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

MPEG LA Announces HEVC Licensing; Annual Max Royalty Quadruples to $25M

Just got the press release; No content royalties (H.264 had them for subscriptions and PPV) and max annual royalty quadrupled (more or less) from $6.5 million to $25 million to start.

Here's the pasted bit from the press release: full release attached below.

Decoder-Encoder Manufacturer Sublicenses

• HEVC products sold by a legal entity to end users
   - 0 – 100,000 units/year = no royalty (available to one legal entity in an affiliated group)
   - US $0.20 per unit after first 100,000 units each year
   - Maximum annual royalty payable by an enterprise (company and greater than 50% owned subsidiaries): initially starts at $25M (H.264 was $6.5 million)
• Includes right to make, use and sell
• Royalties are payable for HEVC products from May 1, 2013 forward

Other

• No separate royalties for HEVC content
• Vendors of semiconductor chips or other products that contain an HEVC encoder and/or decoder may pay HEVC royalties on behalf of their customer who is a licensee

Wirecast Frame Rate Too Slow? Check Video Display Rate

If your capture frame rate in Wirecast drops into the 10-15 fps range, check the Video Display Rate option in the Preferences dialog. When I started testing this morning after several weeks away from the program, it was set at 60. Unfortunately, that...

Netflix Commits to HEVC for House of Cards

Multiple websites have reported that Netflix intends to use HEVC to distribute House of Cards in 4K. Even more significantly, they intend to reencode much of their SD and HD content to HEVC to save bandwidth costs and deliver higher quality video ove...

Distributing Adaptive to Android: Problems and Solutions

android sick.pngMost streaming producers are aware that distributing adaptive streams to Android is kind of mess; in this short article I wanted to summarize the problem and introduce some solutions. I’m an encoder, not a coder, so most of this is borrowed from other, more technical sources, but it’s important enough that I wanted to get it on my own blog.

Video: Applying Lumetri Looks and other Effects Directly in Adobe Media Encoder

Not quite sure when Adobe added these features, but I was puttering around in Adobe Media Encoder CC last week and noticed that Adobe added the ability to add Lumetri looks, text, graphics and timecode directly in Adobe Media Encoder (AME). In previo...

The Dirty Little Secret About 4K: Content Owners Can't Afford It

My colleague Dan Rayburn at Streaming Media (also a Frost & Sullivan analyst) just released another of his market-defining blog posts, entitled "The Dirty Little Secret About 4K Streaming: Content Owners Can’t Afford The Bandwidth Costs." As th...

Cracking the Code of x264 Presets

Like most compression geeks, I'm a big fan of the x264 codec, which is widely considered the highest quality H.264 codec, winning the prestigious University of Moscow codec shootout year after year. Though the codec has a comprehensive range of conf...

Upcoming Webinar: Increase Landing Page Conversion with Video

No, it's not one of my webinars, it's from Unbounce, a company that helps marketers create landing pages for products, sevices and the like. Two things are cool about this webinar. First, if you're a video producer, you have to be excited about ways ...

YouTube/VP9/4K - Get Off the Dime, MPEG-LA

When YouTube sneezes, the codec world catches the 'flu, even if the cause of the sneeze was totally innocuous. So it was with YouTube's announcement that they will show 4K video encoded with VP9 at CES with hardware partners including Sony, Intel and...

HP Releases New Z1

On January 6, 2014, HP announced a new version of their Z1 all-in-one workstation. I love the first version because it's beautiful, powerful and field upgradeable; but it lacked high-speed external connectivity, so your capture options for live produ...