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Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
Schmidt Vocal Competition - 2021 Spring Virtual Details
INSPIRING FUTURE GENERATIONS OF SINGERS VOCAL COMPETITION Schmidt Vocal Competition - 2021 Spring Virtual Details All Spring 2021 competitions will be offered in a modified, virtual format, due to the continuing precautions related to COVID-19. We’re pleased that Schmidt Vocal Arts is able to continue to provide an opportunity for aspiring singers to showcase their talent and earn cash awards and scholarships through our virtual model. Who is Eligible to Compete? Eligibility rules remain the same as our live competitions: • Singers must be high school sophomores, juniors, or seniors who are recommended by their choral directors or vocal teachers. • Singers are allowed to enter only one Schmidt Vocal Competition per competition season, whether live or virtual. • To be eligible for cash awards, contestants must have a U. S. Social Security Number and must be U. S. citizens, Green Card holders, or have DACA approved status. • Participants are required to pay a non-refundable registration fee after submitting an application. • Applications will be considered complete when the fee, both parts of the application form, and teacher recommendation have been received. • To be eligible to win cash awards, singers must be present at the online master class and awards ceremony. • Each virtual submission model competition cohort will be limited to 30 singers. If there are fewer than 15 singers, SVA may combine two location cohorts. How Does the Virtual Competition Work? • Singers need to apply for the virtual competition through the SVA website. • All applications and submissions must be received by the corresponding deadlines. • If singers need a pianist, they must “order” one and upload PDFs of their music to the SVA application portal by the application deadline. -
Youtube 1 Youtube
YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc. -
Youtube Live Streaming
YouTube Live Presenter Name: Date: Confidential & Proprietary Confidential & Proprietary YouTube has a proud history of live Confidential & Proprietary Live is important Confidential & Proprietary Live lets you connect and engage with your audience in more meaningful ways Authentic New & Fast Community Shared experience Live is raw, unfiltered, and Live can supplement your Live helps viewers and Live lets both creators and genuine existing content creation creators build a closer viewers contribute to what and has minimal community the world sees post-production time Confidential & Proprietary Live has a minimal post Live is in-the-moment and Audiences love to interact, production time unexpected engage on live Live helps your channel grow YouTube viewers watch 4X longer on live streams compared to VOD 1 Channels that live stream weekly or more have seen up to 40% increase in new subscriptions 2 70% Increase in channel watch-time 3 Confidential & Proprietary *Your results may vary Live is growing fast Stream time increased over 130% year over year, and watch time increased by 80% year over year 1 Confidential & Proprietary YouTube is great for live Confidential & Proprietary YouTube is great for live Home for all video Home for all your videos Easy to Insight & Live and video on demand together on one platform use reporting Easy to go live Streamlined mobile experience Fan engagement Reach & Fan Discovery engagement Viewers can chat / interact in real time Insights & data Real-time analytics for all your live streams Monetize Cutting Monetize -
Digital Events Playbook
Digital Events Playbook 2020 YouTube Marketing Welcome YouTube is here to support you when planning digital-first events. This resource will help you produce best-in-class digital events utilising YouTube's products – like YouTube Live and Premieres. We'll start with all the basics, from learning how to set up a channel and uploading videos to how to engage your audience in real time. Plus, we'll walk you through some important resources so that you can get the best out of YouTube for digital events. Let's get started! 1. YouTube basics Table of contents 2. Mechanics of going live on YouTube 3. YouTube Premieres 4. Resources 01 YouTube basics YOUTUBE BASICS Create a channel How to create a YouTube channel - Sign in to YouTube on a computer or using the mobile site - Try uploading a video or creating a playlist First things first. Let's create a YouTube - If you don't have a channel yet, you'll see a prompt to create channel to reach audiences that can no longer a channel attend your event in person. - Check (with your Google Account name and photo) and confirm to create your new channel Learn more With a Google Account you can watch live videos and subscribe to channels. However, without a YouTube channel, you have no public presence on YouTube. You'd need a YouTube channel to upload videos. YOUTUBE BASICS How to create a brand channel Brand Accounts - Sign in to YouTube on a computer or using the mobile site - Go to your channel list - Choose to create a new channel or use an existing Brand Account: Brand Accounts let you support your business - Create a new channel by clicking Create a new channel or brand identity on YouTube without showing - Create a YouTube channel for a Brand Account that you a connection with your personal Google already manage by choosing the Brand Account from the list. -
Black Women's Youtube Channels in Brazil As Fortalecimento
Black Faces in White Spaces: Black Women’s YouTube Channels in Brazil as Fortalecimento ALIDA PERRINE University of Texas, Austin Abstract: A large and growing network of black women YouTubers in Brazil mobilize strategies of fortalecimento, a term used by some women to refer to how they prepare themselves to face the barriers created by the gendered racial hierarchy of Brazilian society. In this article, I examine these YouTube channels and the tactics black women use to increase their own visibility, to value black aesthetics, and to denounce racist and sexist acts or representations. Furthermore, I consider the importance of physical spaces, such as production studios, for YouTube success, and how black women negotiate material spaces as well as the video sharing platform to maximize their visibility and encroach on predominantly white spaces of cultural production. Using theories of intersectionality, representation, and subjecthood, I examine how these women use (virtual) communities to re-signify and pluralize black womanhood in Brazil. Keywords: Racism, sexism, social media, representation, cultural resistance When Nátaly Neri, a 21-year-old black college student, started her YouTube channel in 2015, it was one among thousands of other channels containing do-it- yourself videos about sewing and hairstyles. Scrolling through her videos, one finds showcases of thrift-store finds transformed into the unique fashion that defines Neri’s style, as well as detailed documentation of her transitions from braids to dreads and beyond. For many young black women like Neri with channels on YouTube, not just in Brazil but throughout the diaspora, haircare and styling is a common entry point to the practice of self-vlogging. -
Try, Fail, Analyze, Adjust: a Youtube History Lesson
1 Try, Fail, Analyze, Adjust: A YouTube History Lesson Have you ever watched the first video uploaded to YouTube? It’s an important question. No really, it matters. I don’t think it matters just because I’m a YouTube expert and think it’s high-quality content (spoiler alert: it’s not). I think it matters because it’s history, and we can learn so much from history. As a video guy, I love docu- mentaries and biopics. They fascinate me because learning about the past helps us understand and navigate our world in the present. When we explore history, we see how decisions and events affect peo- ple, whether for good or bad, and how they impact people’s families, communities, and ultimately, the entire world. But why the heck am I talking about the impact of history on the world COPYRIGHTEDin a book that’s supposed to be MATERIAL about YouTube and mak- ing you money? I’ll tell you why: studying the history of anything can benefit someone who wants to learn more about that topic and succeed in that space. It should be obvious that the same applies to YouTube creators as well. I truly believe that if creators and businesses will take the time to learn from YouTube’s history—how it became the mega-platform that it is based on decisions that lead to failure and 3 Eves716020_c01.indd 3 30-12-2020 14:49:32 4 THE YOUTUBE FORMULA success—they will become better content creators and businesses and be more equipped to generate their own success on the platform. -
Manual Youtube Content ID
YouTube Content ID Manual Rebeat is an official YouTube partner and has access to the YouTube Content Management System (CMS). With this, we give you the possibility to monetize and protect your videos on the YouTube platform. Our YouTube service is integrated into our MES software – there will be no extra costs for using it. For this service only the usual 15% Rebeat fee will be deducted from your YouTube revenue in the final accounting. How does YouTube Content ID work? When you upload a product to our software, you 1. Activate YouTube Content ID in MES have the option to send it to YouTube Content ID. For this, you should check the box that says “YouTube Content ID” in the distribution matrix of our software and apply it for the countries of your choosing (1). As soon as the product has been delivered to Content ID, a reference file (also known as “digital fingerprint”) will be created for each one of the tracks of your product. These reference files will then be used by Content ID to find similarities and matches between them and the content uploaded by other users. Thus, if your whole song or even just a part of it will be used by other people in their videos, matches will be found and a claim will be placed on the uploader’s video which has used your content. With this claim it is possible to monetize the foreign content. Rebeat YouTube Manual – updated on 17.08.2020 Page 1 With the help of Content ID we can also claim any of your content manually. -
You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas Delisa
Brooklyn Law Review Volume 81 | Issue 3 Article 8 2016 You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms Nicholas Thomas DeLisa Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Part of the Intellectual Property Law Commons, and the Internet Law Commons Recommended Citation Nicholas T. DeLisa, You(Tube), Me, and Content ID: Paving the Way for Compulsory Synchronization Licensing on User-Generated Content Platforms, 81 Brook. L. Rev. (2016). Available at: https://brooklynworks.brooklaw.edu/blr/vol81/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. You(Tube), Me, and Content ID PAVING THE WAY FOR COMPULSORY SYNCHRONIZATION LICENSING ON USER- GENERATED CONTENT PLATFORMS INTRODUCTION Ever wonder about how the law regulates your cousin’s wedding video posted on her YouTube account? Most consumers do not ponder questions such as “Who owns the content in my video?” or “What is a fair use?” or “Did I obtain the proper permission to use Bruno Mars’s latest single as the backing track to my video?” These are important questions of law that are answered each day on YouTube1 by a system called Content ID.2 Content ID identifies uses of audio and visual works uploaded to YouTube3 and allows rights holders to collect advertising revenue on that content through the YouTube Partner Program.4 It is easy to see why Content ID was implemented—300 hours of video are uploaded to YouTube per minute.5 Over six billion hours of video are watched each month on YouTube (almost an hour for every person on earth),6 and it is unquestionably the most popular streaming video site on the Internet.7 Because of the staggering amount of content 1 See A Guide to YouTube Removals,ELECTRONIC fRONTIER fOUND., https://www.eff.org/issues/intellectual-property/guide-to-youtube-removals [http://perma.cc/ BF4Y-PW6E] (last visited June 6, 2016). -
Viking Voice
In this issue: ● STEAM ● Fortnite Viking Voice ● Creepiness! Do you like to write? Create puzzles? Draw comics? Perform interviews or give your March 2018 opinion on anything from video games to movies to books and technology? Then Newspaper Club might be the right club for you! Mondays from 3-4:00 room 127 Steam Walk By: Lily Mann If you didn't go to the Steam Walk then you made a bad decision because they had secrets and you can make a lightsaber with straws and lights. There were drones that you could code and fly. Also if you went to Hopewell Elementary there was a computer teacher. Her name was Mrs.Daly who was helping with computers to go on code.org, which is a coding site. You can have cookies there and they were delicious. Also you can make a little tiny spaceship that was cool. There was paper and cardboard to make the spaceship, and this guy was there and he pumped it up air and you have to push a button to launch it. It was pretty fun. So that is it from the Steam Walk. Silly Putty By: Lily Mann If you ever wondered why silly putty is called silly putty? Well this is why it is called this. You can do a lot of silly stuff and it is putty.Silly Putty was invented in 1943 the person that invented Silly Putty was James Wright. If you are wondering how Silly Putty was made I am going to tell you how. It was made during war war ll, and also it is really easy you can use glue to make silly putty. -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
The Next Great Youtube: Improving Content Id to Foster Creativity, Cooperation, and Fair Compensation
BOROUGHF_FORMAT3 (DO NOT DELETE) 3/27/2015 1:39 AM THE NEXT GREAT YOUTUBE: IMPROVING CONTENT ID TO FOSTER CREATIVITY, COOPERATION, AND FAIR COMPENSATION Benjamin Boroughf* ABSTRACT YouTube prides itself on its automatic copyright detection and filtering program known as Content ID because it goes beyond YouTube’s legal responsibilities under the Digital Millennium Copyright Act and because it allows copyright holders to control and profit from their content. However, Content ID is not the technological paragon YouTube and some scholars see it as. By relying on a system that automatically matches, blocks, and monetizes videos that allegedly contain any amount of infringing content, both YouTube and copyright holders have promoted a system that opposes the Copyright Act and YouTube’s goals of promoting creativity and protecting fair use. Without earlier human review and involvement, this costly Content ID system is susceptible to false positives and accidental matches, harming the public’s access to new forms of creativity. Without limiting monetization to the proportion of matched content in a video, Content ID also encourages copyright holders to take advantage of the hard work and creativity of YouTubers by stripping away all of their monetary incentives. This article demonstrates why these problems exist and it sets forth a proposal that seeks to slightly modify Content ID to better align it with the Copyright Act and YouTube’s own goals, while encouraging communication, cooperation, creativity, and fair compensation between copyright holders and YouTubers. * Attorney, Appellate Division, Illinois Attorney Registration & Disciplinary Commission. J.D. 2014, Chicago-Kent College of Law. Sincere thanks to Professor Edward Lee for providing insightful comments and direction, and to the Freedom of the Internet spring 2014 class for providing valuable feedback and discussion.