After years of struggling to effectively define its purpose, Twitter CMO Leslie Berland told a CES audience that the company has overcome that challenge. According to Berland, the platform no longer views itself as a social network, but rather a place to go for the latest news and world events as they unfold. “The beauty of Twitter is that you can see all sides of any conversation that is happening at any moment in time,” she said, placing an emphasis on neutrality. Instead of denying the many terms and clichés used to describe Twitter in the past, she embraces them. “We were a platform, a product, a service, a water cooler, a time square, a microphone, and we are every single one of those things,” she said. Continue reading Twitter Shifts Gears, Describes Itself as a Place to Get News

Facebook is planning tests of a new mid-roll ad format that would enable participating video publishers to insert ads at least 20 seconds into video clips on the social platform. To start, Facebook plans to sell the ads and share 55 percent of revenue with publishers (the same deal offered by online video ad leader YouTube). According to Facebook, its users watch 100 million hours of video per day. However, publishers have seen little or no revenue from their clips since Facebook CEO Mark Zuckerberg has not allowed pre-roll video ads. Continue reading Facebook to Show Video Ads, Share Revenue with Publishers

The real-time series “@SummerBreak” is the biggest hit on social media that you probably never heard of. The fact that largely unknown shows draw massive viewer numbers is one of the key characteristics of what many are now calling digital native content. Digital influencers and online celebrities have spawned profitable media empires and some of them have parlayed that to play a role in more traditional media. Many, however, are happy to stay in their online universe where viewers are family and the paychecks are hefty. Digital native content was the subject of a CES panel this week. Continue reading Digital Native Content Appeals to Brands, Creatives, Viewers

If you look hard enough, CES is often the place to discover smaller, less publicized technologies and products that could become the seeds for something practical and useful to the ETC member companies. This year I came across several that fit this description, including a technology called SynTouch that could prove beneficial to haptic feedback R&D and physical product quality control, a simple and elegant method from ManoMotion to use hand gestures as a user interface, an OLED necklace that could lead to the launch of a social e-collectible marketplace, and a tiny chip from Chirp Microsystems that could provide a compelling motion capture solution. Continue reading Beyond the Headlines: This Year’s Outliers of Interest at CES

The primary takeaway from the companies showing in the AR and VR Marketplaces in LVCC South Hall was that many new products look similar to last year’s devices, but they offer significant improvements that will make the experience they deliver more compelling. Mobile VR headsets are finding ways to capture lean-in movement, blurring the difference between new offerings and the high-end VR HMDs such as Oculus Rift and HTC Vive. AR glasses are getting lighter, clearer and brighter. And startups are exploring opportunities to bring VR and AR experiences into current social media platforms and build on media sharing habits. At CES this week, we learned compelling news from the likes of ODG, Zeiss, Lumus, Vuzix, DTS and others. Continue reading Companies Showcase Next Wave of AR and VR at CES 2017

The metrics that define binge viewing of television are astounding. According to Deloitte Consulting’s U.S. media & entertainment leader Kevin Westcott, 70 percent of the population binge-views TV, watching an average of five episodes at a time of any given series. At a Digital Hollywood session at CES 2017, Westcott quizzed industry leaders on how binge viewing has impacted advertising, viewers and content creators. Also highlighted was the need for a new kind of EPG (electronic programming guide) to enable search and discovery in a binge TV environment. Continue reading The Binge TV Model and Its Impact on Advertising and Search

This year Snap Inc. will go on a roadshow to market its expected IPO, and founder Evan Spiegel is expected to play an out-sized role, with the company’s IPO bankers and executives depicting him as a Steve Jobs-like visionary for millennial products. The goal is to portray Snap as a company that will become a media/content behemoth that can meet and exceed its hoped-for $20 billion to $25 billion IPO valuation, in a class with Apple and Facebook, rather than Twitter, which has deflated since its 2013 IPO. Continue reading Snap Preps for IPO Roadshow, Touting Spiegel as a Visionary

Using Facebook Live for a year-end video chat, Facebook chief executive Mark Zuckerberg and chief operating officer Sheryl Sandberg discussed fake news and the company’s identity. Although Zuckerberg has steadfastly held that Facebook is not a media company, he changed the message just a bit: “Facebook is a new kind of platform,” he clarified. “It’s not a traditional technology company, it’s not a traditional media company. You know, we build technology and we feel responsible for how it’s used.” Continue reading Zuckerberg Says Facebook ‘Not a Traditional Media Company’

Twitter is collaborating with the Hollywood Foreign Press to live-stream the Golden Globes’ red carpet pre-show event and source questions from fans’ tweets. “The HFPA Presents: Globes Red Carpet Live” will be live-streamed on Jan. 8 from 6:00 to 8:00 pm ET, and will include exclusive interviews with celebrities and other “celebrity content” from Twitter in addition to the live video feed. The interview hosts, who have not yet been determined, will ask celebrities some questions chosen from among those posted by Twitter users. Continue reading Twitter Scores Another Live Event: Golden Globes Red Carpet

Disney-ABC Television Group has signed an agreement with Snapchat to produce several original shows for the social media platform. The first production will be “Watch Party: The Bachelor,” an aftershow for ABC’s “The Bachelor” that will debut Jan. 3, the day after the premiere of that reality dating show’s 21st season. The original episodes will run three to five minutes each and be available for 24 hours on Snapchat, appearing in the Discover section. The season finale will be produced as a Snapchat Live Story. Continue reading Disney-ABC to Produce Short Form Video Series for Snapchat

With tighter integration between Twitter and Periscope, updated iOS and Android Twitter apps now feature a “LIVE” button on the screen that activates the camera and starts live video. Since Twitter acquired Periscope early last year, it enabled Periscope broadcasts within the Twitter stream, introduced a way to alert a Twitter user when someone you followed began live streaming, and debuted high-end tools for streaming to Twitter from professional cameras and VR headsets. The company is also introducing a pared down version of its previously shuttered Vine. Continue reading Twitter Debuts Live Video From Mobile Apps, Pares Down Vine

Facebook’s Live Audio, a complement to its Facebook Live video streaming, launched with a handful of publishers and authors testing out the ability to deliver news radio, podcasts and other audio-based services. BBC World Service, British talk radio LBC, publisher HarperCollins, and authors Adam Grant and Britt Bennett are the first to use the service, followed next year, says Facebook, by more “publishers and people.” Broadcasters have a limit of four hours, which will allow a wide range of content. Continue reading Facebook Debuts Live Audio with HarperCollins, BBC, Others

As noted by Bolter and Grusin in their seminal work Remediation: Understanding New Media, there is a trend towards transparency of the supports that underlie media content. For example, consider the current obsession with grinding down smartphone bezels so that all that remains is a gleaming, five-inch window into the world of “Angry Birds.” Or, look to the excitement of panel manufacturers who boast of new color spaces, dynamic ranges, and resolutions. Virtual reality presents the possible apotheosis of this kind of mediation: a technology where content has no borders, instead utilizing the totality of one’s senses, the net cast by its content so wide that the machinery which deploys it becomes eclipsed. Continue reading CES 2017: An Argument for Opacity in Our Next Technologies

Many social networks have thrived on creating relationships with celebrities and influencers, but Snapchat prefers to treat them like ordinary users — so much so that its terms of service prohibit users from getting paid to post. The aim is to provide users a more authentic, less product-promoting experience. It’s also Snapchat’s strategy for differentiating its platform, thus better attracting advertisers that prefer the credibility of an “authentic experience” to influencer endorsements of products. Continue reading Snapchat’s Strategy Behind Rebuffing Influencers, Celebrities

After adding a new camera to its messaging app Messenger, Facebook is now enabling group video chatting, with support for up to six different users at the same time. The move fits in with Facebook’s strategy of emphasizing videos and photos, and chief executive Mark Zuckerberg’s statement on the company’s November earnings call that, “soon, we believe a camera will be the main way we share.” That may be good for Messenger users, but a challenge to several video-messaging apps just receiving venture capital infusions. Continue reading Facebook Amps Up Visuals with Group Video Chat and Masks