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Web video distribution and analytics TubeMogul today
introducedPlayTime, a new Internet video ad platform that they call “the advertising
industry’s first 100 percent transparent video ad network.”
According to TubeMogul, PlayTime delivers unprecedented transparency, by letting advertisers
compare performance metrics across placements in real-time.
“PlayTime is essentially AdSense for brand advertisers, bringing the performance metrics of
search to online video advertising for the first time,” says TubeMogul’s Brett
Wilson.
With TubeMogul PlayTime, advertisers can know:
what sites Internet video ad views are coming from and in what numbers,
whether views are click-to-play or auto-play,
how long viewers watch before clicking away,
what search terms they are using to find a video, and
whether the video is shared or embedded
This data is presented in a self-serve dashboard for advertisers, with tools for export, sharing
and collaboration.
TubeMogul announced today that it has
built an ad network on top of its distribution and analytics platform, extending its
capabilities to help advertisers better target their video ads to users while also increasing
visibility into how those ads perform. But the big revelation might be that the ad network, which
has just been operating in beta trials over the past year, is already bringing in more revenues
than TubeMogul’s analytics business.
TubeMoguls’ Play Time ad network gives advertisers a level of transparency and data that
most other ad networks don’t provide. While advertisers are given lists of participating
publishers that their campaigns might have run on, in most cases they don’t get very
detailed analysis of where their ads appeared or how well they performed. It tells advertisers
where on a publisher’s page a video ran, whether it was click-to-play or auto-play, and
gives them detailed information about how long an ad played before a viewer clicked away.
TubeMogul has opened an office in New York and hired a couple of media buyers, and has spent the
past year testing the platform with more than 100 campaigns from advertisers like 20th Century
Fox, Coke, Nestle and Kmart. To extend its reach, the company has been buying inventory on
Facebook and other top sites, and it is using its analytics platform to target ads to users that
are most likely to view them. By doing so, TubeMogul CEO Brett Wilson says the company has seen
click-through rates up 200 to 400 percent above average video ads, with viewing times up some 30
percent.
So far the program has been extremely successful. Despite being in testing, the Play Time ad
network already racks up more in revenues than its traditional analytics business. But the
company has plans to increase those revenues even further, by making its network an open platform
for media buyers, while also extending its tools out to its publisher partners. By extending the
Play Time network out as a self-serve platform, advertisers will be able to manage campaigns on
their own without TubeMogul’s help, which should help increase the volume of ads that can
be delivered through the network.
Just as importantly, the company has plans to make its ad targeting tools available to
publishers, allowing them to improve CPMs and engagement times of the ads that appear on their
pages. “All of the same technology that we use for ourselves is going to be available for
our publishing partners. We will be giving our publishers the same audience segments and
targeting information back to them to help them increase their own play time,” Wilson said.
Before livestreaming video networks like Justin.TV can become
attractive to advertisers, they need to deal with their piracy issues. It’s the same thing
YouTube had to go through, except with live video streams. Like YouTube, Justin.tv complies with
DMCA takedown notices and is developing digital fingerprinting technology to identify copyrighted
video on its network automatically. It also invites copyright owners to police the site directly.
Despite these measures, a casual perusal of the most popular streams on Justin.tv is filled with
pirated streams of professional sports, TV shows, and movies. Right now, for instance, you can
watch King of Queens or CNN International, taken straight from TV. The
company finds itself increasingly under fire for copyright issues. To help it deal with these
issues, Justin.tv now has a new adviser, Eric Goldman, the director of the High Tech Law
Institute at Santa Clare University and a highly-respected Internet law blogger. Unlike Justin.TV’s very-expensive
lawyers at Wilson Sonsini, Goldman will be less constrained in speaking publicly on behalf of the
company about these issues.
Goldman is an expert on how copyright law is applied to user-generated content. But in many ways
live video on the Web is a new beast. It is hard for even a vigilant copyright holder to deliver
a takedown notice if the video is only live on the Web for an hour. Competitor Livestream takes a
“Zero Tolerance
Policy” on piracy and challenges its competitors to do the same. Livestream does pretty
much the same things Justin.tv does to fight piracy, with one major exception: it limits new
channels to 50 concurrent viewers until the channel is authorized manually as a legitimate
channel. Should Justin.tv do the same thing? Goldman dismisses Livestream’s zero tolerance
policy as somewhat of a marketing pitch, but he thinks the concept of limiting a user’s
“ability to put up content until they are proven trustworthy” is worth exploring.
CEO Michael Seibel notes that Livestream can do that because it is pursuing more of an enterprise
strategy than a consumer-driven one. He also notes: “We work with the copyright owners. If
copyright owners were not happy with us, they would be suing our pants off.” So far,
Justin.TV has not been sued in the U.S., while competitor
Ustream cannot say the same. Seibel sounds sincere when he tells me, “I don’t
want that content on my site.” He really believes he can make money off the pure
user-generated video, which costs him one third of a penny for every hour streamed, versus the
half-a-penny per hour he can make just on remnant ads.
But if Justin.tv is really serious about cleaning up the pirated streams on it network, why not
simply police itself and strip the most questionable content from at least the most popular
channels to start? In the bizarro world of created by the DMCA, legally it can’t. Under the
DMCA, the responsibility for finding copyright violations lies with the copyright holders. The
second that a site starts to take on that responsibility itself, it risks losing the protection
of the DMCA’s “safe harbor” provision. So Justin.TV can give copyright holders
the tools to remove content from the site, but can’t do it themselves.
So we were
on the front page of YouTube on Saturday! That was pretty fun, though a bit surprising to the
ten web series creators we featured, whose inboxes that morning were quickly flooded with
subscription notifications and comments.
But what does being featured on the front page of YouTube mean for a previously unknown show, in
an organically generated list instead of a sponsored slot? After an hour or so on Saturday of
watching the viewcounts climb on our own video, I reached out to a few of the folks we featured
to find out what their results were.
And the answer is: If you’re devoted to viewcounts, then being featured on the front page
of YouTube is AWESOME. Just some of the reporting I got back:
By the numbers, the big winner was Project Rant, whose total views made the biggest
reported jump, going from 20,233 to 232,000. The featured episode received over 160,000 views,
with the other episodes getting at least an additional 1000 views. Subscriptions jumped as well,
from 59 to 1022. “Homepage exposure on YouTube is pure gold – and will make a huge
difference in your raw view data if you are a relatively undiscovered show on YouTube,”
co-creator Luis Esteban Caffesse said.
The first episode of The Sanctum jumped from 4,000 views to 61,000 views, and the
following episodes jumped from a range of 200-300 views to 1500-2300 views.
The episode of Ignite featured jumped from approximately 10,000 views to over 40,000
views, though with minimal change in subscription counts.
Vicariously went from about 1,000 views to 60,000 on Saturday, and is still climbing.
It also saw a subscriber bump of about 200.
Man Vs. Thing also jumped from about 1,000 views to nearly 62,000 views, and in
addition now has over a hundred subscribers. The other videos jumped in views by 100 percent.
Downsized got a total of 48,855 new views on Saturday, and about 40,000 of those were
for the featured episode. “Currently, the first episode has almost 44,000 views, and the
subsequent episodes have also gone up several thousand views, so viewers are checking out the
rest of the episodes,” creator Daryn Strauss said via email.
One consistent element is that while the featured videos did very well, the other episodes
didn’t have as huge of a bump. That’s because when a video finishes playing on
YouTube, it doesn’t immediately offer you the opportunity to watch the next episode in the
series unless you’re in playlist mode. More call-to-action is necessary in order to
capitalize on a feature like this.
In addition, most of the creators mentioned a dramatic increase in commenters, many of whom
represented the lowest common denominator in comments YouTube has become known
for.Man Vs. Thing creator Rob Schulbaum said in an email that “Overall the
series has become the target of an unexpected stream of bile and vitriolic criticism. It
didn’t seem to be enough that a user express that they didn’t enjoy it, but a number
suggested that I abandon my career in entertainment. I’ve also been informed that
it’s totally ‘gay.’” That’s definitely something to brace yourself
for, should you be so lucky.
I’d like to thank YouTube again for giving us a chance to give these shows more exposure
— it was a real honor. But I’d also like to thank everyone who commented on our intro
video to compliment my “tatties.” My parents and grandmother really appreciated
seeing that.
Netflix will have an application for the Windows Phone 7 operating system that allows streaming.
The company showed off the app in Las Vegas where Microsoft is delivering a keynote address to
developers about building applications for the Windows Phone 7 platform.
Michael Arrington's recent TechCrunch post about old media "guys" who don't get it made me
realize how far things have come -- and how much better they've gotten -- in the world of
journalism.
I worked for more than 15 years in what's now called "legacy media" as a reporter, news editor
and business person. All along, there were a bunch of things that made me scratch my head.
The Way Things Were (Wrong)
Why, for example, could we could lift from other sources without offering attribution? I remember
when a librarian at ABC News taught us how to use news databases to find stories from local media
that could serve as grist for our mill. On another occasion, I pretty much re-reported a Japanese
magazine's story for Newsweek. The Japanese magazine's editor called me out privately, but I
never paid any further price.
I marveled at how expensive databases with reams of news and information benefited us at big
media companies, but weren't readily available to the public. One of the reasons I worked for
large media companies (such as ABC, Newsweek and AP) was because of the information access they
afforded.
I saw how my colleagues and I could resist calls for transparency in disclosing sources or
methods because it was very hard for people to vet what we did and then share their concerns
widely.
Meanwhile, the viewer or reader or listener pretty much had to take whatever we thought they
should be given. At top-flight news organizations, we seldom talked about what the consumer might
want. I would get sometimes looked at cross-eyed if I brought the topic up.
I remember the frustration I felt at always having to repeat the nut graf and essential
information in a story, just in case someone reading it might not know the basics of what had
already happened. I remember the Newsweek bureau chief in Tokyo telling me he was annoyed at
being assigned a story that would cover the same ground as one done well by another news outlet.
As both a news professional and a news consumer, there was a constant feeling that I was missing
something.
The Equation Is Changed
Digital media -- can we please stop calling them "new"? -- have changed it all.
I was exhilarated in my early years at ABCNews.com, where I was its founding international
producer, when I got a Serb from Belgrade within the NATO bombing zone to email me missives,
which I posted on the site. Sure, they were biased and sometimes myopic, but it was great to have
someone who had bombs falling all around him making observations from his window, sending images,
showing his feelings.
I remember, too, the enjoyment I felt getting screamed at from China for allowing what I believe
was the first real-time chat between people in China and a major news website. In both instances,
the experience was raw, unfiltered and direct from the source -- without any correspondent to
tell us what was being said. The unlimited space, flexibility of time, and ability to bring
others into the conversation broke down the barriers that the journalist can place, even
inadvertently, between those involved in the news and those interested in it. (These were
adjuncts, not the main story, and I don't believe we can or should do without journalists,
editing and packaging. But I do think coverage is greatly enhanced by direct access to those
involved.)
While watching the Paley Center's recent session, Education of the Entrepreneurial Journalist,
I was glad to see Geneva Overholser, director of the School of Journalism at USC's Annenberg
School for Communication, promise that, "We will have journalists who need to care about where
audiences are and how they are going to reach those audiences."
But I was almost shocked that it had to be stated. Isn't it a given that journalists have to care
about the audience? Are we still in an era when they don't?
Change for the Good
Access to information has, obviously, improved as well. Search engines such as Google and myriad
other information sources, from Twitter and Facebook to Digg and Delicious, have made it easier
to be sure we don't miss what's relevant. They can also enable us to find serendipitous links
that take us on new journeys. Sure, there's still proprietary information locked up in Factiva,
Nexis and Bloomberg terminals, but you'd be hard-pressed to convince me we have less access to
good information today than we did before the web.
Journalists are also now held to a higher standard, and have to be more transparent. As everyone
from Dan Rather to The New York Times and Reuters and many solo bloggers have found, any mistakes
or distortions will be called out and publicized. You'll be hounded until you make a prominent
correction. You may even have to find another line of work. No longer is it simply enough to say,
"Trust us and our integrity. We have the brand and the access and the information."
The ability to link and refer to source documents has helped, too. I remember how I had to
convince a boss in those early days of ABCNews.com to let a link or two replace a few paragraphs
of background in order to save us space and effort, while also sparing readers the annoyance of
repetition. Today, the link and search are our friends, and can give us not just the background,
but also the source documents, raw interviews, and much more. Done right, journalism has new
authenticity and credibility.
Accountable advertising
Democratization has also come to the business side. I used to wonder how it was that advertisers
could place their ads without ever knowing much about the effect of their placement. Of course,
we all knew that even though a placement in the front of a publication was deemed a choice spot,
readers might pick up Newsweek just for the arts section and never get to the "front of the
book." In the Washington Post, they might not go beyond the Style section, so a chunk of
subscribers weren't being reached by ads in the front section.
Today, in digital media, advertisers can at least tell if their ads have been served to (and
presumably seen by) a viewer. Yes, it's imperfect, but you can't convince me that digital media
is less accountable than print or broadcast.
While I feel the pain of those who've lost their jobs -- I've both laid off people and been laid
off myself -- there are now business models for news that work on the web, even if the
traditionalists don't like it. Just ask Gawker Media, Gothamist, Talking Points Memo, Daily Kos
or Drudge Report, all of which are said to be profitable. I know it's still fashionable in some
circles to curl your lip when referring to "bloggers," or to lament the mediocrity of so much web
journalism. But there is real, strong
journalism taking place, too.
I'm not saying today's media have made things all sweetness and light, that digital is saving us
and everyone is holding hands and dancing together in sun-filled meadows. But we're getting some
clarity about information sharing and attribution, fraud is being detected, fairness and
even-handedness are being demanded, the megaphone is being shared, and advertisers are able to
demand evidence that their ads are actually being seen.
Meanwhile, there is huge disruption. This is not a time for the faint of heart or those unwilling
to learn and change. But, for so many reasons and in so many ways, things are better than they
used to be.
Dorian Benkoil is consulting sales manager, and has devised marketing strategy for
MediaShift. He is SVP at Teeming Media, a strategic
media consultancy focused on helping digital media content identify and meet business objectives.
He has devised strategies, business models and training programs for websites, social media, blog
networks, events companies, startups, publications and TV shows. He Tweets at @dbenk.
doPDF installs itself as a virtual PDF printer driver so after a successful installation will
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doPDF, the free pdf converter. Open a document (with Microsoft Word, WordPad, NotePad or any
other software), choose Print and select doPDF. It will ask you where to save the PDF file and
when finished, the PDF file will be automatically opened in your default PDF viewer.
At CeBIT 2010, Tridelity Display Solutions GmbH presented their new autostereoscopic 3D displays.
At the booth Next Level 3D, both a 24 inch and a 57 inch screen could be seen. The award-winning,
innovative technology of Tridelity offers a high-quality, 3D experience without glasses.
By means of displays developed and produced in Germany the company, which is based in St. Georgen
in the Black Forest, is the first display producer to present high quality 3D content without the
need of special glasses. "The displays stand out due to a high image quality and a great depth
impression", says Michael Russo, CEO of Tridelity. "We are able to achieve the displaying of
objects up to one metre in front of and behind the screen surface, and thus a realistic and clearly
perceivable 3D displaying of contents."
The key for the outstanding quality of Tridelity displays is the so-called Multi-View technology by
means of which five slightly shifted views of the relevant scene are displayed at the same time. As
a result, a 3D perception of fresh, clear images and consistent colours in an almost continuous
area of 120° are achieved. "This allows for a 3D impression at every location in front
of the screen, and for several moving passers-by. Moreover, this technology also offers a
sufficiently high resolution for a high-quality displaying of content", explains Technical CEO of
the company.
The main application field of the displays is the so-called Digital Signage area. Due to a
glasses-free 3D experience the eye catcher potential of the displays is five times higher than that
of regular displays. "The reactions of visitors is overwhelming", says Russo. "A short side glance
is enough to attract the attention of the viewer. The majority of the passers-by stop to enjoy the
3D experience and get to know more about our technology".
A further application is the field of media and entertainment. The recent phenomenal success of the
3D movie Avatar demonstrates the increasing significance of 3D images in media. Tridelity is
perfectly prepared for this trend: "We are able to show all 3D movies on our autostereoscopic 3D
displays", says Marco Lopes, CEO Software Development.
Russo is convinced of the success of the autostereoscopic displays produced by his company: "The
very difficult year 2009 was the first in which we were able to achieve a positive result". He
considers the company to be in an excellent position in a very promising market: "Due to many
analyses and our experience we can only come to one conclusion: 3D is the next big thing!"
CBS Scores $37M Beyond TV With Help of March Madness; CBS Sports is turning
live, ad-supported sports on the web into a real business, selling out its inventory for March
Madness on Demand and bringing in about $37 million in online ad sales. (AdAge)
TubeMogul Expands Into Ad Sales; the analytics startup has been building out its
own video ad network over the past year, testing roughly 100 campaigns with big-name advertisers
such as 20th Century Fox, Coke, Nestle and Kmart. (MediaWeek)
AnyClip Opens Its Quote Database for Movie Buffs; the database currently
includes up to 5,000 quotes and tags from 2,000 of the top-growing films, and it plans to add
another 3,000 by the end of the next quarter. (VentureBeat)
Hundt: Internet Is the New Broadcasting, Cable; Former FCC chairman Reed Hundt
says broadband plan will mark net as the new common medium for video distributioon. (Multichannel
News)
ITV HD to Launch Next Month; ITV has decided to make its HD channel available on
Sky+ HD and Virgin Media V+, just in time for the football World Cup that kicks off in June.
(Tech Watch)
Roundbox Buys IP Of ‘TV Companion’ Dashboard Startup
Jacked; Roundbox says it will integrate Jacked’s technology into its
‘mobile broadcast suite’—which is used by
broadcasters to deliver content, like video and TV listings, onto mobile devices. (paidContent)
iPhone Changes Expectations of TV; Viewers are increasingly demanding in how
they watch video, which means there’s no longer a simple argument between
‘lean back’ TV viewing and ‘lean forward’
interactive-type video consumption. (Tech Watch)
En pasadas entregas de nuestro improvisado especial ‘Cómo funciona la
televisión americana’ os hablamos del
nacimiento de las series, de
estudios, cadenas y productoras y, finalmente, de los
anuncios, pero nos hemos dejado un elemento importante por el que realmente existe todo el
mundillo de la televisión: la audiencia. Como ya explicamos, a mayor
audiencia de un determinado programa, más caros es anunciarse en él y más
dinero ganan las cadenas. El problema ahora es, ¿cómo medir la audiencia de una
serie con la mayor exactitud posible?
En Estados Unidos, de eso se encarga la compañía Nielsen (y de ahí a que
muchos conozcan los datos del número de espectadores como “Nielsen ratings”),
que utiliza una técnica de muestreo estadístico.
¿Cómo funciona? De forma prácticamente idéntica a la que
utiliza Sofres en nuestro país. Un total de 5.000 hogares participan
en este estudio estadístico a cambio de una pequeña suma de dinero al mes y de
reparaciones gratuitas en sus televisiones y equipo en el caso que se estropeen durante la
duración del estudio.
Y precisamente por ese número es cuando comienza la polémica. ¿Es posible
medir el comportamiento de 1.150.000 hogares con televisión (cifra estimada esta
temporada) estudiando una muestra de 5.000? Nielsen intenta cubrir casi todas
las franjas demográficas de población (diferentes clases sociales, diferentes
lugares de procedencia, diferentes edades, diferentes razas, etc), pero, ¿los hogares
elegidos son suficientemente representativos y los resultados son suficientemente exactos?
Dejando de lado la exactitud matemática, también hay que tener en cuenta la
fiabilidad de los datos recibidos. Sí es cierto que cada miembro de un
hogar tiene su determinado código para identificarse y se pueda saber qué
está viendo en cada momento, pero, ¿cómo de fiable es esto? Alguien
podría tener la televisión puesta todo el día sin mirar para ella, o
simplemente dejar un canal sintonizado para, al ser tan pequeña la muestra de estudio,
intentar influir en los resultados finales. Hay opiniones para todos los gustos sobre este tema y
puede gustarnos más o menos el método elegido, pero lo cierto es que Nielsen es la
única alternativa hoy en día a la hora de estimar la audiencia de
un determinado programa.
Entendiendo los números
Hay webs especializadas, como TV by the numbers o
Mediaweek que cada día, a
eso de las 5 o 6 de la tarde hora española, publican las primeras estimaciones de
audiencia del primetime del día anterior, y lo hacen con un formato que puede
parecer algo complicado para los que estamos acostumbrados a ver el clásico
“espectadores totales – share” de la televisión española. Tomemos
como ejemplo de estudio los datos que ofrecen sobre el episodio del pasado jueves de
‘Anatomía de Grey’:
Grey’s Anatomy at 10.96 million viewers (#2) and a first-place 3.9/11 in the demo
Obviamente, el primer número, en este caso 10.96 millones de espectadores, son los
espectadores totales. Es una cifra absoluta que directamente indica el
número total. El número que le acompaña entre paréntesis, #2, lo
suelen utilizar en algunas publicaciones e indica la posición que ha tenido el programa en
cuanto a los más vistos de su franja horaria ese mismo día. CSI, con 15.42 millones
de espectadores, es la que aparece con el #1.
Es la segunda parte de la frase la que más confusión suele causar entre los que no
estamos acostumbrados a manejar cifras de audiencia. Nielsen proporciona una forma relativa
(frente a la absoluta comentada anteriormente) de medir el número de espectadores, usando
el formato “rating / share”. El rating indica el porcentaje de
hogares con televisión que vieron ese determinado programa, mientras que el
share indica el porcentaje de hogares con la televisión encendida que lo
vieron. La única diferencia entre rating y share es que el primero tiene en cuenta todos
los hogares con televisión, mientras que el segundo, que es el que se usa en nuestro
país también, se refiere al número de hogares que están viendo la
televisión en ese momento. Por este motivo, el rating suele ser bastante más bajo
que el share.
Volviendo a nuestro ejemplo, estaríamos hablando de que una media del 3.9% de hogares
vieron ‘Anatomía de Grey’ el pasado jueves, mientras que el segundo
número indicaría que 11% de hogares que estaban viendo la televisión
aquél día, estaban viendo precisamente esa serie. Para calcular el rating, hace
falta saber el total de hogares con televisión (en torno a 1.150.000 que decíamos
más arriba), y para que la cifra sea lo más exacta posible se recalcula cada
año.
Franjas demográficas
Lo que hemos comentado del ejemplo anterior no es del todo exacto, ya que hemos obviado la
palabra demo y hemos actuado como si estuviéramos hablando de
espectadores en general, cuando no es así. En Estados Unidos, las audiencias se miden
también en diferentes franjas demográficas de población, para distinguir
entre adultos, gente joven, etcétera. Si lo pensáis, tiene sentido: si un
anunciante quiere anunciar un juguete, es lógico que busque programas vistos en los que
los espectadores sean niños, mientras que si quiere anunciar coches, es lógico
pensar que optará por un programa muy visto por adultos ya creciditos.
La franja más utilizada y la más importante en general es la de adultos
entre 18 y 49 años, a la que mucha gente se refiere como “demo comercial de
A18-49” o directamente como “demo” y a la que normalmente acompañan
coletillas del tipo “es la que más importa a los anunciantes”. Tiene su
sentido, puesto que estaríamos hablando de gente ya con poder adquisitivo y más
predispuesta a comprar un determinado producto o a cambiar su hábito de consumo. Si
queréis leer más en detalle sobre esta franja demográfica, os remito a
este
completo post de Hablando de series.
Y aquí aparecen dos nuevas polémicas. La primera de ellas, lo conveniente de que se
hable de adultos entre 18 a 49 años cuando, con la crisis y la forma de vida actual, un
adulto de 18 años no es comparable a uno de 35, por poner un ejemplo. Y, la segunda, el
eterno debate sobre qué importa más: los espectadores totales o
los espectadores de la demo comercial. Como en todo, depende a quién preguntes. La CBS en
unas recientes declaraciones afirmaba que el modelo “demográfico” ya no era
válido, aunque quizás tenga que ver que sus procedimentales logren datos más
bien pobres en esa franja. Para la NBC, con sus comedias aportando buenos resultados en la demo,
está claro cuál es el modelo válido.
Sweeps
Si bien Nielsen confía sus mediciones habitualmente a los aparatos eléctricos
instalados en cada uno de los 5.000 hogares seleccionados, hay otro método
más tradicional: la recogida de diarios “de papel” en los que los
espectadores anotan lo que ven y cuándo lo ven durante una semana y en un determinado mes.
Después, recogen los datos y los procesan de forma detallada junto a los recibidos por sus
dispositivos electrónicos, en lo que conocemos como época de sweeps o
“barridos de audiencia”. Normalmente hay cuatro barridos al año: Noviembre,
Febrero, Mayo y Julio.
Al tratarse de meses con medidas de audiencia en detalle, las cadenas no quieren quedar mal y
usualmente programan episodios especiales de sus mejores series, con estrellas
invitadas conocidas, con el fin de conseguir más audiencia. Tampoco es de extrañar
ver cómo algunas de las series con menos audiencia desaparecen misteriosamente de la
parrilla durante ese periodo, con el objetivo de no bajar la media de la cadena y sustituirlas
por algo que se venda mejor de cara a los anunciantes. Por esto mismo, algunos tachan este
método de bajo fiable, ya que es altamente manipulable por las cadenas.
Midiendo otros tipos de audiencia
Hoy en día cada vez hay más alternativas a la hora de ver una determinada
serie o programa, y cada vez es más difícil contabilizar quién lo
ha visto y quién no. Un ejemplo de ello es la audiencia que no ve en directo una
emisión, sino que la graba usando algún dispositivo de tipo TiVo o DVR para verlo
más tarde. El problema en este caso es que, si bien supongamos que un millón de
personas graban y ven la serie un día más tarde, no se puede contabilizar como otro
millón más en las audiencias totales, ya que sería muy inexacto. Para los
anunciantes no tiene el mismo valor un espectador que lo ve en directo que otro
que lo ve en diferido y además con la posibilidad de saltarse los anuncios.
Lo mismo ocurre con el streaming en las webs oficiales de televisión. En
este caso las cadenas pueden saber con exactitud cuántas veces se ha reproducido un
capítulo, pero la dificultad está en saber el perfil del espectador que lo
está viendo. Por tanto no es de extrañar que los anunciantes prefieran recurrir a
los métodos tradicionales. Una de las preguntas más frecuentes que se hace la gente
es por qué si mucha gente ve ‘Lost’ a través de otros métodos no
se cuenta en el número de espectadores totales, y éste es precisamente el motivo:
si los visionados no se puede monetizar, entonces no cuentan.
En definitiva…
A la hora de medir las audiencias, no hay un método exacto y todos los
datos de que disponemos son meras aproximaciones. ¿Por qué tomarlas en serio?
Porque las cadenas y los anunciantes también usan esas aproximaciones para fijar el precio
de los anuncios y determinar cuando una serie es rentable o no. De las audiencias depende la
rentabilidad de una serie, y de su rentabilidad depende su futuro, que es lo que
a nosotros, como espectadores, nos importa.
Le G’zOne Brigade de Casio, c’est un peu comme le Hummer H1, vous savez ce truc
immonde, et énorme mais puissant comme un taureau...
Shock resistant, Water Resistant, ce téléphone prêt à faire face aux
pires conditions est en fait un puissant Smartphone avec un clavier QWERTY, un double
écran, un navigateur Internet, un lecteur de document, le TTS (Text To Speech), un lecteur
Audio, et un APN de 3.2 Mégapixels.
Le G’zOne Brigade propose également un Flash LED, système Autofocus, le
Bluetooth Stéréo, un GPS, ou encore un slot pour cartes mémoires microSD
(Jusqu’à 16Go)
Communiqué de presse
The new CASIO G’zOne (pronounced Jeez-wun) Brigadeâ„¢ possesses the
latest innovations in rugged wireless devices. For most well connected consumers, text messaging
has become a viable form of communication for both personal and business matters. As the first
water and shock resistant messaging device in the U.S. marketplace, the CASIO G’zOne
Brigadeâ„¢ embraces this need for connectivity and brings reliability and
toughness to a wider audience.
Beyond its resilient construction, the CASIO G’zOne Brigadeâ„¢ is a
tool for ever-increasing productivity. With a Full HTML Browser and Document Viewer for reviewing
Word Documents, Excel Spreadsheets, PowerPoint presentations and PDFs, the Brigade is the perfect
device to maintain both business communication and personal contact on the go. A perfect tool for
multitasking, the CASIO G’zOne Brigadeâ„¢ introduces the Text-to-Speech
function, which allows users to listen to their text messages, multimedia messages and
emails.
The advanced 3.2 Mega Pixel Camera with LED flash captures images under the harshest
conditions. For professional grade photos, the CASIO G’zOne Brigadeâ„¢
features BestShotâ„¢, a function with 6 pre-set modes that automatically changes
the camera’s settings based on the background, and Auto Focus (Spot, 9 point and Face
Detection), a quick performance tool that minimizes blur caused by shaky hands or a moving
subject.
Additionally the Brigade is fully equipped with the Multimedia features Stereo
Bluetoothâ„¢, music player, and Micro SD memory expansion (up to 16GB) for image
storage and music on the go. Additional features include a unique crocodile texture exterior for
no slip grip, GPS for directions at your finger tips, Push to Talk for instantaneous
communication, Clear Talk for crystal clear calls and speaker phone, and Voice Recorder to create
quick reminder memos.
To see the Brigade in action, visit www.CasioToughPhones.com
The G’zOne Brigade is Casio’s phone equivalent to a H1 Hummer... Ugly but strong like
a Bull. Shock resistant, Water resistant, our all ways ready in whatever situation phone hide a
powerful Smartphone with a Full QWERTY keyboard, a dual Screen, a Web Browser, Document Viewer,
TTS (Text To Speech), a Music player and a 3.2Mpix Camera.
Really not my kind of phone but if I had to work in “difficult” environment I would
really consider this bad boy.
The new CASIO G’zOne (pronounced Jeez-wun) Brigadeâ„¢ possesses the
latest innovations in rugged wireless devices. For most well connected consumers, text messaging
has become a viable form of communication for both personal and business matters. As the first
water and shock resistant messaging device in the U.S. marketplace, the CASIO G’zOne
Brigadeâ„¢ embraces this need for connectivity and brings reliability and
toughness to a wider audience.
Beyond its resilient construction, the CASIO G’zOne Brigadeâ„¢ is a
tool for ever-increasing productivity. With a Full HTML Browser and Document Viewer for reviewing
Word Documents, Excel Spreadsheets, PowerPoint presentations and PDFs, the Brigade is the perfect
device to maintain both business communication and personal contact on the go. A perfect tool for
multitasking, the CASIO G’zOne Brigadeâ„¢ introduces the Text-to-Speech
function, which allows users to listen to their text messages, multimedia messages and
emails.
The advanced 3.2 Mega Pixel Camera with LED flash captures images under the harshest
conditions. For professional grade photos, the CASIO G’zOne Brigadeâ„¢
features BestShotâ„¢, a function with 6 pre-set modes that automatically changes
the camera’s settings based on the background, and Auto Focus (Spot, 9 point and Face
Detection), a quick performance tool that minimizes blur caused by shaky hands or a moving
subject.
Additionally the Brigade is fully equipped with the Multimedia features Stereo
Bluetoothâ„¢, music player, and Micro SD memory expansion (up to 16GB) for image
storage and music on the go. Additional features include a unique crocodile texture exterior for
no slip grip, GPS for directions at your finger tips, Push to Talk for instantaneous
communication, Clear Talk for crystal clear calls and speaker phone, and Voice Recorder to create
quick reminder memos.
To see the Brigade in action, visit www.CasioToughPhones.com
There are two things I hate about a job like this: Carrie, and the viewer-at-home.
That’s not true. There are dozens of things I hate: network executives,
directors, producers, footage editors with their nasally little ‘we could have used a
little better resolution here. ” I hate pretty much everyone involved in a
documentary, but it’s the viewer-at-home who matters. Once that viewer decides
they don’t like Carrie, don’t like fish, or don’t like learning, all of us are
out of a job.
“There’s the entrance!” Carrie squeals. If nothing else, she has
enthusiasm.
It’s a low-budget gig. Unlike Carrie up ahead, who was lucky enough to be
female, skinny, blond, and (of lesser importance) a marine biologist, Tommy-crap-for-lighting and
Joe-the-assistant-camera-guy (that’s me) actually have to lug junk into these
tunnels. The sound guy and lead cameraman are resting cozy on the boat, practically
retired.
“Over here,” she calls, swimming smoothly over a long-still turnstile and into the
submerged station lobby. I bring the cameras around an ancient ticket machine but
find nothing more than a ragged hole, smaller than a kid’s fist. “There
are thousands of these,” Carrie continues, looking at my headcam. Who the hell
wears makeup underwater? “Even though their slowed metabolism gives them
twenty or thirty minutes underwater, the skeletal structure hasn’t changed
much. If it weren’t for these nests, they’d make easy dinner for
anything down here. A single Long Island Crocodile could take out a whole school in
seconds.
Great. Crocodiles. I really ought to read a pamphlet or two about this
junk before strapping on the cam and jumping overboard.
My comm beeps and the cameraman patches in, private to me and Tommy. “Can we
get a shot of these rats?”
“Carrie, they want rats,” I say, switching frequencies.
“We’re working overtime here,” he says. I hear the hiss of a
bottle opening.
On the main channel, Carrie’s still rambling science. “Marine biologists
continue their search for the secrets of the tunnel rat,” she says.Â
“Despite intensive study, their rapid evolution remains a mystery, and we can only hope
that in decades to come-”
“Joe, can you get a better shot of that hole?” Tommy comms.
Carrie, caught up in describing the rats’ miraculously pathetic life, doesn’t notice
as I clickswitch my handcam to fisheye without turning my helmet camera from her face.
And then, Tommy delivers a kick to the ticket machine with so much force that I have no idea how
he pulled it off with flippers.
They crawl and swim, dozens, maybe hundreds, not just from the hole but from the ticket slot as
well, from unseen gaps behind and beneath the machine. An emptying hive of nearly
hairless grey and pink rodents, tails swishing and feet scrabbling for purchase as a stream of
bubbles trail upward from a corner.
“That’s what we need!” open-comms the cameraman. “We can
edit out that kick, right?”
Only the glow of Tommy’s sidelight lets me see Carrie shake her head.Â
“You can’t just empty a whole colony like that!” she says, voice
weak. “Do you have any idea how territorial–”
“Look, Carr, we’re making a documentary here,” comes a new voice, the assistant
director. Asshole must have been monitoring everything.
“They’ll only invade another colony, and–”
“Let the marine biologists worry about that junk, okay? All of you, back to
the boat, and–”
“I am a marine biologist.”
“Back to the boat. Now.”
It’s a month until filming starts on Carrie’s next Learning Channel adventure, and
hopefully, it’ll be somewhere warm.
To quote The Princess Bride: “Let me ’splain… No,
there is too much. Let me sum up.” I’ve been having a great time and learning a lot
at SXSW this year, but while I process some of the bigger ideas, here’s just a taste of
what’s been discussed and shared.
Damian Kulash of OK Go appeared on a panel discussing the secrets of viral videos on Saturday,
and while This Too Shall Pass played, he responded to a couple of questions shouted from
the audience, including mine: How many hidden cuts are there in the seemingly one-take video? The
answer is two, which were both done for camera reasons.
Ustream by the numbers: Not too shabby
Ustream president Brad Hunstable mentioned some interesting numbers during his talk about
improving social media with the use of live streaming (though he didn’t exactly recommend
using any other service but Ustream). Some interesting data: viewers will watch a live-streamed
feed for an average of 28 minutes.
In addition, when Ustream live streamed the red carpet for the American Music Awards in 2009, it
had about 2.1 million viewers — and the viewing audience for the AMA broadcast on old
teevee  went up by 2 million views. The next month, Ustream brought in 1.7 million
viewers for the Golden Globes’ red carpet, and the broadcast viewership went up by 1.7
million people as well — a pattern similar to what we’ve seen
with the
online strategy for this year’s Grammy Awards.
However, he also called Nick Jonas “a modern day Beatle.” I’m not sure how much
I trust him.
At least they’re admitting it
In two different panels — the How to Make a Viral Video panel and a panel featuring Andrew
Steele and Richard Glover of Funny or Die — panelists said flat-out that female nudity is
key to spreading a video. Steele coined the pithy slogan “swears and skin,” while
Kulash broke it down as “boobies and kittens,” which he illustrated with the video embedded below.
YouTube’s Margaret Gould Stewart had a less depressing take on it: “Viral videos are
always tapping into something human — love, food, sex, failure… Something that people
can relate to and share with others.”
(4%) 3700 Put signatures not on top
in replies (thereby not forcing top-post)
(2%) 3762 Performance is unusable
on IMAP accounts with a large number of messages in one or more folders (e.g. INBOX) (+1 this
week)
(2%) 6009 "Enter" key sends wrong
keycode to console applications (+1 this week)
(2%) 7062 Video camera does not
record smoothly (+1 this week)
(2%) 7190 music stutters while
multi-tasking, especially browsing web (+1 this week)
(2%) 6045 ENTER key stops working
in XTerm (+1 this week)
(1%) 5368 In camera app, if
geotagging is enabled but user does not want to connect, continual network selection popups make
app nigh-on unusable (new this week)
Please visit bugs.maemo.org to vote.
Registration is easy and free.
2705 Palm Tungsten T3 cannot transfer
files with N800
3108 openssh won't connect through
WPA/WPA2 Netgear DG834PN
3219 Garnet VM shouldn't kill
alsa/dsp sound subsystem
3282 Maemo Diablo Reference Manual,
Application Development: GtkAccelerator related snippets are not excerpts of
example_hard_keys.c
3314 Maemo Diablo Reference Manual,
Application Development: "6.8.6 Creating Makefiles and Package for Applet" section does not
describe actual packaging of hello-world-app
3348 Maemo Diablo Reference Manual,
Using Generic Platform Components: "7.9 Global Search Usage" code example is not found
3381 Maemo Diablo Reference Manual,
Using Connectivity Components: "9.2.6 Samba Network Shares" example is not found
3383 Maemo Diablo Reference Manual,
Using Connectivity Components: "9.4.6 Example: P2P Client" example is not found
3708 N810 draws excessive power when
AP has multiple ESSIDs
3873 GnomeVFS does not seem to open
webpage in a specific sample application
4057 FKB doesn't work with editable
GtkTreeView cells
4374 Plugging a USB keyboard can
cause X crash/reboot when X is started with XInput disabled
4676 N810 fails to associate with
Draytek Vigor 2700G AP most of the time (but not always)
4933 Maemo 4.1.2's
hildon-input-method should include working finger keyboard
En proposant une nouvelle application, baptisée BIRT Mobile Viewer, Actuate offre aux
professionnels un contenu riche et interactif directement accessible sur leur iPhone Actuate
Corporation (NASDAQ : ACTU), la société à l’origine du projet
BIRTâ„¢, annonce aujourd'hui la mise sur le marché d...
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