Your customers have to set up a separate login because it’s an entirely separate system. But for one-off performances, or trial runs, that’s a big investment.Īnd it means that all of your data and payments run through them rather than your traditional ticketing system. Vimeo’s OTT (or any of the multitude of others) is great if you genuinely want to create a broadcast channel. And their pricing seems proportionate: Starter package at $1 per subscriber, or a Growth package from $6000. There are many providers of OTT services but Vimeo seem to be the market leaders at least in the arts world. We’ve built two Vimeo OTT channels for English National Ballet ( Ballet On Demand for performance and BalletActive for classes), and we think the new National Theatre’s At Home channel probably uses their set-up too. Vimeo OTT does have out-of-the-box solutions but if you want to make it feel like your own then you have to add some extra cleverness with design and styling. They use the language of ‘subscribers’ in the same way Netflix does. OTT stands for Over The Top it basically means a channel that hosts and streams video content via the internet, bypassing traditional media and broadcasting networks. Vimeo has been heavily pushing their OTT service. Most of it is invisible and unquestioned. Oh, and provide almost unlimited hosting and bandwidth, detect where it’s being played and cache content to multiple local servers and so much more. We're all now used to uploading raw videos in whatever format we fancy, using a simple website interface that works on any device, Then we assume that they will compress, convert, reconfigure it to play at different rates on different devices, balance the colour, sort out sound spikes, add subtitles. They have set expectations very high in terms of ubiquity, ease of use, and speed of service. The big players make very technical outcomes seem very easy to achieve. Understandably, most of us just take the technology for granted. That’s perhaps not a surprise when you take the time to think about it. It’s likely that, by the time I’ve finished typing this article, something else will influence the way we talk about hosting and streaming with our clients.īut here’s what we know, right now on 12th December 2020… Hosting and streaming video is really complex The first thing to note is that this year, this quarter, this month, even this week, we've seen accelerated changes in this area. Hopefully it’ll be a useful resources for the cultural sector as a whole. I thought it might be useful to share some of our learnings. If you want to reach audiences and sell video as part of your offer then you need to professionalise the set-up, think carefully about the hosting and how audiences interact and pay to view. Responsibility for video hosting seems to fall between the stools, somewhere between production, marketing and, more recently, box-office.Ĭultural sector organisations used to rely on their marketing team to throw up any video content to YouTube, or maybe Vimeo if they wanted it streamed on their site. But once 'monetisation' is added to the mix, the topic becomes complex very quickly. We've found that the complexity of video hosting is often under-estimated, based on the easy interactions provided by the two big players – YouTube and Vimeo. We've developed some innovative ways to help our clients sell video content but we don't (want to) host the video itself. It’s no longer a fun way of coping with COVID, it’s now an essential part of the recovery plan. Many arts organisations want to start selling on-demand or streamed video.
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