Online Video TIPS for PR SUCCESS
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The State of the Art and Evolution of Cable Television and Broadband Technology
The State of the Art and Evolution of Cable Television and Broadband Technology Prepared for the City of Seattle, Washington October 9, 2013 Cable and Broadband State-of-the-Art TABLE OF CONTENTS 1. Executive Summary ................................................................................................................... 1 2. Evolution of Underlying Infrastructure ................................................................................... 3 2.1 Infrastructure Upgrades .......................................................................................................... 3 2.1.1 Cable Migration Path ....................................................................................................... 4 2.1.1.1 Upgrade from DOCSIS 3.0 to DOCSIS 3.1 ................................................................... 4 2.1.1.2 Ethernet PON over Coax (EPoC) Architecture ............................................................ 8 2.2 Internet Protocol (IP) Migration and Convergence ............................................................... 10 2.2.1 Converged Cable Access Platform (CCAP) ..................................................................... 10 2.2.2 Migration from IPv4 to IPv6 Protocol ............................................................................ 13 2.2.3 IP Transport of Video on Demand (VoD) ....................................................................... 14 2.2.4 Multicasting—IP Transport of Video Channels .............................................................. 15 2.3 -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
Analyzing the Video Popularity Characteristics of Large-Scale User Generated Content Systems Meeyoung Cha, Haewoon Kwak, Pablo Rodriguez, Yong-Yeol Ahn, and Sue Moon
IEEE/ACM TRANSACTIONS ON NETWORKING, VOL. 17, NO. 5, OCTOBER 2009 1357 Analyzing the Video Popularity Characteristics of Large-Scale User Generated Content Systems Meeyoung Cha, Haewoon Kwak, Pablo Rodriguez, Yong-Yeol Ahn, and Sue Moon Abstract—User generated content (UGC), now with millions not only content consumers, but also publishers. The length of of video producers and consumers, is re-shaping the way people UGC videos is shortened by two orders of magnitude than tra- watch video and TV. In particular, UGC sites are creating new ditional videos and so is the production time. Wired magazine viewing patterns and social interactions, empowering users to be more creative, and generating new business opportunities. refers to this small-sized content pop culture as “bite-size bits Compared to traditional video-on-demand (VoD) systems, UGC for high-speed munching” [1]. services allow users to request videos from a potentially unlimited The scale, dynamics, and decentralization of UGC videos selection in an asynchronous fashion. To better understand the make their content popularity more ephemeral and unpre- impact of UGC services, we have analyzed the world’s largest dictable. As opposed to the early days of TV when everyone UGC VoD system, YouTube, and a popular similar system in Korea, Daum Videos. In this paper, we first empirically show watched the same program at the same time—for instance, the how UGC services are fundamentally different from traditional biggest hit of 1953, “I Love Lucy”, was watched by 70% of VoD services. We then analyze the intrinsic statistical properties TV households—such strong reinforcement of popularity (or of UGC popularity distributions and discuss opportunities to unpopularity) is absent in UGC. -
Systematic Scoping Review on Social Media Monitoring Methods and Interventions Relating to Vaccine Hesitancy
TECHNICAL REPORT Systematic scoping review on social media monitoring methods and interventions relating to vaccine hesitancy www.ecdc.europa.eu ECDC TECHNICAL REPORT Systematic scoping review on social media monitoring methods and interventions relating to vaccine hesitancy This report was commissioned by the European Centre for Disease Prevention and Control (ECDC) and coordinated by Kate Olsson with the support of Judit Takács. The scoping review was performed by researchers from the Vaccine Confidence Project, at the London School of Hygiene & Tropical Medicine (contract number ECD8894). Authors: Emilie Karafillakis, Clarissa Simas, Sam Martin, Sara Dada, Heidi Larson. Acknowledgements ECDC would like to acknowledge contributions to the project from the expert reviewers: Dan Arthus, University College London; Maged N Kamel Boulos, University of the Highlands and Islands, Sandra Alexiu, GP Association Bucharest and Franklin Apfel and Sabrina Cecconi, World Health Communication Associates. ECDC would also like to acknowledge ECDC colleagues who reviewed and contributed to the document: John Kinsman, Andrea Würz and Marybelle Stryk. Suggested citation: European Centre for Disease Prevention and Control. Systematic scoping review on social media monitoring methods and interventions relating to vaccine hesitancy. Stockholm: ECDC; 2020. Stockholm, February 2020 ISBN 978-92-9498-452-4 doi: 10.2900/260624 Catalogue number TQ-04-20-076-EN-N © European Centre for Disease Prevention and Control, 2020 Reproduction is authorised, provided the -
From Safe Harbor to Choppy Waters: Youtube, the Digital Millennium Copyright Act,And a Much Needed Change of Course
Vanderbilt Journal of Entertainment & Technology Law Volume 10 Issue 1 Issue 1 - Fall 2007 Article 3 2007 From Safe Harbor to Choppy Waters: YouTube, the Digital Millennium Copyright Act,and a Much Needed Change of Course Lauren B. Patten Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Lauren B. Patten, From Safe Harbor to Choppy Waters: YouTube, the Digital Millennium Copyright Act,and a Much Needed Change of Course, 10 Vanderbilt Journal of Entertainment and Technology Law 179 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol10/iss1/3 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. From Safe Harbor to Choppy Waters: YouTube, the Digital Millennium Copyright Act, and a Much Needed Change of Course ABSTRACT YouTube.com, named Time magazine's "Invention of the Year" for 2006 and widely recognized as the most-visited video site on the Internet, has changed the face of online entertainment. With the site's acquisition by Google in October 2006, the possibilities for YouTube's growth became truly endless. However, there is a darker side to the story of the Internet sensation, one that is grounded in its potential liability for copyright infringement. The issue is that many of the most-viewed and most-popular videos on the site are copyrighted. -
Diversities II Guest Editors: Karel Arnaut, Jan Blommaert, Ben Rampton and Massimiliano Spotti
Vol. 14, No. 2, 2012 Language and Superdiversities II Guest Editors: Karel Arnaut, Jan Blommaert, Ben Rampton and Massimiliano Spotti Super-diversity: elements of an emerging perspective 1 by Karel Arnaut, Max Planck Institute for the Study of Religious and Ethnic Diversity Buffalaxed superdiversity: representations of the other on YouTube 17 by Sirpa Leppänen and Ari Häkkinen, University of Jyväskylä Mobility, voice, and symbolic restratification: An ethnography of ‘elite migrants’ in urban China 35 by Jie Dong, Tilburg University Translating global experience into institutional models of competency: linguistic inequalities in the job interview 49 by Celia Roberts, King’s College London Concluding Commentary 73 by David Parkin Open forum Engendering indigenous Mexican migration into the United States. A case of study of the Yalálag Zapotec Women 87 by Adriana Cruz-Manjarrez Practising Fractal Shi’i Identities through Muharram Rituals in Mumbai 103 by Reza Masoudi Nejad An online journal published by An & MPI MMG UNESCO DIVERSITIES mpimmg United Nations Educational, Scientific and Cultural Organization MAX PLANCK SOCIETY Publication Director: Golda El-Khoury Editor: Gabriele ALEX Guest Editors: Karel ArnAut, Jan BlommAErt, Ben rAmPton and Massimiliano SPotti layout and Design: Birgitt SiPPEl Past issues in 2008-2012: “Skilled Migration and the Brain Drain”, Vol. 14, no. 1, 2012 “Language and Superdiversities”, Vol. 13, no. 2, 2011 “Female Migration Outcomes: Human Rights Perspectives”, Vol. 13, no. 1, 2011 “Depicting Diversities”, Vol. 12, no. 1, 2010 “Turks Abroad: Settlers, Citizens, Transnationals”, Vol. 11, no. 2, 2009 “The Human Rights of Migrants”, Vol. 11, no. 1, 2009 “The Conditions of Modern Return Migrants”, Vol. -
MAKING TEACHING VIDEOS —USING CAMTASIA STUDIO Six Steps to Make Your Video
John Chamberlain, CORD Senior Associate NCPN 2011, Orlando, FL [email protected] MAKING TEACHING VIDEOS —USING CAMTASIA STUDIO Six steps to make your video Draft a plan (it will change!) Script, Storyboard Don’t limit yourself chronologically Remember: this is video, not a slide show Collect existing media Image/video/audio/text files Plan and make your recordings Camera, computer-screen action, narration Import all the assets into editor and polish “Publish” the video, review, and revise Share the finished work with the world! 2 Plan: What/how to teach? Something helped by animation, motion, narration, or multimedia enhancement. What is the scope of your project? (how long? how will it be delivered/viewed? who is your audience?) Where will you get the raw content? Does it already exist? (YouTube videos? already recorded clips? applets?) If not, how will you create it? (Yourself? Use animations from elsewhere? PowerPoint?) 3 Plan: What media* will you use? Images, including animated GIFs Video camera: webcam, cell phone, point-n-shoot camera, iPad Microphone plugged into soundcard Existing video/audio files Captured action from computer screen *video, audio, animations, images, formatted text, etc. 4 Plan: How will you get the media? Download existing files (email, web) On your own hard drive, if using your computer to record it! Wired connection (e.g., camera) USB Firewire Wireless Bluetooth Wi-Fi 5 Record: Video from camera Resolution? Web or HD quality? Start with hi-res imagery. Don’t enlarge. Recording video from camera Dimensions (4:3 or 16:9) Plan the environment (sound and lighting) Size of subject (fill the screen, avoid zooming) Use tripod Shoot more than you need Avoid special effects added by camera Keep in mind: you can/will edit later 6 Record: Video from computer What sort of things can you capture? Programs: show “how to” do this or that Applets: much better than a lecture Videos: real world Navigating a web site PowerPoint slides: easy, cool animations How to capture? We’ll use Camtasia Studio’s Recorder. -
Distributed Tuning of Boundary Resources: the Case of Apple's Ios Service System
Ben Eaton, Silvia Elaluf-Calderwood, Carsten Sørensen and Youngjin Yoo Distributed tuning of boundary resources: the case of Apple's iOS service system Article (Published version) (Refereed) Original citation: Eaton, Ben, Elaluf-Calderwood, Silvia, Sorensen, Carsten and Yoo, Youngjin (2015) Distributed tuning of boundary resources: the case of Apple's iOS service system. MIS Quarterly, 39 (1). pp. 217-243. ISSN 0276-7783 Reuse of this item is permitted through licensing under the Creative Commons: © 2015 The Authors CC-BY This version available at: http://eprints.lse.ac.uk/63272/ Available in LSE Research Online: August 2015 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. SPECIAL ISSUE: SERVICE INNOVATION IN THE DIGITAL AGE DISTRIBUTED TUNING OF BOUNDARY RESOURCES: THE CASE OF APPLE’S IOS SERVICE SYSTEM1 Ben Eaton Department of IT Management, Copenhagen Business School, Copenhagen, DENMARK {[email protected]} Silvia Elaluf-Calderwood and Carsten Sørensen Department of Management, The London School of Economics and Political Science, London, GREAT BRITAIN {[email protected]} {[email protected]} Youngjin Yoo Fox School of Business, Temple University, Philadelphia, PA 19140 UNITED STATES {[email protected]} The digital age has seen the rise of service systems involving highly distributed, heterogeneous, and resource- integrating actors whose relationships are governed by shared institutional logics, standards, and digital technology. -
Kantar Video Charter Partners for Upcoming Launch of Videolytics Platform
TM Kantar Video Charter Partners for Upcoming Launch of Videolytics Platform Broad range of partners includes leading advertising platforms and players, publishers and ad networks NEW YORK, NY, October 12, 2010–Kantar Video, a division of WPP’s insight, information, and consultancy network, Kantar, announced today seventeen industry-wide VideolyticsTM Preferred Partners. The seventeen partners cover all aspects of the online and mobile video publishing and advertising industry. All partners integrate with Kantar’s VideolyticsTM platform, allowing advertisers, agencies, and content owners -- many of whom are already working with these partners -- the ability to utilize Kantar Video’s robust analytics, tracking, and optimization. The range of partnerships illustrates the importance and ease of adoption of the VideolyticsTM platform by advertisers and media companies. “Kantar Video exists to help our partners and their clients fully realize the true potential of online and mobile video,” said Bill Lederer, CEO of Kantar Video. “Our partners are a select lot. They are carefully chosen for their dependability, innovativeness, and client focus. We are proud to be associated with them and expect to work closely together to bring more attention and budget to what we believe is the most captivating and promising of media platforms.” The partners include: • 2Cimple - Interactive video application platform, which provides contextual advertising applications to optimize and monetize video across online, social media, and mobile environments. • Adap.TV - Develops video advertising trading, serving, and management technology that make video more profitable and less painful. • AdoTube - In-stream video ad network and advertising solution platform for major publishers with a variety of unique interactive formats, which help publishers lower abandonment rates while increasing in-stream engagement for advertisers. -
List of Search Engines
A blog network is a group of blogs that are connected to each other in a network. A blog network can either be a group of loosely connected blogs, or a group of blogs that are owned by the same company. The purpose of such a network is usually to promote the other blogs in the same network and therefore increase the advertising revenue generated from online advertising on the blogs.[1] List of search engines From Wikipedia, the free encyclopedia For knowing popular web search engines see, see Most popular Internet search engines. This is a list of search engines, including web search engines, selection-based search engines, metasearch engines, desktop search tools, and web portals and vertical market websites that have a search facility for online databases. Contents 1 By content/topic o 1.1 General o 1.2 P2P search engines o 1.3 Metasearch engines o 1.4 Geographically limited scope o 1.5 Semantic o 1.6 Accountancy o 1.7 Business o 1.8 Computers o 1.9 Enterprise o 1.10 Fashion o 1.11 Food/Recipes o 1.12 Genealogy o 1.13 Mobile/Handheld o 1.14 Job o 1.15 Legal o 1.16 Medical o 1.17 News o 1.18 People o 1.19 Real estate / property o 1.20 Television o 1.21 Video Games 2 By information type o 2.1 Forum o 2.2 Blog o 2.3 Multimedia o 2.4 Source code o 2.5 BitTorrent o 2.6 Email o 2.7 Maps o 2.8 Price o 2.9 Question and answer . -
Miro— Open and Decentralized Internet TV
INTERNET TV Miro— open and decentralized Internet TV Dean Jansen Participatory Culture Foundation Miro is a free, open-source platform for Internet TV. Ideal for high-definition video, it features an open content guide with over 5,000 channels that can be freely subscribed to. The application boasts nearly 500,000 users and has been downloaded more than three million times in the last year. Miro has been compared to Tivo, Firefox and iTunes; it functions as both a video library and a very intuitive system for subscribing to and watching internet video channels. Additionally, Miro can search and save videos from video-sharing sites, such as YouTube and Daily Motion. For public broadcasters, Miro (http://getmiro.com) offers a distribution platform that is perfect for moving high-quality, long-form video to a large, non-technical audience. The user-friendly integra- tion of BitTorrent in Miro lets publishers leverage the scalability and low cost of P2P distribution without confusing non-technical users. Public broadcasters can create custom versions of Miro that feature their own content and their own brand. Furthermore, Miro is open source and cross-plat- form, leaving broadcasters and their audience independent of any proprietary software (Adobe Flash, Apple iTunes) or operating system (Miro can run on Mac, Windows and Linux). Miro’s user base and content guide are both expanding rapidly. The application itself is on a tight development curve, releasing major updates and improvements five to seven times per year. Miro is being developed by the Participatory Culture Foundation (PCF), a US.based 501c3 non-profit organ- ization. -
PEG in a Nutshell, 1 of 3 by Pete Fasciano, Executive Director 1/4/2013
PEG In a Nutshell, 1 of 3 by Pete Fasciano, Executive Director 1/4/2013 Thought I’d start the year with a look back – way back – to the beginnings of local community TV. In the late sixties and early seventies, public-access television began as a slowly building movement to realize the social potential of Cable TV. In 1970 Bob & Janeen Burrel launched Stoughton, Wisconsin's WSTO TV as one of the first experimental Public Access Cable channels. It continues in operation to this day. At that same time, Fred Friendly, head of New York City's Cable TV and Communications Commission, championed the idea of an access channel for free public use. This idea established the legal beginnings of PEG studios. Documentary filmmakers George Stoney, and Red Burns, along with Sidney Dean, further refined the legal theories and practical need for public-access television, and worked to include public-access TV requirements in the franchise agreement between New York City government and its Cable providers. Cable providers need access to public rights-of-way in order to make money. The municipalities may set terms for granting these rights. Thus, the legal basis for local municipalities to mandate Cable companies to fulfill prescribed community service requirements was established. PEG TV studios and channels as we know them today were further defined and codified under FCC regulations and Congressional federal laws in 1984. The basic arrangements to support local access today are: Your Cable service provider needs public right-of-way permissions (easements) from the town to bring a physical communications Cable to your home or business.