Mobeam Adds $1.5M To Series A Following Partnership With P&G

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Mobeam, the San Francisco-based startup whose technology enables mobile phones to interact with laser scanners at the point of sale, has added another $1.5 million to its Series A round. The company had previously raised $4.9 million in October 2011.

The round includes new investor DFJ Athena, a Korea-focused venture fund affiliated with Draper Fisher Jurvetson, and brings in new funds from existing investor and board chairman, Ben DuPont.

Also announced today, DFJ Athena’s founder and managing director, Perry Ha, will join Mobeam’s board of directors.

The funding follows the company’s announcement in December of a partnership with Procter & Gamble for a pilot program which brings a fully mobile couponing system to U.S. consumers. The technology developed by Mobeam involves a patented way to beam barcodes from a phone’s screen which can be read by normal laser scanners like those found at the point-of-sale.

Due to the way mobile handset screens are constructed, they can’t be read by the commonly used scanners found at checkout. Mobeam’s technology instead uses the LEDs already present on many mobile handsets to transform barcodes into beams of light that any laser scanner can read.

Mobeam says it’s using the new funding to help establish its technology, called light-based communications (LBC), as a new industry standard. It’s also planning to advance its business development efforts with major retail and consumers brands for mobile couponing and other initiatives.

White Galaxy Nexus Gets An Official Launch Date

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It’s hard not to love the Galaxy Nexus, even if you’re not a Fandroid. With a 4.65-inch 720p display, a 1.2GHz dual-core processor and Android 4.0 ICS to boot, what’s not to love?

Well, if you’re being picky, perhaps you’re yearning for a white GalNex, in which case I have good and bad news. Which do you want first?

The good news is that the white Galaxy Nexus is indeed an official product and it will be available on February 13, which gives you a whole day to use a combination of Google Wallet and Fab to find your sweetheart a nice Valentine’s Day gift.

The bad news is that, according to TrustedReviews, the white GalNex is only available to the UK this week. (Bad news for us, anyways.)

Wait, there’s one extra bonus bit of good news: If you have enough dough, the white GalNex is has a pentaband HSPA+ radio, meaning it will work on both AT&T and T-Mobile’s networks. And by “enough dough”, I specifically mean at least £496.79 ($770), which is what the 16GB model seems to be going for over at UK online retailer Handtec.

Past it’s pale appearance, all the specs will remain the same between the black and white models. However, if you happen to remember when we first noticed the white Galaxy Nexus, you’ll recall that the render within the post showed an all-white bezel. That isn’t the case with the official version, as the front bezel of the phone is still solid black and the back portion of the phone is white.

Nokia: The White Lumia 800 Will Ship This Month Starting With European Markets

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Forget about the Lumia 900 for a minute. Nokia just announced white Nokia Lumia 800 is finally on the release block and scheduled to hit stores later this month. Availability will be limited to Europe initially but it will eventually hit other countries as well.

Other than the stark white exterior, it’s essentially the same phone as its colored counterparts. The albino edition (not the official name) still has the same 3.7-inch screen, 16GB of storage, 1.4GHz processor and WinPhone 7.5 operating system.

Nokia didn’t go into pricing details, probably because the phone is set to hit so many different markets, each with a different pricing strategy. However, Nokia has seemed to stress affordability with their Windows Phones so far so this white edition will likely follow the same mantra. Alright, enough with the Lumia 800, bring on the 900!

Citing “Short-Term Difficulties”, HTC Forecasts Weak Q1, Significant Revenue Drop

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Smartphones and tablets maker HTC this morning said it foresees a huge drop in revenue (PDF) in the first quarter, citing “short-term difficulties” as it gears up to – reportedly – launch four new phone models at the Mobile World Congress later this month.

The Taiwanese company sees revenue dropping as much as 36 percent in Q1, to between NT$65 billion and NT$70 billion (roughly $2.2 and $2.4 billion) due to this “product transition”.

In PR speak, that sound something like this:

Despite short-term difficulties, momentum will resume in the upcoming product cycle driven by HTC’s brand strength, innovation, and design/engineering capabilities

The smartphone maker also said it expected gross margin to come in at around 25 percent, and operating margin at 7.5 percent, which is down from 27.1 percent and 12.7 percent in the previous quarter. Again, HTC says it expects these margins to “normalize” after the debut of the new phones.

In other words, HTC has a heck of a lot riding on these new smartphones selling like hotcakes, as it feels the pressure from Apple’s overwhelming iPhone success and an increasing number of manufacturers churning out and selling competing Android-powered devices by the millions.

Also read:

It’s About Time: HTC To Refocus Smartphone Efforts Around “Hero” Devices

Is HTC’s 20% Revenue Dip Last Month A Sign Of Things To Come?

Pedestrian Map App, Lumatic, Raises $800K From Joi Ito And 500 Startups

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All the major map apps like Google Maps, Bing Maps, and Mapquest have walking directions as a standard feature, but the folks at Lumatic don’t think they are good enough. It is creating mobile maps designed for pedestrians, cyclists, and people who use public transit. Originally a TechStars company called Omniar, serial entrepreneur Scott Rafer (MyBlogLog, Lookery, Mashery) joined as CEO a year ago.

He recently raised a seed round of $800,000 from Joi Ito’s Neoteny Labs, 500 Startups, Chamath Palihapitiya, Allen Morgan, Ted Rheingold, and other angels.

Lumatic has an Android app which works right now only in San Francisco. When it gives you directions, it chooses routes which are optimal for walking, cycling or public transport. As you walk through the streets, the app displays a street-view with photos and arrows pointing in the right direction.

The app is built on top of Open Street Map , but the user experience is centered heavily on using photography, landmarks, and visual cues to help people navigate cities. Fighting Google Maps in this category is going to be a tough slog, but if the app can gain a following there plenty of money in local commerce and advertising to make it a worthwhile pursuit.

Tech Bowl: Best Buy Spotlights Mobile Innovators, Founders In Super Bowl Spot

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Every year, Best Buy runs a big Super Bowl spot, and traditionally they go the route of hiring a big celebrity to hawk their brand message. Last year, it was “the Biebs” and Ozzy Osbourne. This year, Best Buy has opted for something a bit different, choosing to highlight innovators and give more than a nod to geeks in its tech-focused Super Bowl ad.

Drew Panayiotou, Best Buy’s U.S. marketing chief, told Bloomberg that the company had initially planned to continue down the celebrity track, but the outpouring of affection for Steve Jobs after the Apple CEO passed away was strong evidence that “Silicon Valley inventors are today’s stars.”

So, this year’s Super Bowl ad opens with Philippe Kahn, the current CEO of Fullpower Technologies and the guy credited with inventing the camera phone, next there’s author, inventor, and futurist Ray Kurzweil, who shows himself the father of text-to-speech synthesis. The ad also features the key characters behind Instagram, like Kevin Systrom, Square, Shazam, and Words With Friends.

It’s the most Silicon Valley/startup founders together in one advertisement we’ve seen, ever? Best Buy has been struggling over the last year, and many see the company as a foundering ship, so buoying itself on the back of inventors and innovators is certainly an interesting play. Best Buy needs to prove it can go toe-to-toe with Walmart et al, and the idea is to present the idea that the Best Buyers in blue shirts are some of the most knowledgeable geeks in the business.

So knowledgeable, in fact, that all these inventors want to line up to back their brand in a Super Bowl ad. Of course, implied is the heaps of cash they were offered to join in on turning Best Buy’s brand around. (Read more about Best Buy’s future here.)

As for the promo itself, Best Buy is giving a $50 gift card to anyone who volunteers to upgrade their phones from one of four national carriers at a Best Buy store near you.

It was good to see Words of Friends founders/brothers Paul and David Bettner poking fun at Alec Baldwin’s now infamous cellphone on a plane incident, in which he refused to turn off his phone, because he was, of course, playing Scrabble With Friends. Pop culture, celebrities, and technology, all together in one weird self-referential celebration. Unsettling, yet geek-tastic.

Apple Schooled Music Execs Then, Here Are The Lessons Online Video Should Learn Now

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Editor’s Note: This post is written by guest author Peter Csathy, who is President & CEO of online video enabler and transcoding company Sorenson Media. Previously, he served as President & COO of online music pioneer Musicmatch. Thus, the following is written from the perspective of a long-time media executive, and meant to be a conversation-starter. Csathy blogs at Digital Media Update.

Apple’s all-in-one physical flat-screen iTV is coming, make no mistake. And, when it does, it will represent Apple’s attempt to reinvent the television experience in much the same way it did for music. But, while media execs were hopelessly naive in Apple’s presence back then, they feel they are ready this time. They are determined not to let Apple rule the premium online video world like they did (and still do) for online music. The question is, do they have the will?

Apple will, of course, follow its established playbook, which most CE companies inexplicably still do not follow, and seamlessly marry its beautiful hardware (the iTV) with its underlying software and services (in this case, movies and television) in the same way it did with music via the iPod and iTunes. Apple’s goal is to be the center of the online movie and television universe for consumers (just like it is for music). Yes, content is king to Apple, but only because content serves as the Trojan Horse consumers ride into Apple’s kingdom of riches (initially Macs and iPods, and later iPhones, iPads and the inevitable iTV).

Ay, but there’s the rub. The content king-makers — motion picture and television studio execs — now know this. They have seen this movie before, and this time they are determined to monetize content more directly for content sake – for themselves. Apple transformed itself into the #1 most valuable global company and juggernaut that we see today precisely because those media execs handed Apple the keys to unlock music value in the online world.

Steve Jobs wooed them with his charms, pitched a great story, and established the rules of the online music licensing game. Apple’s massive growth in the past decade all started there with its iPod-iTunes 1-2 knockout punch. That, in turn, led to the resurgence of Macs, which led to the iPhone, then the iPad. Apple would be a very different company today if didn’t get the music it needed 10 years ago.

And, how did Jobs’ playbook work out for the labels and musicians? Not so well. Online music sales (and royalties) were an asterisk next to iPod sales. Don’t get me wrong. Rampant piracy — and the music industry’s misplaced attack strategy — destroyed significant content value. Nevertheless, the music industry’s negotiations with Jobs one decade ago resulted in a massive transfer of value and wealth to Apple.

So, what lessons have media executives learned from this past decade?

Lesson #1 — Dictate the Rules of the Game, Rather Than Have Them Dictated to You.

Music execs were on their heels reeling in fear when Jobs approached them a decade ago with the promise of iTunes. They had no real experience with the Internet. They certainly had no experience with technology (many still do not) – and how it could be used for both good and evil. Piracy was rampant. Napster ruled the day (the bad one, not the good one). Kazaa’s Niklas Zennstrom was public enemy #1 (now of course he is a media insider with Skype, Joost and others). The music industry was understandably panicked.

Jobs promised a way out – under three conditions. First, Apple must be able to sell individual tracks unbundled from albums. Second, its price for those unbundled tracks must be $.99 each. Third, Apple must define and control the entire online music experience. The music industry capitulated, and these 3 commandments are fundamental rules of the game that still largely rule the day.

Well, those rules haven’t worked out too well for music creators and owners. Lesson learned. So, one decade later, media execs are striving to proactively dictate the value of their content and support multiple online experiences and business models. But, even now, they frequently significantly under-value their content. More on that later.

Lesson #2 — Never Again Put Too Much Power in the Hands of One Distributor.

Prior to iTunes, piracy was rampant, and only relatively small players (including my former company, Musicmatch) played legitimately in the online music world. Amid this backdrop, media execs empowered Apple to be the first and only established online music source and experience. As a result, iTunes incredibly still commands 60-70% of all online music sales. That represents incredible power in the hands of one. It represents a downright monopoly.

Media execs are determined not to allow that kind of power in the hands of any single player in the online video world. They instead are committed to fostering an eco-system of as many legitimate distributors as possible. They actively license their prized motion picture and television assets to all those willing to pay.

That’s why we already have myriad established behemoths in the premium online video game. We have Netflix, Amazon Prime, Hulu, Google/YouTube, Comcast. The list goes on and on. Apple too is on that list, but it is behind the curve this time. Those same media execs who ceded control to Apple ten years ago have refused, thus far, to broadly license their crown jewels on Apple’s terms. But Apple — or more accurately, Apple’s massive hoards of cash – can be very persuasive. More on that later.

Lesson #3 — License Broadly & Make the Licensing Landscape as Confusing and Opaque as Possible.

Media execs aren’t panicked this time. They have a decade of learning under their belts. Yes, piracy continues to be rampant, but they now understand that it cannot simply be litigated into oblivion. The best defense truly is a better offense. Support better customer experiences, make your content available broadly to those legitimate distributors willing to pay, and experiment with business models and terms.

That’s why we have over-the-top (OTT) “Internet TV” models in which content is monetized via paid downloads, subscriptions, and ads. We also have big cable’s “TV Everywhere” models in which consumers must continue to pay their monthly cable fees. And, coming soon, Google and others will become virtual cable operators that will also distribute live linear programming like ESPN. Apple too wants to be on that “virtual MSO” list, because that is the kind of premium content that ultimately moves mountains of consumers. Case in point: DirecTV’s “NFL Package.”

This melange is great for the studios. No two content licensing deals are the same. Each negotiation takes place in a black box. No clarity. No certainty. Just the way media execs like it (I know, I have been there). Now THAT’s power! Right? Up to a point. More on that later.

Lesson #4 — Be Audacious — After All, Content is King.

Jobs ultimately taught music execs one fundamental truth – that content is THE key to unlock tremendous value online. The corollary to this is that without content, value is lost. That’s why all the deep-pocketed tech titans are lining up for a chance to play in the premium online video game. Just as it is for Apple, premium online video distribution is strategically central to their business. Apple? Sell its hardware. Amazon? Sell more goods and services. Google? Sell more ads. Comcast? Hold onto those cable subscriptions. Netflix? Survive!

These players have inked a steady stream of significant licensing deals just in the past few months, the financial terms of which are almost never disclosed (remember, just the way the studios like it). But, one telling deal’s terms did slip out – Netflix agreed to shell out nearly $1 billion to stream shows from the CW Network. Think about that – if the CW can command those kind of numbers today, think about the price tag for real “premium” content like ESPN. And, we are still in the early innings of this premium online video game.

Apple – with its head-spinning $100 billion war chest – is a lock to win (or at least be a massive winner in) the online video game, right? Most likely, the answer is yes. The inevitable iTVs will fly off the shelves. But, Apple isn’t alone this time. It is playing on a crowded field with other deep-pocketed and committed players (including CE guys like Samsung). Even more importantly, to really hit it out of the park, Apple’s coming iTV must be an experience. That means Apple must offer an extremely deep pool of compelling video content from the start (including sacred programming like ESPN). Otherwise, consumers will find holes, get frustrated, and look to fill those holes with programming offered by others.

Each frustrated customer represents real significant loss, which is especially magnified in Apple’s case because of its closed product eco-system. For Apple, it’s not just about a single product sale (like an iTV). That sale, instead, marks the beginning or continuation of a long-term lucrative purchase relationship, which is the key driver of Apple’s stratospheric growth. That’s why Apple will be willing to strike very different content licensing deals with media execs this time around.

Of course, Apple doesn’t control the content – the studios do. So, who really holds the cards here? Will the studios be as audacious as Steve Jobs was one decade earlier and demand terms that they believe reflect the true value their content creates for distributors over time? In Apple’s case, one truly audacious idea could be to seek a share of revenue for every iTV sold. Remember, not every license deal must be the same. Value means very different things to different players. If Apple, or any other online distributor, refuses to play, then they lose out. No soup for you! There are many others (including the studios themselves), but only one ESPN!

Or, will media execs instead go for the quick-fix of easy money? After all it’s hard to say “no” to someone writing a big check. If they do go this instant gratification route (which is more consistent with their DNA), at least they should realize that their prized motion picture and television assets will be worth significantly more than they think in the online world over time. Avoid long-term deals!

So, yes, media execs have learned their lessons well. Content is, in fact, king. Apple will continue to wear the crown, however, unless media companies have the will and creativity to take it back. After all, Apple made $46.3 billion this past quarter alone, a number that dwarfs global motion picture box office receipts for the entire year. Apple could buy Hollywood. But, will Hollywood let it?

Excerpt image from SoulInTheMachine.com