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Browsing Category New Media

NMD

The New Media Daily: Upgraded for 2013!

Posted on January 27, 2013 by Doug Luberts

I’ve been a bad blogger for some time now… Simple equation is Time Available – Stuff to Do == <= 0. BUT!

I’ve been running a paper.li digest for the last year or so called “The New Media Daily“. I don’t know if it’s a great name, but it’s drawn from articles and posts tweeted by a list of folks in, and of interest to, the New Media community.

The paper publishes daily, and usually shows up in my Twitter feed at about 10am Pacific time, and I’ve been getting some pretty good readership numbers for some time now. I just updated the paper to a more customizable format, and added an option for subscribers to receive it by email…You know, if you don’t get enough email already. :)

Also, if you’re into Geek Culture, I’ve created a Geektastic! News digest on paper.li that tracks all things geek from Comics to Comic-Con, Celebrities to Cosplayers, and comes from my @GeektasticTV twitter feed.

Feedback welcomed!

jay-leno-comp

Jay Leno, YouTube, Blocked Video Rants, and Customer Service

Posted on May 29, 2012 by Doug Luberts

Last week, a number of blogs broke a story about a YouTube video produced by Brian Kamerer, which had been aired on NBC’s ‘The Tonight Show with Jay Leno’ and subsequently flagged for a copyright violation and blocked on YouTube.

The YouTube dialog every content creator dreads…

The video in question was a campaign ad that Kamerer created for his friend, Travis Irvine, who was running for mayor of Bexley, Ohio, at the time. It had been sitting in YouTube’s inventory until Leno’s staff unearthed it for a bit they were doing on campaign ads in 2009.

Apparently, Kamerer went to search for the video recently, and found that it had been blocked on YouTube due to copyright infringement reasons by NBC Universal, prompting Kamerer to pen an open letter to Leno on Splitsider.com.

Yeah, I’d say he was pretty well pissed…

‘The Tonight Show’ didn’t notify Kamerer that they were planning to run his piece in advance, or advise him afterward that they had done so, which wasn’t at all cool, and most likely not legal, although, in the long run, I don’t know that a lot of small content creators would turn down an opportunity to get their work shown on Leno’s show in any event. Not really the point.

The bulk of Kamerer’s rage was directed at Jay and company for ‘getting the video removed’ from YouTube, and I have to throw a flag on that play.

As much as anyone would love to dump on the big, bad, corporate media empire for stompin’ on the little guy, this really isn’t Leno’s, ‘The Tonight Show’ staff’s, or NBC Universal’s fault…The blame here lies with Google/YouTube, and the well-intentioned-but-faulty Content ID program. Also the way YouTube, and its policies, generally favor the large corporate players at the expense of small content creators, as well as YouTube’s appalling, and generally irresponsible, lack of any meaningful Customer Service program.

The latter problem is by design, and symptomatic of large tech companies who simply do not wish to interact with their customers real time, and via humans…Which is discussed by LA Times columnist, David Lazarus, in last week’s, ‘Searching for a way to get a human being on the phone at Google‘.

YouTube and Content ID

Content ID is touted by YouTube as a feature designed to allow content creators to protect their IP. It’s pretty simple: The content creator uploads reference content and metadata, YouTube’s algorithm scans uploaded content against the reference, and flags it if a match occurs.

As a content creator you have several ways to handle a match…That is allowing it, allowing it but taking the monetization for yourself, or having it pulled from YouTube.

There is a procedure for appealing Content ID matches (I had it happen once on a political satire video I created, and the owner of the content, a campaign ad, agreed that I was making use of their content appropriately, which is a rarity), but it is stilted heavilly in favor of YouTube Partners and large companies, largely due to the access that bigger players have to direct connections at YouTube…The bigger the player, the more likely they are to have a access to people at YouTube who can resolve things for them, leaving smaller content creators to the mercy of YouTube’s automated systems. If a dialog box says you’re screwed, well then you well and truly are…

Kamerer’s Problem, and Why NBC is not to blame (this time.)

The problem that caused Brian Kamerer’s video to be blocked is two-fold.

First, NBC likely doesn’t interact with YouTube users on Content ID matches. They have probably made a blanket decision to have YouTube pull all of their copyrighted IP, no questions asked…Which may or may not understandable, depending on your point of view. They may have decided that there is just too much content out there to want to mediate every single item, and they have no reason to negotiate on use of their IP.

The second part of the problem, and where it gets fuzzy, is when a content creator embeds another content creator’s video in their show… In other words Kamerer’s campaign ad is embedded in ‘The Tonight Show’, and it is getting included in their Content ID reference video as part of ‘The Tonight Show with Jay Leno’. The video is not distinguishable as someone else’s content embedded within the NBC program content. This is potentially a HUGE problem…for the little guy.

Let’s say you are the creator of a hit web series, and you go on a talk show and show a clip…The next thing you know that clip is embedded as part of some network, or syndicator’s, reference video in a Content ID database, and your webisode suddenly gets flagged and removed from YouTube. That’s not just a hypothetical…It’s already happened to one content creator that I know of, and created a real problem. But for whom?

I’d say it’s YouTube’s problem, and a problem that needs to be addressed, as it’s one that is only going to become a more prevalent…But…At the end of the day it’s the small content creator’s problem, because they can’t pick up a telephone and call someone who can deal with the issue. If your problem is not covered by a checkbox on a YouTube page, you are out of luck.

In reality, if the Content ID program was designed properly, when the talk show with the embedded content uploaded their reference, and the small web creator’s content was embedded in it, YouTube’s algorithm should throw up a flag saying, “Hey, this content already exists here and belongs to someone else…What’s the deal?”

There are other scenarios that are problematic as well…You want to create a news show, or movie/tv review program, and show sample clips for review/commentary? That’s almost impossible to monetize with Content ID, unless you’ve got enough clout with YouTube to address all of the matches with studio inventory that will come up, either immediately, or at some point in the future (You can upload something today that is fine, because it’s not in the match database, but that could change and your content can get flagged down the road.)

YouTube needs to address these, and other issues in a meaningful way…In other words, if these use cases can’t be accommodated algorithmically in YouTube’s program code, they must provide some intelligent way of specifying licensed content within a Content ID upload, or providing an interactive customer service mechanism for all content creators to get these issues resolved in a reasonable, timely, manner.

The Bottom Line

So as much as I’d like to get behind Brian Kamerer and his rant at ‘Da’ Man’, ‘Da’ Man’ is YouTube, in this case, and he should be ranting at Google/YouTube and demanding that they start moving to put a meaningful customer service to deal with all of these kinds of nuanced, soft issues that their beloved algorithms just can’t handle.

As Lazarus points out in his LA Times column, it borders on irresponsible for a company with a $10 Billion profit margin to refuse to put a customer service infrastructure into place that makes it possible for content creators to have their issues addressed via personal contact with representatives of the company. Especially when those issues can result in having work removed, or monetization denied, due to copyright issues that are sufficiently abstract enough to require assessment that goes outside of the confines of what computerized systems can address.

WSTW: Mordy Koots

Posted on April 25, 2010 by Doug Luberts

“Mordy Koots does not fear war.  War fears Mordy Koots.” – Mordy Koots

There were a number of really good shows submitted in the Best VFX category for 2010 Streamy Awards consideration, representing everything from practical FX shot work to totally immersive environments.  Mordy Koots, an Australian entry, was my favorite among the more immersive types.

The creators of “Koots” bill the show as a “MOGIE”, short for Movie Over Game Integrated Environment.  That is, a show which uses video game environments for virtual sets and environments with live action composited over it.  In Koots kase, I mean case, the mogie is a WWII-era sitcom, using game elements licensed from the “Heroes over Europe” and “Blazing Angels”.

The green-screen work is pretty good, and the overall look and feel of the show nothing short of stunning … Oh, yeah, and it’s funny, well written, and well acted too, so … hey, bonus. (Only kidding friends … I’m not that much of an FX-first geek … Not really.)

Check out the trailer in the viewer, than go over and hit the Mordy Koots web site for more info and episodes.  The show’s creators are really taking the show to the streets (er, Intertubes?) with their efforts on Facebook, Twitter, and other social networking vehicles, as well as offering an iPhone app for viewing episodes.

Web Shows to Watch: “My Pal Satan”

Posted on April 24, 2010 by Doug Luberts

One of the cool things about voting on this year’s Streamy Awards, was getting to screen many, many, web shows that I would have otherwise never been exposed to.  Naturally the best of the best filtered up to the top of the awards process, and came to the attention of new viewers, but there were many more shows, also excellent, that are equally deserving of viewership. So, now that the 2010 Streamy’s are over, I thought I’d share some of the shows I enjoyed the most this year.

First up, a little Canadian sitcom called, “My Pal Satan“, about the mis-adventures of 20-something Donna (Rachel Wilson), and her less than perfect roommate, Satan (Jefferson Brown.)  Need I say more?  Like this show needs any more of a hook?

This is a great example of the kind of web show, comedy or otherwise, that I really like … Cleverly done, with good production values, and all on a minimal budget.

The teaser for episode one of the series in linked in the viewer above.  You can view full episodes of the series at the “My Pal Satan” website.

Enjoy!

New to TV on the Web?

Posted on April 16, 2010 by Doug Luberts

Really?  Okay, it can be a revelation as, for many, Web Video is a very well kept secret.  This video is a nice introduction to the medium.

Later … Web shows you should watch.

Update: Deadline Extended for Streamy Award Nominations – Please vote!

Posted on January 16, 2010 by Doug Luberts

We’re getting down to the wire for public submission of nominations for the 2010 Streamy Awards.  The nominations close this Friday, January 15th. The IAWTV has extended the nomination period for the Streamys until 1/18/10, so you still have a few days!

As you can tell from the badge on the sidebar,  I’m cheering hard for my home team with “The Guild“, but there are lots of great shows and talented artists out there … Vote for “The Guild”, or vote for your other favorite web show.  Just vote!

And speaking of “The Guild”, here for your enjoyment is the all-time best awards acceptance speech in the history of all-time best awards acceptance speeches:  Everybody’s favorite creative force-of-nature and hero of square pegs (raises hand) everywhere, Felicia Day, accepting her 2009 Streamy Award for Best Female Actor in a Comedy Web Series.

Enjoy! (after you vote …)

Random Thoughts on the Streamy Awards

Posted on March 30, 2009 by Doug Luberts
The Guild won 3 Streamy Awards: Best Comedy Web Series, Best Ensemble Cast, and Best Actor, Felicia Day.

The Guild won 3 Streamy Awards: Best Comedy Web Series, Best Ensemble Cast, and Best Actress in a Comedy, Felicia Day.

“It means a great deal to me that a bunch of people who are not already established, who have not had opportunities or connections, are coming up and making stuff that I adore, and that millions of people are watching. I have no idea where [the television industry and the Internet will] meet, but I know it begins here, and the people here are creating the bedrock of what’s going to be not just the new media, but the media. And it’s very exciting for me to be a part of that. You are my heroes.” – Joss Whedon, 3/28/09

I’m totally exhausted, in a happy, hurts-so-good kind of way, after returning to the Bay Area from attending the First Annual Streamy Awards in Los Angeles.  That said I want to blurt out a few thoughts about the experience while they’re still buzzing about my over-caffeinated brain.

For those of you not following the world of new media content production and  web video, the Streamy Awards are a joint effort between a number of new media companies and the newly-formed International Academy of Web Television.  The goal is to create a prestigious, world-class, awards program recognizing excellence in web video.

The big event was Saturday night, following a smaller event on Thursday to present, and honor the recipients of, the Streamy Craft Awards.

Okay slight digression/explanation …

My own attendance at the event was related to the VFX work I did for “The Guild” season 2 finale, and I have to make comment on that. The whole deal started out as a brief email exchange with Felicia Day late last summer.  That exchange resulted in an invitation to add a little visual icing to The Guild’s well-baked, multi-tier, layercake of a season (Don’t ask me to explain the baking analogy right now, I’m a bit fried, so just go with it.  It’s better than the dwarf-bowling analogy I was thinking of.) That invitation turned into a really great collaboration with Felicia, co-producer Kim Evey, and Director/Editor Sean Becker over the holidays and, ultimately, the last 20 seconds-or-so of the season.

We wound up with an FX sequence that everybody was happy with, was well received, and, most importantly, managed to live up to Felicia’s vision for the show. If that was where things ended, I would have called it a triumph (making a note here: Huge success! :) ) But thanks to “The Guild” fans, who are rockstars all, and the members of the IAWTV, I was honored with a Streamy nomination for Best VFX in a Web Series for the effort (The first one, EVER!)

Working on the show, and the nomination, aside from being one of the highlight of my professional career, afforded me the opportunity to take part in the Streamy Awards festivities along with the rest of the cast and crew of “The Guild”.

BEST.  NIGHT.  EVER!

Some of the highlights of the evening:

  • Finally getting to meet the entire cast and many of the crew of “The Guild“, some of whom I’ve only had email (or World of Warcraft :) ) contact with, and experiencing the evening, and the recognition they received for all that hard work, with them, in the audience
  • Sandeep Parikh and Felicia opening the show, and Sandeep’s bit with the video cam … Felicia: “Follow me on Twitter!”
  • Sitting close enough to Joss Whedon to count his neck hairs (which I didn’t do because, well, gross, but I could have …)
  • Neil Patrick Harris, the consummate comedian, accepting his award for Best Actor in a Comedy Web Series for “Dr. Horrible” and providing the revelation that Nathan Fillion “pads his junk” (Getting the feeling that this feigned antipathy is going to turn into a running gag with these two)
  • Jeff Lewis’ acceptance of the Best Ensemble Cast award for “The Guild“, and his musings on person, or persons, unnamed, getting recognized in bath houses in Seattle because of the show
  • Joss Whedon’s acceptance speech for Best Directing for “Dr. Horrible“
  • Patric Verrone, from the WGA, making one of the funniest presentation speeches of the night (still wondering if he wrote it himself)
  • Felicia Day’s “square peg” acceptance speech giving thanks to all of the humanity-crushing, soul-devouring forces at work in the Hollywood machine who, for various reasons, have rejected her for parts over the years, giving her the inspiration to go out and create her own show … delivered with her characteristic sweetness and in a way that made the irony all the more delicious
  • Zadi Diaz’s inspired commentary on the night.
  • Joss billing himself as the “outsider” coming from traditional media and giving props to Felicia as his web mentor … Total class
  • The Fine Brothers short on “How to Make a Streamy Nominated Web Series” (Short answer from “Ask a Ninja”: Create a “a show about a troop of MMORPG players who are being documented while they are in college but then they are sucked into the game they’re playing … and it should be a musical” and then cast Felicia Day.)  One of the best videos of the night.
  • Guild producer Kim Evey, who was out of town for the weekend, being present in the form of her alter-ego, Kiko, from “Gorgeous Tiny Chicken Machine Show” also courtesy of the Fine Brothers
  • Jane Espenson’s hat-and-liver analogy comparing web video to traditional television (and just seeing her there, as she wrote most of my favorite, non-Joss, “Buffy” episodes)
  • “The Guild” winning Best Comedy Web series up against very, very, stiff competition from “Dr. Horrible“
  • Lisa Kudrow riffing up a storm while presenting the Audience Choice Award
  • “Dr. Horrible” winning the Audience Choice Award
  • Following a car with Nebraska plates on the line for the after-party parking and thinking, “Geez, that must be Brigitte Dale …”, and it was (her video blog rocks)
  • While still on the party-parking line, having Zoe Bell cross the street right in front of my car and thinking, for a fleeting moment, how cool it would be to get a picture of her on the hood of my car (okay, people, both of you out there who saw “Grindhouse” got that … I wasn’t being weird … much)

The whole event was meticulously planned, with every detail handled in a way that conveyed to all that this was a major, prestigious, awards event.  There were some glitches with the live video streaming but, given the newness of the event, and how quickly they were able to put this together, all major props are owing to the IAWTV and the show’s sponsors.  This is Year One folks, the Oscars have had over 80 years to get their act together. I’m looking forward to seeing where the Streamys are in 10.

Thursday Night’s craft awards were held at the Crocker Club in downtown L.A., which is an interesting place … an old-time bank building that has been converted into a nightclub.  The reception and awards where held in what used to be the vault area of the bank.  And no, I’m not making jokes about the craft awards being held in a basement.  Not me.  Not gonna’ do it. Won’t go there. (But I laughed like hell at the jokes made on Saturday night about the location.  See the video for further reference.)

“Dr. Horrible” was the big winner on the craft awards side, taking home the Streamys for Editing, Cinematography, and Jed Whedon’s Original Music.  TikiBar TV won the honor for Art Direction, and Best VFX went to Indy Mogul’s Backyard VFX.

So that was the First Annual Streamys, and what a time it was.  Now it’s time for the suits and gowns to go back into the closet, and to start gearing up the creativity for next year … and for me to ditch the worsted wool and find some fabric that breaths cause, damn …

Gene DeWitt on the future of ad media

Posted on November 17, 2008 by Doug Luberts

Here’s an interesting interview with Gene DeWitt of DeWitt Media Strategies over at ScribeMedia.org.

Gene’s been around advertising media executive circles in just about every capacity over the last forty, or so, years (I worked for him briefly at his first media startup, DeWitt Media, in the mid-’80s), and makes some particularly interesting observations on New Media/Social Media, the concept of the “Digital Age”, and online advertising.

His observations on banner advertising, will make you sit up and re-think your Google Ad Banner strategy, at the very least.

Stuff from NewTeeVee Live

Posted on November 13, 2008 by Doug Luberts

Okay, I take back almost everything I said about how expensive NewTeeVee Live is … I’ve been watching some of the panels being streamed live.  The last Bridging the Gap Between TV and Web was very, very good.

They keep tossing around the term “Trans-media” to describe using complementary media (mixing components on print web, comics, Webisodes with on-air media) to describe techniques for mixing portions of content on various media to build something greater than the sum of its parts … Good stuff (although we need to come up with a better term than “trans-media” as it seems to be annoying everyone by now.)

Jason Alexander from Heroes was one of the panelists, and he’s been very successful taking this approach.

David Verklin from Canoe Ventures, gave a mini-note representing the cable industry.  Kind of an odd speech that seemed to run along the lines of “forget this new media stuff, the strong grasp of our iron hand is inescapable and we will continue to dominate your lives.”  The presentation of his ideas on new cable tech,  leveraging the ability to address each box and tailor programming, advertising and shopping opportunities to the individual, sounded more like Farenheit 451 meets 1984.  David himself has more than a bit of fire & brimstone in his presentation style, which made the whole thing seem like the old Apple 1984 commercial.

Given how user-driven and non-invasive new media is, it sounded, once again, like Corporate America just doesn’t get it.

Contrasted with this was Netflix CEO, Reed Hastings’, keynote … Which portayed an Internet-driven future for video all of types. “We have a model, and the model is the Internet.”

Hastings has an image of the future which is filled with choice and options that is in stark contrast with the view provided by Verklin.

Liz Shannon Miller’s interview with Felicia Day is probably the best I’ve seen to date, as it’s focused on the kind of day-to-day producing issues in dealing with a Webisodic that are so important and beneficial to those of us looking to follow in her footsteps.  There’s a lot of talk about Felicia’s commitment to retain the rights to The Guild, as an important part of the business model for Webisodic production, as well as news of an announcement to come next week regarding a sponsorship deal for The Guild. (Congrats to Felicia, Kim & George!)

All of the vids of these sessions are online on the NewTeeVee site … I’m going to catch up on all I missed when I get home tonight (unless I make a stop off to buy the new WoW expansion, in which case it might take a little longer to get around to it. :-) )

Anyway, I’m planning on hitting NewTeeVee live in person next time around, in the mean time the live streaming of the panels is the next best thing.

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