3. Connect Now
OTT - WebRTC – RTMP – HLS – DASH – VC-1 - VP9 – AV1 - ATSC – SHVC – DVB/ASI - H.264 – HEVC - UHD – REC 2020 – HDR – WCG – P3 – DRM – SIP – H.323 – H.320
Direct worldwide staff (San Francisco, New York, Charlotte, London,
Beijing, & Singapore offices) to drive the acquisition and delivery of
digital media for Fortune 500 clients. Leading member of the core
team that brought ON24, Inc. to profitability in late 2003 despite the
dire 2001-2004 recession. Directs staff and partners to provide live
streaming, broadcast production, signal acquisition, and content
delivery. Currently manage over 65,000 events per year resulting
~$100 million yearly revenue. Multi-million dollar project budget
oversight. Manage and design multi-tiered, web-based streaming
applications. Design and engineering of streaming and broadcast
network infrastructure for ON24 24/7 live streaming services.
C O M M U N I C A T I O N S
live interactive webcast applications
broadcast televisionmillions of viewers
social data acquisition & analysis
L E A D E R S H I P
ANDY KOCHENDORFER Accomplished - Professional
MANAGEMENT PROFILE
COMMUNICATIONS & TECHNOLOGY
MANAGEMENT EXPERIENCE
SR. DIRECTOR, GLOBAL PRODUCTION
Directed nationwide staff delivering global, live digital programming.
Managed and developed a three-tiered, web-based application that
incorporates streaming video software to deliver video, audio,
synchronized slides, chat communications, and voting surveys.
Directed worldwide production and encoding staff and
infrastructure. Engineered worldwide CDN streaming networks.
Scheduled all resources, budget actions, manage CRM (Siebel), and
manage forecasting.
DIRECTOR, STREAMING PRODUCTION
Directed staff at Fox Television broadcast stations and digital
production facilities. Designed and deployed Fox News, Orlando
operations. Engineered multi-station master control operations and
digital transmission conversions. Directed commercial and marketing
content for entire Meredith Broadcast Network of 20 national
stations. Directed broadcast commercial material for Fortune 500
companies such as Coke, IBM, Disney, Toyota, Intel, Lockheed, ESPN,
Arista Records, etc.
BROADCAST DIRECTOR
Responsible for content, assembly, and coordination of 6 and 10 PM
newscasts at the No. 1 Fox station in America. 10 PM newscast voted
Best Newscast by Associated Press. Demonstrated clear ability to
succeed under tight deadlines. Managed photography and editorial
staff, coordinated live microwave and satellite broadcasts.
BROADCAST PRODUCER
Managed all productions, equipment, and budgets for national
broadcasting firm, as well as sister film and video production firm.
Directed projects in the $50,000 to $180,000 range. Managed 4 full-
time and 25 part-time contract employees. Negotiated vendor
contracts and pricing, managed accounts/sales staff and business
development. Saved company $60,000 in the first quarter by
restructuring and negotiations with vendors.
PRODUCTION MANAGER
BROADCAST ONE
T E L E P R O D U C T I O N S
PERSONAL INFORMATION
As a highly experienced professional with over 20 years of television
broadcast and live interactive streaming management, I was pivotal
in the development of ON24’s cutting edge, live interactive
streaming environment. I have a contagious passion to develop and
the technological leadership to create financially beneficial, market
driven business strategies.
I received my Bachelor of Science in Resource Management from the
University of California, Berkeley in 1990 with honors. I am a long-
standing Scout leader in my local community and volunteer to
support local schools.
COMMUNICATIONS LEADERSHIP & STRATEGY
EDUCATION/ACCREDITATION
“I possess an innate ability to motivate people through exemplary
leadership in enterprise communications. I believe people thrive
when given quality leadership and the necessary responsibilities to
fulfill their occupational demands. As a highly motivated self-starter, I
excel when presented with tight deadlines and constant
technological change.”
“I desire to partner with those poised for the future of business
collaboration and communications. I will continue to develop new
streaming technologies and applications. What can we do together?”
RESOURCE MANAGEMENT – BACHELOR OF SCIENCE
University of California, Berkeley
ACCOLADES
“What a great job. You are extremely well aligned, and doing a
tremendous job at Merck. Fantastic.”
“On behalf of the Cisco team, I want to thank you for your support
during Cisco Live Las Vegas. We attempted one of our largest
captures ever at a Cisco convention….Due to your hard work, we had
our most successful event ever!”
“IBM executives were very pleased with the great rollout of IBM
Cognos. Special thanks to Andy Kochendorfer for making this event
a tremendous success.”
“On behalf of Merrill Lynch and the entire technology group, we wish
to thank you sincerely for the flawless execution of broadcasting
Merrill conferences. From inception to completion you exceeded our
expectations and your positive, skillful attitude was a true asset.”
+1 415 760 0508
giantsequoia@gmail.com
shift your thinking
![Connect Now
HTML 5 refers to the latest browser specification. HTML 5 supports
live streaming via H.264, H.265, WebRTC, and other codecs. Media
players may be coded using HTML 5 directly.
STREAMING &
BROADCASTING
CHEAT SHEET
STREAMING AND BROADCASTING are rapidly converging technologies. Sometimes, the same terms apply to both. I have tried to
separate them for ease of understanding, but there is much crossover. Diagrams are on the following page.
STREAMING TECHNOLOGY
HTML 5
BROADCAST TECHNOLOGY
Know enough to be dangerous!
H.265 replaces H.264 and adds support for 4K DCI, and UHD
resolution, as well as WCG and HDR streaming (Rec. 2020). Booyah!
H.265 (aka HEVC)
H.264 replaces VP6 (Flash) with better quality encoding/decoding.
It supports resolutions up to 1080P and standard color and dynamic
range (Rec. 709). x.264 is a slightly higher quality version of H.264.
H.264
HLS refers to the Apple Streaming Server environment to support
iOS and Android devices. Similar to MPEG-DASH, it works by
breaking the overall stream into a sequence of small HTTP-based file
downloads, each download loading one short chunk of a continuous
stream. Supports adaptive bit rate (ABR) streaming.
HLS (aka HTTP Live Streaming)
RTMP servers can stream H.264 as well as Flash (VP6 codec). The
Adobe Flash Media Server has been the primary means of delivering
live streams for many years. Supports ABR streaming.
RTMP (aka Flash Streaming Server)
WebRTC was developed by Google and others. It was designed as a
live streaming video and voice collaboration technology. The best
example is Google Hangouts. The WebRTC interface may be coded
directly into HTML 5 and offers the ability to include various live
streaming sources and switch between them on the fly. Veeery cool!
WebRTC
UDP is the basic way live streaming media is delivered. This is the
transport layer and it is prioritized for speed (low latency), but does
not guarantee delivery – packets may get lost along the way. This is
why you need a CDN like Akamai, L3, etc. Think of streaming like an
equation, with one protocol and codec inside the other:
< UDP [ RTMP { H.264/AAC } ] > - see the table on the next page.
UDP
Rec. 2020 refers to the latest broadcast standards and includes up
to 4K (4096 x 2160) resolution, 10 or 12 bit color, up to 120 frames
per second, as well as WCG and HDR video .
Rec. 2020 (aka BT.2020)
HDR refers to high dynamic range television. Dynamic range is the
ability of a camera or display to capture or show a certain range of
black to grays to white. This is normally referred to in f-stops to use
familiar camera light measurement techniques. Human eyes can see
~14 stops (though it is more complex than that really - we vary
dynamic range within what we see). Most professional cameras
capture 10 - 12 stops and cinema cameras (like the RED) go up to 18
stops. For monitors, this is calculated in nits. Your pre-2016 monitor
is generally up to 300 Cd/m2 (nits). HDR will bring up to 4,000 nits
with technologies like Dolby Vision promising up to 10,000 nits.
HDR
WCG refers to wide color gamut television. Color space is a complex
topic, but in short it is the range of colors a given technology can
either capture or reproduce. The CIE 1931 color space chromaticity
diagram with Rec.2020 (BT.2020) and older Rec.709 color space
diagrammed explains it best. Rec. 709 is a small box of Crayons!
WCG
Rec. 709 refers to the previous broadcast standards and includes up
to 1080P resolution supporting standard color and dynamic range.
Rec. 709
CDN refers to a content delivery network. Think of this as FedEx for
packets. CDNs manage private networks to get your streams where
the audience is. Some CDNs serve from Internet top tiers (L3,
Limelight) and others serve from the edge in local ISPs (Akamai),
and some into specific geographies (China Cache).
CDN
DASH is an adaptive bitrate (ABR) streaming technique delivered
from HTTP web servers. Similar to Apple's HLS solution, MPEG-
DASH works by breaking the content into a sequence of small HTTP-
based file segments at different bit rates. Each viewer is served the
best bit rate for their network conditions, based on the levels set.
MPEG-DASH
Smooth Streaming uses the Microsoft IIS (Internet Information
Server) to serve live streaming video and audio. Much like DASH, this
is an adaptive bitrate (ABR) HTTP streaming technique.
Microsoft Smooth Streaming
DCI-4K is the new acquisition standard resolution for production
professionals. 4K (most people forget the DCI reference) is
4096x2160 in resolution. For a quick comparison, see the diagram on
the next page (480i = standard definition TV).
DCI-4K
UHD is the new standard for television. Think of this as the consumer
version of 4K. It is 3840x2160 pixels in dimension. This was picked as
the consumer standard because it is four times the resolution of the
current HD resolution (1920x1080).
UHD
ATSC refers to standards for digital television transmission over
terrestrial, cable, and satellite networks. This is basically a table that
describes all the different combinations of resolution, frame rate,
color, and dynamic range. ATSC 3.0 allows delivery of multiple
image sizes, frame rates, color, and dynamic range at the same time.
ATSC
A Nit is a candela per square meter (cd/m2). The candela is the SI
unit of luminous intensity and the square meter is the area of
measurement. A nit is used to describe the brightness range of a
monitor; a higher nit rating means a better contrast range.
Nits
DCI-P3 or D65 is a common color space for digital movie projection.
Mid-ground between Rec. 709 and Rec. 2020.
DCI-P3
© 2016 Andy Kochendorfer
OTT M2TS
+1 415 760 0508
giantsequoia@gmail.com
shift your thinking](https://image.slidesharecdn.com/2e6dcdd0-b84c-44e9-8886-995812ccf733-160828132641/85/streaming-and-broadcasting-cheat-sheet-1-320.jpg)
