Invrse Reality - Custom Phone interface for VR and AR!

December 2, 2019

 Among these were the challenge of entering text, the complexity of all-new input mechanics, and biggest of all, the disconnect you feel between the real world when donning an immersive headset.

Spotlight

Endeavor

Endeavor, formerly WME | IMG, is a global leader in sports, entertainment and fashion operating in more than 30 countries. Named one of Fortune’s 25 Most Important Private Companies, Endeavor is the parent of a number of subsidiaries with leadership positions in their respective industries, including WME, IMG and UFC. Collectively, Endeavor specializes in talent representation and management; brand strategy, activation and licensing; media sales and distribution; and event management.

OTHER ARTICLES

Is Microsoft moving Windows Mixed Reality VR/AR towards consumers?

Article | April 15, 2020

Recently, Bill Stillwell of Xbox fame left the gaming division to join Windows Mixed Reality, to work on "world-class consumer AR/VR experiences in the Microsoft ecosystem." Interesting. For a couple of years, Microsoft couldn't resist demonstrating its unprecedented HoloLens augmented reality tech at every single event, it felt like, using Minecraft and other random Xbox properties to showcase the potential therein. Fast forward five years to 2020 and HoloLens remains firmly in the realm of big business and the military, powering next-generation training, awareness, and productivity solutions.

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MEDIA AND BROADCASTING

Why video streaming needs to stop fighting the last consumer war

Article | May 28, 2021

Video streaming services have achieved mainstream engagement, with binge viewing now eclipsing linear TV viewing as the leading form of TV show consumption. While the digital disruptors may revel in their newfound status as the masters of TV consumption, and the TV and film industry are forced to adapt to this new reality, a subtler shift in mindset needs to occur. Streaming services, led by subscription video on demand (SVOD) hegemon Netflix, still operate in the mindset of having a digital native consumer base. For these streaming incumbents, the success of SVOD still rests upon their ability to appeal to younger consumer bases who have a) grown up in a digital environment, and b) are by definition young and eager for new and constantly evolving consumer experiences. Add to this the post-second world war presumption that popular entertainment should always be youth-centric focused, and streaming is still de-facto a youth-orientated proposition.

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MEDIA AND BROADCASTING

The new chair of the FTC and antitrust 2.0

Article | June 22, 2021

The appointment of Lina Khan on June 15th to chair of the Federal Trade Commission (FTC) is poised to be a transformational one in the history of the world wide web. Khan came to prominence with an article in the Yale Law Journal, Amazon’s Antitrust Paradox, which identified the paradox of hegemonic tech service providers which bypass the US’ strict competition laws by offering lower prices to the end consumer. Under US antitrust law, the driving indicator of market monopolies are higher prices for the consumer – under this strict definition, none of the tech majors which dominate the digital economy are monopolistic. Indeed, some such as Alphabet and Facebook do not even directly charge the end user for their services. So, while both Google and Facebook dominate the global digital ad market, making an antitrust case against them under the current 20thcentury era regulatory framework is nigh on impossible. However, the absence of meaningful competitive challengers to these two incumbents in search and social advertising over the previous 15 years, despite the lucrative high margin business opportunities, implies that the competitive market is not performing according to classical economic theory. Khan has built a subsequent career on trying to square this circle, and now the Biden Administration has empowered her as the key instigator of the sweeping regulatory update required for a digital-first century.

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MEDIA AND BROADCASTING

UGC vs. Premium: Is the video valuation bubble big enough to burst?

Article | May 21, 2021

The market disconnect between the proliferation of independent content creators and the consolidation of brand IP into the hands of ever-fewer major players is growing increasingly stark. On the one hand, independent artists are the fastest-growing sector of the music market. User-generated content (UGC) has proved a huge success during lockdown for the likes of TikTok and Roblox. The traditional brand celebrity spokesperson has ceded ground to the influencer, and even they to the micro-influencer. Content proliferation has driven increasingly niche content to niche audiences, finding smaller fan bases to resonate with instead of attempting the now nigh-impossible cut-through to mainstream popularity. This is the paradox of small: the long tail accounts for a growing share of content consumption, but the fractional economics of on-demand environments means that those in the long tail earn too little to be economically sustainable. Access to the means of distribution may have been democratised, but access to meaningful rights income has not.

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Spotlight

Endeavor

Endeavor, formerly WME | IMG, is a global leader in sports, entertainment and fashion operating in more than 30 countries. Named one of Fortune’s 25 Most Important Private Companies, Endeavor is the parent of a number of subsidiaries with leadership positions in their respective industries, including WME, IMG and UFC. Collectively, Endeavor specializes in talent representation and management; brand strategy, activation and licensing; media sales and distribution; and event management.

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