The Web-based favourites portal returns to Frontier-based Internet radios like these Ruark sets
Frontier Smart have revised their Web-based Internet-radio-management portal to work with the Airable by TuneIn Internet-radio directory. This is after Frontier Smart, formerly Frontier Silicon, jumped from vTuner to Airable after it was recently found that vTuner recently “lost it” with Internet-radio service quality.
This account-driven portal offers Web-based favourites management which also supports the ability to create personalised station groups like “Favourite European Stations”. As well it brings back the ability to upload the Web address of an audio stream for your Internet radio to pick up, which can be useful if you are dealing with a station not on the Airable directory.
At the moment, you can have a favourites list available to a particular Internet radio or have them across all of the compatible devices you have bound to your account.
… including the Ruark R7 Radiogram
You need to create an account with the Frontier Nuvola Smart Radio portal for this feature to work. This supports social sign-on with Google and Facebook as credential repositories for both signing up and logging in.
As well, you have to enrol each Frontier-based device (Internet radio, wireless speaker, etc) with your Frontier Nuvola account for this function to work. You would then log in to the above-mentioned portal then select the “Connect New Device” option on the “Devices” screen to bind your device to your account.
You would need to bring up the device’s access code by using its control surface or companion app to select “Stations” then “Help” while it is in Internet Radio mode. Then you transcribe this number from the device’s display or companion app in to the “Connect New Device” web form. This number has a validity time of 10 minutes.
As well, you have the option to name the device with an easy-to-remember name so you know what it is. I would recommend the use of its make and, perhaps, model name or number plus its location in your home like “Kitchen Sangean DDR-66BT” for a Sangean DDR-66BT stereo Internet radio / CD player installed in the kitchen as an easy way to identify it.
How could Airable and Frontier Smart improve on this feature?
Airable could improve on the Web-based favourites functionality so that your favourites aren’t confined to devices based on a particular platform or offered by a particular make. This is because some manufacturers; especially those who provide “big sets” like hi-fi tuners and receivers, or those offering to the automotive market whether line-fit, dealer-fit or aftermarket, will create their own highly-branded user interfaces to this directory.
As well, Airable could then be in a position to offer an Internet-radio / podcast app for mobile and desktop computing platforms so you can benefit from its resources with your smartphone, 2-in-1 laptop or desktop computer. It can extend to smart-TV and set-top-box platforms where an Internet-radio app is considered to be a desirable function. This could then compete with established app-based Internet-radio providers like TuneIn Radio and give a boost for European IT in the consumer space.
They could also provide the ability for a user to create preset-list and personal-stream groups that are available to a subset of Internet radios or other devices bound to your account. It could suit a situation such as to have one favourites list for in-car use or the office and another for the home.
Similarly, it could be feasible for a device to support multiple users such as to cater for larger households or the hospitality industry where different people have their own favourites lists or streams but want to use their accounts with the same devices.
The Airable effort is still being seen as a way to keep the essence of Internet radio – the “new shortwave radio” alive as a medium when it comes to standalone devices.
Google not allowing Amazon to provide a native client tor the popular YouTube service on the Echo Show highlights how much control they have over the user-generated video market
Over the last many years, YouTube established a name for itself regarding the delivery of user-generated video content through our computers. This included video created by ordinary householders ranging from the many puppy and kitten videos through to personal video travelogues. But a lot of professional video creators have used it to run showreels or simply host their regular content such as corporate videos and film trailers, with some TV channels even hosting shows for a long time on it.
Recently, Google pulled YouTube from Amazon’s Echo Show device ostensibly due to it not having a good-enough user interface. But it is really down to Google wanting to integrate YouTube playback in to their Google Home and Chromecast platforms with the idea of running it as a feature exclusive to those voice-driven home assistant platforms.
Could the Web be the only surefire place to see Keyboard Cat?
These instances can affect whether you will be able to view YouTube videos on your Smart TV, set-top box, games console, screen-equipped smart speaker or similar device. It will also affect whether a company who designs one of these devices can integrate YouTube functionality in to these devices in a native form or improve on this functionality through the device’s lifecycle. The concern will become stronger if the device or platform is intended to directly compete with something Google offers.
There are some video services like Vimeo and Dailymotion that offer support for user-generated and other video content. But these are services that are focused towards businesses or professionals who want to host video content and convey a level of uninterrupted concentration. This can be a limitation for small-time operators such as bloggers and community organisations who want to get their feet wet with video.
Facebook is starting to provide some form of competition in the form of their Watch service but this will require users to have presence on the Facebook social network, something that may not be desirable amongst some people. Amazon have opened up their Prime streaming-video platform to all sorts of video publishers and creators, positioning it as Amazon Video Direct. But this will require users to be part of the Amazon Prime platform.
But for people who publish to consumer-focused video services like YouTube, competition will require them to put content on all the services. For small-time video publishers who are focusing on video content, this will involve uploading to different platforms for a wider reach. On the other hand, one may have to use a video-distribution platform which allows for “upload once, deliver many” operation.
Competition could open up multiple options for publishers, equipment / platform designers, and end-users. For example, it could open up monetisation options for publishers’ works, simplify proper dealing with copyrighted works used within videos, open up native-client access for more platforms, amongst other things.
But there has to be enough competition to keep the market sustainable and each of the platforms must be able to support the ability to view a video without the user being required to create an account beforehand. The market should also support the existence of niche providers so as to cater to particular publishers’ and viewers needs.
In conclusion, competition could make it harder for YouTube to effectively “own” the user-generated consumer video market and control how this market operates including what devices the content appears on.
Acorn TV – SVOD provider offering the best of British telly to the USA
Mobile: iOS, Android
TVs and Set-top Devices: Apple TV (tvOS), Roku, Amazon Fire TV, Samsung Smart TV (newer)
SBS On Demand – AVOD provider offering foreign and art-house content to Australian audiences
Mobile: iOS, Android, Amazon Kindle Fire, Windows Phone
Regular Computers: Windows 10
TVs and Set-top Devices: Apple TV (tvOS), XBox 360, XBox One, PS3, PlayStation 4, Humax, Fetch TV, Telstra TV, Telstra T-Box, Sony Bravia Smart TVs, Android TV, Google TV, Samsung Smart TVs, LG Smart TVs, Panasonic Viera Smart TVs, HBBTV, TCL TV
As the mainstream “over-the-top” video-on-demand market becomes saturated with service providers who try to cover all the bases, a few companies are rising up or will rise up to offer an “over-the-top” video-on-demand service that targets a niche audience.
Some of these companies are based on an existing media-publication or distribution platform that already courts that particular niche like a home-video distributorship, a TV broadcaster or a bookstore. Here, I would simply see a niche video-on-demand provider very similar to an art-house cinema or a specialty bookstore.
The different companies provide these services on one or more of the following three business models
AVOD (Advertising Video-On-Demand) – advertising-funded with TV commercials run during the show like with traditional TV. It is commonly used with services that started out as “catch-up TV” services offered by TV broadcasters who sell advertising.
SVOD (Subscription Video-On-Demand) – funded by users paying a monthly or yearly subscription fee to see all of the content offered by the video-on-demand provider. It is the same kind of business model that Netflix operate on.
TVOD (Transactional Video-On-Demand) – viewers pay to have access to a particular movie or series title either on an infinite basis or for a certain time period. It is similar to the video offerings provided by the platform app stores (Apple iTunes, Google Play or Microsoft Store).
These providers may find that the business model that they choose may please the audience that views their content, especially if they are capitalising on their media-distribution heritage. On the other hand, they may have to operate the different business models together such as taking a “freemium” approach with an advertising-funded service but allowing viewers to subscribe to a premium ad-free service.
There are two services I am calling out in this article that are answering to the niche video-on-demand market.
Acorn TV – the best of British telly in the USA
One of these is Acorn TV, a subscription video-on-demand service that is supplying the best of British telly to the American market. It was based on the Acorn imprint which sold British shows on packaged home-video media (VHS videocassettes and DVD / Blu-Ray discs) in to the USA since 1994. Acorn are even heading towards creating their own content as well as redistributing the content offered by the British TV channels in to the USA. It appeals to British expats who have moved to North America along with Americans who appreciate the high-quality content that British TV is known for.
SBS On-Demand (Windows 10 native app) – foreign-language TV in Australia thanks to SBS
The other of these is SBS On Demand, an advertising video-on-demand service that is supplying Australian viewers with foreign and art-house content. This service evolved from a “catch-up TV” service that SBS, a publicly-funded radio and TV service that focused towards Australia’s ethnic communities since the late 70s, ran in conjunction with their free-to-air TV service. Here, they have become the Australian TV outlet for the rising classes of subtitled content like Nordic Noir crime fiction even before such content came on the scene in the UK and USA. SBS still create their own edgy TV content to show on their regular TV service or directly on this on-demand service.
Most of these providers work on traditional content trees with content grouped primarily by the standard content genres with opisodic content listed by series title. But as this class of on-demand video provider evolves, there will be the curated thematic content groups appearing in their content trees, focusing on particular themes like content classes that underscore the niche very well like the “Golden Age of British Comedy”.
What needs to happen is the ability for those niche video-on-demand content providers not to just represent themselves as just another app in your smart TV’s or mobile device’s app store but to expose the fact that they provide a particular class of content.
App stores like Google Play could be the place to set up shop as a boutique SVOD provider
An issue that will face the subscription video-on-demand market will be the existence of niche players. These are boutique SVOD providers that provide current and back-catalogue content that focus on particular tastes and interests. Examples of these could include a provider who runs European, Asian or other foreign films in to English-speaking markets; a specialist in art-house cinema, documentary movies or low-budget fare of the 60s and 70s that was run at a “flea-pit” cinema or drive-in, or even an extension of a Christian bookstore chain that runs Christian movies.
This is similar to how home video evolved through the early days where video content providers worked with particular vertical markets even though the major film studios saw this new distribution medium as too risky. This allowed, for example, the low-budget independent content to gain more of a foothold with some of the names listed in these movies’ credits to head towards bigger better-paid gigs.
Very hard to compete in the successful mainstream SVOD world
Netflix – the sign of a saturated SVOD marketplace
What has been noticed recently is that only a few mainstream SVOD providers that “cover all the bases” can exist in one market at one time. This was recently exemplified when QuickFlix fell of the tree because they were trying to pitch the Australian market against Netflix, Presto and Stan. Similarly, the SVOD model has been proven to be successful as this article from Advanced Television shows, underscoring concepts like increased perceived value and customers signing up with multiple SVOD services.
From my experience with Netflix, I had noticed that the subscription video-on-demand services were able to come across in an exciting manner especially with their user interface. For example, they offered a recommendation engine which allows you to discover content you may be interested in; along with a carousel-style user interface that encourages browsing.
Ability to divide the niche genre in to sub-genres
A niche SVOD provider would be able to license particular kinds of video content that serve their niche and even break this content collection down in to multiple sub-genres. Examples of these could include the Australian “Ozsploitation” movies that could be part of the “grind-house” low-budget movie niche; or there could be a Christian SVOD provider offering the “testimony” movies as a separate class of movie. Or a foreign-language provider could run language-focused genres like, for example, a European provider running the Nordic-noir content as a distinct class of content.
Ability to sell the content in other forms
Collectable optical-disc box sets could still be sold by niche SVOD providers
A situation that can easily give the niche SVOD provider an edge over the traditional SVOD provider of the Netflix ilk is that they could work directly with studios and distributors servicing that niche, typically indie studios, to take the content further.
For example, they can offer “download-to-view” or “download-to-own” as a content-acquisition option along with the streaming option. This can be facilitated through the use of the SCSA Vidity secure-content-delivery mechanism. Similarly, the niche SVOD provider, especially if they work alongside a bookstore, video store or similar outlet, could allow for online or “click-and-collect” selling of content on physical media like Blu-Ray Discs. This is becoming more so as the niche bookstores and “collectable” DVD stores are still hanging on even though there is a reduction in the number of mainstream content stores in the “bricks-and-mortar” form.
Specialised information including playlists
The specialist nature also has the ability for a niche SVOD provider to supply more detailed material about the content or even offer themed playlists that viewers can work through. Such playlists could be created based on an occasion like an anniversary or awards ceremony that affects the niche; or even films based in a particular location.
But what would these providers need to do to put themselves on the map?
As well as acquiring the necessary server space on optimised servers around the world and licensing the catalogue of movies and TV shows to have available, they would need to work on making Web and platform apps available to gain access to this content.
Apple TV and Chromecast – a foot in the door
An Apple TV device could be a foot in the door for niche SVOD providers courting iOS users
Some platforms, namely the iOS and Android mobile platforms support streaming to the large-screen TV via a home network thanks to the Apple TV and Chromecast devices that connect to your regular TV. This may dodge a problem associated with catering to most of the smart-TV platforms where the content provider may have to be allied with the platform’s vendor or approved by that vendor to get the content app in their app store. It is because the user interface can be focused on the iOS or Android devices with the app “throwing” the stream from the SVOD service to the Apple TV or Chromecast device.
But some Web-based platforms may be able to work with the big screen thanks to Apple TV (in the case of MacOS or iOS) or Chromecast (in the case of Android, Chrome OS or any operating system with the Chrome browser). In some of these cases, you may be able to have it that the video content goes “full screen” while it is playing.
Platforms that would succeed for app-based approaches
XBox One – the games console / multimedia box accessible to niche SVOD providers
The platforms that I see as working well for niche SVOD providers would be the Android and Windows 10 platforms due to being able to show a larger variety of content without the risk of being removed from the platform’s app store. Similarly, the Android TV platform supported by the Freebox mini 4K set-top box, some of the newer Sony smart TVs and the NVIDIA Shield games console; the XBox One games console or the Kodi open-source set-top-box platform could be seen as TV-based platforms that facilitate niche SVOD providers.
Bringing new customers on board
Another issue that needs to be raised is that the onboarding experience for new subscribers has to be simplified. This may involve a Web-based or app-based experience including the ability to allow TV-based or set-top-based apps to cater to multiple users and accounts. It may also involve whether the niche SVOD provider has to implement social sign-on, perhaps as an option, where one can use a social network’s user interface to sign on to the service.
This could be facilitated through the initial onboarding experience being facilitated with a secure Web-based user experience where the user ends up creating their own account and setting up a subscription plan. Then they log in to the mobile-based or TV-based user experience with this account that they created in order to enjoy the content.
Promoting the service
To reach out to the audience base that would value the content, the potential niche SVOD provider would need to run advertising and PR campaigns focused on that audience class. They may also be discovered through feature-app functionality provided by the different app stores, especially where the app store creates thematic app lists to expose particular content to particular users.
In this case, the blurb that the niche SVOD provider supplies to the app stores for their platform apps needs to mention the kind of audience that the SVOD provider is intending to reach. This includes using the keywords that best describe that audience and the sub-genres that the content is classed to.
When a subscription-video-on-demand service market becomes saturated, it may have to be the time to create this new medium’s equivalent of a specialist bookstore, art-house cinema or specialist video store. This also means that there has to be the ability to utilise different ways to nurture the enthusiasts who are willing to spend more on this kind of content.
Tablets and smartphones could end up as the place to watch TV and you don’t need a tuner module
Previously, I covered the issue of regular TV broadcasters running Internet-video streams of their traditional broadcast output. This has been offered as part of a Web-front or native app that the TV network supplies, typically to facilitate access to their catch-up TV service.
This is about not needing to use a USB or broadcast-LAN TV tuner device to watch TV on your smartphone, tablet or laptop. It underscores the goal of having one of these devices take over the role of that small-screen TV you would have in the kitchen to watch “Days Of Our Lives” while you do the ironing.
One of the issues I had raised with this approach was that you had to switch between apps if you wanted to view content on other networks and this didn’t play well with the classic TV channel-surfing experience of being able to switch between the channels using the same “control surface” on the TV set or remote control. This is where you would immediately landed on some content when you changed channels.
Freeview Australia, who represent Australia’s free-to-air TV networks, had established a hybrid-broadcast-broadband TV platform that integrates catch-up TV offerings and the real-time TV content from all of these networks under the Freeview Plus platform. This platform required you to purchase a new compliant Smart TV or set-top box and you weren’t sure whether your existing Smart TV could work with this, especially in the context of TV sets being considered durable items.
Now they have extended this Freeview Plus platform to mobile devices by creating an aggregated experience where you can switch between channels on the same app. It also allows for content to be searched across the live streams and the catch-up services so it is easier to pinpoint what you are after on your tablet.
But one feature I would provide for is to be able to determine the live streams that you want to be able to switch between so you can maintain the traditional viewing experience with your smartphone or tablet. This includes being able to switch between the channel you last viewed and the current channel which would play well with the after-Christmas ritual of watching the Boxing Day Test and the Sydney-Hobart yacht race, switching between them when the advertising plays.
At least what is happening is that a free-to-air integration platform like the different “Freeviews” operating in the Commonwealth countries is tackling the issue of free-to-air TV channels running Internet streams and providing an integrated viewing experience for mobile devices.
Tablets and smartphones could end up as the place to watch TV and you don’t need a tuner module
I have noticed that every traditional TV broadcaster that is running a “catch-up TV” platform is now streaming their regular TV channels live over the Internet using this platform. It is primarily pitched at those of us who use smartphones, tablets or laptops to view TV content “on the road” without the need for a TV-tuner module or broadcast-LAN tuner box and, in some ways, is being seen as TV’s equivalent to Internet radio.
Local content and advertising
This has opened up a can of worms when it comes to the kind of content available for people to view on their mobile devices, including the issue of regional content. In Australia, for example, the live-TV-over-Internet service primarily offers what is being broadcast to the metropolitan areas for the state capitals and this is ruffling local feathers when it comes to broadcasting news and public-affairs content relevant to the regional areas or providing airtime for local businesses to advertise their wares.
One of the core issues concerning the “live-TV-over-Internet” will be the locality of the editorial and advertising content including where is the content “local to”. If you listen to a foreign radio station’s Internet-radio stream using your Internet radio, you will know what this is about because of the talk and advertising that is local to that station’s city and there are people who like this either as a foreign-language learning tool or to acquire the “fabric” of that city if they lived there or have a soft spot for that area.
… as could laptops
This issue regarding TV could be rectified using streams that represent an area’s key markets and these streams have editorial and advertising content representative to those markets. The use of dynamic-ad-insertion technology would earn its keep with local campaigns being ran in the commercial breaks which could ameliorate the issues associated with local businesses not able to advertise their wares to their markets.
Area-specific rights issues
An issue that will impact “live-TV-over-Internet” will be area-specific rights for broadcast content. This is where a broadcaster buys exclusive rights to exhibit a particular sports fixture, movie or TV show in a geographic area, especially on a first-run basis. Typically these rights will be protected with
There will be the broadcast and customer-service issues being raised because a show normally available on a particular channel is not shown due to it conflicting with a local network’s existing rights.
Internet-only TV services
Another issue yet to come forward is the ability to gain access to “Internet-only” TV broadcasters which will come about as “live-TV-over-Internet” gains momentum. Such broadcasters are received primarily via your Internet service without having an over-the-air or cable/satellite presence.
These will manifest in the form of extra channels offered by a traditional broadcaster but not on the traditional broadcast platform, or an Internet-only broadcaster who would be able to run boutique content cheaply and easily due to low onboarding costs.
The issue that will show up with running an “Internet-only” TV service is how easy is it for potential viewers to discover these services especially if the goal is to run a scheduled-content service.
Another issue will be whether Internet TV will kill the traditional “channel-surfing” or “flicking” experience where viewers often flicked around the TV’s channel selector or jabbed the channel buttons on the remote control to look for something to watch. This is the main method where a lot of users discover newer radio and TV content. The current implementation would require you to run one catch-up TV / VOD app and browse the channels the broadcaster is offering, then run another app offered by another broadcaster and browse those channels to get the “lay of the land”.
This may be rectified through the use of a directory service similar to what has existed for Internet radio. Here, this could allow for a “channel-surf” experience along with the ability to browse for channels that offer content based on genres or other factors. Such a directory could be part of an electronic programme guide which encompasses all of the broadcasters and may work in conjunction with network or cloud PVR setups.
With Internet radio, multiple providers like vTuner and TuneIn Radio had set up to provide access to the Internet-radio streams, both those of AM/FM/digital broadcasters and of Internet-only stations. This means that an Internet radio or a mobile app would effectively have the same directory and different set manufacturers even had the ability to “brand” their own directories so as to be part of their user experience. This could then apply to Internet-based TV with different ISPs, smart-TV platform vendors, Websites and others running or licensing Internet-TV directories.
An issue that will also crop up is the concept of PVR recording of TV shows streamed via an Internet-based TV service. This will most likely be facilitated via an EPG so you can choose the shows from a programme grid or “what’s showing” list.
This could be achieved via a local-storage effort such as a traditional set-top device or a NAS that serves the home network; or a cloud-based effort based on the “software-as-a-service” model.
As what has happened with video recorders and traditional PVR devices, there will be the need to sort out copyright issues regarding the recording of shows. The new landscape in the context of “PVR as a service” will be highlighted in this context is the concept of “shared recordings” where one recording is made and many viewers view that single copy; or “private recordings” where each household has its own copies of the TV shows in a “digital locker” on the servers. Similarly, another issue that will show up is the portability of these recordings especially if the recordings are taken across national borders which would be a key issue in areas like North America or Europe.
The issue of portable recordings will come to the fore with us using mobile devices or a TV at another location like a friend’s home or a hotel to catch up on favourite TV shows.
What is becoming a reality is that television as we knew it is appearing via the Internet in addition to or in lieu of traditional broadcast-based pathways.
Spain, the home of the bullfight, is a market where the multi-play Internet service is increasing the take-up of pay-TV service. This is something that is similarly occurring in the UK and France due to the popularity of keenly-priced multiple-play services that underscore “one-pipe” provision.
But why would I see this so? This is because these multi-play services, which include fixed-line telephony, mobile telephony, mobile broadband and pay-TV along with the fixed-line broadband Internet service, typically implement a “one-pipe” method for delivering the telephony, pay-TV and fixed-line broadband service component. This is facilitated through the use of IPTV to provision pay-TV through DSL or fibre-optic infrastructure, thus avoiding the need to deploy a satellite dish or cable-TV installation.
The statistics which are gathered by CNMC tell it all with at least 364,000 pay-TV subscribers or 65.4% of Spain’s pay-TV subscriber base heading down this path. Of course, that country has a total pay-TV subscriber base of 5.4m which yields EUR€509.4 million in revenue.
What is showing more is that pay-TV takeup can be facilitated using IPTV technologies and single-pipe multi-play services offered by the telecommunications companies and the cable-TV providers. This can be augmented with the use of VIDIPATH technology leading to “house-wide” pay-TV. But pay-TV can be worth its salt if there is good-quality content to watch.
Free.fr, who is a strong player in French multi-play Internet market has become the first multi-play ISP to offer a 4K UHDTV channel as part of their IPTV content.
The channel, called Festival 4K and found on logical channel number 62, is focused on musical theatre, concerts and similar cultural events with these events being transmitted using 4K UHDTV technology. This will require the 4K UHDTV to be connected to the Freebox Mini 4K set-top box which is based on Android TV software.
The initial subscription technical requirement was for the household to be connected to Free’s services via fibre-to-the-premises technology. But later on, it was discovered that you can use a VDSL2 or ADSL2 connection “dégroupée” (unbundled local loop) to Free and the connection has to have at least 15Mbps for reliable operationj.
This is another step with Free to lead the pack when it comes to competitive multiple-play services by opening up towards cutting-edge technology in the form of 4K UHDTV broadcasting.
There has been a huge stoush in the USA between the established cable companies and telcos versus the Internet content providers, Internet users and the FCC regarding the issue of Net Neutrality.
This principle is where an Internet service provider can’t charge an internet content provider like Netflix for better throughput to their customers. This has got to the point where the FCC and President Obama had pushed for the Internet to be deemed a utility service in a similar vein to the telephone service. But this is being subject to a legal challenge which is being watched by a lot of the Internet operators over here as well as in the USA.
Now Optus have thrown the possibility of charging Netflix, Stan & Co a premium fee for higher throughput to their customers as one of many ways to cater for the arrival of streamed on-demand video via the Internet. The argument that is pitched is that customers will complain to their ISP rather than the OTT video provider or catch-up TV service if the experience with their video-on-demand service isn’t up-to-snuff.
Like in the USA, Netflix has been standing for Net Neutrality thus wouldn’t go for any unmetered data arrangements with any of the Australian ISPs. So they wouldn’t go for Optus’s arrangement of whoever pays the piper plays the tune.
Issues were also being raised about the cost and availability of wholesale and retail bandwidth in the Australian market especially in the face of video-on-demand becoming more popular thanks to Netflix and co. This will also include factoring in quality-of-service for content streaming so as to avoid “glitches” through viewing sessions along with catering for higher resolution video content.
It certainly is showing that Australia is needing to cope with a higher demand for real broadband with the proper throughput and this has to be provided in a highly-competitive manner and with assurance of Net Neutrality and quality-of-service.
The $49 Google Chromecast dongle is able to stream from your smartphone, tablet or computer to your HDMI-equipped TV or projector via your Wi-Fi-equipped home network.
The HDMI specification includes HDMI-CEC (Consumer Electronics Control) functionality, typically presented by equipment manufacturers under their own marketing names like Anynet+, VIERA Link, BRAVIA Link and REGZA Link. Here, this allows for “one-touch start” where a Blu-Ray player or similar device wakes up the TV and, where applicable, home-theatre amplifier, and selects the input it is connected to while the source device prepares to play. Similarly, it allows for “one remote control” operation of multiple video devices such as to use your TV’s remote control to navigate the menus on a DVD that is in a separate Blu-Ray player that is connected to the TV, another way to simplify how your AV setup is operated.
The Google Chromecast had a basic level of HDMI-CEC functionality where it can wake up your HDMI-CEC-capable TV and amplifier and select the input it is connected to if you start streaming through the Chromecast with your phone or computer. This reduced the confusion associated with operating it somewhat.
But, thanks to a new firmware update, you can start and stop your Chromecast content using the play and pause buttons on your TV’s remote control. This includes the ability to pause content using the TV’s remote control and resume it with the device you are streaming it from or vice versa. This can come in handy where you just want to use the device nearest to you to pause it or get it going quickly.
Google could see more potential with HDMI-CEC and the Chromecast. For eample, they could exploit the remote control’s D-Pad as a way of navigating onscreen menus or “paging through” photos in a collection for example. It could also give the likes of Apple something to worry about as HDMI-CEC becomes a desireable feature for platform-based set-top devices.
Send to Kindle
Privacy & Cookies Policy
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.