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YouTube Creator Blog

YouTube Creator Blog

YouTube Trends Broadcast Yourself. Overview YouTube has created an advanced set of copyright policies and content management tools to give rights holders control of their content. YouTube provides content management solutions for rights holders of all sizes across the world, and provides tools to cater to the specific needs of various rights owners. Commercial partnerships Use of YouTube's copyright tools is free, and does not require any commercial partnership with YouTube. Content partners who would like to monetize their content can apply to join our YouTube Partner Program . What is Content ID? YouTube's state-of-the-art technologies let rights owners: Identify user-uploaded videos comprised entirely OR partially of their content, and Choose, in advance, what they want to happen when those videos are found. It's up to you. How does Content ID work? We compare videos uploaded to YouTube against those reference files. Why use Content ID? Access snapshots of your content profile on YouTube, anytime. Who should not use Content ID?

In-Stream Video Ad CTR Far Higher Than Banners, Rich Media in H1 An August 2012 MediaMind study found the same 0.1% CTR for standard banner ads in the US, but, a much higher 0.87% for mobile banners. Meanwhile, according to the latest report, rich media with video (0.26%) performed better than rich media without video (0.21%). In examining the CTR differences between VAST and VPAID, the report concludes that VAST ads more actively call for click-throughs and interactions. VPAID is less focused on direct response, and also enables and captures in-stream interactions, not necessarily requiring a click-through. Worldwide, as the September 2012 report details, the VAST CTR has climbed significantly over the past 5 quarters, from 0.77% in Q1 2011 to 3.05% in Q2 2012, with a peak of 3.09% in Q1 2012. In-Stream VPAID Interaction Rate Higher Than CTR The lower CTR as compared to interaction rate make sense, given the factors described in the VPAID and VAST comparison. Completion Rates Highest For In-Stream VPAID

Web Journalists Hit the Road With Pop-Up Newsrooms This summer, journalists from community newspapers across the country will go beyond their usual web-focused networking and engage in good, old-fashioned, face-to-face contact. As part of a Digital First initiative to spur innovative local coverage, staff members from four newspapers will develop pop-up newsrooms in their respective communities. Journalists will set out in vans, immersing themselves in local suburbs and counties to increase the depth of their reporting. Earlier this year, Steve Buttry, director of community engagement and social media at Digital First, asked members of its newsrooms to submit proposals outlining new ways to approach hyperlocal coverage. In early May, 12 submissions were selected to be executed, four of which focused on the concept of portable newsrooms. Of course, the reporters aren't abandoning social media entirely--they'll be equipped with laptops and Wi-Fi, along with audio and video equipment. Via Editors Weblog. Photo from Morguefile

YouTube Blog Echec des Creative Commons et nécessité de réformer le droit d'auteur ? Dans la première version du glossaire du site de l'Hadopi, les licences Creative Commons étaient maladroitement définies comme une " ", ce qui a été corrigé dans la version finale (c'est d'ailleurs sans doute la première fois dans l'administration qu'un glossaire est corrigé en concertation directe avec les internautes, sur Twitter). Elles s'inscrivent en fait pleinement dans le droit d'auteur traditionnel, puisqu'elles partent elles-aussi du principe que tout ce qui n'est pas explicitement autorisé par l'auteur est interdit, en dehors de quelques exceptions légales comme la copie privée. Le but des licences CC est donc d'expliciter les autorisations dès la publication de l'œuvre, pour en faciliter l'usage et la reproduction. Lorsqu'il y a bientôt cinq ans nous avions publié 12 propositions pour faire évoluer le droit d'auteur et son application, nous avions terminé sur celle qui nous semble encore aujourd'hui la plus fondamentale : " ", analyse Calimaq.

The future of streaming video – four predictions for 2013 Last week’s multi-year licensing agreement bombshell between Disney and Netflix was a capper to an already dynamic year for streaming media. Clearly we’re at an exciting crossroads, fueled by “make-ups and break-ups” that constantly reshape the industry. Given the activity of the last four quarters, here are a few things to look for in 2013. Globalization of professional content The act of taking premium content across borders to reach new audiences has proven to be a boon: It generates meaningful incremental digital dollars through subscription services; it legitimizes a content experience that previously had been dominated by online piracy; and it builds momentum for content and brand equity for the coming years. Ironically, it is the home market that sometimes moves the slowest. Monetization via subscription Subscription will continue to be the dominant business model. What hasn’t changed is the demand for professionally produced content, which still costs just as much to create.

Content is No Longer King - Ben Elowitz - Voices “Content is king” has been a long-lived mantra of media. And in the 1990s and early 2000s, it was true. But over the last several years, the Internet has upheaved the aphorism. It used to be that media was linear. And in that world, content and distribution were married. Until the Internet came along. Content and distribution have parted In the case of the hundreds-of-years-old media business, the Internet has fundamentally separated content from distribution. Today I can watch hundreds of South Park and Jon Stewart clips, all without a cable box — on my Apple TV, my Android phone, or YouTube on my desktop. But wait, South Park and Jon Stewart? No; because content is no longer enough. Content isn’t the goal. When it comes to the business of media, there’s no question: advertisers don’t pay to reach content. What’s the first item in every brief from every advertiser? Media has been slow to adjust to this new dynamic. But they don’t. Who’s your Chief Audience Officer?

Learn how to go viral on Youtube This is the stuff that viral videos is made of, and the lucky winners like Justin Bieber who resonate enough of a buzz online to alert some talent scout who's watching his smart phone in Vegas, at his hot seat on a slot machine. Is also the ones whom are to be destined for Youtube greatness. Who knows, its a long shot at best, but in the end it beats drawing blanks on the ground with zero potential at all, and facing homelessness like tomorrow. This is why some of the weirdest, funniest, laziest, oldest, youngest, coolest, dumbest, nerdiest folks in the world or shall I just say billions of people; are currently sharing like wildfire there on Facebook and doing all that they could to create a flurry of FB likes, shares etc... Now mind you the news reporters, government officials, radio stations, Hollywood Gangstars, Record Producers etc...and even them public service people who were all responsible for placing you in that unemployment line position.

YouTube se met aux Creative Commons ! Une révolution culturelle ? C'est une petite décision de rien du tout, qui pourrait apporter un énorme coup de pouce à la diffusion des œuvres et à la création culturelle sous licences libres. YouTube proposera désormais aux utilisateurs qui uploadent des vidéos de les placer sous licence Creative Commons, ce qui autorisera leur libre diffusion et leur ré-utilisation par des tiers, sans risque de violation de droits d'auteur. Une option proposée depuis toujours par son concurrent Vimeo, mais que YouTube n'avait jamais adoptée, pas plus que Dailymotion. Avec 48 heures de vidéos uploadées chaque minute (!) sur YouTube, on imagine l'énorme bibliothèque de vidéos sous licence libre que cette décision pourrait générer. Et le mouvement culturel qu'il pourrait engendrer. A cet égard, l'outil d'édition vidéo de YouTube est déjà enrichi d'un onglet de sélection de clips sous Creative Commons, que les utilisateurs peuvent exploiter pour réaliser des montages sans risques.