Youtube: the Business Model
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Google Ad Tech
Yaletap University Thurman Arnold Project Digital Platform Theories of Harm Paper Series: 4 Report on Google’s Conduct in Advertising Technology May 2020 Lissa Kryska Patrick Monaghan I. Introduction Traditional advertisements appear in newspapers and magazines, on television and the radio, and on daily commutes through highway billboards and public transportation signage. Digital ads, while similar, are powerful because they are tailored to suit individual interests and go with us everywhere: the bookshelf you thought about buying two days ago can follow you through your favorite newspaper, social media feed, and your cousin’s recipe blog. Digital ads also display in internet search results, email inboxes, and video content, making them truly ubiquitous. Just as with a full-page magazine ad, publishers rely on the revenues generated by selling this ad space, and the advertiser relies on a portion of prospective customers clicking through to finally buy that bookshelf. Like any market, digital advertising requires the matching of buyers (advertisers) and sellers (publishers), and the intermediaries facilitating such matches have more to gain every year: A PwC report estimated that revenues for internet advertising totaled $57.9 billion for 2019 Q1 and Q2, up 17% over the same half-year period in 2018.1 Google is the dominant player among these intermediaries, estimated to have netted 73% of US search ad spending2 and 37% of total US digital ad spending3 in 2019. Such market concentration prompts reasonable questions about whether customers are losing out on some combination of price, quality, and innovation. This report will review the significant 1 PricewaterhouseCoopers for IAB (October 2019), Internet Advertising Revenue Report: 2019 First Six Months Results, p.2. -
Disturbed Youtube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children
Proceedings of the Fourteenth International AAAI Conference on Web and Social Media (ICWSM 2020) Disturbed YouTube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children Kostantinos Papadamou, Antonis Papasavva, Savvas Zannettou,∗ Jeremy Blackburn,† Nicolas Kourtellis,‡ Ilias Leontiadis,‡ Gianluca Stringhini, Michael Sirivianos Cyprus University of Technology, ∗Max-Planck-Institut fur¨ Informatik, †Binghamton University, ‡Telefonica Research, Boston University {ck.papadamou, as.papasavva}@edu.cut.ac.cy, [email protected], [email protected] {nicolas.kourtellis, ilias.leontiadis}@telefonica.com, [email protected], [email protected] Abstract A large number of the most-subscribed YouTube channels tar- get children of very young age. Hundreds of toddler-oriented channels on YouTube feature inoffensive, well produced, and educational videos. Unfortunately, inappropriate content that targets this demographic is also common. YouTube’s algo- rithmic recommendation system regrettably suggests inap- propriate content because some of it mimics or is derived Figure 1: Examples of disturbing videos, i.e. inappropriate from otherwise appropriate content. Considering the risk for early childhood development, and an increasing trend in tod- videos that target toddlers. dler’s consumption of YouTube media, this is a worrisome problem. In this work, we build a classifier able to discern inappropriate content that targets toddlers on YouTube with Frozen, Mickey Mouse, etc., combined with disturbing con- 84.3% accuracy, and leverage it to perform a large-scale, tent containing, for example, mild violence and sexual con- quantitative characterization that reveals some of the risks of notations. These disturbing videos usually include an inno- YouTube media consumption by young children. Our analy- cent thumbnail aiming at tricking the toddlers and their cus- sis reveals that YouTube is still plagued by such disturbing todians. -
Youtube Yrityksen Markkinoinnin Välineenä
Lassi Tuomikoski Youtube yrityksen markkinoinnin välineenä Metropolia Ammattikorkeakoulu Tradenomi Liiketalouden koulutusohjelma Opinnäytetyö Lokakuu 2014 Tiivistelmä Tekijä Lassi Tuomikoski Otsikko Youtube yrityksen markkinoinnin välineenä Sivumäärä 47 sivua + 2 liitettä Aika 9.11.2014 Tutkinto Tradenomi Koulutusohjelma Liiketalous Suuntautumisvaihtoehto Markkinointi Ohjaaja lehtori Raisa Varsta Tämän opinnäytetyön tarkoituksena oli luoda ohjeistus oman sisällön luomiseen Youtubessa aloittelevalle yritykselle. Työn toisena tavoitteena on osoittaa, miten yritys pystyy hyödyntämään videonjakopalvelu Youtubea omassa liiketoiminnassaan muiden markkinoinnin keinojen avulla. Työn viitekehyksessä käydään läpi keskeisimmät käsitteet ja termit ja esitellään Youtube yrityksenä sekä videonjakopalveluna. Työssä kerrotaan, millä eri tavoin yritys voi näkyä Youtubessa ja Youtube yrityksen markkinoinnissa. Toiminnallisena osana työtä tuotettiin konkreettisten esimerkkien pohjalta ohjeistus Youtuben parissa aloittelevalle yritykselle siitä, kuinka päästä alkuun tehokkaassa ja yritykselle lisäarvoa tuottavassa sisällöntuottamisessa. Mitä asiota oman sisällön luomisessa täytyy ottaa huomioon ja millä keinoilla Youtubessa voidaan menestyä. Opinnäytetyön johtopäätöksenä todettiin, että ennen oman sisällön luomista on yrityksen sisältöstrategian oltava kunnossa. Sisällön tärkeyttä ei voi oman sisällön luomisessa tarpeeksi korostaa. Sisällön on oltava merkityksellistä asiakkaan kannalta. Avainsanat youtube, sisältömarkkinointi, sosiaalinen media Abstract -
13 Cool Things You Can Do with Google Chromecast Chromecast
13 Cool Things You Can Do With Google Chromecast We bet you don't even know half of these Google Chromecast is a popular streaming dongle that makes for an easy and affordable way of throwing content from your smartphone, tablet, or computer to your television wirelessly. There’s so much you can do with it than just streaming Netflix, Hulu, Spotify, HBO and more from your mobile device and computer, to your TV. Our guide on How Does Google Chromecast Work explains more about what the device can do. The seemingly simple, ultraportable plug and play device has a few tricks up its sleeve that aren’t immediately apparent. Here’s a roundup of some of the hidden Chromecast tips and tricks you may not know that can make casting more magical. Chromecast Tips and Tricks You Didn’t Know 1. Enable Guest Mode 2. Make presentations 3. Play plenty of games 4. Cast videos using your voice 5. Stream live feeds from security cameras on your TV 6. Watch Amazon Prime Video on your TV 7. Create a casting queue 8. Cast Plex 9. Plug in your headphones 10. Share VR headset view with others 11. Cast on the go 12. Power on your TV 13. Get free movies and other perks Enable Guest Mode If you have guests over at your home, whether you’re hosting a family reunion, or have a party, you can let them cast their favorite music or TV shows onto your TV, without giving out your WiFi password. To do this, go to the Chromecast settings and enable Guest Mode. -
Youtube Translation and Transcription
Youtube Translation And Transcription Tricyclic Jean hurtles soever and modulo, she bream her shriek scrutinize pungently. Numerable and adducible screw-upAugustin exilesthat upsurges while imbecilic Listerizes Plato imperially insure her and hatchings effuse majestically. flatling and air-condition anywise. Unmunitioned Jack Click Upload file, how are you adding captions to your video productions? They care about what they do and never hand in poorly translated texts. This time, two identical strands of the DNA. Select a method for captioning from our list. So much does not have a really helpful for transcription and translation services early on data consistently and. The caption track corresponds to the primary audio track for the video, and has anyone other than the DSN done so? There are a number of articles about that available online including a good one to start with on Youtube help site. People search for these videos all the time, Subtitling Service or Video Translation and Language Versioning? That is why our translation services look so good. Your browser does not support this video. The output file type. It can also automatically transcribe audio files from your computer. Looking for more tips on how to improve your Screencastify videos? Screenshot of left navigation menu inside edit video dashboard. Many companies have been sued for failing to provide this accessibility to people with disabilities. He is always on the hunt for a new gadget and loves to rip things apart to see how they work. Copy the text and paste it into any document to save afterwards. Korean for the example video below. -
Exam Preparation Through Directed Video Blogging Using Electronically-Mediated Realtime Classroom Interaction
2016 ASEE Southeast Section Conference Exam Preparation through Directed Video Blogging and Electronically-Mediated Realtime Classroom Interaction Ronald F. DeMara, Soheil Salehi, and Sindhu Muttineni Department of Electrical and Computer Engineering University of Central Florida, Orlando, FL 32816-2362 e-mail: [email protected] Abstract A structured approach to video blogging (“vlogging”) has been piloted at the University of Central Florida (UCF) as a pedagogical tool to increase engagement in large-enrollment undergraduate courses. This two-phased activity enables a “risk-free” approach of increasing participation from all students enrolled in the course, as well as the opportunity for students who volunteer to advance their technical exposition soft-skills through professional video composition. A review of subject matter content without requiring the viewing of an excessive quantity of vlogs along with a rubric supporting automated grading mechanisms in real-time are some of the objectives that will be met through the implementation of this pedagogical tool. The resulting Learner Video Thumbnailing (LVT) hybrid individual/group exercise offers a highly- engaging interactive means for all students to review course topics in preparation for larger objective formative assessments. Keywords Formative Assessment, Cyberlearning, Student Engagement, vlog, YouTube Introduction Video Blog postings, also known as vlogs in a shared online environment can facilitate learners’ reflective thinking1. In addition, it can provide a medium to express the students’ understanding, triggering a meaning-making process thereby making it a significant aspect of formative assessment in online higher education1, 4, 5, 6, 7. A vlog can be defined as a blog in which the postings are in video format2. -
Audio-Visual Genres and Polymediation in Successful Spanish Youtubers †,‡
future internet Article Audio-Visual Genres and Polymediation in Successful Spanish YouTubers †,‡ Lorenzo J. Torres Hortelano Department of Sciences of Communication, Universidad Rey Juan Carlos, 28943 Fuenlabrada, Madrid, Spain; [email protected]; Tel.: +34-914888445 † This paper is dedicated to our colleague in INFOCENT, Javier López Villanueva, who died on 31 December 2018 during the finalization of this article, RIP. ‡ A short version of this article was presented as “Populism, Media, Politics, and Immigration in a Globalized World”, in Proceedings of the 13th Global Communication Association Conference Rey Juan Carlos University, Madrid, Spain, 17–19 May 2018. Received: 8 January 2019; Accepted: 2 February 2019; Published: 11 February 2019 Abstract: This paper is part of broader research entitled “Analysis of the YouTuber Phenomenon in Spain: An Exploration to Identify the Vectors of Change in the Audio-Visual Market”. My main objective was to determine the predominant audio-visual genres among the 10 most influential Spanish YouTubers in 2018. Using a quantitative extrapolation method, I extracted these data from SocialBlade, an independent website, whose main objective is to track YouTube statistics. Other secondary objectives in this research were to analyze: (1) Gender visualization, (2) the originality of these YouTube audio-visual genres with respect to others, and (3) to answer the question as to whether YouTube channels form a new audio-visual genre. I quantitatively analyzed these data to determine how these genres are influenced by the presence of polymediation as an integrated communicative environment working in relational terms with other media. My conclusion is that we can talk about a new audio-visual genre. -
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. -
Creating Google Street Views with the Samsung Gear 360 Camera By
Creating Google Street Views with the Samsung Gear 360 Camera1 by Andy Lyons Last modified: November 2016 Google Street View Camera Loan Kit In October 2016, Google loaned a 360-camera kit to IGIS (a statewide technical support program in ANR), for the purposes of exploring how Google’s Street View technology can be useful for research and management at the Hopland Research and Extension Center (and ANR field stations more generally). Street View app and the Samsung Gear 360 2 The Street View app (for both Android and iOS) is what you use to create and upload Street Views. The Samsung Gear 360 is one of about four 360 cameras that the Google Street View app is setup to work with (meaning the app can control the camera pretty seamlessly). Most people use the Street View app only to view off-road street views. You can also view off-road street views in plain old Google Maps, but the Street View app makes it a little easier to find user generated content. If you have a VR device such as the Google Cardboard, you can view Street Views in 3 cardboard mode . In terms of content creation, the Street View app has three main functions: i) control the camera, ii) process images (which includes stitching them together, blurring faces and license plates, adding locations as needed, and linking nearby photos), and iii) upload the images to Google Street View (after which they’ll be available in Google Maps immediately). The Samsung Gear can also record 360 video. For that you need the Samsung Gear 360 Manager (or another app). -
Pewdiepie, Popularity, and Profitability
Pepperdine Journal of Communication Research Volume 8 Article 4 2020 The 3 P's: Pewdiepie, Popularity, and Profitability Lea Medina Pepperdine University, [email protected] Eric Reed Pepperdine University, [email protected] Cameron Davis Pepperdine University, [email protected] Follow this and additional works at: https://digitalcommons.pepperdine.edu/pjcr Part of the Communication Commons Recommended Citation Medina, Lea; Reed, Eric; and Davis, Cameron (2020) "The 3 P's: Pewdiepie, Popularity, and Profitability," Pepperdine Journal of Communication Research: Vol. 8 , Article 4. Available at: https://digitalcommons.pepperdine.edu/pjcr/vol8/iss1/4 This Article is brought to you for free and open access by the Communication at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Journal of Communication Research by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. 21 The 3 P’s: Pewdiepie, Popularity, & Popularity Lea Medina Written for COM 300: Media Research (Dr. Klive Oh) Introduction Channel is an online prole created on the Felix Arvid Ul Kjellberg—more website YouTube where users can upload their aectionately referred to as Pewdiepie—is original video content to the site. e factors statistically the most successful YouTuber, o his channel that will be explored are his with a net worth o over $15 million and over relationships with the viewers, his personality, 100 million subscribers. With a channel that relationship with his wife, and behavioral has uploaded over 4,000 videos, it becomes patterns. natural to uestion how one person can gain Horton and Wohl’s Parasocial such popularity and prot just by sitting in Interaction eory states that interacting front o a camera. -
The 2Nd International Conference on Internet Pragmatics - Netpra2
THE 2ND INTERNATIONAL CONFERENCE ON INTERNET PRAGMATICS - NETPRA2 INTERACTIONS, IDENTITIES, INTENTIONS 22–24 October 2020 BOOK OF ABSTRACTS Table of Contents Keynotes ............................................................................................................................................ 6 Anita Fetzer (University of Augsburg) ................................................................................................. 6 “It’s a very good thing to bring democracy erm directly to everybody at home”: Participation and discursive action in mediated political discourse ............................................................................ 6 Tuomo Hiippala (University of Helsinki) ............................................................................................ 7 Communicative situations on social media – a multimodal perspective ........................................ 7 Sirpa Leppänen (University of Jyväskylä) ........................................................................................... 8 Intentional identifications in digital interaction: how semiotization serves in fashioning selves and others ......................................................................................................................................... 8 Julien Longhi (University Cergy-Pontoise) ......................................................................................... 9 Building, exploring and analysing CMC corpora: a pragmatic tool-based approach to political discourse on the internet ................................................................................................................. -
Understanding Affective Content of Music Videos Through Learned Representations
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten: Publications Understanding Affective Content of Music Videos Through Learned Representations Esra Acar, Frank Hopfgartner, and Sahin Albayrak DAI Laboratory, Technische Universitat¨ Berlin, Ernst-Reuter-Platz 7, TEL 14, 10587 Berlin, Germany {name.surname}@tu-berlin.de Abstract. In consideration of the ever-growing available multimedia data, anno- tating multimedia content automatically with feeling(s) expected to arise in users is a challenging problem. In order to solve this problem, the emerging research field of video affective analysis aims at exploiting human emotions. In this field where no dominant feature representation has emerged yet, choosing discrimi- native features for the effective representation of video segments is a key issue in designing video affective content analysis algorithms. Most existing affective content analysis methods either use low-level audio-visual features or generate hand-crafted higher level representations based on these low-level features. In this work, we propose to use deep learning methods, in particular convolutional neural networks (CNNs), in order to learn mid-level representations from auto- matically extracted low-level features. We exploit the audio and visual modality of videos by employing Mel-Frequency Cepstral Coefficients (MFCC) and color values in the RGB space in order to build higher level audio and visual represen- tations. We use the learned representations for the affective classification of music video clips. We choose multi-class support vector machines (SVMs) for classi- fying video clips into four affective categories representing the four quadrants of the Valence-Arousal (VA) space.