The $18B Conundrum: Adblocking Goes Mobile and Mainstream

According to research from Parks Associates, password-sharing is costing subscription video-on-demand sVOD services north of $500MM per year. Compare that with adblocking, which is costing ad-supported content providers $18B a year according to a new report from Adobe and Dublin-based PageFair.

$18B. With a “B.” That’s 36x the amount of economic damage inflicted by password-sharing. Let that sink in. Now take a deep breath, and let’s look at the problem.

Cause for Concern

Historically, the challenges posed by adblocking have been limited to the desktop. However, as consumption of television and film content have shifted to connected and mobile devices, the threat of adblocking has abated, or at least become less dire. Two major factors are now causing grave concern among content producers who rely on advertising as their primary revenue source:

  1. Apple’s iOS 9 will likely include adblocking features in Safari by default.
  2. Adblock plus is now available in limited beta for Android.

Safari on desktop maintains a paltry 3% market share, but it is by far the most widely used mobile web browser due the iPhone’s dominance (and Google’s unusual reluctance to end-of-life the native Android browser in favor of Chrome for Android, a decision that would narrow the gap with Safari mobile). If Apple extends its Content Blocking API to native mobile app developers for iOS, and if Adblock Plus for Android gains traction, the results could wreak longer-term havoc for ad-supported broadcasters and cable networks who monetize distribution to mobile devices.

Currently, measurement is one of the key factors limiting uptake in linear broadcast to mobile and connected devices within the traditional C3 and C7 windows. But as Nielsen and other measurement services improve their ability to evaluate audience composition across screens, and as addressability and programmatic improve and become more widespread, more dollars will flow from traditional linear to OTT and TV Everywhere. Adblocking on mobile devices, however, has the potential to slow this movement to a trickle. Why execute a multiscreen TV buy if viewers on half the screens can’t see the ad?

The Way Forward

There are no easy or obvious solutions to the problem of adblocking. We agree with Univision’s Kevin Conroy, who argued compellingly that marketers play a vital role in making digital advertising better. Marketers need to continue telling the right story to the right person at the right time, of course, but they also need to do it in a way that delights, or entertains, or informs the viewer.

For agencies and advertisers, Adobe offers Creative Cloud, a complete suite of tools for effective storytelling, and Adobe Marketing cloud, a solution that delivers the message. And for broadcasters, cable networks and distributors who sell advertising, we offer Adobe Primetime, a multiscreen TV solution for creating and monetizing live, linear and VOD programming in both over-the-top (OTT) and TV Everywhere services. Our goal is to help customers leverage these solutions to deliver better consumer experiences and obviate the consumer desire to install adblockers in the first place.

This post was originally published on, August 10, 2015.


Data and Apps Fuel Innovation in the TV Industry

The TV industry is sailing into an uncharted ocean of innovation. Already, some of the most innovative TV services leverage data and apps to deliver exciting new content experiences. The following trends could help inform how your organization pursues innovation, too.

1. TV companies are investing in data

Turner, ESPN, and Cablevision have something new in common. They’re all investing in data management platforms (DMPs). Here’s what execs from these companies have to say about it:

  • Talking about Turner Data Cloud, Stephen Kim, Chief Data Strategist at Turner said, “We want to build a central repository of information around consumption, tastes, geography, demographics and profile information for our viewers, and use that to deliver better value.” (via AdExchanger)
  • Regarding the proprietary ESPN DMP, Zachary Chapman, VP of digital and publisher sales at ESPN said, “There’s no reason that we shouldn’t have a DMP in place that allows us to analyze the data in a much more fluid way, and share with our agency partners.” (via MediaPost)
  • Discussing Cablevision’s Total Audience Application, or TAPP census-data platform, Ben Tatta, president of Cablevision Media Sales said, “This is a window into what lies ahead.” (via AdAge)

Expect more investment in data management from TV companies in the near future.

2. TV apps already proliferate in Apple’s App Store

This month, we estimated that roughly 60% of brands representing TV channels have distinct apps in the App Store. We counted over 150 TV brands with one or more channels on a leading cable network of which over 90 brands had an app in Apple’s App Store. This fits right into a prediction made here last month by TDG Research’s Joel Espelien who predicted that every meaningful TV brand will have its own app.

Already, hundreds of TV brands have the ability to look at every single button press and view happening within their apps. They can collect this data and use it to inform new innovations and make the viewer experience even better.

3. TV apps will soon proliferate on Google Play

We expect apps for Android TV on Google Play to grow by double this year or better. There are currently 46 apps for Android TV. Sony, Philips, Razer and Nvidia have Android TV devices on the market and Sharp has devices coming soon. As consumers purchase these new devices, it will lure the developers of existing TV apps to port their apps over to Android TV. App ports alone could double the number of apps on Android TV this year.

The Android TV user experience may delight consumers that struggle to find the right content across various siloed TV apps because it provides recommendations and voice search features that span all installed apps. According to TV Connect, Thomas Riedl, Google’s Global Head of Android TV Partnerships says, “When in the Android TV home screen, you’ll see a row of content recommended for you. These recommendations come from all the Android TV apps you have installed on that device and is based on which apps you’ve used on that device.”

It’s anybody’s guess where innovations around data and apps will ultimately lead. However, we’re pretty certain that DMPs and the proliferation of TV apps all have important roles to play in the future of TV.

TDG Research’s Joel Espelien on OTT and the Future of Media

This week we spoke with Joel Espelien, Senior Analyst at TDG Research, a boutique market research and strategy consulting firm focused exclusively on the future of TV. Joel covers corporate strategy and positioning for companies across the OTT landscape. TDG Research is known for being ahead of the curve, so we used this talk with Joel to learn 7 insights that will help you be ahead of the curve, too.

Here are 7 insights directly from Joel:

1. OTT is evolving to be a synonym for broadband video. Sometimes terms evolve and you can’t control them. OTT is one of those terms. It’s evolving to refer to video that is delivered over the public internet, regardless of screen or whether it’s authenticated.

2. Broadcasters, MVPDs and pay-TV channels must consider consumer’s changing behaviors around when consumption occurs. It may be hard to embrace the fact that consumer participation in appointment viewing is fading. Younger generations won’t have any tendency to gather in front of a screen with other people between 8 pm and 11 pm on a Thursday night. The whole idea of being in front of a screen on anyone’s timetable other than the viewer’s own timetable is becoming laughable.

Furthermore, industry efforts to assign a timeframe to when viewing counts will continue to be arbitrary. The industry has C3 ratings to measure commercials viewed live and on DVR for three days beyond the airdate. C7 ratings extend the window to seven days beyond the airdate. Some in the industry want even longer windows, like C14 or C21. Each definition will capture part of a curve, but there’s always going to be a long tail that’s simply not captured by an arbitrary window. It’s silly to transact around the idea that all the views that matter for a new show will happen in the first 72 hours it’s available. Viewership is far more scattered than many may care to admit, and will only become more scattered as OTT grows. As a result, things like C3 and C7 measurement will carry less weight in the future.

3. More people are watching TV alone. The TV industry is in the early phases of addressing the need to program for an audience of one. There’s a big cultural shift moving people away from doing things as a family or as a group and toward doing things as individuals. With all the screens to watch from and all the choices about what to watch, it’s far less necessary for viewers to compromise with others about what to watch than it’s ever been before.

Individual viewing will become the new normal. This is a big contrast to the picture of a family in the ’50s all huddled around the TV watching the same thing. And, it puts purely panel-based measurement into question because in panel households, there may be multiple people in a room, but probably only one person is really watching the show on TV. Everyone else could be doing their own thing.

This solo viewing trend suggests that content and advertising will become edgier, more particularized and even more incomprehensible to people outside the group consuming it.

4. Legacy pay-TV providers need to know more about the viewing behavior of those they serve. They need to have much more of a clue about what’s going on than they do today by studying engagement patterns across real people in real households. The majority of what they know about linear TV viewers is limited to what Nielsen provides. If a customer decides one day to stop watching linear TV entirely, but keeps paying his or her bill, the provider simply wouldn’t know. And that’s not a very good place to be in terms of making the right decisions on behalf of customers.

Compare the lack of data of a legacy pay-TV provider to a TV app like Netflix. Netflix knows everything its viewers watch down to the second, and they know which of their viewers hasn’t watched anything lately. This kind of customer feedback loop can be used to develop a re-engagement strategy, decide which programming to invest in, or to inform any number of other decisions. It’s the kind of feedback loop that legacy pay-TV providers should have.

5. The future of TV is an app. The genesis of this idea was inspired by the venture capitalist’s view, as expressed by Mark Andreessen, that software is eating the world. Software is eating transportation with Uber, and eating banking with mobile payments, and eating book sales with Amazon. But in TV, people were saying that people love it and that it’ll never change. And they’re wrong. Software eating TV looks like an app, and as the software component of TV, TV apps are going to grow substantially. Imagine offering 100 people a simple choice between HBO on a linear channel on a set top box or HBO GO on an iPad, Apple TV, or computer. Everyone that chooses HBO GO is proof that software will eat TV, too. It turns out that content is not king. Instead, the overall experience is king and people want a software-mediated experience because it’s fundamentally better.

6. Every meaningful TV brand will have its own app. Expect to see a lot more of the single-tenant app model where each TV brand has its own TV app. Ask any TV brand with its own app today if they are content or discontent with the model of having a dedicated app. The overwhelming answer would be, “I like my app just fine, thank you.”

One key benefit of the single-tenant app model is that the content provider gets to really understand the viewing behavior of the people it serves. It gets to look at every single button press, every single view of every screen. It can really look at usage and make the viewer experience even better. This is a huge incentive for every brand to have an app versus choosing to participate in one generic app that carries everything.

7. Broadcasters, pay-TV providers and pay-TV channels need a whole garden of viewer screens and viewers. There’s a healthy mix to be had across screens for broadcasters, providers and channels. It would be a big mistake to prioritize any one screen over all the others. Smartphones and tablets may have been the Trojan horse that allowed TV as an app to get started in the legacy world in the first place. Now, those permissions have to extend out further to allow TV apps to run on other devices too, whether it’s Apple TV, Roku, a smart TV or a gaming platform. People expect to see TV apps on every platform where apps can run and on every platform where Netflix is. TV brands with success on just one screen have to wonder, “Hey, why are we not able to engage people anywhere else in their lives?”

Where to find more from Joel

That’s a wrap on 7 insights that will help you get ahead of the curve. To explore these topics in more detail, check out Joel’s latest reports: “El Futuro de TV – OTT Video in Latin America 2015-2025,” “TV Gets Personal – Trends in Mobile Video Viewing 2015 – 2025,” and “Game On! The Future of Sports Video Viewing, 2015-2025. Joel is already working on some intriguing new topics including what the high-end of the pay-TV market is going to look like and the interplay between virtual reality and video. Thanks Joel for sharing your insights with us!

Online Video Viewing and Browsing Trends – Q1 2015

The Q1 Adobe Digital Index (ADI) report, which assesses OTT and TV Everywhere viewing behavior, shows that the streaming video space is still growing fast — and Apple is among the biggest beneficiaries. ADI’s analysis is published in the “Online Video Viewing and Browsing Trends – Q1 2015” report, which is the most comprehensive report of its kind in the industry. This report can help broadcasters, cable networks, and distributors plan how to respond to changes taking place in how consumers watch TV.

Highlights from the report include:

  1. Android falls behind in premium video viewing
    • iOS grew its share from 43% to 47% year-over-year (YoY), further widening its lead
    • Game consoles and over-the-top (OTT) devices saw the biggest jump in share from 6% to 24% YoY – surpassing Android, which remained flat at 15%
    • Browser viewing sank to a new low – now 14%

ADI - TVE Authentications by Device Type

  1. Apple TV sees strong gains
    • Connected devices like Apple TV and game consoles now represent 1 in 4 TV Everywhere (TVE) authentications – a 300% YoY share increase
    • Apple TV doubled its share of premium video viewing in just one quarter from 5% in Q4 2014 to 10% in Q1 2015 – overtaking Roku

ADI - Apple Share of Online Video Starts

  1. Consumers redefine primetime TV viewing
    • On-demand TVE viewing grew almost 300% YoY, increasing the importance of multiscreen delivery
    • The “Thursday night line-up” is shifting to Wednesday, making it the most popular night to watch TVE

See Adobe Digital Index’s full post on here, or get a copy of the report here.

Media Consumption Trends According to South Park

South Park’s season 18 series finale, “#HappyHolograms” paints a picture of the media consumption trends among America’s youngest generation, which we’ll call the post-millennials. In it, fourth-grader Kyle gets frustrated by the way his 5-year old brother, Ike, consumes media. Instead of playing video games with the fourth-graders in the living room, Ike and his kindergarten buddies prefer to watch videos on YouTube from the online video game commentator PewDiePie. Each kindergartener watches PewDiePie from their own desktop, laptop or tablet. Ike calls Kyle “grandpa” for being out of touch with the way he and his friends consume media.

South Park kids use many screens

This episode of South Park calls attention to the following trends:

  1. Consumption is shifting away from the living room – Kids aren’t using big screens in their living rooms as much as past generations, even to play video games.
  2. Kids’ preferred programming isn’t available on a TV channel – Young kids want to watch stuff like other kids playing games more than they want to watch typical premium content they’d find on a TV channel.
  3. Every kid gets their own screen – There’s less screen sharing going on. Every kid wants to choose their own content on their own screen.

Possible implications of these trends

If accurate, these trends will have major implications on the media industry.

First, the shift in consumption away from the living room means that the big screen probably won’t be on as often. Viewers may limit consumption to what’s available on their preferred device, and cross-screen TV delivery will be essential to keeping up time spent metrics. Even still, time spent metrics could drop if the content on TV isn’t the content viewers want. This South Park episode points out that TV content has to compete for viewers with all other sources of streaming video entertainment, such as the PewDiePies of the world.

If kids want episodes of PewDiePie more than TV shows, TV channels become less desirable to them because it creates a situation where they can’t get what they want on any TV channel. Young viewers are good at content discovery and therefore less reliant on TV programmers to keep a constant stream of entertainment coming their way. Understanding this trend makes discussions around a-la-carte channels almost mute. The youngest generation isn’t going to want to predict and pay for the channels they think they’ll watch. Instead, they’ll want on-demand access to everything. A lot of unbundling challenges, such as disagreements between programmers and MVPDs, could be avoided by recognizing that a-la-carte channels are still a compromise for viewers who actually want on-demand access to everything.

Finally, the rise of the personal screen could be good for TV providers that succeed in the leap to cross-screen delivery. Shared screens only allow ad targeting at the household level. Personal screens allow ad targeting at the individual level. The latter makes it easier for advertisers to match the message to the recipient and can thus command a higher value. So, the rise of the personal screen is the silver lining around some otherwise challenging trends.

Are the trends according to South Park accurate?

Media consumption data confirms that young kids are spending less time with traditional TV and more time watching video on the Internet. According to Nielsen, 2-11 year olds have increased monthly time spent with video on the Internet by 2 hours 42 minutes and decreased monthly time spent with traditional TV by 4 hours 43 minutes. However, time spent in traditional TV still looms large over time spent watching video on the Internet. Also according to Nielsen, kids 2-11 spent 106 hours and 27 minutes per month watching traditional TV in Q4 2014 versus only 6 hours and 22 minutes per month watching video on Internet.


An article by nScreenMedia about the Nielsen data says, “The astute reader will note that the increase in Internet Video viewing does not come close to compensating for the loss of TV viewing time.” The article suggests that people are watching on platforms and in ways which are just not captured. This suggestion lends support to the idea that South Park has an early insight into the media consumption behaviors to expect from post-millennials.

It’s hard to guess how the post-millennial generation will consume media when they get older. Perhaps they’ll decide to sit on couches, watch big screens and reclaim a spot in the living room. Or, perhaps they’ll continue on with personal media consumption on personal devices throughout their lives. What do you think? Let us know in the comments.

Going Best-of-Breed with Adobe Primetime and thePlatform™ mpx

Large media companies and pay-TV providers want to rely on best-of-breed integrations instead of monolithic, end-to-end “solutions” with high potential for vendor lock-in. For these companies, the Adobe Primetime and thePlatform mpx VMS joint solution has just the right approach. We’ve pre-integrated these solutions into a best-of-breed joint solution for encoding, protection, entitlement check, license serving and playback of premium video content across IP-connected screens.

The customer benefits of working together:

  • Fast time to market – The joint solution gets digital files quickly through packaging and encryption workflows and in front of viewers.
  • Better viewer experience – It provides a consistent user experience across platforms, which includes a single entitlement system that lets viewers switch screens in the middle of a program and pick up right where they left off.
  • Reduced total cost of ownership – It keeps costs down through pre-integration and the combined cost saving benefits of mpx and Adobe Primetime DRM.

How the joint solution achieves these benefits:

  • During encoding and protection, mpx takes unsecure media files and puts Adobe’s encryption around it. Mpx has worked with Adobe on DRM for many years. Now, further integration with Adobe Primetime cloud DRM offers joint customers a quick-to-deploy, software as a service (SAAS) solution with low workflow overhead for protecting content for multiscreen delivery.
  • At entitlement check and license serving, the joint solution offers a simpler workflow by leveraging Adobe Primetime cloud DRM to add policy definitions at this stage instead of during encoding and protection. This means less tinkering, less to be concerned with under the hood, and more transparency in the workflow.
  • For playback, mpx can automatically publish video for playback to the Primetime TVSDK. Shared customers can create custom video players for PCs, tablets, smartphones and OTT devices leveraging the integration of the Adobe Primetime TVSDK within thePlatform’s Player Dev Kit. Because Adobe Primetime has the largest reach across devices of any DRM solution, customers of the joint solution will be able to deliver and monetize TV content on the most mobile devices, browsers and platforms with protected content.

Integrating with Adobe is easy

A best-of-breed approach can really only work if integrations are timely and successful. Adobe facilitates this flawlessly. With the Adobe Primetime cloud DRM integration, Adobe and thePlatform delivered a rapid and successful integration to shared customers. The cloud DRM integration took just six weeks from start to finish. We had a great experience working both at the program management level and at the developer level with Adobe. Adobe answered questions quickly, got obstacles moved out of the way, and was very responsive.

Our partnership with Adobe is very important. We’re looking forward to working together to serve more joint customers in the near future.

How Industry Consortiums CTAM and OATC are Working to Boost TV Everywhere Success

Attracting more pay-TV subscribers to TV Everywhere (TVE) has always been an exciting challenge, which involves continually improving the user experience and the way it is marketed. We’re big fans and contributors to the work of two industry consortiums, Cable & Telecommunications Association for Marketing (CTAM) and Open Authentication Technology Committee (OATC), that are bringing industry players together to help increase TV Everywhere usage.

TV Everywhere success benchmarks

We believe that benchmarks for TVE’s success can be pushed higher. To understand current TVE adoption levels, a study conducted by Hub Entertainment Research in October 2014 indicated that just 49% of cable subscribers have used TVE to view TV content at least once over the past six months. To improve this benchmark and others, we support CTAM’s 2015 goals to:

  • Increase TVE usage among cable customers to 65%
  • Increase aided awareness of TVE among cable customers to 75%
  • Increase adoption of CTAM’s UX and messaging recommendations among member companies offering TVE to 80%
  • Achieve 85% member support of CTAM’s summer industry-wide tent-pole marketing communications initiative

This infographic by CTAM suggests three things pay-TV providers can do to help:

Home-based authentication will create frictionless TVE accessibility

OATC is also addressing the user experience challenges of TVE. The focus of an OATC meeting in early May was home-based authentication. It is the ability to automatically recognize pay-TV subscribers and grant them access to programming without sign in. Home-based authentication, which CTAM may position to consumers as Instant Access, would overcome a major hurdle to TVE usage because many pay-TV subscribers feel that signing in with a username and password is an extra step that they don’t want to take. Subscribers are already used to viewing cable or satellite TV without having to sign in, so they want this same frictionless experience for TVE. In response to this consumer demand, OATC members are working on the technical implementation of home-based authentication and ensuring compatibility with features like parental controls.

We’ll be sure to point you to the new documents from OATC on home-based authentication as they develop. In the meantime, pay-TV providers can benefit from the OATC’s existing work by accessing their recommended best practices and working with their standards.

Adobe Primetime is proud to be a contributing member to CTAM and OATC to ensure that viewers get the best IPTV viewing experience, no matter what device they are viewing from. You can follow the work of the two industry consortiums at and


4 Trends Shaping the Future of Television

With this year’s NAB and INTX shows now behind us, we’re taking a moment to consider a few areas within the pay-TV and broadcast industry with considerable momentum or challenges to surmount. The abandoned Comcast and Time Warner Cable merger has been making headlines and appears to be more about the Internet than TV. In fact, the impact of internet technologies like OTT and cloud-based delivery on the industry is becoming more and more obvious. It’s even heightening consumer expectations for personalized programming streams, quick access to theatrical releases and unified discovery across TV services. Here we’ve summarized these trends that are shaping the future of television.

  1. Broadcasters are embracing the cloud

When one of the big three television networks that has dominated U.S. television since the 1950s publicly declares that it has moved to the cloud, it’s pretty safe to say that others will follow. At this year’s NAB Show, Broadcasting & Cable reports that in a supersession titled, “Television’s Transition to an All-IP Future—Why It’s a Big Deal,” Disney chief technology officer Vince Roberts “explained that they had already adopted cloud based technologies to handle the delivery of content to digital platforms like the Watch ABC app. ‘The only ways to automate those process and the only way to scale and be device agnostic was cloud-based,’ said Roberts.”

Charter Communications is also bullish on the cloud and is investing in a cloud-based interface for its WorldBox. According to, Charter CEO Tom Rutledge said, “this makes every box in the Charter footprint state-of-the-art. Smart networks make dumb screens smart. We can take any kind of device and make it a sophisticated device.”

  1. Millennials are the future — and they love streaming

New survey data shows that the youngest millennials prefer streaming video to linear TV. Specifically, more millennials age 14-25 value streaming video sources over cable and satellite TV, according to the ninth edition of the Deloitte “Digital Democracy Survey” released this April. By the percentages, 72% value streaming video sources while only 58% value cable and satellite TV. This is quite different than the older cohort of millennials age 26-31, among whom 63% value streaming video sources and 75% value cable and satellite TV.

NetNewsCheck reports on a “millennial problem” for local TV whereby “most millennials just don’t give a damn about local TV.” The article suggests a number of solutions including developing content that appeals to millennials and distributing it across platforms, including OTT.

  1. Will day-and-date come to TV Everywhere?

The IP-delivery of movies is influencing the traditional movie release cycle. One example of this is day-and-date video on demand (VOD) whereby consumers pay to see a film at home while it’s still playing in the theaters. Variety reports the results of a survey by RBC Capital Markets, which states that 7% of consumer respondents were willing to pay $11-$15 for day-and-date VOD access; 4% were willing to pay $16-$20; and 3% were willing to pay $21 or more.

In a recent white paper, Juniper Research describes the typical movie release cycle as going from cinema distribution to DVD/Blu-ray to pay-per-view to pay TV and finally to free-to-air distribution. Following this model, day-and-date could skip VOD and go directly to pay TV as a form of exclusive content. We know that movie content has the fastest rate of unique visitor growth in TV Everywhere at 216% YOY, according to Adobe Digital Index. Day-and-date could be an interesting way to drive TV Everywhere viewership. TechHive offers a recent and comprehensive pro and con exploration of day-and-date releases.

  1. Innovating the TV user interface

Internet technologies are making it easier to execute innovations around the TV user interface and the pace of innovation is rapid. Crackle is introducing an “Always On” stream of television programming customized to the viewer exclusively on Roku this month, with other platforms to follow. Netflix is planning a new user interface for its television apps later this year that executives say will “bring video playback forward into the browse experience.” New research by Amdocs and IE Market Research suggests that the user interface is the key to making pay-tv work with OTT. LightReading reports, “51% of North American consumers planning to cancel or reduce their pay-TV subscriptions would maintain their monthly spend if service providers offered a unified interface for searching, discovering and watching both pay-TV and OTT content.”

These trends point to a bright future for consumers of television content. Things like cloud-based delivery, personalized programming streams, quick access to theatrical releases and unified discovery across TV services are either already here or not far down the road. Do you agree? Let us know in the comments.

Ramp Up on Closed Captions Fast with “Introduction to Closed Captions”

Closed captions should be easy. They’re just words on the screen. However, they’re actually quite complex. 13 major caption formats have come about in response to regulatory policies and the differing technical landscapes of analog, digital, and online TV. Our technical paper provides a primer on these dominant caption formats and describes how Adobe Primetime enhances closed captioning workflows.

Today, closed captions are an integral part of delivering TV programming to U.S. consumers on any screen. Regulations in the U.S. require closed captions for all television programs, even those redistributed to the Internet.

Our goal with Adobe Primetime is to make it easy for TV providers to extend the reach of closed captions to all platforms. Robust closed captioning support is a key component of the Primetime TVSDK, which uses the 608 over 708 and WebVTT caption formats to extend the reach of premium content to browsers (including Internet Explorer, Firefox, Chrome and Safari) and devices (including iOS, Android, Xbox One and Roku). Anyone using our TVSDK, including TV providers embracing MPEG-DASH, will easily get their captions delivered to all these devices and browsers.

To learn more, check out Adobe Primetime’s “Introduction to Closed Captions” technical paper.

New Technical Paper: “Optimizing ‘Start to Playback’ Performance”

In the Adobe Primetime forums, we noticed that application developers wanted best practices for making the initial playback and channel switching experience of their protected streams as fast as possible. It’s a worthy endeavor because fast video startup time is what viewers expect when watching premium content online.

In response, we have published a new technical paper, “Optimizing ‘Start to Playback’ performance with Adobe Access content,” which outlines five best practices for optimizing the time between when a viewer selects content and when it begins to play. We invite Adobe Primetime application developers to use these best practices.

The paper addresses the basic challenge that protected content takes more time to begin playback then unprotected content because it must be queued up in a cryptographically secure manner. The secure setup takes three steps with Adobe Primetime, each of which has one or more possible optimizations available for developers to improve video startup time. By implementing one or more of these options, you can shave seconds off your video startup time.

To access all the methods to optimize video startup time, download the technical paper from Adobe Developer Connection’s “What’s new” section  or get the PDF directly here.

Be sure to continue to provide your input in the forums. The Adobe Primetime team participates in the conversations that are happening and aims to provide helpful resources, like this technical paper, to help you deliver a seamless viewing experience.