Digital Entertainment

Perkembangan teknologi digital telah menghadirkan bentuk hiburan baru dalam format permainan slot online dengan Return to Player (RTP) tinggi. Penelitian ini menganalisis fenomena slot online RTP tinggi sebagai bentuk hiburan digital modern dari perspektif multidisipliner, mencakup aspek teknologi, psikologi pengguna, dan dampak sosial ekonomi. Melalui pendekatan deskriptif analitik, penelitian ini mengeksplorasi mekanisme RTP, faktor-faktor yang mempengaruhi popularitas slot online, serta implikasinya terhadap masyarakat modern. Hasil analisis menunjukkan bahwa slot online RTP tinggi telah menjadi fenomena hiburan digital yang signifikan dengan dampak kompleks terhadap perilaku konsumen dan struktur sosial ekonomi.

The integration of Augmented Reality (AR) and Virtual Reality (VR) technologies is revolutionizing the entertainment industry, particularly in content creation, storytelling, and audience engagement. This research explores the transformative impact of AR and VR on entertainment production, emphasizing their potential to redefine traditional media consumption and production processes. AR enhances real-world experiences by overlaying digital elements, while VR offers fully immersive digital environments, both of which are reshaping how content is created, consumed, and experienced. Through secondary data analysis of academic journals, industry reports, and case studies, this study examines how AR and VR are being used in film production, gaming, live events, and marketing. The research reveals that these technologies offer new creative possibilities, enhance audience engagement, and create new revenue streams. However, challenges such as high development costs, technical limitations, and privacy concerns remain. The paper concludes by offering recommendations for content creators, technology developers, and industry stakeholders to leverage AR and VR for future growth while addressing existing challenges.

The marketability of current and future BCI applications may greatly influence the decisions of goverments, the industry and academia. In this paper we first explored with a survey when respondents (N=145), who were present at the 4th International BCI Meeting, expect that different BCI applications will become commercially available. Second, we surveyed how well existing BCI companies are known to respondents. Third, we compared the findings with our own preliminary overview of the marketability of BCIs and our repository of 28 companies. Respondents were optimistic about the marketability of BCIs for healthy users and users who need assistive technology, but 72.4 % of the respondents was unaware that companies already exist which market BCI's. Based on a preliminary market overview we cautiously suggest that optimism in relation to applications for healthy users is more appropriate than in relation to BCI-based assistive technology. In future we plan surveys among a broader range of stakeholders and a more profound analysis of the market.

As the demand for immersive multimedia experiences continues to grow, 360° augmented reality (AR) video streaming has emerged as a promising technology to deliver interactive and engaging content to users. This review paper provides a comprehensive overview of the current state of 360° AR video streaming, focusing on recent advancements, challenges, and potential future directions. The paper begins by presenting an in-depth exploration of the fundamental concepts and technologies underpinning 360° AR video streaming, including camera capture techniques, video encoding and compression methods, and the integration of augmented reality overlays. Subsequently, it delves into a critical analysis of the existing literature, highlighting key developments in the field. This encompasses advancements in video quality, real-time rendering, and the integration of interactive AR elements within the 360° video environment. Furthermore, the review addresses the challenges and limitations associated with 360° AR video streaming, ranging from bandwidth constraints and latency issues to hardware requirements and user experience considerations. Solutions and strategies proposed in the literature to mitigate these challenges are discussed, providing insights into the ongoing research efforts aimed at enhancing the overall performance and user satisfaction. In addition to technical aspects, the paper explores diverse applications of 360° AR video streaming across various domains, such as entertainment, education, healthcare, and industry. This section highlights successful implementations, innovative use cases, and potential benefits realized in each domain. The review concludes by outlining potential future trends and research directions in the dynamic field of 360° AR video streaming. Anticipated developments in hardware, software, and content creation are discussed, along with their potential impact on the widespread adoption of this technology. By synthesizing and critically examining the existing body of knowledge, this review paper serves as a valuable resource for researchers, practitioners, and industry professionals interested in gaining a comprehensive understanding of the current landscape, challenges, and opportunities in 360° augmented reality video streaming.

First-generation mobile TV has involved delivering content to cell phones. But as mobile TV evolves, it will find greater significance as part of a multifaceted video offering that combines multiple screens, devices, networks, and content types. Content, or a particular viewing session, moves with the user, across devices and across networks. Furthermore, in addition to providing an alternate screen, a mobile device may provide complementary functions like programming TiVo remotely, streaming video from the cell phone to the TV set, or creating video content for distribution on the Web and uploading it directly over wireless networks. In the new TV ecosystem, all end-user devices collaborate across the whole video value chain, from content creation to distribution to consumption. Finally, as mobile devices become integral components of the new video ecosystem, their personal nature will drive the development of social TV, defined as a new way of delivering TV based on users sharing all aspects of the experience within the context of social networks. This chapter presents our view of mobile social TV: a shared TV experience that uses the power of the Internet and social networks to "move" from screen to screen and network to network to unite family and friends.

Dr. Subhankar Das (academician, researcher, author, writer, blogger, data science trainer, social media marketing consultant) earned his Ph.D. in Management from Siksha O Anusandhan University, Odisha, in Social Media Advertisement and Media Planning. He is a certified professional from Google, Manipal in digital marketing, IIM Lucknow, IIM Bangalore for Media Planning, and the University of British Columbia for Advertisement, along with another 15+ globally recognized professional certifications. He has published 30+ research papers in various national and international conferences and various international refereed journals (Scopus, Thomson Reuters, SSCI, SCIE), and even reputed IIT-IIM inhouse magazines. He acts as program committee/organizing committee/advisory committee/ reviewer committee member for various international conferences across the globe. He has been a keynote speaker, session chair, and session co-chair at more than 15 international and national conferences. He is a member of more than ten international and national research societies and 10+ research organizations at a grade of senior/life. He has been awarded five international awards for teaching and research.

VR devices are now part of the world's gaming industry, VR is here to make the gaming experience more immersive. The potential for these VR devices to play video games, which in general is very rarely found and used by gamers in Indonesia, VR devices are more often used found in campus computer laboratories for experimentation, or as a learning process, and gamers in Indonesia also don't see VR devices as a new medium to get new experiences in playing games, this paper raises several issues to the surface regarding the future of VR in Indonesia.

The enhancement of Industry 4.0 provides various technological inventions and innovations in all the minor and major industrial zones in the world. Due to Industry 4.0, Education adapts many technological tools into the curriculum. Industry 4.0 transformed Education into Education 4.0 (An Era of EdTech). The urgency of Education 4.0 triggers language learning and teaching to modify and reorganize with AI based applications in the language classroom. Artificial Intelligence based technology has various distinct features such as speech recognition, facial recognition, voice assistants, chatbots, machine learning, deep learning, cloud computing etc., At present, AI empowered applications deeply involved in language education. AI based applications develop learners’ language proficiency as well as help language trainers. The main objective of this paper is to identify and analyze the most appropriate AI applications for second language learning with the context of Education 4.0. This research paper critically examines the new AI technologies and its resources. This paper provides a review of AI technology driven applications for second language learning and teaching.

First-generation mobile TV has involved delivering content to cell phones. But as mobile TV evolves, it will find greater significance as part of a multifaceted video offering that combines multiple screens, devices, networks, and content types. Content, or a particular viewing session, moves with the user, across devices and across networks. Furthermore, in addition to providing an alternate screen, a mobile device may provide complementary functions like programming TiVo remotely, streaming video from the cell phone to the TV set, or creating video content for distribution on the Web and uploading it directly over wireless networks. In the new TV ecosystem, all end-user devices collaborate across the whole video value chain, from content creation to distribution to consumption. Finally, as mobile devices become integral components of the new video ecosystem, their personal nature will drive the development of social TV, defined as a new way of delivering TV based on users sharing all aspects of the experience within the context of social networks. This chapter presents our view of mobile social TV: a shared TV experience that uses the power of the Internet and social networks to "move" from screen to screen and network to network to unite family and friends.

Digital technologies are transforming leisure and the way it is organized. Despite its importance, few studies have addressed the study from the academic world. In this paper, we make an extensive literature review on leisure and digital technologies, in order to contribute to knowledge by developing an interpretive framework of digital entertainment. We suggest that digital technologies bring a new dimension to leisure, altering its traditional dichotomous properties, placing individuals and businesses between a holistic or separate view of the natural and digitally built worlds. In the first case blurs the boundary between the dichotomous properties of leisure and work, not in the second. Both conceptions are evident in different degrees in which changes shape within individuals and on how businesses solve the challenges appeared.

Dr. Subhankar Das (academician, researcher, author, writer, blogger, data science trainer, social media marketing consultant) earned his Ph.D. in Management from Siksha O Anusandhan University, Odisha, in Social Media Advertisement and Media Planning. He is a certified professional from Google, Manipal in digital marketing, IIM Lucknow, IIM Bangalore for Media Planning, and the University of British Columbia for Advertisement, along with another 15+ globally recognized professional certifications. He has published 30+ research papers in various national and international conferences and various international refereed journals (Scopus, Thomson Reuters, SSCI, SCIE), and even reputed IIT-IIM inhouse magazines. He acts as program committee/organizing committee/advisory committee/ reviewer committee member for various international conferences across the globe. He has been a keynote speaker, session chair, and session co-chair at more than 15 international and national conferences. He is a member of more than ten international and national research societies and 10+ research organizations at a grade of senior/life. He has been awarded five international awards for teaching and research.

Hybrid Broadcast Broadband Television is a technology platform that combines television and Internet services. This work proposes an approach to deliver auxiliary web-based content through broadcast applications bypassing the requirement of Internet connectivity. A complete practical implementation of the solution is provided supporting all technology levels.

First-generation mobile TV has involved delivering content to cell phones. But as mobile TV evolves, it will find greater significance as part of a multifaceted video offering that combines multiple screens, devices, networks, and content types. Content, or a particular viewing session, moves with the user, across devices and across networks. Furthermore, in addition to providing an alternate screen, a mobile device may provide complementary functions like programming TiVo remotely, streaming video from the cell phone to the TV set, or creating video content for distribution on the Web and uploading it directly over wireless networks. In the new TV ecosystem, all end-user devices collaborate across the whole video value chain, from content creation to distribution to consumption. Finally, as mobile devices become integral components of the new video ecosystem, their personal nature will drive the development of social TV, defined as a new way of delivering TV based on users sharing all aspects of the experience within the context of social networks. This chapter presents our view of mobile social TV: a shared TV experience that uses the power of the Internet and social networks to "move" from screen to screen and network to network to unite family and friends.

Digital technologies are transforming leisure and the way it is organized. Despite its importance, few studies have addressed the study from the academic world. In this paper, we make an extensive literature review on leisure and digital technologies, in order to contribute to knowledge by developing an interpretive framework of digital entertainment. We suggest that digital technologies bring a new dimension to leisure, altering its traditional dichotomous properties, placing individuals and businesses between a holistic or separate view of the natural and digitally built worlds. In the first case blurs the boundary between the dichotomous properties of leisure and work, not in the second. Both conceptions are evident in different degrees in which changes shape within individuals and on how businesses solve the challenges appeared.

Dr. Subhankar Das (academician, researcher, author, writer, blogger, data science trainer, social media marketing consultant) earned his Ph.D. in Management from Siksha O Anusandhan University, Odisha, in Social Media Advertisement and Media Planning. He is a certified professional from Google, Manipal in digital marketing, IIM Lucknow, IIM Bangalore for Media Planning, and the University of British Columbia for Advertisement, along with another 15+ globally recognized professional certifications. He has published 30+ research papers in various national and international conferences and various international refereed journals (Scopus, Thomson Reuters, SSCI, SCIE), and even reputed IIT-IIM inhouse magazines. He acts as program committee/organizing committee/advisory committee/ reviewer committee member for various international conferences across the globe. He has been a keynote speaker, session chair, and session co-chair at more than 15 international and national conferences. He is a member of more than ten international and national research societies and 10+ research organizations at a grade of senior/life. He has been awarded five international awards for teaching and research.

Digital technologies are profoundly transforming the production and consumption of culture and entertainment products. The emerging digital re-mix culture is an open source approach where content products in the arts and entertainment industries are increasingly rearranged, manipulated, and extended in the process of creating new works. This article offers a unified description of the tools and techniques that led to the development of the open source culture and that enable the processes which promote re-use of previously recorded materials. It then lays out the incentives and forces that either promote or inhibit the development, distribution, and consumption of modified cultural content by individual consumers and by derivative artists. Using multiple perspectives from economics, design sciences, and arts and culture, new theory is built to suggest how-rip, mix and burn‖ strategies based on re-use and recombination of content components can create significant economic value, stimulate artistic innovation, and spur creativity and growth in the culture and entertainment industry. The potential for wealth transfer and who loses and who gains in the open source digital re-mix culture are explored. The creative and economic forces enabled by digital re-use technologies are shown to play a significant role in the observed move towards more open source and social production modes in the culture industries. Five-mini case studies provide supporting perspectives for the proposed interdisciplinary theory of open source digital re-mix culture.

Hybrid Broadcast Broadband Television is a technology platform that combines television and Internet services. This work proposes an approach to deliver auxiliary web-based content through broadcast applications bypassing the requirement of Internet connectivity. A complete practical implementation of the solution is provided supporting all technology levels.

Internet of Things (IoT) is an up-and-coming technology that has a wide variety of applications. It empowers physical objects to be organized in a specialized framework to grow its convenience in terms of ease and time utilization. It is to convert the thought of bridging the crevice between the physical world and the machine world. It is also being use in the wide range of the technology in this current situation. One of its applications is to monitor and store data over time from numerous devices allows for easy analysis of the dataset. This analysis can then be the basis of decisions made on the same. In this study, the concept, architecture, and relationship of IoT and Big Data are described. Next, several use cases in IoT and big data in the research methodology are studied. The opportunities and open challenges which including the future directions are described. Furthermore, by proposing a new architecture for big data analytics in the Internet of Things, this paper adds value. Overall, the various types of big IoT data analytics, their methods, and associated big data mining technologies are discussed.

Producing plays, films or animations is a complex and expensive process involving various professionals and media. Our proposed software system, SceneMaker, aims to facilitate this creative process by automatically interpreting natural language film scripts and generating multimodal, animated scenes from them. During the generation of the story content, SceneMaker gives particular attention to emotional aspects and their reflection in fluency and manner of actions, body posture, facial expressions, speech, scene composition, timing, lighting, music and camera work. Related literature and software on Natural Language Processing, in particular textual affect sensing, affective embodied agents, visualisation of 3D scenes and digital cinematography are reviewed. In relation to other work, SceneMaker follows a genre-specific text-to-animation methodology which combines all relevant expressive modalities and is made accessible via web-based and mobile platforms. In conclusion, SceneMaker will enhance the communication of creative ideas providing quick pre-visualisations of scenes.

Modern TV viewing has moved away from the traditional shared living room and sofa experience towards consumption on an ever-evolving set of devices, in a variety of locations, as individuals, or as physically co-located and geographically dispersed groups. However, the consumption of broadcast media still remains a relatively linear experience, fixed at production time. Significant interest has surfaced within the broadcast industry into the production of nonlinear, context specific forms of media presentation. The design of these interactive and reconfigurable televisual experiences at a public facing level requires a user-centered approach. Through the collaboration of researchers, designers, practitioners and stakeholders within the television industry, this workshop will provide a focused day for the design of future reconfigurable televisual experiences.

Computer graphics has wide range of applications which are implemented into computer animation, computer modeling e.t.c. Since the invention of computer graphics researchers haven't paid much of attentions toward the possibility of converting oral tales otherwise known as folktales into possible cartoon animated videos. This paper is based on how to develop cartoons of local folktales that will be of huge benefits to Nigerians. The activities were divided into 5 stages; analysis, design, development, implementation and evaluation which involved various processes and use of various specialized software and hardware. After the implementation of this project, the video characteristics were evaluated using likert scale. Analysis of 30 user responses indicated that 17 users (56.7%) rated the image quality as excellent, the video and image synchronization was rated as excellent by 9 users (30%), the Background noise was rated excellent by 18 users (60%), the Character Impression was rated Excellent by 11 users (36.67%), the general assessment of the storyline was rated excellent by 17 users (56.7%), the video Impression was rated excellent by 11 users (36.67%) and the voice quality was rated by 10 users (33.33%) as excellent.

The marketability of BCI applications may greatly influence the decisions of goverments, the industry and academia. In this paper we first explored with a survey when respondents (N= 145), who were present at the 4th International BCI Meeting, expect that different BCI applications will become commercially available. Second, we surveyed how well existing BCI companies are known to respondents. Third, we compared the findings with our own preliminary overview of the marketability of BCIs and our repository of 28 ...

Within the scope of ANSWER, an EC-supported research project, a new artistic notation system, called DirectorNotation, is being developed for describing media content, much like notes are used to document a music composition. Our current research focuses on developing “notation-enabled” offline authoring tools, but interactive applications are an anticipated extension. Here, we summarise the key aspects of DirectorNotation and the ANSWER project, from the point of view of a multimedia-technology audience interested in content-based manipulation of media.

In the Living Room: Second Screens and TV Audiences. '"The second screen" or "the companion device," … is a huge development for the mobile app industry and a target-rich environment for our advertisers. (Mark Challinor, 2013) "The recent phenomenon of the second screen has not had a large influence of (sic) TV" (DigitalTVEurope, 2014) The epigraph neatly exemplifies William Boddy's observation that media firms have responded to the newly 'dispersed audiences in complex and sometimes contradictory ways' (Boddy 2011, 76). The growth of second screen use while viewing television has captured the imagination of broadcasters, techno start-up companies and advertisers eager to cash in on the social TV phenomenon. Meanwhile, technological changes unsettle our understanding of audience as they disperse across platforms, and time-shifting technologies and video streaming interrupt the scheduling rhythm. The resultant challenge to the one-to-may model of broadcasting undermines the idea of TV as a shared cultural form while second screen innovations extol digital technology's promise to revolutionise TV viewing by connecting viewers across space via applications (apps) and social media sites. 1 Ofcom, the independent regulator for the UK communications industries, in their Communications Market Report (2013) "The Reinvention of the 1950s Living Room" states that developments in media technologies are transforming the "traditional living room" into a digital media hub in which families still gather in front of the TV set. However, uptake of smart phones and tablets is "creating a nation of media multi-taskers" fragmenting attention

In the Living Room: Second Screens and TV Audiences. '"The second screen" or "the companion device," … is a huge development for the mobile app industry and a target-rich environment for our advertisers. (Mark Challinor, 2013) "The recent phenomenon of the second screen has not had a large influence of (sic) TV" (DigitalTVEurope, 2014) The epigraph neatly exemplifies William Boddy's observation that media firms have responded to the newly 'dispersed audiences in complex and sometimes contradictory ways' (Boddy 2011, 76). The growth of second screen use while viewing television has captured the imagination of broadcasters, techno start-up companies and advertisers eager to cash in on the social TV phenomenon. Meanwhile, technological changes unsettle our understanding of audience as they disperse across platforms, and time-shifting technologies and video streaming interrupt the scheduling rhythm. The resultant challenge to the one-to-may model of broadcasting undermines the idea of TV as a shared cultural form while second screen innovations extol digital technology's promise to revolutionise TV viewing by connecting viewers across space via applications (apps) and social media sites. 1 Ofcom, the independent regulator for the UK communications industries, in their Communications Market Report (2013) "The Reinvention of the 1950s Living Room" states that developments in media technologies are transforming the "traditional living room" into a digital media hub in which families still gather in front of the TV set. However, uptake of smart phones and tablets is "creating a nation of media multi-taskers" fragmenting attention

Il contributo analizza da un punto di vista mediologico l'applicazione del digitale alla spettacolarizzazione delle forme artistiche. Non vengono prese in considerazione le pratiche ormai "classiche" di digital art, bensì - ad esempio - le diverse proposte di experience (Caravaggio, Monet, Van Gogh, Klimt, ecc); o i software che modificano l'impronta stilistica delle immagini; o ancora le animazioni interattive dei capolavori del passato; e simili. Partendo dal concetto di loisir di Morin, il contributo traccia una linea di analisi che attraversa le formulazioni sul kitsch per considerare le varie teorie sulla spettacolarizzazione: macdonaldizzazione (Ritzer), estetizzazione (Maffesoli), disneyzzazione (Bryman), vetrinizzazione (Codeluppi), artistizzazione (Perniola), integrandole nella riflessione sullo statuto attuale dell'immagine digitale e della cultura visuale (Montani), dalla postproduction (Bourriaud) alla deep remixability (Manovich).
Il contributo propone una tipologia ragionata di un'ampia casistica di forme digitali di spettacolarizzazione dell'arte, intrecciandola con l'analisi del discorso mediatico e promozionale che accompagna questi fenomeni, individuando le categorie di estetica ingenua di cui tale discorso si nutre, nonché la persistenza di stereotipi interpretativi basati sulla sostanziale mancanza di approfondimento riguardo alla cultura digitale: caratteristiche che permettono di convergere verso una definizione di tecno-kitsch.

The marketability of BCI applications may greatly influence the decisions of goverments, the industry and academia. In this paper we first explored with a survey when respondents (N= 145), who were present at the 4th International BCI Meeting, expect that different BCI applications will become commercially available. Second, we surveyed how well existing BCI companies are known to respondents. Third, we compared the findings with our own preliminary overview of the marketability of BCIs and our repository of 28 ...

The tablet computer offers options for streaming TV programming that poten-tially alters viewing behaviors compared to the traditional television set, yet there is a dearth of research related to this viewing alternative. This study uses a national sample of adult iPad owners to investigate the tablet’s role as a TV.
The frameworks of continuity-discontinuity, use-diffusion, and attention and absorption to programming are applied to uncover where the tablet fits into the current repertoire of viewing devices, and how individuals are engaging with traditional TV programming through it. Results show that overall, the tablet’s functionality as a TV can lead to experiential differences.

The film-maker uses the camera and editing creatively, not simply to present the action of the film but also to set up a particular relation between the action and the viewer. In 3D video games with action controlled by the player, the pseudo camera is usually less creatively controlled and has less effect on the player's appreciation of and engagement with the game. This paper discusses methods of controlling games by easy and intuitive interfaces and use of an automated virtual camera to increase the appeal of games for users.

The telecommunications firms have continually attempted to introduce a new intelligent television system for the past thirty-plus years by making the best use of ever-developing information and communication technologies, changes in media consumption patterns, collapse of regulatory barriers, and so on. Internet protocol TV (IPTV) is the most recent version of such corporate attempts. This article contextualizes IPTV in terms of its history, identity, and challenges. Despite the rhetoric of newness, IPTV is a replica of the interactive TV of the past, which has a turbulent genealogy of its own. Even with the interactive services based upon advanced IP technology, it is not structurally different from conventional television as the medium is organized following the TV model. In addition to competition, a contradiction between the open internet and walled-garden IPTV will pose critical challenges to the medium. However, IPTV is still evolving, and its future is not yet fully determined.

Within the scope of ANSWER, an EC-supported research project, a new artistic notation system, called DirectorNotation, is being developed for describing media content, much like notes are used to document a music composition. Our current research focuses on developing “notation-enabled” offline authoring tools, but interactive applications are an anticipated extension. Here, we summarise the key aspects of DirectorNotation and the ANSWER project, from the point of view of a multimedia-technology audience interested in content-based manipulation of media.

Nowadays, computer games entertain millions of computer users. They support incredible 3D graphics that attract players. However, cinematic presentation in computer games is missing. There are technologies and rules for camerawork and lighting that are not exploited by game engines. In this paper, we demonstrate some problems that computer games suffer from, at the presentation level, and we examine a new research project, called ANSWER, as a potential solution to those problems. ANSWER attempts to cover the expressive needs of film directors and game animators, by providing a set of tools that will allow the description of a game or a film at the artistic level and during its production phase.

Interactive entertainment permits users to participate actively. In this paper, we consider the importance of cinematic presentation in internet-based interactive entertainment. We propose that a tool for the artistic and technical representation of presentation-layer demands of interactive entertainment already exists: a system called DirectorNotation. This system can provide the ability for the creation of artistically significant, adaptive, context sensitive, interactive, actionable multimedia content. In the work that has been presented so far on DirectorNotation, the applications that are considered target the professional film director in his filming activities to produce better results, or consider the “Artificial Intelligence” possibilities of exploiting a knowledge model of film directing. In this paper, we aim to create a connection to the domain of interactive entertainment, showing that this application area can achieve highly promising improvements by exploiting the suggested technology combination.

Abstract: The huge catalogues of video items currently available through live, on-demand and catchup TV based services coupled with the ever expanding range of online video services (Vimeo, YouTube, Netflix) provides users with unprecedented levels of choice. Not only is the choice of content expanding but so too are the range of formats, delivery mechanisms and the viewing devices (PC, TV/STB, mobile device).

New Media Theory has been developed to account for new advances in the field of Communication, whether they are mass or interpersonal. Most of these advances are due to new forms of technology and their associated devices, so therefore new theories were needed to account for human behavior affected by this new paradigm.

First-generation mobile TV has involved delivering content to cell phones. But as mobile TV evolves, it will find greater significance as part of a multifaceted video offering that combines multiple screens, devices, networks, and content types. Content, or a particular viewing session, moves with the user, across devices and across networks.

Second Screen (also known as Second Screen Entertainment) is referred to interactive content accessible via portable
devices such as Tablet PC’s and smart phones that provides additional content to viewers as they access media content like
for instance a movie or Television program.

The document explores the popularisation of the herein after referred to as smart devices (Tablet PC’s and smart phones)
and some of the new user habits emerging from the use of such devices and their effects on TV viewing (although such
effects could also extrapolate onto other types of media). This study also lists many, though not all, the initiatives that are
currently pioneering into this market area.

This study concludes that, given the progressive acceptance of smart devices (and the concurrent changes in user habits
they promote) 2nd-Screen apps that are purposely-designed to run alongside media content may tap into considerable
future opportunities. Though the industry is clearly at a phase of trial and error in relation with this subject area, a series of
pioneering productions are already anticipating what could be a  bright future for the equation: smart devices + TV
screen. Likewise, in the midst of this experimental process, a series of challenges are also coming the fore: for instance, the
difficulties of generating multi-screen content that supports (rather than disrupts) the viewing experience.