Past Editions of “LCD TV Matters” - Veritas et Visus

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LCD TV Association LCD TV Matters May 2012 Similarly, there is no reason panel makers should keep to a certain pixel count. After all, a 60-inch 1080p panel has less resolution than a typical Notebook panel. As consumers learn to display photographs, experimental videos and other content on their TV sets, there is no reason to constrain displays to HD formats. Besides, panel makers have found more pixels easy to sell. Think about consumer response to 8 megapixel then to 12 megapixel cameras. Pixel counts are an easy point of product comparison (even if those are not always the best point of comparison). Looking back on my presentation at DisplayWeek 2010, I was not far wrong in predicting a wave of higher resolution TV panels in 2013. Sharp has started shipping IGZO-TFT panels, which should enable more pixels per panel, and other producers are talking about quad-HD TVs. So I say, innovate! Bring on those new panels. Just be careful how much new capacity you bring on-line. Past Editions of “LCD TV Matters” You can download prior editions of “LCD TV Matters” from: http://www.veritasetvisus.com/lcdtva.htm >>>>>>>>>>>>>>>>>>>>
LCD TV Association LCD TV Matters May 2012 Breaking Barriers and Broken Windows 35 by Marty Shindler Marty Shindler is CEO of The Shindler Perspective, Inc. a husband and wife consulting practice with a pedigree that includes a Big 4 firm and a top 5 business school, with additional experience at 20th Century Fox, MGM, Lucasfilm/Industrial Light & Magic and Kodak’s Cinesite. At NAB 2012, Shindler moderated the Super Session Predictions from the Street: The Power Players behind the Great Content Shift. Visit http://www.iShindler.com for more information. Since the dawn of the filmed entertainment industry, there have been periodic changes to the ways that content has been distributed. At various junctures in the modern industry, barriers were broken, the concept of release windows changed and new business models evolved. More often than not, the changes were incremental and relatively subtle. Today, barriers are still being broken as traditional and often revered release windows are breaking once more. We are seeing a more dramatic shift than ever before. A new world order of the content creation and distribution hierarchy is in the offing. In the beginning, the studios developed a large volume of movies, shown mostly in the theaters that bore their name. The consent decree in the 40s required that they divest themselves of the theaters and soon new owners controlled exhibition. In the 50s, TV came on the scene in a big way and the number of people attending the cinema declined. Concurrently, the baby boomer generation came along and families stayed at home watching whatever was on the tube. It was a whole new world. Once the studios got over their fear of the new medium, they, too, began to develop programming, which in many ways was more sophisticated than what had been broadcast to that point. The barrier had been broken and the studios became a force in TV that persists to this day. The three networks began movies and sports programming in addition to the sitcoms and variety shows. Ted Turner broke another barrier when he overcame hurdles and successfully put his Atlanta based Channel 17 on a satellite for pick up by the growing cable business. Early content was primarily older movies and sports. Before too long Turner introduced some original programming and in time, additional cable channels from Turner and from others were developed. In almost every case, they all started with acquired, previously released programming, with the exception of sports and the news that Turner brought 24 hours a day, a novel concept at the time, that has become the standard today. Through the years, the TV eco-system grew to be a dominant force in our entertainment. Traditional broadcast, cable and satellite enabled people "everywhere" to watch TV, to a point that there were more households with a TV than with a telephone. Different business models evolved, beginning with subscription to cable, and later satellite, for access to shows that still included advertising as their base business model. Soon subscription services for premium channels such as HBO and Showtime emerged, offering Hollywood movies free of advertising for a fee. As those and other services evolved, they, too, began to develop original programming to supplement acquired product. In the late 70s, home video arrived. The recording capability broke barriers resulting in a paradigm shift as consumers gained more say in what they watched and when. Suppliers of beta and VHS tapes gave rise to the video store. Different business models were used, from rental to sell through. A six month window from theatrical release was established, then replaced by shorter and shorter windows, with day and date, a barrier that eventually will break, for a price.
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Past Editions of “LCD TV Matters” - Veritas et Visus

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