Beet.TV Transcripts

MIT's Henry Jenkins: New Users will Render MySpace "So Twenty Minutes Ago:" New Report Finds 10 Percent Drop in MySpace Video Sessions since December

Henry Jenkins, Professor, MIT

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[Start  of Audio]

Andy Plesser: So where do you think things are going now in terms if user generated video and sharing and what am I gonna see in terms of the way those are shared, the environments that are shared, the content we’re gonna be seeing?

Henry Jenkins: Now, it comes back to a point that I’ve been asking a lot about, Time Magazine’s You as the person of the year, whether that’s singular or collective, whether the model is personalized media or socialized media. And my bet is that what matters in YouTube is content, it already has a community in place. A community of interest emerges around this. So whether it’s skateboarders, whether it’s fans of popular music, whether it’s political activists, whether it’s students, it’s the content that travels, is stuff that appeals on a very deep level to very specific communities of practice.

And so I do think it’s a communal space even though it’s often described as voyeurism, exhibitionism, as if it’s about individual self-display, individual expression. Most of the content that matters is actually content relevant to a much larger community of people that are watched because they recognize something of themselves in it. And they feel some stakes in its circulation.

Social networking is here to stay. Social networking is operating at every level from small children, you know, there’s experiments now in the developments of social networks that are safe for small children to do, through teenagers, through middle-aged business people into senior citizens. Social networking is gonna be part of the way the web works for the foreseeable future. Now in that space, those companies that appeal to young people are gonna be the most volatile because no one wants to be in their older brother’s social network. They want to have their own community.

And so MySpace will rapidly become oh so 20 minutes ago, to cite, to quote the movie Clueless. It’s gonna be surpassed by the next youth site and you just see this constant proliferation of alternative social networks. To some degree it’ll survive ‘cause it’s the best known. To some degree, it’s become the lightening rod for criticism of both those concerned about commercialization and those concerned about sexual predation, it’s the lightening rod. And whether it weathers those two storms remains to be seen. But something like MySpace will be part of how the web works for a very long time to come.

[End of Audio]

YouTube, Henry Jenkins

Google Launches Contextual Video Syndication Business with Dow Jones and Conde Nast, New York Times Reports

Jeff Marcus

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[Start of Audio]

Well, clearly, the most common form is the pre-roll, so the easiest way to interact is, “I’m interested in content. Content is the bait. I’m showing the content, and boom; I’m seeing the ad that’s in front of it.”

But another popular thing people are doing is having video just start interactively within the page, so that you go onto a page; there’s the video, and it catches your eye a lot better than static content does.

It’s easier to get interest, where somebody looks down and they say, “Oh, that’s an interesting movie. That’s an interesting product.” And then they watch it and perhaps click through it.”

Video advertising is dependent on getting relevant messages to people. Brand awareness type of advertising worries about the content and the things that it’s surrounding on that, so in terms of brand advertisers, they want to make sure that the content that they’re with is applicable to what they’ve got.

That can happen on the fly in the online world, but it’s something that not everybody has adopted and realized how to do. It takes some backend communication, backend decision-making that has to be done properly.

And that’s a learning curve that we’re gonna have to bring, ad agencies and advertisers up to speed on. Direct marketers have less of a concern of what the content is, and for them, they’re much more worried about who is the view, who is the eyeball that’s in front of what I’ve got.

So that’s where behavioral targeting really takes off is to make sure that the right message and the relevant message is in front of the person, independent of where they are so that somebody who might have been on a financial site before and looked at some things is probably interested in finance and then is on YouTube or My Space, which is more of an entertainment or a cultural type of a site, but you would know that this is a person that’s more interested in something like financials.

[End of Audio]

Google Adsense, Online Video, Jeff Marcus

Obama to Use Online Video Arsenal -- Success with Mass Governor's Deval Patrick Led to Brighcove Link-up with Obama

Jeremy Allaire, CEO; Founder, Brightcove

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[Start of Audio]

A presidential campaign is a media business. It is – it has the same attributes. It’s about audience. It’s about constituency, reaching constituencies. It’s about getting that constituency engaged in unique ways. The relationship with the Barak Obama campaign really evolved out of a prior relationship we had with the Massachusetts gubernatorial election where Duvall Patrick became governor and he launched something called Duval Patrick TV which was a really rich channel that had a lot of content. And that then – that individual went into that – into the Barak Obama campaign and so really came to work with us.

You know, they were looking for a partner that could give them a platform to really run in scale and grow that over the next, you know, hopefully two years for them in their minds. And so in that case, they can, you know, manage, you know, what will ultimately be hundreds or potentially thousands of videos that are of events and of topics and of testimonials and so forth. They can take advantage of our consumer media capabilities to allow the actual end users to submit their own content, whether it’s Barak rallies or whatever it would be.

So they – it really gives them a vehicle to run that business, to get viral distribution by giving that content out so people can blog it really easily and then to have the kind of sophistication to measure it and report on it and syndicate that content out to other sites.

So I think since launching, those launch videos have been viewed about half a million times both in his site, on the Bright Cove site and also throughout other websites and blogs that have carried the embed codes for that video.

[End of Audio]

Barack Obama Campaign Video, Jeremy Allaire, Brightcove

New York Times to Publish First User-Generated Videos with "How We Met" Wedding Announcements

Nicholas Ascheim, Director of Entertainment, Video & Audio Products, The New York Times

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[Start of Audio]

Andy Plesser: It’s pretty awesome that people who are getting married now cannot only have their picture, which is like one of the most important things in a write-up, but also, their video. Tell us about the plans for that.

Nicholas Ascheim: Yeah, we’re very excited about this. It’s our first foray into user generated content. What’s gonna happen is users who submit their write-ups to be included in the weddings pages of the paper will also be asked, if their write-up is, in fact, accepted, will be asked to submit a video. And if they choose to do that, we’ll put it up on the site, and we’re using bi-cuff to enable it so that the technology is ironclad, and we’ll make sure that their videos get seen.

And it’s a really interesting idea because we’ve been wanting to get into user-generated video, and we haven’t quite figured out exactly how to do that on the new side yet. So we figured we would start more in what’s referred to as the back of the book, and we would get something out there to look more playful and, at the same time, engage our users in a way that we think is – is really interesting.

Andy Plesser: That’s great. So what kind of – do you have any idea about the forms or what you’ll be asking people? Will it be sort of the couples? Will it be sort of – will there any editorial guidelines at all? 

Nicholas Ascheim: There won’t be very many editorial guidelines. We’re just gonna ask people to tell their story. They’re called “How We Met,” which is pretty self-explanatory, and we’re really asking people just to tell us exactly that. If they want to include footage from their video – from their wedding – they’re more than welcome to do that. If they wanted to record themselves doing interviews the way that we’ve done in our own produced versions of this, which we call VAS, they’re more than welcome to do that.

The only guidelines we’ll place on it is length, and we haven’t quite determined what that will be yet, but something short enough so that the file sizes aren’t too huge, so this won’t be hard for people to do. And we’ll ask people not to do anything obscene or inappropriate.

Andy Plesser: So what’s the imperative or the motivation for you guys in embracing consumer-generated content? How come you made this decision, which is kind of an interesting one? I mean, it’s a baby step, but it’s very significant. Why have you guys made this step?

Nicholas Ascheim: Several reasons. The first is that we wanna engage our users. We wanna – we have a unique audience for the New York Times, both in print and online, and we wanna make sure that we give them more tools to play with at the site, and we wanna make sure we give them a richer experience. At the same time, it’s a great way for us to build out our content library, and we think that it’s something that we wanna do further down the road in other areas, so this is, as you said, it’s a baby step. We think it’s more of a toddler step, that we’re actually trying to see how – we’re using it as an experiment, really testing the waters and seeing if this is something we can expand later into other areas.

[End of Audio]

The New York Times, Nicholas Ascheim

Beware of Hype and Stay Focused and Learn to Be Creative, Says Dance Great Twyla Tharp

Twyla Tharp, Choreographer

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[Start of Audio]

Twyla Tharp: The word “creative” can be very general. And I can’t just say to a dancer, “Okay, that part is boring. Be more creative.” I have to say to that dancer, “That part is boring. You’re phrasing is off, you’re on the fours instead of the sixes. Try that.” Or I have to say, “Your image is wrong. What are you thinking about there? Okay, try this thought instead.” You have to be very, very specific.

Andy Plesser: The issue of failure is something we all go through and it’s something that we can really learn from. Tell us what failure means and how people use failure to their advantage.

Twyla Tharp: Failure means, often, that you’ve tried something that didn’t work. And so you have some lessons to gain here. Success means you tried possibly the same old thing and guess what. It still works. That’s nice too. It’s a choice to be made. But if it’s seen as you took a chance, it didn’t pan out this time, character tells you to try, try again and you’re intellect tells you what did not go “right”, what should go differently.

Andy Plesser: Creative people do their thing because they’re motivated to create and they also want acknowledgement and then it becomes kind of a tricky thing about wanting acknowledgement, wanting to be liked, wanting the reviews, wanting to be admired and sometimes wanting to be admired so much and be an impediment to the creative process. So it’s like, in a way you have to be creative alone.

Twyla Tharp: Right.

Andy Plesser: But you also have to be aware of the crowd or of the world. But it’s a kind of a slippery slope isn’t it?

Twyla Tharp: It is a slippery slope and I think that it’s correct that those who are too aware or anyone who is at the time when they’re too aware of going after something because they want something else from it. They want recognition. They want reputation. They want glamour. They want money. They want success.

Instead of just doing the job at hand and seeing whether these things come along with it, it’s about making the dance, in my case, that you’re really curious about and trusting that people will – others will be interested in it and that if it has a sincerity and a truthfulness to it and if you really tried something in it and guess what, you guessed right. And it’s – it has a really wonderful feel to it. People will sense that and all this other stuff will come, but if you were working in a studio for the notion that it’s going to engender X dollars, X dollars have nothing to do with making a dance. They do, however, have to do with paying for the studio, trying to afford the dancers, some kind of income paying your own bills. So yes, it’s a problem.

I, you know, I’ve always – I was lucky. In the beginning I began to work simply to make the dances. I never though I was gonna make an income. I never thought I was gonna earn a living doing it. I just was curious about doing it and figured, you know, hey, my mother also gave me lessons in stenography. We can type, we can do other things and we did. We did other things and we did dance ‘cause that’s what we were really challenged to do, but we didn’t work at dance to pay the bills in the beginning.

[End of Audio]

Twyla Tharp, The Creative Habit 

Washington Post Set to Grow Online Business with "Hyperlocal" Publishing, Community Generated Content and through Acquisitions -- 21 State Attorneys General Foaming over Over Bud.TV, Ad Age Reports

Jeff Jarvis of BuzzMachine interviews Mark Whitaker of Washington Post/Newsweek Interactive

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[Start of Audio]

Jeff Jarvis: I’m Jeff Jarvis, blogger at BuzzMachine.com, here for Beat TV and I’m with Mark Whitaker who’s the new head of Ventures Digital Future, the Fate of Journalism at Washington Post Newsweek Interactive. So how are you enjoying the new gig?

Mark Whitaker: It’s great. It’s been a lot of fun.

Jeff Jarvis: Are you in your new role mainly going to start or buy innovation?

Mark Whitaker: We’re looking at both. We think we can generate some things internally with our existing talent by partnering on the content side with other people. But, you know, a lot of people coming to us with acquisition possibilities and we’re looking at all of it.

Jeff Jarvis: We have a problem in this industry, in the newspaper and news industry of a lack of innovation, I’d say. That’s why Martin Nisenholtz started a lab at the New York Times Company. I think it’s a woeful picture. Can we innovate in the news business? Is it possible? If you’re gonna score our innovation as an industry, at 100 percent would be a proper amount, where are we now as an industry?

Mark Whitaker: Well, I think – I think you have to make a couple of bets and I think one of the interesting things about what the Post is doing in asking me to do this job is, in a way, it’s a kind of counter-hedge against the old media strategy of just investing in your existing properties, looking at new properties, new opportunities, new ways of doing things. As you know, the Washington Post bought Slate a couple of years ago. We’ve learned a lot from them and their experience as being an all online publication. We just hired Rob Curley who is probably, you know, the most interesting web developer in the world of local –

Jeff Jarvis: And Adrian Holovaty too.

Mark Whitaker: And Adrian Holovaty who is probably, you know, the master right now at interactive relational databases and so forth. So we have – we’re bringing a lot of people in-house who, I think, have some interesting ideas. And then, of course, the cross-pollination and synergy between us batting around ideas is also very exciting.

Jeff Jarvis: Washington Post Online has been really a leader and you’ve done wonderful things, WPNI as a group. What do you think the best frontiers are now going forward. Don’t talk about a few of the things you’ve already done. What are the best frontiers that you see for news online in your work?

Mark Whitaker: Well, one of the things, which I know that you talk about very publicly, is I think there’s a real opportunity in what we call hyper-local content. And we’re obviously focused on being the best at that in the Washington area and I think we’re gonna learn some lessons there that might be applicable elsewhere. I think that, you know, I think online – the web is all about passions. And I think you have to figure out what people’s passions are and connect with them there and then sort of build out from there. So we’re looking in terms of new opportunities at content, vertical niches and building websites around those and also around very specific audience where, I think, who are looking for meeting places to come together online.

Jeff Jarvis: A lot of folks have tried local and have failed at various – I’ve made experiments that didn’t work when I was at Advance, back fence – over your back fences is going through some changes right now. There have been some others. What do you think the secret sauce is, if you’re willing to say, to what’s gonna make hyper-local start to click?

Mark Whitaker: Well, I think Curley, you know, has been very successfully at it and he’s teaching us a lot of lessons. I think a big part of it is consumer generated content and allowing that in and allowing that in an interesting way, that that doesn’t get totally out of control, but makes, you know, the users and the community feel like they have a stake. I think mobile actually is a big part of it. And increasingly will be so as people get, you know, their information and their alerts and so forth, you know, through their cell phones and text messaging and so forth. You know, I think they’re are passion points locally around sports, around entertainment, around local politics. I think, you know, those are the things you need to focus on.

[End of Audio]

Mark Whitaker, Newsweek Interactive, Jeff Jarvis 

Steve Rubel on Technorati Rankings: Bloggers, Don't Let it Get You Down, Just Stay Focused on Quality

Steve Rubel, MicroPersuasion

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[Start of Audio]

Steve Rubel: I think that the opportunity the newspapers have is to really become part of this community. They have to kind of find a way to build a bridge with the people that are around them and I think a lot of them are doing that well and I think their big opportunity is to really to help the community make money. And that’s gonna be very hard for them. They’re not gonna want to share that wealth, but I think if they do, and do it well, you know, the rising tide will kind of lift all the boats together.

Andy Plesser: So you think for mainstream media, the opportunity is to harness community content or to present their authority in a different way?

Steve Rubel: I think, for them, it’s to really to turn their sites into a place where people can connect with each other and do that to their benefit, which is, you know, which – and they have to decide what that motivation is, but that motivation, very often, is to make money.

You know, pennies to a newspaper is dollars to a blogger. And so that is a – they should look at that and say, “Hey, you know, if we really help people make money and also help them connect within – and be part of that community, we’re gonna win.” And no one’s grabbed that yet. It’s – we’ve seen some experiments. The Washington Post is beginning to do that.

Andy Plesser: How are they doing that?

Steve Rubel: They have a blogable advertising program where you can actually go and if you sign up as a blogger, you can then, you know, somebody can actually come in and say, “I want to advertise on one of these different blogs.”

Andy Plesser: Sort of like ____net does in a sense.

Steve Rubel: Except those bloggers, you have to be – you actually have to be on staff there or part of that network and be in that and accepted.

Andy Plesser: I see.

Steve Rubel: This is actually, I think, much more open.

Andy Plesser: I see.

Steve Rubel: Yeah.

Andy Plesser: So let me ask you this. I get depressed sometimes about my Technorati rankings.

Steve Rubel: You get depressed about your Technorati - (Laughs)

Andy Plesser: And I was looking at Technorati the other day and I’m gonna speak to Pier Hirschberg about this. But, for example, Techmeem, which I think is fantastic –

Steve Rubel: It is.

Andy Plesser: And some of us are Techmeem junkies and addicts and all that sort of thing. Their Technorati ranking is number 35,000, which I find astonishing. What does the Technorati ranking mean in terms of authority in your mind? Is it really – how significant is it? And should I get depressed in the mornings I don’t go ______.

Steve Rubel: Well, you know, I really don’t try to think a lot about Technorati rankings because I think it’s just, you know, if you – again, if you’re providing, you know, high value content that people want, it doesn’t matter how many links you’re getting. It doesn’t matter. As long as you’re fulfilling the wishes of your audience. And I think that’s what you have to look at above and beyond everything and if you’re doing that and doing that consistently, you know, you will get links and accolades. But if you’re – if you’re doing it just for that, it’s the wrong reason. So I, you know, try not to pay attention to that and just really do – just put out there a good product that people want.

[End of Audio]

Technorati, Alexa, Steve Rubel, MicroPersuasion, blog

Ford Models with Camcorders Are Absolutely Fabulous on YouTube -- World's Top Modeling Agency is Creating a New "Media Company"

John Caplan, Ford Models

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[Start of Audio]

John Caplan: So, welcome to Ford Models. Let me show you around Ford Models in

New York

and I think it’ll help you understand how we’re transitioning the company into being a media business.

In many ways, Ford is an incubator of new talent. Someone comes in here as a young person, we incubate them through and they launch their career being a high end fashion model. Then they go off and have become, in sort of the old media world, big personalities. In the new Ford media world, we’re actually transitioning them into work being our business partners as we produce content together.

We shoot tons of stuff right in here. Models will stand in the ____ tell their story, “How I became a model, what I would be if I wasn’t a model.” This is the main Ford Models women’s division. Charro, a young model from the Philippines, Patricia Velasquez, has had amazing success as a model and is now, you know, wonderfully successful in the entertainment business. You know, we’re this big, global brand with an incredible reach among young people and we’re now converting that into being a content business.

Andy Plesser: So John, this is, in a sense, is kind of a studio. It’s kind of a new studio system to incubate talent.

John Caplan: Really, all the human beings that work in the fashion business are represented here and what that enables us to do for our content business is to package talent together for content we’re producing. But we think of ourselves really as a twenty-first century studio.

Andy Plesser: What I understand is this is sort of a new approach to creating a brand in the digital age. So tell us the kind of shows you’re doing, the kinds of programming and sort of how that’s structured and the scope of it.

John Caplan: One of the programs we’re shooting is Dressing Room Confidential. And Dressing Room Confidential is Alexandra, one or our top models, goes shopping. She takes the clothes into the dressing room, undresses and puts the clothes on and she’s talking directly, you know, she’s not interviewing designers. She’s communicating directly with the audience. 

Andy Plesser: She shoots that herself?

John Caplan: She shoots that with a partner who – and they take turns shooting one another.

Andy Plesser: So you guys – you – tell us, you give a camera then to the talent and a tripod and some instructions or what kind of gear do you give them?

John Caplan: I think the amazing thing about young people today is everybody knows how to shoot. And if we’ve given them simple cameras, but we’re not asking for highly produced content because, in fact, the higher the production value, the lower the sort of – the audience interest.

Andy Plesser: John, so tell us, you know, after you basically produce these clips and have these clips put together, what do you do with them? What’s the distribution strategy?

John Caplan: So the distribution strategy is really in it’s infancy. Right? So we’re at crawl before walk and well before run. You know, we are now partnering with everybody from News Market to Vio to Youtube, V-mix _____ distributing content across their platforms.

Andy Plesser: Taking the clips and uploading it to those sites.

John Caplan: Correct. Uploading, tagging, simple stuff. We are – the models are publishing the clips themselves on some of their MySpace pages. We are basically testing and learning about the audience and where the audience aggregates. You know, at Youtube we’re the twelfth most visited site on Youtube thirty-five days after launching.

I’m John Caplan and you’re watching Beet.TV.

[End of Audio]

Ford Models, John Caplan, digital media company, Fashion Week

Podcasts Up Tenfold in 2006, Forrester Reports....BBC Report: MTV To Allow Video Clips to Be Shared.....

Brian Haven, Forester Research

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[Start of Audio]

And podcasting, I like to think of it and I think one of the – I’ve heard one of the definitions of what pod really means and it’s not necessarily related to Apple’s product, that it’s more portable on demand and whether or not that’s where the term came from, that’s how I like to think of it. So it can be audio, it can be video. The point is it’s a form of rich media, you know, updated and created on a relatively frequent basis. It’s portable. It can be syndicated in RSS and some form of feed syndication is an important aspect of that. But you can take it with you and listen to it whenever you want, which sets it apart from what streaming media is where you may have to go – you have to go to an actual website to view a streaming file because it’s linked to that server, whereas a podcast, in video or audio form, is something you can take with you in MP3 or some other video format and take it and put it on a portable device, put on a mobile phone, listen to it on your laptop when you’re not logged into net. That’s how we look at podcasting.

We put out a report based on data from 2005 and at that point in time, this is a report that we published back in March that Charlene Lee published and it was about one percent of people listen to podcasts, which is, you know, it’s not – it wasn’t in the same league as blogs, but, you know, it’s a decent number. Based on the same survey we just completed in 2006, we just published a report and showed that’s jumped to ten percent.

So while it’s not at the level of blogs, nor do I think that it will be because there’s a lot of other constraints involved in consuming podcasts, that there aren’t with reading text. It’s still seen a pretty reasonable and steady growth and I think we’ll continue to see that. I think a lot of that has to do with what content is available. You know, podcast was still a relatively new thing. The mainstream, you know, mass audience didn’t really know what podcasts were. Now I think more people are listening to podcasts.  They may not know that they are even in some cases that they are listening to a podcast or watching a podcast ‘cause it can be audio or video. So I think just – it’s one of those growth and content.

It’s just like with downloadable movies and, you know, if you look at our data and see what kind of – what kind of video people like to watch, you know, it initially was movie trailers because that’s all you could find on the net and all of the things like business videos and TV programs, they weren’t even on the list. They were, you know, negligible in terms of the content, but as more of the content becomes available, now people are consuming it more. So I think we’re still in that early growth phase of podcasting and more and more people like yourself are starting to figure out what does it take to create content that people want to listen to in this format?

This is Brian Haven, Forrester Research on Beet.TV.

[End of Audio]

Forrester, Brian Haven, podcasts, downloading video

Adobe's Flash Video to Play on Mobile Phones, New Transcoding System to be Unveiled This Week at 3GSM in Barcelona

Bill Joll, On2 Technologies

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[Start of Audio]

It’s my understanding that about 80 percent of Adobe’s install base is using Flash 8 or 9 and we’re the video codec in that. So now if you translate that into the majority of the social networking sites, user generated sites, I’d extrapolate that 80 percent of these sites are encoding in Flash 8 or 9. And with that much content in Flash 8 or 9, people want to watch those on their mobile phones. We feel that we have the product now to allow content owners, service providers and consumers to be able to get access or deliver that content through the transcoder platform.

So the first thing I do is I go to the browser, fire it up and the video can be played back as low as 20 kilobits per second, which is a very, very low data rate, but yet it gives a good quality performance. And I’m gonna click on that just to show what that video looks like.

Well actually, there’s two pieces to the puzzle, right? There’s, what has Adobe Macromedia achieved? Adobe Macromedia, with their flash authoring tool, has actually made it very easy for people to make compelling video experiences. Then we came along to actually improve the video in the interactive experience and our compression technology actually gives you a video that you want to look at. I mean that’s the bottom line.

As you can see, it’s almost instantaneous.

So it makes it look good and it also makes it smaller so it’s quicker or –

Well, compression is always the idea of how can you keep the quality in low bit rate, low bandwidth. If you want higher frame rates, smoother video, then you may have more bandwidth to do that. Or conversely, we look at it from a compression perspective, which is people want this kind of smoothness, this kind of quality, but we only have this kind of bandwidth environment or this kind of processing environment. And how can we do that? And there’s a lot of science that goes behind that technology. We’ve been at it for 13 plus years.

Now, this video’s playing at about 20 kilobits per second. It’s about five or seven frames per second, which is very, very slow and a very low data rate, but yet the video quality is acceptable.

And now I can show another demo that’s at a higher data rate so this is 128 kilobits per second, about 15 frames per second, which traditionally is considered full motion video. And you’ll see a slight difference in the video quality because it’s at a higher data rate.

The benefit that we are bringing is you have so much content being created every day in Flash, people want access to that and that’s really where the killer app is.

This is Bill Joll of On2 Technologies on Beet.TV.

[End of Audio]

3GSM, Mobile Video, Flash Video, On2 Technologies, 3GSM World Congress 2007