![]() Also, they use the engine behind popular websites such as YouTube and Wikipedia: Lighttpd. In the past, a lot of effort has been put into MMbase software. This can mean adding extra layers of information, which will be important in the future, or imposing limits on the availability of the player, for example from different countries. Lastly, the audiovisual webplayers are designed to fit the concerning content. In this step, the old fashioned ways as well as the new ones are taken in account. Then comes the distribution of the end result: the audiovisual product. Next is the content management by the NPO and the people they hired for adaptation solutions. Then the production environment is established. Bram Tullemans explains the workflow further: first is the content production, mostly by external (and/or foreign) producers. At this point NPO hires people to solve those problems. When an OSS is picked, it will have to be changed and adapted to fit the needs and purposes of the NPO. Third is manageability and adaptation possibilities, and fourth is the cost of use in context. ![]() First, according to the available rights and possibilities the software includes. It judges the quality of the Open Source Software (OSS) it wants to use according to four properties. NPO doesn’t program the used software itself. Producers will charge far more if their content is being placed on the web, because it counts as an extra, very large distribution platform. They complicate the open exhibition of streamed or downloadable video’s. Agreements, distribution rights, licenses. While this diverse content is the strong point of the NPO, it is also its weakness when it comes to publishing on the web.īecause, as Tullemans points out, the main issue for content distribution is licensing. We don’t want people to only see the blockbusters, but also give alternatives”. It’s goal, according to Tullemans, is “to maximize our audience with diverse content. The umbrella instance of all those loose companies is the NPO. This way, public channels broadcast a wide range of programs about different kinds subjects with different points of view. When an emerging channel has a certain amount of subscribers, they can start their own broadcasting company. He introduces to his audience the way the Dutch broadcasting system works. Bram Tullemans is also exploring new possibilities for distributing video through other platforms and formats such as DivX TV, Bombykol and interactive tv.īeing the last speaker of the session and assuming that people are eager to get to lunch, Bram announces not to rattle about too long. After YouTube, Tullemans points out, is the biggest video platform for the Dutch, receiving thirteen million views each month. He has been occupied with Uitzending Gemist, a Dutch service website which provides television programs from the public channels online short after they were broadcasted on tv. Blog: Bram Tullemans from NPO: License issues complicate open video exhibitionĪs policy adviser of distribution technologies for the NPO, ‘Nederlandse Publieke Omroep’ (Dutch Public Broadcasting), Bram Tullemans finds himself situated at the heart of the debate on open video distribution.
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