DOING Y COMBINATOR IN YOUR 30S

The stereotype of a Y Combinator founder goes something like this.

Programmer. Smart and driven. Went to MIT or Stanford, or else skipped college altogether. Able to live on a ridiculously low salary. Enjoys working 90 hour weeks.

And of course: Young. Early-to-mid 20s.

I almost didn’t apply for Y Combinator last year because I thought I was too old. I was 31 at the time. The application asks for age, and I figured they would just ignore anyone who wasn’t in their 20s. But friends of mine made it in to the summer class, and they were older than I was, so I thought I’d try.

Granted, it can be more difficult to do YC when you’re advanced in years, like myself. I have a wife, two kids, and a mortgage. But there are advantages to being a bit older too. Since applications are open for the Winter 2011 class right now, I thought I’d share my experience.

Here is a quick guide to doing Y Combinator in your 30s.

Does YC Accept Founders Older Than 30?

Yes. And according to Paul Graham, age is neither a penalty nor a bonus. He writes:

“I don’t actually know the numbers. We don’t keep track. But I know there haven’t been any with founders in their 50s, and only 2 or 3 with founders in their 40s or their teens. Most founders are in their 20s or 30s. Completely guessing, I’d say 15-20% have founders in their 30s.”

That was in 2009, so the numbers may have changed.

Basically, the age distribution of YC companies is pretty close to the age distribution of applicants. More YC founders are 25 than 35, but more 25-year-olds apply than 35-year-olds.

Paul has an essay where he says the ideal range to start a startup is 22-38. As far as I know, that isn’t a rule, just a suggestion. YC has accepted plenty of people younger than 22, and at least a few over 38.

I’m Over 30 and Want to Start/grow a Startup. Should I Apply to YC?

Sure. If you can be in the Bay Area for 4+ months (3 isn’t enough if you need to raise money), and if you think you’d benefit from some excellent mentoring, then take a shot.

How Can You Afford to Do YC When You’re So Old?

It isn’t easy. A team of three only gets $20K. For most people, that’s not enough to live on in the Bay Area. When you’re 21, you solve this problem by living cheaply. Cheap apartment, no office, eat inexpensive food, don’t travel, don’t buy stuff. A low burn rate is a huge advantage for a startup, and if you can keep that up after YC, you’re a step ahead of the old guys.

Living cheaply is a bit harder to do when you’re older; when you’re 31, you’re more likely to have a high burn rate (due to family, mortgage, or more expensive lifestyle, etc.). But at 31, you have some advantages, too, like savings.

If you’re a good programmer at 31, you’ve probably made a reasonable salary for at least a few years. I supplemented our meager YC funding with savings. I also had run a software consulting shop leading up to YC, so I even had a bit of income in during my YC months (as my employees finished up a few projects).

What Happens When Your Savings Runs Out?

You raise money, or get profitable. If your entire team can live on $5K/month, getting profitable is much easier than if you need $25K/month. So if your expenses are high, then you’re often forced to raise money rather than getting profitable immediately.

Personally, I love the idea of running lean, getting profitable, and avoiding big funding. It isn’t for everyone, but it resonates with me. But it’s really, really hard to do, especially when you have a team that needs near-market salaries. So paradoxically, raising money is the easier option for most of us.

But Raising Money is Still Hard. Isn’t That Risky?

Yes. It is risky to drop everything with just a few months of runway and hope to raise money quickly. If you can’t take that risk, don’t do YC, or do a startup that doesn’t need investment. Raising money is hard, uncertain, and can kill a startup. But running out of money is guaranteed to kill a startup, so raising money is often a good idea.

The good news is that Y Combinator does an amazing job of preparing founders to raise money. You get great mentoring (by YC itself, by YC alum, and even by unaffiliated angel investors), a small PR boost, and the opportunity to pitch 100 quality investors at Demo Day. No guarantees that you’ll raise money, but a lot of YC founders do.

Is It Easier or Harder to Raise Money in Your 30s?

I don’t think it makes a big difference. At the end of the day, investors are looking for strong founders and a giant opportunity. Young founders have some things going for them, and older founders have others.

What About Co-founders?

This is important. If you’re 31 and have enough saved up to work on your app for 6 months, but your co-founders don’t, that’s a problem. To some extent, your company’s runway is only as long as the shortest co-founder runway. If your runways are uneven, be sure you have a clear understanding up-front of what happens when the first runway runs out.

What About Spouse/kids/mortgage?

This is very situation-dependent. I have friends who could never do what I do, because their home lives wouldn’t support it, or they couldn’t swing it financially. But I have a very supportive wife, and a little bit of savings. This made YC possible for me.

Aren’t You Supposed to Pay Yourself Like $30K/year as a Startup Founder?

Yes and no. I think the rule of thumb is, “pay yourself as little as possible,” which equates to, “pay enough that finances won’t keep you from focusing on your startup.”

Investors understand this. If you have kids and your real burn rate is $90K/year, pay yourself $90K/year. If you pay yourself $60K, you’ll have trouble sticking with the startup for the long-term. But if you only need $30K/year and you pay yourself $60K, you’re doing your startup a disservice.

If that sounds unfair (“Why should I only take $30K when the founder down the block is taking $90K?”) remember that if you take a low salary, you have an immediate advantage over the founder who needs a big paycheck. All else being equal, your startup is less likely to die than the expensive startup down the block—at least early on. If you have a team of 15 and VC funding, by all means, take a real salary.

Do People Look At You Funny Because You’re So Old?

No. Believe it or not, many startups have founders in their 30s or 40s. I even hear that there are people in their 50s doing startups. Shocking, I know.

Actually, it turns out that the 22-year-old founder/prodigy is the exception, not the rule. Based on a study of 549 entrepreneurs, the average age of a founder starting a “high-growth company” is 40, not 25. This is partly true because most of us aren’t prodigies, so we need a decade or two of experience and failure before we start to figure things out. But I think the biggest reason is simple: Founders don’t stop with one startup. If you enjoy starting a company at 25, there is a good chance you’ll enjoy starting one at 40 too.

REFERENCE IDS: HOW TO ASSIGN CONTENT TO VIDEO PLAYERS

Publishing videos via the Quick Publish tool in the Media module is fast and easy. But for those of you with large content libraries and a large number of video players throughout your web properties, there’s a trick that can save you time. This post will show you how to use the Reference ID feature of the Studio to simplify the process of programmatically assigning content to players.

PROGRAMMATICALLY ASSIGNING CONTENT TO PLAYERS

You may have noticed that all Brightcove publishing code follows a standard format. What this means is that you can programmatically swap out a few ID fields and change what the embed code brings up:
  • PlayerID parameter. Determines which video player is displayed.
  • @videoPlayer parameter. Determines which video is displayed (single video players only).
  • @playlistTabs parameter. Determines which playlists are displayed (tabbed playlist players only).
  • @playlistCombo parameter. Determines which playlists are displayed (players with dropdown playlist selection only).

Next, let’s look at how to use the Reference ID to simplify the process of programmatically assigning content.

USING THE REFERENCE ID IN PLACE OF ID NUMBERS

All videos, playlists, and players are assigned a unique ID number that’s used for identification purposes, specifically with the parameters I mentioned above. The Reference ID allows you to add another unique ID to use in place of that number. This can dramatically simplify the process of adding a new player to your site, since you won’t need to constantly refer back to the studio to get the ID numbers.

The Reference ID can also be handy if you’re managing your videos and web pages in a content management system (CMS). You can assign a Reference ID to a video that matches the ID used by your CMS, so you can easily match up the same info in the CMS and the studio.

Remember: You can also assign a Reference ID to playlists and assign playlists to your video players via the embed code instead of going through the Studio. Just be sure to keep all your Reference IDs unique so that Brightcove knows which video or playlist to display.

HOW TO EDIT THE REFERENCE ID

This step is simple: Just select your video in the Media Module, click on Edit at the bottom of your screen, and check the box next to “Reference ID.” A small text box will pop up, allowing you to enter a reference ID.

VP8, WEBM, AND THE FUTURE OF HTML5 VIDEO

In 2010, Google announced a new open-source video project: WebM, which uses the VP8 codec. This is a big deal for digital video. Brightcove has launched VP8 transcoding support as well, and we’re committed to offering the best VP8 transcoding on the market.

WHAT IS VP8? WEBM?

VP8 is a video codec, like h.264, VP6, Theora, etc.

WebM is two things: a container format (based on Matroska) and the name for an open-source video project. Presumably, WebM could contain other open video and audio codecs down the road.

DOES BRIGHTCOVE SUPPORT VP8?

Yes. We’ve worked with Google to build VP8/WebM support into Brightcove.

WHERE DOES VP8 COME FROM?

Before Google bought them, On2 was one of the few companies in the world that made proprietary video codecs. Most video and audio codecs are industry standards, combining patents from a few dozen companies.

MP3 audio, for instance, contains 100+ patents. Anyone can read the MP3 spec, but to implement an MP3 encoder, or to decode or encode MP3 audio, you have to license these patents. Conveniently, the patents are grouped together into a patent pool, so you only have to sign one license, not 50, in order to do something with MP3.

On2 was different. They were a commercial company that created their own video codecs, like VP6, VP7, and VP8. And their codecs were pretty good; VP6 became a big deal on the web when Macromedia licensed it for Flash 7 and 8.

At the time, it was a major step forward from h.263, the Flash 6 video codec. It was even almost as good as h.264 for a little while, before h.264 encoder implementations matured. Overall, though, h.264 is a better codec than VP6. So when Flash 9 got h.264, the need for VP6 was diminished a bit. Not that it went away; it’s still the second most watched video codec on the web.

WHAT’S THE DEAL WITH HTML5 VIDEO?

HTML5 includes a <video> tag, like an <img> tag, which browsers will use to natively play video, without requiring a plugin (e.g., Flash Player or Sliverlight). But it doesn’t specify a standard codec.

Firefox and Opera backed Theora, an open source codec, but a generation or two behind the best video codecs available today. Theora is actually based on On2 VP3, which On2 released under a BSD-like license several years ago.

Apple and Microsoft won’t include Theora support in their browsers because it’s worse than h.264, and because they’re concerned about submarine patents. Safari and IE backed h.264, which is the best codec on the market, but not free. H.264 requires a license from MPEG-LA (who manages the patent pool).

The terms aren’t currently onerous; h.264 is free or cheap for most users, at least in 2010. But that could change down the road, and even if it doesn’t, the folks behind Firefox and Opera don’t want to use a patent encumbered codec for philosophical and pragmatic reasons.

At the moment, HTML5 video is at an impasse. Firefox and Opera won’t support h.264, and IE and Safari won’t support Theora (Google Chrome, incidentally, supports both).

WHY DOES VP8 MATTER?

VP8 is a good video codec, and it is open. That makes it unique in the world. Theora is open, but not a great codec. H.264 is a great codec, but patent encumbered.

Firefox, Chrome, Opera, and Adobe currently support VP8, and Safari and IE may at some point. So at best, VP8 will completely solve the HTML5 video problem. At worst, it is major step forward for open video. And either way, a high quality open-source video codec is a Good Thing for everyone, even h.264 users.

HOW GOOD IS VP8?

It’s really early, but it appears to be good. H.264 is probably still better, but VP8 is better than most other codecs (including Theora, VP6, MPEG-4, etc.).

Also, VP8 will get better as its encoders get better. Even with the same codec, the difference between one encoder and another can be huge. When h.264 was first released, it wasn’t that much better than VP6 or MPEG-4 ASP (e.g., DivX and XviD), because the first h.264 encoders were rushed to market. But five years later, h.264 encoders have gotten significantly better.

Give VP8 a year (let alone five), and it’s going to get better and better.

WHAT DOES THIS MEAN FOR H.264?

Competition is good. H.264 has liberalized their licensing terms a bit in the last year, and part of this is probably due to pressure from Firefox and Opera. VP8 will only accelerate this; a credible competitor to h.264 will encourage the h.264 patent holders to offer favorable licensing terms.

IS H.264 GOING AWAY?

No. A lot of companies are committed to h.264, including Apple, and many devices (like the iPhone) include hardware-based h.264 decoders. Beyond that, h.264 is still the best codec on the market, so bandwidth-conscious businesses will continue to use it.

WHAT AUDIO CODEC DO I USE WITH WEBM/VP8?

Ogg Vorbis. Unlike Theora, which is quite a bit behind h.264 in quality, Vorbis is actually quite good as an audio codec. It’s competitive with MP3 and AAC.

HOW DO I PLAY VP8 VIDEO?

Download Chromium, Firefox, or another browser. Other players will pop up soon.

HOW DO I ADD VP8 TO MY WEBSITE?

Checkout our video.js project, an open-source universal video player. Video.js provides a single embed code for HTML5 video, Flash video, and iPhone and other mobile devices.

VAST: WHY VIDEO AD RESPONSE STANDARDS ARE IMPORTANT

This post will cover what VAST is, why this standard is so important, and what’s happening with VAST 2.

WHAT IS VAST?

VAST, or Video Ad Serving Template, is the standardized way to deliver an ad response to a video player. This is done with XML which contains information about the type of ad, where the ad creative is located, events to fire when certain things happen, and much more. The VAST specification explains in detail what all can be done.

VAST was created by the Interactive Advertising Bureau (IAB). The IAB put together this specification by talking with a lot of ad server companies, video platforms, ad agencies, and other people interested in getting a standard format. Brightcove was one of the companies who helped with this specification, and we used our knowledge from the Brightcove ad XML to suggest changes to the specification.

WHY IS VAST IMPORTANT?

Having this standard ad response allows for ad servers to work very differently. Instead of spending a lot of time worrying about the differences between different video players and the types and formats of responses they are expecting, the ad server can ideally return the same ad XML to all places.

More importantly, ad servers often talk to each other, grabbing ads from different places as needed and requested. This is the real power of VAST, which is that it allows third-party ad serving to happen easily. This makes things like the real-time bartering of video ads possible.

WHAT IS HAPPENING WITH VAST 2?

The first version, VAST 1, had some support in the industry, but VAST 2 has completely overtaken it. Many ad servers, like DoubleClick’s platform have announced supported for VAST 2. And a growing number of video players, including Brightcove’s player, allow its use.

Besides the wider support, VAST 2 also has a lot more of the elements and attributes that are needed for ad responses. There are a number of limitations in the VAST 1 specification, which does not allow ad creatives in certain places, misses some events that people wanted to know about, and has elements that need to be clarified.

While VAST 2 is now recommended, Brightcove implements both VAST 1 and VAST 2 specifications. We are also continuously adding new features to the player to allow for more of the VAST 2 elements to be used.

HOW TO ENCODE H.264 USING MEDIACODER

For some of our publishers and partners, there exists very valid reasons to use their own external media transcoding workflow which excludes the use of the BC3 Server-Side Transcoding functionality.

Those that need to really turn the screw on control of end quality and size, you’ll need to really dig deep in the more advanced levers available in the encoding process. Things like the Profile, Level, and Predictor Frames are just some of the things you need to tweak to squeeze the most from your encoding.

For 99% of us, this is just too much specialized detail to get our heads around. Luckily the internet is here to save us as a gateway to the real experts out there.

Here’s something to try.

How to Get MediaCoder

Download MediaCoder, an open sourced GUI tool that allows you to transcode your videos to h.264 free of charge. They have a command line tool for a cost if you like it enough.

How to Set Up MediaCoder

Set up MediaCoder following these instructions.

File menu –> Revert All Settings

Audio Tab

Select what makes the most sense for you. Remember that audio takes up space and the majority of your audio will be consumed and limited by the quality of PC speakers, so don’t feel you need to up much here.

Video Tab

  • Mode: Bitrate-based
  • Bitrate: 500 kbps (start with this and vary it to see how things improve)
  • Format: h.264
  • Container: MP4
  • Source: (Auto-Select)
  • Encoder: (Auto-Select)

x264 Tab

  • Profile: High
  • Predictor Frames: 6
  • Motion Est. Mode: Normal
  • Motion Est. Range: 16
  • Level: 5.1
  • B-Frames: 5
  • Subpel Refinement: 7

MediaCoder Preference Window

Click the “Advanced” button –> MediaCoder Preferences Window

Video Encoders

|—–x264

  • Bitstream profile = Baseline (highlight and select “Baseline” in the drop down box below)
  • Level of bitstream = 51 (enter value in the box below and click apply button)
  • Frames used as predictors in B and P frames = 6 (enter value in the box below and click apply button)
  • Maximum B frames between I and P frames = 5 (enter value in the box below and click apply button)
  • B-frames decision = true (click “Yes” radio button below)
  • B-frames used as for predicting = true (click “Yes” radio button below)
  • Use CABAC = true (click “Yes” radio button below)
  • Direct macroblocks prediction = Auto (highlight and click “Auto” in the drop down box below)
  • Use weighted prediction for B-frames = true (click “Yes” radio button below)
  • Adaptive spatial transform size = true (click “Yes” radio button below)
  • Fullpixel motion estimation algorithm = Hexagonal (highlight and click “Hexagonal” in the drop down box below)
  • Subpel refinement quality = 7 (enter value in the box below and click apply button)
  • Mixed reference frame = true (click “Yes” radio button below)
  • Rate-distortion optimization of B-frames macroblock type = true (click “Yes” radio button below)
  • Refine motion vectors use in bidirectional macroblocks = false (click “No” radio button below)
  • Rate-distortion optimal quantization = Enable during all mode decisions (highlight and click “Enable during all mode decisions” in the box below)
  • Performs early skip detection in P-frames = false (click “No” radio button below)
  • Threads (0 for auto) = 6 (enter value in the box below and click apply button)

Alpha and Beta Deblocking

The only settings left under the MediaCoder Preferences window is Alpha and Beta deblocking. For more information, please read How To Use Mpeg4 AVC Deblocking Effectively (Small FAQ).

Deciding what values to use is a personal choice. In this example, we’ll be using more detailed look and occasional block setting of -2:-1.

  • Alpha parameter of deblocking filter = -2 (enter value in the box below and click apply button)
  • Beta parameter of deblocking filter = -1 (enter value in the box below and click apply button)

Click the “X” button in the upper right-hand corner of the MediaCoder Preferences window.

Muxer Tab

  • Radio button: Enable
  • Multiplexer: MP4Box

Check Mediacoder Output

Run your videos through and see the output. Remember, the better your source file the better any transcode output will be.

You should see much less blockiness or quality degradation during fast moving, complex scenes (look at the waves in transition).

This file is ready for upload and immediate playback by any Brightcove player as well as the iPhone (thanks to the Baseline setting).

VIDEO PLAYER SPECIFICATIONS

I recently discussed the capabilities of the video player with one of our key account customers during the Project Launch phase. Before BEML, the primary choice was between adopting an existing template or creating a fully custom video player using Flash and/or JavaScript.

With BEML, the scope of player functionality has fundamentally improved. Now, everyone—except those with a Brightcove basic account—can easily create a custom template to suit their needs. For most users, it’s faster and simpler to duplicate an existing template and modify the BEML code to create a tailored variant. However, the real power of BEML lies in its ability to specify all the features of the video player in detail.

KEY CONSIDERATIONS FOR CUSTOMIZED VIDEO PLAYERS

Below is a list of questions I use to help customers identify the parameters needed for building a customized player:

  • User Experience: At what point in the user journey does the player appear, and in what context?
  • User Interaction: What do I want users to do while watching a video? Switch to fullscreen? Read an article?
  • Post-Viewing Actions: What do I want users to do after watching the video? See more videos? Navigate to related content? Share it with others?
  • Content Type: What type of content will the player display (e.g., aspect ratio, quality)?
  • User Interface Elements: What interface elements should be included (e.g., menu overlay, playlist, control buttons)?
  • Styling: What styling considerations (e.g., design, branding) are necessary?
  • Localization: Does the player need specific labels for niche or non-English-speaking markets?
  • Sizing and Layout: How much space does the player need? Should it use an elastic or fixed layout?
  • Advertising Features: What display ad capabilities are required (e.g., banners, extended banners, background banners)?
  • Brand Marketing: What branding features should the player include (e.g., logo, colors, images)?
  • Syndication and Distribution: Does the player need to be syndicated or shared virally? Will it maintain its appearance in environments outside my control?
  • Advanced Options: What specific features are required (e.g., chaptering, custom buttons)?
  • Skills and Resources: Do I have the skills to achieve the above, or do I need help from Brightcove or a partner?

These questions form a solid starting point for building a fully customized video player. Of course, there are many more considerations, but addressing these will lay a strong foundation.

PROGRESSIVE DOWNLOAD VERSUS STREAMING

Several clients have asked about the difference between steaming and progressive download delivery methods.

In practice, you will very rarely realize whether the content has been streamed or progressively downloaded, unless you look for some of the distinguishing features described below.

What is Progressive Download?

With progressive downloads, the video is actually downloaded to the viewer’s computer, and stored in a temporary directory. Content will start playing out as soon as it is available locally.

If viewers want to fast-forward or skip to another section, they will only be able to do so if that part of the video has already been delivered and stored on their machine. The video is delivered via the standard http protocol like any other webpage.

Progressive Download Characteristics

  • Advancing is not possible unless it has been downloaded already
  • Does not effectively utilize Brightcove’s dynamic delivery feature
  • Less secure, content can be easily copied
  • More bandwidth is used as all parts of the video are downloaded, not just the watched portions
  • HTTP protocol in use

Progressive Download Benefits

You would think that streaming would be the obvious choice as it has certain advantages over progressive download. Having said that, in 2009, we have many customers who use progressive download. For example, one of our clients in Germany switched to progressive download because of the firewall restrictions on German cooperate networks.

Another reason for using progressive download, would be the use of the Brightcove sample to build an iPhone app, which works with progressive download.

What is Streaming Delivery?

Streaming video, on the other hand, is delivered via a streaming server without the file ever being downloaded to the viewer’s computer. As soon as the viewer presses play, the video will start to play.

Viewers can fast-forward or skip to other parts of the video immediately and the video will continue to play from that point onwards.

Streaming Delivery Characteristics

  • Advancing video is possible
  • Effectively utilizes Brightcove’s dynamic delivery feature
  • Secures video content via temporary video link
  • Allows you to serve more steams with less bandwidth
  • Real Time Messaging Protocol (RTMP) in use

Streaming Delivery Benefits

One of the big positives of streaming media is that it only uses as much bandwidth as the viewer has watched, since only the portion of video viewed was delivered. Nothing is kept on the client side. Everything is on the server side and is being delivered via the Real Time Messaging Protocol (RTMP), which is a proprietary protocol developed by Adobe.

Brightcove Video Delivery Support

Brightcove supports both types of delivery methods, which is set on the account level. If switching from one type of delivery to the other, you will find that the videos already uploaded to Brightcove will remain in the original format.

We have built a platform that centrally manages video content and viewing data, and we are strengthening our online marketing.

ENHANCING VIDEO MARKETING BY LINKING CDP AND VIEWING DATA

Treasure Data, a data business division belonging to Arm’s loT service group, provides a customer data platform (CDP) to more than 400 corporate customers worldwide, including Fortune 500 companies. This platform enables the provision of excellent customer experiences and digital business transformation by integrating data from the digital and offline activities of each customer and data generated by loT devices.

In 2017, Treasure Data was quick to develop a plugin that linked Brightcove Video Cloud and CDP in order to better understand customers. While they had previously had on-demand video content, they were now able to not only manage this efficiently on their owned media, but also obtain detailed data on who was watching which videos and to what extent, enabling them to conduct detailed information analysis to strengthen their marketing.
Since 2018, they have been holding an offline seminar called “PLAZMA” once a quarter to disseminate the latest information on the theme of digital transformation. This event features opinion leaders from various fields, technology partners, and many people who use CDP.

They have adopted the Brightcove Video Marketing Suite to begin full-scale marketing using video content from each session of this event, which they have been accumulating on their owned media.

One of the great things about this partnership is that we can design it with an eye to not only the collaboration between Treasure Data and Brightcove Video Cloud, but also the collaboration with various other marketing tools, while thinking about how we can provide more attractive solutions to the world in the future.

Hiroki Kobayashi
Marketing Manager, Treasure Data, Inc.

Providing content to a live audience that greatly exceeded expectations

In 2020, amid growing concerns about a new coronavirus outbreak in Japan, the decision was made to broadcast the live internet broadcast of the “PLAZMA” to reduce the risk. Treasure Data had originally had the idea of digitally transforming the “PLAZMA” itself. While they were developing their forward-looking vision, they were also quietly considering live streaming as a foothold, and in the end they decided to go ahead with the live streaming in response to social needs. However, by combining their previous experience in recording and filming with Brightcove Live, they were able to achieve this in a short period of time.

There were around 1,300 pre-registrations for the seminar, and based on past statistics we expected around 600 to 700 people to attend. However, in reality, around 400 people attended on both days, and the number of online viewers recorded around 850 on both days. In other words, we were able to provide content to 90% of those who had registered in advance and to more than 200% of the expected number of visitors. The average viewing time per day was about 90 minutes, which means that each viewer watched two sessions (40 minutes per session). After the event, there were many positive comments and expressions of gratitude on social networking sites and chat rooms.

Aiming to further promote online marketing

Treasure Data plans to continue to create groundbreaking content that has never been seen before, combining offline and online, live and on-demand distribution, and new technologies such as VR and 360-degree video, including events such as PLAZMA.

Mr. Kobayashi of Treasure Data says, “As a company that supports digital transformation, we ourselves would like to continue to take on various challenges with Brightcove.

He also said, “One of the great things about working with Brightcove is that we can design solutions that will be even more attractive in the future, not only by linking Treasure Data and Brightcove Video Cloud, but also by considering how we can link with various other marketing tools.