Media streaming
Viewers forgive a thin catalogue. They do not forgive four seconds of black before playback starts, or a stall in the middle of a scene.
Playback is judged on two numbers: how long until the picture appears, and how often it stops. Both are decided by choices made long before anyone presses play — how the video was encoded into quality ladders, how small the first segment is, whether the player starts low and steps up rather than waiting for the best rendition it might sustain. A slightly softer first two seconds that never stalls beats a pristine one that buffers, every time, and by a wide margin.
Delivery is the dominant cost and it scales with success, which makes it an architectural concern rather than a billing one. Encoding ladders that are too generous, segments that are too long, cache keys that fragment so the CDN never gets a hit, and audio or subtitle tracks muxed into every rendition instead of delivered separately — each of these quietly multiplies the bill. Catching them after launch means renegotiating with a provider; catching them in the encoding pipeline means they never happen.
Entitlements are where the business logic actually lives, and they are more intricate than a subscription flag. Rights are bounded by territory and by date, a title can be included in one tier and rented in another, a household has a device limit and a concurrent-stream limit, and a download has to expire even while the device is offline. Content protection sits on top of that, and its practical consequence is a list of devices and browsers you can and cannot serve — worth establishing early, because it constrains the product rather than following it.
How we work
- Time to first frame and stall rate are the two metrics the build is tuned against, measured on real networks rather than in an office.
- The encoding ladder and segment length are designed against the delivery bill, because at scale they are the delivery bill.
- Entitlement is a single service every surface asks, so territory, tier and device limits cannot drift between the web player and the phone.
A browse screen for a curated archive. Hovering the shelf changes the feature.
What this includes
Pick what you need and send it over.
Questions
- Do we need DRM?
- If you license content from anyone else, they will tell you — it is usually a contractual requirement with a specified level, not a choice. For your own content it is a judgement about how much casual copying costs you, weighed against real complexity: DRM constrains which devices and browsers you can support and makes every playback problem harder to diagnose.