Editing Streaming media (section)

==History==
===Early development===
{{See also|Timeline of online video}}
Attempts to display media on [[Personal computer|computers]] date back to the earliest days of computing in the mid-20th&nbsp;century. However, little progress was made for several decades, primarily due to the high cost and limited capabilities of computer hardware. From the late 1980s through the 1990s, consumer-grade personal computers became powerful enough to display various media. The primary technical issues related to streaming were having enough [[CPU]] and [[bus (computing)|bus]] [[Bandwidth (computing)|bandwidth]] to support the required data rates and achieving the [[real-time computing]] performance required to prevent [[buffer underrun]]s and enable smooth streaming of the content. However, computer networks were still limited in the mid-1990s, and audio and video media were usually delivered over non-streaming channels, such as playback from a local [[hard disk drive]] or [[CD-ROM]]s on the end user's computer.

Terminology in the 1970s was at best confusing for applications such as telemetered aircraft or missile test data. By then PCM [Pulse Code Modulation] was the dominant transmission type. This PCM transmission was bit-serial and not packetized so the 'streaming' terminology was often a confusion factor. In 1969 Grumman acquired one of the first telemetry ground stations [Automated Telemetry Station, 'ATS'] which had the capability for reconstructing serial telemetered data which had been recorded on digital computer peripheral tapes. Computer peripheral tapes were inherently recorded in blocks. Reconstruction was required for continuous display purposes without time-base distortion. The Navy implemented similar capability in DoD for the first time in 1973. These implementations are the only known examples of true 'streaming' in the sense of reconstructing distortion-free serial data from packetized or blocked recordings.<ref>IEEE Aero & AES Magazine, May 2022 ISSN 0885-8985, Vol 37, No.5 pp. 40</ref> 'Real-time' terminology has also been confusing in streaming context. The most accepted definition of 'real-time' requires that all associated processing or formatting of the data must take place prior to availability of the next sample of each measurement. In the 1970s the most powerful mainframe computers were not fast enough for this task at significant overall data rates in the range of 50,000 samples per second. For that reason both the Grumman ATS and the Navy Real-time Telemetry Processing System [RTPS] employed unique special purpose digital computers dedicated to real-time processing of raw data samples.

In 1990, the first commercial [[Ethernet switch]] was introduced by [[Kalpana, Inc.|Kalpana]], which enabled the more powerful computer networks that led to the first streaming video solutions used by schools and corporations.

Practical streaming media was only made possible with advances in [[data compression]] due to the impractically high bandwidth requirements of uncompressed media. Raw [[digital audio]] encoded with [[pulse-code modulation]] (PCM) requires a bandwidth of 1.4{{nbsp}}[[Mbit/s]] for uncompressed [[CD audio]], while raw [[digital video]] requires a bandwidth of 168{{nbsp}}Mbit/s for [[SD video]] and over 1000{{nbsp}}Mbit/s for [[FHD]] video.<ref>{{cite book |last1=Lee |first1=Jack |title=Scalable Continuous Media Streaming Systems: Architecture, Design, Analysis and Implementation |date=2005 |publisher=[[John Wiley & Sons]] |isbn=9780470857649 |page=25 |url=https://books.google.com/books?id=7fuvu52cyNEC&pg=PA25}}</ref>

=== Late 1990s to early 2000s ===
{{See also|Original net animation}}

During the late 1990s and early 2000s, users had increased access to computer networks, especially the Internet. During the early 2000s, users had access to increased network [[Bandwidth (signal processing)|bandwidth]], especially in the [[Last mile (telecommunications)|last mile]]. These technological improvements facilitated the streaming of audio and video content to computer users in their homes and workplaces. There was also an increasing use of standard protocols and formats, such as [[TCP/IP]], [[HTTP]], and [[HTML]], as the Internet became increasingly commercialized, which led to an infusion of investment into the sector.

The band [[Severe Tire Damage (band)|Severe Tire Damage]] was the first group to perform live on the Internet. On 24 June 1993, the band was playing a gig at [[Xerox PARC]], while elsewhere in the building, scientists were discussing new technology (the [[Mbone]]) for broadcasting on the Internet using [[multicast]]ing. As proof of PARC's technology, the band's performance was broadcast and could be seen live in Australia and elsewhere. In a March 2017 interview, band member Russ Haines stated that the band had used approximately "half of the total bandwidth of the internet" to stream the performance, which was a {{resx|152|76}} pixel video, updated eight to twelve times per second, with audio quality that was, "at best, a bad telephone connection."<ref>[https://www.youtube.com/watch?v=HRa2pE5-Ny0 "History of the Internet Pt. 1 – The First Live Stream"] {{Webarchive|url=https://web.archive.org/web/20190129023330/https://www.youtube.com/watch?v=HRa2pE5-Ny0&gl=US&hl=en |date=29 January 2019 }}. Via YouTube. Internet Archive – Stream Division. 5 April 2017. Retrieved 13 January 2018.</ref> In October 1994, a school music festival was webcast from the Michael Fowler Centre in Wellington, New Zealand. The technician who arranged the webcast, local council employee Richard Naylor, later commented: "We had 16 viewers in 12 countries."<ref>{{cite book |last1=Newman |first1=Keith |title=Connecting the Clouds: The Internet in New Zealand |date=2008 |publisher=Activity Press |location=Auckland |isbn=978-0-9582634-4-3 |page=90}}</ref>

[[RealNetworks]] pioneered the broadcast of a baseball game between the [[New York Yankees]] and the [[Seattle Mariners]] over the Internet in 1995.<ref>{{cite web |url=http://www.fundinguniverse.com/company-histories/RealNetworks-Inc-Company-History.html |publisher=Funding Universe |title=RealNetworks Inc. |access-date=23 July 2011 |archive-date=11 July 2011 |archive-url=https://web.archive.org/web/20110711054958/http://www.fundinguniverse.com/company-histories/RealNetworks-Inc-Company-History.html |url-status=live }}</ref> The first symphonic concert on the Internet—a collaboration between the [[Seattle Symphony]] and guest musicians [[Slash (musician)|Slash]], [[Matt Cameron]], and [[Barrett Martin]]—took place at the [[Paramount Theatre (Seattle, Washington)|Paramount Theater]] in [[Seattle]], Washington, on 10&nbsp;November 1995.<ref>{{cite magazine |author=<!--Staff writer(s); no by-line.--> |title= Cyberian Rhapsody |magazine=Billboard |location= United States|publisher= Lynne Segall|date=17 February 1996}}</ref>

In 1996, [[Marc Scarpa]] produced the first large-scale, online, live broadcast, the [[Adam Yauch]]–led [[Tibetan Freedom Concert]], an event that would define the format of social change broadcasts. Scarpa continued to pioneer in the streaming media world with projects such as [[Woodstock '99]], Townhall with [[Presidency of Bill Clinton|President Clinton]], and more recently Covered CA's campaign "Tell a Friend Get Covered", which was livestreamed on YouTube.

=== Business developments ===
[[Xing Technology]] was founded in 1989 and developed a JPEG streaming product called "StreamWorks".  Another streaming product appeared in late 1992 and was named StarWorks.<ref name="StarWorks">{{Cite book |doi = 10.1109/CMPCON.1993.289623|title = Digest of Papers. Compcon Spring|year = 1993|last1 = Tobagi|first1 = F.A.|last2 = Pang|first2 = J.| chapter=StarWorks-a video applications server |pages = 4–11|isbn = 0-8186-3400-6|s2cid = 61039780}}</ref> StarWorks enabled on-demand MPEG-1 full-motion videos to be randomly accessed on corporate [[Ethernet]] networks. Starworks was from [[Starlight Networks]], which also pioneered live video streaming on Ethernet and via [[Internet Protocol]] over satellites with [[Hughes Network Systems]].<ref name="Starlight Networks and Hughes Network Systems">{{cite web |url=http://www.thefreelibrary.com/Starlight+Networks+and+Hughes+Network+Systems+Plan+Corporate...-a017588314 |title=Starlight Networks and Hughes Network Systems |access-date=10 May 2017 |archive-date=2 April 2019 |archive-url=https://web.archive.org/web/20190402180803/https://www.thefreelibrary.com/Starlight+Networks+and+Hughes+Network+Systems+Plan+Corporate...-a017588314 |url-status=dead }}</ref> Other early companies that created streaming media technology include Progressive Networks and Protocomm prior to widespread World Wide Web usage.  After the [[Netscape IPO]] in 1995 (and the release of [[Windows 95]] with built-in [[TCP/IP]] support), usage of the Internet expanded, and [[Dot-com bubble|many companies "went public"]], including Progressive Networks (which was renamed "[[RealNetworks]]", and listed on [[Nasdaq]] as "RNWK"). As the web became even more popular in the late 90s, streaming video on the internet blossomed from startups such as [[Vivo Software]] (later acquired by RealNetworks), VDOnet (acquired by RealNetworks), Precept (acquired by [[Cisco]]), and Xing (acquired by RealNetworks).<ref>{{Cite magazine |last=Sullivan |first=Jennifer |title=Revived RealNetworks Buys Xing |language=en-US |magazine=Wired |url=https://www.wired.com/1999/04/revived-realnetworks-buys-xing/ |access-date=5 October 2022 |issn=1059-1028}}</ref>

[[Microsoft]] developed a media player known as [[ActiveMovie]] in 1995 that supported streaming media and included a proprietary streaming format, which was the precursor to the streaming feature later in [[Windows Media Player]] 6.4 in 1999. In June 1999, [[Apple Inc.|Apple]] also introduced a streaming media format in its [[QuickTime]] 4 application. It was later also widely adopted on websites, along with RealPlayer and Windows Media streaming formats. The competing formats on websites required each user to download the respective applications for streaming, which resulted in many users having to have all three applications on their computer for general compatibility.

In 2000, Industryview.com launched its "world's largest streaming video archive" website to help businesses promote themselves.<ref>{{cite magazine |last=Hebert |first=Steve |date=November 2000 |title=Streaming Video Opens New Doors |magazine=Videography|page=164}}</ref> Webcasting became an emerging tool for business marketing and advertising that combined the immersive nature of television with the interactivity of the Web. The ability to collect data and feedback from potential customers caused this technology to gain momentum quickly.<ref>{{cite magazine |last=Reinstein |first=Bill |date=25 June 2001 |title=Webcasts Mature as Marketing Tool |magazine=DM News|page=24}}</ref>

Around 2002, the interest in a single, unified, streaming format and the widespread adoption of [[Adobe Flash]] prompted the development of a video streaming format through Flash, which was the format used in Flash-based players on [[video hosting]] sites. The first popular video streaming site, YouTube, was founded by [[Steve Chen]], [[Chad Hurley]], and [[Jawed Karim]] in 2005. It initially used a Flash-based player, which played [[MPEG-4 AVC]] video and [[Advanced Audio Coding|AAC]] audio, but now defaults to [[HTML video]].<ref>{{Cite news|url=https://youtube-eng.googleblog.com/2015/01/youtube-now-defaults-to-html5_27.html|title=YouTube now defaults to HTML5 <nowiki><video></nowiki>|work=YouTube Engineering and Developers Blog|access-date=20 February 2018|archive-date=10 September 2018|archive-url=https://web.archive.org/web/20180910204225/https://youtube-eng.googleblog.com/2015/01/youtube-now-defaults-to-html5_27.html|url-status=dead}}</ref> Increasing consumer demand for live streaming prompted YouTube to implement a new live streaming service for users.<ref>{{cite web |url=http://news.cnet.com/8301-17939_109-9883062-2.html |first=Josh |last=Lowensohn |year=2008 |title=YouTube to Offer Live Streaming This Year |access-date=23 July 2011 |archive-date=10 August 2011 |archive-url=https://web.archive.org/web/20110810020943/http://news.cnet.com/8301-17939_109-9883062-2.html |url-status=dead }}</ref> The company currently also offers a (secure) link that returns the available connection speed of the user.<ref>{{cite web|url=https://www.youtube.com/my_speed# | title=YouTube Video Speed History | via=YouTube |access-date=30 April 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120426225550/http://www.youtube.com/my_speed |archive-date=26 April 2012 }}</ref>

The [[Recording Industry Association of America]] (RIAA) revealed through its 2015, earnings report that streaming services were responsible for 34.3 percent of the year's total [[music industry]]'s revenue, growing 29 percent from the previous year and becoming the largest source of income, pulling in around $2.4&nbsp;billion.<ref>{{cite web|title=News and Notes on 2015 RIAA Shipment and Revenue Statistics|url=https://www.riaa.com/wp-content/uploads/2016/03/RIAA-2015-Year-End-shipments-memo.pdf|publisher=Recording Industry Association of America|access-date=5 January 2017|archive-date=6 June 2019|archive-url=https://web.archive.org/web/20190606161536/https://www.riaa.com/wp-content/uploads/2016/03/RIAA-2015-Year-End-shipments-memo.pdf|url-status=live}}</ref><ref>{{cite news|title=Streaming made more revenue for music industry in 2015 than digital downloads, physical sales|url=http://www.washingtontimes.com/news/2016/mar/23/streaming-made-more-revenue-for-music-industry-in-/|newspaper=The Washington Times|access-date=5 January 2017|archive-date=5 January 2017|archive-url=https://web.archive.org/web/20170105180057/http://www.washingtontimes.com/news/2016/mar/23/streaming-made-more-revenue-for-music-industry-in-/|url-status=live}}</ref> US streaming revenue grew 57 percent to $1.6&nbsp;billion in the first half of 2016 and accounted for almost half of industry sales.<ref>{{cite news|last1=Shaw|first1=Lucas|title=The Music Industry Is Finally Making Money on Streaming|newspaper=Bloomberg.com|url=https://www.bloomberg.com/news/articles/2016-09-20/spotify-apple-drive-u-s-music-industry-s-8-first-half-growth|publisher=Bloomberg L.P.|access-date=5 January 2017|date=20 September 2016|archive-date=22 May 2019|archive-url=https://web.archive.org/web/20190522143903/https://www.bloomberg.com/news/articles/2016-09-20/spotify-apple-drive-u-s-music-industry-s-8-first-half-growth|url-status=live}}</ref>

=== Streaming wars ===
{{See also|List of streaming media services}}
{{Redirect|Streaming wars|the South Park film|South Park The Streaming Wars}}{{For|competition between music streaming platforms|#Music streaming platforms}}{{History of American television}}
The term ''streaming wars'' was coined to describe the new era (starting in the late 2010s) of competition between video streaming services such as [[Netflix]], [[Amazon Prime Video]], [[Hulu]], [[Max (streaming service)|Max]], [[Disney+]], [[Paramount+]], [[Apple TV+]], [[Peacock (streaming service)|Peacock]], and many more.<ref name=StreamingWars>{{Cite web|url=https://www.theverge.com/streaming-wars|title=Streaming Wars|website=The Verge|access-date=1 December 2019|archive-date=6 December 2019|archive-url=https://web.archive.org/web/20191206031626/https://www.theverge.com/streaming-wars|url-status=live}}</ref><ref>{{cite journal |last1=Chalaby |first1=Jean K |title=The streaming industry and the platform economy: An analysis |journal=[[Media, Culture & Society]] |year=2024 |volume=46 |issue=3 |pages=552–571 |doi=10.1177/01634437231210439 |doi-access=free}}</ref>

The competition between increasingly popular online platforms, such as Netflix and Amazon, and legacy broadcasters and studios moving online, like Disney and NBC, has driven each service to find ways to differentiate from one another. A key differentiator has been offering exclusive content, often self-produced and created for a specific [[market segment]]. 

When Netflix first launched in 2007, it became one of the more dominant streaming platforms even though it initially offered no original content. It would be nearly a half-dozen years before Netflix began offering its own shows, such as House of Cards, Orange Is the New Black, and Hemlock Grove. The legacy services also began producing original digital-only content, but they also began restricting their back catalog of shows and movies to their platforms, one of the most notable examples being Disney+. Disney took advantage of owning popular movies and shows like Frozen, Snow White, and the Star Wars and Marvel franchises, which could draw in more subscribers and make it a more serious competitor to Netflix and Amazon.<ref>{{Cite web |title=Why the Streaming Wars Will Change the TV Industry Forever {{!}} Paramount |url=https://www.paramount.com/news/why-the-streaming-wars-will-change-the-tv-industry-forever |access-date=2024-12-09 |website=www.paramount.com |language=en}}</ref> Research suggests that this approach to streaming competition can be disadvantageous for consumers by increasing spending across platforms, and for the industry as a whole by dilution of subscriber base. Once specific content is made available on a streaming service, piracy searches for the same content decrease; competition or legal availability across multiple platforms appears to deter online piracy. Exclusive content produced for subscription services such as Netflix tends to have a higher production budget than content produced exclusively for [[pay-per-view]] services, such as Amazon Prime Video.<ref>{{Cite web|title=Streaming wars (Creative Economy Notes Series)|url=https://www.wipo.int/edocs/infogdocs/creative_industries/en/streaming-wars|access-date=29 December 2021|website=wipo.int|language=en}}</ref>

This competition increased during the first two years of the [[COVID-19 pandemic]] as more people stayed home and watched TV. "The COVID-19 pandemic has led to a seismic shift in the film & TV industry in terms of how films are made, distributed, and screened. Many industries have been hit by the economic effects of the pandemic" (Totaro Donato).<ref name=":2" /> In August 2022, a CNN headline declared that "The streaming wars are over" as pandemic-era restrictions had largely ended and audience growth had stalled. This led services to focus on profit over market share by cutting production budgets, cracking down on password sharing, and introducing ad-supported tiers.<ref>{{cite news |url=https://www.cnn.com/2022/08/11/media/streaming-disney-netflix/index.html |title=The streaming wars are over |publisher=[[CNN]] |first=Frank |last=Pallotta |date=11 August 2022 |access-date=19 August 2022 |archive-date=19 August 2022 |archive-url=https://web.archive.org/web/20220819180708/https://www.cnn.com/2022/08/11/media/streaming-disney-netflix/index.html |url-status=live }}</ref> A December 2022 article in ''[[The Verge]]'' echoed this, declaring an end to the "golden age of the streaming wars".<ref>{{Cite web |last=Cranz |first=Alex |date=14 December 2022 |title=The golden age of the streaming wars has ended |url=https://www.theverge.com/2022/12/14/23507793/streaming-wars-hbo-max-netflix-ads-residuals-warrior-nun |access-date=29 December 2022 |website=[[The Verge]] |archive-date=29 December 2022 |archive-url=https://web.archive.org/web/20221229202957/https://www.theverge.com/2022/12/14/23507793/streaming-wars-hbo-max-netflix-ads-residuals-warrior-nun |url-status=live }}</ref>

In September 2023, several streaming services formed a [[trade association]] named the Streaming Innovation Alliance (SIA), spearheaded by [[Charles Rivkin]] of the [[Motion Picture Association]] (MPA). Former [[U.S. representative]] [[Fred Upton]] and former [[Federal Communications Commission]] (FCC) acting chair [[Mignon Clyburn]] serve as senior advisors. Founding members include AfroLandTV, America Nu Network, [[BET+]], [[Demand Africa|The Africa Channel]], [[Discovery+]], FedNet, For Us By Us Network, In the Black Network, [[Max (streaming service)|Max]], [[Motion Picture Association]], MotorTrend+, [[Netflix]], [[Paramount+]], [[Peacock (streaming service)|Peacock]], [[Pluto TV]], Radiant, SkinsPlex, [[Telemundo]], [[TelevisaUnivision]], TVEI, Vault TV, [[Vix (streaming service)|Vix]], and [[The Walt Disney Company]]. Notably absent were [[Apple Inc.|Apple]], [[Amazon (company)|Amazon]], [[Roku]], and [[Tubi]].<ref>{{Cite magazine |last=Huston |first=Caitlin |date=26 September 2023 |title=Netflix, Max, Disney and More Form Streaming Industry Trade Alliance |url=https://www.hollywoodreporter.com/business/business-news/netflix-max-disney-and-more-form-streaming-industry-trade-alliance-1235600700/ |url-status=live |archive-url=https://web.archive.org/web/20230926171324/https://www.hollywoodreporter.com/business/business-news/netflix-max-disney-and-more-form-streaming-industry-trade-alliance-1235600700/ |archive-date=26 September 2023 |access-date=26 September 2023 |magazine=[[The Hollywood Reporter]]}}</ref><ref>{{Cite web |last=Davis |first=Wes |date=26 September 2023 |title=Streaming giants have banded together for lobbying power |url=https://www.theverge.com/2023/9/26/23890778/streaming-companies-trade-group-sia-regulation-net-neutrality |url-status=live |archive-url=https://web.archive.org/web/20230926171450/https://www.theverge.com/2023/9/26/23890778/streaming-companies-trade-group-sia-regulation-net-neutrality |archive-date=26 September 2023 |access-date=26 September 2023 |website=[[The Verge]]}}</ref>