I spent most of July and August working out of MakerBot’s Brooklyn Headquarters (the BotCave) to concept, staff and launch this new series. Working with long-time pal Bre Pettis, MakerBot’s cofounder, CEO and former video superstar himself, we set to work on coming up with a new 12 to 14 episode weekly series that would appeal to current MakerBot owners and non-owners alike.
The show has to be entertaining, informative, tell great stories and appeal to a wide audience. The first thing we did was set about finding the perfect person to bring in full-time as MakerBot’s Video Superstar. This was not an easy search as the role demanded not just a great on-screen presence, but someone who can think creatively, quickly, knows online video production, is a great editor and isn’t freaked out by deadlines. After almost a month of searching, we hired Annelise Jeske.
Annelise is perfect for the role. She’s got a cool sense about things, is very creative, driven, and didn’t freak out when I threw Final Cut X at her and said “you’ll be using this.” Once Annelise was on board, she and I set to work to concept out the various segments, branding, music and story ideas.
MakerBot’s 3D printers aren’t just a product, they’re a lifestyle. While still arguably in the early adopter and hobbyist days, these robots are part of an ecosystem that is exploding with creative use and potential. To own a MakerBot Thing-o-Matic isn’t to just own a machine that makes replacement parts for your home. It’s about being part of something much bigger. It’s about being part of a fast growing segment of humans who are using shared ideas, designs, software and hardware to build upon the greatness of others. Call it the DIY movement, the maker movement, whatever. It’s about solving problems, learning, creating and ultimately sharing knowledge with others like you.
MakerBot has spawned a growing community of people who share their 3D designs on an open website called Thingiverse. If you design a bicycle mobile phone mount or coat hook, you can share those designs on Thingiverse and others will build upon them to improve or make variants of them. This is exciting stuff, because that means as a new MakerBot owner, you have access to thousands of products that you can print out at any time. There’s new models posted all the time, so we’re doing a regular segment called Thingiverse Roundup that focuses on cool stuff found here.
Annelise has experience doing stop motion animation, so we quickly decided that the opening sequence and segment IDs should be animated using printed models and letters. We saw Tony Buser‘s Bob the Bobblehead robot appear in the office one day and knew we needed to incorporate him into the show.
As a result of Bre’s appearance on the Colbert Report, MakerBot has been scanning the heads of friendly hackers, thinkers, writers, artists and musicians with a high resolution 3D scanner. These scans can be printed out to render a perfect plastic bust thus giving us our Notables segment.
There’s so much more to come. I’m really happy with our debut episode, which features much head scanning when the organizers and artists from the AfroPunk Festival stopped by MakerBot’s workshop. Angelo Moore from the band Fishbone and Reggie Watts are two of the artists who are featured. An excellent model of Yoda and a multi-piece Sword of Omens are featured in the Thingiverse Roundup segments. Future episodes will focus on interesting creators, artists and events in the ever expanding universe of affordable 3D printing.
My role was primarily getting MakerBot TV off the ground. It’s in Annelise’s very capable hands now. The show has tremendous momentum, support from the whole MakerBot staff and a universe of stories that have yet to be told. I’m proud of what we’ve produced and very excited at what’s to come. Please tune in, subscribe and tell your friends. It’s going to be an awesome ride!
I’m spending the next 6 weeks in Brooklyn helping to launch a new video series for MakerBot Industries, makers of your friendly, low cost, desktop 3d printer. We’re looking to a hire a kick ass Online Video Superstar to be the face of this new series and to ultimately take over the daily production aspects of the show. If your passionate about robots, video production and DIY culture, this might just be your dream job. Please apply as we’re looking to hire for this position immediately.
I’ve had the pleasure of beta testing a couple new video services that launched this week. Both make Internet video discovery, viewing, collecting and sharing a lot more fun.
Today, Showyou hits the app store for iPhone and iPad. Showyou is an app that helps you discover videos that your friends and followers on social networks are sharing. That in itself isn’t anything new, the magic is the user experience. On an iPad, you can easily just kick back and glide across a matrix of nothing but videos from your social networks, currently Twitter, Facebook and Vodpod. When you’ve watched a video you like, you can share it with other Showyou users or comment on it within Showyou or on Twitter and Facebook where you may have first found it. There’s also a send “thanks” button, which is sort of similar to “liking” a video by notifying the originator that they’re awesome.
The creators of Showyou is Remixation, the same fine people behind Vodpod, the video collection & sharing service that up until now, was all web and widget based (see mine to the right of this post). One other really cool thing about Showyou is that if you have an Apple TV, you can send the videos that you find straight to your TV over AirPlay. This essentially turns your iPhone/iPad into a very pleasing remote control (who the hell needs 90 buttons anyway?)
On Monday, VHX launched their public beta. VHX is also a video discovery, viewing, collecting and sharing service but fundamentally different in a few ways from Showyou. VHX is all about the lean-back uninterrupted experience in your web browser (for now). As soon as you log into VHX, a video starts playing. So does the next one and the next one and so on. VHX creates a full-screen, TV like experience in your browser from videos shared by you and your friends. You can add videos to your VHX queue with bookmarklets. You see something you like while trolling the net, simply share it or save it for later viewing. Right now, only YouTube and Vimeo videos are supported, but expect that to change as VHX evolves through their beta. VHX comes from the creative minds of Jamie Wilkinson, formerly of Know Your Meme and Rocketboom and Casey Pugh, formerly of Vimeo and Boxee.
As I’ve got some time on my hands since being laid off from Ustream, I thought I’d take a look at the current state of live video streaming on the web. I will concentrate on the three most popular free services, Ustream, Livestream and Justin.tv. I’ll focus on core service features, ad support and removal, social network chat integration, desktop broadcaster applications, mobile integration and revenue. I’ll also touch briefly on the 800 pound elephant in the room, YouTube.
Ustream, Livestream and Justin.tv are all similar in that anyone can broadcast full-motion live video for free on the Internet, using a Mac or PC, to millions of viewers. They’re also similar in that you can archive any broadcast for playback later, as well as embed any live broadcast or archived broadcast on to your own website. All three platforms also have interactive chat features and easy ways of sharing a live broadcast over Twitter and Facebook.
Free, If You Don’t Mind The Ads
All three streaming platforms provide free ad-based video streaming services with the ability to archive any broadcast for future viewing. This means that when a viewer watches a live broadcast, they will see pre-roll video ads, in-player bottom banner and pop-up ads, bottom text ads, banner and sidebar ads. Watching a recorded archive broadcast will also trigger similar ads. This is a primary way streaming platforms are able to offer free streaming.
Here’s the way the platforms differ. Ustream offers unlimited streaming to as many people as can you can get to tune in. There are no restrictions on broadcast length or number of viewers. Livestream also offers unlimited free streaming, though you must go through a verification process to allow more than 50 concurrent viewers and to be listed in their directory. This is a mechanism Livestream uses to limit potential piracy. Justin.tv also allows unlimited streaming and does not require any sort of verification process. Justin.tv seems to host a lot of unlicensed content, though they do respond aggressively to DMCA takedown notifications. By contrast, Livestream and Ustream take a stated zero tolerance approach to unauthorized copyrighted content and have content monitors and automated systems to implement this policy.
Paid Option, If You Do Mind the Ads
The platforms differ when it comes to broadcasting an ad-free experience. Livestream’s premium service allows you to opt out of having ads served on your content (or plug in your own ads and monetize your content). As a premium Livestream broadcaster, anyone who views your content can do so without seeing ads. Livestream charges $350 per month to broadcast ad free, for up to 3,000 viewer hours (# of viewers x average # of hours watched = viewer hours) and 1TB of archived content. You can also pay $1250/month for up to 15,000 viewer hours monthly.
Not to be outdone, Ustream just rolled out their ad-free broadcasting service. Ustream offers three tiers of service to remove ads, also based on a monthly subscription fee. Each tier includes an increasing number of viewer hours. At $99 a month, Ustream is now the cheapest option to conduct an ad-free broadcast, as long as you don’t go over 100 viewer hours. Ustream charges an overage fee of 50 cents per viewer above that, which decreases with their $499 (4,000 hours) and $999 (9,000 hours) tier plans. Ustream also offers a paid, ad-free, white label service called Watershed.
Justin.tv also allows for an ad-free viewing experience, but throws the onus on the viewer to buy a Pro account for $10 a month. Justin.tv Pro account users will see all Justin.tv broadcasts without ads. If you’re a broadcaster, you can’t pay to have your content ad-free for your viewers, such as Ustream and Livestream do.
Chat and Social Stream
All three platforms have a real time chat feature, while Ustream and Livestream also have what they call a “social stream.” The chat features on all platforms are embedded to the right of the player and are essentially modified IRC clients. On Justin.tv the chat feature can be minimized by the user. On Ustream and Livestream, the chat feature can be switched on or off by the broadcaster.
The social stream allows viewers to post status updates to social networking sites while watching a live broadcast. Ustream’s social stream is an aggregated stream of updates from Twitter, Facebook, Myspace and AIM usually appearing to the right of the video player. A user logs into any or all of their social network accounts to post an update, which embeds a short URL back to the live broadcast channel page in the update. Status updates appear in real-time as they come in.
Livestream also has a social stream, though currently they only support Facebook and Twitter. The Livestream social stream is broken out into seperate tabs for each social network, rather than aggregated into a single stream like with Ustream. Similar to Ustream, the user logs into their Facebook or Twitter account from the broadcast channel page to be able to post updates.
The social stream is quite an ingenious way of driving engagement and traffic to a broadcast. Moderately popular broadcasts can quickly go viral as viewers post updates to their networks, thereby bringing followers into a broadcast.
Desktop Broadcast Apps
A differentiator among streaming platforms is the desktop broadcaster application. Using a desktop application to live stream is generally more robust, results in better quality and offers more features than using a platform’s web based Flash broadcaster (which can often crash because, well, it’s Flash).
Ustream has Ustream Producer, a Mac and Windows based application created by Telestream, the developer behind Wirecast. Producer is actually a slimmed down, custom branded version of Wirecast that is designed to only work with Ustream’s platform. Producer comes in two flavors, free and $199. The free version allows you to broadcast from a single camera, either a webcam or external standard definition DV camera over firewire in 4:3 or 16:9 aspect ratios. The coolest thing about the app is that you can mix in canned pre-recorded video clips, photos, audio and even virtually capture the desktop from another computer on your network. The $199 Pro version does all this with the addition of being able to switch between multiple cameras, add overlay graphics and bottom third titles. The Pro version also has a number of presets for higher quality streaming, though does not let you specify your own custom bitrate, frame rate or encoding format. One thing to note, Ustream claims that Producer Pro supports source input from HDV cameras, which is true. What is not noted is that you’ll need to pay an additional $99 on top off the $199 you’ve already shelled out for Pro to use your HDV camera. A work around, is to put your HDV camera in SD mode and you’ll avoid this, but of course, be limited to SD resolutions.
Livestream has its Livestream Procaster application, available for Mac and Windows. I’ve only used the Mac version, though it appears that the Windows version has some additional features not yet available in the Mac version, such as VP6 encoding and custom aspect ratios. Procaster, a free app, is comparable to Ustream’s free Producer app. Procaster, which only works with Livestream, makes it super easy to broadcast from a single camera to your Livestream channel. Your camera input can be a webcam or external DV or HDV connected firewire or USB camera. HDV is supported natively, no costly plug-in needed. Procaster let’s you set a broadcast to auto-record, allows you to switch between a camera and your desktop using several 2D and 3D transition styles. Similar to Ustream Producer, Procaster lets you choose between several presets for encoding & broadcast quality. Unlike Producer, you can also specify completely custom bitrates, frame rates and resolution.
That’s essentially where Procaster ends. There is no multi-camera option, or ability to drop in lower third titles. For this functionality, you would need to purchase something like Telestream’s Wirecast ($449). Wirecast is platform agnostic, will work with Livestream, Ustream, Justin or your own CDN or Flash Media Server. Wirecast will also let you record a full resolution DV copy of your broadcast to a local hard disk, while also streaming.
Justin.tv does not have a custom desktop broadcaster application, though as mentioned above, works with Telestream’s Wirecast as well as Adobe FMLE.
Mobile Broadcasting & Viewing
All three platforms have free mobile applications to broadcast and/or view live streams for iPhone and Android devices. They differ in some subtle ways. Ustream’s Broadcaster application allows anyone to broadcast live and interact with the social stream over wifi or 3G. It works fairly well, though if you’re in AT&T’s notorious horrible coverage areas, you’ll get a rather choppy experience. Ustream also has a separate Viewer app for viewing live broadcasts, so long as they are being broadcast in H.264/AAC or with Ustream Producer.
Justin.tv has a combined broadcaster and viewer app for iPhone and Android. Like Ustream, you can broadcast over wifi or 3G and send a tweet out when you go live. You can also interact with viewers in the chat from your device while broadcasting. The viewer side of the app has an extensive list of current live broadcasts which you can easily click to view.
Livestream does not have a mobile broadcaster app, only an iPhone app for viewing broadcasts. Another option, don’t bother getting the app and just point your mobile device’s browser to Livestream’s mobile site. Broadcasts are in HTML5 (encoded as H.264/AAC) and will play natively on an iPhone (and presumably Android devices).
Where the Money Is
If you take a look at the front pages of Ustream and Livestream, you’ll likely see promotions for upcoming broadcasts with notable brands, music artists and red carpet movie premieres. These events represent real revenue and currently Ustream and Livestream have a lock on this. Justin has declined persuing premium content revenue partnerships and is focused on user generated content, including lots of video game playing. Both Ustream and Livestream have, or are opening, LA offices to go after these premium entertainment deals (though based in SF, I was part of the LA media division at Ustream).
Also, pay-per-view (PPV). There’s a lot of potential here, if someone’s able to get it right. Currently, only Ustream has dabbled in a PPV service with a Dane Cook event back in January. Just recently, Ustream announced a PPV service they’re calling Open PPV. This will give approved broadcasters a way to monetize their channels. For some reason, many people are willing to pay ridiculous amounts of money to watch people beat the crap out of each other.
The YouTube Factor
It’s no secret that YouTube has been building out live stream infrastructure and to date, successfully broadcast a number of highly trafficked events. Recently, YouTube experimented with four content partners in doing a week long series of live broadcasts.
A feature that YouTube has in their live player, that the other platforms don’t, is dynamic adaptive bitrate live streaming. What this means is the YouTube player is able to sniff your bandwidth and adjust itself according to how big your pipe is. If you’re viewing from a nice fat cable or fiber connection, you’ll see a high resolution, higher bitrate video. If you’re viewing from a crappy wifi or slow DSL connection, you’ll get a lower bitrate viewing experience that works with the slower connection. It’s similar to the experience you get while watching Hulu or a streamed Netflix movie. Why the current live streaming platforms have not adopted this, is a mystery, as adaptive bitrate streaming is nothing new. Adobe supports live dynamic adaptive bitrate streaming in Flash.
It may be too early to tell whether YouTube is going to roll out live streaming to the masses or whether they will continue to cherry pick select events and partners to work with in the future. Even if YouTube does not roll out en mass, they’ll likely be a formidable competitor to Ustream and Livestream’s premium content partner businesses.
I was in Washington, DC this weekend to check out Jon Stewart & Stephen Colbert’s Rally to Restore Sanity and/or Fear that took place down on the Mall. Since my initial mission was thwarted, I ran around and grabbed video footage of as many creative signs as a could. Here’s the resulting montage.
Well that was a fun ride. After 10 months of heading up Production Services at Ustream, I’m now back to contractor status. I’m still doing some work for Ustream, now as a consulting producer for specific events. The good news is no more project management, sales calls and contract herding. The bad news, no more free delicious daily organic lunches or stock options. I know, first world problems. I’m grateful for the experiences I’ve had over the last year and really enjoyed producing high profile live events for Ustream, some of which are listed below. The future is bright, though I’ve lost my cheap shades. If you’re looking for some help with streaming an event, feel free to drop me a line.
Here’s some of the notable live broadcasts I’ve produced or consulted on for Ustream:
– Zynga Mafia Wars armored truck explosion with Snoop Dogg (2 million views)
– Sports Illustrated Swimsuit 2010 week
– Chad Ochocinco: The Ultimate Catch
– Taylor Swift 13 hour fan meet and greet in Nashville
– PacSun Beach Ballyhoo festival in Santa Monica
– SXSW Music 2010 showcases & Ustream party w/Gym Class Heroes
– TechCrunch Disrupt conference
– 2K Games unveiling of Duke Nukem Forever at Penny Arcade eXpo 2010
– Emmy Awards 2010 backstage live event
– Deftones LIVE from Dallas album webcast
– Damian Marley webchat at Ustream’s SF office
Big changes in the eddie.com world. After freelancing as a videographer, producer & consultant for the last few years, I’ve settled down as the Head of Production Services for a little outfit called Ustream. Maybe you’ve heard of them. They’re one of the big players in the live video streaming space (what was once called webcasting back in 1.0 days). Rappers love ‘em. So do tech conferences. I just finished up streaming the LeWeb conference in Paris, my first trip as an employee. I’ve worked with Ustream a bunch over the past year in a consulting capacity, which has been a lot of fun.
So what does a Head of Production Services do? I’m still trying to figure that out. What I do know is that it’ll involve servicing the many requests we get for help from our customers. Ustream is super easy to use and free for anyone, though many people need or want a bit of extra help. Production Services will be that. You’ll be able to hire Ustream “certified” professionals to come out and make sure your event goes off without a hitch. You’ll hear more about that over the coming months as we get things figured out.
For me, this seems like a natural progression of things I’ve been doing over the past 10 years. Back in the early 2000’s, I worked for a small startup called Fast Forward Networks that had created an innovative platform for scaling live broadcasts across the Internet. Think multicast at the application layer. It worked pretty well and we had some early successes selling to CDNs, broadcasting the Super Bowl and a Madonna concert. That startup was acquired by Inktomi right before the dot-com crash. This meant a 1000+ person company was soon reduced to less than 100 and firesaled off to Yahoo! in 2003.
On the cusp of 2010, live Internet broadcasting is doing damn fine. It’s become disruptive and the major old-school TV broadcasters have a lot to fear. Some of the fundamental technologies have changed, such as Flash video being the ubiquitous way of viewing Internet video. Back in 1.0 days it was all about RealNetworks, Quicktime and Windows Media. Codec and platform compatibility problems were the norm and end-user bandwidth simply wasn’t there to provide the YouTube & Hulu like experience we have today. We’ve come a long way in 10 years and I have no doubt the next 10 years will be exponentially more interesting. I predict by 2020 all TV media consumption will be Internet based, cable will be dead, DVDs will be a relic and satellite will just be another avenue for delivering Internet. From where I’m sitting, that looks pretty good.
The Institute for the Future, a Palo Alto based nonprofit research group, held a day long research exchange yesterday titled “The Future of Video.” During the Q&A of the “Authorship, Appropriation, and Control” panel, creative genius Ze Frank responds critically to the utility of Creative Commons for guys like him. Ze feels that others rip off his work, make lesser quality derivative works and profit from them at his expense. Panelist David Pescovitz of BoingBoing and IFTF, argues for CC with counter examples and panelist Alexander Cohen, Professor of Film Studies at UC Berkeley, also argues for the utility of CC for remixing & critiquing society. Leprechauns enter the story as well.
Here’s Ze earlier in the day laying the groundwork responding to Mimi Ito at an earlier panel, on the “fundamental split” he sees between how amateur and professional content creators contextualize their work.