager to negotiate with Universal to cut the record labels in on any profit made off their videos. Universal should be taking them up on that offer, rather than diverting resources with needless litigation.
Coming Events of Interest
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P2P MEDIA SUMMIT LA – October 23rd-26th in Santa Monica, CA. The Fall DCIA Conference & Exposition will cover policy, marketing, and technology issues affecting commercial development of this emerging high-growth industry. Exhibits and demonstrations will feature industry-leading products and services. For sponsor packages and speaker information, please contact Karen Kaplowitz at 888-890-4240 or karen@dcia.info. Plan now to attend.
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Digital Hollywood Fall – October 24th-26th at Loews Santa Monica Beach Hotel in Los Angeles, CA. The preeminent digital media and entertainment conference in the country. This year featuring more than 70 different sessions and over 450 speakers. The DCIA will moderate "Track I: Next Generation P2P Music and Film - DRM, Paid for Pass-Along and Other Legal Distributed Computing Models and the Entertainment Industries."
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Streaming Media West – October 31st at the McEnery Convention Center in San Jose, CA. Streaming Media West is where the streaming industry intersects with the business world. It’s where streaming professionals, technology experts, and business executives gather to learn how to use streaming and digital media for innovative business solutions. The focus has expanded to include a wide range of digital media technology and applications providing tips, strategies, and practical advice.
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Digital Hollywood Europe in London – November 29th - December 1st at ExCeL London, The Docklands. The DCIA will moderate two P2P panels featuring Ingjerd Jevnaker, Marketing Manager, RawFlow; Daniel Harris, Founder, Kendra Initiative; Bruce Benson, Senior Managing Director, FTI Consulting; Les Ottolenghi, Founder & CEO, INTENT MediaWorks; Chip Venters, CEO, Digital Containers; Daniel Klaus, CEO, Music Nation; Jonathan Friend, CTO, Friend Media Technology Systems (FMTS); Xavier Casanova, CEO, Perenety; Tom Meredith, CEO, P2P Cash; and Phil Morle, Director of Technology, Sharman Networks.
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