Now, these two clocks need not necessarily be in sync. For instance, your packager might be using one clock to set the program date time tags in the playlist while the encoder that is producing the media is driven by a different clock. Now, scheduling ads in live scenarios comes with its own set of challenges.
And we also have an ad scheduled to play once at some 10 seconds into playback. Note that the preroll is scheduled to play only once. This shows a playlist example where you have ads scheduled as pre and post rolls. A great application of this would be for rating screens which are typically shown just the one time at the start of playback. So if the user were to seek back to before the ad, they would no longer see the ad play again. This might be useful for event streams where you'd like to schedule end credits, say, at the conclusion of a live event.Īnd a value of ONCE would make the ad appear only once.
A value of POST would indicate that the ad should appear after the presentation of your primary content. This is especially useful in live scenarios where you'd want to schedule a premium ad spot before tuning into the program. A value of PRE would make the ad appear before the presentation of the primary content begins. This attribute can take on one or a combination of the following values. For that we've added the following new cueing options that you can specify using the CUE attribute. While you can schedule ads along the content's timeline, this year we've added attributes that force the placement of the ad to the beginning or at the end of playback. For more information, you can check out "Dynamically insert midrolls and prerolls in HLS" from WWDC 2021. You can even replace these ads by specifying a resume offset that equals the duration of the stitched-in ad.Īpart from this, HLS interstitials also lets you specify navigation restrictions for your ads, and you can even schedule early return in live scenarios, among other things. It could also be that your primary content has some ads already stitched in.
For that, you'd add another DATERANGE tag to the playlist. For that, you'd simply specify the start time of the ad using a DATERANGE tag.Īnd you'd like for the second ad to appear at 15 seconds. You'd like for the first ad to appear some 5 seconds into playback. Say you want to schedule two ads during playback. This is your typical media playlist that shows a primary content timeline. This makes it really simple to schedule ads, as you'd only need to point to their multivariant playlist from your primary content. Instead, they can be directly referenced via their multivariant playlist. They need not be stitched in with discontinuity tags anymore. With HLS Interstitials, ads are treated as separate assets that can be scheduled onto a program timeline. But before we dive into the new features, let's quickly refresh ourselves with HLS Interstitials. We'll then go over some of the new query parameters that we've added to the HLS specification, and finally we'll discuss the changes to the AVFoundation APIs that incorporate these new features. After that, we'll see how you can fine tune your ad experience, especially in live scenarios using the SNAP attributes. And we'll follow that by discussing the new ad cueing options that we've added. In this talk, we'll start with a quick overview of how HLS Interstitials work. So come, let's find out what's new in HLS Interstitials. This year, we've added features that let you better optimize your ad inventory and also fine tune your presentation. They offer a really simple way to schedule ads and other interstitials in your HLS streams. In 2021, we introduced HLS Interstitials.
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