The Future of Video 2013

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Video content is accountable for 50 percent of the growth of the internet year on year. Yet so many marketers are still unaware or unprepared to invest in video content. This presentation dives into …

Video content is accountable for 50 percent of the growth of the internet year on year. Yet so many marketers are still unaware or unprepared to invest in video content. This presentation dives into the technologies, strategies and solutions that are driving the future of video content.

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  • Growth of internet – traffic driven mostly by video(50% growth per year)How do we make it secure?How do we make it profitable?Trend of video growing every yearPressure on service providers to be able to deliverNever enough bandwidth
  • Growth of internet – traffic driven mostly by video(50% growth per year)How do we make it secure?How do we make it profitable?Trend of video growing every yearPressure on service providers to be able to deliverNever enough bandwidth
  • 10 years ago I delivered a similar presentation on the future of video. A lot of what we are seeing today wasn’t spoken of, and some of it wasn’t even imagined yet. We’ve seen rapid development in video formats, codecs, camera equipment capabilities, production methodologies, distribution networks, and of course the rise of video platforms and channels. So what lies ahead for video?Well, I’m not a futurist, I’m a content strategist. I’m forced to live in the here and now, helping clients to uncover the potential for their business to utilise content as a means of delivering value back into the business. Today I will try to bring together a number of ideas, technologies and innovations that are helping to shape the future of video content. Whether they happen or not is not up to me. It’s up to you.Instead of my hypothesising on what the future holds, I went out and discovered what others think the future holds.
  • I asked the Film director what he thought…
  • Music StoreTip JarVimeo on Demand – 90% funds go to filmmakers with Vimeo Pro accountBrand Creator Fund – Lincoln 4 part video series – four different directors
  • Poptent has been around for a while but they’re now offering a fully crowdsourced content production model not unlike 99DesignsProvides hosting and optimsation
  • ZoomTilt’s CREATE – TEST – SHARE model allows brands to crowdsource their video content production, then test it on audiences and then distribute the content that performs best.Position themselves as offering lower risk and lower cost contentBacked by some big hitters including Forbes, Hub Spot and Verizon
  • I asked the Media Buyer what she thought…
  • This is only my interpretation of what the media buyer was saying, but I can see how it will have a profound impact on media trading.
  • The Technologist had a lot to say… but here’s one of the things I could kind of understand!
  • Many studios are backing the UltraVioletformat – Universal, Paramount, Warner Brothers, Sony Pictures and Fox. WalMart is a consumer brand that has already embraced UltraViolet.The biggest challenge that we face, is that to date, it is actually impossible to create an unhackable technology to ensure media cannot be stolen. But try telling a hacker that!
  • The content distributor reckons size matters…
  • Yahoo also announced it will offer a whopping 1 terabyte of storage to every Flickr user for free. Flickr’s Biggr initiative essentially enables each user to upload approximately 530,000 photos in full, original quality. That's more than any other competing service.
  • Google has announced a new open-source, royalty free codec called VP9 aimed at cutting bandwidth.Plans to finish defining its VP9 video codec on June 17, providing a date on which the company will be able to start using the next-generation compression technology in Chrome and on YouTube.An array of companies have finished work on video compression technology called HEVC or H.265 that promises better video to start with and that paves the way for higher-end extensions next year.It's the successor to the Advanced Video Codec (AVC), aka H.264, used in videocameras, TV, Blu-ray discs, online video streaming, and more. Codecs are technology used to encode and decode video or audio for more efficient transmission and storage.
  • The Interactive Designer was interested in how users would interact with video content… it was all about screens screensscreens
  • Our own team recently took the product out for a test drive…PROSGesture control is beautiful and elegant- Industrial design looks bulky but the amount of tech included in such a small space is phenomenalCONS- Eye motor skill issues for above 'line of sight' viewing. Imagine having to look up as you are putting in eye drops. Not as severe as that, but that type of muscle strain is definitely there- Much of the voice operated functionality falls over in public conversation use scenarios for all but trivial operations.Multi-device interaction issues, eg You can't easily get on wifi or Bluetooth because there is no text entry, meaning you have to first download and pair an app before doing anything elseSUMMARYIn the end, walking around bumping into shit live streaming, taking photos and uploading them immediately via voice, seeing demo foursquare integration screens as I walked around public landmarks (opera house),was ... well ... pretty special.
  • The technology is called OmniTouch and was born in Microsoft’s Research labs. The software giant has created a prototype unit that is wearable and projects images onto various surfaces. The interactions can take place on the go with no calibration required.
  • OLED (organic light-emitting diode)DuPont stated in a press release in May 2010 that they can produce a 50-inch OLED TV in two minutes with a new printing technology. Textiles incorporating OLEDs are an innovation in the fashion world and pose for a way to integrate lighting to bring inert objects to a whole new level of fashion. 
  • I’m no gamer, so I interrupted the Games Designer at lunch time and asked him what he thought the future held for video. He had a lot to say… and he didn’t even have to take his eyes off the screen to tell me!
  • This is just a series of videos from Sony (PlayStation), but it opens up a world of possibilities for home-based games experiences.Sony have Combining the efforts of live actors with 3D projection mapping, head-tracking (with attached PlayStation Move controllers) and a steadicam for three augmented reality treats, each filmed in a single take. Basically, what you're looking at is a 2D video of a virtual 3D environment projected onto a real-life scene, but because the camera's motion is tracked as it changes perspective it can simulate a 3D holodeck to viewers of the scene. Best of all, you won't have to pay at the PlayStation Store to watch these films at high quality; each is available immediately below at 1080p.
  • I just love the fact that the future for video includes watermelon helmets.
  • The eComms Manager is interested in the development of in-screen shopping. We’re already seeing a lot of shoppable video from the likes of ASOS and Target, and new technologies that include in-frame payment are going to bring the full shopping experience to a screen near you
  • In October last year, Zappos.com announced that they’ve partnered with PinPointing, a service that recommends products based on the users pins and boards on Pinterest. The user can then shop that specific categoryon Zappos.com. It’s all about providing a platform where the user’s interests can convert into purchases easily and effortlessly
  • The software is similar to face detection offerings in that it matches the featured item to a database filled with images from numerous retailer websites. However, face detection software can only match items shown in still images; Graymatics can match items shown in both still and moving images.So while viewers are watching a video and see an item that they’re interested in, they can simply hover their mouse, click and purchase. 
  • The data analyst’s idea for the future of video was a lot cooler than I expected!
  • New York-based IMRSV is trying to do with Cara, cheap face detection software that can scan faces up to 25 feet away and determine age and gender with around 90 percent accuracy using a standard webcam. The technology can be used in stores, advertising, and art exhibits. Cara is already installed on the wall of shoes at the back of the Reebok store on Fifth Avenue in New York City
  • Coca-Cola has 12,000 Freestyle machines which let consumers choose from 125 flavors and drinks and then feed data on those choices back to Coke HQ.Coke can track consumption, inventory and forecasting to help outlets budget and gauge top-selling products.Here’s my interpretation of the future. It has a screen embedded and uses some of that face recognition technology we just saw from IMRSV
  • Confused yet? There’s so much to take, so many new bright shiny things that it’s easy for us to feel overwhelmed, confused or threatened by all this technology and new thinking.
  • We’re living in a world that is moving at such a frenetic pace.Early adopters are the new elite class, taking advantage of all the new technology.We have everything at our fingertips ready to be clicked, swiped, touched… it’s like we’re all swimming in this big pool of awesomeness
  • This is my vision of Video Utopia. A smorgasbord of every piece of content you can consume.It’s true, we are now living in a world where the creation of content exceeds our ability to consume it.We need to learn to create meaningful content that connects with the right audience in the right place at the right time.The ability to cut through the clutter and to engage viewers with content they will consumer and share is only going to get harder.
  • A recent research report has projected that in 2013 we will buy 15 million smart wearable devices, and by 2014 the wearable device market will be worth $1.5billion, ARM predict that there will be 30-40billion embeddable screens globally, 10 times the maximum of mobile.
  • Proliferation of content and screens and applications and interactivity does not equate to a better viewing experience. In fact, it can only add to the growing over-stimulated society we live in today. Screen fatigue is not far away – if it isn’t here already.Rather than focusing on new innovative ways to display screen content, we should be focusing on the utility and emotional value of screen content to ensure that our world doesn’t fill with trillions of pixels of coloured matter – that simply don’t matter.
  • The future of branded video content is really exciting and brands are only just starting to see the transformative power of great video content.
  • Brands are still struggling to understand the value that video content offers their business because most solutions providers (agencies, marketing consultants) don’t know enough about content marketing to help them.Digital strategists are now a dime-a-dozen and I predict it won’t be long until content strategists are breeding just as fast.The more we understand how content fits within the marketing mix, the better we become at utilising it for it’s full potential.
  • TERRY TATE OFFICE LINEBACKER - ReebokVW NFL TVCs and videoAN ORAL HISTORY OF DFA: THE ICONIC NYC RECORD LABEL THAT GOT THE INDIE KIDS TO DANCE by red bull music academy filmThese are all global brands. What does it mean for the rest of us?
  • We’ve all seen the headlines and the infographics and presentations that reveal just how huge the online video market has become.The popularity of video cannot be disputed.
  • Video is a popular media for content marketing
  • Australian businesses are planning to spend more on content marketing
  • The most effective content marketers are those who have a higher buy-in from management.This makes sense – the more the company is invested in content creation, the better organised and more targeted the content will be.
  • It’s not just the client’s fault. A lot of confusion resides on the agency and marketing services side.it has to do with traditional thinking. The whole ATL / BTL mentality still exists with many clients – and also perpetuated by their media and creative agencies. It’s what we grew up knowing and preaching and becoming experts in and it’s hard to let that go to some young punk called digital content that everybody seems to love but very few seem to understand – at least in our industry.
  • There are many questions, like…Where does it belong?Who owns branded content strategy and production?Which silo in the business has to pay for it?
  • In todays content economy, customers and audiences don’t just like video content, they expect it. They demand it as a part of the brand experience and if they don’t get it they’ll go elsewhere faster than you can click on a skip this add button.
  • Many of the bigger global agencies have already invested in developing their own brand entertainment divisions, and some like Ogilvy have even tried to create industry benchmarks for video and content measurement which I commend them for.
  • Production Houses need to start developing in-house strategic capabilities in order to maintain their relevance in a very crowded space. In the past two months, two high profile production houses in Melbourne have closed. High value – production intensive content is being replaced by cheaper, more scalable and social content that doesn’t require sophisticated production values.
  • Businesses and agencies need to start rethinking the marketing model and adapt. Traditional models - looking more like the Berlin Wall everyday – need to prepare for a destiny that we all see in front of us, and yet many are unwilling to bust down the wall.When it comes to video, we need to rethink where the conversation on video starts.
  • Recently, Shazam deployed a product that enables brands to deliver additional content via their TV ads. By 'Shazaming' the TVC, users are led to a campaign site with more information and the opportunity to engage with the brand further. In addition to Shazam, the growth of applications like Fango and Zeebox are complementing Australians' TV experiences and giving brands and opportunity to utilise the multiple screens in any given household.
  • Analytics is a really important factor in all of this. Consider Samsung. At last count, they had sold over 30 million Galaxy SIII, 10 million Galaxy Notes, and 50 million SmartTVsevery one of which have AllPlay, an application that allows Samsung devices to talk to and connect to each other. It’s easy to see why a brand like Samsung is desperate to get analytics (big data) right. And they’re just the manufacturer. Advertisers and marketers want to know where to spend their dollars based on actual data, not best guess interpretations.
  • Bluefin has affinity-relationship algorithms and technology, where you're able, as a brand or as a TV network, to look at TV shows and then see all of the affinity-relationships based on individuals Twitter data -- like, what are some of most-tweeted-about brands of people that also tweet about those TV shows? - (Above) Nielsen and SocialGuide, when they joined forces they said they'd be creating a 'Twitter TV Rating' for the Autumn 2013 TV season – we will see how that pans out.
  • Brian Solis, President of Altimeter, has written a new book called The End of Business As Usual and in it he asserts that we are in the age of Digital Darwinism – based on the notion that no business is too big to fail or too small to succeed. His view is that the future of business comes down to one word… change.Now Brian is a very smart content marketer, and he is very adept at writing headlines that sell stories… and books. It’s nice to cling onto these buzz words and themes, but there is an element of truth in this idea of digital darwinism, particularly when it comes to the rapid change that is happening in the digital environment and the struggle that many businesses have in keeping up, not just with changing technology – but with changing consumers.At VJI, we’re embracing this change by creating a content agency that helps companies understand the often over-complicated world of content marketing, and to help more businesses succeed, and less business fail.

Transcript

  • 1. The future of video
  • 2. 2 What is the future of video?
  • 3. 3 We’ve seen rapid development in video formats, codecs, camera equipment capabilities, production methodologies, distribution networks, and of course the rise of video platforms and channels. So what lies ahead for video? Well, I’m not a futurist, I’m a content strategist. I’m forced to live in the here and now, helping clients to uncover the potential for their business to utilise content as a means of delivering value back into the business. This presentation brings together a number of ideas, technologies and innovations that are helping to shape the future of video content. Whether they happen or not is not up to me. It’s up to you. Instead of my hypothesising on what the future holds, I went out and discovered what others think the future holds. @pablochappo
  • 4. 4 SD to HD Higher quality More control More options Less expensive Time shift On-Demand What they want When they want More niche content More channels More screens Analogue to digital More visual More social More personal CHANGEis the only constant
  • 5. The Rise of the Independents We’re already seeing a rise in the number of brands seeking out independent content creators to deliver bespoke, stylised videos. The future will see more of this… WHAT THE FILM DIRECTOR SAYS…
  • 6. Music Store Tip Jar Vimeo on Demand (90% funds go to filmmakers with Vimeo Pro account) Brand Creator Fund (Lincoln 4 part video series – four different directors)
  • 7. 7 Poptent is now offering a fully crowdsourced content production model not unlike 99Designs. Provides hosting and optimisation
  • 8. 8 ZoomTilt’s CREATE+TEST+SHARE model allows brands to crowdsource their video content production, test it on audiences and then distribute the content that performs best. Backed by some big hitters including Forbes, Hub Spot and Verizon
  • 9. The Rise of Viewable Media Trading Desks A move away from traditional ad placements and an increasing investment in viewable media. ROI needs to be worked out to ensure the trade of video is based on performance and has escape clauses when viewership dwindles. WHAT THE MEDIA BUYER SAYS…
  • 10. 10
  • 11. The Rise of Platform-Agnostic DRM DRM is a huge issue and one that needs to be addressed in order for video to truly reach its potential on the internet. WHAT THE TECHNOLOGIST SAYS…
  • 12. 12 DRM is very much a concern driven by the consumer experience. The mantra behind UltraViolet is “Buy once, play anywhere.” It makes sense to consumers! In the BitTorrent age, content creators like Universal, Paramount, Warner Brothers, Sony Pictures and Fox need to protect and profit from their content. The biggest challenge that we face, is that to date, it is actually impossible to create an unhackable technology to ensure media cannot be stolen.
  • 13. The Compression of Video and Expansion of the Internet Video codec that reduces the file size of video content, coupled with wifi and 4G into 5G broadband networks means that the Internet can grow and grow WHAT THE DISTRIBUTOR SAYS…
  • 14. 14
  • 15. 15 Google has announced a new open-source, royalty free codec called VP9 aimed at cutting bandwidth. An alliance of companies have finished work on video compression technology called HEVC or H.265 (most devices now use H.264). Promises better video and paves the way for higher-end extensions next year.
  • 16. The Ubiquity of Screens Screen technology across any platform, any surface, in multiple dimensions WHAT THE INTERACTIVE DESIGNER SAYS…
  • 17. 17 Check this out for your own enjoyment! http://whitemenwearinggoogleglass.tumblr.com/
  • 18. 18 The technology is called OmniTouch and was born in Microsoft’s Research labs. This prototype unit is wearable and projects images onto various surfaces. The interactions can take place on the go with no calibration required.
  • 19. 19 OLED technology is being used by many manufacturers including Samsung. Textiles incorporating OLEDs are being adopted in the fashion world allowing the integration of lighting into inert objects to create a whole new fashion experience.
  • 20. The Immersive Game Experience Bringing games experience out from the screen and into the playing environment adding new immersive experiences WHAT THE GAMES DESIGNER SAYS…
  • 21. 21 IllumiRoom combines the virtual and physical worlds of a TV and living room for tru augmented reality. Here is a projection showing an Xbox console scanning the room before images are projected onto the walls. Features a combination of a Kinect for Windows camera and a projector
  • 22. 22 This is just a series of videos from Sony (PlayStation), but it opens up a world of possibilities for home-based games experiences. Combining the efforts of live actors with 3D projection mapping, head-tracking (with attached PlayStation Move controllers) and a steadicam for three augmented reality scenarios.
  • 23. 23 The future includes watermelon helmets
  • 24. Shopping Moves In-Screen Delivering in-screen shopping and virtual store experiences that enhance profitable transactions WHAT THE eCOMMS MANAGER SAYS…
  • 25. 25 Zappos.com have partnered with PinPointing, a service that recommends products based on the users pins and boards on Pinterest. The user can then shop that specific category on Zappos.com. Target has also developed a webisode series called Falling For You where viewers can purchase the fashion word by actors using interactive video elements.
  • 26. 26 Graymatics can match items shown in both still and moving images. So while viewers are watching a video and see an item that they’re interested in, they can simply hover their mouse, click and purchase.
  • 27. The Rise of Video- Enabled Data Capturing consumer information and behaviours via video technology, providing qualitative data like never before WHAT THE DATA ANALYST SAYS…
  • 28. 28 New York-based IMRSV has developed Cara, cheap face detection software that can scan faces up to 25 feet away and determine age and gender with around 90% accuracy using a standard webcam. The technology has multiple uses including in- store, advertising, and art exhibitions. Cara is already installed on the wall of shoes at the back of the Reebok store on Fifth Avenue in New York City. Who needs personal privacy??
  • 29. 29 The future Coca-Cola has 12,000 Freestyle machines which let consumers choose from 125 flavours and drinks and then feed data on those choices back to Coke HQ. Here’s my interpretation of the future. It has a screen embedded into the machine and uses some of that face recognition technology we just saw from IMRSV. This future thing is easy!
  • 30. 30 Confused much?
  • 31. clearer more dimensions more bandwidth more apps more trackable sharper faster bigger We’re living in a world that is moving at such a frenetic pace. Early adopters are the new elite class, taking advantage of all the new technology. We have everything at our fingertips ready to be clicked, swiped, touched… It’s like we’re all swimming in this big pool of awesomeness
  • 32. 32 We are now living in a world where the creation of content exceeds our ability to consume it. Brands need to learn to create meaningful content that connects with the right audience in the right place at the right time. The ability to cut through the clutter and to engage viewers with content they will consumer and share is only going to get harder.
  • 33. 33 2013: 15M smart wearable devices 2014: 40B embeddable screens globally Research by ARM
  • 34. 34 The proliferation of screens and applications and interactivity does not equate to a better viewing experience. In fact can only add to the growing over-stimulated society we live in today. Screen fatigue is the next global affliction. Rather than focusing on new innovative ways to display screen content, we should be focusing on the utility and emotional value of screen content to ensure that our world doesn’t fill with trillions of pixels of coloured matter – that simply don’t matter.
  • 35. A NEW VISION A New Vision The future of branded video content is really exciting and brands are only just starting to see the transformative power of great video content.
  • 36. THE FUTURE NEEDS FORWARD THINKING Brands are still struggling to understand the value that video content offers their business because most solutions providers (agencies, marketing consultants) don’t know enough about content marketing to help them. Digital strategists are now a dime-a-dozen and I predict it won’t be long until content strategists are breeding just as fast. The more we understand how content fits within the marketing mix, the better we become at utilising its
  • 37. TERRY TATE OFFICE LINEBACKER - Reebok BACK TO THE START - Chipotle SUPERBOWL ADS - Volkswagon AN ORAL HISTORY OF DFA- Red Bull Media Academy Some brands are leading the way in branded content. But what about the rest of us?
  • 38. 38 ONE BILLION MONTHLY USERS More than 1 billion monthly users More than 4 billion video views per day More than 72 hours of video uploaded to YouTube each minute We’ve all seen the headlines and the infographics and presentations that reveal just how huge the online video market has become. The popularity of video cannot be disputed.
  • 39. 39 “Videos in universal search results have a 41% higher click through rate than their plain text counterparts.” ReelSEO.com “Videos are 53times more likely than traditional web pages to receive an organic first-page ranking.” Forrester Research “Online video consumption in Australia is up 92% on last year.” AIMIA
  • 40. 40
  • 41. 41Australian businesses are planning to spend more on content marketing
  • 42. 42 The most effective content marketers are those who have a higher buy-in from executive management. This makes sense – the more the company is invested in content creation, the better organised and more targeted the content will be.
  • 43. 43 Content marketing is still focussed on more tactical than strategic ROI. And the challenge for many companies is in making content more ENGAGING. We need to consider whether we are creating content around the category OR around the consumer culture.
  • 44. 44 SO WHAT’S THE PROBLEM HERE?
  • 45. Even with all of this evidence that video content is highly trackable, measurable and delivers against ROI and engagement KPIs – it is still a struggle to convince brands to use video to help achieve key business and marketing objectives. Marketers are still hesitant to invest in video even when their latest TVC (which cost $1.2M) failed to perform against any key brand metrics (True story. Sound familiar?) The problem, as I see it, is two-fold. 1)Content marketing is still a new realm and most key decision makers are not educated enough (yet) to make confident decisions 2)Traditional thinking and management systems
  • 46. 46 ATL BTL
  • 47. 47 ATL BTL WTF?? A big part of the problem has to do with traditional thinking. The whole ATL / BTL mentality still exists with many clients – in many cases because it is being perpetuated by their media and creative agencies. There is no line. It’s the imaginary friend of the advertising industry that has absolutely no relevance to the audience, and no purpose for an industry that is struggling hard enough to evolve as quickly as the consumers it feeds off.
  • 48. 48 ATL BTL TTL Brand Digital Social PR Corporate Creative Media Brand Marketing Sales Intern Where does video content belong? Who owns content strategy and production? Which part of the business pays for it?
  • 49. CLIENTS Clients need to start grappling with video content not at the middle management level but at the C-Suite level. Video can be measured. It can be used to reveal both qualitative and quantitative data about customers, their needs, behaviours and motivations. - Key audience metrics - Key engagement data - Key messaging priorities
  • 50. AGENCIES Where once content plugged a hole, it is now defining the user experience. Agencies and marketing consultants need to get a grip on content and see the value it creates for clients. This might mean restructuring their business model around the provision of content.
  • 51. PRODUCTION HOUSES The traditional Production House is truly at the arse end of the marketing chain. To survive, they must start becoming strategic – or risk becoming redundant. High value – production intensive content is being replaced by cheaper, more scalable and social content that doesn’t require sophisticated production values. New thinking around the business model will be required – and soon!
  • 52. 52
  • 53. 53 Recently, Shazam deployed a product that enables brands to deliver additional content via their TV ads. By 'Shazaming' the TVC, users are led to a campaign site with more information and the opportunity to engage with the brand further. The growth of applications like Fango and Zeebox are complementing Australians' TV experiences and giving brands and opportunity to utilise the multiple screens in any given household. In Brazil, Sky has deployed a convenient way for viewers to record their favourite shows using Twitter hashtags. INNOVATION
  • 54. 54 Moving from Client ID To Universal ID Cross-device measurement Analytics is a really important factor in all of this. Consider Samsung. They have sold around 30 million Galaxy SIIIs, 10 million Galaxy Notes, and 50 million SmartTVs all connected by an application called AllPlay. It’s easy to see why a brand like Samsung is desperate to get analytics (big data) right. Advertisers and marketers want to know where to spend their dollars based on actual data, not best guess interpretations. Universal ID will allow marketers to track one single user over multiple devices for much more accurate cross-platform analytics. ANALYTICS
  • 55. 55 SOCIAL RATINGS …for certain genres of TV, you can, in effect, 'watch' it on Twitter. Mike Proulx (the guy who wrote the book on socialTV)
  • 56. Brian Solis, President of Altimeter, has written a new book called The End of Business As Usual and in it he asserts that we are in the age of Digital Darwinism – based on the notion that no business is too big to fail or too small to succeed. His view is that the future of business comes down to one word… change.
  • 57. 57 Change is the only constant.
  • 58. Paul Chappell is Content Director at The Story Lab, part of the global Dentsu Aegis Network. He lives in Melbourne Australia Reach him on Twitter: @pablochappo