Viddy: the Instagram of Video
Videomaker: Since the dawn of mankind, we’ve had an evolving need for sharing stories and experiences. Hand gestures, spoken words, hieroglyphics, writing, printing, mail service, telephone, radio, television, internet, social networking, online video service, instagram and now, social video.
Recently, you may have noticed more and more videos shares appearing in your Facebook or Twitter feeds that require you to sign-up for their service before viewing. One of the leaders of the movement is Viddy. Viddy is a video sharing service that operates directly from a smartphone with the ability to share directly to social media outlets such as Facebook, Twitter and more.
Gangnam Style demolishes Call Me Maybe in the viral video race
VentureBeat: How long does it take to become a major Internet sensation? Many say “overnight,” but in the case of Gangnam Style, two months of YouTube hits, parody videos, and fan re-dos made one band and their “horsey-dance” more relevant to pop culture than Call Me Maybe.
Carly Rae Jepsen’s Call me Maybe had the right elements to become an Internet sensation. It was catchy, quirky, celebrity endorsed (watch Justin Bieber and Selena Gomez’s parody video here) and more importantly, people were able to think up memes to make fun of it. According to analytics company Visible Measure, Call Me Maybe reached 350 million views, including parody videos and live performances posted to YouTube, in 112 days.
Gangnam Style reached 350 million views in 60 days.
America’s Got Talent returns with YouTube night
CBS News: (CBS News) After an Olympic hiatus, NBC’s “America’s Got Talent” returned with YouTube night.
"I gotta tell you, Nick, it’s been two weeks," Howard Stern said Tuesday night. "Those Olympics went on and on and on. I’m ready to judge."
Tuesday night’s episode featured 12 YouTube acts battling out for a place in the semifinals.
The judges, though, weren’t very impressed. At one point, Stern asked, “Whose idea was it to have a YouTube show?”
When Jake Lodwick first showed me Vimeo, a side project he’d been working on while at CollegeHumor/BustedTees, I thought it was really neat, but didn’t see it becoming a profitable business. My experience with video through CollegeHumor had taught me that hosting user-generated content without a filter would lead to inevitable legal trouble with the big media companies. I was also worried about the potential high costs of hosting a video free-for-all with no clear monetization strategy. Therefore, when we launched Vimeo, there were a number of strict rules we placed around the upload process (size and length of video), which were intended primarily to prevent people from uploading copyrighted material to the site. This was before we sold our company to IAC, so I knew that one big lawsuit with Viacom, etc. had the potential to put a major dent in our business (not to mention that we were trying to sell CollegeHumor to these same media companies). Given that CollegeHumor, BustedTees, and Vimeo were tied together under the same parent company, a lawsuit against Vimeo threatened to take away from the value we’d already built with our other self-funded businesses. Similarly, if Vimeo grew too quickly, we would have had to sacrifice all of the positive cash flow we were generating elsewhere to fund the storage and bandwidth requirements of this very high risk new venture.
How to Use YouTube’s Face-Blurring Tool
Video-sharing platform YouTube recently added a new feature that allows video makers to blur the faces of people who appear in their footage. This feature comes at a time when many citizen journalists and cyber activists are posting video, but may want to preserve the anonymity of those they film.
IJNet tried out the feature, which YouTube notes is still “emerging technology.” The feature is quick and easy to use, but the results can be mixed.
To blur the faces on your YouTube video, you simply click on the Video Enhancements tool, go to Additional Features, then click Blur All Faces and Apply.
You’ll see a preview of your video with faces blurred before it goes live. After you save the changes to your video, a new copy is created. You can then opt to delete the original video.
After Viral Fame, Homeless Musician Asks Internet to Fund Album
Daniel “Homeless” Mustard needs $15,000 in spare change.
The musician, whose cover of Radiohead’s “Creep” went viral in 2009 when he was homeless, is asking for money to fund an album. Mustard no longer lives on New York City street or in parks, having found temporary housing at homeless shelters and Internet access to mingle with fans at Apple stores.
“When you are homeless you usually have lost some sort of your will to live,” Mustard tells Mashable. “A big part of me getting my shit together has been getting that back.
“And in a big way, getting exposure from the ‘Creep’ video (listen below) and all the support I’ve gotten on social media, and the making of the new record, has helped me get that back.”
This month, Mustard launched a project on crowdfunding platform Kickstarter to pay for the cost of producing and distributing his Fragments of Bone EP and supplemental merchandise.
Mustard’s Kickstarter page lists unique rewards for people who pledge money to his project. So far, 92 people have given $2,903 in four days. There are 46 days left to meet his $15,000 funding goal
He will perform via Skype for backers who dish $110 or more and create cover song videos for at least $250. He’ll also do a live performance anywhere within a 120 miles of NYC for $1,500 and one anywhere outside of that distance in the U.S. for $2,500 or more. At $450, he’ll give a “homeless walking tour” of lower Manhattan.
@DKNY hype with imitation social media video #UK2012
Prexamples: DKNY PR girl knows exactly how to work social media for her brand, with a Twitter follower count of 411,801, and an amazing blog full of DKNY updates, fashion tips, and #PR101 she is a prime example of an engaging brand personality. So, to announce the newly renovated store in London, what would be more characteristic than using social media rather than the traditional press release?
#UK2012 follows a faux social media conversation, using a handful of high-profile users to create a buzz around the event. FOMO kicks in with their followers- what is it, who will be there and how can I get in? The conversation gets faster, with more and more people joining in, big names like Jessie J, and model Coco Rocha spur them on.
YouTube Launches ‘Marketplace’ to Monetize Stars and Brands
Ad Age: Agencies and marketers looking for the perfect YouTube star to appear in a viral video, your job just got easier.
At a keynote presentation at VidCon today, YouTube vice president of product management, Shishir Mehrotra announced Video Creation Marketplace, a platform that will connect content creators on YouTube with marketers or agencies looking for viral buzz.
Since 2007, YouTube has partnered with producers on the video site to share ad revenue, allowing people to create YouTube content for a living. “We pay out millions of dollars to partners each year,” said Baljeet Singh, group product manager at YouTube. “Thousands of channels are generating six figures a year.”
The idea is to create a more formal revenue stream for the long tail of YouTube creators. YouTube has been very focused on launching and promoting its first 100 “Original Channels,” but its message to VidCon is to the YouTube stalwarts: We’re here for you, too.
While advertising is a nice source of revenue for some, even the most successful YouTube “stars” do brand work, but to date, this has been happening on an ad hoc basis. Channels that have worked with advertisers in the past include Howcast, which leveraged its channel with a three-month General Electric takeover to kick off the brand’s “Healthymagination” campaign, and beauty vlogger Juicy Star 07, who collaborated with L’Oreal for a campaign that asked viewers to share their Voluminous mascara moments.
NBC’s Olympic Live on Web: Users Must Have Proof of Cable
All Things Digital: During the last summer Olympics, NBC wouldn’t show some of the most exciting events live on the Web, because it wanted to protect its ratings for its taped TV highlights.
Four years later, the programmer has wised up, and will livestream every single event. This is great news, with only one catch: If you want to see all of it, you’ll need to pay for cable TV. Actually, make that two catches: You’ll also need to prove to NBC that you pay for cable TV (or telco TV, or satellite TV).
That’s one of the fundamental precepts of the “TV Everywhere” plan that the cable guys are using to hold off disruption, and in practice it’s a hassle. It requires digging up your cable bill so you can find your account number, and starting up yet another online account and password. Not rocket science, but certainly not one-click easy.
YouTube Users Load 72 hours of Content Every Minute
Gigaom: YouTube has seen its video uploads grow 50 percent over the last year: Users are now uploading 72 hours of video every minute, compared to 48 hours just a year ago. The Google-owned video site announced the milestone Sunday night to celebrate its seventh birthday.
The amount of video uploaded to YouTube has increased steadily over the last few years. In early 2007, users were uploading six hours of video every minute to the site. By January of 2009, that number had grown to 15 hours. By March of 2010, the total reached 24 hours, only to go up to 35 hours by November of that year.
Turner Invests in Social Video Site
Lost Remote: When Funny Or Die launched in April 2007 — a startup co-founded by Will Ferrell — it enjoyed an early-mover advantage in jumping on the wave of socially-shared video. Today, it sports 1.7 million Facebook fans and 3.8 million Twitter followers who help contribute to the site’s 6 million unique users and 60+ million video views per month.
Those numbers — and Funny or Die’s creative track record — has led to a minority investment from Turner Broadcasting, part of a strategic partnership announced today spanning content and sales.
For starters, Turner’s digital sales force will serve as the exclusive seller of advertising opportunities with Funny Or Die. The two have already been working together on the creative side of the business, and now Turner (which includes TBS and Adult Swim) will partner on content across multiple platforms, including television, mobile and tablets. “We’re investing in Funny Or Die because we can take their great content and give it a wider audience through the incredible reach of TBS,” said Steve Koonin, president of Turner Entertainment Networks. “TBS and Funny Or Die will give people a laugh anywhere, anytime and on any device.”
At AOL’s digital upfront in New York recently, CEO Tim Armstrong instructed audience members to check under their seats for a car key. He called the three people who found one to the stage and, Oprah-style, awarded one of them a shiny new Mustang convertible.
Such is the hype that marks the two weeks of online-video presentations from the likes of Hulu, YouTube, Yahoo, AOL and others. But many publishers are finding that building audiences large enough to capture real ad growth is harder than it seems.
There is cause for excitement. Online video “represents the most explosive growth area in the digital space in the next three years,” said David Cohen, chief media officer at Universal McCann. EMarketer predicts that the space will grow more than 40% annually for the next three years, before leveling off to a still-robust 20%.
But booms are never evenly distributed. The online-video market was about $1.8 billion last year, with half of that going to just two players: Hulu (about $300 million) and YouTube (about $600 million), according to Brian Wieser, an analyst at Pivotal Research Group. Mr. Wieser’s estimate does not include video that plays within banner ads.
When Facebook CEO Mark Zuckerberg used an app called Viddy to share a video of his cotton-ball lookalike dog Beast on Sunday, it seemed like an invitation to speculate.
Facebook acquired photo-sharing app Instagram for $1 billion earlier this month. Viddy, which lets users upload 15 seconds of videos and apply photo filters to create special effects, is often explained as “an Instagram for video.”
It’s easy to watch the video and wonder if “Zuck,” as he calls himself in his Viddy profile, has started a social multimedia shopping spree. When Zuckerberg announced the Instagram acquisition, however, he made it clear he didn’t intend to make $1-billion acquisitions a habit.
The YouTube Partner Promotion Team announced this new initiative last week on the YouTube Creator blog. They explain to partners, “We are happy to announce YouTube Partner Promotion, a new program that aims to grow your audience by bringing together new and existing tools to showcase your content on YouTube and relevant sites across the web. The newest of these tools, automatically turns your videos into ad units and places them on the Google Display Network where they can reach 92% of the internet population. You can think of it as extending Featured Videos across the web.”