Wikipedia - User contributions [en]

User talk:TechTechToe

2018-12-12T18:30:28Z

TechTechToe: /* November 2018 */

== Welcome! ==

Hello, TechTechToe, and welcome to Wikipedia! Thank you for [[Special:Contributions/TechTechToe|your contributions]]. I hope you like the place and decide to stay. Here are a few links to pages you might find helpful:
{{Div col|colwidth=30em|style=column-count:2;-moz-column-count:2;-webkit-column-count:2;}}
* [[Wikipedia:Introduction|Introduction]] and [[Help:Getting started|Getting started]]
* [[Wikipedia:Contributing to Wikipedia|Contributing to Wikipedia]]
* [[Wikipedia:Five pillars|The five pillars of Wikipedia]]
* [[Help:Editing|How to edit a page]] and [[Wikipedia:Article development|How to develop articles]]
* [[Wikipedia:Your first article|How to create your first article]]
* [[Wikipedia:Simplified Manual of Style|Simplified Manual of Style]]
{{Div col end}}
You may also want to complete the [[Wikipedia:The Wikipedia Adventure|Wikipedia Adventure]], an interactive tour that will help you learn the basics of editing Wikipedia. You can visit the [[WP:Teahouse|Teahouse]] to ask questions or seek help.

Please remember to [[Wikipedia:Signatures|sign]] your messages on [[Help:Talk pages|talk page]]s by typing four [[tilde]]s (<nowiki>~~~~</nowiki>); this will automatically insert your username and the date. If you need help, check out [[Wikipedia:Questions]], ask me on my talk page, or {{edit|Special:MyTalk|ask for help on your talk page|section=new|preload=Help:Contents/helpmepreload|preloadtitle=Help me!}}, and a volunteer should respond shortly. Again, welcome! —[[User:J. M.|J. M.]] ([[User talk:J. M.|talk]]) 03:17, 9 October 2018 (UTC)

== Disclosure required ==

[[File:Information.svg|left|25px|alt=Information icon]] Hello TechTechToe. The nature of your edits gives the impression you have an undisclosed financial stake in promoting a topic, and that you have not complied with Wikipedia's [[Wikipedia:Paid-contribution disclosure|mandatory paid editing disclosure requirements]]. Paid advocacy is a category of [[Wikipedia:Conflict of interest|conflict of interest]] (COI) editing that involves being compensated by a person, group, company or organization to use Wikipedia to promote their interests. Undisclosed paid advocacy is prohibited by our policies on [[Wikipedia:Neutral point of view|neutral point of view]] and what [[Wikipedia:What Wikipedia is not|Wikipedia is not]], and is an especially egregious type of COI; the Wikimedia Foundation regards it as a "black hat" practice akin to [[Spamdexing|Black hat SEO]].

Paid advocates are very strongly discouraged from direct article editing, and should instead propose changes on the [[Help:Talk pages|talk page]] of the article in question if an article exists, and if it does not, from attempting to write an article at all. At best, any proposed article creation should be submitted through the [[Wikipedia:Articles for creation|articles for creation]] process, rather than directly.

Regardless, if you are receiving or expect to receive compensation for your edits, broadly construed, you are '''<u>required</u> by the [[wmf:TOU|Wikimedia Terms of Use]] to disclose your employer, client and affiliation.''' You can post such a mandatory disclosure to your user page at [[User:TechTechToe]]. The template {{tl|Paid}} can be used for this purpose – e.g. in the form: {{tlc|paid|2=user=TechTechToe|3=employer=<var>InsertName</var>|4=client=<var>InsertName</var>}}. If I am mistaken – you are not being directly or indirectly compensated for your edits – please state that in response to this message. Otherwise, please provide the required disclosure. In either case, please do not edit further until you answer this message. {{Z159}} [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 11:05, 18 November 2018 (UTC)

:{{re|GSS}} Would you like to elaborate please? I am not getting this why you did this to approved articles with "May Be" factor. What is required? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 18:50, 18 November 2018 (UTC)
::Sorry to ask, but are you a paid editor or related to the subject? Thank you – [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 04:17, 19 November 2018 (UTC)

:{{re|GSS}} No one paid me to come here and edit and waste my time. You deleted my 2 articles which were approved and checked by admins, I am sure they are not that inexperienced that they approved. I downloaded and started using Mixer (app) because one of my friend recommended me that for our project. He also requested me to research a bit for project and then to post the research on the platform where public could be benefited. He suggested me this and I posted it here I saw that the article was factually incorrect and was a bit promotional so I edited it on FR Wikipedia because I am Native English and French. I am editing Wikipedia articles for almost 6 years without an account and just recently after a long time I created an account. I can't say in which capacity the FR article was created if that is not right you can do anything with that one.

:Now, BeautyStat, I didn't created that page, I created Ron Robinson but an expert Wikipedian changed and published it to beautystat as he felt that the article is good with this name. And no one paid me to do that. I am a Technology researcher and now prepare case studies for junior computer science schools. So, if you had concerns, you could have discussed first on my Talk or articles Talk page which is a standard procedure. You could have placed a template and allowed me to answer. It's a shame that my work is removed like this. Please restore.

:Oh, You said that articles need to go AFC. If you really want to delete articles which are created by paid editors and without AFC do let me know I'll send you links, some 9 years old Wikipedians are doing this without AFC. I didn't highlighted them because I thought that good articles should stay for people's knowledge. You can send initial warnings and then delete articles if you are sure and there is no MAY HAVE BEEN factor. I spent 8 handsome hours from yesterday by checking your contributions and others to find articles which were created directly with a paid editing tag.

:Thanks for highlighting this issue. I'll work with you on these issues, please let me know how you check which articles are created by paying someone and what is your source of information? Do you work somewhere? Like an agency or something? I would love to join Wikipedia agency if there's any. Wikipedia pays people to do this? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 13:35, 19 November 2018 (UTC)

::[[File:Farm-Fresh eye.png|15px|alt=eye]] I have read the above message. I will reply when I have a moment. [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 13:46, 19 November 2018 (UTC)

{{re|GSS}} So instead of cooperating you got me blocked? Not good. All my work was in good faith and that's all based on assumptions. Please send me any evidence. I don't understand who or from where you got that feeling. Please explain. I saw you edited other articles after replying me but don't have a moment to reply me.? You did wrong. I don't know what your intentions were but you are digging graves here. [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 14:16, 20 November 2018 (UTC)

== November 2018 ==
<div class="user-block" style="min-height: 40px">[[File:Stop x nuvola.svg|40px|left|alt=Stop icon]]<div style="margin-left:45px">You have been '''[[WP:Blocking policy|blocked]]''' '''[[Wikipedia:Blocking_policy#Indefinite_blocks|indefinitely]]''' from editing for [[Wikipedia:What Wikipedia is not#Wikipedia is not a soapbox|advertising or self-promoting]] in violation of the [[Wikipedia:Conflict of interest|conflict of interest]] and [[Wikipedia:Notability (organizations and companies)|notability]] guidelines. </div><div style="margin-left:45px">If you think there are good reasons for being unblocked, please read the [[WP:Guide to appealing blocks|guide to appealing blocks]], then add the following text below the block notice on your talk page: {{tlx|unblock|2=reason=''Your reason here ~~~~''}}.  [[User:Doc James|<span style="color:#0000f1">'''Doc James'''</span>]] ([[User talk:Doc James|talk]] · [[Special:Contributions/Doc James|contribs]] · [[Special:EmailUser/Doc James|email]]) 20:29, 19 November 2018 (UTC)</div></div>[[Category:Wikipedians who are indefinitely blocked for advertising|{{PAGENAME}}]]

{{unblock|reason= I don't know why I am blocked. With no evidence and no warning. I was trying to explain myself and learning the platform. If I am guilty you can block me but this is not a good way. Appears to be a paid editor, is that the only reason? If someone new is here and trying to edit you made up assumptions and blocks them? I made myself very clear, I was waiting for the reply. Please unblock me as I can't imagine to violate any policies. It's a shame that you are accusing me like this. Also, I didn;t self promoted and all my work was notable and duly checked by users here. The reasons are all based on assumptions. I assure you that my all work is under Wikipedia's GOOD FAITH policies. :I am aware and agree to Wikipedia terms of being paid editors. I don't know about any evidence and this editor may have misleading information. Therefore, I request an unblock and my work back. Thank you [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 18:30, 12 December 2018 (UTC)}}

:There is nothing based on assumptions we have good evidence that you have been involved in undisclosed paid editing and sockpuppetry. [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 14:38, 20 November 2018 (UTC)
: (Non-Administrator-comment) We dont have problems with granting good faith. '''But''', Paid editing [[foundation:Terms of use|Violates the terms of use]] you accept with every edit (Especially Section 4). So if you dont adress that in your unblock request, it will be declined very soon. [[User:Victor Schmidt|Victor Schmidt]] ([[User talk:Victor Schmidt|talk]]) 16:34, 4 December 2018 (UTC)
{{re|Victor Schmidt}} Thank you sir. I am awre of that and fully agree to this section 4. I never intend to mess up with policies. [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 18:29, 12 December 2018 (UTC)

User talk:TechTechToe

2018-12-12T18:29:46Z

TechTechToe: reply

== Welcome! ==

Hello, TechTechToe, and welcome to Wikipedia! Thank you for [[Special:Contributions/TechTechToe|your contributions]]. I hope you like the place and decide to stay. Here are a few links to pages you might find helpful:
{{Div col|colwidth=30em|style=column-count:2;-moz-column-count:2;-webkit-column-count:2;}}
* [[Wikipedia:Introduction|Introduction]] and [[Help:Getting started|Getting started]]
* [[Wikipedia:Contributing to Wikipedia|Contributing to Wikipedia]]
* [[Wikipedia:Five pillars|The five pillars of Wikipedia]]
* [[Help:Editing|How to edit a page]] and [[Wikipedia:Article development|How to develop articles]]
* [[Wikipedia:Your first article|How to create your first article]]
* [[Wikipedia:Simplified Manual of Style|Simplified Manual of Style]]
{{Div col end}}
You may also want to complete the [[Wikipedia:The Wikipedia Adventure|Wikipedia Adventure]], an interactive tour that will help you learn the basics of editing Wikipedia. You can visit the [[WP:Teahouse|Teahouse]] to ask questions or seek help.

Please remember to [[Wikipedia:Signatures|sign]] your messages on [[Help:Talk pages|talk page]]s by typing four [[tilde]]s (<nowiki>~~~~</nowiki>); this will automatically insert your username and the date. If you need help, check out [[Wikipedia:Questions]], ask me on my talk page, or {{edit|Special:MyTalk|ask for help on your talk page|section=new|preload=Help:Contents/helpmepreload|preloadtitle=Help me!}}, and a volunteer should respond shortly. Again, welcome! —[[User:J. M.|J. M.]] ([[User talk:J. M.|talk]]) 03:17, 9 October 2018 (UTC)

== Disclosure required ==

[[File:Information.svg|left|25px|alt=Information icon]] Hello TechTechToe. The nature of your edits gives the impression you have an undisclosed financial stake in promoting a topic, and that you have not complied with Wikipedia's [[Wikipedia:Paid-contribution disclosure|mandatory paid editing disclosure requirements]]. Paid advocacy is a category of [[Wikipedia:Conflict of interest|conflict of interest]] (COI) editing that involves being compensated by a person, group, company or organization to use Wikipedia to promote their interests. Undisclosed paid advocacy is prohibited by our policies on [[Wikipedia:Neutral point of view|neutral point of view]] and what [[Wikipedia:What Wikipedia is not|Wikipedia is not]], and is an especially egregious type of COI; the Wikimedia Foundation regards it as a "black hat" practice akin to [[Spamdexing|Black hat SEO]].

Paid advocates are very strongly discouraged from direct article editing, and should instead propose changes on the [[Help:Talk pages|talk page]] of the article in question if an article exists, and if it does not, from attempting to write an article at all. At best, any proposed article creation should be submitted through the [[Wikipedia:Articles for creation|articles for creation]] process, rather than directly.

Regardless, if you are receiving or expect to receive compensation for your edits, broadly construed, you are '''<u>required</u> by the [[wmf:TOU|Wikimedia Terms of Use]] to disclose your employer, client and affiliation.''' You can post such a mandatory disclosure to your user page at [[User:TechTechToe]]. The template {{tl|Paid}} can be used for this purpose – e.g. in the form: {{tlc|paid|2=user=TechTechToe|3=employer=<var>InsertName</var>|4=client=<var>InsertName</var>}}. If I am mistaken – you are not being directly or indirectly compensated for your edits – please state that in response to this message. Otherwise, please provide the required disclosure. In either case, please do not edit further until you answer this message. {{Z159}} [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 11:05, 18 November 2018 (UTC)

:{{re|GSS}} Would you like to elaborate please? I am not getting this why you did this to approved articles with "May Be" factor. What is required? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 18:50, 18 November 2018 (UTC)
::Sorry to ask, but are you a paid editor or related to the subject? Thank you – [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 04:17, 19 November 2018 (UTC)

:{{re|GSS}} No one paid me to come here and edit and waste my time. You deleted my 2 articles which were approved and checked by admins, I am sure they are not that inexperienced that they approved. I downloaded and started using Mixer (app) because one of my friend recommended me that for our project. He also requested me to research a bit for project and then to post the research on the platform where public could be benefited. He suggested me this and I posted it here I saw that the article was factually incorrect and was a bit promotional so I edited it on FR Wikipedia because I am Native English and French. I am editing Wikipedia articles for almost 6 years without an account and just recently after a long time I created an account. I can't say in which capacity the FR article was created if that is not right you can do anything with that one.

:Now, BeautyStat, I didn't created that page, I created Ron Robinson but an expert Wikipedian changed and published it to beautystat as he felt that the article is good with this name. And no one paid me to do that. I am a Technology researcher and now prepare case studies for junior computer science schools. So, if you had concerns, you could have discussed first on my Talk or articles Talk page which is a standard procedure. You could have placed a template and allowed me to answer. It's a shame that my work is removed like this. Please restore.

:Oh, You said that articles need to go AFC. If you really want to delete articles which are created by paid editors and without AFC do let me know I'll send you links, some 9 years old Wikipedians are doing this without AFC. I didn't highlighted them because I thought that good articles should stay for people's knowledge. You can send initial warnings and then delete articles if you are sure and there is no MAY HAVE BEEN factor. I spent 8 handsome hours from yesterday by checking your contributions and others to find articles which were created directly with a paid editing tag.

:Thanks for highlighting this issue. I'll work with you on these issues, please let me know how you check which articles are created by paying someone and what is your source of information? Do you work somewhere? Like an agency or something? I would love to join Wikipedia agency if there's any. Wikipedia pays people to do this? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 13:35, 19 November 2018 (UTC)

::[[File:Farm-Fresh eye.png|15px|alt=eye]] I have read the above message. I will reply when I have a moment. [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 13:46, 19 November 2018 (UTC)

{{re|GSS}} So instead of cooperating you got me blocked? Not good. All my work was in good faith and that's all based on assumptions. Please send me any evidence. I don't understand who or from where you got that feeling. Please explain. I saw you edited other articles after replying me but don't have a moment to reply me.? You did wrong. I don't know what your intentions were but you are digging graves here. [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 14:16, 20 November 2018 (UTC)

== November 2018 ==
<div class="user-block" style="min-height: 40px">[[File:Stop x nuvola.svg|40px|left|alt=Stop icon]]<div style="margin-left:45px">You have been '''[[WP:Blocking policy|blocked]]''' '''[[Wikipedia:Blocking_policy#Indefinite_blocks|indefinitely]]''' from editing for [[Wikipedia:What Wikipedia is not#Wikipedia is not a soapbox|advertising or self-promoting]] in violation of the [[Wikipedia:Conflict of interest|conflict of interest]] and [[Wikipedia:Notability (organizations and companies)|notability]] guidelines. </div><div style="margin-left:45px">If you think there are good reasons for being unblocked, please read the [[WP:Guide to appealing blocks|guide to appealing blocks]], then add the following text below the block notice on your talk page: {{tlx|unblock|2=reason=''Your reason here ~~~~''}}.  [[User:Doc James|<span style="color:#0000f1">'''Doc James'''</span>]] ([[User talk:Doc James|talk]] · [[Special:Contributions/Doc James|contribs]] · [[Special:EmailUser/Doc James|email]]) 20:29, 19 November 2018 (UTC)</div></div>[[Category:Wikipedians who are indefinitely blocked for advertising|{{PAGENAME}}]]

{{unblock|reason= I don't know why I am blocked. With no evidence and no warning. I was trying to explain myself and learning the platform. If I am guilty you can block me but this is not a good way. Appears to be a paid editor, is that the only reason? If someone new is here and trying to edit you made up assumptions and blocks them? I made myself very clear, I was waiting for the reply. Please unblock me as I can't imagine to violate any policies. It's a shame that you are accusing me like this. Also, I didn;t self promoted and all my work was notable and duly checked by users here. The reasons are all based on assumptions. I assure you that my all work is under Wikipedia's GOOD FAITH policies. I am aware and agree to Wikipedia terms of being paid editors. I don't know about any evidence and this editor may have misleading information. Therefore, I request an unblock and my work back. Thank you}}

:There is nothing based on assumptions we have good evidence that you have been involved in undisclosed paid editing and sockpuppetry. [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 14:38, 20 November 2018 (UTC)
: (Non-Administrator-comment) We dont have problems with granting good faith. '''But''', Paid editing [[foundation:Terms of use|Violates the terms of use]] you accept with every edit (Especially Section 4). So if you dont adress that in your unblock request, it will be declined very soon. [[User:Victor Schmidt|Victor Schmidt]] ([[User talk:Victor Schmidt|talk]]) 16:34, 4 December 2018 (UTC)
{{re|Victor Schmidt}} Thank you sir. I am awre of that and fully agree to this section 4. I never intend to mess up with policies. [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 18:29, 12 December 2018 (UTC)

User talk:TechTechToe

2018-11-20T14:19:56Z

TechTechToe: /* November 2018 */

User talk:TechTechToe

2018-11-20T14:17:06Z

TechTechToe: /* Disclosure required */

User talk:TechTechToe

2018-11-20T14:13:21Z

TechTechToe: /* November 2018 */

== Welcome! ==

Hello, TechTechToe, and welcome to Wikipedia! Thank you for [[Special:Contributions/TechTechToe|your contributions]]. I hope you like the place and decide to stay. Here are a few links to pages you might find helpful:
{{Div col|colwidth=30em|style=column-count:2;-moz-column-count:2;-webkit-column-count:2;}}
* [[Wikipedia:Introduction|Introduction]] and [[Help:Getting started|Getting started]]
* [[Wikipedia:Contributing to Wikipedia|Contributing to Wikipedia]]
* [[Wikipedia:Five pillars|The five pillars of Wikipedia]]
* [[Help:Editing|How to edit a page]] and [[Wikipedia:Article development|How to develop articles]]
* [[Wikipedia:Your first article|How to create your first article]]
* [[Wikipedia:Simplified Manual of Style|Simplified Manual of Style]]
{{Div col end}}
You may also want to complete the [[Wikipedia:The Wikipedia Adventure|Wikipedia Adventure]], an interactive tour that will help you learn the basics of editing Wikipedia. You can visit the [[WP:Teahouse|Teahouse]] to ask questions or seek help.

Please remember to [[Wikipedia:Signatures|sign]] your messages on [[Help:Talk pages|talk page]]s by typing four [[tilde]]s (<nowiki>~~~~</nowiki>); this will automatically insert your username and the date. If you need help, check out [[Wikipedia:Questions]], ask me on my talk page, or {{edit|Special:MyTalk|ask for help on your talk page|section=new|preload=Help:Contents/helpmepreload|preloadtitle=Help me!}}, and a volunteer should respond shortly. Again, welcome! —[[User:J. M.|J. M.]] ([[User talk:J. M.|talk]]) 03:17, 9 October 2018 (UTC)

== Disclosure required ==

[[File:Information.svg|left|25px|alt=Information icon]] Hello TechTechToe. The nature of your edits gives the impression you have an undisclosed financial stake in promoting a topic, and that you have not complied with Wikipedia's [[Wikipedia:Paid-contribution disclosure|mandatory paid editing disclosure requirements]]. Paid advocacy is a category of [[Wikipedia:Conflict of interest|conflict of interest]] (COI) editing that involves being compensated by a person, group, company or organization to use Wikipedia to promote their interests. Undisclosed paid advocacy is prohibited by our policies on [[Wikipedia:Neutral point of view|neutral point of view]] and what [[Wikipedia:What Wikipedia is not|Wikipedia is not]], and is an especially egregious type of COI; the Wikimedia Foundation regards it as a "black hat" practice akin to [[Spamdexing|Black hat SEO]].

Paid advocates are very strongly discouraged from direct article editing, and should instead propose changes on the [[Help:Talk pages|talk page]] of the article in question if an article exists, and if it does not, from attempting to write an article at all. At best, any proposed article creation should be submitted through the [[Wikipedia:Articles for creation|articles for creation]] process, rather than directly.

Regardless, if you are receiving or expect to receive compensation for your edits, broadly construed, you are '''<u>required</u> by the [[wmf:TOU|Wikimedia Terms of Use]] to disclose your employer, client and affiliation.''' You can post such a mandatory disclosure to your user page at [[User:TechTechToe]]. The template {{tl|Paid}} can be used for this purpose – e.g. in the form: {{tlc|paid|2=user=TechTechToe|3=employer=<var>InsertName</var>|4=client=<var>InsertName</var>}}. If I am mistaken – you are not being directly or indirectly compensated for your edits – please state that in response to this message. Otherwise, please provide the required disclosure. In either case, please do not edit further until you answer this message. {{Z159}} [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 11:05, 18 November 2018 (UTC)

:{{re|GSS}} Would you like to elaborate please? I am not getting this why you did this to approved articles with "May Be" factor. What is required? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 18:50, 18 November 2018 (UTC)
::Sorry to ask, but are you a paid editor or related to the subject? Thank you – [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 04:17, 19 November 2018 (UTC)

:{{re|GSS}} No one paid me to come here and edit and waste my time. You deleted my 2 articles which were approved and checked by admins, I am sure they are not that inexperienced that they approved. I downloaded and started using Mixer (app) because one of my friend recommended me that for our project. He also requested me to research a bit for project and then to post the research on the platform where public could be benefited. He suggested me this and I posted it here I saw that the article was factually incorrect and was a bit promotional so I edited it on FR Wikipedia because I am Native English and French. I am editing Wikipedia articles for almost 6 years without an account and just recently after a long time I created an account. I can't say in which capacity the FR article was created if that is not right you can do anything with that one.

:Now, BeautyStat, I didn't created that page, I created Ron Robinson but an expert Wikipedian changed and published it to beautystat as he felt that the article is good with this name. And no one paid me to do that. I am a Technology researcher and now prepare case studies for junior computer science schools. So, if you had concerns, you could have discussed first on my Talk or articles Talk page which is a standard procedure. You could have placed a template and allowed me to answer. It's a shame that my work is removed like this. Please restore.

:Oh, You said that articles need to go AFC. If you really want to delete articles which are created by paid editors and without AFC do let me know I'll send you links, some 9 years old Wikipedians are doing this without AFC. I didn't highlighted them because I thought that good articles should stay for people's knowledge. You can send initial warnings and then delete articles if you are sure and there is no MAY HAVE BEEN factor. I spent 8 handsome hours from yesterday by checking your contributions and others to find articles which were created directly with a paid editing tag.

:Thanks for highlighting this issue. I'll work with you on these issues, please let me know how you check which articles are created by paying someone and what is your source of information? Do you work somewhere? Like an agency or something? I would love to join Wikipedia agency if there's any. Wikipedia pays people to do this? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 13:35, 19 November 2018 (UTC)

::[[File:Farm-Fresh eye.png|15px|alt=eye]] I have read the above message. I will reply when I have a moment. [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 13:46, 19 November 2018 (UTC)

{{re|GSS}} So instead of cooperating you got me blocked? Not good. All my work was in good faith and that's all based on assumptions. Please send me any evidence. I don't understand who or from where you got that feeling. Please explain.

== November 2018 ==
<div class="user-block" style="min-height: 40px">[[File:Stop x nuvola.svg|40px|left|alt=Stop icon]]<div style="margin-left:45px">You have been '''[[WP:Blocking policy|blocked]]''' '''[[Wikipedia:Blocking_policy#Indefinite_blocks|indefinitely]]''' from editing for [[Wikipedia:What Wikipedia is not#Wikipedia is not a soapbox|advertising or self-promoting]] in violation of the [[Wikipedia:Conflict of interest|conflict of interest]] and [[Wikipedia:Notability (organizations and companies)|notability]] guidelines. </div><div style="margin-left:45px">If you think there are good reasons for being unblocked, please read the [[WP:Guide to appealing blocks|guide to appealing blocks]], then add the following text below the block notice on your talk page: {{tlx|unblock|2=reason=''Your reason here ~~~~''}}.  [[User:Doc James|<span style="color:#0000f1">'''Doc James'''</span>]] ([[User talk:Doc James|talk]] · [[Special:Contributions/Doc James|contribs]] · [[Special:EmailUser/Doc James|email]]) 20:29, 19 November 2018 (UTC)</div></div>[[Category:Wikipedians who are indefinitely blocked for advertising|{{PAGENAME}}]]

{{unblock|reason= I don't know why I am blocked. With no evidence and no warning. I was trying to explain myself and learning the platform. If I am guilty you can block me but this is not a good way. Appears to be a paid editor, is that the only reason? If someone new is here and trying to edit you made up assumptions and blocks them? I made myself very clear, I was waiting for the reply. Please unblock me as I can't imagine to violate any policies. It's a shame that you are accusing me like this.}}

User talk:TechTechToe

2018-11-20T14:08:15Z

TechTechToe:

== Welcome! ==

Hello, TechTechToe, and welcome to Wikipedia! Thank you for [[Special:Contributions/TechTechToe|your contributions]]. I hope you like the place and decide to stay. Here are a few links to pages you might find helpful:
{{Div col|colwidth=30em|style=column-count:2;-moz-column-count:2;-webkit-column-count:2;}}
* [[Wikipedia:Introduction|Introduction]] and [[Help:Getting started|Getting started]]
* [[Wikipedia:Contributing to Wikipedia|Contributing to Wikipedia]]
* [[Wikipedia:Five pillars|The five pillars of Wikipedia]]
* [[Help:Editing|How to edit a page]] and [[Wikipedia:Article development|How to develop articles]]
* [[Wikipedia:Your first article|How to create your first article]]
* [[Wikipedia:Simplified Manual of Style|Simplified Manual of Style]]
{{Div col end}}
You may also want to complete the [[Wikipedia:The Wikipedia Adventure|Wikipedia Adventure]], an interactive tour that will help you learn the basics of editing Wikipedia. You can visit the [[WP:Teahouse|Teahouse]] to ask questions or seek help.

Please remember to [[Wikipedia:Signatures|sign]] your messages on [[Help:Talk pages|talk page]]s by typing four [[tilde]]s (<nowiki>~~~~</nowiki>); this will automatically insert your username and the date. If you need help, check out [[Wikipedia:Questions]], ask me on my talk page, or {{edit|Special:MyTalk|ask for help on your talk page|section=new|preload=Help:Contents/helpmepreload|preloadtitle=Help me!}}, and a volunteer should respond shortly. Again, welcome! —[[User:J. M.|J. M.]] ([[User talk:J. M.|talk]]) 03:17, 9 October 2018 (UTC)

== Disclosure required ==

[[File:Information.svg|left|25px|alt=Information icon]] Hello TechTechToe. The nature of your edits gives the impression you have an undisclosed financial stake in promoting a topic, and that you have not complied with Wikipedia's [[Wikipedia:Paid-contribution disclosure|mandatory paid editing disclosure requirements]]. Paid advocacy is a category of [[Wikipedia:Conflict of interest|conflict of interest]] (COI) editing that involves being compensated by a person, group, company or organization to use Wikipedia to promote their interests. Undisclosed paid advocacy is prohibited by our policies on [[Wikipedia:Neutral point of view|neutral point of view]] and what [[Wikipedia:What Wikipedia is not|Wikipedia is not]], and is an especially egregious type of COI; the Wikimedia Foundation regards it as a "black hat" practice akin to [[Spamdexing|Black hat SEO]].

Paid advocates are very strongly discouraged from direct article editing, and should instead propose changes on the [[Help:Talk pages|talk page]] of the article in question if an article exists, and if it does not, from attempting to write an article at all. At best, any proposed article creation should be submitted through the [[Wikipedia:Articles for creation|articles for creation]] process, rather than directly.

Regardless, if you are receiving or expect to receive compensation for your edits, broadly construed, you are '''<u>required</u> by the [[wmf:TOU|Wikimedia Terms of Use]] to disclose your employer, client and affiliation.''' You can post such a mandatory disclosure to your user page at [[User:TechTechToe]]. The template {{tl|Paid}} can be used for this purpose – e.g. in the form: {{tlc|paid|2=user=TechTechToe|3=employer=<var>InsertName</var>|4=client=<var>InsertName</var>}}. If I am mistaken – you are not being directly or indirectly compensated for your edits – please state that in response to this message. Otherwise, please provide the required disclosure. In either case, please do not edit further until you answer this message. {{Z159}} [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 11:05, 18 November 2018 (UTC)

:{{re|GSS}} Would you like to elaborate please? I am not getting this why you did this to approved articles with "May Be" factor. What is required? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 18:50, 18 November 2018 (UTC)
::Sorry to ask, but are you a paid editor or related to the subject? Thank you – [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 04:17, 19 November 2018 (UTC)

:{{re|GSS}} No one paid me to come here and edit and waste my time. You deleted my 2 articles which were approved and checked by admins, I am sure they are not that inexperienced that they approved. I downloaded and started using Mixer (app) because one of my friend recommended me that for our project. He also requested me to research a bit for project and then to post the research on the platform where public could be benefited. He suggested me this and I posted it here I saw that the article was factually incorrect and was a bit promotional so I edited it on FR Wikipedia because I am Native English and French. I am editing Wikipedia articles for almost 6 years without an account and just recently after a long time I created an account. I can't say in which capacity the FR article was created if that is not right you can do anything with that one.

:Now, BeautyStat, I didn't created that page, I created Ron Robinson but an expert Wikipedian changed and published it to beautystat as he felt that the article is good with this name. And no one paid me to do that. I am a Technology researcher and now prepare case studies for junior computer science schools. So, if you had concerns, you could have discussed first on my Talk or articles Talk page which is a standard procedure. You could have placed a template and allowed me to answer. It's a shame that my work is removed like this. Please restore.

:Oh, You said that articles need to go AFC. If you really want to delete articles which are created by paid editors and without AFC do let me know I'll send you links, some 9 years old Wikipedians are doing this without AFC. I didn't highlighted them because I thought that good articles should stay for people's knowledge. You can send initial warnings and then delete articles if you are sure and there is no MAY HAVE BEEN factor. I spent 8 handsome hours from yesterday by checking your contributions and others to find articles which were created directly with a paid editing tag.

:Thanks for highlighting this issue. I'll work with you on these issues, please let me know how you check which articles are created by paying someone and what is your source of information? Do you work somewhere? Like an agency or something? I would love to join Wikipedia agency if there's any. Wikipedia pays people to do this? [[User:TechTechToe|TechTechToe]] ([[User talk:TechTechToe#top|talk]]) 13:35, 19 November 2018 (UTC)

::[[File:Farm-Fresh eye.png|15px|alt=eye]] I have read the above message. I will reply when I have a moment. [[User:GSS|<span style="font-family:monospace;font-weight:bold;font-size:16px;color:hsl(205, 98%, 55%);">GSS</span>]] ([[User talk:GSS|talk]]<small>|[[Special:Contributions/GSS|c]]|[[Special:EmailUser/GSS|em]]</small>) 13:46, 19 November 2018 (UTC)

{{re|GSS}} So instead of cooperating you got me blocked? Not good. All my work was in good faith and that's all based on assumptions. Please send me any evidence. I don't understand who or from where you got that feeling. Please explain.

== November 2018 ==
<div class="user-block" style="min-height: 40px">[[File:Stop x nuvola.svg|40px|left|alt=Stop icon]]<div style="margin-left:45px">You have been '''[[WP:Blocking policy|blocked]]''' '''[[Wikipedia:Blocking_policy#Indefinite_blocks|indefinitely]]''' from editing for [[Wikipedia:What Wikipedia is not#Wikipedia is not a soapbox|advertising or self-promoting]] in violation of the [[Wikipedia:Conflict of interest|conflict of interest]] and [[Wikipedia:Notability (organizations and companies)|notability]] guidelines. </div><div style="margin-left:45px">If you think there are good reasons for being unblocked, please read the [[WP:Guide to appealing blocks|guide to appealing blocks]], then add the following text below the block notice on your talk page: {{tlx|unblock|2=reason=''Your reason here ~~~~''}}.  [[User:Doc James|<span style="color:#0000f1">'''Doc James'''</span>]] ([[User talk:Doc James|talk]] · [[Special:Contributions/Doc James|contribs]] · [[Special:EmailUser/Doc James|email]]) 20:29, 19 November 2018 (UTC)</div></div>[[Category:Wikipedians who are indefinitely blocked for advertising|{{PAGENAME}}]]

User talk:TechTechToe

2018-11-19T13:36:49Z

TechTechToe:

User talk:TechTechToe

2018-11-19T13:35:56Z

TechTechToe: /* Disclosure required */

Edward Warren (politician)

2018-11-18T18:58:47Z

TechTechToe: 2 new references to kill the template

{{Use dmy dates|date=September 2016}}
{{Use Australian English|date=September 2016}}

'''Sir Edward Emerton Warren''' {{post-nominals|country=AUS|KCMG|KBE}} (26 August 1897 – 8 September 1983) was an Australian politician.

He was born in [[Broken Hill, New South Wales|Broken Hill]] to mine manager John Warren. He was educated locally and in [[North Sydney, New South Wales|North Sydney]], and was an office boy in a colliery firm from 1914.{{citation needed|date=April 2016}} From 1915-19 he served in the [[First Australian Imperial Force|AIF]], being awarded the [[Meritorious Service Medal (Australia)|Meritorious Service Medal]]. On his return he rejoined the colliery firm, and eventually rose to become general manager in 1945. In 1955 he was the foundation chairman of the Australian Coal Association, serving until 1972.<ref>{{Citation|last=Jay|first=Christopher|title=Warren, Sir Edward Emerton (1895–1983)|url=http://adb.anu.edu.au/biography/warren-sir-edward-emerton-15848|work=Australian Dictionary of Biography|publisher=National Centre of Biography, Australian National University|access-date=2018-11-18}}</ref><ref>{{Cite news|url=https://www.thegazette.co.uk/London/issue/44741/supplement/35/data.pdf|title=K.C.M.G.|last=|first=|date=1963-12-20|work=The London Gazette|access-date=}}</ref>

From 1955-78 he was a [[Liberal Party of Australia (New South Wales Division)|Liberal]] member of the [[New South Wales Legislative Council]]. He was appointed a [[Commander of the Order of St Michael and St George]] in 1956, and [[Knight Commander of the Order of the British Empire]] in 1959 and a [[Knight Commander of the Order of St Michael and St George]] in 1969. Warren died at [[Clifton Gardens, New South Wales|Clifton Gardens]] in 1983.<ref name=nsw>{{cite web|last=Parliament of New South Wales |authorlink=Parliament of New South Wales |title=Sir Edward Emerton Warren, K.C.M.G., K.B.E., M.S.M., O.M.S.T., R.S.G.C. (1897-1983) |work=Former Members |publisher=Parliament of New South Wales |year=2008 |url=http://www.parliament.nsw.gov.au/prod/parlment/members.nsf/1fb6ebed995667c2ca256ea100825164/41ccb0d5cc3daf71ca256e8b001aa45a?OpenDocument |accessdate=22 August 2015 |deadurl=yes |archiveurl=https://web.archive.org/web/20160304115539/http://www.parliament.nsw.gov.au/prod/parlment/members.nsf/1fb6ebed995667c2ca256ea100825164/41ccb0d5cc3daf71ca256e8b001aa45a?OpenDocument |archivedate=4 March 2016 |df=dmy }}</ref>

==References==
{{reflist}}

{{authority control}}

{{DEFAULTSORT:Warren, Edward}}
[[Category:1897 births]]
[[Category:1983 deaths]]
[[Category:Liberal Party of Australia members of the Parliament of New South Wales]]
[[Category:Members of the New South Wales Legislative Council]]
[[Category:Australian Knights Commander of the Order of the British Empire]]
[[Category:Australian Knights Commander of the Order of St Michael and St George]]
[[Category:Australian politicians awarded knighthoods]]
[[Category:20th-century Australian politicians]]

{{Australia-Liberal-politician-stub}}

User talk:TechTechToe

2018-11-18T18:50:55Z

TechTechToe: /* Disclosure required */

L'Oréal

2018-11-13T13:58:05Z

TechTechToe: /* History */

{{redirect|Loreal|its use [[wikt:loreal|as an adjective]]|Lore (anatomy)|and|Folklore}}
{{Use dmy dates|date=August 2014}}
{{Infobox company
| name = L'Oréal S.A.
| logo = L'Oréal logo.svg
| logo_size =
| type = [[S.A. (corporation)|Société Anonyme]]
| traded_as = {{Euronext|OR|FR0000120321|XPAR}}<br>[[CAC 40|CAC 40 Component]]
| foundation = {{start date and age|1909|07|30}}
| founder = [[Eugène Schueller]]
| location_city = [[Clichy, Hauts-de-Seine|Clichy]]
| location_country = France
| area_served = Worldwide
| key_people = [[Jean-Paul Agon]]<br>{{small|(Chairman and CEO)}}
| industry = [[Personal care]]
| products = [[Cosmetics]] and [[beauty]] products
| revenue = {{increase}}[[Euro|€]]26.024 billion (2017)<ref name="AR2015">{{cite web |url=http://inpublic.globenewswire.com/releaseDetails.faces?rId=2167262 |title=Annual Results 2017 |publisher=L'Oréal}}</ref>
| operating_income = {{increase}}€4.676 billion (2017)<ref name="AR2015" />
| net_income = {{increase}}€3.586 billion (2017)<ref name="AR2015" />
| assets = {{decrease}}€35.339 billion (2017)<ref name="AR2015" />
| equity = {{increase}}€24.819 billion (2017)<ref name="AR2015" />
| num_employees = 89,300 (2016)<ref name="AR2015" />
| subsid = <div>
* [[Lancôme]]
* [[Maybelline]]
* [[NYX Cosmetics]]
* [[Garnier]]</div>
| homepage = [http://www.loreal.com/ loreal.com]
}}

'''L'Oréal [[S.A. (corporation)|S.A.]]''' is a [[France|French]] [[personal care]] company headquartered in [[Clichy, Hauts-de-Seine]]<ref>{{cite news|url=https://www.reuters.com/article/idUSTRE60P31A20100126|title=Nestlé waits for market pressures to soften Hershey|last=Jones|first=David|date=26 January 2010|agency=[[Reuters]]|accessdate=31 January 2010}}</ref> with a registered office in [[Paris]].<ref>"[http://www.loreal-finance.com/_docs/fichiers_contenu/0000000346/Statuts_LOreal_FR.pdf Statuts]." L'Oréal. 16 April 2009. Retrieved 3 May 2010.</ref> It is the world's largest [[cosmetics]] company and has developed activities in the field concentrating on [[hair coloring|hair colour]], [[Cosmetics|skin care]], [[sunscreen|sun protection]], [[make-up]], [[perfume]], and [[hair]] care.
{{TOC limit|3}}

==History==
===Founding===
In 1909, [[Eugène Schueller|Eugène Paul Louis Schueller]], a
young [[French people|French]] [[chemist]] of [[Germany|German]] [[Ancestry|descent]],<ref>.[http://thefashionfoot.com/2013/02/18/eugene-schueller-founder-of-loreal/ The Fashion Foot.]</ref> developed a hair dye formula called ''Auréale''. Schueller formulated and manufactured his own products, which he then decided to sell to [[Paris]]ian hairdressers.
On 31 July 1919, Schueller registered his company,<ref>[https://prezi.com/a2vt6eplmrmn/corporate-financial-reporting/ Corporate financial reporting by Amberr Aslamm on Prezi]. Prezi.com. Retrieved on 2015-04-12.</ref> the Société Française de Teintures Inoffensives pour Cheveux (Safe Hair Dye Company of France). The guiding principles of the company, which eventually became L'Oréal, were research and innovation in the field of beauty. In 1920, the company employed three chemists. By 1950, the team was 100 strong; that number reached 1,000 by 1984 and is nearly 82,000 today.

Schueller provided financial support and held meetings for [[La Cagoule]] at L'Oréal headquarters. La Cagoule was a violent French [[fascist]]-leaning and anti-[[communist]] group whose leader formed a political party [[Mouvement Social Révolutionnaire]] (MSR, Social Revolutionary Movement) which in Occupied France supported the Vichy collaboration with the Germans.<ref>{{cite web |url=http://www.gladwell.com/2011/2011_03_28_a_color_of_money.html |title=The Color of Money |date=28 March 2011 |work=[[The New Yorker]] |last=Gladwell |first=Malcolm |deadurl=yes |archiveurl=https://web.archive.org/web/20120505045702/http://gladwell.com/2011/2011_03_28_a_color_of_money.html |archivedate=5 May 2012 |df=dmy-all }}</ref> L'Oréal hired several members of the group as executives after [[World War II]], such as [[Jacques Corrèze]], who served as [[CEO]] of the [[United States]] operation. This involvement was extensively researched by [[Michael Bar-Zohar]] in his book, ''Bitter Scent''.

L'Oréal got its start in the hair-colour business, but the company soon branched out into other cleansing and beauty products. L'Oréal currently markets over 500 brands and thousands of individual products in all sectors of the beauty business: hair colour, permanents, [[Hairstyle|hair styling]], body and skin care, [[Cleanser|cleansers]], makeup and fragrance. The company's products are found in a wide variety of distribution channels, from hair salons and perfumeries to hyper - and supermarkets, health/beauty outlets, pharmacies and direct mail.

===Research and development facilities===
L'Oréal has six worldwide [[research and development]] centres: two in France: [[Aulnay-sous-Bois|Aulnay]] and [[Chevilly-Larue|Chevilly]]; one in the [[United States|U.S.]]: [[Clark, New Jersey|Clark]], [[New Jersey]]; one in [[Japan]]: [[Kawasaki, Kanagawa|Kawasaki]], [[Kanagawa Prefecture]]; in 2005 one was established in [[Shanghai]], [[People's Republic of China|China]], and one in [[India]]. A future facility in the US will be in [[Berkeley Heights, New Jersey]].

===Media===
From 1988 to 1989, L'Oréal controlled the film company [[Paravisión|Paravision]], whose properties included the [[Filmation]] and [[De Laurentiis Entertainment Group|De Laurentiis]] libraries. [[StudioCanal]] acquired the Paravision properties in 1994.

==Acquisitions==
L'Oréal purchased Synthélabo in 1973 to pursue its ambitions in the pharmaceutical field. Synthélabo merged with [[Sanofi]] in 1999 to become [[Sanofi-Synthélabo]]. Sanofi-Synthélabo merged with [[Aventis]] in 2004 to become [[Sanofi-Aventis]].

On 17 March 2006, L'Oréal purchased cosmetics company [[The Body Shop]] for [[Pound sterling|£]]562 million.

L'Oréal's [[advertising slogan]] is "Because I'm worth it". In the mid 2000s, this was replaced by "Because you're worth it". In late 2009, the slogan was changed again to "Because we're worth it" following motivation analysis and work into consumer psychology of Dr. Maxim Titorenko. The shift to "we" was made to create stronger consumer involvement in L'Oréal philosophy and lifestyle and provide more consumer satisfaction with L'Oréal products. L'Oréal also owns a Hair and Body products line for kids called [[L'Oréal Kids]], the slogan for which is "Because we're worth it too".

==Marketing==
In 1987, during the growth years of the mail order business, L'Oréal and [[3 Suisses]] founded Le Club des Créateurs de Beauté for mail-order sales of cosmetic products, with brands including Agnès b., Cosmence and Professeur Christine Poelman among others. In March 2008, L'Oréal acquired 3 Suisse's stake, taking sole control of the company.<ref>[http://www.cosmeticsdesign-asia.com/Business-Financial/L-Oreal-buys-stake-in-beauty-brand "L'Oreal buys stake in beauty brand"], ''Cosmetics Design Asia''. Retrieved on 13 June 2013.</ref> In November 2013, L'Oréal announced that Le Club des Créateurs de Beauté would cease activity in the first half of 2014.<ref>{{cite web|url=http://www.premiumbeautynews.com/en/l-oreal-to-end-the-activity-of,6187|title=L'Oréal to end the activity of Beauté Créateurs its mail-order subsidiary|accessdate=12 February 2013}}</ref>

In November 2012, L'Oréal inaugurated the largest factory in the [[Cikarang|Jababeka Industrial Park, Cikarang]], Indonesia, with a total investment of US$100 million.<ref>[http://economictimes.indiatimes.com/slideshows/day-in-pics/november-08-2012/loreal-opens-largest-factory-in-cikarang/slideshow/17140910.cms "L'Oreal opens largest factory in Cikarang"], ''The Economic Times'', India, 8 November 2012. Retrieved on 13 June 2013.</ref> The production will be absorbed 25 percent by domestic market and the rest will be exported. In 2010, significant growth occurred at Indonesia with 61 percent increase of unit sales or 28 percent of net sales.<ref>[http://www.asianewsnet.net/home/news.php?id=17498&sec=2 L'Oreal to build its largest factory worth $50m in Indonesia]</ref>

===Other acquisitions===
In January 2014, L'Oréal finalised the acquisition of major [[China|Chinese]] beauty brand Magic Holdings for $840 million.<ref>[http://www.businessweek.com/articles/2014-01-16/loreal-acquires-chinese-beauty-brand-magic-holdings-for-840m L'Oréal Acquires Major Chinese Beauty Brand]</ref>

On 11 February 2014 it was announced that L'Oreal had sealed a deal worth €3.4bn to buy back 8% of its shares from Swiss consumer goods giant Nestle. As a result of the deal, Nestle's stake in L'Oreal will be reduced from 29.4pc to 23.29pc while the Bettencourt Meyers family's stake will increase from 30.6pc to 33.2pc. Nestle has owned a stake in L'Oreal since 1974 when it bought into the company at the request of [[Liliane Bettencourt]], the daughter of the founder of L'Oreal and world's richest woman, who was trying to prevent the French state's intervention in the company.

On 20 February 2014, Shiseido agreed to sell its Carita and Decléor brands to L'Oréal for €227.5 million (US$312.93 million (2014)).<ref name="Shiseido Sells Carita, Decléor to L'Oréal">{{cite web | url=http://www.wwd.com/beauty-industry-news/financial/shiseido-sells-carita-declor-to-loral-7487620?src=n/newsAlert/20140219-7 | title=Shiseido Sells Carita, Decléor to L'Oréal | publisher=WWD | date=19 February 2014 | accessdate=20 February 2014 | author=Kaiser, Amanda}}</ref>

On 18 June 2014, L'Oréal agreed to acquire [[NYX Cosmetics]] for an undisclosed price, bolstering its makeup offer in [[North America]] where its consumer-products unit has faltered.<ref>{{cite web|url=http://www.businessweek.com/news/2014-06-18/l-oreal-agrees-to-acquire-u-dot-s-dot-makeup-artist-brand-nyx-cosmetics|title=L'Oreal Agrees to Buy U.S. Makeup-Artist Brand NYX Cosmetics|accessdate=18 June 2014}}</ref>

In September 2014, L'Oréal announced it had agreed to purchase [[Brazil]]ian hair care company Niely Cosmeticos Group for an undisclosed amount.<ref>{{cite press release | publisher=Reuters| date=8 September 2014| title=L'Oreal to buy Brazilian hair care group Niely Cosmeticos | url=https://www.reuters.com/article/2014/09/08/us-l-oreal-m-a-brazil-idUSKBN0H30EN20140908}}</ref>

In October 2014, L'Oréal acquired multi-cultural brand Carol's Daughter.

In May 2018, L'Oréal announce a brand-new beauty and fragrance partnership with Valentino.<ref>https://www.allure.com/story/loreal-valentino-partnership</ref>

==Spokespeople==
In 2015, [[Soo Joo Park]] became L'Oréal's first Asian-American global spokesmodel.<ref>Nguyen, Michael D.. (2015-03-27) [http://www.nbcnews.com/news/asian-america/soo-joo-park-loreals-first-asian-american-spokesmodel-n331421 Soo Joo Park Is L'Oreal's First Asian-American Spokesmodel]. NBC News. Retrieved on 2015-04-12.</ref>

In 2015, Kristina Bazan became L'Oreal's first international e-spokesperson.

In July 2016, L'Oréal announced it had agreed to acquire IT Cosmetics for $1.2 billion.

==Corporate affairs ==

===Head office===
[[File:L'Oréal HQ.jpg|thumb|right|200px|Centre [[Eugène Schueller]], L'Oréal head office, in [[Clichy, Hauts-de-Seine|Clichy]], France]]
L'Oréal Group has its head office in the Centre [[Eugène Schueller]] in [[Clichy, Hauts-de-Seine]], near [[Paris]].<ref>"[http://www.loreal.com/_en/_ww/html/our-company/world-presence.aspx World Presence]." L'Oréal. Retrieved 14 July 2010.</ref> The building, constructed in the 1970s from brick and steel, replaced the former Monsavon factory, and employees moved into the facility in 1978. 1,400 employees work in the building.<ref>"[http://www.journaldunet.com/economie/reportage/les-sieges-sociaux-des-entreprises-du-cac-40/2-000-salaries-de-l-oreal-a-clichy.shtml 2.000 salariés de L'Oréal à Clichy]." ''Le Journal du Net''. Retrieved 7 July 2010. "Construit à la fin des années 1970 en briques et acier, le Centre Eugène Schueller se dresse à l'emplacement de l'ancienne usine Monsavon, à Clichy-la-Garenne dans les Hauts-de-Seine. Les salariés du siège de l'Oréal y ont emménagé à partir de 1978. Aujourd'hui, ils sont 1.400 à y travailler."</ref> In 2005, Nils Klawitter of ''[[Der Spiegel]]'' said "the building, with its brown glazed façade of windows, is every bit as ugly as its neighbourhood." Klawitter added that the facility "gives the impression of a high-security zone" due to the [[Closed-circuit television|CCTV]] cameras and security equipment. The world's largest hair salon is located inside the head office building. As of 2005, 90 hairdressers served 300 women, including retirees, students, and unemployed people, per day; the customers are used as test subjects for new hair colours.<ref>Klawitter, Nils. [http://www.spiegel.de/international/spiegel/0,1518,345938,00.html "L'Oréal's Great Bluff"]. ''[[Der Spiegel]]''. 7 March 2005. Retrieved 27 November 2009.</ref>

International units include:

* L'Oréal USA, changed from '''Cosmair''' in 2000 -<ref>http://adage.com/article/news/cosmair-l-oreal-usa/31755/</ref> has its headquarters in [[New York City]]; responsible for the operations in the [[America]]<ref name="L'Oréal USA">[http://www.lorealusa.com/_en/_us/tools/contact/contact.aspx Contact Us], L'Oréal USA</ref>
* L'Oréal Canada Incorporated - Canadian operations based in Montreal
* L'Oréal Australia - head office is in [[Melbourne]]
* L'Oréal Nordic - head office is in [[Copenhagen]] Denmark
* L'ORÉAL Deutschland GmbH - legal seat is in [[Karlsruhe]], head office is in [[Düsseldorf]] <ref>http://www.loreal.de/impressum</ref>

===Corporate governance ===
[[Jean-Paul Agon]] is the [[chairman]] and [[chief executive officer]] of L'Oréal.<ref name=governance>{{cite web|url=http://www.loreal.com/group/governance/the-board-of-directors.aspx |title=The board of directors |publisher=Loreal.com |accessdate=25 August 2013}}</ref> Jean-Pierre Meyers and [[Peter Brabeck-Letmathe]] are vice chairmen of the [[board of directors]].<ref name=governance/>

===Stockholders===
As at year end 2013:<ref name="AR2013">{{cite web |url=http://www.loreal-finance.com/_docs/pdf/rapport-annuel/2013/LOREAL_Document-de-Reference-2013_FR.pdf |title=Annual Report 2013 |accessdate=12 March 2014 |publisher=L'Oréal}}</ref>
* Breakdown of share ownership: 33.31% by the [[Liliane Bettencourt|Bettencourt]] family, 23.29% by [[Nestlé]], 21.8% by international institutional investors, 9.3% by French institutional investors, 5,7% by individual shareholders, 1.9% [[treasury stock]] and 0.7% by employees.

===Business figures===
[[File:L'Oréal Group global locations.JPG|thumb|Countries with L'Oréal products available]]
In 2003, L'Oréal announced its 19th consecutive year of double-digit growth. Its consolidated sales were €14.029 bn and net profit was €1.653 bn. 96.7% of sales derived from cosmetic activities and 2.5% from dermatological activities. L'Oréal has operations in over 130 countries, employing 50,500 people, 24% of which work in France. 3.3% of consolidated sales is invested in research and development, which accounts for 2,900 of its employees. In 2003, it applied for 515 patents. It operates 42 [[manufacturing]] plants throughout the world, which employ 14,000 people.

* Cosmetics sales by division breakdown: 54.8% from consumer products at €7.506 bn, 25.1% from luxury products at €3.441 bn, 13.9% from professional products at €1.9 bn, and 5.5% from active cosmetics at €0.749 bn.
* Cosmetic sales by geographic zone breakdown: 52.7% from [[Western Europe]] at €7.221 bn, 27.6% from [[North America]] at €3.784 bn, 19.7% from rest of the world at €2.699 bn.

In 2007, L'Oréal was ranked 353 in the [[Fortune Global 500]].<ref name="Fortune500">{{cite news|url=http://money.cnn.com/magazines/fortune/global500/2007/snapshots/6801.html |title=FORTUNE Global 500 2007: L'Oréal |publisher=CNN |date=23 July 2007 |accessdate=31 July 2010}}</ref> The company had earned $2,585 million on sales of $19,811 million. There were 60,850 employees.<ref name="Fortune500"/>

By March 19, 2016 the company had a share value of 89,542 million euros, distributed in 562,983,348 shares. Its reported operating profit in 2016 was €4.54 bn based on revenue of €25.8 bn.<ref>{{Cite web|url=http://www.loreal-finance.com/eng/news/2016-annual-results-1168.htm|title=L'Oréal Finance : 2016 Annual Results|website=www.loreal-finance.com|language=fr|access-date=2017-05-09}}</ref>

{| class="wikitable"
|+'''Financial data in € billions'''<ref>{{Cite web|url=https://www.wallstreet-online.de/aktien/l-oreal-3-aktie/bilanz|title=L'Oreal Bilanz, Gewinn und Umsatz {{!}} L'Oreal Geschäftsbericht {{!}} 853888|website=wallstreet-online.de|access-date=2018-11-05}}</ref>
!Year
!2013
!2014
!2015
!2016
!2017
|-
|[[Revenue]]
|22.977
|22.532
|25.257
|25.837
|26.024
|-
|[[Net Income]]
|2.958
|4.910
|3.297
|3.106
|3.586,
|-
|[[Assets]]
|31.298
|32.063
|33.711
|35.630
|35.339
|-
|Employees
|77,452
|78,611
|82,881
|89,331
|82,606
|}

===Joint ventures and minority interests===
L'Oréal holds 10.41% of the shares of [[Sanofi-Aventis]], the world's number three and Europe's number one pharmaceutical company. The '''Laboratoires Innéov''' is a [[joint venture]] in nutritional cosmetics between L'Oréal and [[Nestlé]]; they draw on L'Oréal's knowledge in the fields of [[nutrition]] and [[food safety]].

===Corporate social responsibility===

====Group-wide sustainability plan====
L'Oreal announced a new sustainability plan in 2013, which they hope will help reach the goal of 1 billion new consumers by 2020 by producing more products with less environmental impact and helping customers make sustainable lifestyle choices. The main commitments to achieve by 2020 include: aiming for 100 percent of its products to have an environmental or social benefit; reducing the company's environmental footprint by 60 percent; and empowering consumers to make sustainable consumption choices.<ref>{{cite web|url=http://www.marketingweek.co.uk/news/loral-outlines-2020-sustainability-goals/4008356.article|title=L'Oréal Outlines 2020 Sustainability Goals|accessdate=14 November 2013}}</ref>

====Sustainable development====
In 2009, L'Oréal declared their intention to cut greenhouse gas emissions, water consumption and waste by 50% over the period 2005-2015 <ref>{{cite web|url=http://www.environmentalleader.com/2009/04/23/loreal-to-reduce-ghg-emissions-water-consumption-and-waste-by-50/|title= L'Oreal to Reduce GHG Emissions, Water Consumption and Waste by 50%|publisher= Environmental Leader|date= 23 April 2009|accessdate=11 September 2013}}</ref> – a deduction in carbon dioxide emissions that is to be in part achieved by the use of solar panels, biogas and electricity and hot water produced from the combustion of methane gas recovered from agricultural waste.<ref>{{cite web|url=http://uk.fashionmag.com/news/L-Oreal-wants-to-cut-its-CO2-emissions-in-half-by-2015,60830.html#.UimqX9K8Bag|title= L'Oréal wants to cut its CO2 emissions in half by 2015|publisher= Fashionmag.com|date=21 April 2009|accessdate=11 September 2013}}</ref> In 2012, the company declared a 37.1% deduction in C02 Emissions, a 24% deduction in water consumption and a 22% deduction in transportable waste, and was named a sector leader by [[Climate Counts]] for its practices and achievements in the management of carbon emissions.<ref>{{cite web|url=http://www.csrwire.com/press_releases/34964-L-Or-al-Recognized-by-Climate-Counts-as-Sector-Leader-for-Managing-Reporting-and-Reducing-its-Carbon-Emissions| title= L'Oréal Recognized by Climate Counts as Sector Leader for Managing, Reporting and Reducing its Carbon Emissions |publisher= CSR Wire|date= 5 December 2012|accessdate=11 September 2013}}</ref>
In 2014, L'Oréal made the commitment to ensure that none of its products were linked to deforestation, and to source 100% renewable raw materials by 2020.<ref name=cosmeticsdesigneurope>{{cite web|url=http://www.cosmeticsdesign-europe.com/Business-Financial/L-Oreal-reiterates-sustainability-importance-with-zero-deforestation-commitment| title= L'Oréal reiterates sustainability importance with ‘zero deforestation' commitment |publisher= Cosmetics design-europe.com|date= 15 January 2014|accessdate=6 August 2014}}</ref> The group was included in the Corporate Knights "Global 100" list of the 100 most sustainable companies.<ref name=cosmeticsdesigneurope/>

====Position on animal testing====
Since the 80s, L'Oréal has invested €900 million in researching [[alternatives to animal testing]] for product safety, using methods such as reconstructed skin models, like the Episkin model<ref>{{cite web|url=http://www.cosmeticsdesign-europe.com/Formulation-Science/L-Oreal-builds-on-skin-testing-capabilities |title=L'Oreal builds on skin testing capabilities|accessdate=12 April 2013}}</ref> at their research centers in Gerland, France, and [[Pudong]], China.<ref>{{cite web|url=http://answers.loreal.com/animaltesting/en/our-position/|title=Our Position|publisher=L'Oréal Answers|accessdate=12 September 2013}}</ref>

Nevertheless, this is complicated by markets such as China,<ref name=bweekchina>{{cite web|url=http://www.businessweek.com/news/2013-08-21/china-animal-testing-complicates-l-oreal-s-expansion-retail|title=China Animal Testing Complicates L'Oreal's Expansion|date=21 August 2013|accessdate=12 September 2013}}</ref> where animal testing of all cosmetics for human use is mandatory.<ref>{{cite news| url=http://www.dailymail.co.uk/news/article-2181468/Big-beauty-brands-dropping-cruelty-free-animal-testing-policies-sell-products-China.html | location=London | work=Daily Mail | title=L'Occitane and Yves Rocher: The big-name beauty brands among those ditching cruelty-free animal testing policies to sell their products to China}}</ref> Cosmetics by brands such as [[The Body Shop]], which refuses to do [[animal testing]], are thus not available for sale in the Chinese market.

In 2013, L'Oréal was part of a consortium calling on the EU to invest more in research on alternatives to animal testing.<ref>{{cite web|url=https://www.theguardian.com/commentisfree/2013/jul/18/animal-testing-talk-about-medical-research|title=Animal testing – it's time to talk about it again|author=Bibi van der Zee|publisher=The Guardian|date=18 July 2013|accessdate=12 September 2013}}</ref>

===Community involvement and awards===
In 2014, L'Oreal was listed 61st among 1200 of India's most trusted brands according to the [[The Brand Trust Report|Brand Trust Report]] 2014, a study conducted by Trust Research Advisory, a brand analytics company.<ref>{{cite web|url=http://www.trustadvisory.info/allindia_2014.html |title=India's Most Trusted Brands 2014 |date= |accessdate= |website= |publisher= |last= |first= |deadurl=yes |archiveurl=https://web.archive.org/web/20150502221904/http://www.trustadvisory.info/allindia_2014.html |archivedate= 2 May 2015 |df= }}</ref>

In 2008, L'Oréal was named Europe's top business employer by the European Student Barometer,<ref>{{cite web|url=http://www.trendence.de/fileadmin/pdf/ESB_2008.pdf|title=The European Student Barometer 2008}}</ref> a survey conducted by Trendence that covers 20 European countries and incorporates the responses of over 91,000 students.

The [[L'Oréal-UNESCO Awards for Women in Science]] was established to improve the position of women in science by recognizing outstanding women researchers who have contributed to scientific progress.

The awards are a result of a partnership between the French cosmetics company L'Oréal and the United Nations Educational, Scientific and Cultural Organization ([[UNESCO]]) and carry a grant of $100,000 USD for each laureate.

The same partnership awards the UNESCO-L'Oréal International Fellowships, providing up to $40,000 USD in funding over two years to fifteen young women scientists engaged in exemplary and promising research projects.<ref>[http://portal.unesco.org/en/ev.php-URL_ID=14633&URL_DO=DO_TOPIC&URL_SECTION=201.html/ UNESCO/L'ORÉAL Co-Sponsored Fellowships for Young Women in Life Sciences] {{webarchive|url=https://web.archive.org/web/20141010122943/http://portal.unesco.org/en/ev.php-URL_ID%3D14633%26URL_DO%3DDO_TOPIC%26URL_SECTION%3D201.html |date=10 October 2014 }}. Portal.unesco.org.</ref>

L'Oréal organises the yearly L'Oréal Brandstorm, a business game for students in 43 countries. The game is related to marketing and has a first prize of $10,000, a second prize of $5,000 and a third prize of $2500.

L'Oréal is also a founding member of the "Look Good...Feel Better" project, a charity which was formed over 16 years ago to help women combat the visible side effects of cancer treatment.

In 2015, [[Standard Ethics Aei]] gave a rating to L'Oreal in order to include it in its Standard Ethics French Index.<ref>{{cite web |url=http://www.standardethicsindices.eu/standard-ethics-french-index.html |title=Archived copy |accessdate=2016-04-11 |deadurl=yes |archiveurl=https://web.archive.org/web/20160403113833/http://standardethicsindices.eu/standard-ethics-french-index.html |archivedate=3 April 2016 |df=dmy-all }}</ref>

==Research and innovation==

===Episkin===
Episkin is a reconstructed skin model developed by engineers at L'Oréal France to provide an alternatives to animal testing.<ref name="Skin Replaces Animal Tests">{{cite news| url=http://www.animalliberationfront.com/Philosophy/Animal%20Testing/SkinReplacesAnimTests.htm | work= Animal Liberation Front|title= Human Skin to Replace Animal Tests|date=12 June 2013}}</ref> Human [[skin cells]] left over from breast surgery <ref name="Skin Replaces Animal Tests" /> are developed under [[in vitro]] laboratory conditions to form sheets of reconstructed skin.<ref name="Build on Animal Testing">{{cite news| url= http://www.cosmeticsdesign-europe.com/Formulation-Science/L-Oreal-builds-on-skin-testing-capabilities | work=Cosmetic Design Europe| title=L'Oréal Builds on Skin Testing Capabilities| date=12 June 2013}}</ref> This has advantages over animal testing other than the sparing of animals: it can be adapted to create reconstructions of a range of skin colours, as well as younger and older skin, meaning that safety tests give more relevant results for humans.<ref name="Build on Animal Testing" />
In 2006, the Episkin division acquired SkinEthic, a leading [[tissue engineering]] company.<ref>{{cite news| url= http://www.euroinvestor.fr/actualites/2006/02/28/loreal-episkin-subsidiary-of-loreal-acquires-skinethic-leader-in-tissue-engineering/9331794 | work=Euro Investor| title=L´OREAL : EPISKIN, SUBSIDIARY OF L´OREAL, ACQUIRES SKINETHIC, LEADER IN TISSUE ENGINEERING| date=12 June 2013}}</ref>

The aim for L'Oréal is to produce products that cater to their diverse customers specifically, in the emerging markets that currently account for 53% of the entire global beauty market.<ref name="GCI">{{cite news| url= http://www.gcimagazine.com/business/management/innovation/111854374.html?page=1| work=GCI| title=L'Oréal Unveils New Research and Innovation Strategy| date=10 December 2010}}</ref> Through these research methods L'Oréal aims to tap into one billion new consumers <ref name="GCI" /> in these markets for the upcoming years.

In 2003, the L'Oréal Institute for Ethnic Hair & Skin Research was inaugurated in Chicago to continue their research on African American hair and skin among other ethnicities.<ref>{{cite news| url= http://www.capitalfm.co.ke/lifestyle/2012/11/09/4th-loreal-workshop-on-african-hair-and-skin-currently-underway/| work=LIFESTYLE Mahazine| title=4th L'Oreal workshop on African hair and skin currently underway | date=9 November 2012}}</ref> The L'Oréal Group opened ''the Predictive Evaluation Center'' in Lyon, France in 2011. This centre is devoted to evaluating the quality of the products without testing on animals.<ref>{{cite news| url= https://www.wizness.com/wizness/go.asp?u=/pub/NP&nid=494&lngWiz=EN| work=Wizness| title= L'Oreal 2011 Sustainability Report > Towards Responsible Beauty? | date=3 May 2011}}</ref> Additionally, L'Oréal built an international "Consumer Insights" division as well as, regional Research and Innovation centres in six countries: [[Japan]], [[China]], [[India]], the United States, [[Brazil]], and [[France]].<ref>{{cite news| url= http://lecercle.lesechos.fr/entrepreneur/marketing-communication/221147734/how-oreal-fights-commoditization-with-reverse-innovat| work=Les Echos| title=How L'Oréal fights commoditization with reverse innovation| date=8 June 2012}}</ref> The aim of these centres is to collect information on their diverse consumers in order to develop products according to their various needs. In 2011, L'Oréal announced its intention to build a ''Research and Innovation Center'' in Bom Jesus Island Rio de Janeiro, [[Brazil]]. Estimated at 30 million euros (70,000,000 reals), this project is expected to create about 150 jobs by 2015.<ref>{{cite news| url= http://www.premiumbeautynews.com/en/l-oreal-a-new-research-and,3682| work=Premium Beauty News| title=L'Oréal: a new research and innovation centre in Rio| date=20 December 2011}}</ref>

The L'Oreal Global Hair Research Centre, a facility in Paris Saint-Ouen opened in March 2012. It serves as the headquarters for the international departments of hair color, hair care and hair styling. One of the largest investments in company R&I history, the 25,000m² Centre hosts 500 employees. These include chemists, physico-chemists, opticians, materials scientists, metrologists, rheologists, computer scientists and statisticians. The facility offers automation, modelling and sensory evaluation.<ref>{{cite news| url=http://www.cosmeticsandtoiletries.com/networking/news/company/144637335.html?page=1
| work= Cosmetics Science Applied | title= L'Oréal Establishes its Global Hair Research Centre in Paris Saint-Ouen| date=22 October 2013}}</ref>

===Human skin 3D printing===
L'Oreal announced in May 2015 that it was partnering with bioprinting startup [[Organovo]] to figure out how to 3D print living, breathing derma that can be used to test products for toxicity and efficacy. "We're the first beauty company that Organovo has worked with," said Guive Balooch, global vice president of L'Oreal's tech incubator.<ref>{{cite news| url=https://www.bloomberg.com/news/articles/2015-05-18/l-oreal-s-plan-to-start-3d-printing-human-skin| work=Bloomberg| title=L'Oreal's Plan to Start 3D Printing Human Skin| date=18 May 2015}}</ref>

===Modiface===
On March 16, 2018, L'Oréal announced that it had acquired Modiface, a beauty tech company that uses [[augmented reality]] to allow users to digitally try on different makeup products and hairstyles.<ref>{{Cite news|url=https://www.theverge.com/2018/3/16/17131260/loreal-modiface-acquire-makeup-ar-try-on|title=L’Oreal acquires Modiface, a major AR beauty company|work=The Verge|access-date=2018-03-19}}</ref>

==Litigation==

===Advertising===
In May 2007, L'Oréal was one of several cosmetic manufacturers (along with Clinique, Estee Lauder, Payot, Lancôme)<ref>{{Cite news|title = Beauty and the publicity beast|date = 9 May 2007|last = Costello|first = John|work = The Evening Herald|url = http://www.highbeam.com/doc/1G1-163157135.html|accessdate = 14 July 2013}}</ref> ordered by the [[Therapeutic Goods Administration]] in Australia to withdraw advertising regarding the [[wrinkle (skin)|wrinkle]] removal capabilities of their products.<ref>{{cite news|title=Wrinkle creams are a rip-off|url=http://www.news.com.au/entertainment/story/0,23663,21682971-36557,00.html|publisher=[[The Daily Telegraph (Sydney)]]|date=7 May 2007|accessdate=20 July 2007}}</ref>

In the UK, L'Oréal has faced criticism from [[OFCOM]] regarding the truth of their advertising and marketing campaigns concerning the product performance of one of their mascara brands. In July 2007, the British [[Advertising Standards Authority (United Kingdom)|Advertising Standards Authority]] attacked L'Oréal for a television advert on its "Telescopic" [[mascara]], featuring [[Penélope Cruz]], stating, "it will make your [[eyelash]]es 60% longer." In fact, it only made the lashes look 60% bigger, by separating and thickening at the roots and by thickening the tips of the lashes. They also failed to state that the model was wearing [[Eyelash extensions|false eyelash]]es.<ref>{{cite web|url=http://www.asa.org.uk/asa/adjudications/Public/TF_ADJ_42910.htm |title=L'Oréal (UK) Ltd |publisher=Asa.org.uk |date=25 July 2007 |accessdate=31 July 2010}}</ref>

In July 2011, the British Advertising Standards Authority took action against L'Oréal, banning two airbrushed [[Lancôme]] advertisements in the UK featuring actress [[Julia Roberts]] and supermodel [[Christy Turlington]]. The agency issued the ban after British politician [[Jo Swinson]] argued that the two ads misrepresented reality and added to the self-image problem amongst females in the UK. L'Oréal acknowledged that the photos had been airbrushed but argued that the two cosmetic products could actually produce the results depicted in the ads and that the results of the products had been scientifically proven.<ref>{{cite news|url=http://edition.cnn.com/2011/WORLD/europe/07/28/airbrushed.advertisements.ban/index.html?&hpt=hp_c2 |title=Britain bans airbrushed Julia Roberts make-up ad |publisher=CNN |date=29 July 2011 |accessdate=29 July 2011}}</ref>

In June 2014 the company reached agreement with the U.S. [[Federal Trade Commission]] not to make claims about its anti-aging products unless it had credible scientific evidence supporting the claims. The settlement followed an investigation by the commission into claims being made in relation to two products, which the commission described as "false and unsubstantiated."

L'Oréal has a team of 400 members of staff who post content to [[Facebook]] every day, according to Marc Menesguen, the company's chief marketing officer.<ref>[http://www.vanityfair.com/business/2013/05/facebook-future-mark-zuckerberg-sheryl-sandberg A Facebook of the Future: Mark Zuckerberg and Sheryl Sandberg Show Us Their New Content, New Algorithms, and New Alliances | Vanity Fair]</ref>

===Human resources===
On 11 August 2005, the [[Supreme Court of California]] ruled that former L'Oréal sales manager Elyse Yanowitz had adequately pleaded a cause of action for retaliatory termination under the [[California Fair Employment and Housing Act]], and remanded the case for trial.<ref name="autogenerated1">''Yanowitz v. L'Oréal USA, Inc.'', [http://online.ceb.com/CalCases/C4/36C4t1028.htm 36 Cal. 4th 1028] (2005).</ref> The case arose out of a 1997 incident in which Jack Wiswall, then the general manager for designer fragrances, allegedly told Yanowitz to fire a [[Person of color|dark-skinned]] sales associate despite the associate's good performance. When Yanowitz refused, Wiswall pointed to a "sexy" blonde-haired woman and said "God damn it, get me one that looks like that." Wiswall retired as president of the luxury products division of L'Oréal USA at the end of 2006.<ref name="autogenerated1" />

The company has recently faced discrimination lawsuits in France related to the hiring of spokesmodels and [[institutional racism]]. In July 2007, the [[Garnier]] division and an external employment agency were fined €30,000 for recruitment practices that intentionally excluded non-white women from promoting its hair wash, "Fructis Style".<ref>{{cite web|url=http://www.soxfirst.com/50226711/loreal_found_guilty_of_racism.php |title=L'Oreal found guilty of racism |publisher=Sox First |accessdate=31 July 2010}}</ref> L'Oréal is reported as saying the decision was "incomprehensible",<ref>{{cite web|url=http://www.africaresource.com/index.php?option=com_content&view=article&id=425:loreal-tells-women-of-color-to-take-a-hike&catid=136:race&Itemid=351 |title=L'Oreal Tells Women of Color to Take a Hike - AfricaResource: The Place for Africa on the Net |publisher=AfricaResource |date=30 August 2007 |accessdate=31 July 2010}}</ref> and would challenge the measure in court.

In August 2017, L'Oréal dismissed Munroe Bergdorf, a [[mixed-race]] [[transgender]] model, after she responded to the [[Unite the Right rally]] in [[Charlottesville, Virginia]] by stating in a [[Facebook]] post that racism is institutionalized in society by white people. Shortly after terminating Bergdorf, L'Oréal released a statement reaffirming their commitment to "[support] diversity and tolerance towards all people irrespective of their race, background, gender and religion" and had terminated their partnership with Bergdorf because her comments were "at odds with those values."<ref name="theguardianonthelorealcismrow">{{cite news|last1=Iqbal|first1=Nosheen|title=Munroe Bergdorf on the L’Oréal racism row: ‘It puzzles me that my views are considered extreme’|url=https://www.theguardian.com/global/2017/sep/04/munroe-bergdorf-on-the-loreal-racism-row-it-puzzles-me-that-my-views-are-considered-extreme|accessdate=5 September 2017|work=The Guardian|date=4 September 2017}}</ref><ref name="nytimeslorealdropstransgendermodel">{{cite news|last1=Fortin|first1=Jacey|title=L’Oréal Drops Transgender Model Over Comments on Race|url=https://www.nytimes.com/2017/09/02/business/munroe-bergdorf-loreal-transgender.html?mcubz=1&_r=0|accessdate=5 September 2017|work=The New York Times|date=2 September 2017}}</ref>

==Animal testing==
L'Oréal pays companies to test on animals for the China market <ref>{{cite web | url = https://www.peta.org/living/beauty/beauty-brands-that-you-thought-were-cruelty-free-but-arent/ | title = These Beauty Brands Are Still Tested on Animals | publisher = [[PETA]]}}</ref> as China requires cosmetics companies perform animal testing in government labs before regulators approve products for sale.
All brands that import products to sell in China must animal test. In CNBC's 2017 article, "In China, Big Cosmetic Firms are Selling Products Tested on Animals," the author reached out to L'Oréal for a comment but they didn't respond.<ref>{{cite web | url = https://www.cnbc.com/2017/04/19/in-china-big-cosmetics-firms-are-selling-products-tested-on-animals.html | title = In China, big cosmetics firms are selling products tested on animals | publisher = [[CNBC]]}}</ref>

==Controversy==
[[Eugène Schueller]], the company's founder, was an alleged [[Nazi]] sympathizer.<ref>{{cite news| url=https://www.forbes.com/2005/03/18/cz_sh_0318oreal_bill05.html | work=Forbes | title=Father's Past Haunts French Billionaire | date=18 March 2005 | first=Suzanne | last=Hoppough}}</ref> L'Oréal concedes that Schueller was an [[anti-Semitic]] [[fascist]].<ref name="Business Notes Scandal L'Oreal's">{{cite news| url=http://www.time.com/time/magazine/article/0,9171,157348,00.html | work=Time | title=Business Notes Scandal L'Oreal's | date=24 June 2001}}</ref> He was also a member of [[La Cagoule]], which supported the [[Vichy regime]], and was a violent, pro-fascist and anti-communist organization. Eugène bankrolled La Cagoule and some meetings of [[La Cagoule]] were held at L'Oréal headquarters. Some of the criminal activities perpetrated by La Cagoule include firearms transportation, assassinating a former minister, and firebombing six synagogues.<ref name="André Bettencourt">{{cite news| url=https://www.telegraph.co.uk/news/obituaries/1570119/Andre-Bettencourt.html | location=London | work=The Daily Telegraph | title=André Bettencourt | date=22 November 2007}}</ref><ref name="Pascal">{{cite news| url=https://www.independent.co.uk/arts-entertainment/books/reviews/loreal-took-my-home-by-monica-waitzfelder-translated-by-peter-bush-432358.html |title= L'Oreal Took My Home, by Monica Waitzfelder, translated by Peter Bush| location=London | work=The Independent | first=Julia | last=Pascal | date=16 January 2007}}</ref>

Other controversy arose when [[Jean Frydman]], a shareholder and board member of Paravision, a film subsidiary of L'Oréal, was fired. He claims that he was let go because L'Oréal wanted to avoid an Arab boycott of businesses associated with Jews. In turn, Frydman decided to expose the past of L'Oréal executives. [[André Bettencourt]] who married Schueller's daughter, [[Liliane Bettencourt]], and became deputy chairman for L'Oréal, wrote 60 articles for La Terre Française. La Terre Française was an anti-Semitic Nazi propaganda sheet. André has admitted ownership of the [[propaganda]] but claimed he was poisoned by the [[Vichy France|Vichy]] regime and said, "I have repeatedly expressed my regrets concerning them in public and will always beg the Jewish community to forgive me for them."<ref name="André Bettencourt"/> André Bettencourt also sheltered Schueller and several collaborators from the [[French Resistance]] after Liberation.<ref name="Pascal"/> It was also revealed that Eugène Schueller hired [[Jacques Correze]], who was the honorary head of L'Oréal's U.S. affiliate, Cosmair, and was involved with [[La Cagoule]].<ref name="Business Notes Scandal L'Oreal's"/>

Further controversy arose when it was revealed that L'Oréal had its German headquarters for over 30 years, before being sold in 1991, on land confiscated from a Jewish family during [[World War II]]. The Jewish family has been battling for restitution from the company for three generations, the latest of which is Edith Rosenfelder, a [[The Holocaust|Holocaust]] survivor. Fritz Rosenfelder, was forced to sell the house to a Nazi official, of which the family never received the proceeds of the sale. Instead, the family was deported. The Allies passed Jewish restitution legislation which states that transactions with Nazis, even if appearing to be with the owner's consent, can be considered invalid. As the land was sold to an offshoot of L'Oréal, which was later bought out in 1961 by L'Oréal, the company claims that it is not responsible for anything that happened before then. The basis for Rosenfelder's argument is that since the original sale was illegal, all subsequent sales are equally unlawful. There was restitution paid in 1951 to the [[Jewish Restitution Successor Organization]], though this was done without the family's consent and none of the money ever reached the family. A book by Monica Waitzfelder, daughter of Edith Rosenfelder, published in French as ''L'Oréal a pris ma maison'' and in English as ''L'Oréal stole my house!'', details how L'Oréal, took over the Waitzfelder home in the [[Germany|German]] city of [[Karlsruhe]] (after the Nazis had engineered the removal of the family) to make it its German headquarters.<ref name="Gentleman">{{cite news| url=https://www.theguardian.com/world/2004/oct/13/secondworldwar.germany | location=London | work=The Guardian | first=Amelia | last=Gentleman | title=L'Oréal profited from victims of Nazis, court told | date=13 October 2004}}</ref> Monica Waitzfelder is quoted as saying, "All the other businesses which took Jewish property have since returned it, without any great debate. I don't understand why L'Oréal should be any different from the others." A case was brought before the Supreme Court in France, but the public prosecutor ruled that there could be no trial. As of 2007, she is bringing the case to the [[European Court of Human Rights]].<ref name="Pascal"/><ref name="Gentleman"/>

Following L'Oréal's 2006 purchase of [[The Body Shop]], which does not support [[animal testing]], The Body Shop's founder [[Anita Roddick]] was forced to defend herself against allegations of abandoning her principles over L'Oréal's track record on animal testing. Calls were made for shoppers to boycott The Body Shop.<ref>[https://web.archive.org/web/20100424192639/http://www.independent.co.uk/news/uk/this-britain/anitas-163652m-sellout-470379.html "Anita's £652m sell-out"], The Independent. 18 March 2006. Retrieved 8 May 2008.</ref>

On 31 July 2014 during [[Operation Protective Edge]] launched by the Israel Defense Forces (IDF) in the Gaza Strip, the Israel advocacy organisation [[StandWithUs]] posted several Facebook photos of care packages, which they said were donated by Garnier Israel to female IDF soldiers.<ref>[https://www.facebook.com/StandWithUs/posts/10152272986332689#storify/0a74f21ac5d557f506dad6d201712962 StandWithUs - We are honored to be delivering these...]. Facebook. Retrieved on 2015-04-12.</ref><ref>[http://stream.aljazeera.com/story/201408041809-0024006 Garnier care packages boost Israeli soldiers' beauty regimens]. Stream.aljazeera.com. Retrieved on 2015-04-12.</ref><ref>[http://www.huffingtonpost.fr/2014/08/06/appels-boycott-cosmetiques-garnier-israel-envoi-produits-femmes-soldats-armee_n_5653764.html Les cosmétiques Garnier créent la polémique après une photo de femmes soldats de l'armée israélienne]. Huffingtonpost.fr. Retrieved on 2015-04-12.</ref> This sparked several calls to boycott Garnier and L'Oreal worldwide.<ref>[http://www.palestinecampaign.org/boycott-garnier-support-israeli-army/ Boycott Garnier over its support for Israeli army - Palestine Solidarity Campaign]. Palestinecampaign.org (2014-08-06). Retrieved on 2015-04-12.</ref> As of {{Date}} no official statement was made by Garnier or L'Oreal regarding the donation.

L'Oréal was fined by [[Autorité de la concurrence]] in France in 2016 for price-fixing on personal hygiene products.<ref>{{cite web |url=http://www.connexionfrance.com/court-appeal-price-fixing-fine-upheld-consumer-companies-gillette-loreal-procter-gamble-sc-johnson-18567-view-article.html |title=Huge price-fixing fine is upheld |publisher=The Connexion |date=28 October 2016 |deadurl=yes |archiveurl=https://archive.is/20170209165431/http://www.connexionfrance.com/court-appeal-price-fixing-fine-upheld-consumer-companies-gillette-loreal-procter-gamble-sc-johnson-18567-view-article.html |archivedate=9 February 2017 |df=dmy-all }}</ref>

==Brands portfolio==
[[File:L'Oreal Colour Riche Lipsticks.jpg|thumb|150px|L'Oréal [[lipstick]]s]]
[[File:Men Antiregreasing gel by L'oreal Men.jpg|thumb|150px|L'Oréal skin care product]]
Brands are generally categorized by their targeted markets, such as the mass, professional, luxury, and active cosmetics markets. The Body Shop and Galderma are directly attached to the head office. L'Oréal also owns interests in various activities such as fine chemicals, health, finance, design, advertising, and insurance.<ref>[http://www.loreal.com/_en/_ww/brands-l-oreal.aspx All the brands of the L'Oréal Group: Garnier, L'Oréal Paris, Redken, Maybeline, Kerastase]. L'Oréal. (8 December 2009).</ref>

===Professional products===
{{Div col|colwidth=30em}}
* L'Oréal Technique
* L'Oréal Professionnel, including ARTec and Innate
* [[Kérastase]] (created by L'Oreal in 1964)
* Kéraskin Esthetics, created by L'Oreal in 2007 and specializing in skin care professionals
* Matrix Essentials, founded by Arnie Miller in 1980 and acquired by L'Oreal in 2000
* Mizani, founded in 1991 and bought by L'Oreal in 2001
* [[Pureology|PureOlogy Research]], founded in 2001 and acquired by L'Oreal in 2007
* [[Redken]] 5th Avenue NYC, founded by [[Paula Kent]] and [[Jheri Redding]] in 1960 and acquired by L'Oreal in 1993
* [[Shu Uemura]] Art of Hair
* [[Carol's Daughter]]
* Carita
* Essie, founded in 1981 and acquired by L'Oreal in 2010<ref>[http://fortune.com/2015/07/25/essie-nail-polish/ This woman’s name is in more than 25,000 nail salons]. Fortune.com. Retrieved on 2017-07-16.</ref>
* Decléor<ref>[http://www.loreal.com/brands/professional-products-division.aspx L'Oréal's Professional Products brands: L'Oréal Professionnel, Kérastase … - L'Oréal Group]. Loreal.com. Retrieved on 2015-04-12.</ref>
* Botanicals Fresh Care <ref>[http://www.loreal.com/media/news/2017/mar/botanicals-fresh-care-launch]. Loreal.com. Retrieved on 2017-03-01.</ref>
{{div col end}}

===L'Oreal Luxe===
{{Div col|colwidth=30em}}
* [[Lancôme]]
* [[Yves Saint Laurent (brand)|Yves Saint Laurent Beauté]]
* [[Giorgio Armani|Giorgio Armani Beauty]]
* [[Kiehl's]]
* [[Biotherm]]
* [[Cacharel]]
* [[Diesel (brand)|Diesel]]
* [[Viktor & Rolf]]
* [[Ralph Lauren Corporation|Ralph Lauren Fragrances]]
* [[Shu Uemura]]
* [[Clarisonic]]
* [[Guy Laroche]]
* [[Paloma Picasso]]
* [[Urban Decay (cosmetics)|Urban Decay]]
* [[Maison Margiela]]
* Yue Sai
* [[Helena Rubinstein]]
* IT Cosmetics
* House 99
* Atelier Cologne
* [[Proenza Schouler]]
{{div col end}}

===Consumer products===
{{Div col|colwidth=30em}}
* L'Oréal Paris
* Ombrelle
* [[Garnier Fructis|Garnier]]
* [[Maybelline]]
* [[NYX Cosmetics]]
* SoftSheen-Carson
* Carol's Daughter
* Créateurs de Beauté
* [[Essie Weingarten|Essie]]
* Magic
* Niely Cosméticos
* Colorama
{{div col end}}

===Active cosmetics===
{{Div col|colwidth=30em}}
* [[Vichy cosmetics|Vichy]]
* La Roche-Posay
* [[SkinCeuticals|Skinceuticals]]
* [[Roger & Gallet|Roger&Gallet]]
* Sanoflore
* Dermablend
* [[AcneFree]]
* Ambi
* CeraVe
{{div col end}}

== See also ==
*[[France 24]]
{{Portal bar|Paris|Companies|Fashion}}

== References ==
{{Reflist|30em}}

== External links ==
{{Commonscat-inline}}
* {{Official}}

{{Navboxes
|title=L'Oréal navigational boxes
|list1=</span>
{{L'Oreal Brands}}
{{Euro Stoxx 50 Companies}}
{{CAC 40 companies}}
{{Cosmetics}}}}

{{DEFAULTSORT:L'oreal}}
[[Category:L'Oréal| ]]
[[Category:1909 establishments in France]]
[[Category:Chemical companies established in 1909]]
[[Category:Cosmetics companies of France]]
[[Category:French business families]]
[[Category:History of cosmetics]]
[[Category:Multinational companies headquartered in France]]
[[Category:French brands]]
[[Category:CAC 40]]
[[Category:Companies in the Euro Stoxx 50]]

Streaming media

2018-10-08T20:15:04Z

TechTechToe: /* Bandwidth and storage */

Digital video

2018-10-08T20:13:26Z

TechTechToe: [citation needed]

{{Other uses}}
{{about|digital techniques applied to video|the standard format for storing digital video|DV}}
{{more citations needed|date=January 2010}}
'''Digital video''' is an electronic representation of moving visual images ([[video]]) in the form of encoded [[digital data]]. This is in contrast to [[analog video]], which represents moving visual images with [[analog signal]]s. Digital video comprises a series of [[digital image]]s displayed in rapid succession.

Digital video was first introduced commercially in 1986 with the [[D1 (Sony)|Sony D1]] format{{cn|date=June 2018}}, which recorded an uncompressed [[standard definition]] [[component video]] signal in digital form. In addition to uncompressed formats, popular [[Data compression|compressed]] digital video formats today include [[H.264]] and [[MPEG-4]]. Modern interconnect standards for digital video include [[HDMI]], [[DisplayPort]], [[Digital Visual Interface]] (DVI) and [[serial digital interface]] (SDI).

Digital video can be copied with no degradation in quality. In contrast, when analog sources are copied, they experience [[generation loss]]. Digital video can be stored on digital media such as [[Blu-ray Disc]], on [[computer data storage]] or [[streaming video|streamed]] over the [[Internet]] to [[end user]]s who watch content on a [[desktop computer]] screen or a digital [[smart TV]]. In everyday practice, digital video content such as [[TV show]]s and [[movie]]s also includes a [[digital audio]] soundtrack.{{cn|date=June 2018}}

==History==
Starting in the late 1970s to the early 1980s, several types of [[video production]] equipment that were digital in their internal workings were introduced. These included [[time base corrector]]s (TBC){{efn|For example the [[Thomson-CSF]] 9100 Digital Video Processor, an internally all-digital full-frame TBC introduced in 1980.}} and [[digital video effects]] (DVE) units.{{efn|For example the [[Ampex]] ADO, and the [[Nippon Electric Corporation]] (NEC) DVE.}} They operated by taking a standard analog [[composite video]] input and digitizing it internally. This made it easier to either correct or enhance the video signal, as in the case of a TBC, or to manipulate and add effects to the video, in the case of a DVE unit. The digitized and processed video information was then converted back to standard analog video for output.

Later on in the 1970s, manufacturers of professional video broadcast equipment, such as [[Robert Bosch GmbH|Bosch]] (through their [[Fernseh]] division) and [[Ampex]] developed prototype digital [[videotape recorder]]s (VTR) in their research and development labs. Bosch's machine used a modified [[1 inch type B videotape]] transport, and recorded an early form of [[CCIR 601]] digital video. Ampex's prototype digital video recorder used a modified [[2 inch Quadruplex videotape]] VTR (an Ampex AVR-3), but fitted with custom digital video electronics, and a special "octaplex" 8-head headwheel (regular analog 2" Quad machines only used 4 heads). Like standard 2" Quad, the audio on the Ampex prototype digital machine, nicknamed by its developers as "Annie", still recorded the audio in analog as linear tracks on the tape. None of these machines from these manufacturers were ever marketed commercially.

Digital video was first introduced commercially in 1986 with the Sony [[D-1 (Sony)|D1]] format, which recorded an uncompressed [[standard definition]] [[component video]] signal in digital form. Component video connections required 3 cables and most [[television]] facilities were wired for composite NTSC or PAL video using one cable. Due this incompatibility and also due to the cost of the recorder, D1 was used primarily by large [[television network]]s and other component-video capable video studios.

In 1988, Sony and Ampex co-developed and released the [[D-2 (video)|D2]] digital videocassette format, which recorded video digitally without compression in [[ITU-601]] format, much like D1. But D2 had the major difference of encoding the video in composite form to the NTSC standard, thereby only requiring single-cable composite video connections to and from a D2 VCR, making it a perfect fit for the majority of television facilities at the time. D2 was a successful format in the [[television broadcast]] industry throughout the late '80s and the '90s. D2 was also widely used in that era as the master tape format for mastering [[laserdiscs]].{{efn|Prior to D2, most laserdiscs were mastered using analog [[1" Type C videotape]]}}

D1 & D2 would eventually be replaced by cheaper systems using [[video compression]], most notably Sony's [[Digital Betacam]]{{efn|Digital Betacam is still heavily used as an [[electronic field production]] (EFP) recording format by professional television producers}} that were introduced into the network's [[television studio]]s. Other examples of digital video formats utilizing compression were Ampex's [[DCT (videocassette format)|DCT]] (the first to employ such when introduced in 1992), the industry-standard [[DV]] and MiniDV and its professional variations, Sony's [[DVCAM]] and Panasonic's [[DVCPRO]], and [[Betacam SX]], a lower-cost variant of Digital Betacam using [[MPEG-2]] compression.{{cn|date=June 2018}}

One of the first digital video products to run on personal computers was ''PACo: The PICS Animation Compiler'' from The Company of Science & Art in Providence, RI, which was developed starting in 1990 and first shipped in May 1991. PACo could stream unlimited-length video with synchronized sound from a single file (with the ".CAV" [[file extension]]) on CD-ROM. Creation required a Mac; playback was possible on Macs, PCs, and Sun [[SPARCstation]]s.<ref>{{cite web |title=CoSA Lives: The Story of the Company Behind After Effects |url=http://www.motionworks.com.au/2009/11/cosa-lives/ |archive-url=https://web.archive.org/web/20110227132422/http://motionworks.com.au/2009/11/cosa-lives/ |archive-date=2011-02-27 |access-date=2009-11-16 |dead-url=no |df= }}</ref>

[[QuickTime]], [[Apple Computer]]'s architecture for time-based and streaming data formats appeared in June 1991. Initial consumer-level content creation tools were crude, requiring an analog video source to be digitized to a computer-readable format. While low-quality at first, consumer digital video increased rapidly in quality, first with the introduction of playback standards such as [[MPEG-1]] and [[MPEG-2]] (adopted for use in television transmission and [[DVD]] media), and then the introduction of the [[DV]] tape format allowing recordings in the format to be transferred direct to digital video files (containing the same video data recorded on the transferred DV tape) on an editing computer and simplifying the editing process, allowing [[non-linear editing system]]s (NLE) to be deployed cheaply and widely on [[desktop computer]]s with no external playback/recording equipment needed, save for the computer simply requiring a [[FireWire]] port to interface to the DV-format camera or VCR. The widespread adoption of digital video has also drastically reduced the bandwidth needed for a [[high-definition video]] signal (with [[HDV]] and [[AVCHD]], as well as several commercial variants such as [[DVCPRO]]-HD, all using less bandwidth than a standard definition analog signal) and [[tapeless camcorder]]s based on [[flash memory]] and often a variant of [[MPEG-4]].

==Overview ==

Digital video comprises a series of orthogonal bitmap [[digital image]]s displayed in rapid succession at a constant rate. In the context of video these images are called '''[[film frame|frames]]'''.<ref>In fact the still images correspond to frames only in the case of progressive scan video. In interlaced video they correspond to fields. See section about interlacing for clarification</ref> The rate at which frames are displayed in is measured in '''frames per second (FPS)'''. Since every frame is an orthogonal bitmap digital image it comprises a raster of '''[[pixel]]s'''. If it has a width of '''W''' pixels and a height of '''H''' pixels it is said that the '''frame size''' is W''x''H. Pixels have only one property, their color. The color of a pixel is represented by a fixed number of bits. The more bits the more subtle variations of colors can be reproduced. This is called the '''[[color depth|color depth (CD)]]''' of the video.

An example video can have a '''duration (T)''' of 1 hour (3600''sec''), a frame size of 640x480 ''(WxH)'' at a color depth of 24 ''bits'' and a frame rate of 25''fps''. This example video has the following properties:
* '''pixels per frame''' = 640 * 480 = 307,200
* '''bits per frame''' = 307,200 * 24 = 7,372,800 = 7.37 ''Mbits''
* '''bit rate (BR)''' = 7.37 * 25 = 184.25 '''''Mbits/sec'''''
* '''video size (VS)'''<ref>the term ''video size'' is used instead of just ''size'' in order to avoid confusion with the ''frame size''</ref> = 184 ''Mbits/sec'' * 3600 ''sec'' = 662,400 ''Mbits'' = 82,800 ''Mbytes'' = 82.8 '''''Gbytes'''''

The most important properties are ''bit rate'' and ''video size''. The formulas relating those two with all other properties are:

BR = W * H * CD * FPS
VS = BR * T = W * H * CD * FPS * T
(units are: BR in bit/s, W and H in pixels, CD in bits, VS in bits, T in seconds)

while some secondary formulas are:
''pixels_per_frame'' = W * H
''pixels_per_second'' = W * H * FPS
''bits_per_frame'' = W * H * CD

===Interlacing===
In interlaced video each ''frame'' is composed of two ''halves of an image''. The first half contains only the odd-numbered lines of a full frame. The second half contains only the even-numbered lines. Those halves are referred to individually as ''fields''. Two consecutive fields compose a full frame. If an interlaced video has a frame rate of 15 frames per second the field rate is 30 fields per second. All the properties and formulas discussed here apply equally to interlaced video but one should be careful not to confuse the fields per second rate with the frames per second rate.

===Properties of compressed video===
The above are accurate for [[uncompressed video]]. Because of the relatively high bit rate of uncompressed video, [[video compression]] is extensively used. In the case of compressed video each frame requires a small percentage of the original bits. Assuming a [[compression algorithm]] that shrinks the input data by a factor of '''CF''', the bit rate and video size would equal to:

BR = W * H * CD * FPS / CF
VS = BR * T / CF

Note that it is not necessary that all frames are equally compressed by a factor of CF. In practice they are not, so CF is the ''average'' factor of compression for ''all'' the frames taken together.

The above equation for the bit rate can be rewritten by combining the compression factor and the color depth like this:

BR = W * H * ( CD / CF ) * FPS

The value '''(CD / CF)''' represents the '''average bits per pixel (BPP)'''. As an example, if there is a color depth of 12 bits/pixel and an algorithm that compresses at 40x, then BPP equals 0.3 (12/40). So in the case of compressed video the formula for bit rate is:

BR = W * H * BPP * FPS

The same formula is valid for uncompressed video because in that case one can assume that the "compression" factor is 1 and that the average bits per pixel equal the color depth.

===Bit rate and BPP===
By its definition, [[bit rate]] is a measure of the rate of information content of the digital video stream. In the case of uncompressed video, bit rate corresponds directly to the quality of the video. (Bit rate is proportional to every property that affects the [[video quality]].) Bit rate is an important property when transmitting video because the transmission link must be capable of supporting that bit rate. Bit rate is also important when dealing with the storage of video because, as shown above, the video size is proportional to the bit rate and the duration. Bit rate of uncompressed video is too high for most practical applications. [[Video compression]] is used to greatly reduce the bit rate. BPP is a measure of the efficiency of compression. A true-color video with no compression at all may have a BPP of 24 bits/pixel. [[Chroma subsampling]] can reduce the BPP to 16 or 12 bits/pixel. Applying [[jpeg]] compression on every frame can reduce the BPP to 8 or even 1 bits/pixel. Applying video compression algorithms like [[MPEG1]], [[MPEG2]] or [[MPEG4]] allows for fractional BPP values.

====Constant bit rate versus variable bit rate====
As noted above, BPP represents the ''average'' bits per pixel. There are compression algorithms that keep the BPP almost constant throughout the entire duration of the video. In this case, we also get video output with a [[Constant bitrate|constant bit rate (CBR)]]. This CBR video is suitable for real-time, non-buffered, fixed bandwidth video streaming (e.g. in videoconferencing). As not all frames can be compressed at the same level, because quality is more severely impacted for scenes of high complexity, some algorithms try to constantly adjust the BPP. They keep it high while compressing complex scenes and low for less demanding scenes. This way, one gets the best quality at the smallest average bit rate (and the smallest file size, accordingly). When using this method, the [[Variable Bit Rate|bit rate is variable]] because it tracks the variations of the BPP.

==Technical overview==

Standard [[film stock]]s such as [[16 mm film|16 mm]] and [[35 mm film|35 mm]] record at 24 [[frame rate|frames per second]]. For video, there are two frame rate standards: [[NTSC]], which shoot at 30/1.001 (about 29.97) frames per second or 59.94 fields per second, and [[PAL]], 25 frames per second or 50 fields per second. Digital video cameras come in two different image capture formats: [[Interlaced video|interlace]]d and deinterlaced / [[progressive scan]]. Interlaced cameras record the image in alternating sets of lines: the odd-numbered lines are scanned, and then the even-numbered lines are scanned, then the odd-numbered lines are scanned again, and so on. One set of odd or even lines is referred to as a "field", and a consecutive pairing of two fields of opposite parity is called a ''frame''. Deinterlaced cameras records each frame as distinct, with all scan lines being captured at the same moment in time. Thus, interlaced video captures samples the scene motion twice as often as progressive video does, for the same number of [[frame rate|frames per second]]. Progressive-scan camcorders generally produce a slightly sharper image. However, motion may not be as smooth as interlaced video which uses 50 or 59.94 fields per second, particularly if they employ the 24 frames per second standard of film.

Digital video can be copied with no degradation in quality. No matter how many generations of a digital source is copied, it will still be as clear as the original first generation of digital footage. However a change in parameters like frame size as well as a change of the digital format can decrease the quality of the video due to new calculations that have to be made. Digital video can be manipulated and edited to follow an order or sequence on an NLE, or [[non-linear editing]] workstation, a computer-based device intended to edit video and [[sound recording|audio]]. More and more, videos are edited on readily available, increasingly affordable consumer-grade computer hardware and software. However, such editing systems require ample disk space for video footage. The many video formats and parameters to be set make it quite impossible to come up with a specific number for how many minutes need how much time.

Digital video has a significantly lower cost than 35 mm film. In comparison to the high cost of [[film stock]], the tape stock (or other electronic media used for digital video recording, such as [[flash memory]] or [[hard disk drive]]) used for recording digital video is very inexpensive. Digital video also allows footage to be viewed on location without the expensive chemical processing required by film. Also physical deliveries of tapes and broadcasts do not apply anymore. [[Digital television]] (including higher quality [[High Definition Television|HDTV]]) started to spread in most developed countries in early 2000s. Digital video is also used in modern [[mobile phone]]s and [[Video teleconference|video conferencing]] systems. Digital video is also used for [[Internet]] distribution of media, including [[streaming video]] and [[peer-to-peer]] movie distribution. However even within Europe are lots of TV-Stations not broadcasting in HD, due to restricted budgets for new equipment for processing HD.

Many types of [[video compression]] exist for serving digital video over the internet and on optical disks. The file sizes of digital video used for professional editing are generally not practical for these purposes, and the video requires further compression with codecs such as Sorenson, H.264 and more recently Apple ProRes especially for HD. Probably the most widely used formats for delivering video over the internet are MPEG4, Quicktime, Flash and Windows Media, while MPEG2 is used almost exclusively for DVDs, providing an exceptional image in minimal size but resulting in a high level of CPU consumption to decompress.

{{As of|2011}}, the highest resolution demonstrated for digital video generation is 35 [[megapixel]]s (8192 x 4320). The highest speed is attained in industrial and scientific [[high speed camera]]s that are capable of filming 1024x1024 video at up to 1 million frames per second for brief periods of recording.

==Interfaces and cables==

Many interfaces have been designed specifically to handle the requirements of uncompressed digital video (from roughly 400 Mbit/s to 10 Gbit/s):

*[[HDMI|High-Definition Multimedia Interface]]
*[[Digital Visual Interface]]
*[[Serial Digital Interface]]
*[[DisplayPort]]
*[[Digital component video]]
*[[Unified Display Interface]]
*[[IEEE 1394|FireWire]]
*[[Universal Serial Bus|USB]]

The following interface has been designed for carrying [[Moving Picture Experts Group|MPEG]]-Transport compressed video:
* [[Digital Video Broadcasting|DVB]]-[[Asynchronous serial communication|ASI]]
Compressed video is also carried using [[User Datagram Protocol|UDP]]-[[Internet Protocol|IP]] over [[Ethernet]]. Two approaches exist for this:
* Using [[Real-time Transport Protocol|RTP]] as a wrapper for video packets
* 1-7 [[MPEG transport stream|MPEG Transport Packets]] are placed directly in the [[User Datagram Protocol|UDP]] packet

Alternative methods of carrying video over IP include:
* [[Network Device Interface]]

==Storage formats==

===Encoding===
All current formats, which are listed below, are [[Pulse-code modulation|PCM]] based.
*[[CCIR 601]] used for broadcast stations
*[[MPEG-4]] good for online distribution of large videos and video recorded to [[flash memory]]
*[[MPEG-2]] used for DVDs, Super-VCDs, and many broadcast television formats
*[[MPEG-1]] used for video CDs
*[[H.261]]
*[[H.263]]
*[[H.264/MPEG-4 AVC|H.264]] also known as ''MPEG-4 Part 10'', or as ''AVC'', used for [[Blu-ray Disc]]s and some broadcast television formats
*[[Theora]] used for video on Wikipedia

===Tapes===
{{main|Video tape}}
* [[Betacam|Betacam SX]], [[Betacam IMX]], [[Digital Betacam]], or DigiBeta — Commercial video systems by [[Sony]], based on original [[Betamax]] technology
* [[D-VHS]] — MPEG-2 format data recorded on a tape similar to [[S-VHS]]
* [[D1 (Sony)|D1]], [[D2 (video format)|D2]], [[D3 (video)|D3]], [[D5 HD|D5]], [[D9 (video)|D9]] (also known as Digital-S) — various [[SMPTE]] commercial digital video standards
* [[Digital8]] — DV-format data recorded on [[Hi8]]-compatible cassettes; largely a consumer format
* [[DV]], [[MiniDV]] — used in most of today's videotape-based consumer camcorders; designed for high quality and easy editing; can also record high-definition data ([[HDV]]) in MPEG-2 format
* [[DVCAM]], [[DVCPRO]] — used in professional broadcast operations; similar to DV but generally considered more robust; though DV-compatible, these formats have better audio handling.
* [[DVCPRO|DVCPRO50]], [[DVCPRO]]HD support higher bandwidths as compared to Panasonic's DVCPRO.
* [[HDCAM]] was introduced by Sony as a high-definition alternative to DigiBeta.
* [[MicroMV]] — MPEG-2-format data recorded on a very small, matchbook-sized cassette; obsolete
* [[ProHD]] — name used by JVC for its MPEG-2-based professional camcorders

===Discs===
{{main|Optical disc}}
* [[Blu-ray Disc]]
* [[DVD]]
* [[VCD]]

==See also==
{{Div col|colwidth=20em}}
*[[Digital audio]]
*[[Digital cinematography]]
*[[List of video topics]]
*[[Video coding]]
*[[Video editing software]]
*[[Video hosting service]]
*[[Webcam]]
{{Div col end}}

==Notes==
{{Noteslist}}

==References==
{{reflist}}

==External links==
* [http://www.adamwilt.com/DV.html The DV, DVCAM, & DVCPRO Formats -- tech details, FAQ, and links]
* [http://www.equasys.de/videoformats.html Standard digital TV and video formats.]

{{Digital systems}}
{{Video storage formats}}

{{DEFAULTSORT:Digital Video}}
[[Category:Film and video technology]]
[[Category:Video signal]]
[[Category:Television terminology]]
[[Category:Audiovisual introductions in 1986]]
[[Category:Film and video terminology]]

[[pl:Digital video]]
[[pt:Vídeo digital]]

Media player software

2018-10-08T20:10:42Z

TechTechToe: /* 3D video players */

{{use dmy dates|date=March 2015}}
[[File:MPlayer.png|thumb|[[MPlayer]], an example of a cross-platform media player]]
A '''media player''' is a [[computer program]]/software for playing [[multimedia]] [[computer file|files]] like audios, videos, movies and music. Media players commonly display standard [[media controls|media control icons]] known from physical devices such as [[tape recorder]]s and [[Compact Disc player|CD players]], such as play ( [[File:Octicons-playback-play.svg|10px]] ), pause ( [[File:Octicons-playback-pause.svg|10px]] ), fastforward, backforward, and stop ( [[File:Octicons-primitive-square.svg|10px]] ) buttons. In addition, they generally have [[progress bar]]s (or "playback bars") to locate the current position in the duration of the media file.

Mainstream operating systems have at least one built-in media player. For example, [[Windows]] comes with [[Windows Media Player]] while [[OS X]] comes with [[QuickTime Player]]. [[Linux distribution]]s may also come with a media players, such as [[SMPlayer]], [[Amarok (software)|Amarok]], [[Audacious (software)|Audacious]], [[Banshee (media player)|Banshee]], [[MPlayer]], [[Rhythmbox]], [[Totem (media player)|Totem]], [[VLC media player|VLC Media Player]], and [[xine]]. Android OS comes with [https://play.google.com/store/apps/details?id=com.google.android.music&hl=en Google Play Music] as default media player and many apps like [https://play.google.com/store/apps/details?id=com.maxmpz.audioplayer&hl=en Poweramp], [https://play.google.com/store/apps/details?id=com.bitsplayer.musicplayer&hl=en Beautiful Music Player], VLC Media Player.

==Functionality focus==
[[File:Clementine-1.2-Debian-it.png|thumb|[[Clementine (software)|Clementine]] v1.2, an audio player with a media library and online radio]]
Different media players may have different goals and feature sets. ''Video players'' are a group of media players that have their features geared more towards playing [[digital video]]. For example, [[Windows DVD Player]] exclusively plays [[DVD-Video]] discs and nothing else. [[Media Player Classic]] can play individual audio and video files but many of its features such as color correction, picture sharpening, zooming, set of [[hotkey]]s, [[Digital Video Broadcasting|DVB]] support and [[Subtitle (captioning)|subtitle]] support are only useful for video material such as films and cartoons. ''Audio players'', on the other hand, specialize in [[digital audio]]. For example, [[AIMP]] exclusively plays audio formats. [[MediaMonkey]] can play both audio and video format but many of its features including media library, lyric discovery, [[music visualization]], online radio, audiobook indexing and [[tag editor|tag editing]] are geared toward consumption of audio material. In addition, watching video files on it can be a trying feat. General-purpose media players also do exist. For example, Windows Media Player has exclusive features for both audio and video material, although it cannot match the feature set of Media Player Classic and MediaMonkey combined.

===3D video players===
[[3D film|3D]] video players are used to play [[2D to 3D conversion|2D video in 3D]] format. A high-quality [[3D film|three-dimensional video presentation]] requires that each frame of a motion picture be embedded with information on the depth of objects present in the scene. This process involves shooting the video with special equipment from two distinct perspectives or modelling and rendering each frame as a collection of objects composed of 3D vertices and textures, much like in any modern video game, to achieve special effects. Tedious and costly, this method is only used in a small fraction of movies produced worldwide, while most movies remain in the form of traditional 2D images. It is, however, possible to give an otherwise two-dimensional picture the appearance of depth. Using a technique known as [[Anaglyph image#Traditional anaglyph processing methods|anaglyph processing]] a "flat" picture can be transformed so as to give an illusion of depth when viewed through anaglyph glasses (usually red-cyan). An image viewed through anaglyph glasses appears to have both protruding and deeply embedded objects in it, at the expense of somewhat distorted colours. The [[Anaglyph image#History|method itself is old enough]], dating back to mid-19th century, but it is only with recent advances in computer technology that it has become possible to apply this kind of transformation to a series of frames in a motion picture reasonably fast or even in real time, i.e. as the video is being played back. Several implementations exist in the form of 3D video players that render conventional 2D video in anaglyph 3D, as well as in the form of 3D video converters that transform video into stereoscopic anaglyph and transcode it for playback with regular software or hardware video players.{{cn|date=April 2017}}

==Home theater PC==
{{Main|Home theater PC}}
A home theater PC or media center computer is a [[technological convergence|convergence]] device that combines some or all the capabilities of a personal computer with a software application that supports video, photo, audio playback, and sometimes [[digital video recorder|video recording]] functionality. Although computers with some of these capabilities were available from the late 1980s, the "Home Theater PC" term first appeared in mainstream press in 1996. Since 2007, other types of consumer electronics, including gaming systems and dedicated media devices have crossed over to manage video and music content. The term "media center" also refers to specialized computer programs designed to run on standard [[personal computer]]s.<ref name="ArsHTPC2010">{{cite web|url=https://arstechnica.com/gadgets/guides/2010/12/htpc-guide-1 |title=Ars Technica HTPC Guide: December 2010 |date=8 December 2010 | first=Brian |last=Won | website=[[Ars Technica]] |publisher=[[Condé Nast]]}}</ref>

==See also==
* [[Comparison of video player software]]
* [[Comparison of audio player software]]

==References==
{{Reflist}}

{{Media player (application software)}}

[[Category:Media players| ]]
[[Category:Multimedia]]

{{Multimedia-software-stub}}

Media player software

2018-10-08T20:06:33Z

TechTechToe: beefed info

{{use dmy dates|date=March 2015}}
[[File:MPlayer.png|thumb|[[MPlayer]], an example of a cross-platform media player]]
A '''media player''' is a [[computer program]]/software for playing [[multimedia]] [[computer file|files]] like audios, videos, movies and music. Media players commonly display standard [[media controls|media control icons]] known from physical devices such as [[tape recorder]]s and [[Compact Disc player|CD players]], such as play ( [[File:Octicons-playback-play.svg|10px]] ), pause ( [[File:Octicons-playback-pause.svg|10px]] ), fastforward, backforward, and stop ( [[File:Octicons-primitive-square.svg|10px]] ) buttons. In addition, they generally have [[progress bar]]s (or "playback bars") to locate the current position in the duration of the media file.

Mainstream operating systems have at least one built-in media player. For example, [[Windows]] comes with [[Windows Media Player]] while [[OS X]] comes with [[QuickTime Player]]. [[Linux distribution]]s may also come with a media players, such as [[SMPlayer]], [[Amarok (software)|Amarok]], [[Audacious (software)|Audacious]], [[Banshee (media player)|Banshee]], [[MPlayer]], [[Rhythmbox]], [[Totem (media player)|Totem]], [[VLC media player|VLC Media Player]], and [[xine]]. Android OS comes with [https://play.google.com/store/apps/details?id=com.google.android.music&hl=en Google Play Music] as default media player and many apps like [https://play.google.com/store/apps/details?id=com.maxmpz.audioplayer&hl=en Poweramp], [https://play.google.com/store/apps/details?id=com.bitsplayer.musicplayer&hl=en Beautiful Music Player], VLC Media Player.

==Functionality focus==
[[File:Clementine-1.2-Debian-it.png|thumb|[[Clementine (software)|Clementine]] v1.2, an audio player with a media library and online radio]]
Different media players may have different goals and feature sets. ''Video players'' are a group of media players that have their features geared more towards playing [[digital video]]. For example, [[Windows DVD Player]] exclusively plays [[DVD-Video]] discs and nothing else. [[Media Player Classic]] can play individual audio and video files but many of its features such as color correction, picture sharpening, zooming, set of [[hotkey]]s, [[Digital Video Broadcasting|DVB]] support and [[Subtitle (captioning)|subtitle]] support are only useful for video material such as films and cartoons. ''Audio players'', on the other hand, specialize in [[digital audio]]. For example, [[AIMP]] exclusively plays audio formats. [[MediaMonkey]] can play both audio and video format but many of its features including media library, lyric discovery, [[music visualization]], online radio, audiobook indexing and [[tag editor|tag editing]] are geared toward consumption of audio material. In addition, watching video files on it can be a trying feat. General-purpose media players also do exist. For example, Windows Media Player has exclusive features for both audio and video material, although it cannot match the feature set of Media Player Classic and MediaMonkey combined.

===3D video players===
3D video players are used to play 2D video in 3D format. A high-quality [[3D film|three-dimensional video presentation]] requires that each frame of a motion picture be embedded with information on the depth of objects present in the scene. This process involves shooting the video with special equipment from two distinct perspectives or modelling and rendering each frame as a collection of objects composed of 3D vertices and textures, much like in any modern video game, to achieve special effects. Tedious and costly, this method is only used in a small fraction of movies produced worldwide, while most movies remain in the form of traditional 2D images. It is, however, possible to give an otherwise two-dimensional picture the appearance of depth. Using a technique known as [[Anaglyph image#Traditional anaglyph processing methods|anaglyph processing]] a "flat" picture can be transformed so as to give an illusion of depth when viewed through anaglyph glasses (usually red-cyan). An image viewed through anaglyph glasses appears to have both protruding and deeply embedded objects in it, at the expense of somewhat distorted colours. The [[Anaglyph image#History|method itself is old enough]], dating back to mid-19th century, but it is only with recent advances in computer technology that it has become possible to apply this kind of transformation to a series of frames in a motion picture reasonably fast or even in real time, i.e. as the video is being played back. Several implementations exist in the form of 3D video players that render conventional 2D video in anaglyph 3D, as well as in the form of 3D video converters that transform video into stereoscopic anaglyph and transcode it for playback with regular software or hardware video players.{{cn|date=April 2017}}

==Home theater PC==
{{Main|Home theater PC}}
A home theater PC or media center computer is a [[technological convergence|convergence]] device that combines some or all the capabilities of a personal computer with a software application that supports video, photo, audio playback, and sometimes [[digital video recorder|video recording]] functionality. Although computers with some of these capabilities were available from the late 1980s, the "Home Theater PC" term first appeared in mainstream press in 1996. Since 2007, other types of consumer electronics, including gaming systems and dedicated media devices have crossed over to manage video and music content. The term "media center" also refers to specialized computer programs designed to run on standard [[personal computer]]s.<ref name="ArsHTPC2010">{{cite web|url=https://arstechnica.com/gadgets/guides/2010/12/htpc-guide-1 |title=Ars Technica HTPC Guide: December 2010 |date=8 December 2010 | first=Brian |last=Won | website=[[Ars Technica]] |publisher=[[Condé Nast]]}}</ref>

==See also==
* [[Comparison of video player software]]
* [[Comparison of audio player software]]

==References==
{{Reflist}}

{{Media player (application software)}}

[[Category:Media players| ]]
[[Category:Multimedia]]

{{Multimedia-software-stub}}

Streaming media

2018-10-08T20:03:24Z

TechTechToe: slow buffering

[[File:Sample Webcast Screenshot.png|thumb|A typical [[webcast]], streaming in an embedded media player]]
{{Ecommerce}}
[[File:Schou FishCam.jpeg|thumb|lt=A still from a live feed of a fish tank with multiple stream encoding qualities|A still from a [[live stream]] of a fish tank,<ref>{{cite web|url=http://fish.schou.me/|archiveurl=https://archive.today/20141216154536/http://fish.schou.me/|deadurl=yes|title=Schou FishCam|date=16 December 2014|archivedate=16 December 2014|publisher=}}</ref> Schou FishCam]]

'''Streaming media''' is [[multimedia]] that is constantly received by and presented to an [[End-user (computer science)|end-user]] while being delivered by a provider. The verb "to stream" refers to the process of delivering or obtaining media in this manner;{{Clarification needed|date=May 2018}} the term refers to the delivery method of the medium, rather than the medium itself, and is an alternative to file [[downloading]], a process in which the end-user obtains the entire file for the content before watching or listening to it.

A client end-user can use their [[media player (software)|media player]] to start playing the data file (such as a digital file of a movie or song) before the entire file has been transmitted. Distinguishing delivery method from the media distributed applies specifically to [[telecommunications network]]s, as most of the delivery systems are either inherently streaming (e.g. [[radio]], [[television]], streaming apps) or inherently non-streaming (e.g. [[books]], [[Videotape|video cassettes]], audio [[Compact Disc|CD]]s). For example, in the 1930s, [[elevator music]] was among the earliest popularly available streaming media; nowadays [[Internet television]] is a common form of streamed media. The term "streaming media" can apply to media other than video and audio such as live [[closed captioning]], [[ticker tape]], and [[real-time text]], which are all considered "streaming text".

The term "streaming" was first used for tape drives made by Data Electronics Inc. for drives meant to slowly ramp up and run for the entire track; the slow ramp times resulted in lower drive costs, making a more competitive product. "Streaming" was applied in the early 1990s as a better description for [[video on demand]] and later live video on IP networks first by [[Starlight Networks]] for video streaming and [[Real Networks]] for audio streaming; at the time such video was usually referred to as "store and forward video",<ref>{{cite web| url = http://ieeexplore.ieee.org/xpl/login.jsp?tp=&arnumber=188525&url=http%3A%2F%2Fieeexplore.ieee.org%2Fiel2%2F536%2F4777%2F00188525.pdf%3Farnumber%3D188525| title = On buffer requirements for store-and-forward video on demand service circuits | accessdate =| publisher = [[IEEE]]}}</ref> which was misleading nomenclature.

[[Live media|Live streaming]] is the delivery of [[Internet]] content in real-time, as events happen, much as [[live television]] broadcasts its contents over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a [[content delivery network]] to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is.

''Streaming'' generally refers to the situation where a user watches [[digital video]] content or listens to [[digital audio]] content on a computer screen and speakers (ranging from a [[smartphone]], through a [[desktop computer]] to a large-screen [[home cinema|home entertainment system]]) over the Internet. With streaming content, the user does not have to download the entire digital video or digital audio file before they start to play it.

There are challenges with streaming content on the Internet. If the user does not have enough [[Bandwidth (signal processing)|bandwidth]] in their Internet connection, they may experience stops, lags or slow buffering in the content and some users may not be able to stream certain content due to not having compatible computer or software systems.

Some popular streaming services include the [[video sharing website]] [[YouTube]], [[Twitch.tv|Twitch]] and [[Mixer (website)|Mixer]], which live stream the playing of video games; [[Netflix]] and [[Amazon Video]], which stream [[Film|movie]]s and [[Television show|TV show]]s; and [[Spotify]], [[Apple Music]] and [[Tidal (service)|TIDAL]], which stream [[music]].

==History==
In the early 1920s, [[George O. Squier]] was granted [[patent]]s for a system for the transmission and distribution of signals over electrical lines<ref>{{cite web| url = http://www.google.com/patents?id=5pV5AAAAEBAJ&dq=1641608| title = US Patent 1,641,608 | publisher = [[Google Patents]]}}</ref> which was the technical basis for what later became ''[[Muzak Holdings|Muzak]]'', a technology streaming continuous music to commercial customers without the use of [[radio]]. Attempts to display media on computers date back to the earliest days of computing in the mid-20th 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]] power and [[bus (computing)|bus]] [[Bandwidth (computing)|bandwidth]] to support the required data rates and creating [[Latency (engineering)|low-latency]] interrupt paths in the [[operating system]] to prevent [[buffer underrun]] and thus enable skip-free 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 by [[download]]ing a digital file from a remote server and then saving it to a local drive on the end user's computer or storing it as a digital file and playing it back from [[CD-ROM]]s.

===Late 1990s – early 2000s===
During the late 1990s and early 2000s, users had increased access to computer networks, especially the [[Internet]], and especially during the early 2000s, users had access to increased network [[Bandwidth (signal processing)|bandwidth]], especially in the "[[last mile]]". These technological improvements facilitated the streaming of audio and video content to computer users in their homes and workplaces. As well, there was an increasing use of standard protocols and formats, such as [[Internet protocol suite|TCP/IP]], [[HyperText Transfer Protocol|HTTP]], [[HyperText Markup Language|HTML]] and 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 June 24, 1993, the band was playing a gig at [[PARC (company)|Xerox PARC]] while elsewhere in the building, scientists were discussing new technology (the [[Mbone]]) for broadcasting on the Internet using [[multicasting]]. 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 152-by-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"]. ''From YouTube.com.'' Internet Archive - Stream Division. 5 April 2017. Retrieved 2018-01-13.</ref>

[[Microsoft]] Research developed a Microsoft TV application which was compiled under MS Windows Studio Suite and tested in conjunction with Connectix QuickCam. [[RealNetworks]] was also a pioneer in the streaming media markets, when it broadcast 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. |accessdate=2011-07-23}}</ref> The first symphonic concert on the Internet took place at the [[Paramount Theatre (Seattle, Washington)|Paramount Theater]] in [[Seattle]], Washington on November 10, 1995.<ref>{{cite magazine |author= |title= Cyberian Rhapsody |magazine=Billboard |location= United States|publisher= Lynne Segall|date=17 Feb 1996}}</ref> The concert was a collaboration between The Seattle Symphony and various guest musicians such as [[Slash (musician)|Slash]] (Guns 'n Roses, Velvet Revolver), [[Matt Cameron]] (Soundgarden, Pearl Jam), and [[Barrett Martin]] (Screaming Trees). When ''[[Word Magazine]]'' launched in 1995, they featured the first-ever streaming soundtracks on the Internet. {{Citation needed|date=March 2017}}

[[Metropolitan Opera Live in HD]] is a program in which the [[Metropolitan Opera]] streams an [[opera]] performance "live", as the performance is taking place. In 2013–2014, 10 operas were transmitted via satellite into at least 2,000 theaters in 66 countries.<ref>Pamela McClintock, [http://www.hollywoodreporter.com/news/met-opera-standoff-threatens-60-723614 "Met Opera Standoff Threatens $60 Million Theater Business", ''The Hollywood Reporter''] (online), August 7, 2014 on hollywoodreporter.com</ref>

===Business developments===
The first commercial streaming product appeared in late 1992 and was named StarWorks<ref name="StarWorks">{{cite web |url=https://www.researchgate.net/publication/3556409_StarWorks-a_video_applications_server |title=CompCon Spring 1993-StarWorks-a video applications server}}</ref> and enabled on demand MPEG-1 full motion videos to be randomly accessed on corporate [[Ethernet]] networks. Starworks was from [[Starlight Networks]], who 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}}</ref> Other early companies who created streaming media technology include [[RealNetworks]] (then known as Progressive Networks) and Protocomm both prior to wide spread World Wide Web usage and once the web became popular in the late 90s, streaming video on the internet blossomed from startups such as VDOnet, acquired by [[RealNetworks]], and Precept, acquired by [[Cisco]].

[[Microsoft]] developed a media player known as [[ActiveMovie]] in 1995 that allowed 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 and 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 many popular video hosting sites, such as [[YouTube]], now defaulting to [[HTML5 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>|last=|first=|date=|work=YouTube Engineering and Developers Blog|access-date=2018-02-20|archive-url=|archive-date=|dead-url=|language=en-US}}</ref> Increasing consumer demand for live streaming has prompted YouTube to implement a new live streaming service to users.<ref>{{cite web |url=http://news.cnet.com/8301-17939_109-9883062-2.html |author=Josh Lowensohn |year=2008 |title=YouTube to Offer Live Streaming This Year |accessdate=2011-07-23}}</ref> Presently the company also offers a (secured) link returning the available connection speed of the user.<ref>{{cite web|url=https://www.youtube.com/my_speed# | title=YouTube Video Speed History |accessdate=April 30, 2012 |deadurl=yes |archiveurl=https://web.archive.org/web/20120426225550/http://www.youtube.com/my_speed |archivedate=April 26, 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 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=RIAA|accessdate=5 January 2017}}</ref><ref>{{cite web|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-/|publisher=The Washington Times|accessdate=5 January 2017}}</ref> US streaming revenue grew 57 percent to $1.6 billion in the first half of 2016 and accounted for almost half of industry sales.<ref>{{cite web|last1=Shaw|first1=Lucas|title=The Music Industry Is Finally Making Money on Streaming|url=https://www.bloomberg.com/news/articles/2016-09-20/spotify-apple-drive-u-s-music-industry-s-8-first-half-growth|publisher=Bloomberg|accessdate=5 January 2017|date=20 September 2016}}</ref>

==Use by consumers==
[[File:羽村市動物公園ニコ生 2017 (32782507624).jpg|thumb|Live streaming service at zoo by [[Niconico]]]]
These advances in computer networking, combined with powerful home computers and modern operating systems, made streaming media practical and affordable for ordinary consumers. Stand-alone [[Internet radio device]]s emerged to offer listeners a no-computer option for listening to audio streams. These audio streaming services have become increasingly popular over recent years, as streaming music hit a record of 118.1 billion streams in 2013.<ref>"[https://www.ccianet.org/wp-content/uploads/2014/10/Sky-Is-Rising-2014.pdf The Sky is Rising]", Masnick, M., Ho, M., Hung, J., Beadon, L.. Accessed 8 February 2015.</ref> In general, multimedia content has a large volume, so media storage and transmission costs are still significant. To offset this somewhat, media are generally [[data compression|compressed]] for both storage and streaming. Increasing consumer demand for streaming of [[High definition television|high definition]] (HD) content has led the industry to develop a number of technologies such as [[WirelessHD ]] or [[ITU-T]] [[G.hn]], which are optimized for streaming HD content without forcing the user to install new [[networking cables]]. In 1996, digital pioneer [[Marc Scarpa]] produced the first large-scale, online, live broadcast in history, 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 President Clinton, and more recently Covered CA's campaign "Tell a Friend Get Covered" which was live streamed on YouTube.

As of 2016, a media stream can be streamed either "live" or "on demand". Live streams are generally provided by a means called "true streaming". True streaming sends the information straight to the computer or device without saving the file to a hard disk. On-demand streaming is provided by a means called ''progressive streaming'' or ''[[progressive download]]''. Progressive streaming saves the file to a hard disk and then is played from that location. On-demand streams are often saved to hard disks and servers for extended amounts of time; while the live streams are only available at one time only (e.g., during the football game).<ref>Grant and Meadows. (2009). Communication Technology Update and Fundamentals 11th Edition. pp.114</ref> Streaming media is increasingly being coupled with use of [[social media]]. For example, sites such as [[YouTube]] encourage social interaction in webcasts through features such as [[live chat]], [[online survey]]s, user posting of comments online and more. Furthermore, streaming media is increasingly being used for [[social business]] and [[e-learning]].<ref>{{cite web|url=http://web.inxpo.com/casting-calls/bid/113793/The-Future-of-Webcasting|title=The Future of Webcasting|last=Kellner|first=Scott|date=28 February 2013|publisher=INXPO|accessdate=15 May 2013|deadurl=yes|archiveurl=https://web.archive.org/web/20130703142337/http://web.inxpo.com/casting-calls/bid/113793/The-Future-of-Webcasting|archivedate=3 July 2013|df=}}</ref> Due the popularity of the streaming medias, many developers have introduced free HD movie streaming apps for the people who use smaller devices such as tablets and smartphones for everyday purposes.

The [[Horowitz Research]] State of Pay TV, OTT and SVOD 2017 report said that 70 percent of those viewing content did so through a streaming service, and that 40 percent of TV viewing was done this way, twice the number from five years earlier. [[Millennials]], the report said, streamed 60 percent of content.<ref>{{cite journal|title=Horowitz: Streaming Is the New Normal|last=Umstead|first=R. Thomas|work=[[Broadcasting & Cable]]|date=5 June 2017|page=4}}</ref>

===Transition from a DVD based to streaming based viewing culture===
One of the movie streaming industry’s largest impacts was on the [[DVD]] industry, which effectively met its demise with the mass popularization of online content. The rise of media streaming caused the downfall of many DVD rental companies such as [[Blockbuster LLC|Blockbuster]]. In July 2015 the [[New York Times]] published an article about [[Netflix]]'s DVD services. It stated that Netflix was continuing their DVD services with 5.3 million subscribers, which was a significant drop from the previous year. On the other hand, their streaming services had 65 million members.<ref>Steel, Emily. Netflix refines it's DVD business, even as streaming unit booms. July 26, 2015. newyorktimes.com. September 29, 2017</ref> In a March 2016 study assessing the “Impact of Movie Streaming over traditional DVD Movie Rental” it was found that respondents did not purchase DVD movies nearly as much anymore, if at all, as streaming had taken over the market. According to the study, viewers did not find movie quality to be significantly different between DVD and online streaming. Issues that respondents believed needed improvement with movie streaming included functions of fast forwarding or rewinding, as well as search functions.<ref name="autogenerated1">{{cite web|url=http://www.jiii.org/uploadfile/2016/0215/20160215101852372.pdf|title=JIII.org|publisher=}}</ref> The article highlighted that the quality of movie streaming as an industry would only increase in time, as advertising revenue continued to soar on a yearly basis throughout the industry, providing incentive for quality content production.<ref name="autogenerated1"/>

==Bandwidth and storage==
[[File:Unicast streaming.svg|thumb|Unicast connections require multiple connections from the same streaming server even when it streams the same content]]

A broadband speed of 2 Mbit/s or more is recommended for streaming [[standard definition]] video without experiencing buffering or skips, especially live video,<ref>{{cite web | url=https://www.broadbandchoices.co.uk/guides/internet/watching-tv-online | title=How to watch live TV online: The complete guide | work=broadbandchoices | date=20 May 2016 | accessdate=1 October 2016 | author=Staples, Kim}}</ref> for example to a [[Roku]], [[Apple TV]], [[Google TV]] or a Sony TV Blu-ray Disc Player. 5 Mbit/s is recommended for High Definition content and 9 Mbit/s for Ultra-High Definition content.<ref>Minimum requirements for Sony TV Blu-ray Disc Player, on advertisement attached to a NetFlix DVD{{Nonspecific|date=March 2011}}</ref> Streaming media storage size is calculated from the streaming bandwidth and length of the media using the following formula (for a single user and file) requires a storage size in [[megabyte]]s which is equal to length (in seconds) × [[bit rate]] (in bit/s) / (8 × 1024 × 1024). For example, one hour of digital video encoded at 300 kbit/s (this was a typical broadband video in 2005 and it was usually encoded in a 320 × 240 pixels window size) will be:
(3,600 s × 300,000 bit/s) / (8×1024×1024) requires around 128 [[Megabyte|MB]] of storage.

If the file is stored on a server for on-demand streaming and this stream is viewed by 1,000 people at the same time using a [[Unicast]] protocol, the requirement is 300 kbit/s × 1,000 = 300,000 kbit/s = 300 Mbit/s of bandwidth. This is equivalent to around 135 [[gigabyte|GB]] per hour. Using a [[multicast]] protocol the server sends out only a single stream that is common to all users. Therefore, such a stream would only use 300 kbit/s of serving bandwidth. See below for more information on these protocols. The calculation for live streaming is similar. Assuming that the seed at the encoder is 500 kbit/s and if the show lasts for 3 hours with 3,000 viewers, then the calculation is number of [[Megabyte|MB]]s transferred = encoder speed (in bit/s) × number of seconds × number of viewers / (8*1024*1024). The results of this calculation are as follows: number of [[Megabyte|MB]]s transferred = 500 x 1024 (bit/s) × 3 × 3,600 ( = 3 hours) × 3,000 (number of viewers) / (8*1024*1024) = 1,977,539 [[Megabyte|MB]]

== Protocols ==
The audio stream is compressed to make the file size smaller using an [[audio coding format]] such as [[MP3]], [[Vorbis]], [[Advanced Audio Coding|AAC]] or [[Opus (audio format)|Opus]]. The video stream is compressed using a [[video coding format]] to make the file size smaller. Video coding formats include [[H.264]], [[High Efficiency Video Coding|HEVC,]] [[VP8]] or [[VP9]]. Encoded audio and video streams are assembled in a container "[[bitstream]]" such as [[MPEG-4|MP4]], [[Flash Video|FLV]], [[WebM]], [[Advanced Systems Format|ASF]] or [[Internet Streaming Media Alliance|ISMA]]. The bitstream is delivered from a streaming server to a streaming client (e.g., the computer user with their [[Internet]]-connected [[laptop]]) using a transport protocol, such as Adobe's [[Real Time Messaging Protocol|RTMP]] or [[Real-time Transport Protocol|RTP]]. In the 2010s, technologies such as Apple's [[HTTP Live Streaming|HLS]], Microsoft's Smooth Streaming, Adobe's HDS and non-proprietary formats such as [[MPEG-DASH]] have emerged to enable [[adaptive bitrate streaming]] over [[HTTP]] as an alternative to using proprietary transport protocols. Often, a streaming transport protocol is used to send video from an event venue to a "[[Cloud computing|cloud]]" transcoding service and CDN, which then uses HTTP-based transport protocols to distribute the video to individual homes and users.<ref>{{cite web|title = Streaming the London Olympic Games with the "Go Live Package" from iStreamPlanet and Haivision {{!}} iStreamPlanet|url = http://www.istreamplanet.com/casestudy/the-london-olympic-games-go-live-package/|website = www.istreamplanet.com|accessdate = 2015-11-11}}</ref> The streaming client (the end user) may interact with the streaming server using a control protocol, such as [[Microsoft Media Server|MMS]] or [[Real Time Streaming Protocol|RTSP]].

==Protocol challenges==
Designing a network protocol to support streaming media raises many problems. [[Datagram]] protocols, such as the [[User Datagram Protocol]] (UDP), send the media stream as a series of small packets. This is simple and efficient; however, there is no mechanism within the protocol to guarantee delivery. It is up to the receiving application to detect loss or corruption and recover data using [[error correction]] techniques. If data is lost, the stream may suffer a [[Dropout (electronics)|dropout]]. The [[Real-time Streaming Protocol]] (RTSP), [[Real-time Transport Protocol]] (RTP) and the [[Real-time Transport Control Protocol]] (RTCP) were specifically designed to stream media over networks. RTSP runs over a variety of transport protocols, while the latter two are built on top of UDP.

Another approach that seems to incorporate both the advantages of using a standard web protocol and the ability to be used for streaming even live content is [[adaptive bitrate streaming]]. HTTP adaptive bitrate streaming is based on HTTP [[progressive download]], but contrary to the previous approach, here the files are very small, so that they can be compared to the streaming of packets, much like the case of using RTSP and RTP.<ref>Ch. Z. Patrikakis, N. Papaoulakis, Ch. Stefanoudaki, M. S. Nunes, "Streaming content wars: Download and play strikes back" presented at the Personalization in Media Delivery Platforms Workshop, [218 – 226], Venice, Italy, 2009.</ref> Reliable protocols, such as the [[Transmission Control Protocol]] (TCP), guarantee correct delivery of each bit in the media stream. However, they accomplish this with a system of timeouts and retries, which makes them more complex to implement. It also means that when there is data loss on the network, the media stream stalls while the protocol handlers detect the loss and retransmit the missing data. Clients can minimize this effect by buffering data for display. While delay due to buffering is acceptable in video on demand scenarios, users of interactive applications such as video conferencing will experience a loss of fidelity if the delay caused by buffering exceeds 200 ms.<ref>Krasic, C. and Li, K. and Walpole, J., ''The case for streaming multimedia with TCP'', Lecture Notes in Computer Science, pages 213--218, Springer, 2001</ref>
[[File:Multicast stream.svg|thumb|Multicasting broadcasts the same copy of the multimedia over the entire network to a group of clients]]

[[Unicast]] protocols send a separate copy of the media stream from the server to each recipient. Unicast is the norm for most Internet connections, but does not scale well when many users want to view the same [[television program]] concurrently. [[Multicast]] protocols were developed to reduce the server/network loads resulting from duplicate data streams that occur when many recipients receive unicast content streams independently. These protocols send a single stream from the source to a group of recipients. Depending on the network infrastructure and type, multicast transmission may or may not be feasible. One potential disadvantage of multicasting is the loss of [[video on demand]] functionality. Continuous streaming of radio or television material usually precludes the recipient's ability to control playback. However, this problem can be mitigated by elements such as caching servers, digital [[set-top box]]es, and buffered [[Media player (application software)|media players]].

[[IP Multicast]] provides a means to send a single media stream to a group of recipients on a [[computer network]]. A multicast protocol, usually [[Internet Group Management Protocol]], is used to manage delivery of multicast streams to the groups of recipients on a LAN. One of the challenges in deploying IP multicast is that routers and firewalls between LANs must allow the passage of packets destined to multicast groups. If the organization that is serving the content has control over the network between server and recipients (i.e., educational, government, and corporate [[intranet]]s), then routing protocols such as [[Protocol Independent Multicast]] can be used to deliver stream content to multiple [[Local Area Network]] segments. As in mass delivery of content, multicast protocols need much less energy and other resources, widespread introduction of reliable multicast (broadcast-like) protocols and their preferential use, wherever possible, is a significant ecological and economic challenge.{{citation needed|date=May 2014}} [[Peer-to-peer]] (P2P) protocols arrange for prerecorded streams to be sent between computers. This prevents the server and its network connections from becoming a bottleneck. However, it raises technical, performance, security, quality, and business issues.

==Applications and marketing==
{{Expand section|date=December 2016}}
Useful – and typical – applications of the "streaming" concept are, for example, long [[video lesson|video lectures]] performed "online" on the Internet.<ref>A typical one-hour [[video lesson|video lecture]] is the following "live stream" from an international conference on [[financial crisis|financial crises]]: [http://videolectures.net/eccs08_stanley_aosptucs/ /videolectures.net]</ref> An advantage of this presentation is that these lectures can be very long, indeed, although they can always be interrupted or repeated at arbitrary places. There are also new marketing concepts. For example, the [[Berlin Philharmonic Orchestra]] sells Internet live streams of whole concerts, instead of several [[CD]]s or similar fixed media, by their so-called "[[Digital Concert Hall]]"<ref>{{cite web|url=http://www.digitalconcerthall.com/|title=The Berliner Philharmoniker’s Digital Concert Hall|website=Digital Concert Hall}}</ref> using [[YouTube]] for "[[trailer (promotion)|trailing]]" purposes only. These "online concerts" are also spread over a lot of different places – cinemas – at various places on the globe. A similar concept is used by the [[Metropolitan Opera]] in New York. Many successful [[startup company|startup]] ventures have based their business on streaming media.<ref>{{cite web |url=https://www.crunchbase.com/category/videostreaming/b1b3b2d785ed2cb1fc603e2b6a3b5ddd |publisher=[[TechCrunch]] |title=Video Streaming Startups |accessdate=2015-03-12}}</ref> There also is [[High Definition Earth Viewing cameras|a livestream]] from the [[International Space Station]].<ref>{{cite web|title=High Definition Earth-Viewing System (HDEV)|url=https://eol.jsc.nasa.gov/ESRS/HDEV/|publisher=NASA|accessdate=26 December 2016}}</ref><ref>{{cite web|title=ISS HD Earth Viewing Experiment|url=http://www.ustream.tv/channel/iss-hdev-payload|accessdate=26 December 2016}}</ref>

==Recording==

Media that is live streamed can be recorded through certain media players such as [[VLC player]], or through the use of a [[Screen Recorder]]. Livestreaming platforms such as [[Twitch.tv|Twitch]] may also incorporate a [[video on demand]] system that allows automatic recording of live broadcasts so that they can be watched later.<ref>{{cite web|url=https://help.twitch.tv/customer/portal/articles/1575302-videos-on-demand|title=Videos On Demand|publisher=}}</ref>

==Copyright==

{{See also|Copyright aspects of downloading and streaming}}

Streaming copyrighted content can involve making infringing copies of the works in question. Streaming, or looking at content on the Internet, is legal in Europe, even if that material is copyrighted.<ref>{{cite web|last1=Smith|first1=Chris|title=Pirating copyrighted content is legal in Europe, if done correctly|url=http://bgr.com/2014/06/05/streaming-movies-and-tv-shows-for-free/|website=www.bgr.com|publisher=Boy Genius Report|accessdate=20 December 2014}}</ref>

==The disruption of the music and video industry==

===Disruption of the music industry===

The music industry has undergone a significant disruption. As came forward in the history, in 1999 the traditional music industry encountered the first digital innovations. The file sharing service of [[Napster]] allowed consumers to share mp3 files all over the world. However, the music industry destroyed this new business model by means of lawsuits. The response can be characterized as racing response, in which new threats are fought to extend the existing technology.<ref>Adner, R., & Snow, D. (2010). Old technology responses to new technology threats: demand heterogeneity and technology retreats. Industrial and Corporate Change, 19(5), 1655-1675.</ref> However, it was the beginning of a new era in which the music industry would change forever.

From 2000 to 2008 several companies started to deliver digital music for consumers and slow transition from the traditional CD towards streaming has started. Napster came back with a legitimized business, Rhapsody delivered a special audio player to deliver their music and Spotify started their unlimited streaming services in 2008.<ref>Rayna, T., & Striukova, L. (2016). 360° Business Model Innovation: Toward an Integrated View of Business Model Innovation: An integrated, value-based view of a business model can provide insight into potential areas for business model innovation. Research-Technology Management, 59(3), 21-28.</ref> This meant that the established industry faced a significant change in the way the they operates. Initially, record labels were controlling the publishing rights of music. But, the streaming services enabled the possibility to decouple it from a physical format (CD’s) into a digital format and share it via internet networks.

Unfortunately, Napster and [[Rhapsody]] didn’t had a long lasting success. A complementary asset was missing for these companies at the moment of introduction: the smartphone.<ref>Rayna, T., & Striukova, L. (2016). 360° Business Model Innovation: Toward an Integrated View of Business Model Innovation: An integrated, value-based view of a business model can provide insight into potential areas for business model innovation. Research-Technology Management, 59(3), 21-28.</ref> However, this doesn’t mean that a disrupting technology isn’t developing. A technological disruption can be analyzed through the S-curve model. The model indicates that this is one of the typical situations a disrupting innovation can face. We see here that the new technology is facing difficulty during the process, but the old technology has little chance to develop further. Eventually, this means that the substitution of streaming is delayed until these challenges are solved.<ref>Adner, R., & Kapoor, R. (2016). Innovation ecosystems and the pace of substitution: Re‐examining technology S‐curves. Strategic Management Journal, 37(4), 625-648.</ref> This is also what happened in the music industry. The number of smartphone users kept rising during the following years and the industry accepted that the sales of physical music would not last much longer.<ref>Statista. (2018). Number of smartphone users worldwide from 2014 to 2020 (in billions). Retrieved on 4/10/2018, from: https://www.statista.com/statistics/330695/number-of-smartphone-users-worldwide/</ref> They decided to open up and start focussing on the new way of delivering music to consumers.<ref>Business Matters. (2017, September). Music industry is a shining example of how to survive digital disruption. Retrieved on 4/10/2018, from: https://www.bmmagazine.co.uk/opinion/music-industry-shining-example-survive-digital-disruption/</ref>

However, this was not without any consequences. At first, it had a negative influence on the business model of record labels since they slightly lost the control over the distribution of music.<ref>Mulligan, M. (2015). Awakening: The music industry in the digital age. MIDiA Research.</ref> It also meant that revenue streams for artists and record labels were changing significantly. For example, in 2012, it led to a missed revenue from about 240 billion for the record labels and artist.<ref>Rogers, J. (2013). The death and life of the music industry in the digital age. A&C Black.</ref>

The acceptance of the streaming technology by the record labels also had a positive impact on the music industry, especially for artists. Some artists identified streaming as opportunity to get their music to a wider audience and earn missed revenue by using their increased popularity to sell out concerts and sell merchandize.<ref>Mulligan, M. (2015). Awakening: The music industry in the digital age. MIDiA Research.</ref> Besides, streaming services created an all round increase in revenue in the year 2015.<ref>Legrand, E. (2015, September).Streaming revenues boost US market. Retrieved on 4/10/2018, from: http://www.musicweek.com/labels/read/streaming-revenues-boost-us-market/062940</ref> But the royalties paid by streaming services, still creates dissatisfaction among artists, since the royalties must be splitted between record labels, producers, artist and songwriters.<ref>CNCB. (2018). Spotify and Apple music should become record labels so musicians can make a fair living. Retrieved on 4/10/2018, from: https://www.cnbc.com/2018/01/26/how-spotify-apple-music-can-pay-musicians-more-commentary.html</ref> However, there is light at the end of the tunnel, on the 20th of september 2018 [[Spotify]] announced “Spotify for Artists” which provides artists the opportunity to upload their music independently directly on Spotify.<ref>Spotify. (2018). Now in Beta: Upload your music in Spotify for Artists. Retrieved on 5/10/2018, from: https://artists.spotify.com/blog/now-in-beta-upload-your-music-in-spotify-for-artists</ref> This could be a massive breakthrough in the long term discussion about how much artists should receive, since they now can start working independently without the need to share the royalties among the other stakeholders

===Disruption of the video industry===

The video industry has also undergone a significant disruption with the appearance of streaming services. In the beginning of the year 2000, six major television companies were dominating the US television market for years and created an inviolable position in the market.<ref>Daly, C. B. (2013, August 28). The decline of Big Media, 1980s-2000s: Key lessons and trends Journalist's Resource. Retrieved November 07, 2016, from http://journalistsresource.org/studies/society/newsmedia/covering-america-journalism-professor-christopher-daly</ref>. However, from 2000 until 2009 these companies lost on average 82,5% of their stock value.<ref>Daly, C. B. (2013, August 28). The decline of Big Media, 1980s-2000s: Key lessons and trends Journalist's Resource. Retrieved November 07, 2016, from http://journalistsresource.org/studies/society/newsmedia/covering-america-journalism-professor-christopher-daly</ref> The market was changing and the power of the established order was diminishing. No longer were the cable providers and large television companies calling the shots about which media was available during the year. The on-demand availability of media was arasing and streaming slowly started disrupting the market.

In the beginning the providers of cabling television had a lot of leverage, since they were the only ones able to provide the consumer with access to television media. However, streaming services cause that this model is changing.<ref>Forbes. (2015).The Future Of TV Is Here. Can Cable Survive?. Retrieved on 5/10/2018, from: https://www.forbes.com/sites/gregsatell/2015/06/06/the-future-of-tv-is-here-can-cable-survive/#7daf91df142d</ref> The business to consumer model of streaming makes it possible to offer a substitute for a much lower price. Similar to music streaming, the disruption is again based on a simple characteristic: a more convenient product offered at a lower price. Companies like [[Hulu]], [[Netflix]], [[Amazon Prime]] and [[YouTube TV]] are stepping in a new potential market with a new business model.

Since, streaming technology can provide on-demand streaming as an inexpensive substitute for the expensive cable television, it turns out that it also have a big influence on the industry dynamics. In the beginning, the media firms were offering a wide package of channels for a reasonable price.<ref>The Economist. July, 2016. Cutting the cord. Retrieved on October 2nd, 2018 from: https://www.economist.com/business/2016/07/16/cutting-the-cord</ref> However, the prices slowly went up which led to high profit margins. Streaming services are disrupting this model step by step. Under the new generation streaming services gained popularity, which led in recent year to a loss of many customers. The previously loyal customers are switching towards the on-demand streaming possibilities against lower costs. The media firms are fighting this change by offering all in package, which contains TV, Internet and telephone services.<ref>The Economist. July, 2016. Cutting the cord. Retrieved on October 2nd, 2018 from: https://www.economist.com/business/2016/07/16/cutting-the-cord</ref> The response of the media companies can be seen as a typical retreat response. The old technology is placed in a new market model, which gains attraction in the market.<ref>Adner, R., & Snow, D. (2010). Old technology responses to new technology threats: demand heterogeneity and technology retreats. Industrial and Corporate Change, 19(5), 1655-1675.</ref> This create a temporary more sustaining position until the streaming technology takes over the market. Again the S-curve model can explain the process of disruption in the movie industry. The streaming services are facing little to no challenges, but the old technology can extend the business model with the new offerings. This creates a sturdy competition in which both offerings will coexist in the market.<ref>Adner, R., & Kapoor, R. (2016). Innovation ecosystems and the pace of substitution: Re‐examining technology S‐curves. Strategic Management Journal, 37(4), 625-648.</ref>

Currently, consumer do have reliable alternatives for the streaming of movies and series. However the access to streaming of the available tv-channels, as offered by cable companies, is still limited. This is seen by experts as the critical turning point for complete adoption of streaming. As soon as streaming services will be able to take over the rights for the on-demand streaming of tv-channels, the media business model will change indefinite.<ref>The Economist. July, 2016. Cutting the cord. Retrieved on October 2nd, 2018 from: https://www.economist.com/business/2016/07/16/cutting-the-cord</ref> However, also cabling companies are trying to make the step towards streaming options, but with less success. Consumers do not seem willing to pay extra subscription costs to media providers next to their original subscription with the same provide.<ref>Deloitte (2018) Digital media trends survey
A new world of choice for digital consumers Retrieved on 5/10/2018, from: https://www2.deloitte.com/content/dam/insights/us/articles/4479_Digital-media-trends/4479_Digital_media%20trends_Exec%20Sum_vFINAL.pdf</ref>

===The driving change of dynamics===

====Broadband infrastructure====

A key element for the success of streaming services is the broadband infrastructure. The broadband infrastructure must provide the consumers with the needed internet access to use the available services. The numbers show that in North America and Europe the users do have the availability over sufficient infrastructure to deliver the required internet speed to successfully use streaming. Besides, the increase wireless connectivity around the world ensured that the accessibility of the services has increased significantly. These elements are key drivers behind the successfully disruption of the markets.<ref>BCG. (2016). The Digital Revolution Is Disrupting the TV Industry. Retrieved on 6//10/2018, from: https://www.bcg.com/en-nl/publications/2016/media-entertainment-digital-revolution-disrupting-tv-industry.aspx (Links to an external site.)</ref>

====Complementary assets====

As discussed in the characteristics of streaming, the connectivity of streaming forms another driving force behind it. It ensures that consumers can access music or video from all kind of devices, which allows them to access video content anywhere. For example, your personal spotify account can be used on your mobile phone, laptop and TV.

====High quality content====

A driving force for the success of the movie industry is the availability of high quality content. Traditional movie studios have chosen to partner up with streaming services to provide quality content to the consumer. It appears that the abundance of the high-quality online content has created a shift in consumer behaviour towards watching on-demand streaming.

====Consumer demand change====

The disruptions of the music and television industry are not only technical in nature. A change in demand of the consumers towards a model where the consumer wants access to video and music content the want and whenever they want, on their device of choice.<ref>Deloitte. (2018). Digital media trends survey A new world of choice for digital consumers. Retrieved on 5/10/2018, from: https://www2.deloitte.com/content/dam/insights/us/articles/4479_Digital-media-trends/4479_Digital_media%20trends_Exec%20Sum_vFINAL.pdf</ref> The streaming services are fulfilling these wishes for their consumers, but also have another advantage: high-quality and original content. The research of Deloitte<ref>Deloitte. (2018). Digital media trends survey A new world of choice for digital consumers. Retrieved on 5/10/2018, from: https://www2.deloitte.com/content/dam/insights/us/articles/4479_Digital-media-trends/4479_Digital_media%20trends_Exec%20Sum_vFINAL.pdf</ref> shows that the consumer demand change and the high quality content are the reason that consumers here are willing to pay that extra subscription and eventually make the step towards paid streaming services.

===Specific firms disrupted===

====[[Spotify]] and [[Apple]]====

Spotify is a music streaming service that started providing services in 2008. Spotify provides a “freemium” service which means they have the option of free basic features with advertisements or a premium monthly subscription without ads.<ref>Muvi Blogs. (2017, August). The Evolution of Online Audio Streaming. Retrieved on October 5th, 2018 from: https://www.muvi.com/blogs/evolution-online-audio-streaming.html</ref> On the other hand, Apple had already entered the music industry years before and launched the iPod in 2001. The iPod was a music device where you could download and listen to MP3 music.<ref>Muvi Blogs. (2017, August). The Evolution of Online Audio Streaming. Retrieved on October 5th, 2018 from: https://www.muvi.com/blogs/evolution-online-audio-streaming.html</ref> Two years after, in 2003, Apple launched the iTunes Store, aiming to provide a legitimate source for downloading music and audios. Also as a key step to eliminate all illegal download from P2P sites, like Napster that were its main competence.<ref>Muvi Blogs. (2017, August). The Evolution of Online Audio Streaming. Retrieved on October 5th, 2018 from: https://www.muvi.com/blogs/evolution-online-audio-streaming.html</ref>

For entering the US market, Spotify had a lot of troubles overcoming the legal obstacles that record companies and Apple imposed. With a smart move, Spotify opened its platform and launched “Spotify Platform” where developers were encouraged to build on their platform, this way music channels and third parties started to get involved in Spotify´s business and the US market had no other option than allowing Spotify in its country in 2011.<ref>Corcobado, Miguel Angel. (2018, October). Spotify cumple 10 años y desafía a los periódicos vaticinios de desaparición. Retrieved on October 2nd, 2018 from: https://elpais.com/tecnologia/2018/10/05/actualidad/1538741114_562621.html</ref> Apple, was not going to be left behind and launched on 2015 Apple Music, a direct competitor that share some of the same characteristics than Spotify. Although Apple Music doesn't allow the free basic features that make Spotify so attractive, Apple still has a greater selection of Music and podcasts than Spotify. Apple has a strong connectivity and interoperability with the rest of Apple devices, while Spotify has a strong connectivity with Google applications and a wider range of devices like Xbox and Playstation.<ref>Saavvides, Lexy & Hand, Vanessa. (2018, October). Spotify vs. Apple Music: Which is the best music service? Retrieved on October 8th, 2018 from: https://www.cnet.com/news/spotify-vs-apple-music-which-is-the-best-music-service-compared-comparison/</ref>

In the online streaming market, the number of Spotify's and Apple´s Music competitors is growing. For example, Deezer offers a free year trial before needing to pay for it, the only requirement is to have a Facebook account. The industry is growing without limits and that means there will also come more competitors. It is necessary that current incumbents keep their innovating efforts, in order to not become obsolete.

====[[Netflix]] and [[Blockbuster]]====

Netflix entered the video rental market with a new business model offering mail-rentals in 1997. In comparison with Blockbuster and its rent per movie fee, this new and innovative business model offered a flat monthly subscription of unlimited movies with no time limitations for return and with no additional fees. The movies were ordered online and delivered by post directly to your house.<ref>Fisk, Peter. (2015, June). Gamechangers: Netflix Case Study. Retrieved on October 6th, 2018 from: https://www.youtube.com/watch?v=7Vxv4aVb6k4</ref> Sharing the characteristics of a disruptive innovation, Netflix offered a cheaper and more convenient alternative for renting movies. They also had less operating costs, as they didn't have any physical stores.<ref>Satell, Greg. (2014, September). A Look Back At Why Blockbuster Really Failed And Why It Didn't Have To. Retrieved on October 6th, 2018 from: https://www.forbes.com/sites/gregsatell/2014/09/05/a-look-back-at-why-blockbuster-really-failed-and-why-it-didnt-have-to/#747e35e21d64</ref> Initially, with just a thousand movies to offer and only through DVD format (a format that was still not adopted by a majority) Netflix tacked a lower and unattractive customer segment for Blockbuster, the dominant incumbent of the market by that time. In 2007, Netflix disrupted again the video-industry with their fast adoption of streaming technology, this time leaving Blockbuster out of the game. To understand this better we will use the Technology Improvement S-curve.

Pioneering: In 2007, a company named Computer Networks introduced to the market a new technology called HTTP-based adaptive streaming.<ref>Zambelli, Alex. (2013, March). A history of media streaming and the future of connected TV. Retrieved on October 8th, 2018 from:
https://www.theguardian.com/media-network/media-network-blog/2013/mar/01/history-streaming-future-connected-tv?CMP=share_btn_wa</ref> This new technology allowed streaming media to be finally distributed eliminating buffering and connectivity issues.<ref>Zambelli, Alex. (2013, March). A history of media streaming and the future of connected TV. Retrieved on October 8th, 2018 from:
https://www.theguardian.com/media-network/media-network-blog/2013/mar/01/history-streaming-future-connected-tv?CMP=share_btn_wa</ref> Netflix, had been investing in efforts towards streaming for some years. During this same year, through HTTP-based adaptive streaming they finally expanded its rental business and launched their first version of their own streaming platform.<ref>Fisk, Peter. (2015, June). Gamechangers: Netflix Case Study. Retrieved on October 6th, 2018 from: https://www.youtube.com/watch?v=7Vxv4aVb6k4</ref> Meanwhile, Blockbuster, had just entered the mail-rental service and finally decided to eliminate late fees, they started a pricing fight against Netflix.<ref>Fisk, Peter. (2015, June). Gamechangers: Netflix Case Study. Retrieved on October 6th, 2018 from: https://www.youtube.com/watch?v=7Vxv4aVb6k4</ref>

Technical obstacles overcome: Moving to streaming services implied technical difficulties and obstacles to overcome for Netflix, such as how to acquire customers and the lack of content that was available at that moment for online streaming. One of their ways for tackling this issue was to promote independent films, in 2012, Netflix launched its first original-content.<ref>Fisk, Peter. (2015, June). Gamechangers: Netflix Case Study. Retrieved on October 6th, 2018 from: https://www.youtube.com/watch?v=7Vxv4aVb6k4</ref> Additionally, streaming was only possible through computers and customers were not used to watch movies through the computer instead of the TV. Blockbuster on the other hand, also tried to incursionate the streaming services and finally filed for bankruptcy in 2010.<ref>Friedman, Wayne. (2018). Could Blockbuster Video Have Been Netflix? Retrieved on October 6th, 2018 from: https://www.mediapost.com/publications/article/316647/could-blockbuster-video-have-been-netflix.html</ref>

Master technology: Netflix streaming service offered certain additional characteristics that made them the preferred service for the average customer: Netflix streaming application allowed connectivity as it can be viewed and synchronized in multiple devices.<ref>Fisk, Peter. (2015, June). Gamechangers: Netflix Case Study. Retrieved on October 6th, 2018 from: https://www.youtube.com/watch?v=7Vxv4aVb6k4</ref> Through intentional traces like ratings and likes for movies, and unintentional traces of their consumers (hour of streaming, geolocation, type of content, frequency) Netflix can gather enough data for improving their services but also for creating more original content that match better the likes of their customers. Netflix application has been reprogrammed to allow customization through profiles, then algorithms give recommendations based on the consumer habits of each profile, 80 percent of what people watch on Netflix comes from this recommendations.<ref>Fisk, Peter. (2015, June). Gamechangers: Netflix Case Study. Retrieved on October 6th, 2018 from: https://www.youtube.com/watch?v=7Vxv4aVb6k4</ref>

Physical limits: Many other companies have entered the streaming service competition, some of the main competitors are HBO, Hulu, YouTube and Amazon Video. Due to the high price that it would cost to have multiple streaming service subscriptions, P2P downloading sites like Bitorrent are re-gaining importance. As customers find cheaper and more convenient to just acquire one subscription from a streaming service and download the additional specific content from P2P networks.<ref>Castillo, Antonio. October, 2018. Ante el aumento de producciones exclusivas de Netflix y sus competidores, las descargas P2P están repuntando según un estudio. Retrieved on October 7th, 2018 from:
https://www.xataka.com/servicios/aumento-producciones-exclusivas-netflix-sus-competidores-descargas-p2p-estan-repuntando-estudio</ref> This might be a hint of where the video streaming industry could be disrupted in the future.

In the end, Netflix had perfectioned its own streaming technology over the years and had disrupted not only video rentals, but also cable and television industries, by providing tv series and movies for all ages and tastes, in a cheaper and more convenient way.<ref>Fisk, Peter. (2015, June). Gamechangers: Netflix Case Study. Retrieved on October 6th, 2018 from: https://www.youtube.com/watch?v=7Vxv4aVb6k4</ref>

Blockbuster took a racing response towards Netflix, competing on prices or additional features instead of adapting to the new model and the new streaming technology.<ref>Adner, R., & Kapoor, R. (2016). Innovation ecosystems and the pace of substitution: Re‐examining technology S‐curves. Strategic Management Journal, 37(4), 625-648.</ref> Blockbuster realized Netflix was a threat since the beginning but they underestimated their capacity to influence a market where they were dominants but also the speed at which digital technologies would evolve. Blockbuster had a very strong and efficient business but lacked of capacity to adapt to network externalities brought by the introduction of digital technologies so by the time they tried to copy the new business model it was too late and they had become obsolete.<ref>Satell, G. (2014, September). A Look Back At Why Blockbuster Really Failed And Why It Didn't Have To. Retrieved on October 6th, 2018 from: https://www.forbes.com/sites/gregsatell/2014/09/05/a-look-back-at-why-blockbuster-really-failed-and-why-it-didnt-have-to/#747e35e21d64 </ref>

==See also==
{{Portal|Information technology}}

{{div col|colwidth=20em}}
* [[Comparison of on-demand music streaming services|Comparison of music streaming systems]]
* [[Comparison of streaming media systems]]
* [[Comparison of video streaming aggregators]]
* [[Comparison of video hosting services]]
* [[Content delivery platform]]
* [[Digital Living Network Alliance]] (DLNA)
* [[Digital television]]
* [[HTTP Live Streaming]]
* [[IPTV]]
* [[List of streaming media systems]]
* [[Live streaming]]
* [[M3U]] playlists
* [[P2PTV]]
* [[Protection of Broadcasts and Broadcasting Organizations Treaty]]
* [[Push technology]]
* [[Real-time data]]
* [[Stream processing]]
* [[Stream recorder]]
* [[Web syndication]]
{{div col end}}


==References==

{{Reflist|30em}}

==Further reading==
* J. Preston. "[https://www.nytimes.com/2011/12/12/business/media/occupy-movement-shows-potential-of-live-online-video.html?_r=1&ref=technology Occupy Video Showcases Live Streaming]," New York Times, December 11, 2011

== External links ==
* {{Citation |title=What is Streaming? A high-level view of streaming media technology, history |url=http://www.streamingmedia.com/Articles/ReadArticle.aspx?ArticleID=74052|accessdate=2016-03-25}}
* {{Citation |title=The Early History Of The Streaming Media Industry and The Battle Between Microsoft & Real |url=http://blog.streamingmedia.com/2016/03/history-of-the-streaming-media-industry.html|accessdate=2016-03-25}}

{{Broadcasting}}
{{Web syndication}}

{{Authority control}}
[[Category:Advertising by medium]]
[[Category:Advertising by type]]
[[Category:Streaming media systems| ]]
[[Category:Applications of distributed computing]]
[[Category:Cloud storage]]
[[Category:File sharing networks]]
[[Category:Film and video technology]]
[[Category:Internet broadcasting]]
[[Category:Multimedia]]
[[Category:Networks]]
[[Category:Peer-to-peer computing]]
[[Category:Peercasting]]
[[Category:Television terminology]]
[[Category:Promotion and marketing communications]]
[[Category:Bundled products or services]]

Software development kit

2018-10-08T19:57:50Z

TechTechToe:

A '''software development kit''' ('''SDK''' or '''devkit''') is typically a set of [[software development]] tools that allows the creation of [[application software|applications]] for a certain [[software]] package, [[software framework]], hardware platform, [[computer system]], [[video game console]], [[operating system]], or similar development platform.<ref name="ShamseeCCNA15">{{cite book |url=https://books.google.com/books?id=-0GkBgAAQBAJ&pg=PA934 |title=CCNA Data Center DCICT 640-916: Official Cert Guide |author=Shamsee, N.; Klebenov, D.; Fayed, H. et al. |publisher=Cisco |page=934 |year=2015 |isbn=9780133860450}}</ref><ref name="GartnerSDK">{{cite web |url=https://www.gartner.com/it-glossary/sdk-software-development-kit |title=SDK (software development kit) |publisher=Gartner, Inc |accessdate=5 July 2018}}</ref><ref name="SandovalWhatIs16">{{cite web |url=https://nordicapis.com/what-is-the-difference-between-an-api-and-an-sdk/ |title=What is the Difference Between an API and an SDK? |author=Sandoval, K. |work=Nordic APIs Blog |publisher=Nordic APIs AB |date=2 June 2016 |accessdate=5 July 2018}}</ref> To enrich applications with advanced functionalities, advertisements,<ref name="TarkomaSmart14">{{cite book |url=https://books.google.com/books?id=4tAHBAAAQBAJ&pg=PA249 |title=Smartphone Energy Consumption: Modeling and Optimization |author=Tarkoma, S.; Siekkinen, M.; Lagerspetz, E.; Xiao, Y. |publisher=Cambridge University Press |pages=249–50 |year=2014 |isbn=9781139992732}}</ref> push notifications,<ref name="BueckerIBM14">{{cite book |url=https://books.google.com/books?id=VmqcBQAAQBAJ&pg=PA207 |title=IBM System z in a Mobile World |author=Buecker, A.; Affouard, A.; Armstrong, A. et al. |publisher=IBM Redbooks |page=207 |year=2014 |isbn=9780738440095}}</ref> and more, most app developers implement specific software development kits. Some SDKs are critical for developing a platform-specific app. For example, the development of an [[Android (operating system)|Android]] app on [[Java (programming language)|Java]] platform requires a [[Java Development Kit]], for [[iOS]] apps the [[iOS SDK]], and for [[Universal Windows Platform]] the [[.NET Framework SDK]]. There are also SDKs that are installed in apps to provide analytics and data about application activity; prominent creators of these types of SDKs include [[Google]],<ref name="DimitriuHow17">{{cite web |url=https://blog.littledata.io/2017/04/11/how-to-use-analytics-for-mobile-apps-google-analytics-vs-firebase-analytics/ |title=How to use Analytics for mobile apps: Google Analytics SDK vs Firebase |author=Dimitriu, A. |work=Littledata Blog |publisher=Littledata Consulting Ltd |date=11 April 2017 |accessdate=5 July 2018}}</ref> [[InMobi]],<ref name="KirkHow17">{{cite web |url=https://www.inmobi.com/blog/2017/07/31/how-to-measure-mobile-video-viewability-without-slowing-performance |title=How to Measure Mobile Video Viewability (Without Slowing Performance) |author=Kirk, J. |work=inMobi Blog |publisher=inMobi |date=31 July 2017 |accessdate=3 July 2018}}</ref> and [[Facebook]].<ref name="CohenMore16">{{cite web |url=https://www.adweek.com/digital/facebook-analytics-for-apps-update-september-2016/ |title=More New Features for Facebook’s Analytics for Apps |author=Cohen, D. |work=Adweek |publisher=Adweek, LLC |date=29 September 2016 |accessdate=5 July 2018}}</ref>

==Details==
An SDK can take the form of a simple implementation of one or more [[application programming interface]]s (APIs)<ref name="SandovalWhatIs16" /> in the form of on-device [[Library (computing)|libraries]] to interface to a particular [[programming language]], or it may be as complex as hardware-specific tools that can communicate with a particular [[embedded system]].<ref name="BensoASoft00">{{cite journal |title=A software development kit for dependable applications in embedded systems |journal=Proceedings International Test Conference 2000 |author=Benso, A.; Chiusano, S.; Prinetto, P. |pages=170–8 |year=2000 |doi=10.1109/TEST.2000.894204}}</ref> Common [[Software development tool|tools]] include debugging facilities and other [[Utility program|utilities]], often presented in an [[integrated development environment]] (IDE).<ref name="BurdAndroid15">{{cite book |url=https://books.google.com/books?id=fwElCgAAQBAJ&pg=PA31 |title=Android Application Development All-in-One For Dummies |author=Burd, B. |publisher=John Wiley & Sons |page=31 |year=2015 |isbn=9781118973806}}</ref> SDKs may also include sample code and technical notes or other supporting documentation such as tutorials to help clarify points made by the primary reference material.<ref name="AsifNext11">{{cite book |url=https://books.google.com/books?id=zgqQ4MX3uIUC&pg=PT384 |title=Next Generation Mobile Communications Ecosystem: Technology Management for Mobile Communications |author=Asif, S.Z. |publisher=John Wiley & Sons |page=PT384 |year=2011 |isbn=9781119995814}}</ref><ref name="WitheeSharePoint11">{{cite book |url=https://books.google.com/books?id=_OiEGA2EZz8C&pg=PT346 |title=SharePoint 2010 Development For Dummies |author=Withee, K. |publisher=John Wiley & Sons |page=PT346 |year=2011 |isbn=9781118038628}}</ref>

SDKs often include [[License compatibility|licenses]] that make them unsuitable for building software intended to be developed under an incompatible license. For example, a proprietary SDK is generally incompatible with [[free software]] development, while a [[GNU General Public License|GPL]]-licensed SDK could be incompatible with proprietary software development, all particularly for legal reasons.<ref name="Vaughan-NicholsNoGoogle13">{{cite web |url=https://www.zdnet.com/article/no-google-is-not-making-the-android-sdk-proprietary-whats-the-fuss-about/ |title=No, Google is not making the Android SDK proprietary. What’s the fuss about? |author=Vaughan-Nichols, S.J. |work=ZDNet |publisher=CBS Interactive |date=4 January 2013 |accessdate=5 July 2018}}</ref><ref name="OrlandSonys17">{{cite web |url=https://arstechnica.com/gaming/2017/07/sony-using-copyright-requests-to-remove-leaked-ps4-sdk-from-the-web/ |title=Sony’s legal quest to remove its leaked developer’s kit from the Web |author=Orland, K. |work=ArsTechnica |publisher=Condé Nast |date=20 July 2017 |accessdate=5 July 2018}}</ref> However, SDKs built under the [[GNU Lesser General Public License]] (LGPL) are typically safe for proprietary development.<ref name="DavidsonAPrimer04">{{cite web |url=http://www.wipo.int/sme/en/documents/opensource_software_primer_fulltext.html |title=A Primer on Open Source Software for Business People and Lawyers |author=Davidson, S.J. |publisher=Leonard, Street and Deinard |date=2004 |accessdate=5 July 2018}}</ref>

The average [[Android (operating system)|Android]] [[mobile app]] implements 15.6 separate SDKs, with gaming apps implementing on average 17.5 different SDKs.<ref name="SafeDK">{{cite web|last1=Shoavi|first1=Orly|title=The All-Star Winners of Mobile App Tools (SDKs)|url=http://blog.safedk.com/sdk-economy/star-winners-mobile-app-tools-sdks/|website=SafeDK}}</ref> The most popular SDK categories for Android mobile apps are analytics and advertising.<ref name="SafeDK" />

SDKs can be unsafe (because they are implemented within apps, but yet run separate code). Malicious SDKs (with honest intentions or not) can violate users' [[data privacy]], damage app performance, or even cause apps to be banned from [[Google Play]] or iTunes.<ref name="TechCrunch">{{cite web|last1=Perez|first1=Sarah|title=Hundreds Of Apps Banned From App Store For Accessing Users’ Personal Information|url=https://techcrunch.com/2015/10/19/hundreds-of-apps-banned-from-app-store-for-accessing-users-personal-information/|website=TechCrunch}}</ref> New technologies allow [[Programmer|app developers]] to control and monitor client SDKs in real time.

Providers of SDKs for specific systems or [[subsystems]] sometimes substitute a more specific term instead of ''software''. For instance, both [[Microsoft]]<ref name="MicrosoftWDK">{{cite web |url=https://docs.microsoft.com/en-us/windows-hardware/drivers/index |title=Windows Driver Kit documentation |work=Hardware Dev Center |publisher=Microsoft |accessdate=5 July 2018}}</ref> and [[Citrix Systems|Citrix]]<ref name="CitrixDDK17">{{cite web |url=https://support.citrix.com/article/CTX224947 |title=Driver Development Kit - For XenServer 6.2.0 Service Pack 1 with Hotfix XS62ESP1062 |publisher=Citrix Systems, Inc |date=27 June 2017 |accessdate=5 July 2018}}</ref> provide a driver development kit (DDK) for developing [[device driver]]s.

==See also==
* [[Android software development#Android NDK|Android NDK]]
* [[Application programming interface]]
* [[Game development kit]]
* [[Graphics library]]
* [[Widget toolkit]] (or GUI toolkit)

==References==
{{reflist}}

{{DEFAULTSORT:Software Development Kit}}
[[Category:Computer libraries]]
[[Category:Software development]]

Mixer (service)

2018-10-08T19:46:17Z

TechTechToe: info new

{{Infobox website
|logo = Mixer (website) logo.svg
|logo_size = 200px
|caption = Official Beam icon
|url = {{URL|https://mixer.com}}
|commercial = Yes
|type = [[Streaming video|Streaming video service]]
| language count = 18<ref>{{Cite web|url=https://www.neowin.net/news/mixer-bumps-up-support-to-21-languages|title=Mixer bumps up support to 21 languages|last=Bodnarescu|first=Florin|date=25 October 2017|website=Neowin|archive-url=|archive-date=|dead-url=|accessdate=26 October 2017}}</ref>
| language = {{flatlist|
* Chinese Simplified
* Chinese Traditional
* Danish
* Dutch
* English
* Finnish
* French
* German
* Italian
* Japanese
* Korean
* Norwegian
* Polish
* Portuguese
* Russian
* Spanish
* Swedish
* Turkish
}}
|registration = Optional
|owner = [[Microsoft]] (Mixer Interactive Streaming LLC)
|founder = Matthew Salsamendi <br> James Boehm
|launch_date = {{start date and age|2016|1|5}}
|alexa = {{DecreasePositive}} 4,683 (June 2018)<ref>https://www.alexa.com/siteinfo/mixer.com</ref>
|current_status = Active
|name = Mixer
}}
'''Mixer''' (formerly '''Beam''') is a [[Seattle]]-based live [[streaming video]] platform owned by [[Microsoft]]. The service officially launched on January 5, 2016.<ref name="tc-beamacquired">{{cite web|title=Microsoft acquires Beam interactive game live streaming service|url=https://techcrunch.com/2016/08/11/microsoft-acquires-beam-interactive-game-livestreaming-service/|website=TechCrunch|accessdate=26 October 2017}}</ref>

Like competing services, Mixer focuses on [[Video game|video gaming]], including [[Let's Play (video gaming)|playthroughs]] of [[video games]] and [[video game live streaming|live streaming]], but is primarily distinguished by features designed to allow viewers to interact with streams. Using an [[software development kit|SDK]] (software development kit), features can be integrated into games to allow users to affect gameplay or vote on elements using buttons displayed alongside the stream. Users earn "Sparks" for watching and participating in streams, which can then be spent to activate these features. Mixer advertises that there is a [[Lag|latency]] of less than a second between the original broadcast and when it is received by users, rather than 10–20 seconds, which facilitates these features and encourages real-time interaction between streamers and their viewers.<ref name="polygon-renamedmixer" /><ref name="ars-beamacquired">{{cite web|title=Microsoft acquires game-streaming site, will integrate features into its games|url=https://arstechnica.com/gaming/2016/08/microsoft-acquires-game-streaming-site-will-integrate-features-into-its-games/|website=Ars Technica|publisher=Conde Nast|accessdate=26 October 2016}}</ref> For example, when you hit the [[Friending and following|Follow]] button in a stream it instantly appears on the stream.

On August 11, 2016, Beam was acquired by [[Microsoft]] for an undisclosed amount. The service's team was integrated into the [[Xbox]] division.<ref>{{Cite web|url=http://www.cnet.com/news/xbox-live-gets-more-social-with-microsofts-beam-buy/|title=Xbox Live gets more social with Microsoft's Beam buy|website=CNET|access-date=2016-08-11}}</ref><ref>{{Cite web|url=http://money.cnn.com/2016/08/12/technology/microsoft-buys-beam/index.html|title=Microsoft acquires gaming startup Beam run by 18-year-old|last=O'Brien|first=Sara Ashley|date=2016-08-12|website=CNNMoney|access-date=2016-08-20}}</ref><ref name="tc-beamacquired"/> On October 26, 2016, Microsoft announced that Beam would be integrated into [[Windows 10]].<ref name="ars-gamestreaming">{{cite web|title=Game streaming coming to Windows 10, and bitstream coming to Xbox One|url=https://arstechnica.com/gaming/2016/10/windows-creator-update-will-build-game-capture-functions-into-the-os/|website=Ars Technica|publisher=Conde Nast|accessdate=26 October 2016}}</ref> Beam broadcasting was also integrated into [[Xbox One]] on the March 2017 software update.<ref name="verge-xb1creators">{{cite web|title=The Xbox One gets Microsoft’s Beam streaming and a faster interface today|url=https://www.theverge.com/2017/3/29/15105796/xbox-one-march-update-microsoft-beam-streaming-dashboard-faster|website=The Verge|accessdate=26 May 2017}}</ref>

On May 25, 2017, Microsoft announced that Beam had been re-named Mixer, as the previous name could not be used globally.<ref>{{cite web|title=Matt (Mixer co-founder) Twitter|url=https://twitter.com/MattSalsamendi/status/867729664881471493|website=Twitter|accessdate=27 May 2017}}</ref> The re-branding came alongside the introduction of several new features, such as the ability for a user to host up to three other streams on their channel at once, as well as the companion mobile app Mixer Create available for the [[iOS]] and [[Android (operating system)|Android]] platforms. It was also announced that Mixer would receive top-level integration within the Xbox One dashboard, with a new tab curating Mixer streams.<ref name="polygon-renamedmixer">{{cite web|title=Microsoft’s Beam renamed to Mixer, adds co-op streaming (update)|url=https://www.polygon.com/2017/5/25/15687502/beam-rebranding-mixer-microsoft-pc-xbox-one|website=Polygon|accessdate=26 May 2017}}</ref> It hosts esports and various gaming events via newly created '''Mixer NYC Studio''' based in New York.<ref>http://microsoftesportsandgaming.com/en-us/</ref>

==See also==
{{collist|colwidth=22em|
*[[Livestream]]
*[[Machinima, Inc.|Machinima]]
*[[Major League Gaming]]
*[[Twitch.tv]]
*[[Dingit.tv]]
*[[Streamup]]
*[[Ustream]]
*[[YY (social network)|YY]]
*[[Hitbox.tv]]
*[[YouTube Gaming]]
}}

== External links ==
* {{Official website|https://mixer.com}}

== References ==
{{reflist|30em}}

{{Video digital distribution platforms}}
{{Microsoft}}
{{Xbox}}

[[Category:Software companies based in Seattle]]
[[Category:Entertainment companies established in 2016]]
[[Category:Internet properties established in 2016]]
[[Category:Media companies established in 2016]]
[[Category:Software companies established in 2016]]
[[Category:2016 establishments in Washington (state)]]
[[Category:Microsoft acquisitions]]
[[Category:Microsoft websites]]
[[Category:Video game streaming services]]
{{microsoft-stub}}
{{videogame-software-stub}}

User:TechTechToe

2018-10-08T19:31:55Z

TechTechToe: ←Created page with 'Bonjour.'

Bonjour.