Active and passive viewing, 206–207
ADSL (asymmetric digital subscriber line) system, 56, 65
Advanced Television Enhancement Forum (ATVEF), 76–77
Advanced Television Systems Committee (ATSC), in depth, 60–61
Advertising as a revenue source, 104–108
banner advertising, 104
benefits of interactive television, 104
Coty’s Rimmel brand campaign, 120–121
direct response interactive television, 105–107
enhanced television techniques, 104
Finish Powerball 3in1 campaign, 121–123
interstitial adverts, 104
sponsorship, 107
Analogue teletext, 10
Analogue television transmission:
carrier waves and modulation, 41
simultaneous with digital, 57
switching off intentions, 90
vertical blanking intervals (VBIs), 41–42
AOL early services, 28
Application programming interface (API), 69
Applications, software, 70
Armchair Athletes – tribal sports fans, 230–231, 235
Aspect ratios, 218
Asymmetric digital subscriber line (ADSL) system, 56, 65
ATSC (Advanced Television Systems Committee), in depth, 60–61
ATVEF (Advanced Television Enhancement Forum), 76–77
Avago bingo channel, 100
Back (return path/two-way/out-of-band) television channels, 50–51
Bandwidth:
and digital television, 49
Banking, benefits of banking services on interactive television, case study by Mike Constantine (HSBC), 126–128
Banner advertising:
Finish Powerball 3in1 campaign, 122
as a revenue source, 104
with walled gardens, 100
Base-T (Ethernet) interface, 66
BBC:
enhanced television production (ETV) workflows by Humphrey Lau, 188–190
must-have interactive television by Scott Gronmark (BBC), 241–243
role of user-centred design (UCD), 228–229
user research by Dr Guy Winter (BBC), 226–229
Walking with Beasts programme, 20–21, 82–85
What’s Your Story programme, 28
Wimbledon interactive tennis, 20, 97–98
BBCi (BBC’s digital text service) by Vlad Cohen, case study, 190–194
Betting:
bringing betting home, case study by Ismail Vali, 128–131
Big Brother production process, Andy Wyper (Victoria Real), case study, 184–187
Bingo channel, Avago, 100
Bluetooth interface, 66
Brief or pitch writing, 148
Broadband digital television systems, 51
Broadcast (one-way/forward path/in-band) television channels, 48–50
Broadcasting companies, 5
Budgets for production projects, 158–162
Business model for interactive television platforms and service providers, case study by Mervyn Metcalf, 124–125
cost model, 125
execution risks, 125
revenue model, 124
cable modems, 54
fibre-optic cable, 53
hybrid fibre co-axial (HFC) networks, 53
Caching systems, digital television, 51
Canal Satellite (France), 111
Carousel systems, digital television, 49–50
Carrier waves, digital television, 48
Carrierless amplitude phase (CAP) system, 65
Case studies:
BBCi (BBC’s digital text service) by Vlad Cohen, 190–194
Benefits of banking services on interactive television by Mike Constantine (HSBC), 126–128
Benefits of public-service interactive television by Richard Steel (Newham Council), 133–135
Big Brother production process by Andy Wyper (Victoria Real), 184–187
Bringing betting home by Ismail Vali (Ladbrokes), 128–131
Business model for interactive television platforms and service providers by Mervyn Metcalf (Merrill Lynch International), 124–125
Commercial experience of interactive television advertising by Andrew Howells (formerly OMDtvi), 119–123
Enhanced television production (ETV) workflows-now and in the future by Humphrey Lau (BBC), 188–190
‘Hands on TV’ – interactive television consumer research by Andy Mayer (formerly Netpoll), 229–236
MTV Europe Music Awards (EMA) by Rod Clark (NDS), 79–82
Regulation of interactive television services in the UK by Martin Hart (ITC), 135–136
Sky NZ’s weather channel by Michael Atherton, 194–197
Television and healthcare by Ronnette Lucraft (Flextech), 131–133
Usability of electronic programme guides (EPGs) by Daly-Jones (Serco Usability Services), 222–225
User research for interactive television by Dr Guy Winter (BBC), 226–229
Walking with Beasts BBC programme by Sandra Gorel (BBC), 82–85
Change management for production, 172
Chat shows, 5
Chicken Tonight cooking sauce adverts, 106
Chrominance, 220
Colour saturation problems/checking tools, 220, 221
Commercial attractions of television:
brands are trusted, 92
it is in the home, 92
it makes big money, 89
Commercial characteristics of successful interactive services:
alignment with existing viewer behaviour, 97
customer relations management (CRM), 102–103
Domino’s Pizza, 96
ease of use, 97
electronic programme guides (EPGs), 96
flexibility, 101
interactive games, 96
interactivity with sport, 96
marketing and promotion, 98–101
multiple channel approach, 102
Sky Active, 99
unsuccessful businesses, 95
Wimbledon interactive tennis, 97–98
Commercial experience of interactive television advertising, case study by Andrew Howells (formerly OMDtvi), 119–123
Commercial and marketing team, in-depth study, 169
Commercial/monetary aspects see E-commerce as a revenue source; Revenue sources
Commission payments and Tenancy fees, 117–118
Compression of video signals, 45–46
common characteristics, 96
see also MPEG (Moving Pictures Expert Group) standards
Connected television services, Microsoft TV, 6
Consumer goods companies for interactive TV equipment, 6
Consumers of interactive television see Viewers
Content and operations team for interactive production, in-depth study, 167–168
Coty’s Rimmel brand advertising campaign, 120–121
Credit cards for pay-per-view payments, 111–112
Customer relationship management (CRM), 102–103
DASE (Digital Television Applications Software Environment), 76
Data Over Cable System Interface Specification (DOCSIS) in USA, 65
DAVIC (Digital Audio Visual Council), 65
Daytime Dabblers, 232–233, 235
Deadline management for production, 172–173
for Big Brother, 185
Debit cards for pay-per-view payments, 111–112
Design checklist:
aspect ratios, 218
avoiding high brightness, 220–221
avoiding high colour saturation, 220
canvas size considerations, 218
colour check tools, 221
pixel shape, 219
safe areas of screens, 218–219
Design teams for interactive production, in-depth study, 164–165
Development of ideas and opportunities, 144–159
brief or pitch writing, 148
concept development, 146
concept prototyping, 146
financial forecasting and analysis, 147
market and user research, 146–147
spotting opportunities, 145–146
Different Kind of Television (DKTV) service, 134
Digital Audio Visual Council (DAVIC), 65
Digital cable with digital text, 193–194
Digital subscriber line (DSL) system, 56–57
Digital teletext:
applications and operation, 10–12
BBCi (BBC’s digital text service), 190–194
bandwidth for, 49
bandwidth/bandwidth efficiency, 46–47
broadband systems, 51
broadcast (one-way/forward path/in-band) channel, 48–50
caching systems, 51
carrier waves, 48
compression, benefits of, 45–46
data transport protocols, 52
jargon, 47
multiplexing, 48
return path (two-way/back/out-of-band) channel, 50–51
robust nature of, 45
simultaneous with analogue, 57
standards, 51
see also Cable platforms/systems; Satellite platforms/systems
Digital Television Applications Software Environment (DASE), 76
Digital terrestrial television (DTT):
disadvantages, 56
Digital Video Broadcasting see DVB (Digital Video Broadcasting) group
Direct response interactive television, 105–107
Discrete multi-tone (DMT) standard, 65
Distribution interactivity (Henley Centre), 6
DOCSIS (Data Over Cable System Interface Specification) in USA, 65
Dreamcast TV-internet games, 15
DSL (digital subscriber line) system, 56–57
DSL access multiplexer (DSLAM) system, 56
DVB (Digital Video Broadcasting) group:
in-depth, 60
DVB-CA (conditional access) standard, 60
DVB-MHP (Multimedia Home Platform), 60, 74–76
DVB-SI (service information), 60
DVDs (digital versatile/video discs), future usage, 244
E-commerce as a revenue source, 108–111
impulse buying, 109
infrastructure requirements, 109
retailer/platform operator co-operation, 109
E-gaming (Ladbrokes), 129
Ease of use see Usability
Election 2001 ITV programme, 18
Electronic programme guides (EPGs):
now/next (present/following) boxes, 9
usability of, case study, 222–225
Enhanced television services:
definition, 17
Election 2001 ITV programme, 18
enhanced television (ETV) production workflows-now and in the future by Humphrey Lau (BBC), case study, 188–190
individualised programming, 22–23
Microsoft TV, 6
Two Way TV walled garden games and overlays, 17–18
EPGs see Electronic programme guides
Fast-text, 10
Fibre-optic cable systems, 53
Finish Powerball 3in1 advertising campaign, 121–123
Firewire (IEEE 1394) interface, 65
Flextech’s Living Health information service, 131–133
Forward path (broadcast/one-way/in-band) television channels, 48–50
Future iTV see Must-have interactive television by Scott Gronmark (BBC); Power to the people by Andrew Curry (Henley Centre); A social future by Ian Pearson (BTexact Technologies)
Games, with walled gardens, 13–15
Generation ‘i’ – socially active teenagers, 230, 235
Graphic design and storyboard design brief, 155–156
‘Hands on TV’ – interactive television consumer research by Andy Mayer (formerly Netpoll), 229–236
Hardware sales as a revenue source, 117
Health care and television, case study by Ronnette Lucraft, 131–133
Henley Centre:
on interactive usage during advertising, 215
modes for interactive television, 6–7
Power to the people by Andrew Curry, 245–247
on viewer expectations, 213–214
HomeChoice, VideoNetwork, 56
HSBC’s interactive television banking service, 126–128
HTML presentation engines for set-top boxes, 70
Hue, 220
Hybrid fibre co-axial (HFC) networks, 53
i-Potato – recumbent channel-hopper, 233, 235
IEEE 1284 parallel interface, 65
IEEE 1394 (Firewire) interface, 65
Impulse buying, 109
In-band (broadcast/one-way/Forward path) television channels, 48–50
In-depth studies:
interactive television budget, 159–162
interactive television production team, 163–169
Winky Dink and You programme, 30–31
Independent Television Commission (ITC), case study of regulation of UK interactive television, 135–136
Individualised programming, 22–23
Information interactivity (Henley Centre), 7
Installation and support, 172
Integrated Services Digital Broadcasting (ISDB) standards, 61
Interactive consumers see Viewers
Interactive television:
concise history:
1930s to 1960s, 27
1980s, 28
early 2000s, 30
Must-have interactive television by Scott Gronmark (BBC), 241–243
why wanted, 27
Base-T (Ethernet), 66
Bluetooth, 66
IEEE 1394 (Firewire), 65
parallel interface (IEEE 1284), 65
Personal Computer Memory Card International Association (PCMIA), 66
purpose, 65
universal serial bus (USB), 65
Interlacing:
progressive scanning, 40
Internet on television services:
function/purpose, 15
internet protocol (IP), 52
layout/readability problems, 15–16
Microsoft TV, 6
two-screen interactive television, 16
Internet-PC versus television, 93
Interstitial adverts, as a revenue source, 104
IP (internet protocol), 52
ISDB (Integrated Services Digital Broadcasting) standards, 61
ITC (Independent Television Commission), case study of regulation of UK interactive television, 135–136
ITV Digital, goes bust, 30
Java:
JavaScript presentation engines, 70, 181
for Multimedia Home Platform (MHP) tools, 181–182
Ladbrokes:
Best Bets on digital cable, 129–130
future with interactive television, 130–131
Launch and operation for production, 174–175
Lean forward versus lean back, 206–207
Littlewoods Leisure sponsorship deals, 107–108
Living Health information service by Flextech, 131–133
Luminance, 220
Market and user research, 146–147
Marketing benefits of interactive television, 115–117
Marketing and commercial teams, in-depth study, 169
Marketing interactive services, 98–101
MCNS (Multimedia Cable Network System)in USA, 65
MediaHighway tools, 180
MHEG-5 presentation engines, 70, 183
MHP (Multimedia Home Platform), 60, 74–76
Microsoft TV software, 6
Middleware tools/software, 176–181
MediaHighway tools, 180
OpenTV Author, 178
OpenTV Publisher, 178
for set-top boxes, 68
TV Navigator client, 179
TV Navigator Connect Suite, 179
using graphical-interface web production tools, 180
using programmers’ text-editing tools, 179–180
Minitel (France), 28
Models, business model for interactive television platforms and service providers, case study by Mervyn Metcalf, 124–125
Modems, in set-top boxes, 65
Monetary aspects see Commercial attractions; Commercial characteristics of successful interactive services; E-commerce as a revenue source; Revenue sources
Mood designs, 170
MPEG (Moving Pictures Expert Group) standards:
organisation, 58
MPEG-1, 58
MPEG-2:
application/advantages, 46
video synchronisation problems, 72
advantages, 77
MPEG-21, 78
MSN TV, TV-internet games, 15
MTV Europe Music Awards (EMA), case study, 79–82
Multimedia Cable Network System (MCNS)in USA, 65
Multimedia Home Platform (MHP), 60, 74–76
Multiple channel considerations, 102
Multiplexing, digital television, 48
Must-have interactive television by Scott Gronmark (BBC), 241–243
NDS, and the MTV Europe Music Awards (EMA), 79–82
Near-video-on-demand (NVOD), 23–24
Netpoll (user attitude specialist), 229
New Zealand, Sky NZ’s weather channel, 194–197
Newham Council’s DKTV service, 134–135
Now/next (present/following) EPG boxes, 9
NTSC and PAL/Secam systems, 40
One-way (broadcast/forward path/in-band) television channels, 48–50
Sky NZ’s weather channel, 196–197
Operating systems, set-top box software, 67–68
Operation and post-operation scrutiny of productions, 175
Operations and content team for interactive production, in-depth study, 167–168
Out-of-band (return path/two-way/back) television channels, 50–51
PAL/Secam and NTSC systems, 40
Participation interactivity (Henley Centre), 7
Passive and active viewing, 206–207
Pay-per-view/pay-per-use, 64, 111–113
credit card or debit payments, 111–112
PC-internet versus television, 93
Personal Computer Memory Card International Association (PCMIA), 66
Personal television services, Microsoft TV, 6
Personal video recorders (PVRs), 24–26
Pitch or brief writing, 148
Pixel shapes on screens, 219
Platform operators, 6
providing ideas for, 94
Power to the people by Andrew Curry (Henley Centre), 245–247
Present/following, (now/next) EPG boxes, 9
Presentation engine-specific tools, 181–183
Prestel, 28
Production agencies, 148
Production companies, 5
providing ideas for, 94
Production of interactive television, 139–198
change management, 172
coding the application, 172
deskilling of production tools, 144
installation and support, 172
money saving, 144
mood design, 170
reuse of existing elements, 144
technical architecture build, 170–172
testing, need for rigor, 173–174
web site production, 143
see also Development of ideas and opportunities; Production specification; Production tools
Production specification, 148–159
collating requirements, 152–153
functional specification, 154–155
production agencies, use of, 148–149
project management tools, 151
project plan production, 157–158
rapid application development, 150–151
specifying the service, 153–157
staff recruitment, 159
stakeholder identification, 151–152
storyboard and graphic design brief, 155–156
technical specification, 156–157
waterfall (staircase) projects, 149–150
Production team for interactive television, in-depth study, 163–169
for authoring once, publishing to many, 183–184
virtual machine- and presentation engine-specific tools, 181–183
Java for Multimedia Home Platform (MHP) tools, 181–182
MHEG-5 tools, 183
WML tools, 182
see also Middleware tools/software
Program and System Information Protocol (PSIP), 61
Progressive scanning, and interlacing, 40
Promoting interactive services, 98–101
Protocols:
digital television, 52
internet protocol (IP), 52
Prototyping and testing with users, 227–228
Public-service benefits as revenue sources, 118–119
Public-service interactive television, case study of DKTV by Richard Steel, 133–135
PVRs see Personal video recorders
Qube (Warner Amex in USA), 28
Rapid application development, 150–151
Regulation of interactive television services in the UK, case study by Martin Hart of ITC, 135–136
Remote controllers:
clarity aids (intra-ocular trauma test), 209–211
escape route for lost viewers, 212–213
general facilities, 66
text input, 211
Retailers for interactive TV equipment, 6
Retailing companies, providing ideas for, 94
Return path (two-way/back/out-of-band) television channels, 50–51
Revenue sources:
hardware sales, 117
Pay-per-view/pay-per-use, 111–113
public-service benefits, 118–119
soft benefits, 118
subscription payments, 113–114
tenancy fees and commission payments, 117–118
see also Advertising as a revenue source
Rimmel brand advertising campaign by Coty, 120–121
sample rate and video quality, 44
Satellite platforms/systems:
advantages, 55
disadvantages, 55
Saturation, 220
Scan lines, television sets, 37–39
Screens:
aspect ratios, 218
pixel shapes, 219
Server-side technologies, 70
Set-top boxes: features and applications, 43, 61–62
the future, 247
sidecars, 61
see also Synchronisation of video/ interactive content
Set-top boxes: hardware, 62–66
audio cards, 63
central processing unit (CPU), 63
conditional access (CA) system, 62
cost considerations, 62
demodulators, 62
demultiplexers, 62
EEPROMs, 63
modems, 65
random access memory (RAM), 63
read-only memory (ROM), 63
remote controls, 66
tuners, 62
video cards, 63
see also Interfaces for set-top boxes
Set-top boxes: software, 66–70
application programming interface (API), 69
application software, 70
applications/purpose/function, 66, 70
HTML presentation engines, 70
Java virtual machines, 69
JavaScript presentation engines, 70
MHEG-5 presentation engines, 70
middleware, 68
multi-tasking, 67
thin clients, 70
virtual machines/engines, 69–70
WML presentation engines, 69–70
Shopping, with walled gardens, 14
Sky Active, 99
Sky Digital, and walled gardens from other companies, 13
Sky News Active video switching, 19–20
Sky NZ’s weather channel by Michael Atherton, case study, 194–197
Smart cards, in set-top boxes, 64–65
A social future by Ian Pearson (BTexact Technologies), 243–245
Soft benefits as revenue sources, 118
Software:
application software, 70
Digital Television Applications Software Environment (DASE), 76
Microsoft TV software, 6
see also Middleware tools/software; Settop boxes: software
Specification for production see Production specification
Sponsorship and advertising, 107–108
Staff recruitment for production projects, 159
Staircase (waterfall) projects, 149–150
Standards/standardisation:
ATVEF (Advanced Television Enhancement Forum), 76–77
DASE (Digital Television Applications Software Environment), 76
DVB-MHP (Multimedia Home Platform), 74–76
need for, 51
TV Anytime, 78
see also MPEG (Moving Pictures Expert Group) standards
Stargazer video-on-demand system, 29
Storyboard and graphic design brief, 155–156
Subscription payments, 113–114
Synchronisation of video/interactive content:
announcement/trigger/content streams, 73
and MPEG-2 usage, 72
Teams for interactive production, in-depth study, 163–169
contents and operations team, 167–168
marketing and commercial team, 169
Technical architecture build, 170–172
Technology companies for interactive television, 6
Telephone premium rate payments, 112–113
Telephone systems providing television:
ADSL (asymmetric digital subscriber line), 56
DSL access multiplexer (DSLAM), 56
DSL (digital subscriber line) system, 56–57
VideoNetwork’s HomeChoice, 56
Teletext:
analogue teletext, 10
BBCi (BBC’s digital text service), 190–194
fast-text, 10
Television, the experience of, 206–217
active and passive viewing, 206–207
holding attention, 208
lean forward versus lean back, 206–207
minimising enjoyment interference from interactivity, 216
time of day considerations, 216–217
see also Remote controllers
Television and healthcare, case study by Ronnette Lucraft (Ladbrokes), 131–133
Television Par Satellite (France), 30
Television production see Production of interactive television
PAL/Secam and NTSC systems, 40
Telewest cable walled garden service, 12
Tenancy fees and commission payments, 117–118
Terrestrial television, digital (DTT), 55–56
Testing interactive systems with users, 228
Testing for production, need for rigor, 173–174
Text see Teletext
Text input from controllers, 211
Thin clients, set-top box software, 70
Tools see Production tools
Transmission network/platform:
set-top boxes, 43
see also Analogue television transmission; Digital television
TV Anytime, 78
Two Way TV walled garden games and overlays, 17–18, 111
Two-screen interactive television, 16
Two-way (return path/back/out-of-band) television channels, 50–51
UK interactive television industry, 3–4
Universal serial bus (USB) for set-top boxes, 65
cross media design, 206
different media needs different approaches, 205–206
ease of use, 97
fundamental principles, 201–206
usability of electronic programme guides (EPGs) by Daly-Jones (Serco Usability Services), case study, 222–225
user considerations/user-centred design, 202–203
see also Remote controllers; Television, the experience of
User and market research, 146–147
User-centred design (UCD), user research for interactive television, case study, 226–229
Vertical blanking intervals (VBIs), 41–42
Video quality and sample rate, 44
Video switching:
Walking with Beasts BBC programme, 20
Wimbledon tennis by BBC, 20
Video-on-demand (VOD)/near-video-on-demand (NVOD), 23–24
VideoNetwork’s HomeChoice, 56
Videotron video switching system, 29
Viewdata, 28
Viewers:
Armchair Athletes – tribal sports fans, 230–231, 235
Daytime Dabblers, 232–233, 235
demographic considerations, 214–215
early adopters, 230
Generation ‘i’ – socially active teenagers, 230, 235
i-Potato – recumbent channel-hopper, 233, 235
visual perception of, 36
Viewing numbers:
Europe/Japan/USA, 91
UK market share of channels, 116
Virgin Mobile’s 2001 advertising campaign, 106–107
Virtual machine-specific tools, 181–183
Virtual machines/engines for set-top boxes, 69–70
Visio storyboard creation program, 155
Visual perception, 36
Walking with Beasts BBC programme, 20–21
Walled garden systems:
shopping on, 14
Sky Digital must permit use by other companies, 13
Telewest cable service, 12
Waterfall (staircase) projects, 149–150
Weather, Sky NZ’s weather channel, 194–197
Web site production, 143
What’s Your Story BBC programme, 28
Wimbledon interactive tennis (BBC), 20, 97–98
Wink and RespondTV, 107
Winky Dink and You programme, 4–5, 27
WML presentation engines, 69–70, 182
World Wide Web, early days, 29