Video on Web News

26 May 2006

Filmmakers hope to combat influence of Net porn

on CNET
by Reuters, May 24, 2006


CANNES, France-Directors at the Cannes film festival this year say they are using radical images of sex to challenge mainstream pornography and its widespread availability on the Internet.
A series of filmmakers say Internet porn alone now shapes many young people's perception of sex and, in many cases, replaces the experience of real physical relationships.

"There are kids who have seen pornography from a very early age, before they are ever gonna have sex," said Larry Clark, one of the directors of the eccentric "Destricted"--a compilation of explicit sex-centered stories.

In his own short film, Clark interviews young men about their sexual preferences and then allows one candidate to appear with his favorite porn-star.

"When I was a kid no one told me nothing. Now you can go onto the Internet and find out anything...(Young people) are looking at pornography and they are thinking that this is the way to have sex," Clark said, noting his film was educational.

U.S. director John Cameron Mitchell, who has brought "Shortbus" to Cannes, agrees that young people are increasingly using the Internet to replace real sex.

In Shortbus, he has collected an ensemble of non-professional actors who engage in real on-screen sex and masturbation in an attempt to de-mystify the subject. He does not consider his film to be pornography.

He said that the United States had a puritanical view of sex which turned it into an issue in young people's minds. In one particularly provocative scene in his film, three gay men engage in a sex session while singing "The Star-Spangled Banner."

"I really believe our country specifically needs to take a look at that stuff. You crush something, it pops up somewhere else, it comes back to haunt you," he said.

Journalists watching the film generally agreed that Mitchell had succeeded in taking much of the eroticism out of the sex.

Film critics in Cannes say risque images, which would be considered distasteful by many were they to be shown in a mainstream movie theater, are unlikely to shock a film festival audience, and in any case are not necessarily new.

Michael Winterbottom used real sex, for example, in his 2004 film "9 Songs."

"When you have run the whole gamut of sexual positions, you've lost the power to shock," Screen magazine wrote.

Danish director Anders Morgenthaler reverted to animation to hit out at the porn industry in his film "Princess." which disturbed some by portraying child abuse and violence.

Morgenthaler tells the story of a priest who is determined to destroy all films of his deceased porn star sister and to take care of her five-year old daughter, a traumatized child.

"I chose animation for the obvious reason that if I had made it a live action piece you would have probably left the theater. It would have been too terrifying to see a girl go through that," Morgenthaler told Reuters.

"I decided to make a film about porn influence in society because I saw porn seeking its way into everything, into clothes or toys. There is a 'porn way' of selling things because it sells very well. I got very angry at the role of porn."

Digital sex will feature in the British-Norwegian co-production "Free Jimmy", while ex-porn star HPG shows a porn actor trying to get into regular films in "We Should Not Exist."

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25 May 2006

Telephia Mobile TV Audience Measurement

on iMedia Connection
by Roger Park, May 25,2006


Telephia announced the launch of a mobile television user measurement panel.

The company will begin by tracking users of the current unicast-based services (e.g., the MobiTV-based offerings on Sprint and Cingular Wireless, and Verizon's V CAST service).

The average U.S. mobile TV subscriber spends $40 a month more on wireless services than non-TV subscribers, according to Telephia's research.

Sid Gorham, president and CEO, Telephia says, "To execute successfully on this exciting opportunity, the industry needs detailed research that tracks the evolving behavior and preferences of the mobile TV user. Our clients are particularly interested in using audience measurement data to target advertising and interactive commerce."

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24 May 2006

Sony's 'Transformation' Spot Isn't Very Transformational

on Advertising Age
by Bob Garfield, May 21, 2006


Latest Consumer-Produced Work Gives Ad Agencies Reasons to Rejoice

For a glimpse at the revolution in progress, log on to current.tv/studio/create/vcam. And if you are in the agency business, exalt. You will live to see another business day.

Civilian spots
At this site you will find video spots for major advertisers created not by agencies but by civilians. The spots are called V-CAM-Viewer-Created Advertising Messages -- but unlike most of the citizen-produced spots dwelling on the Net, these aren't the random output of product groupies. This stuff is sanctioned by Sony, L'Oreal and Toyota, which are experimenting with the idea of consumer control. If people are going to produce spots about your brands uninvited, why not join the party?

One answer, based on the Current TV entries, could be: because it's a complete waste of time. The majority are amateurish exercises in homemade digital effects. The remainder are vignettes starring the filmmakers, their friends or their kids. As a group, they make "Funniest Home Videos" look like "Citizen Kane."

Lacking technical sophistication
No surprise that the submissions lack technical sophistication. What's striking is the utter vacuum of underlying ideas. For lovers of the status quo, this is encouraging, because even the bottom tier of agency-produced ads worldwide have a point to them. It's often a stupid one, but it's there.

Part of the explanation may be the demographics of Current TV, a citizen-video cable channel catering to young people. In fact, the highlight of the whole enterprise is the text of the channel's FAQ material, aiming to address potential V-CAM contributors in their own language and to reach them where they live.

Which is, apparently, Wayne's World. Here's an excerpt from the description of the tiered reward system for winning submitters: "The ad is rocking out; everybody loves it. So they run it on one of the big broadcast networks. Hello, $15,000."

So patronizing
Yikes. Rocking out? Dude, that is so the most patronizing thing ever. (For extra hilarity, imagine those sentences coming out of the mouth of Current TV's co-founder, Al Gore.) All the more surprising, then, is the winning entry, which isn't dreadful. It's a 24-second spot called "Transformation" from a 19-year-old Minneapolis animator named Tyson Ibele.

The kid knows what he's doing. Using as a point of departure some logos and stills provided by the advertiser, he depicted products morphing -- a la Transformer toys -- into one another. A boom box turns into a plasma TV turns into a notebook computer turns into a camera turns into a handheld Mpeg player turns into the Sony logo. Meanwhile, on-screen type punctuates the images: "Innovation. Compact design. Experience. Vision. Adventure. On the move. Groundbreaking. Revolutionary."

Ibele does this for a living at a small Twin Cities digital house, so its no wonder the piece is well-constructed. It's also no wonder that it offers not much more than the seamlessness of the effect. The transformation idea has been done quite a bit, including a wildly overrated Renault spot. But like that spot, "Transformation" transforms for its own sake, not to make any positive statement about the brand. The takeaway here is, "Hey, pretty cool."

Slick iteration of nothing
That's not nothing. But it's not enough. It's certainly not an advertising idea. And hence the irony of this winner. The brief to entrants said explicitly, "Remember, we're not just looking for something slick. We want to see things from your point of view, so have fun and break the rules." But the winner was just another slick iteration of nothing -- in short, what the agency industry produces by the barrelful every day.

Which is the problem with revolutions. Most of the time, the new regime just picks up where the toppled one left off.

Review: 2 stars
Ad: Sony/Current TV
Creator: Tyson Ibele
Location: Minneapolis


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What to Do With All That Video on Your Digital Camera or Mobile Phone -- Mix It and Share It

on marketWIRE, May 24, 2006

eyespot.comSAN DIEGO, CA - Today, capturing video of everyday life is a part of everyday life, with nearly all digital cameras and 30 percent of mobile phones sold worldwide in 2005 offering video recording capabilities. More than ever, consumers are taking video of important life moments -- such as graduations, weddings, family vacations and baby's first steps, or of spontaneous events at the beach or at a music concert -- not on the old camcorder, but on their cell phones and digital cameras. The question is, what do you do with all that video and how can you share it with family and friends across the country?

Today, there's an easy way to make use of video taken from everyday devices, and the best news is that it's as easy as a few clicks of a mouse. Enter Eyespot a free online service that lets you easily upload your videos from phones and cameras, quickly edit those files if you'd like and mix them together with other short clips. You can use clips of your own or select from other people's public videos in the Eyespot community, and share your video with family and friends -- all without software downloads or user manuals.

Shoot, Mix and Share

Picture this: you attend a family member's college graduation and stand at the ready shooting video with your digital camera. You certainly don't want to miss your loved-one's 15 seconds of fame as they receive their well-earned diploma. To ensure you capture the right moment, you shoot video of most of the ceremony and wish you weren't stuck with a movie-length saga that you endure each time you want to view that special moment. Thankfully, those days are over.

With Eyespot, you simply upload the graduation video into your online account, which is as simple as opening a file on your computer, select the start and end points to edit it down to just the moment you want, and immediately share it via email or mobile phone. Additionally, Eyespot lets you easily combine videos, music and photos by dragging and dropping them together into one film strip. Now you can share an entire montage of events with the perfect music soundtrack.

It doesn't stop there. Ever think of building your own personal Web site with all your memories in a private online gallery? Eyespot also provides its members with an unlimited number of online video galleries that can be marked as private or public. It's as simple as viewing the video you want to share online and placing that video on your own private section of the Internet with one click. Now you can create a video montage of highlights from the summer vacation, baby's first year, or outings with friends, and show -- not just tell -- your friends and family what you've been up to! If a picture tells a thousand words, a video tells a million.

To summarize, with a free Eyespot account you can:

  • Upload video, photos and music to your account using the familiar and simple upload page.

  • View and title personal digital media quickly and easily.

  • Edit video to get rid of unwanted extra footage.

  • Mix all your video, photos and music into a timeline so it's arranged however you like.

  • Share your video mixes with friends and family via mobile phone, email or direct links to your Eyespot galleries online.

"Our goal is to give personal video a place to go, and enrich people's lives by helping them share their events visually with friends and family," said Jim Kaskade, founder, president and chief executive officer of Eyespot. "Just as we can easily email photo updates of our lives to loved ones, there's a simple way to show those events in video using Eyespot. The Eyespot service has been built for anyone who captures video, opening up a new and easy way for consumers to do something with all their footage, music and photos."


About Eyespot
Eyespot changed the landscape of online digital media when it offered the world's first online video editing and remixing community, where consumers can easily upload, edit, mix together and share video clips, audio files or photos in one place online. The company was founded in 2005 by digital media and technology industry veterans and is based in San Diego, Calif. Additional company and product information is available at www.eyespot.com.


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Klipmart Named Tacoda's Preferred In-Page Video Ad Provider

on VOX, May 23, 2006

KlipmartBehaviorally targeted online advertising network Tacoda today announced that it has named online video solutions provider Klipmart its preferred provider of in-page video ads across the Tacoda Audience Networks of more than 3,000 sites. In addition, Tacoda and Klipmart will work on integrating Tacoda behavioral insights into Klipmart solutions to extend the value of the relationship for advertisers, the companies said.

"Video delivers greater brand impact and commands higher prices. This will translate into greater value for our publishers," said Larry Allen, SVP of marketing and business development at Tacoda, in a statement.

"Tacoda is again asserting its leadership by being the first to offer behaviorally targeted online video. This will result in higher response rates to ads because of their relevancy to users and the monetization of underappreciated inventory," said Klipmart CEO, Chris Young.

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About.com Debuts New Video Ad Units and Player

on VOX, May, 23 2006

About.comAbout.com will be producing much more original video content and offering advertisers new video ad formats through its own video player, developed by Brightcove, ClickZwrites. About plans to produce at least 500 original video clips by the end of the year, featuring its how-to and expert guides. It now offers 56 of its own video clips and partners with web video distribution company GoFish to provide thousands more. Video on About.com is offered in the Style, Home and Garden, Gadgets and Health channels.

New ad formats integrated with the video player include expandable billboards and a full player takeover unit that plays over the full player and allows for interactive components such as games. Also planned is an overlay format that begins with a short pre-roll ad and lands above the video window to promote advertisers while video is streaming.

John Deere is now running ads in About.com's video content and will use of the new ad formats. Other advertisers that have run spots in video segments include GE, Verizon and Honda.

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Video Consumption Up Heavily: comScore

on ClickZ
by Zachary Rodgers, May 24, 2006


The number of Internet users watching video online grew an impressive 18 percent between October 2005 and March 2006. That's according to comScore's first ever analysis of U.S. Web users' online video viewing habits, drawn from its new Video Metrix service.

In March, U.S. Internet users initiated a total of 3.7 billion video content streams; and they watched an average 100 minutes of video content each during the month, compared with 85 minutes back in October.

Men initiated 52 percent of those streams, women 48 percent; splitting genders along roughly equal lines. But men spent far more time with the content, averaging two hours of viewing time during the month, compared with women's hour-and-twenty. Not surprisingly, males 18 to 34 were most engrossed with online video, averaging 140 minutes of video consumption.

But while certain demographic sets consume more video than others, the report's biggest surprise is that people from all ages and walks of life are eating it up, according to Erin Hunter, comsCore's EVP of media and entertainment.

"There are skews by age, but there isn't any group that's not doing it," she said. "It's not just college kids. It's also the older demographic, and clearly it's males and females both. In terms of content, we see entertainment and sports and news all with pretty strong rates of viewership."

Additional data from comsCore's Video Metrix service includes that 16 percent of video consumption takes place during prime time hours, and 22 percent on the weekend. Forty-two percent of Web users watch video on an entertainment site, and about 33 percent watch on a portal. In a blow to human resources managers everywhere, the workplace is the favored environment for watching video. People spent about an hour a month watching from work environments.

comScore's new Video Metrix service will provide customers with monthly reporting on the demographics and video consumption habits of U.S.-based Internet users, presenting interactions with both content and ads. The data are drawn from comScore's existing technology and panel of 1.5 million Internet users, though the video data comes from a smaller subset.

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CBS and AOL Find Another Way Around DVRs

on Adrants, 23-May-06

CBS has teamed with AOL and, this Fall, will introduce a game that requires viewers to watch both programming and commercials to win a potential $2 million in gold. The game, Gold Rush, is the latest on the list of tactics to combat DVR ad skipping. Clues to the prizes will be placed within programming, in commercials and on AOL. The move follows ABC's Lost Experience, a second plot-line to the popular Lost show that reveals itself in fake ads, print and the web.
While it's nice to see the nets get creative, it's not going to be so nice seeing formerly ad-free content become filled, perhaps, with subtle and blatant advertising messages all in the name of preserving a dying model.

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23 May 2006

Online Video: Now in Syndication

on ClickZ
by Zachary Rodgers, May 1, 2006


A new video distribution model is emerging, one based on the syndication of content between producers and individual Web sites; be they blogs, commerce sites or special interest Web properties.

To support the marketplace for video, a number of platforms have cropped up to act as go-betweens in video content transactions. Brightcove was the first to come along, late last year. It will soon be followed by a firm called Mochila, whose offering launches this summer. A few others have launched overseas or remain in stealth mode in the U.S.

The models vary, but each of these players make their money on a blend of licensing fees and revenue sharing agreements on ads inserted into the stream.

From a marketer's perspective, these platforms function as video ad networks, ones that also happen to traffic in content. Alternately, companies may be able to produce their own content and distribute it via the syndication platforms to whoever is interested.

Is it a promising model for advertisers? As usual when it comes to emerging platforms, the answer is "depends." It depends on the company, and it depends on how the market develops.

Building Audience

Before they can persuade media buyers to get involved, the Brightcoves and Mochilas of the world must first demonstrate they can aggregate a powerful distribution network. That's no small task, according to JupiterResearch Analyst Emily Riley, who notes the viewing habits of Internet users are far from established.

"The biggest issue is going to be who's watching video and why. Right now, people are watching it because of the buzz, not because they've been trained to on a regular basis," she notes. Until that changes, Riley says, it will be hard to predict inventory and small-time publishers will struggle to build the kind of reach video syndication platforms can then sell to marketers.

As a workable scenario for syndicated video, Riley offers the example of a "Nova" episode that appeals to both a certain type of specialized doctor and a high school biology class. The audiences are segmented. The syndication model could therefore succeed if the content is properly targeted.

The video syndication players also rely on the assumption consumers will eventually expect to find video online pretty much everywhere they go. That's not yet proven. When they want video, most Internet users go to YouTube, iTunes, MSN Video or AtomFilms. They don't surf to their favorite blog and hit refresh.

"Where's the content you're getting going to be, and why is that better than where it was?" said Riley. "If it's on a well-known Web site already, it doesn't necessarily have a home anywhere else."

Good point. So who's syndicating the content these players are trying to accumulate?

The Sites' Perspective

Glam.com, a fashion and e-commerce portal that launched last fall, is still pondering its video strategy. The publisher carried limited video dispatches recently from Fashion Week in New York, and hopes to ramp up its video content in the coming months.

Samir Arora, chairman at Glam.com parent Glam Media, says there are many factors he'd have to analyze before signing on with a video syndication platform.

"The content that comes in: what it looks like, where it's from, how much control I have. All these things are very important," he said. "Once you assume there's an intermediary… what will be the problems advertisers will have? What will be the problems that the licensees or owners of the content will have? What are the users going to think?"

When they do launch video services, sites like Glam.com will require both technical support and quality content that's targeted to their audience. According to Jupiter's Riley, "Web sites are definitely still in a situation where you need a service provider [to enable your video channel], unless you're talking about a very media friendly site that's wiling to invest in their own group within the company."

The economics must also make sense. The CPMs media companies can command by taking part in a blind video ad network are typically much lower than what's will be available through direct selling. Web sites will have to balance the revenue limits of the former against the infrastructure challenges of the latter.

The Platforms

Among the emergent video syndication companies, Brightcove has by far the highest profile. Founded by Jeremy Allaire, the company has already partnered with content creators like The New York Times, and Publicis digital media consultancy Denuo is an investor.

Mochila launched last week with several print media partners, including Working Mother and Hachette Filipacchi Media. Content owners store video in Mochila's system and name its price. Once affiliates sign on, advertisers can associate themselves with the specific content, or place a buy with the whole network.

Mochila's video offering will appear this summer, according to CEO Keith McAllister.

"We expect our online ad supported model to be a significant part of our business," he said. "We think there are many content publishers who are enthusiastic about the notion of acquiring high quality content while at the same time making money from advertising. What surprised us was the number of larger publishers who were also interested in that model."

A dark horse is The Fifth Network, which now operates a small video ad network but says it will soon launch a media player that Web site owners can use to carry its syndicated content and ads.

"Throughout the player will exist creative from the site it's on, as well as like content from other sites in our network and our other publisher partners," said Bradley Werner, VP of marketing at The Fifth Network. "A lot of sites want to provide more reach. They know their users are interested in like content. We're making sure all our publishers meet steady quality criteria for their content."

Ad Networks: Seen One, Seen 'Em All

The upsides and downsides of advertising with these companies are similar to those of all ad networks. In the "pros" column, you have reach. In the "cons" you have a loss of control. That is, unless you're willing to place your buy on a site-by-site basis.

Several media buyers ClickZ spoke with see the inherent logic of the syndication model for video content and advertising. However, they're also uncomfortable with having their video ad buys mediated.

"We met with Brightcove and saw their offering," said Mike Deturris, emerging media supervisor at Ford Motor Media. "I think it makes a lot of sense for some advertisers. But unless the content was the perfect fit, I don't think we'd do that."

"Unless it's for a specific initiative, we wouldn't necessarily [advertise there]," said Myra Lanting, an account supervisor at Beyond Interactive. "You always want to make sure you're completely aware of the content you're running in."

Mochila's CEO said the company will provide the appropriate level of control for all parties: the content creator, the affiliate network and the advertiser. He said each of these players can fix myriad preferences within its system. For the seller, this means setting limits on where one's content can appear. For the buyer, it means subscribing to or filtering out specific types of content. For the advertiser, it means choosing the type of content your :15 or :30 spot will run against.

But how much time and energy will advertisers need to put in to get their ideal contextual video placement, and how many video impressions will be available for purchase once all those knobs and dials are set?

The alternative is to forfeit all the tweaking and tuning and instead buy a large number of impressions on a blind network.

A Step Backwards?

From the standpoint of agencies pursuing deep integrations with Web content, there's no question that buying media via the new video syndication platforms is a limited proposition.

Dorian Sweet, executive creative director of Tribal DDB San Francisco, calls it a Cinderella story -- one in which the ugly stepsister nabs the prince.

"This is like trying to fit the big foot of traditional media into the little shoe of interactive," he said. "If you chuck an ad onto a piece of video, it's still an ad delivered in the context of a vehicle. What are you going to learn other than that you delivered impressions? There isn't really an interaction going on. It's selling off space."

According to Sweet, marketers seeking only deep branding experiences should probably stay away from buying into these new media marketplaces that are now in start-up mode. On the other hand, for the harried media buyer who's desperate to snatch up another 500,000 video impressions before the end of the quarter, it might be just the thing.

That is, providing the affiliates materialize.

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The Case for Online Video Ratings, Revisited

on ClickZ
by Ian Schafer, May 19, 2006


Let's say you're an advertiser (on either the agency or client side) who's in charge of a multimillion-dollar budget for a new car launch. The launch is an event. Your first stop on the media train will likely be television. And when you're deciding what to buy on television, the first thing you'll likely look at are all the forms of ratings the networks, and Nielsen, make available. The next thing you'll probably consider is the content, making sure it's programming you'd like to be associated with. After considering several other factors, you'll make your decision in much the same way advertisers have for dozens of years.

Now, let's say you're that same advertiser looking to buy ads around video content. Essentially, you're relegated to either run in-page video, go publisher-direct with in-stream video on a handful of millions of Web sites, or do the same with a reputable video ad sales network.

The science involved? None, really.

Impressions are bought against numbers publishers report (which may or may not be audited by a third party). The perceived value is in the number of videos streamed, regardless of the content it runs around. Click-through on companion ads may provide an added bonus, but the reason you're likely buying in-stream video isn't for companion ad performance.

You don't have to look too hard to see a tremendous leap in logic and procedure when it comes to buying television ads versus buying online video ads. Though they're two different media, the same companies are buying both and ultimately will want to compare performance and impact. But how do we do that when measurement methods are so disparate? One thing is certain: as online video rapidly matures, we'll need at least one accurate, accountable, accepted third-party ratings system for video content -- and advertising. ComScore has a product it launched in 2005 for this, but why isn't it more widely used? Why isn't it part of every media buyer's or advertiser's online video buying process?

There are many reasons online videos can and should be rated. Advertisers have to make apples-to-apples comparisons with other media, not to mention with online video itself. We must be able to (relatively) compare video on sites that make up both the head and the long tail of Web content. The same was done with broadcast versus cable television many years ago. The Internet must follow suit.

The need for ratings is further justified by the proliferation of online video "events," such as Live 8 on AOL, March Madness on CBS SportsLine, and Super Bowl commercials just about everywhere else. Audited streams and demographics would be invaluable in planning advertising against the next iterations of each of these events.

Interestingly enough, online video content becomes more like TV programming every day. Shows are syndicated across multiple sites, with ad networks acting as an inventory aggregator. They sell ads against the series, regardless of the site it's running on.

On the other hand, we should also be able to gauge the success of standalone, nonserialized content, such as viral videos. Technically, the "Pokemon Theme Music Video" on YouTube would outrate most video programming on the Web. I can name a dozen advertisers that might want to be around that.

Because the Web is an accountable medium, it's also held to higher standards, often unfairly. But if the advertising economy does ever take a hit (it inevitably will), the first media likely to lose budgets will be the unaccountable ones. That's why online video ratings should ideally feature rich measurement criteria, such as percentage viewed, number of repeat viewings, number of sends or forwards, and favorability. The technology exists to make this happen, but the methodology needs to be refined.

Current methodology allows for data to be collected by panels. Granted, that's how Nielsen has done it for years, but that has gotten it into a quagmire with numerous interest groups (not to mention advertisers) who question the method's legitimacy and accuracy. If we limit ourselves to panel-based data collection for online video ratings, we risk the same problems.

Is the answer to have publishers adopt coding that can be appended to all video, allowing for centralized data collection? Is the answer really a panel-based measurement scheme that's supposed to be representative of the online audience?

Ultimately, the best answer will be a hybrid model that allows for both real-time and panel-based measurement. There are companies that are ready to challenge Nielsen in digital cable and IPTV. With so much content delivered digitally, logic suggests data can be captured in real time. The Internet industry must pioneer this if we expect to be the most accountable medium moving forward, both for brand and ROI (define) advertisers.

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VitalStream Acquires Eonstreams

on MediaPost Publications
by Gavin O'Malley, May 23, 2006


Fash video provider VitalStream has acquired Eonstreams, an ad technology provider, the companies will announce today. The integration of Eonstreams' ad technologies into VitalStream's content delivery network is expected to provide customers with a one-stop solution for delivering integrated streaming and digital advertising content on the Internet. Under terms of the acquisition, VitalStream purchased substantially all of the assets, and assumed substantially all of the liabilities, of Eonstreams.

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Studios Set A Slo-Mo Pace, Hit Pause On DVR Playback

on MediaPost Publications
by Wayne Friedman, May 23, 2006


IN A SIGN OF HOW 2006-07 network upfront ad sales may pace, a bellwether category doesn't seem in any rush. As of late Monday, the major movie studios - typically the first to make TV upfront advertising deals - weren't exactly clamoring to start the ball rolling after last week's upfront program presentations. The reason for the delay: the studios are waiting for the networks to finalize their TV ratings policies concerning playback by digital video recorders. The movie and automotive ad categories will be closely watched this season, because they are both high-demand categories that typically move fast and pay high ad prices, enabling the networks to set the advertising bar for other ad categories.

Movie marketers historically are among the most concerned with the positioning of their commercials in specific TV shows - especially on Thursday night -- as well as the flexibility to move their inventory. In the past, this has often meant they would rush to market and pay the highest rate of any advertising category. But the pace appears to be slowing down this year, due in part to discussion over the possible inclusion of DVR playback in negotiations. Late last year, Nielsen began including DVR households in its sample, and has been reporting three types of ratings: so-called "live," live plus same day of DVR playback, and live plus seven days of DVR playback.

"Everybody is playing the waiting game," says Geoff Robison, senior vice president-national broadcast for Palisades Media Group, the Santa Monica, Calif.-based media agency that buys TV ad time for number of small to mid-size studios. "Nobody is going to move until this gets resolved."

Early on many network executives took positions that upfront negotiations would be based on live plus

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Download Your TV - The Current Options

on TechCrunch
by Neil Kjeldsen, May 22, 2006


Downloadable television, first made popular by TiVo and its competitors, is compelling stuff. As consumers become accustomed to watching a show whenever they choose, pausing at will and fast tracking through commercials, tuning in to a station at a scheduled broadcast time seems quaint at best. Today, 7% of U.S. households have a digital video recorder, or DVR and most cable companies offer a DVR as an option.

File trading networks, such as Bittorent, are also extremely popular (if sometimes illegal) choices for consumers wanting access to time-shifted television content.

While DVRs are great, content producers and distributors are less than thrilled by the loss in revenue from all those skipped commercials. Also, DVR’d shows cannot be easily transferred to mobile devices or otherwise viewed away from their home television. Some consumers want more flexibility and options...

More about iTunes, ABC, CBS, NBC and Fox as well as Summary of all info you can found here.

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Google PPC Video Ads - I’m Betting Against It

on TechCrunch
by Michael Arrington, May 23, 2006


AdSenseGoogle will launch a new pay-per-click video ad product and syndicate it out through its Adsense Network today. Like Google’s normal text ads, Advertisers will bid for placement and will be charged when a user clicks on the video. A graphic will appear on the website displaying the ad.

According to the New York Times, which Google presumably briefed, says that Google hopes to bring video advertising to small businesses.

There’s nothing I can find on the Google site or blogs right now for further details, but here’s my initial impression: this won’t be popular.

First, Google needs to eat its own dogfood. It won’t be placing these ads on their own sites for now. Why? Perhaps their early testing showed that consumers don’t want to click on these nearly as often as significantly less intrusive text ads. Or perhaps Google just doesn’t want to sully its super-clean site with this stuff. Either way, without Google search, advertisers will be significantly less interested in the product.

Second. When someone clicks on a video, they aren’t clicking through to a website, where some sort of action can occur that can be tied to an ROI. People like Adsense becasue it can result in sales or other trackable actions. Videos don’t do that. Even though the web is making multi-media drop dead easy, people still like text (and that’s why blogs are interesting to a lot more people than podcasts).

Third, small businesses already have a wonderful way of getting normal television ad spots produced and run. SpotRunner will help small businesses create an ad and run it on normal television for extremely low prices ($44 for ESPN in central California, for example).

Fourth, people don’t want to click on video ads. They don’t want to watch this stuff at all, really. And if a company comes up with a really cool ad, like Honda’s wonderful “Cog” ad, it’ll spread virally. They don’t need to pay users to watch it.

Fifth, Producing a video ad takes work. It’s easier than it used to be, but it takes a lot longer than producing a text ad. Only a fraction of the Adsense advertiser base will be willing and/or able to participate. This will drive down the auctioned ad prices per keyword significantly.

Sixth, all of these factors are going to contribute to low PPC and click through rates. Adsense partners won’t make as much money as they would from normal text ads, and I suspect these ads will take up more space (and the graphical nature will make it much more intrusive and disruptive to a web site look and feel). Publishers won’t adopt this.

My bet is that, like Google’s Click To Call experiment where people could click a button and call a business from their computer (making their home phone ring), this will fade quietly into the background.

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22 May 2006

Lights! Action! Webcams!

iReadNet Lee, New Hampshire, May 18, 2006 - iReadNet launches author video blog using webcams, P2P file sharing, and streaming media to create a quick, easy and inexpensive word-of-mouth platform for book authors. "Nothing sells a book like an author reading," says Kurt Aldag, president and founder of iReadNet, announcing the launch of a video blog for authors called AuthorCams. "AuthorCams offers writers the opportunity to crank up their personal buzz machines with nothing more than a webcam and an Internet connection."

The explosion in the availability of digital video recording devices that can capture smooth video motion at 30 frames per second has given rise to new opportunities for authors to promote their work. Using a simple webcam or inexpensive dvcam, for instance, an author can record sample readings, presentations, book reviews, and commentaries and zip them across the Internet to iReadNet using free file sharing software. iReadNet edits, encodes and uploads the videos to the AuthorCams video blog and sends a link to the author, who can then e-mail it to agents, editors, media, bookstores, family and friends.

Using a combination of search engine marketing, video-on-demand databasing, Google AdWords, RSS feeds, and networking with author book blog, trade association and other industry-related sites, iReadNet has developed a long tail connection to a completely web-based global community of readers, writers, bookstores, and news journalists who all have one thing in common an interest in books and authors. The iReadNet video network registered 10,000 visitors per day on average through the first quarter of 2006, and scored over 1,000,000 hits per month.

"Internet video networking is better word-of-mouth than traditional word-of-mouth ever was," says Aldag, a former book publicity and sales promotion executive at major New York publishing houses in the 80's and 90's who moved to New Hampshire in 1996 to "think outside the box" about ways to promote books and authors more economically and effectively. He launched the first beta iteration of iReadNet in 2002 after three years of market research and development. "With a few targeted e-mails, supported by iReadNet's on-going long tail marketing campaigns and built-in audience," Aldag adds, "an author can acquire a worldwide audience for less than the cost of a cheese, crackers and wine party at your local bookstore."

The AuthorCams video blog is the fifth channel on the iReadNet video book tour and author news network. The others on the network of sites are the iReadNet video book tour channel, the PubBuzz author news and book reports channel, the CooksRead and KidsRead video news channels
covering cookbook and children's book news and author events.

iReadNet's user-friendly, automated system of streaming media servers, interface host, and dynamically linked database is custom-designed to meet the time-critical, cost-sensitive, rich content communications needs of publishers and authors. In March, 2006, the pioneering video networking services provider adapted its own proprietary video book tour and author news networking system to deliver a turnkey "private label" video streaming platform that allows publishers and authors everywhere at any time to easily and cost-effectively manage and display their own video content under their own corporate identity or author brand and seamlessly integrate video content into their existing websites.

Visitors can view over 800 on-demand videos of more than 110 author readings, lectures, interviews and autographing appearances at major book and author events around the world free of charge. iReadNet posts new videos of best-selling and emerging authors every week.

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Mobile Media - Video Snacking or Magic Threshold

on internet VIDEO magazine
by Howard Greenfield


3GYou may recall the sound of an economic bomb hitting around the time of the Millennium. It came in the form of massive bets by mobile operators worldwide playing to sew up 3G spectrum for mobile video and rich media. The likes of Hutchison, Vodafone, Deutsche Telekom, Telefónica and all paid dearly.

A few years on and these organizations have collectively written tens of billions of dollars off their balance sheets as the dream of cellular, always on, broadband mobile dimmed. 3G has turned out to be a premature technology that may have many of its sexier functions superseded by wireless networks. Maybe we’ll see 3G and other wireless platforms complementing each other. Or perhaps we’ll get a type of “intermodal competition,” as the FCC puts it.

And what of mobile media itself? Well, it’s finally in the spotlight. At MIPCOM in Cannes recently, the Mobile TV Screenings and Awards attracted 235 innovators from 135 companies in 30 countries putting forward their mobile content creations. Of course, everyone would like to trend-spot for mass consumer mini-video uptake. The billion-dollar question is: What does the public want and what will they pay for video on mobile devices?

“It’s still expensive at ten and fifteen dollars a month,” according to Tole Hart, Gartner mobile and wireless research director. But, Hart does see progress. “Verizon VCAST [costing about $15 per month on top of existing voice plans] and Sprint each have several hundred thousand subscribers. There’s a magic threshold of cost for consumers and Verizon’s $99 EVDO CDMA phone offer has boosted subscriptions.”

Other motivators will come in the form of advertising to defer costs and improved interfaces for accessing content segments more easily. 3G Video Short Codes are a sign of this improvement. The growth, as Hart puts it, will “begin with most consumers using mobile video for snacking and short intervals”.

Big content providers are casting around for market entry and traction. “Mobile video is of great interest these days,” says Bruce Gersh, Senior VP, business development for ABC Entertainment, speaking at Digital Hollywood last month. “We’ve spent the better half of the last year trying to develop a strategy for how mobile video fits into all the other areas we’ve already developed: interactivity, ring tones, games, and now video. ‘Clip-casting’ is what we call it.” Fox calls its video content ‘mobisodes’.

So, is it possible to predict when mobile video will present a workable business model? For years many pundits said ‘never’, because a four centimetre screen wouldn’t hold anyone’s attention. But along comes Apple with a video iPod. Wow! It’s the psychology, stupid! Apple’s Steve Jobs claims “because millions of people around the world will buy this new iPod to play music, it will quickly become the most popular portable video player in history.”

The beauty of the new device, as the Wall Street Journal has pointed out, is that video appears to be a bonus. That is, Apple’s device is still called an iPod, not iPod Video. So, video is an insanely cool extra. The elegant consumer experience delivered by iPod and iTunes should ready the collective inner couch potato consciousness for mini-video.

Will we all watch postage stamp video? And will it one day hijack the broadcast industry through highly available, affordable TV programming? Maybe. What the broadcast industry fears most is a ‘Napsterisation’ of video content. Some ABC affiliate stations have already objected to Apple offering prime time TV such as Lost and Desperate Housewives because it could undercut their market.

The major mobile operators have already accepted they’re in a long game with mobile media. It may be longer than they think. On paper at least, according to eMarketer, very few mobile phone users rank watching TV or movies on their telephone as “very important” (around 5%).

Howard Greenfield has held senior management and consulting positions with Sun Microsystems, Informix, BT, Europe Online, and Apple Computer, where he worked in the Advanced Technology Group. Howard is a frequent contributor to industry publications. He received his Master degree from Stanford University. Howard Greenfield can be reached at howard@go-associates.com.



For extra info on topic: The Cell Phone—Now That's Entertainment

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