Posts Tagged Blu Ray Vs Hd Dvd

How Sony Lost Its Way [We Miss Sony]

Posted by on Wednesday, 3 March, 2010

More than anything, Sony’s lost its spirit, spending too much time telling us it’s the greatest electronics company in the world and not nearly enough showing us.

Proprietary Formats

Sony’s last huge format hit was a product called “Compact Disc”. You might have heard of it. Spinning plastic wheel with pits in the bottom? Read by lasers? Co-developed with Philips?

It took a couple of years for CDs to take hold, but once they did, Sony raked in the cash. Not only by selling players, but by manufacturing CDs for themselves and others. It’s a huge part of their business even today, as Sony DADC produces not just CDs, but DVDs, Blu-ray, and PlayStation discs in facilities around the world.

Sony became spoiled. For decades, a success in a new media format meant that Sony could expect to make money selling the media itself. Through the ’80s and ’90s, they became less inclined to share the market. Sony developed the 3.5-inch floppy disc drive for computers which found wide adoption as blank discs were available from a variety of manufacturers. MiniDisc followed, but with less success. In 1998 as the flash memory market started to warm up, Sony introduced Memory Stick, what eventually became an entire family of expensive flash memory formats that were not compatible with devices from any other manufacturers.

And don’t forget the Blu-ray vs. HD-DVD war. Sony eventually won that one, but the battle continued for such a long time because neither consortium wanted to lose the market to produce media for consumers—consumers who were increasingly getting their content online.

See the problem? Time and again, Sony took an excellently engineered solution and held it tightly, the better to extract big profits. But every generation, every iteration, Sony’s need to control the format became more and more of a liability. Even loyal Sony customers could tell the proprietary formats were a screw job, eroding their happiness with their Sony product every time they had to shell out a premium to buy a Sony-authorized blank.

Unwillingness to Commit

Sony is rife with good ideas. Too afraid to commit to each one fully, Sony instead releases a ridiculous number of products in an attempt to see which might take hold, making many that seem like one-off oddities that even Sony doesn’t believe in.

Take “Bravia Link“, the streaming media box that Sony decided to sell as a $200 aftermarket option for its televisions while Sony’s competitors were integrating similar services right into the TV. Worse, Sony sells the PlayStation 3. Why not integrate the streaming service into that, adding value to the PS3 and buy-in of its customers?

Or what about the Party-shot Automatic Photographer, a dock that works with just two models of Sony’s point-and-shoot cameras to automatically compose and shoot portraits of party-goers. Great idea—so why isn’t it just built into every camera Sony makes?

Nintendo ate Sony’s lunch with the Wii—so Sony is building a Wiimote clone for the PS3.

Netbooks were hot—so Sony built a netbook twice as expensive as its competitors with little performance difference then let it fade away in the market after spending millions on its launch campaign.

Sony released the first e-ink reader years before the Kindle—in Japan only. And it was nearly impossible to load your own content onto it. And it took years to get a solid online library and store together. According to estimates from Forrester Research, Sony had only sold about 50,000 of its Readers before Amazon entered the game with the Kindle. It took a competitor with a superior product to convince customers it was time to look at e-ink readers at all. And the non-strategic advantage of being the only reader sold in brick-and-mortar stores for Sony to get the #2 market share it had at last tally.

Apple announced the iPad—so Sony says the tablet market is a “space [they] would like to be an active player in.” I am sighing preemptively for the beautiful black slate that Sony will release in 2011, then never upgrade again. In the meantime Sony is pushing its new Chumby-based Dash device, or as you may recognize it, a five-inch thick touchscreen tablet that you have to keep plugged into a wall.

For a brief moment, Sony’s Vaio notebooks were among the most beautiful and colorful around. But it didn’t take long for Sony’s larger notebook competitors like HP to catch up on design—while Sony continued to charge a premium for their now stock-standard “pretty” laptops. Gartner analyst Leslie Fiering put it damningly: “They’ve been status quo for so long that it’s hard to see signs of change. If they continue on the path they’re on, they’re going to continue to be an also-ran.”

That’s today’s Sony: an also-ran who wants to be respected like a market leader.

For homework, Sony could start with these three studies from Stanford School of Business: “Too Much Choice Can Hurt Brand Performance“; “Asking Consumers to Compare May Have Unintended Results“; and “For Buyers, More Choice Means Better Quality“.

That last one might seem bolster Sony’s shotgun marketing plan until you read this warning: “In one study, for example, consumers gave top ratings to a restaurant that offered a wide variety of dishes in one category—Thai food. But when that restaurant was portrayed as offering not only Thai food but also food in other categories, consumer ratings went down. ‘In some cases, having a lot of unrelated options is a signal to the consumer that the brand is not focused, and therefore can’t be very good.’”

Arrogance

There’s no better example of the arrogance of the modern Sony than the launch of the PlayStation 3. It was the last of the current generation of game consoles to market. It cost more than all its competitors. Kaz Hirai, then president and CEO of Sony Computer Entertainment America and now the head of the entire ball of wax worldwide, said infamously, “The next generation doesn’t start until we say it does.”

People were rolling their eyes at Sony even as Hirai and his executive team made those lofty statements—but our eyes flipped all the way into the backs of our skulls after Sony spent the next three years struggling in a videogame market they once dominated.

Why Sony would present this cocky face to the world is impossible to understand, until you realize that it’s the sort of self-delusional bluster, pre-game trash talk, from a team that hasn’t won a championship in years.

It’s clear in their marketing and press relations, too. Sony is always quick to throw a big party, launch some laptop with a silly event like a fashion show, or hand press review units out to lifestyle magazines but not technical publications. Having had one accidental lifestyle product success with the Walkman, Sony mistakenly believes that its products are stylish—when in fact the Walkman became a style icon despite its often garish or pedestrian looks.

If you think this is too harsh an appraisal, think about the many Sony products that arbitrarily ended up in our 50 Worst Gadgets of the Decade roundup. Almost all of them are guilty of more than one of the above infractions, and some—such as the $1900 solid-brass MiniDisc player above, a key device in the short-lived Qualia luxury line—are the glorious embodiment of all three.

I believe Sony has the chutzpah to do more than make me-too products—they’re capable of making market-expanding products that become household names. But until they take a hard look at themselves in an honest light, Sony will continue to embarrass themselves by remaining the company that says they’re bringing us the future—then sells us products even they don’t believe in.

–With reporting by Brian Barrett and Don Nguyen

The complete “We Miss Sony” series
Video: Describe Sony In A Word
How Sony Lost Its Way
Sony’s Engineer Brothers
Infographic: Sony’s Overwhelming Gadget Line-Up
The Sony Timeline: Birth, Rise, and Decadence
Let’s Make.Believe Sony’s Ads Make Sense
The Return of Sony


3D Porn? The studios are way ahead of you.

Posted by on Wednesday, 13 January, 2010

3

For years the central question when any new television technology comes out is whether explicit entertainment providers will adopt it. In the case of 3D TV, friends, there’s no question: 3D TV is here and its here to stay… but will it be popular? We talked to someone close to the industry, Kathee Brewer, who offered some insight on the future of 3D pr0n.

Kathee is a former editor-in-chief of trade journal AVN Online and a co-founder of irreverent sex, politics and culture site DailyBabylon.com. These days she plagues readers and editors across the spectrum with freelance articles about all sorts of useless information but today she sat down with us for in IMterview about the future of 3D in porn – and why it’s already a moot point.

CG: So 3D porn. Great or amazing?

Kathee: uh…. How about “Too soon to tell?” There are some really good things about it, and some, frankly, scary things about it.

CG: Well, remember the old days when we were all like “Porn will define who wins, Blu-Ray or HD DVD?” Is this the same thing or is it still too weird?

Kathee: How could I forget? I think 3D porn may loom toward the “too weird” end of the scale this time. Don’t get me wrong — it’ll be popular, but I’m not sure how quickly it will catch on

CG: Did porn define the winner in that last race, do you think?

Kathee: In the Blu-ray vs. HD-DVD battle? I think Hollywood got that one. It’s still a challenge for adult content producers to find Blu-ray duplication facilities

CG: What’s holding that back? People don’t want to touch the stuff?

Kathee: Most duplication facilities make the majority of their money off mainstream content, and studios like Disney absolutely will not allow their product to be produced in the same facility as pr0n.

CG: nice. CHILLING EFFECTS!

Kathee: Very much so! lol

CG: So in terms of HD cameras, it probably wasn’t so hard for them to move over. But 3D cameras? Have you talked to anyone about that? Would they invest in the hardware?

Kathee: 3D cameras are no challenge for adult, really. Sometimes, the difference in the way adult producers think has to evolve in order to make 3D pr0n interesting, and THAT can be challenging
the gadget? Heck, adult content folks are all over every new gadget that comes down the pike. Studios already are investing in the hardware. One gay adult studio made the leap to 3D porn about a year ago.

CG: They did, now, did they?
I mean is it like Michael Jackson in Captain EO 3D?? With like wieners instead of flying things?

Kathee: LOL! Now there’s an image for you….

CG: So bottom line: How popular will this be? Hasn’t streaming killed most physical media for these guys?

Kathee: I honestly think it’s too early to tell. The gay studio says it’s doing well, but consumers tend to either love or hate the stuff

CG: Well, there’s the vertigo!

Kathee: Consumers aren’t so wild about having to wear special glasses to view pr0n although some really love feeling like they’re “in” the scene. I’m not quite sure how comfortable I’d be with a 3D pr0n closeup.

CG: I mean HD is bad enough with the stretch marks and the hair and whatnot

Kathee: Exactly! Now imagine viewing in 3D all those physical things most people hope others never see….

CG: Good lord

Kathee: Not a particularly pretty picture, is it?

CG: Kittens are pretty, though. i like kittens in baskets. wearing bonnets

Kathee: Did you get to check out Bad Girls in 3D’s new “home 3D porn delivery system” [SFW] while you were in Vegas?

CG: No. No i did not

Kathee: That company is hoping to combine 3D adult content with IPTV delivery

CG: See, i could definitely see that. I can see it in my head right now.

Kathee: IPTV actually is a growing market segment for adult, especially in Europe and 3D IPTV has lots of promise, if the kinks get worked out. In order to make 3D ANYTHING work in a home environment, though, there are variables that have to be just right or the experience is disappointing.

CG: And who wants that?

Kathee: Sexually explicit content, though, probably won’t be held to as high standards in 3D as mainstream content, just as it hasn’t been held to Hollywood’s standards on any other scale.

CG: So low quality 3D porn. Sounds delightful

Kathee: Doesn’t it? Porn has gone big time into HD content. In fact, I’m not sure anyone is producing anything in standard-def anymore. I know they’re not shooting in standard-def, except in rare instances. Even the Web studios are shooting in HD, though HD can’t be delivered via the Web yet.

CG: So they take new technologies and just future proof.

Kathee: Many studios that started out on the Web now are producing DVDs for the brick-and-mortar market, as well. So right — porn is big into “future-proofing.”

CG: I mean what else do they have to spend their money on? Sets? Scripts?

Kathee: One of these days, some enterprising future archeologist is going to uncover some enormous stash of future-proofed porn and come to all kinds of interesting conclusions about 21st Century humans.

CG: So 3D porn is already here and the big guys like Sony and Samsung are rushing to offer ways to view the content.

Kathee: I’m sure the big guys like Sony and Samsung are hoping no one ever discovers they’re rushing to offer ways to view adult content, if they are. Sony isn’t hot on porn appearing on ANY of its platforms: PlayStation, Blu-ray, you name it.

CG: But soon it will all be 3D. Imagine the possibilities.

Kathee: Did you see the sex robot in Vegas? Now THERE’s real 3D.

So there you have it: porn is basically way ahead of the studios on this one and when you buy your 3D TV rig, porn will be right there alongside you, offering gentle encouragement and larger than life 3D genitalia. Welcome to 2010.



The Dirty Backstabbing Mess Called Betamax vs VHS

Posted by on Friday, 17 July, 2009

You think you enjoyed Blu-ray vs HD DVD? Memory Stick vs SD? Pshaw! You haven’t seen a format war until you’ve witnessed the betrayal and bloodbath that was Betamax vs VHS.

Sony was supposed to win this. The company made magnetic tape out of like paper and mud back in the 1940s, turned out a “pocketable” transistor radio in the 1950s, and invented the “portable” television by 1960. They had their first video tape recorder by 1963. They weren’t the only ones, but they were among the first and best.

The so-called VTR business had a rocky start. The things were hulking bastards, with huge price tags and poor recording capability.

A company called Ampex put out the first “home entertainment” VTR in 1963, only it cost $30,000 in the Neiman Marcus Christmas catalog, and was nicknamed Grant’s Tomb because the product manager who thought it up was going to be shoved inside by the company’s accountants. (He would have fit, too, the thing was so big.) Sony comes along in the middle of that decade and puts out a $1,200 “portable” VTR that came with a leatherette case and its own TV. It still weighed 65 pounds.

The worst part about these 1960s VTRs was that they were basically reel-to-reel—you had to thread your own 1-inch videotape through spools and stuff, and by the end of the decade, a one-hour spool of tape was like 8 inches in diameter. Can you imagine your TiVo needing 180 spools of videotape to get the job done?

As Sony toiled on the videotape problem, Matsushita—who we now call Panasonic—and its independent subsidiary JVC weren’t really standing out in the VTR business. Let’s say this: Nobody would have guessed they’d be able to overthrow Sony and kick mecha ass within the decade.

However, these guys were among the biggest manufacturers, dwarfing Sony many times over. Matsushita, known for efficiency, not innovation, tended to focus on big boring appliances—TVs, refrigerators, air conditioners—with a smaller team, branded Technics, devoted to dominating the hi-fi realm. JVC was all about TVs and audio gear, and had decent video know-how.

It was Sony who solved the reel-to-reel problem with—ta daaa!—a video cassette. It was called U-Matic, and at 3/4″ thick, it was smaller than the earlier formats, but still a bit of a chunkster. Since video was a bit of a Wild West, Sony felt like it needed partners to firmly establish a format, and to avoid a format war. It asked Matsushita and JVC, who said “yes” as long as Sony adopted some changes. They key here: The partnership included a deal where everybody shared all the patents. Turns out, probably not the smartest move by Sony.

Sony was right to form a posse, though. Every single electronics maker in Japan, Europe and America was trying to build a video recorder. Some American firms were obsessed with lasers (though ironically it would later be the Dutch and Japanese firms who actually put lasers to good use); other American firms were jazzed about microfilm…for video. None of them had success. Before we get on with the story, here’s a list of totally failed video players and recorders:

• Matsushita VX-100 and VX-2000
• Matsushita AutoVision
• Toshiba/Sanyo V-Cord
• Ampex InstaVision
• MCA DiscoVision/Magnavox Magnavision
• CBS Electronic Video Recording
• RCA HoloTape
• Sears/Cartridge Television Cartrivision

See what I mean? A friggin’ mess it was.

Part of the problem was the message. Nobody knew what the hell this was all about. Sony wasn’t just a pioneer in the technology, they thought hard about how to explain why you totally desperately want something bad. At one point, Sony hired Bela Lugosi to dress up one last time as Dracula, and explain that, since he worked nights, he needed to catch up on primetime shows when he got home. Get it? Vampires—they’re out killing people when Barney Miller is playing! It was a good bit, and there were a lot more like it. Little by little, the public caught on to what VCRs were for.

Anyway, U-Matic, launched in 1971, wasn’t a runaway success, either, but it was the bestselling video recorder to date, and the first successful VCR. In the realm of pro video, it was hot. Sony cashed in by steering from the home market to the businesses but JVC, who kept trying to pitch it for home use, got hosed. Like villains in some Shakespearean play, Matsushita and JVC kinda lurked in the background, planning for the next round when they might one-up that little charmer, Sony. The name of their plot? Video Home System, which you and I call VHS.

Sony was naive. Like, crazy naive. In 1974, it asked Matsushita and JVC to partner up again, this time on a fully baked format called Betamax. They weren’t asking for intellectual collaboration, just a deal to make and sell the things. It was a nice system, with really small tapes, but the problem was, the tapes only recorded for an hour. Sony was like, “That’s not a problem,” but everyone else was like, “Yes, it is.” The would-be partners dragged their heels suspiciously, not signing any deals. Sony kinda thought that was weird, but went ahead and launched the one-hour Betamax box in 1975.

Big mistake.

Not long after Sony went into wide release with the one-hour Betamax, JVC pulled a two-hour VHS out of its butt. And in time for Christmas 1976 no less. Sony had another flash of naivete when it pressed on with the one-hour system for a while, even though it had a two-hour system in the works. In that gap, JVC and its big poppa Matsushita scored sales and recognition.

Some people say Betamax was “better” but that depends on many factors, and could very well be an urban myth. The technologies were so close Sony’s own chairman called VHS a copy of Betamax. What may have looked good in one system with certain settings might not look as good on another with different settings. And by some accounts, Betamax’s more moving parts meant they were more expensive to manufacture and more costly to maintain and repair. It’s not an open-and-shut case of quantity vs. quality. Either way you look at it, there are compromises.

By this point, it wasn’t just some anything-goes contest with a million formats. By 1976, all those above had died or were dying. In Japan, there were just two choices. The Japanese government told everyone to sort it out. Hitachi, Mitsubishi and Sharp joined Team VHS, but didn’t really move forward.

In February 1977, Sony grabbed Toshiba and Sanyo, and then signed the American powerhouse brand Zenith up for an order of Sony-made Betamaxes with the Zenith name on them. Was it going to happen for Betamax after all? Seemed like they’d finally drawn at least a few good cards from the deck.

Sony might not have been totally screwed at that moment, but there were two American powerhouses, and the other one, RCA, was undecided. Ironically, the fate of the Japanese VCR industry relied on how well it could handle the most American of sports: Football. In other words, now that both players could manage two hours of recording time, what RCA wanted was enough recording time to capture a game—three hours would do.

What transpired next is unclear. Even though, at the time, both technologies were limited to two-hour capacity, Matsushita pledged to make RCA tape machines that could record for four hours.

Was this a lie? Was it vaporware? Whatever the deal, JVC engineers pulled off a four-hour capacity six weeks later, and RCA agreed to buy 55,000 machines that year, and up to a million more in the next three years. Better yet, RCA’s SelectaVision VHS decks would cost $300 less than the two-hour Betamaxes, at $1000 a pop.

Although Betamax hung on for a bit longer, that, boys and girls, was the end of the competition. In 1979, Sony market share tilted downward, and by 1980, the jig was up for those poor bastards.

Note: I recognize that there are other issues that might have come into play here, including Universal’s lawsuit of Sony, which lead to today’s Supreme Court definition of fair-use copyright law, and the fact that some studios, including Warner, began squeezing movies onto videotape early, with varying degrees of success. However, I contend that none of that changed the outcome—the war above was fought between Sony and Matsushita, and Matsushita won.

SOURCES:
Fast Forward: Hollywood, The Japanese, and the VCR Wars – James Lardner (Special thanks to you, Jim, for chatting me through some of this)
Sony – John Nathan
The History of Television – Albert Abramson
Sony History – Sony Global Website
Made in Japan – Akio Morita
Quest for Prosperity – Konosuke Matsushita
[PDF] Case Report on Betamax – Verardi et al
“Why VHS was better than Betamax” – Guardian UK – Jack Schofield

Gizmodo ’79 is a week-long celebration of gadgets and geekdom 30 years ago, as the analog age gave way to the digital, and most of our favorite toys were just being born.