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July 01 2013

18:51

Social Media Images Form a New Language Online “This is a...



Social Media Images Form a New Language Online

“This is a watershed time where we are moving away from photography as a way of recording and storing a past moment,” said Robin Kelsey, a professor of photography at Harvard, and we are “turning photography into a communication medium.”

June 28 2013

00:51

[Net2 Seattle] VIDEO: Social Media + Traditional Media = Crazy Awesome!

NetSquared Seattle
Do you want the media to cover your kick ass web video, interactive website or compelling blog series? Ever thought of pitching a journalist with social media?
 

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00:44

June 27 2013

17:46

Accuen’s CEO Jacobs: Digital Is Growing, Not Stealing, TV Ad Spend

CANNES – Some folk would have you believe in a straight, linear migration of dollars from television advertising to online video advertising. But that’s not how ad trading desk software vendor Accuen Media‘s CEO Josh Jacobs sees it.

“We’re starting to have much more interesting conversations with the television buyers saying, ‘How do we engage this consumer regardless of the screen they’re engaging on?’,” Jacobs told Beet.TV in this interview during a Rubicon Project discussion at Cannes Lions.

“Budgets are not shifting from television to digital, it’s expanding to incorporate the digital channels that consumers are playing in.”

Jacobs added: “We’re starting to see television buyers are recognizing the fact that consumers are really engaging with content across four screens.”

Accuen is a unit of Omnicom.

14:39

MediaStorm Guide to Copy and Pasting a Clip Range in Premiere Pro

This article is part of a new series of posts with tips and tricks from our producers’ experience working with Adobe Premiere Pro after years of working in Final Cut Pro. To read more about why we made the switch, check out this post.

Today’s post was written by MediaStorm producer Eric Maierson.


A neat new feature in Adobe Premiere Pro CC is the ability to copy and paste a range of clips (or one clip) without first having to use the Razor Tool (C).

To do this simply mark an In (I) and Out (O) on your timeline.

Then, Copy (Command-C) and Paste (Command-V).

Super easy, super helpful.

Note that if a clip is already selected, you’ll simply copy and paste whatever is highlighted, not the range indicated by in and out marks. Use Command-Shift-A to first deselect all clips.


To learn more about how our producers are using Adobe Premiere Pro see our other blog posts on the topic. Also, follow our producers’ twitter feed @PrProShortcuts for Premiere shortcuts.

To learn more about our production style, you can purchase a copy of our Post-production Workflow. Readers who purchase our current Final Cut Pro and Aperture workflow automatically receive the Premiere workflow when it is released.

MediaStorm offers several online and in-person training opportunities at mediastorm.com/train.

Have you made a recent switch in your editing software? Let us know about it in the comments below.

June 26 2013

17:26

Videology’s Jamboretz: Video Ad Tech Consolidation Looming

CANNES – With video advertising growing at such a pace currently, the number of technology suppliers in the chain could balloon and then shrink in a wave of M&A, one sector exec says.

“There is an absolute expectation that consolidation will have to happen at some point,” Ryan Jamboretz, the EMEA SVP of one vendor, Videology, told Beet.TV in this video interview during Cannes Lions. “There’s too many people racing at the opportunity. so there will be shake-out.”

Videology’s technology helps advertisers move money from TV to digital and understand the relative success of campaigns in each. The firm recently took on $60 million in new investment to fuel its own tilt at the opportunity.

“We’re delighted,” Jamboretz told Beet.TV. “Raising $60 million is no small feat. I think it’s  of the biggest raises in the sector this year. It’s a big part of our international expansion plan.”

June 21 2013

10:24

“Angry Birds” is One of the Biggest Video Channels “On Planet”

CANNES — One of the world’s most popular games could also become one of its most pervasive video brands, after Rovio added its Angry Birds Toons cartoon channel to its mobile apps.

“Overnight, we updated 1.7 billion games back in March. We’re doing over 100 million views a month,” Rovio chief marketing officer Peter Vesterbacka told Beet.TV in this video interview during the Cannes Lions advertiser conflab. “It’s one of the biggest, if not the biggest, video distribution networks on the planet now.”

Initially, the video addition was to carry Rovio’s own weekly Angry Birds animated series. But the Finnish firm added a promo channel for Disney’s ‘Monsters University’ movie, and now Vesterbacka is promising this digital audience scale to advertisers in Cannes.

“Brands want to be on the first screen,” he said. “The first screen is mobile and tablet, it’s not TV anymore.”

June 18 2013

17:21

Microsoft Touts ’100 Percent Always-On’ Xbox One To Advertisers

Microsoft believes its Xbox game console can take marketers’ messages to consumers beyond gaming’s traditional hardcore audience.

“The fastest-growing demographic on Xbox today is females aged 18 to 39, who happen to be the chief decision makers on purchases in most households around the world,” Microsoft’s advertising and online corporate VP Frank Holland said.

Holland spoke with Beet.TV during Cannes Lions, where Microsoft is announcing its new Windows 8 Ad Pano format.

Xbox’s upcoming Xbox One successor has drawn a degree of consumer scepticism following its recent reveal, but Holland said one of the biggest criticisms would be a benefit: ”The box is 100 percent of the time connected to the internet , so it will be able to take advantage of all the richness there.”

May 30 2013

11:36

The newsonomics of climbing the ad food chain

The numbers are sobering.

While digital advertising has been growing at a 15 percent pace annually in the United States, the digital ad sales of news companies have largely plateaued, struggling to find any growth year over year. The New York Times Company reported digital ad sales down 4 percent for the 1st quarter, while McClatchy managed a 1.5 percent increase in the first quarter. Most news-based companies are significantly underperforming that 15 percent average — in the low single digits, either positive or negative. Meanwhile, the top five digital ad companies, led by Google, increase their share of ad revenue year after year and soon will hold two-thirds of it.

Why are publishers lagging?

Publishers describe their digital ad woe with these terms: “price compression,” “bargain-basement ad networks,” and “death of the banner ad.” Each describes a world of hyper-competition in digital advertising — a world of almost infinite ad possibility and unyielding downward pricing pressure.

Not long ago, news companies believed that their premium-pricing models would withstand the competitive onslaught. Now they’re retooling, trying to speed their adaptation to the new nature of the digital ad beast.

It’s a matter of survival. For some, all-access circulation revenues are a good positive (pushing overall circ revenue up 5 percent in the U.S. last year). All, though, find themselves running as fast as they can to make up both for the freefall of print ad loss and that overall digital ad pricing downturn. “The ground is falling away under you” is how FT.com managing director Rob Grimshaw describes it.

Let’s look at what some of the leading digital ad innovators among publishers are doing to regroup. Let’s look at the newsonomics of climbing the ad food chain, checking in with two global publishers, The New York Times and the Financial Times, and two regional ones, the Minneapolis Star Tribune and Digital First Media. They provide a snapshot of a world in ever-spinning change.

Their strategies are all fairly similar: employ a range of new techniques that will justify premium prices. Let Facebook, which controls as much as a quarter of all web ad inventory, sell at 80-cent CPM and make money on scale. Publishers know they will never win that game. They want rates *20 to 50* times that, offering increasingly better targeting of their affluent readers.

Climbing the ad food chain is mainly about three things: technology, creativity, and sales relationships. It is also, overall, about differentiation, the roar of a lion in a crowded landscape.

Grimshaw, a former ad guy, says simply: “You’ve got to be doing something unique.”

Let’s look at each of the areas:

Technology

Digital advertising is all about technology in 2013, and you’ll see lots of talk of the ad-tech stack, and who owns it. Google, of course, owns much of it, through its successive AdWords/Doubleclick/AdMob and more creations, acquisitions and integrations. Its stack is so efficient that many publishers feel compelled to use it, though they are wary of getting their businesses tied ever more directly to Google — or the Google “Death Star,” as some critics call it.

For most publishers, Google is the classic frenemy. They work with it when they think the advantages outweigh the hazards, even as top publishers build their own programs. In fact, expect to soon see U.S. news publishers transition their Newspaper Consortium partnership with Yahoo into something intended to be broader, something that allows publishers to opt into and out of the ad programs of multiple portals — not just Yahoo — harnessing the ad tech of the day.

Six-month-old Smart Match is one of the FT’s latest innovations to stay “premium.” In brief, the content of an advertisement is matched, dynamically, to that of an article. The technology: semantic targeting of both article content and the FT’s current “ad library” for the best matches on the fly, as compared to standard keyword targeting.

Advertisers commit specific budgets for specific time periods, and the FT does the matching. The FT says it gets a major lift in ad engagement with the technology, an average of 9x over its average clickthrough. Ten clients are now live in Smart Match’s soft launch period.

Ad effectiveness isn’t a one-time process; breakthroughs like Smart Match require ongoing engagement with marketers, as publishers work with them to figure out what works and what doesn’t — and to tweak constantly. “Ads can’t be a fire-and-forget enterprise” any longer, says Grimshaw.

The FT is setting floors on pricing and better controlling inventory, testing small “private exchanges” with select ad buyers and agencies, working with Google in the U.S. and Rubicon in Europe. Exchanges have caused publishers lots of headaches, as too much of their inventory — mixed and matched with lots of “lower quality” inventory — helped drive down pricing and deflated the meaning of “premium.” So many have pulled back from exchanges in general; a few are starting to harness the exchange concept, but in a members-only approach.

“We are constantly evolving our approach to the programmatic marketplace, and private exchange activity is one part,” says Todd Haskell, the New York Times Co. group vice president for advertising. “We’ve been using private exchanges for a series of single-client buys executed using private exchange technology, and are now exploring several single buyer/multiple brand programs.”

One big notion here: minimize channel conflict, so that a publisher isn’t competing with itself, making its inventory available at variable prices here and there. Private exchanges are proceeding cautiously. Buyers get more flexibility, but within the control of publishers.

Such private exchange testing follows the adoption of RTB (real-time-bidding), which publishers are honing to get better rates for the ad inventory they can’t sell locally. “We moved away from a remnant inventory model a few years ago with the adoption of RTB and actively manage all of the programmatic demand that we see through the ad exchanges,” says Jeff Griffing, the Star Tribune’s chief revenue officer. “As a single-entity, local site publisher, our strategy is to make sure as many bidders/buyers as possible can transact on their audience impressions that we fulfill on our site.”

Similarly, Digital First Media is moving to add new data — including third-party data from traditonal sources like Experian — into its own systems. “As we move more into the programatic world, with our own Trading Desk and all our own inventory in our private exchange, we keep adding data to all that traffic and match it in a way that enhances the ROI for the small and medium advertisers,” says Digital First Ventures managing director Arturo Duran.

Ad tech is also allowing publishers to do things they couldn’t previously do. The Times is using new brand new ad formats to help marketers gain interactivity. One new program will allow for coupon delivery within an app.

The idea of delivering more experiences within experiences — rather than alongside — can be seen in another recent announcement. Twitter Amplify allows advertisers to deliver videos in-stream — part of a slew of ad-friendly moves, well described by Ingrid Lunden at TechCrunch. Among the early partners to sign on: BBC America, Fox, Fuse, and The Weather Channel. The goals here: make ads both more experiential and more lead-generating.

Yield optimization is a term now part of everyone’s vocabulary. Optimization — the better use of data through adjustment of the digital pulleys and levers that adjust what’s offered, at which price points when — has always been a part of the advertising game. Cycle time, and sophistication, though, have markedly moved up. Where the Times used to adjust in 24-month cycles, says Haskell, it now makes significant moves in three-month periods.

There are lots of moving pieces to optimization. The Star Tribune’s chief revenue officer Jeff Griffing describes how his company does it: “The push to premium help us drive our effective yield on pageviews; we’ve established baselines that our different pageviews should meet or exceed and factor in our directly sold campaigns with those indirectly or programmatically filled. We have an optimal formula for how will fill inventory and have set up systems that make sure we’re delivering maximum revenue across all ad units.”

Of course, publishers have long adjusted based on supply and demand. Today, though, the complex external development — various sales partners, through networks, private exchanges and more — requires fine tuning to get the highest possible price for fleeting inventory.

If this all seems like four-dimensional chess, mobile adds a fifth dimension. Haskell recalls the boom in second-screen tablet usage found on election night last November. That development provides a new place for the text-, numbers-, and analysis-driven Times to play in what is usually an immediate TV story. Consequently, it opens up new ways for the Times to exploit the tablet as a second-screen, timely ad vehicle.

The tablet (and mobile, generally) is quickly moving from niche to main play for the Times and others. Of its 43.6 million U.S. unique users in March, 18.3 million arrived via mobile devices, the Times says.

There’s targeting — and then there’s super-targeting. So the Times is selling what Todd Haskell calls “super premium.” It is able to target, through its growing audience database, readers with certain job titles, reading certain sections of content. That kind of targeting drives higher rates, and it’s part of the Times’ plan to move up on the food chain, just as the middle and bottom of that chain widens infinitely.

Creativity

Over the past year, publishers have reawakened to the notion of commercial storytelling. They now see it — a cousin to editorial storytelling — as a core competence, and one that many marketers envy.

“Agencies and many advertisers don’t know how to do it,” says Grimshaw. “There’s a constant need for fresh [marketing] content.”

Enter content marketing, which I recent covered in depth in “The newsonomics of recylcling journalism.” The Star Tribune’s Griffing points to his company’s first big foray into the field, a Kids Health site. Sold to a single sponsor for one year, Children’s Hospital, the new content was produced by Star Tribune staff and is a prototype for products to come. Griffing says the company’s innovations, overall, have pushed year-over-year digital ad growth into the teens.

2013 is the year of content marketing, from New York to D.C. to Minneapolis to Dallas to San Francisco. The creative spark comes from a combination of old-fashioned journalism skills, both editorial and marketing. Sums up Rob Grimshaw: “Publishers have tremendous assets that have never been exploited.”

Now, often, the creation and placement of “native advertising” are inextricably tied. As with the Times’ IdeaLab, the Washington Post’s Brand Connect, and Atlantic Media Strategies, global publishers have asserted their high-end editorial skills, applied to other people’s storytelling, and are packaging that skill with an ad buy. Haskell points out that the creative costs can be built into the ad buy itself, if the buy is big enough. “We’re not looking to make money on the creative,” he says.

That combination of the creative and the buy shows the newness of it all, and the early flux in the content marketing craft. Over time, we’ll likely see a greater cross-title placement of above-average creative, saving on creation costs. How then will the various content marketing works of a Times, an FT, a BuzzFeed, or an Atlantic Media compare? Which will become go-to creative companies, and which will return to the old comfort area of selling placement?

Video creation has also unearthed new creativity among the formerly ink-based wretches. In fact, most companies tell me that video ad demand, at anywhere from $25 to $75 cost per thousand rates (many multiples beyond display ads), is still outstripping supply.

The Star Tribune’s Griffing puts it this way: “This one is simple. We are selling as much video inventory as we have; 1.2 million plays per month, which is significantly more than the next closest competitor, a local TV station. That said, until we’re doing 10M plays a month, revenue for video will be relatively small.”

In a nutshell, that describes the dilemma. The New York Times recently hired Rebecca Howard, late of AOL/HuffPo, to expand its sold-out video inventory.

For Digital First Media, a pioneer in local news video through the Journal Register Company, new video formats offer premium possibilities. It’s going short, and long. “For short format we just closed a deal with Tout.com, and we are deploying their player in all our sites.” DFM journalists will take videos, through Tout (“The newsonomics of leapfrog news video”) and place them quickly on the sites, says Digital First’s Arturo Duran. “Some of those ‘Touts’ are embedded inside the articles. This is following what the consumers are doing, and the tests by WSJ and BBC. They have created snippets of 15 seconds of information that feed their sites with real time information on events. For end users, it’s a faster, easier way to watch it. There is a big play in the mobile arena, specially smartphones, as end users are watching more video in this [short] format than any other.”

Longer-format video is still in the planning stages for DFM, says Duran, pointing to the potential of live events, interviews with personalities, direct chats with readers, and more. It’s noteworthy that despite the success of video advertising, text-based sites still haven’t mastered greater quality production of greater scale and aren’t well-using third-party, “higher quality” video to satisfy ad needs.

Sales relationships

In an age of self-service, spawned by Google’s paid search products, the sales channel is still multi-tiered. Self-service works profoundly for some products, but telesales and in-person, feet-on-the-ground sales forces are finding new life.

Blame complexity. The choices advertisers now have are endless. Top-tier advertisers are served by such specialized teams as the FT’s “strategic sales” unit. The group works matches the complexity of FT’s analytics-fueled approaches to marketing with advertiser needs.

At the other end of the spectrum, the burgeoning marketing services business (“The newsonomics of selling Main Street”) is bringing these new approaches to smaller, local businesses. The Star Tribune’s Jeff Grilling, a major proponent of the marketing services business, has already learned some lessons from his company’s Radius marketing services foray.

“I’m finding more similarities than less, to our traditional sales approach. I’m finding that we are only as good as our sales people and the relationship they create, and that many small business customers have been approached by some sort of digital solutions vendor in the last few years. Make no mistake, there is no easy money in the SMB digital solutions business — it is very competitive and customers have are typically skeptical because of weak solutions they’ve experienced by other vendors in previous years. So if it’s a quick and easy revenue stream that a media company is looking for, I would look at options other than SMB digital solutions. I do still believe, however, that if your intention is to genuinely help local businesses grow, and you have the stomach for investment, strategy, execution, and patience, SMB digital solutions can be a viable product line.”

That tells you how long a haul this digital transition remains, and how many twists and turns even the innovators must endure.

Photo by NJR ZA used under a Creative Commons license.

May 28 2013

17:06

Sports Illustrated is the latest to go for live video webshows

Josh Sternberg at Digiday has the info:

The Time Inc. sports outlet is rolling out a 30-minute daily live talk show called “SI Now powered by Ford” with the hopes of bringing back some of SI’s swagger. Anchored by SI’s Maggie Gray, the show will broadcast live at 1p.m. EDT, Monday through Friday. It will include commentary and analysis from a roster of SI contributors but also tap into the social world where visitors can log into the site to comment, ask questions, answer polls. After the show airs, it will get a second life on the site where visitors can view on demand.

May 21 2013

18:11

Web video doesn’t always have to be short

David Campbell’s post pulls together some interesting stats on online news consumption, in particular video:

News is a popular category on YouTube (it was the most searched for item in four out of 12 months in 2011)

There is no strict correlation between length of video and popularity — one-third of popular videos were 2-5 minutes in length, and nearly one fifth were longer than 5 mins

Oyala, a large video streaming platform, reported that long form videos of 10 minutes+ accounted for 57% of viewing time on tablets they served

Multimedia completion rates can also be good: MediaStorm says that more than half, and often two-thirds, of those viewing their stories online stay with them to the end, even when stories run up to 20 or more minutes.

May 12 2013

21:40

[Net2 Vancouver] Using Video to Tell Your Stories

Video is taking over the internet. Fast. Nonprofits need to get in front of this trend now. Video can be complicated and expensive, but it doesn't have to be. This week Net Tuesday Vancouver invited three guests to share their tips for creating visually striking videos on a nonprofit budget.

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May 09 2013

16:28

GI Joe and the invention of the viral video

The Verge:

At least as far as internet culture is concerned, [2003] was also the year of the “GI Joe PSAs”: 25 weird, short videos made from re-edited versions of ‘80s GI Joe cartoons. Before YouTube, Facebook, and Twitter were alive to launch a meme in a minute, the GI Joe PSAs went “viral” in a time when that idea didn’t even exist.

16:00

Maxus’ Cartwright: Nine In 10 Online Video Ads Are TV Spots

Online video advertising is taking off – because most of the ads are just plain ol’ TV commercials.

Ruth Cartwright, the broadcast director at GroupM’s Maxus agency, told Beet.TV at the recent London Video Ad Strategy Summit her outfit is spending six to 10 percent of clients’ budgets on online video ads.

“Ninety percent of the clients in the UK are using their TV copy – a standard 30- to 40-second campaign, using that straight on to pre-roll. There is a lot of research that 15 seconds is the best time length on pre-roll. If we have the opportunity, we should be making more of the creative opportunities of VOD.

“We don’t want to have to go back to them and say they have to change certain time lengths or make the process harder.”

 

13:05

Ken Lerer’s NowThisMedia raises $4 million

Ken Lerer’s NowThisMedia raises $4 million :

The company previously raised $5 million in April 2012 under the name DailyPlanet.

Tags: Video

April 04 2013

20:31

Draper Fishers VC Joy Marcus Charts Disruption in Online Video

“The consumer experience in online video right now is not perfect, and I think that there is a lot of potential for disruption,” says Joy Marcus, Partner at DJF Gotham Ventures.  At the Beet.TV executive retreat in February, we had the opportunity to sit down with Marcus and learn more about which areas of the online video arena she thinks are most ripe for disruption.

Marcus says that there is a lot of potential for “disruptive companies that can come in and make the user experience a lot better, particularly in the area of discovery of video.”  Currently YouTube is the leader in video disruption, but Marcus explains that YouTube “does not really lead the user to what they want if they don’t know what they want already.”  Therefore, she says, there’s big potential for recommendations.

In the video interview, Marcus also talks about issues around access to online video, as well as issues around usability—both areas where she says online video still needs help.

Megan O’Neill

April 02 2013

14:37

A Kinder, Gentler Introduction to Regular Expressions

I struggle to remember how to put together a pattern search with regular expressions, so I was excited to discover Lea Verou‘s talk from May 2012, which breaks down how to construct them for JavaScript. (What she teaches can be applied to other languages as well.)

Lea is a front-end engineer who works for the World Wide Web Consortium (W3C). She created RegExp Playground so you can experiment with your own regex patterns. She uses it in her talk below.

March 28 2013

14:00

At The Wall Street Journal, a smartphone app has reporters on board for shooting video

The text-based web is dead, says Michael Downing. When AOL CEO Tim Armstrong announced his intention this month to transform the company into a platform for video, Downing heard a death knell — one he’s been expecting for some time. We are, after all, as he says, on the precipice of “the rise of the visual web.”

Downing has a dog in this fight; he’s the founder of Tout, a video sharing website and app that makes it easy for users to upload and share short — under 15 seconds — videos in real-time. Although originally designed as a consumer device, it also appealed to publishers: The Wall Street Journal approached Downing with the idea for a proprietary app that reporters could use as a news gathering tool. With the addition of some analytics tools and a centralized management function that allows editors to quickly vet clips before they’re published, that became WorldStream, which we wrote about in August.

“Consumer behavior has become much more accustomed to consuming the news they want as it happens,” says Downing. “The WSJ was trying to be much more in line with real-time news and real-time publishing.”

More than half a year later, how’s WorldStream working out? The Journal seems pretty happy. On the business side, WorldStream point man and WSJ deputy editor of video Mark Scheffler describes the project as a “destination but also a clearinghouse.” While all of the WSJ’s mobile videos are first published to the feed, many go on to live second lives across a wide variety of platforms. Some clips follow reporters to live broadcast appearances, while others are embedded into article pages and blogs. Andy Regal, the Journal’s head of video production, said that they don’t break out WorldStream views from the newspaper’s overall video numbers, which he said total between 30 and 35 million streams per month.

That kind of traffic across platforms draws the attention of advertisers. The WSJ says video ads generate “premium” rates, meaning somewhere around $40 to $60 CPM. Says Tim Ware, WSJ director of mobile sales, of the Journal’s broader video strategy: “We’re very bullish on the growth of WSJ Live this fiscal year, and thus the growth in video ad revenue. We’re also starting to contemplate some one-off sponsorships within our overarching video coverage of select events and stories.” (After spending about a total of about an hour on WorldStream, however, I only saw one ad — for a “smart document solutions” company — repeated about a half dozen times.)

But the surprise, both for Downing and WSJ management, is how readily — and ably — the WSJ’s reporters have taken to the new medium; getting reporter buy-in has been a struggle for many newspaper video initiatives. “It started out as an internal tool because we didn’t know how many people would be able to accommodate this kind of approach with the technology and the software,” Regal says, “but they think about it as part of their daily work now.” Armed with iPhones, iPods, iPads, and Android devices, hundreds of WSJ staffers have filed video clips via Tout; in the 229 days since launch, that’s 2,815 videos. In many cases, Downing said, the reporters didn’t even need training: “They just jumped right in and started using it.”

Charles Levinson has been reporting for the Journal from places like Syria “What are the assets that give us an advantage over the competitor? We have 2,000 reporters around the world,” he said. “How do you parlay 2,000 reporters into good video?” Levinson says the Tout app is helping the WSJ avoid print media’s tendency toward “mediocre” video production.

Christina Binkley is a style columnist at the WSJ who first experimented with the app while reporting on New York’s 2012 Fashion Week. She says there’s a lot of pressure on reporters to be producing a huge variety of content — articles, columns, blogs, Instagrams, tweets. She said, unlike some other apps, WorldStream has really stuck with her: “I can add a lot of value to my column very quickly without having to mic somebody up.”

Scheffler says some of the reporters have gained basic video shooting skills so quickly that the footage they file can be edited together into longer clips that could pass for more traditionally produced video. Going forward, Scheffler hopes to put better mobile editing tools in their hands: “Being able to be full-fledged creators on a mobile platform is something that we’re just going to continue being at the frontier of,” he said.

Regal’s focus, meanwhile, will be to make sure none of that prime footage is being lost in the ever quickening deluge that is the WorldStream feed. He’s considering a “Best of WorldStream” weekly digest, and a variety of other news packages that make that valuable content more findable, and more shareable.

News organizations have been chasing the promise of video advertising for years now, and the rise of apps like Vine illustrate the rise of social video sharing. But Downing says he isn’t worried about the competition. “Ninety-nine-point-nine percent of the existing video sharing apps have to do with self-expression,” he says, comparing Vine to something like Instagram. Tout’s enterprise apps skip the idea of sharing with friends and focuses on fast, concise updates from outlets that users follow based on broader personal interest.

“It’s a real-time, reverse chronological vertical feed of updates,” says Downing, “Whether it’s Twitter or LinkedIn, that is becoming the standard form factor for being able to track that information that you curate yourself.”

Since partnering with The Wall Street Journal last year, a number of publishers have pursued similar agreements with Tout — CBS, Fox, NBC Universal, WWE, La Gardere and Conde Nast are among them. By the end of 2013, Downing expects to host around 200 media outlets, including some of News Corp.’s other brands. Downing says these publisher agreements are now the company’s “primary mode of business,” not the consumer product.

What does Downing see coming in video? He confidently points to Google’s spring 2012 earnings report, when for the first time, its cost-per-click rate fell. “That was the sounding bell. That was the beacon. That was the one clear signal to the world that the era of the print metaphor defining the web experience…was over.”

August 30 2012

17:54

School Starts Up Again & So Does Tech and Social Change Baltimore

Tech and Social Change Baltimore took August off, but we're gearing up for our four remaining 2012 sessions. Our next meeting will be September 6 at 6:30 pm.  Fellow nonprofiteers and community builders Sharon Paley and Andrew Hazlett from the GBTC will join us to talk about Baltimore Weekly, a video broadcast where they talk with members of Baltimore's technology community about the interesting things taking place. 

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August 24 2012

14:48

More streaming video for Amazon Prime: Friday Night Lights, Battlestar Galactica

paidContent :: Amazon Prime Instant Video and NBCUniversal expanded their content licensing agreement to include new shows like “Friday Night Lights,” “Parenthood” and “Battlestar Galactica.”

A report by Laura Hazard Owen, paidcontent.org

Tags: Amazon Video
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