Organizations are facing increasing pressure to not only get their audience’s attention faster but to keep it. There’s so much digital noise out there that it’s becoming increasingly difficult to do so.
Check out how much video has grown over the past few years, and is expected to grow in the coming years.
According to a recent study conducted by TechValidate in conjunction with Limelight Networks, organizations are increasingly seeing video as the key method to engaging better with their digital audiences:
In 2010, several video-centered content management projects developed on our campus. Our library was tasked with adding a large body of video to its catalog. At the same time, a new professional studies building was being completed that would house a clinic for speech, language and hearing disorders. Both of these projects introduced technological demands that exceeded the ability of content systems used at the college at that time. We initiated a search for a service that could handle—and hopefully exceed—the new requirements.
Liz Shannon Miller of Gigaom provides yet another perspective on this weekend's live-streamed YouTube Music Awards.
She writes,"How was the actual show? Depending on who you ask: A trainwreck or exuberant. (There doesn’t appear to be a lot of middle ground. Here’s the thing: YouTube is currently in a place where it’s trying to determine what, exactly, its aesthetic is. After all, it’s a platform whose roots are arguably based in authenticity; letting Schwartzman and Watts literally run around a warehouse with little clue to what was happening next feels like a much stronger fit than a heavily scripted variety show. But YouTube has also been courting the notion of being a home for premium content, which in theory brings along premium advertising dollars. Partnering with Spike Jonze, then, seems like a logical move — Jonze’s past films, including Being John Malkovich, represent this idea of roughhewn elegance."
Josh Constine of TechCrunch live-blogged this weekend's inaugural streaming awards show, the YouTube Music Awards, and opined on its merits and failures.
He writes, "If you wanted an off-the-cuff, lo-fi awards show, YouTube delivered. It was fun, full of surprises and ambition. If you wanted something to rival television glitz like the MTV Video Music Awards or Grammys, you’re gonna have to give YouTube some time to get its act together. But if YouTube can do this well already, the TV networks have something to worry about. Google doesn’t demand perfection, it demands progress, and the YouTube Music Awards made television look dated."
Launched last June, PostTV is the fledgling home for Washington Post video. While the newspaper has offered video services of various kinds for well over a decade, PostTV ramps up the sophistication of Washington Post multimedia content. The most ambitious online venture ever undertaken by The Washington Post Company, PostTV is dedicated almost exclusively to news- and arts-oriented video and will include an increasing amount of original shows and content. Andrew Pergam is senior editor of video at The Washington Post.
In an interesting role-reversal, YouTube stars Walk Off the Earth (best known for their 5 people, 1 guitar version of "Somebody That I Used to Know") took initiative and approached brand Volkswagen to find a way to collaborate and leverage their viral video talents. The result was an interactive music video.
Says Christine Yu, executive creative director at VW's agency Red Urban, "“At the time we didn’t have a suitable project for a collaboration with them. As we were working on the project for the various Beetle models, we had an idea that used an annotated YouTube video. That reminded us of WOTE, so we gave them a call, and the ball just started rolling from there. This was a real collaboration between the band and us."
Yesterday, YouTube streamed its first-ever YouTube Music Awards and AllThingsD examines why a website with more than one billion users wasn't able to translate that to live-stream numbers.
They write, "Regardless of how YouTube tweaks and/or overhauls future shows — and I hope they keep experimenting — I wonder how they’re going to grapple with a fundamental problem: They won’t ever be able to please their audience, because their audience is permanently atomized. YouTube’s core audience does have some stuff in common — it’s young, and it likes music — but after that, things get pretty specific. Line up YouTube’s biggest acts, and you’ll find lots of crossover between fans — and lots of blind spots, too. That’s going to happen when everyone watches you on their own screen, on their own time."
NEW YORK -- Can the Internet scale to handle a massive amount of high-quality video? That was one of the questions posed here Wednesday on a panel discussion centered on the “Future of Content Distribution.”
“It will certainly have to do that to remain relevant,” as consumers look for ways to access all their content wherever they are, Richard Buchanan, vice president and general manager of the Comcast Media Center, said in response to questions from session moderator Richard Greenfield, managing director, media and technology for BTIG.
Buchanan said he expects that the Internet will support the kind of scale required to deliver live HD streams, but acknowledged that it will require more efficient compression technologies to help pull it off.
Writes The Verge, "Vevo has just made what it's calling the "most significant update" to the music video site since its launch. The front page of Vevo is now a Facebook-style news feed, with stories that replace the large cover images that used to dominate the Vevo homepage. Artist pages have also seen a big redesign. Previously displayed in pop-up windows crowded with bios, tour dates, and video links, the redesigned artist hubs now focus primarily on videos, offering a giant grid of all the available songs, while other information is sectioned off into tabs."R
Comcast has introduced a “TV Sampler” app that offers a small library of shows and movies to anyone with access to Wi-Fi or a device that runs on Verizon Wireless’s 3G and 4G cellular network, but is primarily intended to promote the cable operator’s service bundling deal with the mobile service provider.