shomi, a new subscription video-on-demand service, ups the ante in entertainment with the latest, most exclusive shows and selections personalized for you. Available initially on tablet, mobile, online, Xbox 360 and set-top boxes, shomi will launch in beta first to Rogers and Shaw Internet or TV customers. shomi will be available starting the first week of November at a suggested retail price of $8.99 per month.
shomi was created for entertainment lovers by entertainment lovers. It features earlier seasons of the most popular shows on TV today, iconic series from the past, cult-classic and fan-favourite films, as well as a library of family-friendly kids programming. With exclusive past-season streaming rights to titles – such as Modern Family, Sons of Anarchy, Sleepy Hollow, Shameless, 2 Broke Girls, Vikings, New Girl, 24: Live Another Day, Chicago Fire, The Strain, and American Horror Story – along with first-window premieres, it’s more bang, less blah. shomi combines a team of programming experts with algorithmic technology to help you pick what you actually want to watch – whether it’s finding hidden gems, rediscovering old favourites, or remembering why you fell in love with a title in the first place.
“We’ve taken the time to talk with Canadians to find out what they want and to create an unbelievable user experience,” said Keith Pelley, President, Rogers Media. “They told us loud and clear – they want all the past seasons of the most popular, current TV shows and they want it to be easy. shomi takes the guesswork out of finding what to watch, acting like a new-age video clerk serving up all the best content based on personal viewing habits.”
“We keenly understand the media landscape is rapidly changing and that viewers are looking for greater flexibility when it comes to what they watch and how they watch it,” said Barbara Williams, Senior Vice President, Content, Shaw Media. “shomi is our first step into the new world of content streaming and we’re so pleased to be able to bring this made in Canada service to the market.”
shomi the numbers (and this is just at launch, with much more exciting content to come!):
14,000 episodes and titles
11,000 hours of TV shows
340 TV series
30% of content is Canadian, including TV shows and classic films
Enhanced features include trailers and factoids for movie titles to help customers make their selections, while a visually appealing interface delivers a theatrical experience. With up to six profiles per account, shomi offers a great solution for the connected home, as customers can watch on two devices and their set top boxes – all at the same time.
Additional details about the product, programming, and distribution will be announced in the coming weeks.
shomi is a joint venture owned equally by Rogers Communications and Shaw Communications. shomi will run as a standalone entity with its own management structure.
shomi is the only subscription video-on-demand service created for entertainment lovers by entertainment lovers, and makes getting video content nearly as enjoyable as watching it. Curated by people who love popcorn and magic, shomi is a video entertainment concierge that offers recommendations from real people because no computer will ever “get” movies and TV like a human does. Now shomi something good to watch. shomi is a joint venture owned equally by Rogers Communications and Shaw Communications.
Lightspeed Design Inc., a worldwide leader in stereoscopic technology, today announced a new addition to its line of patented DepthQ Projectors that deliver amazing 3D, the DepthQ HDs3D2.
In 2005, Lightspeed Design invented the world’s first portable 3D single-chip projector: the DepthQ 3D Projector. It was the culmination of years of 3D knowledge and experience a projector designed by 3D professionals for 3D professionals.
“In 2011 and 2013 we received our first two US patents for this unique 3D technology. DepthQ is the only single-chip 3D projector on the market that is currently authorized to use our patented 3D system and method.”
New to the HDs3D2 is HDMI 1.4 connectivity, full HD resolution 1080P 2D and 3D (for 24 or 30 image-pairs/sec input), plus superior contrast, synchronization and crosstalk to deliver the highest-quality, most satisfying and hassle-free 3D experience possible right out of the box.
Professional: Outstanding 10,000:1 Contrast and Synchronization
Digital: Digital HDMI 1.4 or analog VGA input
Bright: 2500 ANSI Lumens
Quality: Flicker-free, 120Hz 720P 3D and 120 & 144Hz 1080P 3D;Supports HDMI, Blu-ray, 3D broadcasting, video games and NVIDIA 3DTV PC connectivity; Uses Texas Instruments DLP® Dark Chip 3 technology; Incorporates 3D Triple Flash at 144Hz for 24fps input; Includes a 3D 6-pin DIN sync port
Portable: Small & only 7 pounds, fits in the overhead bin and takes less than 5 minutes to set up
Versatile -Work live in 3D-enabled applications; quality control 3D film or video game development; bring 3D movies and games into your home
DepthQ/ Lightspeed Design, Inc. has been a worldwide leader in stereoscopic 3D for twenty-one years, developing landmark hardware and software technologies such as the DepthQ Polarization Modulator for 3D digital cinema (over 1500 screens), the DepthQ stereoscopic projector, and the DepthQ family of 3D media software.
DepthQ is a respected stereoscopic technology brand trusted by the most discerning clientele, and assisting in a wide range of disciplines – from 3D digital cinema…to screening rooms…to pharmaceutical visualization…to surgical support systems…to 3D film production.
Lightspeed is headquartered in Bellevue, Washington, USA. For more information, visit us at lightspeeddesign.com or contact the company directly at 425-637-2818.
At Bang & Olufsen, innovation begins with understanding user needs before converging technology and craftsmanship to deliver design with lasting value. BeoVision Avant is an exact representation of this philosophy and evidence that high-end, multimedia entertainment can coincide with uncompromising design.
Based on Bang & Olufsen research and innovation, this flagship entertainment center has the muscle and finesse to deliver breath-taking performance when family and friends gather around it. On the flip side, BeoVision Avant also presents the good manners to blend in to the living room – and with the family’s lifestyle – when people choose to do something else. The BeoVision Avant was additionally conceived to last in a changing digital world, and is ready and able to work seamlessly with all the devices and content sources anyone in the family might want to use – without any of the complexity.
According to CEO Tue Mantoni, BeoVision Avant was created to provide discerning homeowners the ultimate in authentic performance, intuitive simplicity and convenience. “Our research shows that consumers want more and more from their televisions,” he explains. “People are pressed for time, and they want entertainment that just works so they can focus on it – and each other – rather than the technology itself. BeoVision Avant delivers on all counts. The name Avant is a nod to our most successful TV to date, the Avant launched in 1995. Just as the first Avant was a game changer in an analogue era, we believe the new BeoVision Avant will set the standard for what should be expected from a television in the future.”
Magical mechanics and convenience In the Bang & Olufsen tradition of taming technology in the service of simplicity, BeoVision Avant introduces a number of innovations that build new bridges between electronics and magical movement.
To create such amazing and impressive sound from a flat screen television, the designers have created a discrete but powerful sound panel that unfolds when the television is on, then retreats inside when one turns it off. The sound panel’s movements are coordinated with those of the new stands so the television is ready for viewing and listening in one choreographed flow.
BeoVision Avant’s innovative stand program includes wall, floor and table options which make integrating even a very large television into the home decor easier and more flexible than ever before. The concept vision was to create a TV which stays in the background of the living room when turned off and wakes up to action and takes center stage when turned on. Rather than arranging your room around the television, the new stands turn the television toward you when you want to use it – then back in place when you have finished viewing.
Spectacularly authentic sound Consistent with Bang & Olufsen, BeoVision Avant sounds extraordinary right out of the box, but be prepared to discover just how good a television can sound with no fewer than eight driver units and eight dedicated amplifiers built in.
The sound panel magically glides from the television when it is turned on and performs brilliantly on its own. If one wants to connect external speakers to create a true surround sound experience – either wirelessly or wired – it could not be simpler with the integrated 7.1 surround sound module.
Exquisite video performance A new Chromatic Room Adaptation feature analyzes ambient light from two sensors, and adjusts the screen to compensate for the room’s colour tones. High-grade anti-reflection coatings on both sides of the screen dampen reflections by 98%.
Wherever one chooses to watch it, BeoVision Avant is ready to deliver spectacular Ultra High-Definition (4K) performance.
Introducing the unique BeoRemote One for personalized settings The new BeoRemote One introduces the “MyButtons” feature which enables the user to create up to three personalized settings available at one simple touch. A setting can include channel, volume setting and even stand and directional positioning of the TV. This allows you to recall all settings by the touch of one button.
Connection to Bang & Olufsen wireless speakers via the built in Immaculate Wireless Sound solution is as easy as turning on the television. BeoVision Avant can also incorporate an Apple TV to be hidden within the back panel.
BeoVision Avant is available in 55″ from May 8 2014, and will be on sale exclusively at Bang & Olufsen stores. Recommended price is USD $7995 for BeoVision Avant 55″ including BeoRemote One. Placement options on wall, table or floor start from USD $895.
Bang & Olufsen was founded in Struer, Denmark, in 1925 by Peter Bang and Svend Olufsen, two innovative, young engineers devoted to high quality audio reproduction. Since then, the brand has become an icon of performance and design excellence through its long-standing craftsmanship tradition and the strongest possible commitment to high-tech research and development.
Still at the forefront of domestic technology, Bang & Olufsen has extended its comprehensive experience with integrated audio and video solutions for the home to other areas such as the hospitality and automotive industries in recent years. Consequently, its current product range epitomizes seamless media experiences in the home as well as in the car and on the move.
Last September Vancouver Gadgets sent out a Tech News piece about a new TV service for kids called Kidoodle.TV.
This week I got a chance to take a look at Kidoodle and am happy to note its available for iOS and for Android. Android functionality became available last week.
While in Beta Test last year the service was only available via the web and I had to view it on my Mac. That’s not so bad but being able stream shows and watch them on multiple devices that is a better option. Beta versions of services such as this take a while to work out bugs and improve so its good to see Kidoodle has made steps in the right direction.
After downloading the app to my iPad, I’m on a 4 with iOS 7, I noticed they have incorporated Airplay capability into Kidoodle as well so I can send programs to my Apple TV which is even better.
Families on a budget will want to know the cost of such a service and rightly so. Kidoodle costs $4.99/month for unlimited streaming and families can have up 5 profiles access Kidoodle.TV on multiple devices. This follows the same model of other streaming type services like Netflix.
Kidoodle.TV features content designed for kids 12 and under. Parents can restrict content based on age, viewing habits, and family values.
A quick view of Netflix, I’m on the Canadian version, points to a potential rivalry between the two services. When I asked Kristen Marion, Kidoodle PR Rep at Pitch Public Relations, she told me they don’t have any direct comparison with Kids programming on Netflix.
They do have over 5,000 episodes between Canada and the United States. They will also continue to build their content library and get more content based on user feedback. Depending on your budget, you may find Netflix is enough if you need shows for your kids to watch but Kidoodle has a lot of merit as well. You can view their current content library here.
Users of Netflix also know about the huge difference between the number of titles found on the U.S. and Canadian services. I was curious to know if Kidoodle was the same. Currently content offered by Kidoodle.TV is available in both Canada and the United States. However, some titles are exclusive to each country and are geo-targeted to the subscriber’s IP address per country.
Kidoodle allows you to customize up to 5 profiles by name, avatar and background color. I choose Grey the penguin. I didn’t bother to filter anything else but it will allow you to filter titles for each profile by age as well as on a title-by-title selection basis. You can also impose time limits on the amount of programming your kids can consume as well as locking profiles from the parent room.
Accessing the parent room requires a four digit pass code which is great for security purposes. Here is where I was able to edit any of the 5 profiles as I saw fit. Once you lock a profile it requires the passcode to open it.
Scrolling the library of available programs, I chose a favourite of mine as a kid, Inspector Gadget. Kidoodle has categories such as New Shows and Episodes, Popular, Heroes of the Day and Girl Power.
Calgary based a Parent Media Co. Inc. developed Kidoodle.TV. This company is a family-oriented corporation that understands the concerns and needs of today’s parents, grandparents and caregivers who want to make sure the safe media viewing practices of their children. Kidoodle.TV provides a safe viewing environment for children and a value-enriched experience for families.
Using Kidoodle was an enjoyable experience. Availability across multiple platforms such as iOS and Android and on multiple devices really piqued my interest. The interface is easy to download and use and to navigate and make changes to locked profiles. This is definitely a service to keep an eye as they add more content and functionality for a great user experience!
Destiny Media Technologies announced today the commercial launch of its Clipstream® video cloud service. Clipstream will enable any non-technical corporate user to upload videos that will play on all modern browsers including TVs, tablets, phones, ebook readers and computers devices. Users can use the service at Clipstream.com and my.clipstream.com.
“We are excited to introduce our new Clipstream Video Cloud Service,” said Destiny Media Chief Executive Officer, Steve Vestergaard. “Clipstream offers a number of technical and financial advantages to both corporate users and consumers. The technology reduces costs by eliminating the need to transcode into multiple video formats and the need to host multiple versions of the same video file on specialized video content servers. Because there is no need for player plug-ins, videos encoded via Clipstream ‘just play’ in any modern browsers and will reach up to 50% more users than current delivery methods. In addition, videos in the Clipstream format will not expire or need reformatting.”
Visitors to clipstream.com and my.clipstream.com are able to download the free uploader software and use Clipstream’s “drag, drop, and done” technology to upload their videos in a range of playing formats. The service automatically converts videos to the Clipstream format and uploads it to the cloud. Users will then receive a link that is embedded into websites and/or distributed through email.
Customers may buy Clipstream video cloud service packages, which include storage and transfer minutes, similar to a cell phone usage plan. Plans range in price from $4.99 to $4,999 monthly. An extra fee is charged for usage above the limits allowed. “We have priced our Clipstream packages to encourage users to upgrade their plans as their usage goes up over time,” explained Mr. Vestergaard.
“Our initial targets are broad-based content providers, including advertising agencies, marketing professionals and web developers. We are very excited about the prospects for our Clipstream service to disrupt the $5 billion transcoding and storage industries, and believe we are at the beginning of a significant growth stage for our company,” Mr. Vestergaard concluded.
About Destiny Media Technologies, Inc.
Destiny Media Technologies (DSY.V) (DSNY) provides services that enable content owners to securely display and distribute their audio and video content digitally through the internet. The Company’s two major services are Clipstream and Play MPE®. Clipstream (www.clipstream.com) is a video format that plays on any modern smart phone, tablet, internet, TV, or computer. With Clipstream, there is no player to configure or install, and videos never go obsolete. Play MPE (www.plaympe.com) provides a standardized method to securely and cost effectively distribute pre-release music to radio stations and other music industry professionals, before it is ready for sale. More information can be found at www.dsny.com.
Today, the Canadian Radio-television and Telecommunications Commission (CRTC) issued the 2013 edition of its Communications Monitoring Report, which provides an overview of the Canadian communication system.
“This year’s edition of the report contains a wealth of information and is intended to assist those that participate in our public proceedings,” said Jean-Pierre Blais, Chairman of the CRTC. “It is interesting to note that Canadian consumers habits are evolving. More Canadians than ever are watching and listening to content on their computers, smartphones and tablets, yet the vast majority of programming is still accessed through traditional television and radio services.”
“While Canadians generally are well-served by their communication system, the Commission must remain vigilant and responsive to emerging trends and issues,” Mr. Blais added. “Canadians in rural parts of our country, and especially in the North, do not enjoy the same telecommunications services as those living in urban centres. We are working to provide those Canadians with an even greater choice.”
Canadians are accessing more content on differentplatforms
In 2012, Canadians spent almost the same amount of time listening to the radio and watching television as they did the previous year. They listened to an average of 17.5 hours of radio each week, compared to17.7 hours in 2011. Canadians also watched an average of 28.2 hours of television per week, down slightly from 28.5 hours. Collectively, they watched 931.3 million hours of television per week, 48.9% of which were Canadian programs.
At the same time, more than two out of four Canadians owned a smartphone and more than one out of four owned a tablet. Canadians used these devices, as well as computers and laptops, to access programming on digital platforms.
Thirty-three percent of Canadians watched Internet television; typical users watched 3 hours of Internet television per week, an increase from 2.8 hours in 2011. Six percent of Canadians watched programming on a tablet or smartphone, while 4% report watching television programming exclusively online.
In addition, 20% of Canadians streamed the signal of an AM or FM station over the Internet, 14% streamed audio content on a smartphone, 13% streamed a personalized Internet music service and 8% streamed audio on a tablet.
Overall, anglophones spent 20.1 hours per week online, while francophones spent 13 hours per week online.
In 2012, the broadcasting industry contributed $3.4 billion to the creation and promotion of Canadian programming, an increase of $263 million from the previous year.
Canadians are adopting smartphones and faster Internet services
Canadian families spent an average of $185 each month on communications services in 2012, compared to $181 the previous year. In particular, Canadians consumed more wireless data and subscribed to Internet services featuring higher broadband speeds.
Over 99% of Canadian households subscribed to either a wireless or home telephone service.
In 2012, there were 27.9 million Canadian wireless subscribers, an increase of 1.8% in one year, with an average of two wireless subscriptions per household. During the previous four years, the number of new subscribers had grown by an annual rate of 6% to 9%. Canadian families spent an average of $67 per month on wireless services, up from $61 the previous year.
While the three largest wireless companies accounted for 92% of all revenues, the smaller wireless companies increased their market share from 4% in 2011 to 5% in 2012. The reach of faster wireless networks, known as Long Term Evolution or LTE networks, continued to spread across the country. The number of Canadians that could access these networks jumped from 45% to 72%. Find DEALS on Electronics at Amazon.ca
Home telephone services
Fewer Canadians had a traditional telephone in their homes, as the number of residential subscribers decreased by 2.1% to 11.9 million in 2012. Over the past five years, Canadians have made greater use of other technologies to communicate, resulting in the loss of more than 1 million telephone lines. During the same period, subscriptions to wireless services increased by 5.8 million.
In 2012, Canadian families spent an average of $35 on home telephone service, which was less than the $37 they spent the previous year.
In 2012, Canadians subscribed to faster Internet services and spent more time online. By the end of the year, 79% of the 13.9 million households in Canada had an Internet subscription. The percentage of households that had download speeds of at least 5 megabits per second rose from 54% in 2011 to 62% in 2012. Canadian families spent an average of $31 per month on Internet services, which was slightly more than the $30 they spent the previous year.
In 2012, the number of households that subscribed to basic television service increased by 1% to 12 million. Over 68 percent of Canadians television subscribers obtained this service from a cable company, 24% from a satellite company and 8% from companies that deliver television programming over telephone lines (known as an Internet Protocol television service). Canadian families spent an average of $52 per month on television services, which was a few cents less than what they spent a year earlier.
Communication revenues surpass $60 billion
Overall revenues for the communication sector surpassed $60 billion for the first time in 2012, growing 2.3% to $60.7 billion. Revenues generated by broadcasting services increased by 1.4% to $16.8 billion, while those generated by telecommunications services climbed 2.7% to $43.9 billion.
The CRTC is an independent public authority that regulates and supervises broadcasting and telecommunications in Canada.
Additional information on the 2013 Communications Monitoring Report
The Communications Monitoring Report contains information on the broadcasting sector for the year ended August 31, 2012 and on the telecommunications sector for the year ended December 31, 2012. Highlights from the report are included below.
In 2012, 1,156 radio services were offered to Canadians. This includes 878 English-language services, 246 French-language services and 36 services in other languages.
The average time spent listening to radio services went from 17.7 hours per week in 2011 to 17.5 hours in 2012. Private radio stations captured 77.1% of the weekly radio tuning share, while the Canadian Broadcasting Corporation and other stations had tuning shares of 13.4% and 9.5%, respectively.
In 2012, commercial radio stations contributed $54 million to the creation of Canadian content and the support of Canadian artists, a 2% increase from 2011.
The revenues of private commercial broadcasters increased by 0.4% from $1.61 billion in 2011 to $1.62 billion in 2012.
In 2012, 13% of Canadians subscribed to satellite radio.
In 2012, 743 television services were offered to Canadians. This includes 468 English-language services, 141 French-language services and 133 services in other languages.
Canadians watched an average of 28.2 hours of television per week, which was close to the 2011 average of 28.5 hours.
Overall revenues for private television services grew by 1.9% from $6.4 billion in 2011 to $6.5 billion in 2012.
In 2012, private conventional television stations invested $662 million in Canadian programming, including $76.9 million on drama and comedy series, documentaries and award shows.
During the same period, investments in Canadian programming by specialty and pay television services totaled $1.4 billion, including $299.5 million on drama and comedy series, documentaries and award shows.
The Canadian Broadcasting Corporation/Société Radio/Canada (CBC/SRC) invested $734 million in Canadian programming, including $202.7 million on drama and comedy series, documentaries and award shows.
The revenues of private conventional television stations decreased by 5% from $2.14 billion in 2011 to $2.04 billion in 2012.
Specialty, pay and pay-per-view television and video-on-demand services saw their revenues increase by 5.9% from $3.8 billion in 2011 to $4 billion in 2012.
The CBC/SRC’s conventional television stations reported $508 million in advertising and other revenues, a 1.6% increase from $500 million in 2010.
In 2012, 12 million Canadians subscribed to television services, an increase of 1% over the previous year. Of this total, 64.2% subscribed to cable services, 23.6% to satellite services and 8.4% to services that deliver television programming over telephone lines (also known as Internet Protocol television or IPTV).
Canadians had access to nearly 250 cable and satellite television providers.
In 2012, broadcasting distribution companies directed $394 million to funds that support the production of Canadian programming, including programming for community channels. This total was 1.6% higher than the $388 million allocated for this purpose in 2011.
Revenues generated from the distribution of television programming grew by 1.1% from $8.6 billion in 2011 to $8.7 billion in 2012.
The five largest cable and satellite companies accounted for 88% of all revenues derived from the distribution of television programming.
Eight percent of Canadians report neither subscribing to cable or satellite services nor watching over-the-air television stations.
Anglophones spent 20.1 hours online per week in 2012, up from 18.2 hours in 2011. At 13 hours per week, francophones spent roughly the same amount of time online in 2012 as the previous year.
Typical users watched over 3 hours of Internet television per week, an increase from 2.8 hours in 2011. Thirty-three percent of Canadians watched online television programming, and 4% report only watching this type of programming.
Six percent of Canadians watched television programming on a tablet or smartphone.
The percentage of Canadians that subscribed to Netflix grew from 10% in 2011 to 17% in 2012.
Canadians are listening to audio content on a number of platforms: 20% streamed the signal of an AM or FM station over the Internet, 14% streamed audio on a tablet, 13% streamed a personalized Internet music service and 8% streamed audio on a smartphone.
In 2012, Canadians downloaded an average of 28.4 gigabytes (GB) and uploaded 5.4 GB per month using their Internet services.
Telecommunications revenues increased by 2.7% from $42.7 billion in 2011 to $43.9 billion in 2012.
Competitors of traditional telephone companies (such as resellers and cable companies) accounted for $20.9 billion, or 48%, of total revenues.
In 2012, telecommunications companies allocated $9.6 billion for capital expenditures, which are used to maintain, improve or expand networks. This amount represented a slight increase from the $9.5 billion spent in 2011.
The number of wireless subscribers rose by 1.8% from 27.4 million in 2011 to 27.9 million in 2012. In addition, 81% of subscribers were on a post-paid wireless plan and 52% had a mobile broadband plan.
The number of Canadians that own a smartphone increased from 38% in 2011 to 51% in 2012.
In 2011, wireless services accounted for 46% of all telecommunications revenues, as they improved from $19.1 billion in 2011 to $20.4 billion in 2012, an increase of 6.5%.
Wireless companies earned $1.6 billion in roaming revenues, including $799 million from voice usage and $784.6 million from data usage.
Wireless companies that began offering services to Canadians following the 2008 spectrum auction increased their market share from 4% in 2011 to 5% in 2012.
The three largest wireless service providers accounted for 90% of all revenues in this segment of the communications market.
Advanced wireless networks, which support smartphones and other devices that connect to the Internet, were available to 99% of the Canadian population.
The percentage of Canadians that could access fourth-generation (LTE or long-term evolution) wireless networks jumped from 45% to 72% in one year.
The number of residential Internet subscribers grew by 3% from 10.7 million in 2011 to 11 million in 2012.
Seventy-five percent of households had broadband Internet service that offered download speeds of at least 1.5 megabits per second (Mbps), up from 72% a year earlier.
The percentage of households that had download speeds of at least 5 Mbps jumped from 54% to 62%.
In 2012, revenues generated from the provision of Internet services increased by 5.9% from $7.2 billion to $7.6 billion. Internet services accounted for 17% of all telecommunications revenues.
Independent service providers increased their share of the residential market from 7% in 2011 to 8% in 2012.
The five largest Internet service providers accounted for 76% of all revenues in this segment of the communication market.
There were more than 500 Internet service providers operating in Canada.
Local and long-distance telephone services
The number of local residential telephone lines fell from 12.2 million to 11.9 million in 2012. This was accompanied by a slight decline in revenues for residential telephone service, which went from $4.6 billion to $4.4 billion.
In 2012, local and long-distance services accounted for 26% of all telecommunications revenues.
Cable companies that provide home telephone service had captured approximately 35.8% of the market.
Canadians were served by more than 100 local telephone service providers and more than 150 long-distance service providers.
SOURCE Canadian Radio-television and Telecommunications Commission
A Parent Media Co. Inc. (“APMC”) is pleased to announce the launch of its North American beta test for its children’s subscription video on-demand service, Kidoodle.TV. Offering early access across the United States and Canada, APMC is giving families the ability to influence the shape and content of Kidoodle.TV from the start!
Families can to sign up at www.kidoodle.tv for the free beta service, initially available through Mac and PC environments, and expanding to iPhone and iPad in a few weeks’ time. Over the coming weeks of beta, extra content and features will be rolled out and tested, along with access through the different devices.
Parental feedback and ideas will be an part of the evolution of Kidoodle.TV! “During the beta test phase, it is our goal to use real parents to help us grow a better product by giving them the opportunity to test out Kidoodle.TV and give their constructive feedback,” said Mike Lowe, APMC Co-Founder and President.
Kidoodle.TV Beta Test Process
During the beta test, select moms from across North America will also be asked to review the service. Their advice will shape the next round of development and content acquisition for Kidoodle.TV.
Built for kids, not just for them, Kidoodle.TV is designed specifically for the use and navigation of kids (ages 12 and under), ensuring an age-appropriate viewing experience.
Featuring a brightly colored, easy-to-use user interface, customizable Kid Profiles for up to 5 kids, and great entertainment and educational content from a variety of sources, Kidoodle.TV is child oriented and convenient, with no adult content and with robust controls for parents. Once logged into Kidoodle.TV, parents simply select a Kid Profile and hand off the navigation to the child.
According to Lowe, consumers in our on-the-go society are mandating a different format for television and video entertainment. “They demand the freedom and diversity offered by Internet access – watching what they want, when they want, but with parameters built-in to aid with child safety”. APMC will feed the demand for accessibility by offering Kidoodle.TV in a mobile format, with the first formats being tested in phases over beta (initially Mac and PC and later expanding to iPhone and iPad). Access through Android and Gaming Consoles will also be available over the coming months.
Lowe also acknowledges the demand for customized service. “We know and appreciate that every family’s values are different. What may be acceptable content for one family may not match the values of another. Kidoodle.TV allows you to vet the content, giving you the ability to cancel out titles and allowing you to tailor viewing within Kid Profiles to match family values or to restrict content access based on age.”
Children are particularly vulnerable to the messages conveyed through television. The Kidoodle.TV service is right for its audience and is free of advertising within its Kid Profiles. APMC has focused on delivering a service that provides a positive growth experience for kids, combining educational and enriched content components with popular entertainment.
Once the beta test is complete later this year, the service will be commercially available for only $4.99 per month for up to five household users.
The recent advancements in 3D television technology have been astounding. The potential for growth in the market is significant with more 3D content being created such as new 3D TV channels. The technology behind 3D televisions and how it works is definitely impressive.
Projected 3D images work by sending a slightly different image to each of your eyes. With traditional red and blue glasses, the different images were projected in red and blue and the glasses filtered out one or the other to create the 3D effect. Also, another method of producing a 3D image is using polarized lenses in the 3D glasses. Two different polarized images are shown and each lens blocks out one of the images providing a complete color 3D effect. This is the method used in IMAX and other theaters that show 3D films. Because of the 3D revolution in movie theaters, television manufacturers are moving towards 3D-at-home and 3D TV technology. However, the two forms for producing 3D in the theater do not work in home television watching. Movie theaters use multiple projectors to produce the extra layers which cannot be done with a television. The polarized 3D glasses worn in movie theaters today are not suitable for home television viewing.
LCD shutter glasses are worn when watching 3D television which operate a system called ‘active technology.’ Active shutter glasses work by alternately blocking the vision in each eye simultaneously with the refresh rate of the display screen. 3D TVs using this technology will display alternate images with a bit of differing perspectives at a high rate. The shutter glasses darken each lens in time with the alternating images. It basically blocks what image enters which eye. Shutter glasses actually blacks out the lenses at a high rate of speed. As a result, shutter glasses provide a clearer picture. Most 3D TVs require LCD shutter glasses.
There is however differences in how certain manufacturers’ 3D TVs work because each of the manufacturers develops their own form of 3D TV technology. For instance, there are Plasma 3D TV models, LCD 3D TV, models, and LED 3D TV models with each using different displays. Also, there are a couple of 3D televisions manufacturers that claim they produce 3D images without requiring shutter glasses. They achieve this by using either a parallax barrier or a lenticular lens on the surface of the display. The parallax barrier is a mesh of angled holes across the screen’s surface that directs different light into each eye causing images to leap of the screen. Viewers have to look directly at the screen to see the 3D.
It appears that 3D TV is here to stay and it is forecasted to grow in demand. Consumers would rather be able to view 3D without having to wear the glasses so it is predicted that the future of 3D TV will be the technology not requiring glasses. Understanding how 3D TV works will help you decide when it is the time to buy a 3D TV.
There are so many options for a high definition TV today: LCD TV, LED TV, 3D TV – the options can seem endless. Make sure to do ample research and ask around to find out what kind of HD TV is right for you. http://www.toshiba.ca