Check out a photo of the app UI below:

Redbox Instant by Verizon’s prototype app was on display on an LG Google TV that ran the next version of Google TV that is based on Android 4.2.2, or Jelly Bean. That version will come to Google TV devices in the third quarter of this year, but I was told that the Redbox Instant app will be available before that, and that is going to work just fine with the current version of Google TV. However, the service won’t be available on Google TV devices using an Intel processor, which means that owners of the Logitech Revue and other first-generation devices won’t be able to use it.

Redbox Instant first launched on select Samsung TVs and Blu-ray players as well as PCs and mobile devices in March. The joint-venture between Redbox and Verizon has since added support for Microsoft’s Xbox 360 as well as select LG Smart TVs. I was told by a representative Friday that the company is looking to add support for Roku players soon after rolling out the Google TV app.

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YouTube Senior UX Designer Josh Sassoon and his colleague Tom Broxton, who leads the Monetization UX team at YouTube, gave a sneak peek at the multi-screen design principles that will guide YouTube’s future looks during a session at Google’s I/O developer conference in San Francisco Thursday. The big theme was eerily familiar to anyone following our I/O coverage this week: YouTube wants to unify its experience across all screens, the duo explained, while paying attention to the specific use cases for each and every screen.

The duo showed off some design concepts during their presentation, with some featuring the same kind of tile-based design that has been dominating Google’s mobile design language lately brought to the desktop, and at least one playing with the same kind of multi-column design that Google just launched with Google+ for a possible redesign of YouTube’s homepage.

Many of these things were just presented as examples of the design process, which is very data-driven and based on both A/B testing and traditional user research. Fun fact: YouTube has been passing out paper assignment booklets to select users, asking them to track when in the day they’re accessing the site and with which devices.

However, Sassoon and Broxton also shared a few slides of what they called sneak peeks — not necessarily final versions of what YouTube will look like, but definitely explorations that hint at where things are going:

Worth noting in this shot is that YouTube is trying to unify the subscribe button across platforms — which makes a lot of sense, given how much of a focus the site has put on channels.

Also, take a look at how gorgeous this TV UI looks. And once again, there’s a theme of unification across its desktop, tablet, Android, iPhone and ultimately TV platforms.

As for the current redesign: YouTube first introduced the newly designed channel page, dubbed One Channel, in February, and the site said that it has seen a 20 percent growth in page views on participating channels. All in all, more than 100 million channels have already opted in to the new design, according to a post on the YouTube Creators blog.

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It’s been just two and a half weeks weeks since popular soap operas One Life to Live and All My Children were reborn as online-only shows — but production company Prospect Park has already decided to cut back on the number of new episodes released online each week. The change in schedule, the company claims, is due to the fact that viewers are “binge-watching” instead of watching one episode a day, and this makes it too hard for them to keep up.

Starting on April 29, Prospect Park — which licensed the soaps from ABC — ran new, 30-minute episodes of each show every Monday through Thursday, followed by a recap on Friday. The shows are available on Hulu and Hulu Plus, or can be downloaded from iTunes. They’ve received “millions” of views, Prospect Park cofounders Rich Frank and Jeff Kwatinetz wrote in a letter to fans (PDF) this week, and have “consistently been in the top ten shows viewed on Hulu.”

But most viewers aren’t watching these shows the way they traditionally watched soap operas on TV. Instead, as with other TV shows online, “our shows are primarily consumed on different days than when they originally air,” Frank and Kwatinetz wrote:

“Primarily, fans have been binge viewing or watching on demand, and as a result, we feel we have been expecting our audience to dedicate what has turned out to be an excessive amount of time to viewing these shows. (As an example, for the substantial audience only watching on the weekends, we are currently asking them to watch five hours of programming to keep pace with our release schedule).”

In addition, viewers aren’t adhering to traditional soap-watching habits. When the shows were on ABC, “viewers watched only 2-3 episodes on average a week and picked up with whichever day’s episode it was.” By contrast, online viewers “seem to primarily start with the first episode and then continue forward episode by episode…yet starting from the beginning with the amount of episodes we are releasing is asking too much for viewers who need to catch up.”

Prospect Park is also concerned by the fact that, when the shows aired on ABC, viewers often watched both — but online things are different:

“The majority of our viewers are watching one show or the other, not both, and they aren’t viewing the shows when they did before. Part of the reason for choosing between the shows may be that the largest viewing takes place either between 12 PM and 1 PM (when people generally can only fit one episode during lunch time) or between 5 PM and 7 PM (when the vast majority of competing shows are a half hour long). We are finding that asking most people to regularly watch more than a half hour per day online seems to be too much.”

Overall, Frank and Kwatinetz conclude that “When it comes to online viewing, most of us are just trying to find time to watch series comprised of 13 to 22 episodes a season — so asking viewers to assign time for over 100 episodes per show is a daunting task.”

So starting Monday, May 20, the schedules will change. Each soap will now air just two new episodes a week: New episodes of All My Children will air online on Mondays and Wednesdays, and new episodes of One Life to Live will air on Tuesdays and Thursdays, with a recap episode on Friday. “Because Hulu agrees with our findings,” the founders wrote, “for the meantime they will keep all of our episodes on Hulu.com for free to give viewers the opportunity to find us and catch up.”

Frank and Kwatinetz acknowledge that “our most dedicated viewers will be upset,” but “we need to devise a model that works for all viewers and follows how they want, and are actually watching, online” in order to ensure that the shows “not meet the fate they experienced previously.” The

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Not that Edelstein would exactly describe Haunting Melissa  — the story of a teenage girl who believes her dead mother is haunting her, and then suddenly disappears — as a movie. “I didn’t want to take a movie and stuff it in an app,” he told me. Rather, the goal was to use technology “to push a story out to people in bits and pieces.”

Edelstein’s production company, Hooked Digital Media — which includes investor Jason Washington as cofounder and MySpace cofounder Aber Whitcomb as advisor — built an iOS platform that pushes content out to viewers over time. Haunting Melissa doesn’t have a predetermined length: Edelstein shot thousands of hours of video, and it will be pushed out to viewers in “chapters,” or segments, on a timeline that can be tweaked on the back end. For example, if a user hasn’t entered the app for a while, he or she might receive a push notification that a new chapter is available.

In addition, the actual video content can be adjusted through the app’s content management system, so new content can be inserted into a chapter after a user has already watched it. The idea is to keep users coming back to the app, checking for new content and seeing what has changed.

The Haunting Melissa iOS app, available in the iTunes Store today, is free, as is the first chapter. If a user shares that chapter on Facebook, he or she gets the second chapter for free. Users can buy a “season pass” for $6.99 (standard definition or $14.99 (HD); if purchased individually, chapters are $0.99 for standard definition and $1.99 for HD.

“We are gambling on the notion that this is going to fit in the diet of people who watch and consume a lot of stuff,” Edelstein said. “This isn’t sitting down to watch X hours of House of Cards. It’s one piece of what you’re going to consume over the course of time.” He imagines that users will dip in and out of the app as new content becomes available — but he isn’t sure, because Hooked Digital Media hasn’t tested how viewers use the app. “We just have to go for it and see how people watch and react,” Edelstein said. “My experience in testing movies is that it’s a total clusterf*ck. Unless you have a sample size that’s over thousands of people, you can’t get an accurate measure of content consumption.”

So the company is waiting to see what viewers do and how they share Haunting Melissa on social media. Edelstein describes the creation of Haunting Melissa as “low-budget independent film making.” He tapped industry connections who wanted to work on a different kind of project and got to test new skills — like iPad color correction — for Haunting Melissa. “Because of that excitement level,” Edelstein said, “I was able to work with people I’d worked with before.” He is now working on a sequel.

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From the announcement post:

“Today, Google TV is moving to the latest version of Android (Jelly Bean, 4.2.2), and we’ve refactored Google TV so that our TV OEM partners can update to future versions of Android in a matter of weeks rather than months. For developers, this means you can build TV experiences using the latest Android APIs, including the NDK.

Today Google TV is also moving to the latest version of Chrome, and from now on Google TV benefits from Chrome updates on the same six week cycle that you’ve come to expect from Chrome. In Chrome on Google TV, we’ve added support for hardware-based content protection, enabling developers to provide premium TV content in HD within their web apps.”

Some Google TV hardware partners have been working with the new version since February.

This will be a big step for Google TV, which has been based on Android 3.2, or Honeycomb, since the last major OS update in late 2011. However, some Google TV owners won’t be able to take advantage of the update: A Google spokesperson confirmed Wednesday that it will only be available for ARM-based Google TV devices, and not on first-generation Intel-based Google TV set-top-boxes and TVs.

Coming next to Google TV: video games?

The update could bring a number of new features to Google TV that owners of newer Android handsets take for granted, including a better performance, a much-needed UI-update and an all likelihood some form of Google Now integration. It should also help developers by making it easier to port their Android 4.x-optimized apps to Google TV.

But there’s another aspect that’s interesting about this step: Google also announced Google Play games services, a cloud gaming service that makes it possible to develop multi-player games and save game plays across devices, at I/O Wednesday.

With Google TV switching to Android 4.2.2, it’s reasonable to assume that Google TV devices should have access to Google Play Games sooner or later as well. This could give the smart TV platform, which has so far only seen modest adoption, another leg to stand on, and potentially enable future Google TV devices to function as full-blown game consoles as well.

This post was updated at 1:35pm with additional information about the devices that will receive the update.

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YouTube first introduced live streaming two years ago with select partners, and has since gradually expanded the number of approved live streamers by opening up the service to nonprofits and other partners. The site has also been offering any Google+ user to live stream so-called Hangouts on Air, which are essentially Hangouts that can be watched by an unlimited number of users.

YouTube has been working behind the scenes for some time to make live streaming on its service more robust and attractive. It added the ability for select publishers to charge for live streams a year ago, and rolled out a completely revamped live streaming platform earlier this year.

YouTube’s announcement could put pressure on dedicated live streaming services like Ustream, Livestream or Justin.tv. All of these companies at some point directly competed with each other for the live streaming masses, but most have since tried to differentiate themselves with their own take on live video: Justin spun out Twitch.tv to double down on video game live streams, and Livestream has been moving away from pre-roll advertising towards native monetization.

Image courtesy of Flickr user kevindooley

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Despite the love people have for email, Twitter and even Facebook, the real star of the web in terms of sheer traffic is video. And not only is all this real-time video streaming possibly rotting our brains, congesting our broadband networks and threatening our pay TV businesses, it’s driving wholesale changes in how we pay for broadband and the future of television.

A great illustration of these changes comes from Sandvine’s Global Internet Phenomena Report: 1H 2013. Sandvine provides deep packet inspection and networking management tools to wireless and wireline ISPs, which is how it gets some of its data. While, many people already knew that Netflix traffic comprises about a third of the web traffic in the U.S., they might not know that YouTube is gaining rapidly with 17.11 percent of web traffic downloaded on wireline networks, up from 13.8 percent a year ago.

Video makes bandwidth hogs of us all

Few people are immune to the siren song of cat videos or Arrested Development. In fact, it’s changing the profile of what broadband usage looks like to the point where it’s normal to be a bandwidth hog. According to the Sandvine report in North America, the top 1 percent of subscribers who make the heaviest use of the network’s downstream resources account for 10.1 percent of downstream traffic.

However, those top 1 percent of users don’t look too much different from the top 30 percent. At the bottom, the network’s lightest 50 percent of users account for only 6.4 percent of total monthly traffic. In fact it’s those laggards at the bottom we should be worried about. Did they somehow miss Gangnam Style?

The average and median usage on both wireline and wireless networks in North America is on the rise. On wireline networks mean usage was 44.7 GB, a 39 percent year-over-year increase from 32.1 GB. Over the same period, median monthly usage increased at an even by 56.5 percent, jumping from 10.3 GB to 18.2 GB. On mobile networks mean monthly usage increased by 25 percent from 312.8 MB to 390.1 MB. Yet, median usage more than doubled from 25.5MB to 58.7 MB over the past year, driven in part by more people buying smartphones.

And mobile is even bigger than these numbers make it look like (or something like that). One out of every five bits — or 20 percent of the traffic on wireline network is generated by a smartphone or a tablet. And as Wi-Fi expands and is easier to connect too, that number should continue to increase.

Yes, video traffic will always be big, because videos are big

Before people accuse me of being unfair, let me note that sending video is one of the most data heavy options around. A two-hour HD movie file can contain 4GB of data or more, while a book that might also take two hours to read would top out at several megabytes.

The sheer volume of data is one reason video strikes fear into the hearts of both wireless and wireline network operators, while the loss of revenue from pay TV subscriptions keeps wireline providers up at night. Unfortunately for those implementing usage-based billing plans perhaps in hopes of influencing subscribers to keep their pay TV subscriptions, Sandvine shows that real-time entertainment usage goes up on networks with usage-based billing. In fact, the only thing reduced appears to be file-sharing traffic.

The rest of the report is chock full of great data such as this tidbit that confirms North America’s love of Apple products:

So what single home roaming device consumes the most Real-Time Entertainment traffic at over 10percent? It’s the iPad. In fact, Apple devices as a whole play a large role in the consumption of Real-Time Entertainment. If you add up all Apple manufactured devices (which includes iPads, iPhones, iPods, AppleTVs, and Mac computers), they consume over 35% of all streaming audio and video on North America fixed access networks.

There’s also some good data from Europe that shows that the lowered availability of over the top options like Netflix or the BBC’s video player cause the amount of real-time streaming traffic to drop. Additionally the report shows that in Europe file sharing is higher than in North America, something the report’s authors attribute to a lack of access to certain popular content because of geo-blocking.

But taken in its 40-page entirety, the data and case studies show how our love of video is causing both wireline and wireless ISPs to get creative to boost revenue and meet the challenges posed by the demand for video. Just like we said it would.

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The traffic management specialist’s report for the first half of 2013 still lists Netflix as the most popular bandwidth consumption pastime — 32.3 percent of all residential downstream traffic was caused by Netflix viewing. But YouTube’s share has been growing, and is up from 13.8 percent a year ago.

That in itself is notable, because most other services, including Netflix, HBO Go (0.34 percent) and Amazon Instant video (1.31 percent) have seen their share of traffic decline over the same period. Of course, that doesn’t necessarily mean that people watch less Amazon Instant than a year ago; the company’s total share of a growing bandwidth pie is just smaller. But YouTube seems to be growing faster than any of these other services, at least on wired networks.

One reason for this kind of momentum could be the company’s emphasis of premium content as well as channel subscriptions. YouTube relaunched its site in late 2011, and gave sizeable advances to a number of content producers in 2012 to encourage more quality serialized content on the site. However, Sandvine seems to think that there’s another reason for the uptick. From the study:

“We believe the increase is attributed to the continued growth of smartphone and tablet use within the home (i.e. “Home Roaming”); as observed in this study, such devices consume over a quarter of all streaming audio and video on fixed access networks.”

YouTube did release its iPhone app in September, and followed up with an Pad app in December.

For more on Sandvine’s report, check out Stacey Higginbotham’s story Sandvine report confirms: video makes bandwidth hogs of us all

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“With the frequent, often last minute, changes in content flow the title expiration data available through our API has been inaccurate, so we have decided to no longer publish this information,” a Netflix spokesperson said via email. The company’s Director of Engineering – API Daniel Jacobson reiterated this point in a post on the company’s developer blog, adding that members will still be able to find the expiration date for each movie or TV show episode on the title’s web page.

The move will likely impact a number of third-party services, and comes two months after Netflix essentially closed its public API to all newcomers. Back in March, Netflix said that it was no longer issuing new API keys because the way the company was changing the API had changed: Initially meant to enable third-party apps, Netflix’s API has been playing a key component for the technology behind the company’s streaming service.

Restrictions to public APIs have been a common pattern for companies like Netflix and Twitter in recent months, but it looks like there may have been another reason for Monday’s changes: Netflix took a number of titles off its catalog in early May, leading some publications to write about “the great Netflix Instant vanishing of 2013” or even a “Streamageddon purge.”

Not all of those stories were completely accurate. Some reported a number of 2000 titles disappearing, but Deadline put the number close to 1000. And reports that Warner was pulling titles off of Netflix to power its own streaming service were quickly denied by the studio.

Netflix clearly wasn’t happy about all that streamageddon talk. Now it looks like it pulled the plug on another part of its API to prevent us from freaking out in the future — like at the end of the month, when a number of Viacom shows are set to disappear from the service.

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Live streaming starts on Wednesday at 9:00 am PT with the keynote, and will continue throughout the day with up to five simultaneous live streams of key technical sessions as well as “exclusive interviews, product unboxings, and demos from the I/O floor,” as the I/O site puts it. Live streams will also be available on Thursday starting at 10:00 am. Unfortunately, it doesn’t look like Google will stream any of Friday’s sessions online.

All live streams can be accessed directly on the I/O site, where you can also find a detailed schedule of the conference. Or just tune into the keynote below:

GigaOM will also provide extended converage of Google I/O. Make sure to check our site for updates.

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