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Video
Video
is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media.[1] Video
Video
was first developed for mechanical television systems, which were quickly replaced by cathode ray tube (CRT) systems which were later replaced by flat panel displays of several types. Video
Video
systems vary in display resolution, aspect ratio, refresh rate, color capabilities and other qualities. Analog and digital variants exist and can be carried on a variety of media, including radio broadcast, magnetic tape, optical discs, computer files, and network streaming.

Contents

1 History 2 Characteristics of video streams

2.1 Number of frames per second 2.2 Interlaced
Interlaced
vs progressive 2.3 Aspect ratio 2.4 Color model
Color model
and depth 2.5 Video
Video
quality 2.6 Video compression
Video compression
method (digital only) 2.7 Stereoscopic

3 Formats

3.1 Analog video 3.2 Digital video

4 Transport medium

4.1 Video
Video
connectors, cables, and signal standards 4.2 Video
Video
display standards

4.2.1 Digital television 4.2.2 Analog television 4.2.3 Computer displays

4.3 Recording formats before video tape 4.4 Analog tape formats 4.5 Digital tape formats 4.6 Optical disc
Optical disc
storage formats

4.6.1 Discontinued

4.7 Digital encoding formats 4.8 Standards

5 See also 6 References 7 External links

History See also: History of television Video
Video
technology was first developed for mechanical television systems, which were quickly replaced by cathode ray tube (CRT) television systems, but several new technologies for video display devices have since been invented. Video
Video
was originally exclusively a live technology. Charles Ginsburg led an Ampex
Ampex
research team developing one of the first practical video tape recorder (VTR). In 1951 the first video tape recorder captured live images from television cameras by converting the camera's electrical impulses and saving the information onto magnetic video tape. Video
Video
recorders were sold for US $50,000 in 1956, and videotapes cost US $300 per one-hour reel.[2] However, prices gradually dropped over the years; in 1971, Sony
Sony
began selling videocassette recorder (VCR) decks and tapes into the consumer market.[3] The use of digital techniques in video created digital video, which allows higher quality and, eventually, much lower cost than earlier analog technology. After the invention of the DVD
DVD
in 1997 and Blu-ray Disc in 2006, sales of videotape and recording equipment plummeted. Advances in computer technology allows even inexpensive personal computers and smartphones to capture, store, edit and transmit digital video, further reducing the cost of video production, allowing program-makers and broadcasters to move to tapeless production. The advent of digital broadcasting and the subsequent digital television transition is in the process of relegating analog video to the status of a legacy technology in most parts of the world. As of 2015[update], with the increasing use of high-resolution video cameras with improved dynamic range and color gamuts, and high-dynamic-range digital intermediate data formats with improved color depth, modern digital video technology is converging with digital film technology. Characteristics of video streams Number of frames per second Frame rate, the number of still pictures per unit of time of video, ranges from six or eight frames per second (frame/s) for old mechanical cameras to 120 or more frames per second for new professional cameras. PAL
PAL
standards (Europe, Asia, Australia, etc.) and SECAM
SECAM
(France, Russia, parts of Africa etc.) specify 25 frame/s, while NTSC
NTSC
standards (USA, Canada, Japan, etc.) specify 29.97 frame/s.[4] Film
Film
is shot at the slower frame rate of 24 frames per second, which slightly complicates the process of transferring a cinematic motion picture to video. The minimum frame rate to achieve a comfortable illusion of a moving image is about sixteen frames per second.[5] Interlaced
Interlaced
vs progressive Video
Video
can be interlaced or progressive. In progressive scan systems, each refresh period updates all scan lines in each frame in sequence. When displaying a natively progressive broadcast or recorded signal, the result is optimum spatial resolution of both the stationary and moving parts of the image. Interlacing was invented as a way to reduce flicker in early mechanical and CRT video displays without increasing the number of complete frames per second. Interlacing retains detail while requiring lower bandwidth compared to progressive scanning. In interlaced video, the horizontal scan lines of each complete frame are treated as if numbered consecutively, and captured as two fields: an odd field (upper field) consisting of the odd-numbered lines and an even field (lower field) consisting of the even-numbered lines. Analog display devices reproduce each frame, effectively doubling the frame rate as far as perceptible overall flicker is concerned. When the image capture device acquires the fields one at a time, rather than dividing up a complete frame after it is captured, the frame rate for motion is effectively doubled as well, resulting in smoother, more lifelike reproduction of rapidly moving parts of the image when viewed on an interlaced CRT display. NTSC, PAL
PAL
and SECAM
SECAM
are interlaced formats. Abbreviated video resolution specifications often include an i to indicate interlacing. For example, PAL
PAL
video format is often described as 576i50, where 576 indicates the total number of horizontal scan lines, i indicates interlacing, and 50 indicates 50 fields (half-frames) per second. When displaying a natively interlaced signal on a progressive scan device, overall spatial resolution is degraded by simple line doubling—artifacts such as flickering or "comb" effects in moving parts of the image which appear unless special signal processing eliminates them. A procedure known as deinterlacing can optimize the display of an interlaced video signal from an analog, DVD
DVD
or satellite source on a progressive scan device such as an LCD television, digital video projector or plasma panel. Deinterlacing
Deinterlacing
cannot, however, produce video quality that is equivalent to true progressive scan source material. Aspect ratio

Comparison of common cinematography and traditional television (green) aspect ratios

Aspect ratio
Aspect ratio
describes the proportional relationship between the width and height of video screens and video picture elements. All popular video formats are rectangular, and so can be described by a ratio between width and height. The ratio width to height for a traditional television screen is 4:3, or about 1.33:1. High definition televisions use an aspect ratio of 16:9, or about 1.78:1. The aspect ratio of a full 35 mm film frame with soundtrack (also known as the Academy ratio) is 1.375:1. Pixels on computer monitors are usually square, but pixels used in digital video often have non-square aspect ratios, such as those used in the PAL
PAL
and NTSC
NTSC
variants of the CCIR 601 digital video standard, and the corresponding anamorphic widescreen formats. The 720 by 480 pixel raster uses thin pixels on a 4:3 aspect ratio display and fat pixels on a 16:9 display. The popularity of viewing video on mobile phones has led to the growth of vertical video. Mary Meeker, a partner at Silicon Valley venture capital firm Kleiner Perkins Caufield & Byers, highlighted the growth of vertical video viewing in her 2015 Internet Trends Report – growing from 5% of video viewing in 2010 to 29% in 2015. Vertical video
Vertical video
ads like Snapchat’s are watched in their entirety nine times more frequently than landscape video ads.[6] Color model
Color model
and depth

Example of U-V color plane, Y value=0.5

The color model the video color representation and maps encoded color values to visible colors reproduced by the system. There are several such representations in common use: YIQ
YIQ
is used in NTSC
NTSC
television, YUV
YUV
is used in PAL
PAL
television, YDbDr
YDbDr
is used by SECAM
SECAM
television and YCbCr
YCbCr
is used for digital video. The number of distinct colors a pixel can represent depends on color depth expressed in the number of bits per pixel. A common way to reduce the amount of data required in digital video is by chroma subsampling (e.g., 4:4:4, 4:2:2, etc.). Because the human eye is less sensitive to details in color than brightness, the luminance data for all pixels is maintained, while the chrominance data is averaged for a number of pixels in a block and that same value is used for all of them. For example, this results in a 50% reduction in chrominance data using 2 pixel blocks (4:2:2) or 75% using 4 pixel blocks (4:2:0). This process does not reduce the number of possible color values that can be displayed, but it reduces the number of distinct points at which the color changes. Video
Video
quality Video quality
Video quality
can be measured with formal metrics like PSNR or with subjective video quality using expert observation. The subjective video quality of a video processing system is evaluated as follows:

Choose the video sequences (the SRC) to use for testing. Choose the settings of the system to evaluate (the HRC). Choose a test method for how to present video sequences to experts and to collect their ratings. Invite a sufficient number of experts, preferably not fewer than 15. Carry out testing. Calculate the average marks for each HRC based on the experts' ratings.

Many subjective video quality methods are described in the ITU-T recommendation BT.500. One of the standardized method is the Double Stimulus Impairment Scale (DSIS). In DSIS, each expert views an unimpaired reference video followed by an impaired version of the same video. The expert then rates the impaired video using a scale ranging from "impairments are imperceptible" to "impairments are very annoying". Video compression
Video compression
method (digital only) Main article: Video
Video
compression Uncompressed video delivers maximum quality, but with a very high data rate. A variety of methods are used to compress video streams, with the most effective ones using a Group Of Pictures (GOP) to reduce spatial and temporal redundancy. Broadly speaking, spatial redundancy is reduced by registering differences between parts of a single frame; this task is known as intraframe compression and is closely related to image compression. Likewise, temporal redundancy can be reduced by registering differences between frames; this task is known as interframe compression, including motion compensation and other techniques. The most common modern standards are MPEG-2, used for DVD, Blu-ray
Blu-ray
and satellite television, and MPEG-4, used for AVCHD, Mobile phones (3GP) and Internet. Stereoscopic Stereoscopic video can be created using several different methods:

Two channels: a right channel for the right eye and a left channel for the left eye. Both channels may be viewed simultaneously by using light-polarizing filters 90 degrees off-axis from each other on two video projectors. These separately polarized channels are viewed wearing eyeglasses with matching polarization filters. One channel with two overlaid color-coded layers. This left and right layer technique is occasionally used for network broadcast, or recent "anaglyph" releases of 3D movies on DVD. Simple Red/Cyan plastic glasses provide the means to view the images discretely to form a stereoscopic view of the content. One channel with alternating left and right frames for the corresponding eye, using LCD shutter glasses
LCD shutter glasses
that read the frame sync from the VGA
VGA
Display Data Channel to alternately block the image to each eye, so the appropriate eye sees the correct frame. This method is most common in computer virtual reality applications such as in a Cave Automatic Virtual Environment, but reduces effective video framerate to one-half of normal (for example, from 120 Hz to 60 Hz).

Blu-ray
Blu-ray
Discs greatly improve the sharpness and detail of the two-color 3D effect in color-coded stereo programs. See articles Stereoscopy
Stereoscopy
and 3-D film. Formats Different layers of video transmission and storage each provide their own set of formats to choose from. For transmission, there is a physical connector and signal protocol ("video connection standard" below). A given physical link can carry certain "display standards" that specify a particular refresh rate, display resolution, and color space. Many analog and digital recording formats are in use, and digital video clips can also be stored on a computer file system as files, which have their own formats. In addition to the physical format used by the data storage device or transmission medium, the stream of ones and zeros that is sent must be in a particular digital video compression format, of which a number are available. Analog video Analog video is a video signal transferred by an analog signal. An analog color video signal contains luminance, brightness (Y) and chrominance (C) of an analog television image. When combined into one channel, it is called composite video as is the case, among others with NTSC, PAL
PAL
and SECAM. Analog video may be carried in separate channels, as in two channel S-Video
S-Video
(YC) and multi-channel component video formats. Analog video is used in both consumer and professional television production applications.

Composite video (single channel RCA)

S-Video (2-channel YC)

Component video (3-channel RGB)

SCART

VGA

TRRC

D-Terminal

Digital video Digital video signal formats with higher quality have been adopted, including serial digital interface (SDI), Digital Visual Interface (DVI), High-Definition Multimedia Interface (HDMI) and DisplayPort Interface, though analog video interfaces are still used and widely available. There exist different adaptors and variants.

Serial digital interface
Serial digital interface
(SDI)

Digital Visual Interface
Digital Visual Interface
(DVI)

HDMI

DisplayPort

Transport medium Video
Video
can be transmitted or transported in a variety of ways. Wireless broadcast as an analog or digital signal. Coaxial cable in a closed circuit system can be sent as analog interlaced 1 volt peak to peak with a maximum horizontal line resolution up to 480. Broadcast or studio cameras use a single or dual coaxial cable system using a progressive scan format known as SDI serial digital interface and HD-SDI for High Definition video. The distances of transmission are somewhat limited depending on the manufacturer the format may be proprietary. SDI has a negligible lag and is uncompressed. There are initiatives to use the SDI standards in closed circuit surveillance systems, for Higher Definition images, over longer distances on coax or twisted pair cable. Due to the nature of the higher bandwidth needed, the distance the signal can be effectively sent is a half to a third of what the older interlaced analog systems supported.[7] Video
Video
connectors, cables, and signal standards

See List of video connectors
List of video connectors
for information about physical connectors and related signal standards.

Video
Video
display standards Further information: Display technology Digital television Further information: Broadcast television systems New formats for digital television broadcasts use the MPEG-2
MPEG-2
video coding format and include:

ATSC – United States, Canada, Mexico, Korea Digital Video
Video
Broadcasting
Broadcasting
(DVB) – Europe ISDB
ISDB
– Japan

ISDB-Tb
ISDB-Tb
– uses the MPEG-4 video coding format – Brazil, Argentina

Digital Multimedia Broadcasting
Broadcasting
(DMB) – Korea

Analog television Further information: Broadcast television systems Analog television
Analog television
broadcast standards include:

FCS – USA, Russia; obsolete MAC – Europe; obsolete MUSE – Japan NTSC
NTSC
– United States, Canada, Japan PAL
PAL
– Europe, Asia, Oceania

PAL-M
PAL-M
PAL
PAL
variation. Brazil, Argentina PALplus PAL
PAL
extension, Europe

RS-343 (military) SECAM
SECAM
– France, former Soviet Union, Central Africa

An analog video format consists of more information than the visible content of the frame. Preceding and following the image are lines and pixels containing synchronization information or a time delay. This surrounding margin is known as a blanking interval or blanking region; the horizontal and vertical front porch and back porch are the building blocks of the blanking interval. Computer displays See Computer display standard
Computer display standard
for a list of standards used for computer monitors and comparison with those used for television. Recording formats before video tape

Phonovision Kinescope

Analog tape formats

A VHS
VHS
video cassette tape.

In approximate chronological order. All formats listed were sold to and used by broadcasters, video producers or consumers; or were important historically (VERA).

2" Quadruplex videotape
2" Quadruplex videotape
( Ampex
Ampex
1956) VERA ( BBC
BBC
experimental format ca. 1958) 1" Type A videotape
Type A videotape
(Ampex) 1/2" EIAJ (1969) U-matic
U-matic
3/4" (Sony) 1/2" Cartrivision (Avco) VCR, VCR-LP, SVR 1" Type B videotape
Type B videotape
(Robert Bosch GmbH) 1" Type C videotape
1" Type C videotape
(Ampex, Marconi and Sony) Betamax
Betamax
(Sony) VHS
VHS
(JVC) Video 2000
Video 2000
(Philips) 2" Helical Scan Videotape
Videotape
(IVC) 1/4" CVC (Funai) Betacam
Betacam
(Sony) HDVS (Sony)[8] Betacam
Betacam
SP (Sony) Video8
Video8
(Sony) (1986) S- VHS
VHS
(JVC) (1987) VHS-C
VHS-C
(JVC) Pixelvision (Fisher-Price) UniHi 1/2" HD (Sony)[8] Hi8
Hi8
(Sony) (mid-1990s) W- VHS
VHS
(JVC) (1994)

Digital tape formats

Betacam
Betacam
IMX (Sony) D- VHS
VHS
(JVC) D-Theater D1 (Sony) D2 (Sony) D3 D5 HD D6 (Philips) Digital-S
Digital-S
D9 (JVC) Digital Betacam
Betacam
(Sony) Digital8
Digital8
(Sony) DV (including DVC-Pro) HDCAM
HDCAM
(Sony) HDV ProHD
ProHD
(JVC) MicroMV MiniDV

Optical disc
Optical disc
storage formats

Blu-ray Disc
Blu-ray Disc
(Sony) China Blue High-definition Disc (CBHD) DVD
DVD
(was Super Density Disc, DVD
DVD
Forum) Professional Disc Universal Media Disc
Universal Media Disc
(UMD) (Sony)

Discontinued

Enhanced Versatile Disc (EVD, Chinese government-sponsored) HD DVD
DVD
(NEC and Toshiba) HD-VMD Capacitance Electronic Disc Laserdisc
Laserdisc
(MCA and Philips) Television
Television
Electronic Disc (Teldec)) and (Telefunken) VHD (JVC)

Digital encoding formats See also: Video codec and list of codecs

CCIR 601 (ITU-T) H.261 (ITU-T) H.263 (ITU-T) H.264/ MPEG-4 AVC ( ITU-T + ISO) H.265 M-JPEG (ISO) MPEG-1
MPEG-1
(ISO) MPEG-2
MPEG-2
( ITU-T + ISO) MPEG-4 (ISO) Ogg-Theora VP8-WebM VC-1 (SMPTE)

Standards

System A System B System G System H System I System M

See also

General

Audio List of video topics Video
Video
clips Video
Video
editing Videography

Video
Video
format

Analog television Cable television Color space Color television Digital television Digital video Interlaced Progressive scan Satellite television Telecine Television Timecode Video
Video
codec

Video
Video
usage

Closed-circuit television Fulldome video Optical feedback Video
Video
art Interactive video Video
Video
production Video
Video
projector Video
Video
synthesizer Video
Video
sender Video
Video
teleconference

Video
Video
screen recording

Screencast Bandicam

References

^ " Video
Video
- HiDef Audio and Video". hidefnj.com. Archived from the original on 2017-05-14. Retrieved 2017-03-30.  ^ Elen, Richard. "TV Technology
Technology
10. Roll VTR". Archived from the original on 2011-10-27.  ^ "Vintage Umatic VCR - Sony
Sony
VO-1600. The worlds first VCR. 1971". Rewind Museum. Archived from the original on 22 February 2014. Retrieved 21 February 2014.  ^ Soseman, Ned. "What's the difference between 59.94fps and 60fps?". Archived from the original on 29 June 2017. Retrieved 12 July 2017.  ^ Andrew B. Watson (1986). "Temporal Sensitivity" (PDF). Sensory Processes and Perception. Archived from the original (PDF) on 2016-03-08.  ^ Constine, Josh (May 27, 2015). "The Most Important Insights From Mary Meeker's 2015 Internet Trends Report". TechCrunch. Archived from the original on August 4, 2015. Retrieved August 6, 2015.  ^ " Serial digital interface
Serial digital interface
Design, SDI Video". Archived from the original on 20 December 2013. Retrieved 21 February 2014.  ^ a b " Sony
Sony
HD Formats Guide (2008)" (PDF). pro.sony.com. Archived (PDF) from the original on 6 March 2015. Retrieved 16 November 2014. 

External links

Wikimedia Commons has media related to Video.

Library resources about Video

Resources in your library

Video
Video
as Arts at Curlie (based on DMOZ) Video
Video
as Media Production at Curlie (based on DMOZ) Programmer's Guide to Video
Video
Systems: in-depth technical info on 480i, 576i, 1080i, 720p, etc. Format Descriptions for Moving Images - www.digitalpreservation.gov

v t e

Video
Video
storage formats

Videotape

Analog

Quadruplex (1956) VERA (1958) Ampex
Ampex
2 inch helical VTR (1961) Sony
Sony
2 inch helical VTR (1961) Type A (1965) CV-2000 (1965) Akai (1967) U-matic
U-matic
(1969) EIAJ-1
EIAJ-1
(1969) Cartrivision (1972) Philips
Philips
VCR (1972) V-Cord (1974) VX (1974) Betamax
Betamax
(1975) IVC (1975) Type B (1976) Type C (1976) VHS
VHS
(1976) VK (1977) SVR (1979) Video 2000
Video 2000
(1980) CVC (1980) VHS-C
VHS-C
(1982) M (1982) Betacam
Betacam
(1982) Video8
Video8
(1985) MII (1986) S- VHS
VHS
(1987) S- VHS-C
VHS-C
(1987) Hi8
Hi8
(1989) Ruvi (1998)

Digital

D1 (1986) D2 (1988) D3 (1991) DCT (1992) Digital Betacam
Betacam
(1993) D5 (1994) Digital-S
Digital-S
(D9) (1995) Betacam
Betacam
SX (1996) Digital8
Digital8
(1999) MicroMV
MicroMV
(2001)

High Definition

Sony
Sony
HDVS (1984) UniHi (1984) W- VHS
VHS
(1994) HDCAM
HDCAM
(1997) D- VHS
VHS
(1998) D6 HDTV VTR
D6 HDTV VTR
(2000) HDV
HDV
(2003) HDCAM
HDCAM
SR (2003)

Videodisc

Analog

Phonovision (1927) Ampex-HS (1967) TeD (1975) LaserDisc
LaserDisc
(1978) CED (1981) VHD (1983) Laserfilm
Laserfilm
(1984) CD Video
CD Video
(1987) VSD (c. 1987)

Digital

VCD (1993) MovieCD
MovieCD
(1996) DVD
DVD
(1996) Mini DVD
DVD
(c. 1996) DVD-Video
DVD-Video
(1997) CVD (1998) SVCD (1998) EVD (2003) PVD (Personal Video
Video
Disc) (2003) HVD (High-Definition Versatile Disc) (2004) UMD (2004) FVD (2005)

High Definition

MUSE Hi-Vision LD (1994) VMD (2006) HD DVD
DVD
(2006) BRD (BD/ Blu-ray
Blu-ray
disc) (2006) MiniBD (c. 2006) HVD (Holographic Versatile Disc) (2007) CBHD (China Blue High-definition Disc) (2008) UHD BRD (Ultra HD Blu-ray
Blu-ray
disc) (2016)

Virtual

Media agnostic

DV (1995) DVCPRO (1995) DVCAM (1996) DVCPRO50 (1997) DVCPRO HD (2000)

Tapeless

CamCutter Editcam (1995) XDCAM
XDCAM
(2003) MOD (2005) AVCHD
AVCHD
(2006) AVC-Intra (2006) TOD (2007) iFrame (2009) XAVC (2012)

Solid state

P2 (2004) SxS (2007) MicroP2
MicroP2
(2012)

Video
Video
recorded to film

Kinescope
Kinescope
(1947) Telerecording
Telerecording
(1940s) Electronicam
Electronicam
kinescope (1950s) Electronic Video Recording (1967)

v t e

Video
Video
digital distribution platforms

Digital library Streaming media Video
Video
on demand

Free

3Player 56.com 7plus 9Now ABC iview Aparat AcFun afreecaTV All 4 Arte
Arte
Boutique BBC
BBC
iPlayer Bilibili BitTorrent Blinkbox Break.com Brightcove Buzznet Canalplay Chicken Pork Adobo Crackle Dailymotion Daum DittoTV DramaFever Facebook Watch Flickr Fotki France
France
TV Pluzz Frequency Funimation Funshion GOG.com GyaO Hoopla Hotstar Hunter TV iQiyi ITV Hub i Want TV Le Lightbox LiveLeak Mango TV Medici.tv Metacafe Mixer My5 My TF1
TF1
VOD MyVideo Naver NeuLion The NewsMarket Niconico Noggin OneWorldTV Ora TV OverDrive, Inc. Pandora TV PictureBox Films Pluto TV Popcornflix PPTV Putlocker Queensland Online TV RTÉ Player Rumble Rutube SBS on Demand SchoolTube Sky Go Smashcast.tv Sohu Sony
Sony
LIV Sina Video Spirit Show Network Spuul Starlight Networks Steam Streamworks International STV Player SVT Play Talk Talk
Talk
TV Tank Top TV TAPP TV TeacherTube Teaching Channel Telly Inc TENplay thePlatform Toon Goggles Trilulilu Tubi TV Tudou TV UOL Tvigle TVNZ OnDemand TVPlayer tvyo Twitch.tv UKTV Play Ultraviolet VBOX7 Veoh Vevo Viddsee Viewster Viki Vimeo Viu Voddler V.QQ.com VyRT Wistia Wuaki Xfinity Streampix Xunlei
Xunlei
Kankan Yahoo! View Youku YouTube YuppTV Zattoo

Sports

Fox Sports Go WatchESPN

Pornographic

PornerBros Pornhub PornMD PornoTube RedTube XHamster Xtube XVideos YouPorn

Comedy

Funny or Die

Paid

All Japan
Japan
Pro Wrestling TV Acorn TV Amazon Video AnimeLab Big Japan
Japan
Pro Wrestling Core Boomerang CBS All Access CraveTV Crunchyroll CuriosityStream Club WWN DirecTV Now DDT Universe Demand Progress Dragon Gate Network ESPN+ FandangoNOW Fandor FilmStruck Foxtel Play Fullscreen FITE TV Global Wrestling Network Google Play Movies & TV HBO Go HBO Now Hillsong Channel Now HOOQ Hulu Honor Club Icflix iflix iTunes Store Mubi Netflix New Japan
Japan
Pro-Wrestling World Nintendo eShop Now TV PlayStation Store PlayStation Video PlayStation Vue Playster Rooster Teeth
Rooster Teeth
FIRST SHAHID Showmax Showtime Shudder Sky On Demand Sling TV Stan STARZ Stardom World TVPlayer UFC Fight Pass VidAngel Vudu Windows Store
Windows Store
(Microsoft Movies & TV) WWE Network WWNLive YouTube
YouTube
Red YouTube
YouTube
TV

Discontinued

Azubu BBC
BBC
Store Blip Blockbuster On Demand (now part of Sling TV) BlogTV CinemaNow Daisuki Fearnet Flixster Google Video Hitbox.tv imeem iMesh Intel AppUp Joost Justin.tv Kazaa LoveFilm Megavideo MUZU.TV Nintendo Channel Nintendo Video Nokia Store Openfilm PLUS7 Presto Quickflix Redbox
Redbox
Instant by Verizon Revver Seeso Shomi Sony
Sony
Entertainment Network Stage6 Super Deluxe TouchVision Triton TroopTube Twango Vdio Vessel Viddler Vidme Vine Vongo Warner Archive Instant WeShow Windows Media Center WWE Classics on Demand Yahoo! Scree

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