Enabling Mobile Augmented and Virtual Reality with 5G Networks

January 17, 2017

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Though the underlying technology and concepts defining Augmented Reality (AR) and Virtual Reality (VR) have been in development for decades, advancements in graphics, computing, sensors, and networking have finally placed this emerging industry on the cusp of mass-market adoption. As the supporting hardware and infrastructure continue to develop, immersive systems have the potential to inspire a multi-billion-dollar industry, and even be as game-changing as the advent of the PC. However, despite unprecedented development and investment in the past few years, the AR/VR industry is still facing the substantial difficulty of deploying high quality systems with the mobility and robust user-experience necessary pull this technology from the pages of science fiction into our mainstream reality.

Spotlight

Pozitif

Pozitif is the pioneering creator of Turkey’s leading international cultural and music festivals, across multiple musical genres and disciplines such as the progressive multi-disciplinary festival Cappadox, Turkey’s first and the longest-running jazz festival Akbank Jazz Festival, Bodrum Music Festival, bringing people together around music at the heart of the city One Love Festival and carrying the music of Babylon into the nature, Babylon Soundgarden.

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VIRTUALIZATION

Netflix versus Amazon Prime Video – depth versus breadth

Article | June 10, 2021

The first half of 2021 has been a year of continued change and disruption for subscription video. The global incumbent subscription video on demand (SVOD) leaders, Netflix and Amazon Prime Video, have been busy signalling to the financial markets how they intend to entrench their market dominance in light of the ongoing market acquisition pushes unleashed by the D2C disruptors following the D2C ‘big bang’ moment of Q4 2019 – Q2 2021. Netflix announced in January that it was no longer going to borrow on the financial markets to fund its day-to-day operations – specifically for its content acquisition budget, which is now driven predominately by commissioning original content for its service. This leaves the SVOD leader with $14.9 billion of outstanding long-term debt to service as it seeks to live within its means by commissioning future content from its ongoing cashflow. In Q1 2021 alone Netflix spent $500 million on servicing this debt pile versus $1.7 billion in net income generated over the same period.

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VIRTUALIZATION

The rediscovered power of time-seasoned brand equity

Article | June 4, 2021

Discovery CEO David Zaslav has proposed that the new combined Discovery / Warner Media entity will be known as Warner Bros. Discovery. This is a recognition that leveraging brand equity will be crucial for the new-combined entity to successfully compete in the increasingly crowded direct-to-consumer (D2C) video streaming landscape. Zaslav is successfully absorbing a key lesson from Disney+’s meteoric rise to 103.6 million subscribers in less than two years since its launch: leverage deep consumer brand equity for D2C success.

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MEDIA AND BROADCASTING

FILM PRODUCERS FLIP BARGAINING TABLE WITH UNIONIZING EFFORT

Article | May 21, 2021

Movie producers often find themselves negotiating with talent and crew members, and/or their production union representatives, over pay and benefits. But a group of 108 producers flipped the script Thursday in announcing they were looking to form a union of their own.Higher minimum pay and health benefits were cited as the two major reasons. While the group, called the Producers Union, boasts some heavy hitters such as Chris Moore (Manchester by the Sea) and Rebecca Green (It Follows), they made it clear that the traditional image of a Hollywood producer is misleading. Many are just getting by, project to project, looking for a breakout hit to up their quote. According to a survey released this year, 41% of producers made less than $25,000 in the pre-pandemic boom times of 2019. The Producers Union has developed a constitution with provisions for dues and diversity initiatives, with the aim of eventually negotiating a collective bargaining agreement with distributors and other film financiers. Previous efforts by producers to unionize have been thwarted by the courts and the National Labor Relations Board, according to Variety, as the NLRB saw them as supervisors and employers – which creates a high barrier to organizing.

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VIRTUALIZATION

Watch out Warzone and Fortnite: Ubisoft is coming after free-to-play

Article | May 17, 2021

Ubisoft announced last week that it is adding specific focus on free-to-play, alongside its AAA catalogue. In doing so, it is following a route that has been very successful for Activision with its Warzone strategy. Free-to-play games which draw audiences via big franchise names and monetise via in-game spending are going to be increasingly common among AAA publishers. The focus on in-game spending and particularly on the cosmetic, rather than the progress-related, parts will be the key revenue component. As games become less finite and more perpetual (consumer goal is less about ‘finishing them’ and more and ‘playing/spending time in them’), the opportunity to monetise needs that stem from this perpetual engagement (e.g. socialising or expression) starts to outweigh the mere monetisation of access to a packaged product. Simultaneously, free-to-play games also act as a powerful marketing driver for AAA releases as they come out, as well as streamability and word of mouth for the franchise.

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Spotlight

Pozitif

Pozitif is the pioneering creator of Turkey’s leading international cultural and music festivals, across multiple musical genres and disciplines such as the progressive multi-disciplinary festival Cappadox, Turkey’s first and the longest-running jazz festival Akbank Jazz Festival, Bodrum Music Festival, bringing people together around music at the heart of the city One Love Festival and carrying the music of Babylon into the nature, Babylon Soundgarden.

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