Jan Ozer

 

Jan has worked in digital video since 1990, and is the author of over 20 books related to video technolgy, including Producing Streaming Video for Multiple Screen Delivery and the Premiere Pro CC: Visual QuickStart Guide. Jan currently writes for Streaming Media Magazine and Streaming Media Producer, and consults widely on streaming media-related topics.

Content Posted by Jan Ozer

Post Streaming Media West Interview on Viblast Blog

Viblast is the European developer of the Viblast player, an off-the-shelf player that enables the playback of HLS and DASH streams without Flash. A recent winner of a European Streaming Media Reader's Choice award, Viblast is an up and coming company...

Handouts from Encoding Live and On-Demand Video Using HEVC

Here's the description, click over to the main article to download the handouts and watch the video.

Here's the description, click over to the main article to download the handouts.  HOW TO: Encoding Live and On-Demand Video Using HEVC Location: Grand Ballroom, Salon G This session explores the current status of HEVC, identifying options for encoding live and on-demand video using HEVC and discussing player options in the streaming and OTT markets. Topics include the comparative quality and usability of HEVC encoders—including encoders from x265 and MainConcept—and techniques for maximizing output quality using both codecs.

Live Encoding and Transcoding Techniques

Here's the description, click over to the main article to download the handouts.

Live event transcoding used to be simple: you did it all in-house and you needed capacious outbound bandwidth, all of which cost a fortune. Now there are more live encoding schemas than you can shake a stick at, including live cloud transcoding and packaging from traditional encoding vendors as well as OVPs, CDNs, and other service providers. In this session, Jan Ozer will survey the available encoding/transcoding options and service providers, and present a structured comparison that includes critical factors such as cost, stream redundancy, packaging flexibility, bandwidth requirements, DRM and captioning support, scalability, and player and distribution network integration.

Handout from Fine Tuning Your Adaptive Groups with Objective Quality Metrics

Here's the description, click over to the main article to download the handouts and watch the video.

Fine Tuning Your Adaptive Groups with Objective Quality Metrics Location: Huntington Ballroom Choosing the number of streams in an adaptive group and configuring them is usually a subjective, touchy-feely exercise, with no way to really gauge the effectiveness and efficiency of the streams. However, by measuring stream quality via metrics like PSNR, SSIM, and VQM, you can precisely assess the quality delivered by each stream and it’s relevancy to the adaptive group. This session identifies several key objective quality metrics, teaches how to apply them, and provides an objective framework for analyzing which streams are absolutely required in your adaptive group and their optimal configuration.

Transition from Flash to HTML5

Download the handout from this excellent session, with contributions from Jeff Tapper (Digital Primates), John Luther (JW Player), and Mike Callahan (Elemental). 

Transitioning from Flash to HTML5 is a complicated matter involving a change in player and encoding format and, for some, even new DRM, captioning, and advertising insertion technologies. Learn the current status of the Media Source Extensions and Encrypted Media Extensions. Get advice on your options and strategies for existing encoded content libraries and how to plan and implement the transition. A representative from Elemental Technologies describes the MPEG-DASH standard, details how to encode for MPEGDASH, and discusses alternatives for adopting or converting existing content libraries. A representative from JW Player also covers development options for creating a MSE/EME compatible player, including open source and OTS options like JW Player, and presents case studies for successful Flash to MSE/EME transitions.

Encoding 2015: Codecs and Packaging for PCs, Mobile and OTT/STB/Smart TVs - Handout

Here's the description: Click over to the main article to download the handout.

As video resolutions increase and target playback platforms multiply, video producers must leave their H.264/HLS/HDS comfort zone and expand into HEVC, VP9, and MPEG-DASH. This workshop is divided into multiple segments by target platform to teach you the applicable standards and best strategies for delivering live and VOD adaptive video to viewers on that platform, both with and without DRM. Along the way, you learn options for producing H.264, HEVC, and VP9; the status of standards such as the Media Source Extensions (MSE) and Encrypted Media Extensions (EME); and how and when to utilize them. Attendees walk away knowing the technical requirements for delivering to all key platforms the best practices for making it happen.

Jan Ozer, Principal - Doceo Publishing

HEVC's Journey in 2015: Going Downhill and Gaining Speed

At the start of 2015, the future of HEVC seemed clean and green. There was a single patent pool, and royalties were capped at a reasonable rate. Meanwhile, the open source world was a mess, with multiple codecs from multiple sources, and only a hint of potential cooperation. Ten months later, the situation has totally reversed. HEVC is in disarray, with two patent pools (the second with near-usurious rates and no caps) and the threat of a third, while all open source efforts have consolidated into a single, focused whole. To paraphrase Talking Heads: “Well, how did we get here?” Let’s review.

Guest Blog: Bitmovin Says 80% of Our Streams are DASH

Editor's Note: bitmovin is an Austrian company who built their business around the DASH format, including its cloud encoding service bitcodin (reviewed here), and its bitdash player. After reading the blog post DASH: The Most Popular Format (almost)...

Moscow State Releases First HEVC Comparison

Over the last few years, the Moscow State University Graphics and Media Lab (MSU) has produced the most highly-respected H.264 codec comparisons available. In October, MSU released its first HEVC comparison, which promises to achieve the same significance with the new codec. During the testing, which involved 20 HD video clips encoded to an exhaustive array of configurations, MSU compared eight HEVC codecs, including x265 and two codecs each from Intel and Ittiam, while also assessing how HEVC compared to Google’s VP9 and the winner of most previous H.264 trials, x264. As usual, MSU described its findings in free and pro versions ($850) of a report.

DASH: The Most Popular Format (almost) No One is Using

Okay, so the title is a bit of an eyeball grab, but it is based in fact. In preparing for a session on making the switch from Flash to HTML5 to be held in a couple of weeks at Streaming Media West, JW Player VP John Luther prepared some statistics ab...