According to a couple of job postings on the Amazon jobs site, the online retailer is hiring creative execs to develop programming through its Amazon Studios initiative. The jobs specifically are for the “People’s Production Company,” which is the name of the production studio producing original content, located in Sherman Oaks, Calif. Successful applicants would report to Amazon’s VP of Series Development and would be expected to:

• Assess pilot proposals
• Work with writers and artists to develop series ideas
• Staff, cast and produce pilots in a cost-efficient way
• Supervise series production when series are greenlit

While Netflix, Hulu and YouTube have already introduced their own original programming, the Amazon Studios project preceded all of those other initiatives. However, while Netflix, YouTube and others are sourcing their programming from professional production companies, Amazon took a different approach with its studio plans — it’s crowd-sourcing scripts and projects from a community of artists and optioning them for free.

Amazon Studios apparently paid 0,000 to script writers and .1 million for test movies in 2011, but programming has yet to make it to distribution. But the fact that Amazon is hiring creative execs to shepherd projects through the development process means that we could see some original shows popping up soon.

Related research and analysis from GigaOM Pro:
Subscriber content. Sign up for a free trial.

• Q4 Wrap-up: SOPA and the future of digital content
• Connected Consumer 2012: A year of consolidation and integration
• Connected Consumer Q3: Netflix fumbles; Kindle Fire shines

alt=''
border='0'
/>

GigaOM

We’ve all been there: fire up a clip from YouTube or a movie on Netflix and things start out great. But, then, after just a few moments, that LTE connection starts to give up the ghost and suddenly you’re faced with unbearable stutturing or a video that just dies mid stream. Researchers at the Fraunhofer Institute for Telecommunications are looking to solve that conundrum with DASH, or Dynamic Adaptive Streaming over HTTP. The idea is actually surprisingly simple — files of different sizes and qualities will be available depending on signal strength and network load, and the stream will be able to seamlessly switch between them as these variables change. While this sounds like a win for both consumer and carriers, we’re sure there are a few of you out there who just want the highest quality possible, even if that means waiting forever for that HD clip of the all accordion cover of Take On Me to buffer. Full PR is after the break.

Continue reading DASH promises stutter free streaming video over LTE, hopes you don’t care about quality

DASH promises stutter free streaming video over LTE, hopes you don’t care about quality originally appeared on Engadget on Sun, 05 Feb 2012 19:19:00 EDT. Please see our terms for use of feeds.

Permalink SlashGear  |   | Email this | Comments
Engadget

The New York City company told me it recently eclipsed the 1 million download mark on iOS, with almost of all of the downloads happening in the last few months of last year. But while noteworthy, that’s something that a lot of apps are able to pull off. What’s really interesting to me is how sticky Pixable has become for users, who are engaging continuously at a pretty impressive rate.

Pixable says that its users are viewing 100 million photos a month and opening the app on average 11 times per month. Some 60 percent of those users are still active on the app since it launched in April while 60 percent of users also use the app on consecutive days.

The Pixable app primarily aggregates Facebook and Twitter pictures, with fuller support for Facebook right now. It organizes photos into various categories such as top of the day, week or month, new profile pics, most recent photos. Pixable also aggregates Instagram, Flickr, yFrog, Twitpic photos and YouTube and Vimeo videos within a user’s Twitter feeds.

Where Pixable shines is in how it uses machine learning and algorithms to process more than 70 signals, helping it to surface the most relevant pictures for users. It will try to measure the affinity between users and the strength of their relationships, taking into account things like common schools, or cities and how much they interact. It will also look at “likes” and comments to determine if it’s a picture that a user wouldn’t want to miss.

Inaki Berenguer, Pixable’s CEO and Co-Founder, said photos have changed from being a way for people to hold on to memories into a form of communication. It’s almost like email now, he said, with Pixable setting itself up as a smart mobile inbox for photos.

“Photos are about telling friends what you’re up to you or you see something funny or eat something and you take a picture. People are broadcasting all the time, but there’s too much noise. Pixable organizes all these photos and brings order to them and sense to chaos,” Berenguer told me.

Pixable, which raised .6 million in November, said it’s also introducing hashtags into the service, so users can tag photos to organize them for later viewing or they can use them like hashtags on Twitter, adding a layer of metadata to a picture. It has also added a mobile web version of the service.

In my earlier profile on Pixable, I wrote how I liked Pixable’s approach, helping people see the photos that matter to them. As we live more of our lives online and through social networks, we need ways to prioritize all this content and filter out a lot of the noise. Pixable still has more to do to more fully integrate pictures beyond Facebook and Twitter, but I like its initial start and so do its users.

Related research and analysis from GigaOM Pro:
Subscriber content. Sign up for a free trial.

• Q4 Wrap-up: SOPA and the future of digital content
• NewNet Q4: Platform mania and social commerce shakeout
• Beyond social: the crowd-based enterprise

alt=''
border='0'
/>

GigaOM

Be open

The beauty of YouTube, and its greatest strength, is that anyone and everyone can publish to the platform. There’s no hierarchy of decision makers reviewing scripts and greenlighting projects. There’s no need for an agent. And most importantly, there’s no cost involved with participating on the site. All anyone has to do to become a YouTube publisher is to upload a video to the site.

That’s why YouTube gets an hour’s worth of video uploaded to the site every second. And it’s why people keep coming back, despite the fact that YouTube doesn’t have much of the Hollywood content that can be found on Netflix or Hulu. YouTube is a democratic platform for distributing and consuming content. Its stars are discovered not by a studio exec, but elevated and popularized by its own users.

Be global

Another strength of YouTube is that it is available to users around the world, who are able to enjoy all the same content regardless of their location. Anyone with an Internet connection pretty much anywhere can watch the same videos that you and I enjoy. That’s important, especially as most YouTube views come from non-English speaking countries.

It’s also something that Hollywood has been bad at managing as the world has gone digital. Much of piracy occurs simply because digital copies of films or TV shows are available online long before they make it to international markets. By geofencing or geoblocking certain content, today’s media companies are missing out on an opportunity to reach audiences directly that are turning to piracy instead. By being global, YouTube is addressing the largest possible audience at all times.

Be multiplatform

This is different from being global, and speaks more to targeting the wide proliferation of connected devices that have come into consumer’s hands than anything else. YouTube is seeking to make its content available on as many mobile and connected device platforms as possible, which will help its publishers reach audiences regardless of the platform they’re using.

That’s been another failing of today’s entertainment industry. On the studio side, there’s been no easy way to purchase movies that will work across devices until recently. While the UltraViolet initiative seeks to solve that problem, it still has a ways to go. And for the broadcast and cable TV networks, making shows available on new platforms means distributors generally having to secure new rights. That’s led to a hodgepodge of some networks and some shows being available on some devices, while others are not. Once again, the end result is that those publishers are limiting the addressable audience, at the same time that platforms like YouTube are enabling content to be viewed nearly everywhere.

Let’s not kill Hollywood, but offer something better

Some have suggested Silicon Valley should kill Hollywood. I think it’s naive to believe that technology companies can or should destroy the current entertainment industry. But at a time when the technology and media industries are grappling over the issue of piracy, the success of YouTube can be used as an example of how other technology companies could make something better.

After all, the advent of self-publishing tools like WordPress or Blogger hasn’t killed the New York Times or Wall Street Journal, but has enabled a great number of independent blogs and technology news sites to also be influential in shaping the news. In the same way, YouTube is enabling video publishers to reach audiences at massive scale and creating a situation where in aggregate, those independents can rival the traditional Hollywood regime.

Being open, being global, and being multiplatform really just translates to being wherever the audience is. It’s about enabling viewers access to more content, not less — which is the real impetus behind YouTube’s accelerating growth. That could be a lesson to other tech companies seeking to offer an alternative to today’s entertainment offerings, or it could be used as a blueprint for some more innovative companies in the existing media regime. Take away the limits to accessing your content, and more likely than not you’ll find more people actually consuming it and more opportunity to monetize it.

Related research and analysis from GigaOM Pro:
Subscriber content. Sign up for a free trial.

• Connected Consumer Q2: Digital music meets the cloud; e-book growth explodes
• Players and Strategies for Real-Time In-Stream Advertising
• Connected Consumer Market Overview, Q2 2010

alt=''
border='0'
/>

GigaOM

The White House joins Google+, invites you to Hangout originally appeared on Engadget on Sun, 22 Jan 2012 15:23:00 EDT. Please see our terms for use of feeds.

Permalink The Verge  |  The White House (Google+), The White House Blog  | Email this | Comments
Engadget

The TrueView format, which launched a little more than a year ago, has quickly taken over as the dominant unit for video ads that appear on the site. With TrueView, ads generally play for about five seconds before viewers have the opportunity to skip them. The beauty of the TrueView ad is not only that viewers can ignore them, if they don’t find them relevant or appealing, but that advertisers don’t pay for skipped creative.

The incentive is then on advertisers to make good creative, and on YouTube to target the ads appropriately to increase engagement. So far, that appears to be working: Wojcicki said engagement ranges from 15 to 40 percent when viewers choose to actually watch an ad all the way through.

As a side note, CEO Larry Page noted that YouTube still had a lot of growth ahead and expected an increase in advertising on the site. But Page said that growth wouldn’t necessarily come at the expense of TV budgets, as advertisers generally weren’t shifting spend from other parts of their video budgets when committing to YouTube.

Related research and analysis from GigaOM Pro:
Subscriber content. Sign up for a free trial.

• When video gets democratized, who wins and who loses?
• How publishers must adapt to multiple content discovery options
• A clouded view of Google Music

alt=''
border='0'
/>

GigaOM

While scouring Samsung’s booth at CES’s Digital Experience for that glorious 55-inch OLED set this evening, we came across a table full of new WiFi-enabled cameras and a camcorder. The logic behind the WiFi feature is that it enables direct access to Microsoft’s Sky Drive, E-Mail, PC Auto Backup, remote viewfinding and of course Facebook, Youtube, and Picasa right from your phone. The top of the line 9 WB850F — the F designation indicates it has WiFi — has a 16 megapixel BSI CMOS sensor, 21x optical zoom, 3-inch AMOLED display, shoots 1080p HD, and even has GPS with POI. The 16 megapixel 9 DV300F was also on hand with a 5x optical zoom, a 3-inch display and shoots 720p video. Samsung’s 14 megapixel 9 WB15F also sports a 3-inch AMOLED screen, and shoots in full HD with up to 18x optical zoom. The tied-for-least-expensive 9 ST200F still puts in a showing with a 16 megapixel shooter, 10x optical zoom while still capturing HD video at 720p. Samsung launched one HD camcorder, the 9 Q20 which packs 20x optical zoom, time lapse, and HD recording at 1080i @ 60fps. All of the cameras have a similar heft and are built with similar materials which should help narrow people’s purchase decisions to looking at what features they want and what’s affordable. On to the gallery!

Samsung’s WiFi-enabled cameras hands-on originally appeared on Engadget on Tue, 10 Jan 2012 02:03:00 EDT. Please see our terms for use of feeds.

Permalink   |   | Email this | Comments
Engadget

A few examples from this year:

e-books: Probably the most active area in large part because there is huge shifts taking place in digital publishing. From former mid-list writers like Barry Eisler to superstars like JK Rowling, writers are increasingly making waves in digital publishing.

Video: The story of the year for artists-as-entrepreneur came at the tail-end, with Louis CK saying no thank you to corporate middlemen and putting his new concert video online for a pop.

Radio/Music: All sorts of independent entrepreneurs are putting audio entertainment online, from the rise of podcast kings like Leo Laporte to a huge number of independents like Adam Carolla and Marc Maron. Music artists are being given freedom too, through new platforms to create and share their music like Soundcloud.

So what is driving this movement towards the artist-entrepreneur that will give it huge momentum in 2012?  Here are a few underlying trends:

The distribution chain is collapsing across content verticals

The middleman is under attack on all fronts, whether its in video, music/audio and e-books. As devices like TVs become connected, as books become e-readers and tablets, and music is now digital, the storefront is fast-becoming the entire distribution chain.  With e-books it’s Amazon or Apple, with radio it’s iTunes, with video it’s Google/YouTube, Netflix and other upstarts who are investing in original content, or simply direct-to-consumer efforts using web-payment platforms like Paypal.

Louis CK, who created his own site, paid for bandwidth, and used Paypal for payment, captured how many artists are beginning to think when he said in an interview with Bill Simmons that he “didn’t want to cut out the middleman, I just didn’t need one. There wasn’t any reason to have someone there. I just thought make this thing and put it up.”

Content production, distribution and monetization tools are becoming democratized through the web

In e-books, distribution and storefronts have already collapsed into one, but managing distribution across multiple channels is difficult since storefronts are still siloed (Amazon is separate from Apple iBooks, which is walled off from Barnes&Noble, etc). However, companies like Smashwords enable creation and distribution across multiple storefronts, while Vook, post-pivot, is working on SaaS tools to create e-books and manage their distribution, complete with reporting and management dashboards.

In music, artists are starting to embrace sites like Soundcloud to create music and share it, while others direct-to-fan sites like Topspin Media are enabling artists to create commerce sites to sell music in turnkey fashion. And it’s not just music sales, but actual concert tickets. The Pixies used Topspin to sell tickets for a recent concert, utilizing email campaigns and to notify fans and processed the tickets using an iOS app at the door.

With video, big middlemen still dominate, but that is changing as video creation and distribution costs come down in a world of connected devices. As Ryan Lawler wrote in a piece for GigaOM Pro:

“independent content creators stand to gain the most through massive reductions in the cost of recording equipment and editing software, as well as the greater availability of streaming video service on connected devices. They gain new distribution opportunities for their content and greater possibility for monetization. Consider any of the top YouTube video channels, which probably wouldn’t be able to survive in the pay-TV universe but have created thriving businesses due to the cost structure online.”

Generational shifts towards technology savvy-artists

As Matt Mullenweg put in in his New Year’s resolution on GigaOM:

“For a year now, I’ve said scripting is the new literacy. That’s something I strongly believe. In Douglas Rushkoff’s latest book, he talks about “program or be programmed.” That is, if you’re not in control of your inputs, you’re not really in control of your outputs either. You’re just a reactionary force.”

Matt is right, in that scripting is the new literacy, and a growing form of artistic expression. Tech-savvy artists are creating apps and developing sites to put their art into the world. Whether its Matt Inmann creating his work and coding his site at The Oatmeal or young app developers like Robert Nay, artists are becoming coders and vice versa, since, as Mullenweg states, scripting is “new literacy”.

No doubt, the vast majority of economic wealth is still distributed through large corporate media, but as new technologies enable artists to reach consumers directly through push-button creation and distribution, there is a movement afoot. Expect this movement to expand in 2012 as more artists take control of their own economic destinies and become part of the artist-entrepreneur generation.

Related research and analysis from GigaOM Pro:
Subscriber content. Sign up for a free trial.

• When video gets democratized, who wins and who loses?
• The role of organizations, individuals and managers in the new workplace
• Working out loud: how work media and social cognition are altering business

alt=''
border='0'
/>

GigaOM

Just when it seemed all the wonders of the internet were destined to only work on the second screen, Sony’s firmware update for its 2011 Bravia TVs is making us rethink things. For starters, you can now enjoy those HD YouTube videos in HD and even keep up with your friend’s photos, videos and shared links on Facebook. Also, now they’re compatible with a new lite version of the Remote Keyboard app — a feature previously exclusive to Vaio PCs and Xperia smartphones. Finally, you can now get live Twitter updates along the bottom of your screen and even use a Shazam like feature called Track ID to determine the names of songs, or their artists, that are played during your shows or commercials. The free update is available now for those with compatible sets, those with older Bravia TVs, though. Not so much.

Continue reading Sony Bravia TVs updated with Twitter, YouTube HD and more

Sony Bravia TVs updated with Twitter, YouTube HD and more originally appeared on Engadget on Thu, 01 Dec 2011 05:35:00 EDT. Please see our terms for use of feeds.

Permalink   |   | Email this | Comments
Engadget

And while some channels of communication — such as cable TV, print news and talk radio — are fairly mature, history tells us early mastery of any new medium can give a candidate a discernible advantage in a given election cycle.

For example, it’s commonly accepted that Kennedy’s performance in his televised debate with Nixon helped him win in the 1960 presidential election, while Obama’s more evolved social media strategy gave the Democrat a competitive advantage that, in the end, helped deliver him the presidency.

But what about the book?  Judging by Obama’s success with The Audacity of Hope in 2008 and the rush by the current crop of 2012 candidates to push tomes out this primary election season, the book, while perhaps the oldest of all the mediums outside of speaking in the public square, is still one of the most effective ways for candidates to inject their messages into the stream of conversation.

As publisher Peter Cosnos puts it in this NPR piece, “If you can get somebody to buy it, a book has a great virtue. It’s just you and the reader. There is no interviewer; there is nobody to get in the way.”

However, while books can certainly be effective, the paper book is the product of an inarguably antiquated distribution model. To push a book out through traditional publishing means putting your message on the slow train to the voter; a book usually gets to the reader months after the final draft was written.

But just as the Internet (and in particular YouTube) has reshaped the way campaigns use video to get messages quickly out to the voter, is it possible e-books could create a similar disruption in how candidates reach voters through the written — and electronic — word?

If early e-book pioneers who were able to bypass the byzantine and slow-moving world of traditional book publishing are any indication, than yes.  John Locke, Bob Mayer and other authors have been able to go direct to consumer — with the help of Amazon — and reach a much wider audience.  So why couldn’t presidential candidates, or politicians in general, do the same?

In order to do so, candidates would need to change the way they think about the book today. Instead of viewing a book as a brute-force, one-size-fits-all message delivery vehicle it drops in one big package every election cycle, candidates need to instead think about how they could instead deliver a stream of targeted messaging throughout the long election cycle with electronic publishing.

Imagine for a moment if Obama or the prospective GOP candidate were able to publish e-books in advance of major debates, or to convey certain messages to address voter concerns.  One month a candidate could focus on national security, the next he or she could convey his or her personal story through a media-rich e-book with photos and video interviews.

Or, looking back, ponder how things might have been different last election cycle if, for example, McCain released an e-book with his plan for economic stability in the face of the financial crisis that assuaged concerns of those who thought he may not have had a plan, while also giving the faithful talking points to distribute by word of mouth.

Candidates also need to maximize what’s possible in this new medium.  By releasing enhanced e-books, they can create highly personalized messages rich with video and audio; they can become more humanized to the voter.

Lastly, with the traditional book model, candidates are often their own biggest enemy as they seek high book advances and try to climb the bestseller lists to put more money into their pockets.  This traditional approach to the traditional model only serves to create expensive books the vast majority of voters never buy.

But what if a candidate looked at the e-book as an interactive application complete with fundraising capabilities built in?  Would they possibly consider distributing all their e-books for free if they could, somehow, garner campaign contributions through an in-book (or in-app) payment model? E-books and enhanced e-book apps could become the main way in which candidates could come into many voters homes and, in a sense, fill their campaign coffers.

Book and e-book purists may be moaning at the thought of a flood of campaign e-books filled with talking points and calls for contributions. But that is, for better or for worse, what campaigns are about, and if these same messages are flooding every other medium during campaign seasons, it was only inevitable that the campaign would eventually come to the e-book.

Related research and analysis from GigaOM Pro:
Subscriber content. Sign up for a free trial.

• Themes for a connected world: GigaOM RoadMap review
• Connected world: the consumer technology revolution
• Disruptapalooza 2011: how Amazon’s Kindle is changing the portable media game

alt=''
border='0'
/>

GigaOM