« December 2006 | Main | February 2007 »

January 31, 2007

eBay Stops Virtual Goods Trading

(* Source: Piers Fawkes on PSFK *)

 

eBay has decided to stop buyers and sellers trading virtual objects over its auction system. We've written in the past about the boom in trading video game objects such as magical swords but now the world's biggest ecommerce site has decided that it would rather not have these items sold on its system. Characters, currency, weapons, attire and accounts of online games such as World of Warcraft and City of Heroes have been banned.

A report on news.com suggests that the move might be driven by a number of issues including the desire to avoid disputes over intangible products with no records and also as a precaution to possible government intervention. news.com suggests Second Life will be not affected by the dispute.

CNET News.com

Super Deluxe

(* Source:Daniel Modell *) 


Superdeluxe

 

Is the world ready for another viral video web site? The folks at Turner Broadcasting sure hope so. They just launched Super Deluxe, a hybrid between Comedy Central and YouTube that features original videos and cartoons from professionals, aspiring professionals and aspiring aspiring professionals. There seems to be little restriction on raunchiness, aside from a required lie-about-your-age verification feature (think beer sites) but it helps to weed out the NSFW content. But it begs the question: why are you watching it at the office, anyway?

www.superdeluxe.com


 

MTV Invades Second Life, Eyes Web 2.0

(* Source: Joe Lewis via ThreeBillion *) 

Avatars representing lead characters from the hit MTV series 'Laguna Beach' can now be found within the virtual world of Second Life. This move represents a strategy geared at winning back credibility with this generation's youth, but will probably just serve as another indicator of big business invading the online environment.

More

January 30, 2007

Your Morning Joost

(* Source: Jim Bachalo *)


Joost

 

Maybe I've had my head in the sand but just read about Joost in the most recent Wired.

Is Joost an essential missing piece in the puzzle of TV/internet convergence? Or will it be forgotten as another software startup that missed the mark. I'm betting on the former.  For one, the founders are also the guys behind P2P based Kazaa and Skype.

What is Joost? It's essentially a java based P2P streaming application on the front end coupled with a network infrastructure that helps overcome some of P2P's shortcomings on the backend.
In a departure from YouTube and the many YouTube clones, viewers won't be able to upload their own content.

And it seems advertisers are getting on board big time, according to both Engadget and Business Week.


 

Musicovery: Interactive Web Radio

(* Source: Anna Hecker *)


Musicovery

 

 

The competition around here to scoop new music applications is pretty stiff, so I feel extremely honored to be the first to post this link.

www.musicovery.com

I’m having fun listening to 70s soul this morning… and I like the bold, colorful design. I like that it gets a little more specific than Pandora, but the jury’s still out on whether they’ll actually have enough tunes within the genres I like the keep me amused.

What are your thoughts?


 

January 29, 2007

Telstra takes on YouTube: cash for clips

(* Source: Laurent Verrier *) 

 

Just like YouTube: except it's not free

Just like YouTube: except it's not free

 

Giant Australian telco Telstra is offering people cash for clips in an effort to steal some of YouTube's success.

The new website, www.wotnext.com.au, will allow video clips uploaded by users to be viewed on cellphones for $A1.00 a pop, plus whatever data charges your carrier levies.

"The new site is run by Telstra and rewards content creators with a 50 percent revenue share for capturing celebrity sightings, comedy skits, rants and raves, action sports, original music and other clips on their mobile phones, digital or video cameras and submitting them to WotNext," the company said in a statement.

"Anyone can submit a video and Telstra mobile customers earn 50 cents every time their video is downloaded to a mobile phone.

"Even people that aren't Telstra customers can earn credit which they can convert into cash if they move their mobile service to Telstra.

"WotNext gives Australians the chance to get 'rich and famous' for letting their creative juices flow," said Telstra's Executive Director of Brand, Advertising, Media and Sponsorship, Mr Bill Obermeier.

Obermeier said WotNext also addresses copyright infringement concerns that have been raised by critics of other user generated content sites. All content on WotNext must be original and all clips are checked by moderators before posting.

YouTube has already launched a service that allows people to upload videos directly from their mobile phone. It says it hopes to launch a wireless download service within a year, too.

 

Did The Internet Save the Superbowl Ad?

(* Source: Misha Cornes *)

 


Superbowl_xli

 

With the approach of the SuperBowl, Madison Avenue's showcase of conspicuous consumption, there's almost as much anticipation for the advertising as about the game itself.  The size of the Superbowl audience has remained flat, but prices continue to edge up, to a record $2.6 million for a 30-second spot. 

Is it too much to argue that the Internet saved the blockbuster SuperBowl ad?  Now a Superbowl buy can be integrated into a wider, multi-channel campaign, either as the big pay-off at the end (e.g. for a user-generated content contest), or as the big bang kickoff for a campaign that will extend onto websites, cellphones, and of course YouTube.  By my reckoning, this is the first year when every single campaign will have a web tie-in. 

Here's a quick run-down of some of the more anticipated SuperBowl commercials and their use of the interactive channel.  I'll keep adding to the list as we get closer to the date.

Web-based Create-Your-Own Ad

Web Sneak Peeks

Register Online, Watch and Win


 

Popularity of Web brands signals power shift

(* Source: Reuters *) 

 

A consumer poll on Friday exposed the worst kept secret in the business world: Internet companies are becoming more important to people than firms that operate in the real world.

Google retained its title as the world's most influential brand, and video-sharing site YouTube and online encyclopedia Wikipedia were catapulted into the top five at the No. 3 and 4 spots, according to the annual survey by online branding magazine brandchannel.com.

While brandchannel's survey is not uncontroversial as it asks 3,625 branding professionals and students "Which brand had the most impact on our lives in 2006?," rather than measuring economic impact, the evidence of the result is everywhere.

Visitors of technology and telecoms tradeshows, for instance, may be forgiven for thinking that photo-sharing site Flickr, blogging software firm Vox, Internet calling service Skype and YouTube are multibillion dollar companies, because no company from the old world announces anything without them.

At the Consumer Electronics Show in Las Vegas, Internet service provider Yahoo, at 12 years already an old timer in the Web world, was marched on stage during several "joint product" announcements, including those with Sony (founded in 1946) and Motorola (from 1928).

Mobile phone giant Nokia (founded 1865) needed Skype, Flickr and Vox to beef up its new product launches.

"All innovation is coming from the edge of the Internet," said James Enck, an analyst at Daiwa Securities, referring to the Web sites which offer services online.

WEB TRAFFIC EXPLODING

As in any industry, innovation lures new customers.

John Chambers, the chief executive of Cisco (founded in 1984) which is the biggest plumber of the Internet, calculated that in four years time 20 families will generate as much Internet traffic as the entire world in 1995.

Analysts point to the obvious.

"Ask yourself how many more hours you are using the Internet compared with 10 years ago. Now ask yourself how many more minutes you make calls on a mobile phone. There's no comparison," said Bengt Nordstrom, chief strategy officer at business and technology consultants InCode.

"Internet brands are the brands people use and which they like. They are much stronger than mobile brands," he added.

Jupiter Research estimated last year that online users clocked up an average of 14 hours of Internet usage per week. That compares an average 5 to 10 minutes per day of mobile phone chats amongst consumers in Europe, China and India, according to market research group Wireless Intelligence.

It can be easy and cheap to run an Internet company and this means a lot of ideas are coming to the market and many products are free to use.

It explains why 3.5 year-old Internet community site MySpace has 90 million unique users. Rival Craigslist, despite its no-frills layout, has 10 million registered users and gets over four billion page views per month with just 22 employees.

Small wonder Philips, Nokia, Motorola and Sony, as well as telecoms operators like 3 all want to tap into those vast customer bases which embrace the new Internet brands.

"People value strong brands," said Gerard Kleisterlee, the chief executive of Philips which at CES launched Skype phones.

It may not be so surprising that Google tops the global brand chart. It has a market capitalization of $153 billion and also takes a strong position in the traditional Interbrand ranking of global brands -- at the No. 24 spot it is the world's fastest rising brand measured in dollar value.

More significant is the popularity of six year old online encyclopedia Wikipedia which has fewer than 10 employees and relies on volunteers to write the entries, and Skype which is a four year old company with 510 staff, 171 million registered users and ranks No. 2 in Europe according to Brandchannel.com.

"The Internet is the great equalisequalizerer. It doesn't matter how small you are, the Internet gives you power and presence and you can reach the global population in one fell swoop," said Skype's co-founder Niklas Zennstrom.

 

Internet brands leave music services to experts

(* Source: Reuters/Billboard *)

 

So far, 2007 has not started off well for music subscription services.

The demise of AOL Music Now and Virgin Digital illustrates just how difficult selling music by subscription is, even for companies with deep financial resources and widely recognized brands.

That both unloaded their services onto Napster has some analysts questioning whether the business is better left to smaller companies specializing solely on running a subscription service, rather than large Internet portals or consumer brands with many other irons in the fire.

"We wouldn't be surprised to see more players take this approach over the coming 12 months, as the initial rush of hype around digital music dies down, and those faced with the reality of a hugely difficult market look to hand the reins over to specialist players," Ovum analyst Jonathan Arber wrotes in a recent report.

Veterans of the subscription service field say a successful music subscription business needs at least 1 million subscribers in order to reach critical mass and become self-sustaining, although one can be profitable with lower numbers. To date, the only company to achieve that milestone is RealNetworks' Rhapsody. Assuming it can retain most of the subscribers it acquired from AOL and Virgin, Napster will not be far behind, at around 900,000 subscribers.

Meanwhile, household names like Yahoo and MTV are not even close. Neither company has disclosed subscriber figures, but analysts estimate they lag far behind. AOL Music Now had just 350,000 subscribers when it handed the service over to Napster -- 100,000 less than when it acquired Music Now in November 2005.

To be fair, the AOL service was profitable, according to Music Now head Gary Cohen. The decision to shutter it was more a result of AOL's desire to focus on advertising revenue over subscription revenue.

"That's why the goal was to sell off Music Now and get an advertising and promotions deal out of it," Cohen said. Which is exactly what happened. Napster paid AOL $15 million for both the subscriber base and to advertise the Napster service through the AOL community.

Yet the sale plainly illustrates how music subscription services have failed to live up to the expectations AOL and others had when they entered the digital music gold rush during the last two years.

Lured by a relatively easy market entry thanks to generic service providers like MusicNet and readily available compatible devices, AOL, MTV, Virgin and Yahoo all launched music subscription services thinking their marketing prowess, strong brands and existing customer base would revolutionize the industry.

What they found was a complex market that to this day is defined by technology, device and supply problems far out of their control.

The technology governing the transfer of subscription tracks to portable devices still has problems. None of the services work with the popular iPod; the few devices that are compatible are unoriginal clones that have not sold well; and the monthly music licensing fees are a constant drain on already thin resources.

And to cap it all off, most consumers are just not ready to accept the concept of music as a service rather than as a product. Convincing consumers otherwise will take an expensive marketing effort that the surviving services from MTV and Yahoo have promised, but not yet delivered.

While they certainly have the money to do more to promote their services, it's hard to justify the expense when compared to the relatively low returns and overall difficulty of running the service.

What's more, record labels and publishers seem content to remain on the sidelines.

"There's no industry desire to see subscription services succeed," a former music subscription service executive said. "(Labels) love the idea of reoccurring revenue but they know it's replacement revenue. They recognize that unlimited access to content wherever you are whenever you want equals no CD sales." Collectively, these factors resulted in a rude awakening to the newcomers, but may ultimately play right into the hands of Napster and Rhapsody, which have been around for much longer. Both built their business largely around music subscription and would be in a good position to take over the services of rivals MTV and Yahoo should either decide it is no longer worth the headache.

Additionally, the ongoing publishing dispute over compulsory music licensing is keeping potential new players like Amazon and Target from entering the market. They could easily decide to outsource a subscription service as well, such as how MSN abandoned its subscription plans and partnered with Rhapsody instead.

But it may take some time before that point is reached. A January 2007 Jupiter Research report found that spending on music subscription services grew 14% in the United States last year, to $185 million, and is expected to grow at a compound annual rate of 32% during the next five years.

That may be incentive enough for both existing and potential subscription services to tough it out while the market slowly reveals itself.


 

Users go professional with online video

(* Source: Reuters *)

 

Martial arts expert Joe Eigo never imagined he'd win millions of fans and earn $25,000 when he posted a clip of himself performing a series of gravity defying acrobatics to a video sharing site.

In uploading his "Matrix - For Real" video to Metacafe.com, Eigo joined the growing number of aspiring filmmakers who are benefiting from the new economics of online video sharing, a phenomenon made popular by YouTube.

YouTube, owned by Google Inc, took online video mainstream last year with a completely open format and easy-to-upload site, as well as a focus on short, low-resolution clips that are streamed for free.

Now, however, a growing number of users, particularly amateur filmmakers and wannabe stars, are seeking out other online video outlets. The promise is that not only might they find the fame they seek, but they could get paid for their work in the meantime.

A prime example of the movement is the Diet Coke/Mentos candy clip that ran last year on Revver.com. The clip, which shows how bottled Diet Coke erupts when you drop in Mentos, was popular enough to generate tens of thousands of dollars in advertising revenue to be shared with the original creators.

But money isn't everything in the online video world, or so it seems. Several sites are now offering users the ability to upload longer-form, high-quality, professionally edited videos that will likely be more attractive to advertisers and may even encourage some users to pay to watch the clips.

When Jordan Livingston, a 24-year-old filmmaker from the San Francisco area, posted two of his short films to the Internet last year he chose Dovetail.tv, another fledgling site focused on quality videos.

Founded in 2006 by Jason Holloway, Chris Neumann and Brett Levine, Dovetail targets up-and-coming filmmakers.

"These guys have a longer-term goal -- they want to be the next Martin Scorcese. And, you don't get that by being up alongside cell phone quality shots of the type seen on YouTube," says Holloway.

Because the cost structure of Internet technology had become more affordable, Holloway said, he and his partners realized they could run high-quality, high-definition videos online.

Livingston says that more and more independent filmmakers will use sites like Dovetail to make a name for themselves and earn money while they're at it. But it's the quality of the video that's most important to him.

Dovetail, which already has nearly a thousand short films though still in prelaunch mode, hopes to pay producers like Livingston by sharing in advertising and subscription revenues. It is initially looking at paying around 10 cents every time a user's film is downloaded.

The idea of paying producers for their videos is beginning to take hold online in much the same way popular personal blogs began to take advertising and become more professional a few years ago. And users are taking to it.

Joe Eigo's "Matrix - For Real" has been the top video in Metacafe's Producer Rewards scheme with 5 million views, making him over $25,000 in just a few months. Previously, he had spent thousands of dollars over the last four years just to keep it running on his own Web site.

Metacafe's scheme pays producers $5 for every thousand views a video gets on the site. It starts to pay out after it reaches 20,000 views, implying a minimum payment of $100.

Metacafe founder Arik Czerniak says that online video sites like his are changing the way so-called user-generated content is perceived by consumers as well as broadcasters and advertisers.

"We're being much more selective about the videos than other sites because we think this is about entertainment," said Czerniak.

And for Eigo the success of his Matrix video is a dream come true.

"I was really surprised," said Eigo, who occasionally lands stunt man roles in movie and theater productions. "I've bought some books to learn how to manage the money."

 

January 26, 2007

Music recommendation services are taking on Web 2.0 functionality integrating the best of user generated content, communites and social networking.

(* Source: Josefine Koehn *)


Trend Description:

Since the first consumer logged on to the Internet, user reviews and recommendations became increasingly important. Now the music industry and some music fans caught on. The result are several new websites, which let users and listeners judge and choose what they want to hear. The music fan, the listener and the music critic become one and the same person. Users can socialize based on their music taste, explore and discover new music through playlists of friends and the social network of these new user-fed web applications.

Cases:

Last.fm
More than ten million times a day Last.fm’s Audioscrobbler music-engine gets fed by it’s users. Simply by playing a song on their computer or iPod users add their music to the library, the so called social music platform of Last.fm. The engine than creates charts and play lists for the users according to their music profile and even generates personal radio stations. Every music profile is public, that means each user can listen to every radio station created. This is one way to discover new music and find musical soul mates. Last.fm also creates music charts for every user, which can be shared through MySpace, Livejournal, Facebook or a personal blog. Via the Last.fm dashboard music fans can even check on the music their friends are listening to right now. Users can search for music, songs, artists, and for other users, groups or forums. Last.fm is so far also the only social music platform, which features classical music and Flickr pics.

Pandora.com
Pandora is an Internet radio station, designed to help consumers discover more music they like. Music Fans simply have to type in the name of their favorite artist or song and the website automatically creates a streaming station which plays similar songs. User can create up to 100 stations and fine-tune them by giving their thumbs up or down. According to this input Pandora.com will change the music mix. So far the archive continues 400.000 songs, bands and musicians are free to send in their material. Only downside: Copyright restricts Pandora.com to play the exact same song typed in initially – occasionally it might be played in the mix. Pandora will ad advertisements to its service soon, for an ad-free streaming radio users will have to pay $36 per year (unlimited use).

Soundflavor.com
Soundflavor.com is a computer-generated DJ - or better, mix tape aka playlist maker - for iTunes users. Music fans just have to play a song or playlist and Soundflavor DJ will select and play other songs from the library that complement the music the user is listening to. This way playlists can be created instantly based on sound, style or era. Soundflavor also recommends new music, similar to the users taste. Of course these are available from iTunes.

iLike.com
iLike is the MySpace of the music discovery sites. Friends can share their music libraries, browse and sample their most played songs, and compare their compatibility scores. ILike als features a sidebar for iTunes, helps to auto-organize the iTunes library and recommends music related to the users taste. Music can also be recommended through the network of friends. The user can also discover new friends through his music taste. And MP3s of new artists are free.

MOG
The strength of MOG is the socializing feature. Everybody can share his or her playlists and even express thoughts on music and everything else via the MOG blog. The mog-o-matic automatically builds a web site that displays the users music collection and real-time listening stats. Users can find info about artists, songs, albums and other “moggers”. Likeminded users connect via chat-mode. Lots of info, recommendations and discussions, but no streaming of music

Music Hawk
Music Hawk tries to get its share of the market by generating personalized information for music fans: tour schedules, music news and supplies of band videos and MP3s. Friends can invite each other and share their taste through the MusicHawk Charts.

The Hype Machine
The Hype Machine calls itself “an experiment that keeps track of songs and discussion posted on the best blogs about music”. It does not provide songs for download or music streams, but caches frequently accessed tracks which can be previewed. The Hype Machine also links to the blogs that are tracked and quoted. It is basically a hub for different blogs and sends the user out to discover new music through his own preferences.

Trend Impact:

The concept is easy, but highly effective: By matching peoples preferences with a database of other users patterns the new websites cannot only provide personalized recommendations but also build up a huge network. Consumers profit by the ever growing amount of consumer generated and consumer fed content and of course the possibility to connect with other users and build up their own network. The Spanish based company MyStrands has taken the concept of music recommendation 2.0 already into real life. With PartyStrands, the company created a service for bars and nightclubs that allows guests to “influence” what music is played via text messages they send to a screen from their cell phones. There is also a Web site, which shows what is happening at the club in real time, currently available at clubs in New York, Corvallis (USA) France and Spain.

LastFM

Pandora

Soundflavor

iLike beta

Mog

Music Hawk

The Hype Machine

MyStrands

PartyStrands

 

Cinema 2.0

(* Source: Jeff Squires *)

 


Swarmofangels2 A Swarm of Angels is an ambitious new project that's taking aim at the traditional Hollywood approach to making blockbusters and giving it a web 2.0 makeover.

The project is attempting to create a film in an entirely new way.

We are gathering 50,000 people in a giant new media experiment to be part of an exclusive community which funds and helps make this film. We want people to freely download, share and remix the feature film and all original media made for this project and have embraced the flexible digital-age copyright of Creative Commons toward this end.

After paying £25 to join, participants are allowed to vote on major decisions in the film, contribute to the actual development and production of the film through open source technologies, and are encouraged to share and sample portions of the film for their own outside work.

A Swarm of Angels

 

Promoting A Movie Through the LiveJournal Community

(* Source: Anna Hecker *)


 

Livejournal

 

 

When I saw that the blogging site LiveJournal was rolling out Sponsored Communities, I thought “there goes the neighborhood.”  Unlike other blogging sites, Livejournal is intensely community-oriented.  The feature that really sets it apart as a social networking/blogging hybrid is the multi-user special-interest Communities, which range from topics as general as “New Yorkers” to those as specific as “Polyamorous Pagan Vegans.”

I was pleasantly surprised to see that the current sponsored community, for the movie “Blood and Chocolate,” is doing several things right.  First and foremost, it’s not LonelyGirl15: they come right out and ask you to think of the site as a Livejournal-based roleplaying game where users can interact with someone writing in the voice of the main character.

Secondly, they make the best use of the medium with daily journal entries, and got a good writer: she really sounds like a young girl struggling with a secret.  But even better than her entries are her responses to the comments left in her journal, and the way she references them in subsequent entries – exactly the way a real Livejournaller would.

The site’s writers also have fun with it, bringing in other characters from the movie and having the main character question their validity.  (At one point she writes: “Someone has to be messing with me… that guy wouldn’t even know how to turn on a computer!”) Aside from that, they don’t seem to have generated any fake comments, which is tempting when you’re trying to solicit user interaction.  I clicked on the journals of some of the responders because I’m suspicious like that, and they seem to be real people. 

Finally, they chose the right site to promote their movie. “Blood and Chocolate” promises to be a Goth-y flick about a teen girl werewolf… and Livejournal is full of teen Goths. With 422 members who have joined the community, another 574 watching, and about 30 regularly leaving comments, “Blood and Chocolate” has found a captive audience. The question, of course, is whether those numbers will translate into increased box office sales – but in terms of creating an engaging experience within a distrustful market, I think the creators of this community have done a great job.

Go to http://community.livejournal.com/mydarkestsecret/ to see if you agree or disagree.


 

Ask Sgt. STAR

(* Source: Misha Cornes *)


Sgtstar

 

GoArmy.com is an innovative site that is constantly adapting to meet the expectations of its core audience: young adults age 18-24.  As a major recruiting portal for the U.S. Army, the site has to strike a careful balance between entertaining and providing a realistic portrait of Army life.  TV commercials and print all point to the site as a one-stop location for comprehensive information about joining.   With a diverse workforce of more than 650,000 people, that's a lot of material for any potential employer to cover.

Sgt.  Star is a virtual search agent designed to meet this challenge in a compelling way.  Ask the Sargeant, and he'll tell you: "STAR which stands for Strong, Trained And Ready. I'm an artificial intelligence agent created for the U.S. Army to provide you with information about Army life." Like Ikea's Anna, Sgt. Star can parse natural language and suggest areas of the site to explore.  As an avatar designed to match wits with teenage boys, he's fairly difficult to stump.

The application pops up as daughter window to the side of your browser, and what's even more compelling is that Sgt. Star will update the main GoArmy window as you browse.  Ask him about payscales, for example, and the browser points to the Benefits area.  There's also an integrated live chat function that he will call on for backup.  The application was developed by Next IT.   You can read their case study here.


 

January 25, 2007

Nike Lets Users Remix TV Spot

(* Source: Paul McGreggor *)



Nike is inviting users to create their own videos with snippets of its new TV spot touting its Air Force 25 sneaker line.

Visitors to NikeMashUp.com will be able to choose from numerous video snippets and different soundtracks to create their own commercials, up to one minute in length. All clips close with "The second coming" Air Force 25 tagline and the Nike swoosh logo. The videos can be downloaded, e-mailed to friends or even sent via cell phone.

 

MySpace China . . . Konichiwa!

(* Source: Eric Dong via Paul MacGregor *) 

 

US based social networking juggernaut Myspace, owned by News Corp (NYSE: NWS), has launched a Chinese version. Registration instructions, login features, and most section titles have been translated into Chinese, but the job is not complete, much of the site is still being translated.

Myspace's China strategy is still unclear. It seems Myspace will simply launch a Chinese language version without setting up a website designed specifically for Chinese users.


One (potentially) fatal mistake on Myspace's Chinese site: Myspace has the Japanese version of its User Agreement on the Chinese site. This could provoke a backlash among China's youth. Myspace could get the Chinese riled up even before it gets going.



image

 

Nokia - A View Of The Future

(* Source: Adrian Lai *) 

 


Non95

 

Nokia has released some videos on Youtube conceptualizing what the future of mobile communications may look like. They're not meant to be showcases of products or devices currently in the works, but to stimulate discussion of the cool stuff we'll be able to do with our phones/mobile readers in the future.

It's a nice effort, even though the videos weren't that impressive. But here are some thoughts:

1) Companies embracing Youtube as a viable media channel. It's free, users can comment, share, and embed videos into other sites. Early this week, Virgin also tapped Youtube to get it off the ground.

2)  It's an example of Marketing Enthusiasm - Finding a bigger enthusiasm than your brand or product, and getting people involved.  Nokia is about new ideas for mobile communications, not just phones. Perhaps they could also get involved with this.

3) The touchscreen interface is shown frequently. I wonder if Nokia expected this technology to come out as early as June?

Watch the Nokia video: Here

 

TV Viewing To Fall 30% In 5 Years

(* Source: Ofcom *) 

 

Ofcom observes that the demand for services delivered over broadband is developing rapidly. It suggests that over the next five years linear television viewing may fall by 20-30%, to be replaced largely by the increased use of on-demand services. A similar pattern is anticipated for audio programming.

Ofcom says that the three video services proposed by the BBC could account for around three billion viewing hours a year by 2011, or around 3% of total viewing hours in the UK. It believes that a significant proportion of this usage is likely to represent an increase in overall use, as people watch and listen to material outside the home.

It is estimated that the proposed internet television catch-up service could attract around 1.4 billion hours a year by 2011, representing around 1.6% of all video viewing in the UK, giving the BBC a 26% share of the internet video-on-demand market.

An estimated 860 million hours of simulcast internet viewing are anticipated by 2011, or around 1% of total UK viewing hours, giving the BBC a market share of 47% of internet simulcast services.

Around 770 million hours of downloaded audio programmes are anticipated.

More. 

Joost is new name for The Venice Project

(* Source: informitv.com *) 


The Venice Project, a global broadband video distribution platform from the founders of Skype, has revealed its real brand name which will be Joost, pronouced ‘juiced’. Currently in a private testing phase, Joost claims to combine the best of television with the best of the internet.

Co-founded by Niklas Zennström and Janus Friis, Joost provides a secure peer-to-peer delivery platform for full screen video to the personal computer which offers copyright protection for content owners and creators.

Joost is new name for The Venice Project, a global broadband video distribution platform that delivers full-screen video to personal computers.

“People are looking for increased choice and flexibility in their TV experience, while the entertainment industry needs to retain control over their content,” said Fredrik de Wahl, the chief executive officer of Joost. “With Joost, we’ve married that consumer desire with the industry’s interests.”

“We’ve received positive and constructive feedback from our early beta-testers and are now at a stage where we’re ready to reveal our true brand,” said de Wahl. “The Joost name has global appeal, embodies fun and energy, and will come to define the ‘best of TV and the best of the internet’”.

The Joost application offers full screen video channels as seen in this screen shot.

The Venice Project, which is the title of a film, was apparently codenamed after the name of the hotel conference room where it was first conceived.

As an early participant in the beta test, informitv can confirm that the platform appears to provide reasonable quality full screen streaming video consistently across a peer-to-peer network.

Naturally, delivering full-screen video requires a reasonable amount of bandwidth, downloading up to 320MB an hour and uploading up to 100MB an hour.

 

 

MySpace Mexico Is Live

(* Source: Pete Cashmore *) 

 

MySpace is now set to launch a Spanish-language Mexican version, the company said today, following rumors on Tuesday. Although the URL mx.myspace.com doesn’t work, we were able to find the site and grab screenshots by clicking the “International” link at the bottom right of MySpace and choosing Mexico. This sets a cookie so that when you return to MySpace, you’ll see the Mexican version - you’ll need to return to the International page and choose the US site to reset the cookie.

MySpace say they’ll test the site for 2 weeks before releasing a beta and that any MySpace users based in Mexico will be automatically redirected to the new site once the beta is ready - about 1 million MySpacers are located in Mexico, they say. It’ll be a few more months before the site is officially launched.

We’re losing track of the number of International versions either launched or planned for the next few months - that’s largely because they stagger the launch dates and re-announce the launches when the sites leave beta. Among the MySpace sites that have made headlines recently: MySpace France, MySpace Australia, MySpace Japan and MySpace China (not yet live). Those sites are in addition to the German, Irish, Italian, Spanish and British versions that were already established. MySpace plans to “more than double” the number of international locations it currently serves by the end of this year - with most of the major countries already accounted for, we’re looking forward to the launch of MySpace Lichtenstein.


Diesel + Heidies

(* Source: Misha Cornes *)

 


Diesel_1

 

Diesel, the Italian purveyor of $200 jeans and other fashion-forward clothing, has taken the concept of the viral video one step further than most - the entire site homepage has been "taken over" by the Heidies, two attractive young women who appear to be holding an equally attractive young man captive, and recording the whole event by webcam.

The cam site itself has a live, uncensored chat room that lets viewers comment on the proceedings.  Be warned, this is definitely mature content.  As Adam Kahn writes, "It’s not something I want to share, forward, or perpetuate, but can’t help but feel like there was once a good idea in there somewhere?"

http://www.diesel.com/

What's fascinating about the execution is that the Heidies really have taken over- you have to wade through the marketing campaign in order to get a look at the clothing.  Even without a homepage campaign, the Diesel site is heavy on experience on light on merchandising, but this is exceptional in its aggressiveness.  Judging from all the comments, their customers seem to like it.


 

News at Seven

(* Source: Daniel Modell *)

 


Newsatseven2

 

If you like having RSS-enabled news and blog articles read to you (somewhat slowly) by a computer-generated news anchor, then News at Seven is for
you.

It's the brainchild of  Northwestern University's Intelligent Information Laboratory. The content is automatically generated and spoken through a series of characters from Half-Life 2 in settings that range from a virtual studio to man-on-the-virtual-street locations.

Is this the future of newscasting? Will news from war zones be conducted via armored camera-toting machines designed by iRobot and read by celebrity avatars in Second Life?

They report. You decide.

www.newsatseven.com


 

Adweek's Best of Web 2.0 in 2006

(* Source: Misha Cornes *) 

 


Jeepuncharted_1

 

Adweek has named the Jeep Uncharted campaign “Best Use of Web 2.0 in 2006”.  It’s a great honor for Organic, particularly since it's a complicated integrated campaign that defies easy categorization.   

Starting in late 2005, we began planning an interactive campaign to coincide with The Jeep Compass Music Tour, a multi-city concert tour of new and emerging artists headlined by G. Love & Special Sauce. We built promotion pages on MySpace and Friendster that served as a hub for MP3 downloads, musician bios, and tour information.  The idea was to reach a new kind of Jeep buyer – young urbanites, particularly women – through the power of social networking.  Once the tour started, flyers drove the concert attendees back to the web for additional tour dates and concert videos.  The profiles ultimately linked back to Jeep.com.  To date, more than 12,000 people have become Jeep’s friends, and there were more than 224,000 music plays. On Facebook, 10,000 people joined, creating more than 67 discussion topics. And the MySpace site is among the top natural search results for Jeep Compass, and friends continue to comment in the forums six months after the tour ended.  As Sam Cannon quips, "It's nice to have friends instead of entries in a database."

Looking back, this innovative automotive campaign grew out of some our entertainment work, where collaboration with social networks is a standard way to reach a teen and young adult audience.  In our work for X-Men 3, for example, we were the first to build new functionality into MySpace as part of an advertising campaign.  We knew from our research that for our target demographic, their Top 8 was a constantly shifting measure of their friend’s social worth.  In return for “friending” the X-Men, users were given a “superpower” that allowed them to have 16 Top Friends.  The X-Men now have nearly three million friends, and the promotion was such a success that MySpace removed the cap on the Top Friends feature.

It comes down to great clients like Daimler Chrysler and 20th Century Fox who are brave enough to trust their customers with their brand.  To me, that’s the essence of Web 2.0.

Misha Cornes 

 

MySpace to speed overseas expansion in '07

(* Source: Kenneth Li *)

NEW YORK (Reuters) - News Corp.'s popular Internet social Web site, MySpace, plans to more than double the number of countries it serves by the end of the year, a senior executive told Reuters on Wednesday.

The target expands Rupert Murdoch's initial goal for MySpace to operate in 11 markets over time, compared to the current 10. The News Corp. chief executive has expressed deep interest in launching MySpace in the potentially lucrative China market through a local joint venture partner.

"In every country we've launched, we've seen incredible growth ... without doing any real marketing of the site," MySpace senior vice president for international operations, Travis Katz, said in an interview.

He said MySpace has test-launched services in Mexico, in addition to Italy and Spain. Other markets it is already operating in are the United States, the United Kingdom, Ireland, Australia, France, Germany and Japan.

Katz declined to say which new markets were top priorities for test launches for the online teen hangout, among the most visited properties on the Internet.

Since launching in the UK market last year, some 25 percent of MySpace's 325,000 daily new registrants now come from outside the United States, Katz said. In Australia, where it attracted more than 2 million unique visitors in December, according to Nielsen NetRatings, MySpace said it has more page views than Internet rivals including Yahoo Inc.

About a third of MySpace's 90 million global unique visitors in December 2006 were from international markets, according to comScore Media Metrix data.

More 

More Marketers Are Grabbing the Attention of Players During Online Games

(* Source: Louise Story *)

 

CASUAL game sites have learned how to play the ad game.

The sites — which offer puzzle and strategy games — once focused on selling the actual games after the dot-com bust drove many advertisers away. But these days, they are becoming popular marketing spots as they begin to accept more branded messages.

Last year, advertisers spent about $150 million buying space on casual game sites or in the games themselves, up from $74 million in 2002, according to DFC Intelligence, a game industry research firm in San Diego.

This is all possible, of course, because advertisers are increasingly interested in reaching the diverse group of Web users who like to solve puzzles, play word games and decipher mind benders online.

In December, about 65.9 million people played online games, which include puzzle games and action video games. That was up 13 percent from December 2005, when 58.4 million clicked online for a quick round, according to comScore Networks, an Internet research firm. While traditional action games still draw more men than women, casual games are more popular with women and offer the kind of friendly online experience that ad executives say companies want to be associated with.

Big Fish Games, a casual game site known for its game Mystery Case Files, for example, says about 75 percent of its visitors each month are women. And, according to Forrester Research, about 51 percent of people over age 30 play online games.

“The gamer is actually a much more of a mainstream consumer than you may think,” said Shar VanBoskirk, a senior analyst with Forrester Research. “Consumers are really filtering out advertiser messages, and games are one way that they’re actually still engaged.”

PopCap Games, a company known for the Bejeweled puzzle game, is testing ads in the premiere versions of its games. Like many online games, PopCap’s are available in two versions — a free basic version and a fancier version for a fee, which it calls premiere. Traditionally, Web surfers tried the fancy version free for an hour before deciding whether to buy it.

Now, under a test PopCap is running with its game Zuma, consumers can download the fancy version and play it without ever paying — if they are willing to see ads.

AOL Games, a unit of Time Warner, is testing ads in the one-hour trial version of its deluxe games, said Ralph Rivera, vice president and general manager of AOL Games. About 95 percent of people who try games do not end up paying for the deluxe version, he said, and AOL would like to reach those users in some way.

“Within AOL, games is only second to e-mail and I.M. as far as time spent per user, so you’re talking about a very highly engaged audience,” Mr. Rivera said. “Any time you have a highly engaged audience, you have advertisers who are looking to get in front of that audience.”

Big Fish Games charges for downloads of games and also carries about 200 free puzzle and strategy games online, with ads. Starting last month, visitors who clicked on their first free online game of the day got a Sponsor Select pop-up screen giving them a choice of ads for that game.

About 25 percent of the people who play games on Big Fish have chosen to pick their advertisers, according to AWS Convergence Technologies, the company that operates Sponsor Select.

Yesterday, for example, visitors could select either Better Homes and Gardens, Orchard Bank MasterCard or Windows Live Search to be the sole advertiser in the first game they played. The rest of the games they played showed them a variety of ads.

“You’re going to get ads no matter what,” said Paul Thelen, chief executive of Big Fish Games. “The advantage of Sponsor Select is it’s more likely to be relevant to you.”

Big Fish started offering free games online a year and a half ago. Four years ago, after the dot-com bust, it was not possible to make much money from ad-supported games, Mr. Thelen said. Now that is changing. While Big Fish still makes most of its money from user-paid downloads, its fastest-growing revenue area is its advertising.

Whereas advertising in games used to be specialized, involving a lot of negotiation , the growing number of ad options for casual games is making game advertising more accessible to brands that once focused on traditional advertising, ad executives said.

“You don’t have to be as adventurous or as bold to make it happen now,” said Art Sindlinger, vice president and activation director at Starcom USA, a Publicis Groupe media-buying agency.

One appealing aspect of casual games is that players often start friendly dialogues with each other, and brands can associate themselves with that community building, said Saneel Radia, vice president and group director of Play, a gaming division of Denuo, which is part of the Publicis Groupe.

“If you look at the communication on a board of pool in Yahoo Games, it’s, ‘Oh, where’s your family from?’ ” Mr. Radia said. “Go to XBox Live, and it’s, ‘I’m going to crush you.’ ”

Some advertisers have taken casual gaming a step further, creating their own casual games — sometimes called advergames — and posting them on their Web sites.

When the Dodge Caliber came out last spring, the Chrysler Group, part of DaimlerChrysler, posted five casual games on its site, and one called Caliber Buzz was played three million times within a month, said Vanessa Kelley, manager of cross-brand gaming at Chrysler. Online games are now a regular part of Chrysler car debuts, she said.

“It’s the wave,” Ms. Kelley said. “These people don’t watch television all that much. They are online. They’re playing games.”

 

BBC launches 'Second Life for kids'

(* Source:  Tara Conlan *)


The BBC is to launch a children's version of the cult virtual world, Second Life.

CBBC World will offer youngsters a safe environment to explore, and provide them with different zones offering CBBC content.

The project is one of the keystones of BBC Children's move to become truly cross-platform.

As in Second Life, children will be able to create virtual versions of themselves on-screen, called avatars. Their characters can then move around CBBC World.

There they will also be able to take part in games, animations, videos and music, create their own content and send their work to other CBBC World users.

Children can also upload their work on to a gallery and the best will be used on the CBBC TV channel.

Belgian public service broadcaster VRT has already proven a version of CBBC World.

The BBC Children's controller, Richard Deverell, said that CBBC World will have a soft launch over the summer, then roll it out in September to coincide with the planned revamp of the CBBC digital TV channel.

"CBBC World will be a space where children can find radio, TV and on-demand content.

"Over time we hope to enrich the world with better software. We hope then it can be adapted to make it more personal so it understands what kind of person you are ,and offers you things you might like, such as our new show MI High.

"The important thing is it will be a safe environment which children can explore. It is a truly cross-platform project."

 

Mr Deverell - whose department is one of those leading the way in the new digital era and in the BBC's move to Salford - said the corporation needs to ensure it is offering its young audience an "on-demand and entertaining experience".

He added: "CBBC World is a good example of the way we need to go. The thing that interests me is that children are at the vanguard. And that is where we are taking Children's BBC."

 

January 23, 2007

Profilactic Launches - MySpace, YouTube, Digg Aggregated

(* Source: Pete Cashmore *)

One of the most prevalent ideas in the social networking space is that we need to aggregate all our online profiles in one place - with our identities spread across multiple sites, we want to bring them all together in one central location. Iceflake, Ziki, FindMeOn and many others are pursuing this same strategy. It’s an idea called Digital Lifestyle Aggregation, named by PeopleAggregator creator Marc Canter.

Yet another new one launched in public beta last night after a few months of private testing - Profilactic provides a single profile page for MySpace, YouTube, Last.fm, Digg, LinkedIn, iLike and the hundreds of other social services you’ve signed up for. All this stuff is brought together in a feed - the same format employed by long-forgotten SuprGlu back in 2005. Profilactic users can also have a network of friends, and a mashed-up feed of all their friends’ content.

I’m not totally convinced that non-geeks are ready for this yet: besides YouTube and MySpace, how many of those services are recognized by the average person? That said, these sites might be a success if they can find some kind of viral element: enabling you to invite all your existing friends from those services you’ve added (could be spammy), or providing some type of widget. Ultimately, I would love for all the listed services to play along, and allow you to jump straight from one profile page to another in a sort of personal webring - that’s highly unlikely to happen, of course.


 

BBC Coming To Google Video, YouTube

(* Source: Pete Cashmore *)

In a move that will bring masses of interesting content to the video-sharing sites, the BBC and BBC Worldwide are set to strike deals allowing BBC content to appear on Google Video and eventually YouTube, too.

The deal, which isn’t yet complete (but likely to be announced this week), would be similar to the CBS-YouTube hookup, or the NBC deal, according to The Stage. The BBC would get its own channel on the site, and revenue would be split between YouTube and the BBC. They may additionally use Google Video’s payment system to charge for high quality versions of the content, albeit with DRM. It also seems likely that Google would agree to tackle the problem of copyright-infringing BBC clips uploaded without permission.

The current offerings from the BBC are poor - to UK residents, who pay a yearly license fee, the company offers RealVideo streams which don’t work across all platforms. A Google deal would mean cross-platform, worldwide access to the BBC’s shows like Monty Python, Mr Bean and Top Gear. Don’t expect the YouTube element to happen immediately, but we could certainly see authorized BBC content on Google Video very soon.

In related news, Google is expanding its test of video AdSense to include music videos from Sony BMG and Warner Music Group. They’d previously been testing with videos from MTV Networks. The new system is available to a select few AdSense publishers - it displays a CPM ad at the end of music videos posted to those sites, and splits the ad revenue between Google, the publisher and the video provider.

 

Eric Prydz vs Floyd : Proper Education

(* Source: Tamara *)
Music and technology are now in the hands of the common man. Mashups and remixes between the old and the new are surfacing to the mainstream. Here is a good example of how house music fans can appreciate Pink Floyd.