Time over views, redux

We’ve talked from time to time — here, elsewhere online, in the classroom — about how the video metrics shift is coming at YouTube and, now Facebook. Analysis and budgets are shifting, trying to more precisely determine where audience behaviors are heading. Facebook says 500 million users are eating up 100 million hours of video per day.

It’s worth noting that Facebook did not report total video views, which it has the past few quarters. Last quarter, for example, it reported eight billion video views per day. One theory: Snapchat started generating some comparisons earlier this month to show it gaining on Facebook’s total views number. If Facebook doesn’t report it, there isn’t much to compare.

Investors liked what they heard Wednesday. Facebook stock was up more than 12 percent in after-hours trading following the call.

That last part is an important element behind Facebook’s empirical data, of course. They aren’t killing television, but it should be apparent to everyone that eyeballs are continuing their shift. What does that mean for your outlet?


Vox punches in combinations

Left, right, Twitter, Instagram, uppercut … left, Snapchat. Sorry, I was just thinking about a fight sequence from Creed.

Anyway, here’s an enlightening conversation with one of the heavy hitters at Vox. No question that they can pack a multimedia punch.

Allison Rockey, director of programming at Vox, told Journalism.co.uk the team works “very closely” with the rest of the newsroom, in order to get all journalists, editors and reporters to know and understand the “general best practices of social media”.

“We do view social as something that is part of everyone’s job, in a sense.

“But the [engagement] team’s focus is to know all the social platforms in and out, to really be the ones to foster communities and make sure they are growing.

“The people on our team are both doers and builders themselves, but they’re also teachers for the newsroom.”

You might have different limitations than the people at Vox, but there is probably one or two things in there you could modify for your needs. Be sure to read the whole thing.

#JMC380 links for Monday

Let’s talk Instagram. There are reportedly 400 million people using the tool now. And if you get over the magic number of 100,000 followers yourself it becomes a money making opportunity.

But there are some other things. Consider the head honcho:

“Imagine a world where virtual reality exists and is ubiquitous, and we have whatever device we need to experience it. How cool would it be if you were at a concert in the countryside and I could be there with you – hearing, smelling, seeing it, too? Or the presidential inauguration – that would be amazing. That’s what Instagram is now, in a very low-fidelity way. I like to say we’re working on time travel, but the difference is we’re not sending you there – it’s coming to you.”

Consider the storyteller:

“What the comic books give me, and what I think is connected to Instagram, is they always get me out of a rut when I’m stuck in a story,” he said. “I start thinking about what comic book geeks call the gutter, which is the space between panels. I was looking at [Instagram], and I was like, ‘Oh, look — this is a comic book.’ If you look at the grid, you have all these panels. And now I can make my own comic book.”

And, finally, consider the marketer:

“Social media, instead of complementary marketing, is now at the forefront,” said La Ra. Though, she added, “How you engage with consumers on each platform is different.”

And now some Halloween inspiration:

The varied multisphere of media

A general collection of links for you to consider.

Six NPR stories that breathe life into a neighborhood scene is talking about immersion:

For scenes to succeed in any medium, they have to engage your senses. You smell the diesel fumes, feel the breeze on your cheeks, hear the anger in the collective voice of a crowd of protesters. These appeals to the senses are important, but often secondary to the story.

In radio (or audio, as we increasingly say in our changing industry), scenes are not secondary. They are the centerpieces of much of our best storytelling. And so we constantly seek scenes that capture the main points we’re trying to convey. The more show, the less tell required, the better; because honestly, listeners are more likely to tune out during the tell.

Meanwhile, at The Atlantic, Throwing spaghetti at the wall:

In June, the magazine published “An Animated History of 20th Century Hairstyles,” one of many animated shorts that have become a successful, if incongruous, part of The Atlantic’s video output over the past year. It was particularly popular on Facebook, where it has gotten 89,000 views since May and on YouTube, where it got 124,694 views.

Such videos, while unusual for the staid brand, have become typical of The Atlantic’s experimental original video efforts, which the magazine has been building out since 2012. The central tension: bringing the Atlantic to video and attracting audiences while not compromising the brand.

“Our video team has been given a clear sense of our editorial mission, but they’ve also been free to experiment with the various possibilities of this particular medium,” said Atlantic editor-in-chief James Bennett. “Video should stretch us.”

And we’ll stretch our reach around the globe now, Inside Periscope’s Deep Bond With Turkey:

“When you give Facebook or Twitter to such a community, they already had [something similar] in 1999,” said Ismail Postalcioglu, a social media professional, in an interview in Istanbul the month before the Gezi protests. “This is just a newer version.”

Reached via email, Kapanoglu pointed to the popularity of reality television in Turkey as a main reason for Periscope’s ascent there. “People love to watch other people’s lives and discuss them,” he said. “No wonder they are interested in Periscope’s natural, unedited, reality-show-like content.”

No doubt that’s part of the appeal. That said, it’s hard to discount a population’s affinity for an amateur broadcasting tool like Periscope when its professional broadcasting companies tend to stand down during critical moments.

And finally back home for some VR. How augmented reality can drive engagement and monetization for publishers:

We all know the publishing industry is at a crossroads; just look to the fashion magazine vertical as an example of the upheaval. Fashion publishers are facing the constant challenge to drive reader engagement and identify new monetization opportunities, and titles that aren’t evolving are shutting down. In fact, a total of 21 magazines closed their doors in the first half of 2015, and in the last six months alone, both Lucky and Nylon Guys ceased publication of their print offerings.

But it’s not all doom and gloom for the print industry: publishers are reviving their businesses by implementing innovative and creative technologies that drive user engagement and loyalty. Some publishers are employing augmented reality (AR) technology, which allow advertisers to activate both informational and interactive content on top of the print pages, allowing publishers to innovate a previously static medium and revitalize the print industry.