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This blog is the second in a four part series describing the use cases and business benefits of the Media and Broadcasting Solution phases. Focused on converting content into all required formats for consumption on TVs, tablets, smartphones, laptops, game consoles and more, subsequent blogs will cover video delivery, and playback.


You’ve created compelling live or on-demand video content, and now you want to publish it to your audience. You are well aware of some of the challenges inherent in trying to reach viewers whose expectations are for broadcast quality video on any device, anywhere, anytime. How do I support the growing proliferation of mobile screens and multiple video streaming formats? Sounds like a complex workflow with lots of manual processes will be required to do this.


Happily, Limelight has conversion workflow in our CDN with massive computational resources to turn your content into the required formats on the fly, and you don’t need to pre-transcode your content.

                                                                           convert workflow.png


Limelight has a unified video Live and On-demand workflow with multiple bit rate outputs for HLS, HDS, MSS, DASH, HTTP, and RTMP. Let’s take a look at these formats and what devices support them:



  • HLS.jpg  HLS stands for HTTP Live Streaming and is Apple’s proprietary streaming format based on MPEG2-TS. It’s popular since it provides the only way to deliver advanced streaming to iOS devices. It often mistakenly gets defined as HTML5 streaming, but is not part of HTML5. This is currently the most popular mobile format. It is also supported by all Android devices as well.
  • HDS.jpg   HDS stands for HTTP Dynamic Streaming and is Adobe’s format to deliver fragmented mp4 files (fMP4). HDS allows for adaptive streaming over HTTP to any device that’s compatible with Adobe Flash or Air. Because of the high market penetration that Flash Player has, HDS is a great choice for streaming to desktop computers. However, the Flash Player is not supported by Android and iOS which makes HDS unsuitable for broadcasting to mobile devices.
  • MSS.jpg  MSS stands for Microsoft Smooth Streaming. It is supported by Silverlight, Xbox, Windows Phone, Windows 8, and some TV set-top boxes.
  • mpeg dash.pngMPEG DASH is an industry forum effort to create a standard HTTP chunked video format. The situation in that HLS, HDS, and MSS are 80% the same, but 100% incompatible. At this point in time MPEG DASH is gaining strong traction in the OTT VOD space with Netflex, Hulu, YouTube and others using it. Will DASH become the most popular standard someday? Hard to tell at this point. There remains strong support for HLS. If I had to make a prediction, in the long run it seems we may get down to two standards – HLS and DASH.


So, given that for the time being support of multiple video formats will be required, the use of cloud-based services such as the Limelight CDN is a great option for handling video conversion. The key workflow components included in the Media and Broadcasters Solution are:

  • Transcoding - On-the-fly conversion from Live or On-demand MP4 into multiple formats including HLS, HDS, MSS, and MPEG-DASH (on-demand only currently). VOD content will start to publish even before the whole file is converted.  

                                                                Transcode formats.png


  • DRM – For content security and protection
  • Ads – Integration of ads into VOD and Live feeds. Support for your ad server and linear video ads (pre, post, and mid-roll), VAST 3.0 and VPAID
  • Closed Captioning – Insertion of CC into video streams
  • Cache – Intelligent cache control and content purging


There are solid business benefits for leveraging a CDN to handle video distribution. These include a simplified video workflow and cloud infrastructure, zero time to publish your VOD content, and automatic ad insertion and closed captioning.


More details about the Limelight Orchestrate for Media and Broadcasters are available here.        

So you and your company have decided to build your own video publishing platform. You’re deep into designing and building games, and suddenly you become convinced you can connect with your users better through video; extend your brand with a more proactive video strategy. And what’s even better than that? You know that your users love to create and share videos of their exploits, so you’ll also have a ready source of content.

Limelight’s research into online video The State Of Online Video and the experience of one of the top extreme sports sites, EpicTV, together provide some quick tips for building your platform and successfully leveraging video to engage with your users:

  • Keep the bulk of your content short. Limelight’s research shows that Millennials in Limelight’s research average less than 40 seconds per video, unless they fall into the 35% or so who consistently put up with ads and multiple re-buffering in order to watch their videos all the way through.


  • Aim for repeat viewing. Your most avid video consumers watch 4-7 hours of video a week, with 30% watching over 7 hours. Plan on refreshing your site multiple times during the week, and help viewers find content similar to what they’ve watched already. 
  • Make ads skippable and personalized. Your ad campaigns need to be as tailored as your video content. Deliver ads that have meaning to your users. If you don’t personalize the ad experience, you are sending the wrong signal to your viewers about having the same interests and passions as they do.
  • Pay attention to titles. EpicTV puts extensive effort into titling new videos and then promoting them on social media. “When we decide to publish a video the first thing we do is sit down and knock out 20 different titles then pick the best couple based on the sport, the intended audience, and the timing of the release.”   Q&A With EpicTV
  • Offer something exclusive. Invest in content that is available nowhere else. It doesn’t have to be complicated. It can be as simple as inviting an expert commentator to talk about what he/she does with your game, or a user testimonial showing a real life application. Better yet, invest in series of videos covering “snackable” topics related to your game or product.
  • Share the wealth. Obviously you’re inviting users and fans to share their videos on your site, but how about offering prizes for best video in a certain category, or for best demonstration of a particular feature? Rewarding your video-creating fans is a great way to keep them engaged. If you have built a platform that grows in popularity, you can “share the wealth” by embedding videos people have posted elsewhere related to your area.
  • Cross promote on social media. Promote your followers’ cool stuff! You may even need more than one Facebook page. In fact, EpicTV’s Ted Endo comments, “We are spread across so many sports that we realized we couldn’t do each community justice unless we created a separate Facebook page to cater to the interests of each community.”
  • Plan for a quality viewing experience, regardless of platform. Multi device viewing is common now. 41% of online video viewers in the study expect videos to play as well on their phone as on a desktop device, so don’t allow for any major quality degradation between PC and phone viewing.

Building a video sharing platform is not easy, even if you are just doing it as a brand extension for your existing product line--but with the right broadcast infrastructure it can be easier than you think and can be an extremely valuable part of your customer engagement strategy. See also:   Four Ways to Succeed in Online Video  and Limelight Solution for Media & Broadcasters .


"The State of Online Video." (2015): 1-20. Limelight Networks. Limelight Networks, Inc., 1 Jan. 2015. Web. 24 Sept. 2015

"Q&A with EpicTV's Digital Content Manager, Ted Endo. EpicTV, 25 Sept. 2014. Web. 24 Sept. 2015.

Getting the right learning tools to visually and hearing impaired students worldwide is no easy task, especially with the disparate technology at different school systems.  We're thrilled to provide the video delivery platform to help make it easy and cost-efficient for Described and Captioned Media (DCMP) to get students the learning tools they need.


Since 1955, non-profit organization DCMP has promoted and provided equal access to communication and learning for K-12 students with visual and/or hearing impairment – across the US and to military and other US families abroad. DCMP offers nearly 7,000 full-length educational videos cost-free to teachers, parents, and service professionals, who rely on being able to provide an efficient, reliable, and accessible media delivery experience for their students.


DCMP needed to keep up with rapid changing media and delivery technologies, while minimizing costs.  They chose the Limelight Orchestrate Video platform to address these challenges.


“We need to create software and user experiences that are specific to our students’ needs, and then deliver a huge library of media assets to Macs, iPads, PCs, mobile apps and Roku. With Limelight, we are now able to scale to meet the increasing demand for online delivery of content to a wide variety of connected devices around the world. Since implementing Limelight, support issues have pretty much gone away.”

-        Kyle Sisk, Information Systems Manager at DCMP.


A copy of the press release is posted to our website, and can be found here.

A copy of their case study is also posted to our website, and can be found here.

Retail websites are the front door to the shopping experience, and have a major influence over sale conversions both in-store and out. Click here to read Retail Information Systems News’ Q&A with Limelights' VP of Operations, Dan Carney, on how retailers can create a secure, fast, feature laden, dynamic online experience that puts the brand's best foot forward.

Recently, Volkswagen AG (VW) made the news not for its cars but for all the wrong reasons. A “discrepancy in installed software” in its diesel cars led to incorrect emission readings, violating several environmental laws across the United States and impacting over 11 million cars worldwide. How severe was the damage due to “dieselgate”? Within days VW announced its plans to keep aside over EUR 6.5 billion to cover costs and service-related expenses towards the software glitch in its diesel automobiles. The CEO resigned amid the scandal. The damage was not just limited to the environment alone – the brand itself is suffering from customer/prospective customer mistrust and potential abandonment. Even the stock market reacted sharply to the issue and the VW stock nosedived. While the software glitch could be patched up rather easily by bringing the car to a service center, it could be months before all the vehicles on the road can be updated to “fix” the issue.  This clearly points to a severe lack of Over-The-Air update strategy.


While this software discrepancy is neither the first nor the last of issues related to software glitches, there is a pattern on how the traditional automobile industry responds to situations like these


All of the below recalls in 2015 were due to software glitches:

  1. Ford recalled over 432,000 cars due to software issues
  2. Fiat recalled 7800 SUVs over software glitches
  3. Fiat-Chrysler recalled over 1 million vehicles to prevent them from being hacked
  4. Toyota recalled over 63,000 hybrids due to software problems
  5. Group of “ethical hackers” were able to remotely control and “kill” a Jeep Cherokee


What is the pattern that we observe?

  1. Manufacturer discovers an issue in the vehicle attributable to a software glitch
  2. Company issues a recall and notifies customers
  3. Customers bring vehicles to service centers for a “software update” or fix
  4. Process takes months to complete and millions of dollars
  5. Company’s brand and/or reputation is damaged


Is there a way to optimize this whole chaos, and in turn prevent customers from discomfort, and save the automobile manufacturers millions of dollars?


If we look around, the problem has already been solved. In February 2014, the U.S. National Highway Traffic Safety Administration published two recall announcements – for the same issue affecting automobiles manufacturers. The vehicles were at risk of catching fire, and there was a safety issue due to a software problem. While GM had to spend millions on 370,000 vehicles recalled over the next few months to update the software at its designated dealerships, Tesla conducted Over-The-Air-Updates of the software system - an overnight fix.


So, what did Tesla do right here?

  • Its cars are Internet enabled not just for the “infotainment” systems
  • It could troubleshoot the cars remotely
  • It could update/patch the software Over-The-Air (OTA)
  • It didn’t require customers to bring vehicles to dealerships
  • It expedited the time-to-service and potentially saved millions of dollars


There are various challenges to execute on an OTA strategy: development of these patches, distributing them to dealerships, making them secure, and finally delivering/updating them successfully without errors on a global scale at a moment’s notice. OTA updates need not be just limited in scope to vehicle recall issues due to software glitches either. A broad OTA strategy can enable the automobile manufacturer to expedite updates, patch intrusion or security risks, and enhance the user experience. OTA software updates for automobiles should not be an afterthought, but a well-defined workflow to optimize the whole process and make it seamless: for automobile manufacturers to transparently provide the update, and to the customers to seamlessly update their vehicles wherever they are.


See how Limelight helps companies deliver millions of software updates globally: both wired and over the air.

We would love to hear from you and continue the conversation on Limelight Connect. Keep the conversation going on Twitter with @LLNW and @_AllThingsMe.

This blog is the first in a four part series describing the use cases and business benefits of the Media and Broadcasting Solution phases. Focused on ingesting video content into the CDN, subsequent blogs will cover video format conversion, delivery, and playback.


Great online video starts with ingestion of content into a production workflow. There are inherent challenges with managing video content including global disparate ingest locations, the large size of video files, and potential slow ingestion and latency to deal with. With Limelight’s global ingest points, we provide an optimum way to upload live and on demand content wherever you are. Cloud-based storage integrated directly with our CDN edges automatically replicates your content in at least three locations without having to upload multiple copies. There are many formats your video content can take, and the Media and Broadcasters solution offers a rich choice of ingest options for getting content into the CDN. The solution offers both Live and On-demand workflows with multiple bit rate outputs for HLS, HDS, MSS, DASH, HTTP, and RTMP.


                                                                          ingest dia.png


So, how do you decide which method is best for ingesting your video into the CDN? Let’s look at several scenarios.


FTP Upload


Using an FTP (File Transfer Protocol) upload is a good choice for the following:

  • Performing initial migration of content to the CDN
  • Batch uploads of media files, used on a regular basis
  • Uploading large media files (those >1 GB)
  • Upload of media asset metadata

FTP-SSL is also supported for secure uploads.


Aspera Upload


Like FTP, media files and associated metadata can be uploaded via Aspera’s transport technology. Aspera provides a secure, high-throughput connection that works well in unreliable Internet conditions. Use Aspera over FTP for uploads occurring over great distances in unreliable conditions or for secure uploads. Note that a separate license from Aspera is required.


Secure Transfer


Uploading options are:

  • SCP (Secure Copy protocol)
  • SFTP (Secure File Transfer Protocol)
  • RSYNC (Remote Sync)

SCP and SFTP are file transfer protocols between hosts on a network, and both provide secure file transfer capabilities. Compared to the SCP protocol, which only does file transfers, SFTP can also resume interrupted transfers and remote file removal.  SCP is most frequently implemented on Unix platforms, while SFTP is common on most platforms. RSYNC is a widely-used utility found on Unix systems that keeps copies of a file the same on two systems by synchronizing files between systems. It is designed to minimize network usage by transferring deltas between the copies.


API Upload


The final option is an API upload if you build your own workflow to programmatically upload files and metadata.  Common use cases include:

  • Automatically syncing with an existing CMS or asset management system
  • Uploading media and applying metadata at the same time
  • For an automated ingestion workflow


Leveraging Limelight’s Media and Broadcasters Solution delivers many business benefits for the ingest phase:

  • Global ingest points means faster uploads – so you have rapid time to publish
  • Automatic file replication to at least three locations reduces the challenges of capacity planning and saves CapEx storage costs
  • Flexibility in ingest formats and methods – you can pre-populate to cloud storage, or load on cache miss (on demand load)


This broad set of options combined with Limelight’s strong support staff to assist in designing an optimized video solution for your organization, assures success in having the ideal video ingest strategy.


More details about the Limelight Orchestrate for Media and Broadcasters are available here.       

OWNZONES provides consumers across the globe a “digital content marketplace” – where they have complete control over their digital media experience. They’re helping to change the way over-the-top (OTT) content is offered on the internet. By providing ad-free content to a global audience, OWNZONES features a clean, non-intrusive, uninterrupted digital media experience. Consumers can access videos and articles on their own terms; on the devices of their choosing and with zero interruption from ads.


“All the work of figuring out the streaming optimization and transcoding for multiple formats was taken off our plates simply by working with Limelight. That’s pretty valuable. The ease of integration was also very helpful. We got the initial integration done in about 2-3 weeks.”

-        Dan Goman, CEO of OWNZONES


A copy of the press release can be found here and a detailed case study is available here.

Today we announced significant enhancements to our Limelight Orchestrate Media and Broadcasters Solution at the IBC show in Amsterdam.  Our integrated workflow solution empowers broadcasters and media content owners to deliver broadcast quality video to online audiences around the world. This cloud-based, integrated end-to-end workflow solution makes it easy for organizations to manage, publish, and deliver live and on-demand video content. New features enable better control of cached content, improve performance of long-tail content, convert live content automatically to popular mobile formats, and ensure up time and availability of video delivery websites.

Read the press release here.

Video is already dominating the Internet during prime time viewing, and poised to make up 90% of Internet traffic that is consumer video by 2019, as Cisco has widely reported. Drivers include TV broadcasters, a growing number of OTT services, video sharing sites, corporate marketing, and numerous live broadcasting apps for smartphones. Viewer expectations are well known – broadcast quality on any screen, anywhere, anytime. Content owners have no option but to deliver a video viewing experience that meets these expectations. They need a unified solution architected for delivering video in today’s Internet traffic reality.


Today, Limelight Networks announced significant enhancements that simplify the delivery of video content with the Limelight OrchestrateTM Solution for Media and Broadcasters: the next step in optimizing cloud-based workflow by further simplifying the storage, delivery, and management of video content. New features enable better control of cached content. Convert live video automatically to popular mobile formats, and ensure uptime and availability of video delivery websites.

                                    New M&B workflow.jpg


Orchestrate for media and Broadcasters integrates pieces of a traditional workflow deploying cloud components connected across the private, global Limelight network.  Combining the power of Limelight Orchestrate Content Delivery, Orchestrate Cloud Storage, and Orchestrate Video, the solution now includes these key functionalities:

  • SmartPurge - Real-time purge makes content inaccessible globally even as it is being deleted from caches, accurately purging unwanted content from the global CDN within seconds.
  • Multi-Device Media Delivery (MMD) Live - Stream live media to multiple device platforms simultaneously. Limelight automatically transcodes or transmuxes digital content depending on the requesting device.
  • MediaMover - Regardless of library or file size, easily and efficiently migrate origin content to Limelight’s cloud storage. By storing popular assets in Orchestrate storage, media and broadcaster organizations can protect their origin from request spikes and improve the performance on cache miss through CDN-accelerated retrieval from cloud storage. Available later in 2015.
  • DDoS Attack Interceptor - Detects and mitigates network and application layer DDoS attacks.
  • Automatic Transcoding - Ensures live content is mobile-ready and viewable when, where and how viewers want it. MPEG-DASH is now supported along with all popular formats.


More details about the Limelight Orchestrate for Media and Broadcasters are available here.       

Related Resources:

  • Press release :Limelight Announces Significant Enhancements to Award-winning Solution for Media and Broadcasters.
  • Data sheet :Limelight Orchestrate for Media and Broadcasters
  • White paper :Delivering to the Broadcast Quality Generation
  • Online community :Find your peers and broadcast experts at Limelight Connect

You’ve may have heard of some or all of these live streaming apps including Periscope, Meerkat, Facebook Live, Muvi Studio, NomadCast and  Sywork. Maybe you are already using one these. There’s no doubt they are popular – Periscope gained a million users in the first ten days after its iPhone launch, and many more after its release on Android. Twitter acquired Periscope, and now users can tweet links to live-streams. All these apps are not the same, so let’s take a look at what they do and how they differ from each other:


  • Meerkat – Available for iOS and Android, broadcasts to followers. Videos are deleted immediately after broadcast.
  • Periscope – Available for iOS and Android, broadcasts to followers. Videos live for 24 hours before deletion, though you can save them to your camera roll.
  • Facebook Live – This app got off to a controversial start - at the moment it’s for celebrities only – yes, that’s right! It broadcasts to a celebrity’s followers with watch comments overlaid on the stream. The streams reach viewers while in progress and pushes alerts to subscribers who’ve recently interacted with the page. Videos are not deleted.
  • Muvi Studio – Clever name, huh? Muvi is a 3rd party provider for corporate clients and broadcasters by offering a cloud infrastructure for Live and On-demand services. Available for desktop, mobile apps, connected TV, and soon for the Roku player.
  • NomadCast  - Known as “Facebook live streaming for commoners” streams directly on Facebook and Twitter, providing playable video on Facebook walls and in Twitter feeds.
  • Sywork – This is a live streaming platform for illustrators and digital artists, allowing them to show off their work. Viewers can watch live illustrations.



So, who has been using these apps? They have attracted the attention of media and broadcasting companies as they offer a very low cost way to reach new audiences. CNN used Periscope during their coverage of the birth of Princess Charlotte, with a reporter touring London on the top deck of a bus, interviewing riders, and showing the sites. In the political arena, David Cameron used Periscope to broadcast his first post-election address from number 10. Musicians have also been using them. The Rolling Stones used Periscope to broadcast their “secret” show in Los Angeles in May this year. Local bands use them to broadcast to their followers.


                                                          rolling stones.jpg                                          


What has become controversial is the use of these apps at live sports events. Sponsors of events fear losing live TV audience to viewing broadcasts from attendees at events. One of the most well-known instances of this was during a big pay-per-view boxing match, where ring side attendees broadcast the match. Responses from the various sports leagues have been mixed to date. Wimbledon banned audience members from broadcasting matches, as has the PGA and NHL, but not the NFL.




In the view of many observers, these mobile device broadcasts shouldn’t be considered a threat to the mainstream professional broadcasts from TV networks. Would someone really watch an entire sporting event broadcast from a hand held phone, with jerky motion and accompanying background noise?

What is likely to happen is the networks will realize an opportunity here. Think of all the potential phone broadcasts at an NFL game from audience around a stadium. Those could be incorporated into the network’s broadcasts – picking the best clips from the live audience perspective. This would enhance what the home viewer sees, delivering a “just like they were there” experience.

What does the future hold? It’s so early in the technology cycle, with the expected evolution of these apps in terms of quality and functionality that it’s too difficult to predict. It is safe to assume a significant impact, and as broadcasters experiment with incorporating audience broadcast content, the viewing experience overall will improve.


No matter what the future holds, Limelight will ready to deliver your video at broadcast quality to a global audience. Limelight Networks combines the power and reach of one of the world’s largest private content delivery networks (CDN) with a purpose-built intelligent platform to deliver your video reliably and at broadcast quality, anywhere in the world. Learn more about our solutions for video delivery and Media and Broadcasters on the Limelight website, or reach me directly at ckraus@llnw.com .



Recently four gaming industry leaders gathered in San Francisco to talk about a major trend in gaming: gamers producing and watching each other’s game videos, and the impact it’s having on their business strategies.  The panel was hosted by Newzoo CEO, Peter Warman, and inspired by Newzoo’s whitepaper:  Consumer as Producer: How Games and Video Converge to Drive Growth  sponsored by Limelight Networks.


Watching the 54 minute panel which featured a lively discussion, I gleaned some possible answers to challenges we posed in the initial Consumer as Producer blog.


1) How do you get the cooperation of creative consumers in building your game brand?

2) How do you share and protect your IP at the same time?

3) What is the role of the emerging “game audience” - viewers who love game videos and aren’t necessarily playing or buying the game?


The panelists included a game developer COO, an Esports team CEO,  the COO of Twitch, and CEO of Game Theorists, a video subscription channel on Youtube with over 5 million subscribers.


COO Kristian Segerstrale describes SuperEvil MegaCorp as a game developer, that embraces all three challenges. Videos and viewership are so important that it tracks total viewers on Twitch and Youtube as a company metric.  (The number has grown from .5M to 1.5M in less than a year).  The company actively promotes player stars on Youtube, and just embarked on its first Esports tournament for VainGlory, not worrying about the fact the prize is only $30K.  Even more revolutionary - the reality of video watching is helping to drive the design of their game.  The company wants ipad-playable VainGlory to be understandable for casual viewers after just a few minutes of watching, like basketball.  On the IP front, what happens when avid fans “borrow” game art to create a cool t-shirt or video?  You might think a team of lawyers would be dispatched, but instead engineers don them proudly and share pictures wearing them. 


Wouter Sleijffers is CEO of Fnatic, one of the world’s top professional gaming teams notes that video is a major means of communicating with their fans, and building the team brand.  In fact, the team encourages the fans to create and build out the brand by making their own videos. Sleijffers  commented “there is an amazing amount of demand out there for game play footage”.


So who’s watching all this besides avid game players?


Both Game Theorist, a subscription-based Youtube video company owned by Matthew Patrick, and Twitch, represented by co-founder Kevin Lin, weighed in about the reality of the “game viewing” audience which now lurks just beyond the realm of marketers, watching but not buying games.  Patrick says it’s real, and points out some games have had viewing audiences that are 3-4 times larger than their player base. Matthew’s company, Game Theorist, now has 5 million followers and 113 videos on itsYoutube channel.   He explains video is helping enable the development of lifestyle brands built on game environments and characters.  Building a brand around a game used to take 30 years - now it takes a matter of months. For Twitch also, watchers are now seen as part of the game, not just the players.


The existence of a larger game viewing audience opens up all kinds of growth opportunities for the industry.  It could lead to a range of monetization strategies employed by other forms of entertainment, from syndicated content to merchandise.  But profiting from it it will depend on how willing the game industry is to nurture this whole new one-to-many relationship, and perhaps, create new content just for this audience.


So listening to these industry leaders, I’m going to offer some possible answers:

1) How do you get the cooperation of creative consumers in building your game brand? Possible answer: treat them fairly and the rest will sort itself out.

2) How do you share and protect your IP at the same time? Possible answer: you don’t always do both.

3) What is the role of the emerging “game audience” - viewers who love game videos and aren’t necessarily playing or buying the game?  Possible answer:  first you have to recognize its there and decide what you want to create for it.  And you might consider making your game easy to understand for casual viewers a part of your strategy.


What do you think? Are you an industry watcher or game publisher looking at how to incorporate the gamer video phenomenon into your strategy?  We’d love to hear from you here at Limelight.  Meanwhile, to all you gamers out there, we hope you capture your next epic moment in video and


Stream On!


To watch the whole discussion, check out Casual Connect’s channel on Youtube.


Last year, Amazon put a stake in the ground with its purchase of Twitch for $970 million. This put an eye-popping value on gamer video sharing, and highlighted a trend that many dedicated gaming fans already knew: video creation and sharing is an increasingly important part of how gamers enjoy their game.


A year later, two more stakes have been placed in the ground. In this blog we talk about one of them - the trend of consumers producing their own gaming videos.  This trend is examined in great detail in a recently released report from Newzoo, The Consumer as Producer: How Games and Video Converge to Drive Growth, which was sponsored by Limelight Networks. Newzoo projects revenues of $113 billion for the gaming market by 2018.  Will this number grow even bigger as a function of gamer videos? That’s not clear yet, but industry players are starting to figure out how to get in on the action.


The whitepaper leaves no doubt that the phenomenon is big. Here are some examples from the data: Minecraft-based videos alone garnered 4.1 Billion (yes, billion) views in one month while League of Legends fans watched 81 million hours of game play videos on Twitch in May alone.


What’s also discussed is that multiple monetization strategies are in play.  With Twitch and YouTube providing free sharing services for gamers, game publishers; new platform providers such as Azubu and Kamcord are looking for creative ways to create revenue streams.  Esports events are particularly attractive given their ability to concentrate talent, money and time, while also controlling access to content. They offer a clearer path to monetization than many other strategies which is why the paper devotes a whole page to the topic of Esports and video.


Like a lot of cool things in gaming, this trend started with gamers themselves, and they are still at the heart of the action.  Limelight’s own research showed 22% of gamers post videos of themselves and 36% watch a second screen, usually featuring other gamers playing, while they game.   See: Consumer Gaming Trends, 2014


Players are learning how to become personalities, opinion leaders and franchises unto themselves. As the co-founder of Twitch pointed out during a panel discussion on the whitepaper (see my blog on industry reaction to the paper) “We’re helping gamers become entertainers”.


From a business strategy perspective, the most important things this trend tees up for the gaming industry are:


1) Brand efforts to benefit from all this creativity will have to be undertaken with the cooperation of the consumer.  What are the best practices for building this cooperation, and what are the technology requirements behind those practices?


2) What new approaches to owning, licensing, and sharing game creative content will provide the most productive relationships with consumers?  How can technology help game content creators protect and share their creativity at the same time?


3) What is the nature of the now discovered “game audience” - a growing set of viewers who don’t play or buy a game, but nevertheless enjoy game videos. And what role will this group play in the monetization of this trend?


Read our second blog on this topic to explore these questions further, and see industry reaction to the whitepaper.    Meanwhile, what’s the 2nd stake in the ground? Last week, Youtube went live with Youtube Gaming - a new dedicated platform for sharing all videos gaming. How the new platform really differs from its predecessor remains to be explored, but it is a direct assault on the enviable position Twitch has carved out for itself.


So consumers are becoming producers, and as a leader in providing video streaming services, Limelight is proud to be an enabler of this trend - with flexible and scalable solutions to help our gaming customers address this development right here, right now.


For a free download of the Newzoo whitepaper just click here:

Consumer as Producer: How Games and Video Converge to Drive Growth


Stream On!

Today we announced that eDreams Odigeo, the world’s largest online travel company in the flight sector and the largest publicly traded European e-commerce company, has selected the Limelight OrchestrateTM Delivery service to deliver its e-commerce web sites. eDreams, based in Barcelona, Spain has more than 16 million customers across 44 countries and more than 325 million views on their website per month.


To completely globalize their services, they needed a global content delivery provider that could deliver content to any device, especially tablets and phones.

“Our customers are well educated, savvy users of online travel agencies and don’t want to spend more than 15 minutes booking their travel. We reached a point where we needed to diversify our platform and give our users an improved experience when booking their travel. We chose Limelight’s CDN so we could give our users around the globe an exceptional experience. Limelight had the best performance in our tests, as well as the best support.” - Aranzazu Del Rio, procurement manager at eDreams Odigeo.


A copy of the press release is posted to our website, and can be found here.

Limelight has been nominated in The 2015 Streaming Media Reader’s Choice Awards!  There are three categories we are in the running for: Best Content Delivery Network, Live Video Platform and Media & Entertainment Video Platform!  We would be honored to have your vote.  To learn more and vote click here.


Note: Limelight Employees can't vote, however they can spread the word.

We are thrilled to tell you Limelight's Orchestrate for Media & Broadcasters has been selected as a Stevie® Awards People's Choice Award finalist! 


The Stevie Awards are the world's premier business awards and were created to honor and generate public recognition of the achievements and positive contributions of organizations and working professionals worldwide. 


Here's where you can help.  Please cast your vote and spread the word to customers, family or friends.  Every vote counts. 


Click here for the voting website and then click on the Content-Other Solutions category and select the Limelight solution. [Screen shots are below.]


Voting closes at midnight ET this Friday, August 7th.


Thank you for supporting Limelight and helping us beat out the competition!


Screen Shots:

  1. Link to voting: https://peopleschoice.stevieawards.com/default.cfm?sitetype=P
  2. Select ‘Content: Other Solutions’


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