As mobile video consumption skyrockets, the medium has become a hotbed for innovation in ad formats. The number of worldwide mobile video views should nearly triple from 108 billion last year to 280 billion this year, according to Strategy Analytics.
Mirroring the growth, video ad network YuMe has rolled out a new mobile video format that allows for additional interactive enhancements in mobile video ads. The company also said it will now enable tablet-only campaigns for marketers to take advantage of the boon in that venue.
The new mobile ad format is called YuMe Mobile Flip and it works on both Apple and Android devices, as well as tablets and phones. Elizabeth Arden, GlaxoSmithKline, and American Greetings have launched campaigns in the last week using the format that allows users to swipe or flip between two views of an ad or video, tap to receive more information, or even to place an order via the mobile ad. The Elizabeth Arden spot allows viewers to watch more videos or locate a store, while the GlaxoSmithKline ad for Tums provides options for coupons.
“It’s not just a static impression or a single pre-roll, but the chance for brands to get higher interaction and engagement rates,” said Ed Haslam, senior VP marketing at YuMe.
YuMe has seen increases in brand lift when marketers apportion some of a TV budget to online video, and expects mobile video units to also boost brand awareness for multiplatform campaigns. “With a campaign that leverages both platforms, from a brand recall standpoint, we’re seeing at least 35 percent increase, and from a message recall standpoint, we’re seeing a 44 to 45 percent increase over single-platform ads such as TV alone,” Haslam said.
Haslam added that six months ago about 1% to 3% of total impressions on the YuMe network were for mobile video. Now that figure is closer to 5% to 10%.
From mediapost
This blog introduces audio/video information, provide you solutions for formats problem.
Showing posts with label Video. Show all posts
Showing posts with label Video. Show all posts
Wednesday, August 1, 2012
Tuesday, July 31, 2012
Top 5 80s' Cartoons
If you grew up watching cartoons during the eighties then you’ve no doubt noticed how some of that period’s most beloved shows are now being turned into Hollywood blockbusters. What with the sequel to the Transformers movie and GI Joe coming to theaters soon, and Thundercats and Voltron just looming over the horizon, those of us who’re wetting our pants in anticipation will have more than enough to aid in our reversion to childhood. So then how about those other shows that were on during that same timeframe? You know, all the derivative copycat cartoons that jumped on the bandwagon of existing for the sole purpose of selling toys? Not ringing any bells? Maybe this list will jog your memory then.
5. M.A.S.K
Starting the countdown is everyone’s favorite, M.A.S.K. This show had
absolutely nothing to do with the 1985 film of the same name starring
Cher. Instead it was about a group of highly specialized Special
Operatives who wore masks designed to interface with their respective
vehicles. M.A.S.K. stood for Mobile Armor Strike Kommand (this was way
before Mortal Kombat popularized the whole ‘K’ thing), and the main
antagonists of the series was the terrorist group known as V.E.N.O.M
(Viscious Evil Network of Mayhem, and yes it’s okay to laugh). Doesn’t
sound terribly original does it? Well that was kind of the point since
the show existed for the sole purpose of selling toys to directly
compete with the likes of GI Joe and Transformers. That’s not to say I
didn’t enjoy it when it came on, especially since it had a flying
DeLorean in it. Now who doesn’t like that?4. Challenge of the Gobots
Following closely behind is this blatant Transformers rip-off. Or was it? The interesting thing to note about the Gobots is that they started life out as a Japanese toy line called Machine Robo which was originally released in 1982. Tonka imported the toy line and rebranded it as The Gobots. The animated show debuted in 1984 which was the same year the Transformers show came out. So no, they’re not exactly a rip-off, per se. Unless of course you consider the fact that Transformers was based on another Japanese toy line which appeared in the seventies…whoa, I’m dizzy. So why did this show fail miserably? That’s a rhetorical question of course and the answer is obvious. No sex appeal. But no seriously, the ‘female’ Gobots looked just the ‘male’ ones, only they chicks had lipstick and eye shadow on. But no boobs, go figure. Anyway, moving right along…
3. Silverhawks
Brought to us by the same folks that gave us the wonderful Thundercats, this cartoon had it all. The intrepid team made up of an ecclectic array of colorful characters, the dark and menacing threat to the galaxy, a killer intro sequence with better animation than the actual show…except for one thing. It was basically Thundercats with a new paint job. Don’t believe me? Check this out. Six members of a team travel out to the far reaches of the galaxy and are faced with a foe that has the ability to shapeshift into something very powerful. That enemy has a ragtag assortment of bumbling henchmen who prove useless from time to time. The team of good guys has a leader whom they all look up to, and there is of course the one token lady that’s smoking hot. So which show was I talking about? If you guess both then you get a prize…well, I guess you really don’t, sorry.
2. Visionaries: Knights of the Magical Light
Heck of a title huh? I gotta say this show struck the right chords with me for some reason and I was very disappointed that it was swiftly cancelled. The premise was just really cool. The planet of Prysmos enjoyed a thriving technological age for thousands of years, until one day the realignment of the three suns spelled the end of that era. So ended the age of technology and thus began the age of magic. Pretty cool so far right? It gets better. In this dark time mankind went through a medieval period and soon there emerged two factions of warring knights. The wizard Merklyn tired of these constant skirmishes and sought to end them by granting certain member of each faction the powers of animals. Animals such as lions, bears, gorillas, sharks, and each of them could transform into these animals at will. Well, it didn’t last, but did anyone notice anything here? A cosmic realignment causing technology to no longer function? Isn’t that what’s supposed to happen in 2012? Of course I don’t go for that junk, but it’s still a hell of a concept for a cartoon show for kids in any case.
1. The Spiral Zone
Yeah baby, this is the one, because earth’s most powerful soldiers are earth’s last chance against the Spiral Zone! Sorry, I got a bit carried away there but I totally dug this show in just about every way. So what’s it about then? Well, this crazy scientist who calls himself the Overlord decides to drop these Zone Generators across the globe which essentially had the power to turn anybody in their vicinity into zombies. The Zone Riders, a group of 5 soldiers from all over the world were called to the rescue and they were all completely badass. I mean, with names like Colonel Dirk Courage you’d think these guys would be capable of delivering the pain. The bad guys were of course the usual set of bumbling fools, but not as comically overt as in some of the other shows. In fact, Spiral Zone was unique in that it actually tried to present each episode in a relatively realistic manner, and the sense of dread and real danger helped to bolster the viewers enthusiasm. I really liked how unsettling it was to see innocent people turned into zombies, and my relief was palpable when another section of earth was freed from the Zone Generators. This was a real gem, too bad it ended up on the way side.
From beyondhollywood
Monday, July 30, 2012
How to Make Your YouTube Video a Hit?
Do you like sharing videos with others thorough YouTube? Do you want to make it more popular? There are many videos or articles about how to make your videos popular, I picked up 2 of them from YouTube. Useful or not, you can check it out yourself.
Next is from David Spates, he gives you a couple of tips on how to make a youtube hit video and be more popular on youtube.
Maybe you can try some of the tips to make your videos popular.
Videos from YouTube
Videos from YouTube
Sunday, July 29, 2012
Which Video Format Advertise the Best?
Online video advertising is growing strongly with Forrester predicting U.S. online video ad spend will reach $5.4 billion by 2016 (from $2.0 billion in 2011). The increase in video advertising is substantially outpacing current online ad spending growth by 37%. With all of that money being spent, successful Advertisers will look for video formats that provide the highest ROI. What is the video format that gives you the greatest bang for the buck? Evidence clearly points to Interactive Video (VPAID - Video Player-Ad Interface Definition) over Non-Interactive Video (VAST – Video Ad Serving Template).
Tuesday, July 17, 2012
Why Apple Win the Mobile Video Format War
The mobile video space has begun to consolidate. In early November 2011, Adobe announced it would stop developing its Flash Player for mobile devices (read: Android). Going forward, HTML5 will be the only method to play back video on mobile phones and tablets.
This is a big win for Apple, the company to most strongly oppose Flash over the last few years. The company is indeed beginning to dictate the industry’s future. In addition to defeating Flash in the battle for video playback, Apple continues to innovate with its H.264 codec, since WebM is still nowhere to be found.
The company has also taken the lead in video streaming. Apple’s homegrown streaming protocol, HTTP Live Streaming (HLS), has always been the one and only way to stream content to iDevices. Now, due to the popularity of iOS, many tool vendors and even competing platforms are starting to support it too.
Playback and Encoding
According to Adobe, Android 4 (Ice Cream Sandwich) will be the last mobile platform to use a Flash plugin. The OS is launching without one, though. Given Flash’s terrible track record with mobile, it wouldn’t be surprising if it never arrives. Therefore, video publishers should ensure their Android video works in HTML5.
In terms of encoding, the H.264 codec is baked into the CPU of every single mobile phone today, while WebM is still confined to a software-only (and non-HTML5) implementation on some Android devices. Google is working on hardware, but the path from reference designs to phone integration, and eventually market share, is a long one.
Until WebM hardware decoding is supported by a decent slice of mobile devices, video publishers will continue to focus on H.264. Seeing this, Google continues to support H264 in Chrome, despite announcing that it would drop it almost a year ago. For all intents and purposes, H.264 is the baseline codec for HTML5 video at present.
The Apple Standard
For the foreseeable future, we’ll watch our mobile video the Apple way: HTML5 embedded, H.264 encoded and HLS streamed. Any platform seeking broad support for quality video (Windows Phone?) must implement HLS. And any publisher seeking mobile viewers must encode in H.264, embed using HTML5 and stream using HLS.
Is this a bad thing? Quite the contrary. The alternative is fragmentation: multiple plugins, multiple codecs and multiple protocols. This is an annoyance for large media corporations; it increases their development and delivery costs. However, it’s disastrous for smaller video publishers, since the companies lack the resources to build and support multi-platform video delivery. Ultimately, that is a detriment to mobile video. Like the web in general, mobile video thrives on broad availability of a wide variety of content.
A more open set of standards (WebM and DASH) should come in time. For now though, Apple is the standard.
from mashable
This is a big win for Apple, the company to most strongly oppose Flash over the last few years. The company is indeed beginning to dictate the industry’s future. In addition to defeating Flash in the battle for video playback, Apple continues to innovate with its H.264 codec, since WebM is still nowhere to be found.
The company has also taken the lead in video streaming. Apple’s homegrown streaming protocol, HTTP Live Streaming (HLS), has always been the one and only way to stream content to iDevices. Now, due to the popularity of iOS, many tool vendors and even competing platforms are starting to support it too.
Playback and Encoding
According to Adobe, Android 4 (Ice Cream Sandwich) will be the last mobile platform to use a Flash plugin. The OS is launching without one, though. Given Flash’s terrible track record with mobile, it wouldn’t be surprising if it never arrives. Therefore, video publishers should ensure their Android video works in HTML5.
In terms of encoding, the H.264 codec is baked into the CPU of every single mobile phone today, while WebM is still confined to a software-only (and non-HTML5) implementation on some Android devices. Google is working on hardware, but the path from reference designs to phone integration, and eventually market share, is a long one.
Until WebM hardware decoding is supported by a decent slice of mobile devices, video publishers will continue to focus on H.264. Seeing this, Google continues to support H264 in Chrome, despite announcing that it would drop it almost a year ago. For all intents and purposes, H.264 is the baseline codec for HTML5 video at present.
The Apple Standard
For the foreseeable future, we’ll watch our mobile video the Apple way: HTML5 embedded, H.264 encoded and HLS streamed. Any platform seeking broad support for quality video (Windows Phone?) must implement HLS. And any publisher seeking mobile viewers must encode in H.264, embed using HTML5 and stream using HLS.
Is this a bad thing? Quite the contrary. The alternative is fragmentation: multiple plugins, multiple codecs and multiple protocols. This is an annoyance for large media corporations; it increases their development and delivery costs. However, it’s disastrous for smaller video publishers, since the companies lack the resources to build and support multi-platform video delivery. Ultimately, that is a detriment to mobile video. Like the web in general, mobile video thrives on broad availability of a wide variety of content.
A more open set of standards (WebM and DASH) should come in time. For now though, Apple is the standard.
from mashable
Monday, July 16, 2012
Spain's Sanchez Took Stage 14
From youtube
Tuesday, July 10, 2012
Is Xvid a Video Format?
Xvid (formerly "XviD") is a video codec library following the MPEG-4 standard, specifically MPEG-4 Part 2 Advanced Simple Profile (ASP). It uses ASP features such as b-frames, global and quarter pixel motion compensation, lumi masking, trellis quantization, and H.263, MPEG and custom quantization matrices.
Xvid is a primary competitor of the DivX Pro Codec. In contrast with the DivX codec, which is proprietary software developed by DivX, Inc., Xvid is free software distributed under the terms of the GNU General Public License. This also means that unlike the DivX codec, which is only available for a limited number of platforms, Xvid can be used on all platforms and operating systems for which the source code can be compiled. (from wikipedia)
From the above information according to wikipedia, XviD is not a video format. Since XviD uses MPEG-4 Advanced Simple Profile (ASP) compression, any video that is encoded with it is termed “MPEG-4 ASP video” – not “XviD video” – and can therefore be decoded with all MPEG-4 ASP compliant decoders. This includes a large number of media players and decoders, in particular all the ones based on the free/open source libavcodec library from FFmpeg.
Xvid is a primary competitor of the DivX Pro Codec. In contrast with the DivX codec, which is proprietary software developed by DivX, Inc., Xvid is free software distributed under the terms of the GNU General Public License. This also means that unlike the DivX codec, which is only available for a limited number of platforms, Xvid can be used on all platforms and operating systems for which the source code can be compiled. (from wikipedia)
From the above information according to wikipedia, XviD is not a video format. Since XviD uses MPEG-4 Advanced Simple Profile (ASP) compression, any video that is encoded with it is termed “MPEG-4 ASP video” – not “XviD video” – and can therefore be decoded with all MPEG-4 ASP compliant decoders. This includes a large number of media players and decoders, in particular all the ones based on the free/open source libavcodec library from FFmpeg.
Monday, July 9, 2012
Video Formats and other Specifications
Sunday, July 8, 2012
Best Video Formats for Youtube
The video formats shown
below are all supported by Youtube.
Windows Media Video (.WMV)
3GP (Cell Phones)
AVI (Windows)
MOV (mac)
MP4 (iPod/PSP)
MPEG
FLV (Adobe Flash)
SWF (Shockwave Flash)
MKV (h.264)
Theora
DivX
We have found out the following settings give the best uploading results on Youtube. Here's a summary of the audio and video specifications you will need if you want to get the best format for Youtube uploading.
Best format for YouTube: H.264, MPEG-2 or MPEG-4
Aspect Ratio: Native aspect ratio without letterboxing (examples: 4:3, 16:9)
Resolution: 640x360 (16:9) or 480x360 (4:3) recommended
Audio format: MP3 or AAC preferred
Frames per second: 30
Maximum length: 10 minutes (we recommend 2-3 minutes)
Maximum file size: 2 GB
Windows Media Video (.WMV)
3GP (Cell Phones)
AVI (Windows)
MOV (mac)
MP4 (iPod/PSP)
MPEG
FLV (Adobe Flash)
SWF (Shockwave Flash)
MKV (h.264)
Theora
DivX
We have found out the following settings give the best uploading results on Youtube. Here's a summary of the audio and video specifications you will need if you want to get the best format for Youtube uploading.
Best format for YouTube: H.264, MPEG-2 or MPEG-4
Aspect Ratio: Native aspect ratio without letterboxing (examples: 4:3, 16:9)
Resolution: 640x360 (16:9) or 480x360 (4:3) recommended
Audio format: MP3 or AAC preferred
Frames per second: 30
Maximum length: 10 minutes (we recommend 2-3 minutes)
Maximum file size: 2 GB
Thursday, July 5, 2012
Video Formats Choosing
Digital video can have a dramatic impact upon the user. It can
reflect information that is difficult to describe in words alone,
and can be used within an interactive learning process. This
document contains guidelines to best practice when manipulating
video. When considering the recording of digital video, the
digitiser should be aware of the influence of file format,
bit-depth, bit-rate and frame size upon the quality of the resulting video.
Digital video consists of a series of images played in rapid succession to create the illusion of movement. It is commonly accompanied by an audio track. Unlike graphics and sound that are relatively small in size, video data can be hundreds of megabytes, or even gigabytes, in size.
The visual and audio information are individually stored within a digital 'wrapper' an umbrella structure consisting of the video and audio data, as well as information to playback and resynchronise the data.
The provision of video data for an Internet-based audience places specific restrictions upon the content. Quality of the video output is dependent upon three factors:
Digital video consists of a series of images played in rapid succession to create the illusion of movement. It is commonly accompanied by an audio track. Unlike graphics and sound that are relatively small in size, video data can be hundreds of megabytes, or even gigabytes, in size.
The visual and audio information are individually stored within a digital 'wrapper' an umbrella structure consisting of the video and audio data, as well as information to playback and resynchronise the data.
The provision of video data for an Internet-based audience places specific restrictions upon the content. Quality of the video output is dependent upon three factors:
- Frame size - the height and width of the video window according to the number of pixels. Higher resolutions produce an equivalent increase in file size and require a greater amount of bandwidth to download.
- Frame rate - The number of frames per second. Video encoded at a low frame rate (particularly below 15 frames per second) will appear jerky and unprofessional to the eye.
- Bit Depth - determines the number of colours that will be used to view the movie. The balance between image quality and file size should be considered.
Information about 3GP and 3G2 Video Formats
3GP (3GPP file format) is a multimedia container format defined by the Third Generation Partnership Project (3GPP) for 3G UMTS multimedia services. It is used on 3G mobile phones but can also be played on some 2G and 4G phones.
3G2 (3GPP2 file format) is a multimedia container format defined by the 3GPP2 for 3G CDMA2000 multimedia services. It is very similar to the 3GP file format, but has some extensions and limitations in comparison to 3GP.
3GP is defined in the ETSI 3GPP technical specification.3GP is a required file format for video and associated speech/audio media types and timed text in ETSI 3GPP technical specifications for IP Multimedia Subsystem (IMS), Multimedia Messaging Service (MMS), Multimedia Broadcast/Multicast Service (MBMS) and Transparent end-to-end Packet-switched Streaming Service (PSS).
3G2 is defined in the 3GPP2 technical specification.
From wikipedia
3G2 (3GPP2 file format) is a multimedia container format defined by the 3GPP2 for 3G CDMA2000 multimedia services. It is very similar to the 3GP file format, but has some extensions and limitations in comparison to 3GP.
3GP is defined in the ETSI 3GPP technical specification.3GP is a required file format for video and associated speech/audio media types and timed text in ETSI 3GPP technical specifications for IP Multimedia Subsystem (IMS), Multimedia Messaging Service (MMS), Multimedia Broadcast/Multicast Service (MBMS) and Transparent end-to-end Packet-switched Streaming Service (PSS).
3G2 is defined in the 3GPP2 technical specification.
From wikipedia
Wednesday, July 4, 2012
Video of London 2012 Olympic Film
from youtube
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