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SEO: The YouTube Ranking Factors [Infographic]

SEO: The YouTube Ranking Factors [Infographic] | Big Media (En & Fr) | Scoop.it
YouTube is the second largest search engine in the world. What factors play a role in order to be listed in the top results of the youTube search? Nowaday

Via Robin Good
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Pedro Barbosa's curator insight, February 3, 2013 4:16 AM

Pedro Barbosa | www.pbarbvosa.com | www.harvardtrends.com

Pallab Kakoti's comment, March 4, 2013 2:36 PM
simply WOW stuff!!
Paula Arenas's curator insight, March 5, 2013 1:11 AM

la fórmula sigue siendo un misterio, pero todo ayuda

Big Media (En & Fr)
Connecting Media, Audience and Advertsing with Data. How media companies can benefit from Big Data, Open Data , Linked Data, Small Data to value their assets, improve their audience satisfaction and better monetize their inventories
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First BIG MEDIA event Connecting Media, Audience and Advertising with data in Madrid this June

First BIG MEDIA event Connecting Media, Audience and Advertising with data in Madrid this June | Big Media (En & Fr) | Scoop.it

Connecting Media, Audience and Advertising with Data

24 June 2014 – UAM Madrid

150 professionals / 30 speakers

keynotes / round tables / user cases / networking

  

Digitalization has positioned data in the center of the audiovisual media ecosystem.

A better control of content combined with a better understanding of the audience already enables to back up editorial decisions. It opens opportunities to offer more relevant content and more personalized experiences adapted to multi-device and contextual environment.

For publishers, how to efficiently leverage data has turned into a strategic question and became a new key to power its editorial, marketing and sales activities.

Good use of data enables to structure catalogues, reinforce the value of its assets, better know its audience and monetize its inventories thanks to new tools. When it is well controlled it can lead to find new audiences and open ways to diversification.

 

How Big, Small, Open and Linked Data can transform media contents into structured, rich and actionable knowledge?

How data help to connect audience with relevant content and drive the entertainment experience?

How business intelligence and real time analytic open doors for advanced advertizing solutions and new business opportunities for content owners and mediabrands?

 

On the 24th of June in Madrid, 150 professionals with 30 experts will explore those questions via practical cases, inspiring keynotes and debates.

In parallel, workshops will allow to better understand the practical operations of professional solutions critical for the success of Big Media.


More info : www.bigmediaconnect.es


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What's Behind Big Media's Big TV Push Into Europe

What's Behind Big Media's Big TV Push Into Europe | Big Media (En & Fr) | Scoop.it

Viacom, Fox and Discovery swoop across the Atlantic for megadeals as regulation-laden China presents more "ongoing risk"

Old Europe has an image problem. Its economies, in contrast to the boom territories of China and India, are seen as sluggish, its population aging and growth slim to nonexistent.

Well, forget what you've heard. When it comes to the global TV business, studios are looking to Europe for the next gold rush. The past year has seen a flood of billion-dollar deals as U.S. congloms snatch up European TV assets.

Discovery Communications paid $1.7 billion for Scandinavian channel group SBS Nordic and picked up sports network Eurosport International in a deal that valued Eurosport at $1.2 billion. It then teamed with John Malone's Liberty Global in a $930 million deal to buy U.K. production group All3Media. Separately, Discovery also acquired London-based independent producer Raw, the company behind its hit Gold Rush.

 

Further, AMC Networks this year completed its $1 billion acquisition of Chellomedia, a digital TV group that reaches nearly 400 million European households. Viacom carried out its biggest acquisition since its 2006 split from CBS Corp., putting up $725 million to acquire British network Channel 5, makingSumner Redstone's conglomerate the first U.S. company to own a British free-to-air broadcaster. Warner Bros. in June spent $273 million buying Dutch reality TV producer Eyeworks. Netflix in September carried out its biggest international expansion, launching in six new European countries. 21st Century Fox and Apollo Global Management just completed a megadeal to combine Europe's Endemol and Shine Group with Core Media Group to form the world's largest independent TV production company.

Dee Forbes, president of Discovery's Western European operations, calls the region "a sleeping giant." It's not just that the economies are starting to bounce back after the 2008 crash: While the U.S. TV market seems sated, Europe has room to grow. European digital TV and VOD services are "years behind where the U.S. is, so there is still ample room to increase pay TV penetration rates but also to really monetize the subs that are there today," says analyst Tony Wible. "Europe is a logical way to accelerate your overall growth and become less dependent on the U.S. ad market."

 

And, notes PwC global media and entertainment analyst Marcel Fenez, Europe has an advantage over more-hyped territories like China because of its clear legal structure with comparably little regulation (France's bureaucratic system aside). "There are organizations that have put a lot of money in [China] and failed," says Fenez. "Time Warner and Turner had a couple of ventures that didn't turn out well, and in China, there is this ongoing risk that there will be more regulations."


Via Virginie Colnel
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Why the future of news is software

Why the future of news is software | Big Media (En & Fr) | Scoop.it

Newsrooms and journalists are not in the content business. Rather, they are in the information business and the sooner we embrace that fact, the better.

Last week I was having a beer in Dublin with Gerard Ryle, the head of the International Consortium of Investigative Journalists (ICIJ). Over the past two years they have broken enormous global stories: Offshore Leaks and China Leaks.

Gerard had just given a speech, talking about how journalism - and by extension investigative journalism - was in fact in its infancy. The future, he predicted, would be far better than the past. It was refreshing to hear someone from the news industry to be so positive about the future.

One thing we discussed in detail afterwards (as is often the case among hacks) was the future of the news industry, and how it might be financed. Philanthropy gets you so far we agreed, but funds and momentum can often run out. So I turned the conversation to “products”.

Information, I argued, was the raw material of journalism. All functions of journalism relate to three core principles — information gathering, information analysis, and the distribution of the results of that process.

Today, the primary focus of journalism conferences and newsrooms is often on the last bit — how do we get more people reading our fabulous and expensive content, and how do we sell more ads against that content? (Where content is defined as one result of the first two stages, distributed through any medium, such as a news story).

Paywalls, leaky paywalls, soft paywalls, registration walls and so on all makeone huge product assumption — that the content being produced today is already by its nature valuable — that the human-fuelled news gathering process is already efficient at getting nuggets, getting scoops, breaking stories, gaining insight and providing analysis; that the skills and tools of journalists are already sufficient at producing compelling content; that there is nothing that can be improved in the actual human labour of journalism.

This is simply not the case.

Instead of focussing on how to get more content in front of more people, and selling more ads against that content, journalism should be focussing on the other two steps in the process.

Many of you might be thinking — oh here comes another “data journalism and visualisation will save us” post. No. I started on data journalism in 2009. That’s five years ago. It’s been around as a skill in one form or another for decades.

But here is the next step, and one that I believe is coming whether you like it or not: data journalism and the skills associated with it lead naturally to an evolution: to software products. After all software in some ways is just more sophisticated and systemised data gathering (scraping etc), and analysis (Excel etc). We need to build software that does as many of the mundane tasks in gathering and parsing information as possible, and let the humans focus on the things humans are good at. And we need to sell those tools.

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The transformation of USA Radio by Larry Rosin EDISON RESEARCH Keynote @ Radio 2.0 Paris 2014 - YouTube

Présentation donnée par Larry Rosin, Co-founder et Président de Edison Research, aux IV Rencontres Radio 2.0 Paris, le 13 octobre 2014 dans le prestigieux Studio 105 de la Maison de la Radio de Radio France.


Vidéo réalisée par Broadcast Associés : http://www.broadcast-associes.com/


Info : www.RR20.fr


Pour rester informé, suivez-nous sur :
- Facebook : Radio 2.0 Paris
- Twitter : @Radio_20 #rr20
- LinkedIn : Radio 2.0

Organisateurs : Nicolas Moulard / Actuonda, Xavier Filliol / Editions de l'Octet, Radio France, Ina Expert

Partenaires :
- Partenaires Platinum : Mediametrie, Limelight
- Autres Partenaires : Music Story, Triton Digital, Targetspot, RCS, Spotify, Netia, Deezer, Kantar
- Partenaires Média : La Lettre Pro de la Radio, RadioPub, Media +, Edition Multimedia, Satellinet, French Web
- La Radio des Rencontres : Broadcast Associés, Radioline
Avec le soutien du Ministère de la Culture et de la Communication, Geste, ESML, Syrol, Sacem, UDA-Union des Annonceurs, IRMA, Salon de la Radio, URTI

Membres du Comité de Pilotage : Actuonda, Broadcast Associés, Deezer, Editions de l’Octet, Havas Media, INA, IndésRadio, irma, Kantar Media, Ministère de la Culture et de la Communication, MédiaMétrie, Orange, Radio France, Radioline, RFI, RTL, Sacem , Spotify Targetspot , Triton Digital, UDA-Union des Annonceurs, Warner Music France.

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Aurore Domont : « La data est partout… mais l’or noir, c’est le contenu » - YouTube

TheMediaShaker était partenaire du HubForum qui s’est tenu les 8 et 9 octobre derniers à Paris pour une série de conférences qui ont rassemblé les décideurs du monde du digital. A cette occasion, nous avons rencontré Aurore Domont, Présidente de FigaroMedias, à l’issue de la conférence « Data : arme ultime de l’efficacité publicitaire ? ».

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Journaux : 3 conseils du co-fondateur de Blendle l'iTunes de la presse | CFJ - MetaMedia

Journaux : 3 conseils du co-fondateur de Blendle l'iTunes de la presse | CFJ - MetaMedia | Big Media (En & Fr) | Scoop.it

Par Barbara Chazelle, France Télévisions, Directions Stratégie et Prospective


« Les jeunes ne veulent pas payer pour de l’info. Mais il y a 10 ans, on disait pareil pour la musique ! », a rappelé Marten Blankesteijn, co-fondateur deBlendle, invité cette semaine par le CFJ pour sa leçon inaugurale. Aujourd’hui, les jeunes paient $ 10 par mois pour Spotify alors qu’on trouve de la musique gratuite sur YouTube. 

Blendle, c’est la start-up news de la rentrée en Europe. Souvent décrite comme l’ « iTunes de la presse », le modèle de la plateforme néerlandaise, soulève de grands espoirs dans le monde de la presse.


1. Etre fun et aussi simple que de payer une appli

2. Les marques restent importantes

3. Mais besoin d’un meilleur journalisme

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PMP Medios, nueva plataforma de publicidad RTB de Vocento, Prisa, Unidad Editorial y Grupo Godó

PMP Medios, nueva plataforma de publicidad RTB de Vocento, Prisa, Unidad Editorial y Grupo Godó | Big Media (En & Fr) | Scoop.it

Los grupos editoriales españoles, VocentoPrisaUnidad Editorial y Godó han lanzado en colaboración con otros medios digitales una nueva plataforma de venta programática de publicidad en tiempo real destinada para medios de comunicación.

Bajo el nombre de PMP Medios nace este proyecto que pretende dar respuesta a la creciente demanda que se está experimentando en el mercado publicitario en relación al modelo de compra automática de espacios publicitarios.

Este proyecto ofrece más de 50 webs pertenecientes a los principales editores españoles lo que supone una cobertura del 92% la audiencia de toda la información digital (más de 17.605.000 lectores).

- See more at: http://www.marketingdirecto.com/actualidad/publicidad/pmp-medios-nueva-plataforma-de-publicidad-rtb-de-vocento-prisa-unidad-editorial-y-grupo-godo/#sthash.b9OFIDsk.dpuf


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The future relationships between DVR, nDVR and TVoD

The future relationships between DVR, nDVR and TVoD | Big Media (En & Fr) | Scoop.it

Network DVR is coming but most observers predict that the in-home DVR will survive for many years and some are predicting that the local hard drive will continue to provide an essential cache for the near-live time-shifting (like rewind 30 seconds, rewind 30 minutes) that accounts for a notable part of our non-linear viewing. DVR and nDVR will become less distinct, as concepts, and more of a technology continuum. Over time, many consumers will neither notice or care about the technical differences.


Via Bruno Renkin
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Musique et streaming (infographie) - Vous et la musique - UFC-Que Choisir

Musique et streaming (infographie) - Vous et la musique - UFC-Que Choisir | Big Media (En & Fr) | Scoop.it

Quel genre de musique écoutez-vous, à quelle fréquence, sur quel appareil ? Comment découvrez-vous de nouveaux artistes ? Connaissez-vous le streaming...


Via Yvan Boudillet
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ajouter votre point de vue ...

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Figaro: nous sommes devenus une véritable régie plurimédias

Figaro: nous sommes devenus une véritable régie plurimédias | Big Media (En & Fr) | Scoop.it

Les marchés des médias et de la publicité vivent une véritable révolution avec la convergence des différents supports et la multiplication des offres digitales. La mue opérée par le quotidien Libération, qui ne peut plus vivre grâce au seul papier, a été entamée plus tôt par de nombreux autres journaux. Depuis quelques années, le groupe Figaro est en constante évolution et a très largement étendu sa marque sur le digital, la vidéo et la mobilité. La régie publicitaire du Figaroa accompagné cette mutation.

Arrivée il y a un an à sa tête, Aurore Domont, présidente deFigaro Medias, a profondément bouleversé son organisation avec une conviction: «Les régies publicitaires doivent accélérer leur mutation et proposer autre chose que de la vente d'espace publicitaire aux agences média, aux agences de publicité et aux annonceurs. Elles doivent renouveler leur discours et leurs promesses: l'objectif est de créer de l'engagement, de la relation, du trafic pour recréer de la valeur.»

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Sport and Second Screen Consumption

Sport and Second Screen Consumption | Big Media (En & Fr) | Scoop.it

As millions of sports fans around the world sit down to watch sporting events every week, be sure that their smart phones, laptops, and tablets are not far from reach. More and more eyeballs are being diverted to these devices while watching sport. During breaks in action fans are sure to be checking social media feeds, getting the latest stats and analysis, chatting with friends, searching for relevant information, or checking on their fantasy team. This is the second screen effect.


As a recent article by Google (Sports Fans and the Second Screen, 2014) reports, 77% of us now watch TV with a laptop, phone or tablet nearby. Collective moments such as big televised sporting events are prime second screen territory. To see this shift in attention we can look at the difference between the 2010 FIFA World Cup and the 2014 UEFA Champions League final match. During the 2010 World Cup about 18% of searches for games, players and teams occurred on mobile devices. In the 2014 UEFA Champions League match, an impressive 63% of those searches were on mobile. What is also of importance is that consumers are much more likely to be searching during the game rather than after the final whistle (which was much more common in past years). This means that brands can connect with consumers in real time, when they are most engaged.


Motivations for Second Screen Consumption:

Google also went into fans natural viewing habitats to understand their motivations to use second screen devices and applications. You can find the full report here. The following is a summary of their findings:

Sport fans can be divided into three categories based on their motivations to use second screen devices
and applications.

  1. Sharing the Rush – these fans want to feel the roar of the crowd in real time. Second-screening is about immediate social connection and validation—feeling the adrenaline of the crowd and speaking their mind. Recommendations for this group include:
    • Give fans at home ways to participate in the energy and rituals
      of the stadium.
    • Make fan-to-fan communication more dynamic and visual.

     

  2. Social Broadcasting- These fans want to push entertaining and inspirational content out to their network. They want cool content to be easily accessible and at their fingertips. Recommendations for this group include:
    • Make cool, credible content easy to access. Make interactions quick, and sharing seamless.
    • Plan ahead. Identify possible scenarios and create content that can be tweaked on the fly and quickly delivered when the time comes.

     

  3. Searching for a Common Language – These fans are looking for stats and info to be armed with information for social situations. This info can help them fit in at work or with sport savvy friends. Recommendations for this group include
    • Make it easy to find and collect snackable facts, stats and trivia.
    • Partner with creators and influencers to surface relevant info in
      engaging ways.
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The Toad Stool by Alan Wolk: The Spotifyization of Television: Towards A Newer, Better Business Model

The Toad Stool by Alan Wolk: The Spotifyization of Television: Towards A Newer, Better Business Model | Big Media (En & Fr) | Scoop.it

In the broad curve of technological change, the music industry has, for better and for worse, always been a few years ahead of the television industry. And while the very different business models between the two industries translates to very different disruption models, if you want to see where the future of television will net out, you need to look no further than Spotify. 

Spotify provides the answer to the question as to how we’re going to be watching TV: will everything be on demand, with viewers sifting through a huge catalog of shows to find something to watch that night. Or will there still be linear TV, where all the viewer is required to do is hit the “on” button and sink back on the couch. 

The answer, judging from the success of Spotify and similar services, is both. 

Spotify works because it solves all of the various use case scenarios its audience might have. 

If you feel like listening to a specific song, Spotify lets you do that, even providing alternate and cover versions. 

Feel like listening to a playlist you’ve made yourself, the latter-day version of the mixtape? You can do that too. 

Have a friend with really great taste in music and want to listen to their playlists? All you need to do is subscribe— the latter day version of the gifted mixtape. 

And finally, if you just want someone else to take over the controls, Spotify provides a variety of curated “radio stations” either through the app or via third party providers like SoundCloud and Rolling Stone. 

How does this translate for television? 

So if we look at how this plays out in television, we’ll soon see a very similar array of options.

1. Video on Demand (VoD)
 If there’s a particular show or movie you want to watch, you’ll be able to do a quick search and call it up. This will also allow for binge viewing, as you’ll be able to watch an entire season at once or just the 4 episodes that you missed. VOD viewing can be a quick half hour surgical strike, or a long evening of catch-up— whatever suits your mood.

2. Playlists
  Viewers will have their own playlists of TV series they are in the midst of watching, movies they’ve flagged for future viewing and/or repeats of their favorite shows. These will function like music playlists - one show plays right after the next, so there’s no need to go back to the program guide after every episode. 

3. Curated Playlists
  These can be from friends or from professional curators and may be around a specific topic: best crime dramas, best of CSI, best of 90s sitcoms— the possibilities are endless. Viewers can watch the entire playlist at once or just work their way through the list one at a time. 

4. Linear Stations  
These will function similar to the “radio” stations on music services today and will in large part be curated by today’s cable and broadcast networks. They will have original, first-run content that’s aired at a specific day and time. Users will be able to personalize them by, say, emphasizing certain types of content (e.g. comedies), but some version of prime time will remain in effect because there’s still a lot of love for a shared communal live viewing experience beyond just news and sports. 

5. Personalized Linear Stations These will be the oft-cited “Pandora for TV” - the viewer inputs some of the shows or types of shows they like and an algorithm puts together a personalized linear station for them, a combination of live broadcast, VoD and non-broadcast video from alternative providers. Users will be able to set up linear stations for short-form content, long-form content or both. 

6. Personalized Accounts While Spotify’s pay service is still in its nascency, we can see the outlines of how a system works where users are charged according to the number of devices they wish to access and the number of individual users they want on each account. This is the wave of the future and while it may not result in any significant financial savings for consumers, it will (finally) enable the roll out of true TV Everywhere. 

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Understanding Programmatic Trading : An IAB Europe White Paper [pdf]

RTB (real time bidding) was a classical industry disruption in that it delivered a new way of buying and selling advertising that was effective in meeting the needs of a very specific market.
By broadening the offer of remnant inventory it drove revenue for publishers and by offering specific audience targeting it transformed the way advertisers think about  digital media. But as the technology has matured, Programmatic Trading has
become ever more capable. Today it is widely used in the performance and RTB marketplace, while making significant inroads to the bespoke deals done by buyers and sellers. It has been a commercial success for the entire ecosystem, which has
encouraged rapid and increasing adoption. However, despite the fact that its progress has been significant there are some issues that need to be resolved.
Programmatic Trading is being hindered by a lack of technical and commercial understanding in the advertising community. In IAB Europe’s research 12 with AppNexus and WARC, it was found that while the vast majority of media buyers are using Programmatic Trading almost a quarter do not have a good understanding of it.
For marketers, that number is considerably higher at almost two thirds. And while it’s true that marketers perhaps don’t need to know the ins and outs of the way in which media is bought; their lack of understanding limits their ability to see how paid media
complements other real time initiatives, how brands can be built at scale across mobile and social channels with clear and consistent feedback loops and how digital is now the most effective way to reach and engage specifically targeted audiences.
The research also shows significant levels of concern from publishers and advertisers alike that the buyer/seller relationship has become overly combative. This potential erosion of trust between all parties cannot be entirely offset by the efficiencies of Programmatic Trading. Instead, the technology needs to evolve to
enable better inventory discovery, more collaborative deals and greater consistency in the metrics and measures used to define and realise success.
At IAB Europe, we are working with the industry to educate and inform about the impact of Programmatic Trading and are building the objective criteria and standards that will shape the industry for the next five years.

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le futur du storytelling repose dans l’union entre contenu et technologie : Showmobile | Influencia

le futur du storytelling repose dans l’union entre contenu et technologie : Showmobile | Influencia | Big Media (En & Fr) | Scoop.it

Les marques regardent la jeunesse avec les yeux de Chimène pour Rodrigue. Seulement voilà, le « djeune » est volage et influençable. Il vogue de plates-formes en supports au grès des modes et tendances. Pour gagner la loyauté de la génération Z, Eric Foster White a créé ShowMobile, une nouvelle application mobile dont raffolent les ados.

Ancien producteur de musique expert en attrape midinettes -Britney Spears et les Backstreet Boys lui doivent en partie leur succès- le fondateur de ShowMobile base sa stratégie de développement sur une croyance : le futur du storytelling repose dans l’union entre contenu et technologie. En opérant à la fois comme une plate-forme et un studio, l’application produit et agrège. Son ambition ? Raconter des histoires sans le moindre temps mort sur les plates-formes préférées des jeunes. Ses terrains de divertissement ? YouTubeVineTwitter, InstagramTumblr et tous les autres médias sociaux signés d’un Z qui veut dire cyber ! Le contenu est en symbiose avec une application qui représente dans ce projet le flux principal pour diffuser l'information. Il est pensé et conçu avant tout pour une application ce qui fait de ShowMobiel une plate-forme unique dans son domaine.

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Guardian launches open-source data journalism tool

Guardian launches open-source data journalism tool | Big Media (En & Fr) | Scoop.it

Swarmize enables journalists to tell new, collaborative stories by making use of real-time data collection and visualisation...

The tool could also be used as a real time feedback clicker during a TV debate. Viewers could tap images on their smartphone to indicate their agreement with a certain speaker, and Swarmize would collect that data and visualise it.

Armitage said this could be used during live blogs on the website for example, or for in-depth analysis once the full transcripts of speeches becomes available.

He said he hoped Swarmize would not just provide an alternative to existing tools, but would inspire journalists to "tell new types of stories" by making data gathering more accessible.

It could also simplify the process of creating interactives, said McAlister, as journalists would no longer have to build specific databases to store data for each project.

McAlister said: "The kind of journalism that happens is affected by the tool that's being used to do it.

"And in this case, I think Google forms and Google spreadsheets as a combination has created a certain type of data journalism, and I think we've hit the upper limit of what's possible with that.

"What I'm hopeful is that we'll start to see better data journalism because the tools are moving along."

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Comment les sites médias mesureront-ils demain leur audience ? INA Global

Comment les sites médias mesureront-ils demain leur audience ? INA Global | Big Media (En & Fr) | Scoop.it
Alors qu’ils dépendent de la publicité, les médias en ligne imaginent déjà de nouveaux outils d'analyse pour comprendre leur audience et ses habitudes de consommation.


L'avenir de la mesure d'audience : la temporalité

Et pendant que les médias aiguisent leur connaissance du public, d’autres imaginent déjà l’avenir de la mesure d’audience. La temporalité, à savoir les intervalles de consultation des articles et le temps qui y est consacré, semble être au cœur de ces réflexions. Tony Haile estime que « comprendre, grâce à différents calculs et différents chiffres, le temps que les lecteurs passent à consommer à l’information, est un bon départ. » Chartbeat vient d’ailleurs de décider de rendre public ses méthodes de calcul d’audience afin d’encourager les médias à lever le voile sur leurs propres critères de mesure, souvent opaques. Eric Mettout, de L’Express, explique que l’enjeu est plus grand : « le but est de comprendre quel type de contenu le lecteur veut et surtout à quel moment il le veut. » Pour l’instant, l’internaute est une masse aux contours plus ou moins flous. On sait à quel moment il est le plus souvent connecté sur Internet, qu’il préfère du hardnews (économie, politique,…) sur le chemin du travail, du contenu plus léger le midi, du culturel le soir et des articles plus longs le week-end. Des études de lectorat sont régulièrement réalisées, mais impossible de connaître avec précision chaque internaute qui arrive sur un site. À l’avenir prédit Alice Antheaume, « on pourra anticiper la temporalité de chaque personne dans sa vie quotidienne et donc à quel moment elle a besoin de quoi. Quelqu'un qui travaille de nuit n'a pas les mêmes horaires de consultation que les autres, ajoute-t-elle, il faudra lui fournir les informations qu’il veut à ce moment-là. » Réussir à fournir à son lecteur l’information dont il a besoin tout en s’adaptant à son rythme de vie, c’est tout l’enjeu auquel devront répondre les rédactions. 
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Le mobile, en progression de +76%, dépasse le display classique aux USA selon le rapport Iab PwC - Offremedia

Le mobile, en progression de +76%, dépasse le display classique aux USA selon le rapport Iab PwC - Offremedia | Big Media (En & Fr) | Scoop.it
Le marché publicitaire digital atteint un sommet historique aux USA pour le 1er semestre 2014 avec 23,1 milliards de dollars de recettes selon le rapport IAB élaboré avec PwC. Cela représente une hausse de +15% par rapport au premier semestre 2013. Le mobile progresse de +76%, pour atteindre 5,3 milliards de dollars. Il représente désormais 23% du total digital. La vidéo progresse de 13%.
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Guardian forms new editorial teams to enhance digital output

Guardian forms new editorial teams to enhance digital output | Big Media (En & Fr) | Scoop.it
Visual journalism, data journalism and audience development teams are all being restructured under plans from new executive editor for digital Aron Pilhofer
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Keynote: Ted Sarandos, Netflix - MIPCOM 2014 [video]

Watch all the MIPCOM & MIPJunior 2014 conference videos here: http://ow.ly/CCTGS 

Ted Sarandos takes the MIPCOM stage for a keynote interview, to be conducted by Eric Scherer, Director Future Media, France Televisions.

Ted Sarandos has led content acquisition for Netflix since 2000 and is recognised in the industry as a key innovator in the acquisition, production and distribution of film and TV series.
Netflix, the world’s leading internet subscription service for TV shows and movies, has over 50 million members in more than 40 countries, who watch more than one billion hours of per month.
Netflix has a burgeoning slate of must-see original series, including “House of Cards”, “Lilyhammer”, “Hemlock Grove”, “Orange Is the New Black”, “The Killing”, the fourth season of “Arrested Development”, “Bojack Horseman” and, coming in December, “Marco Polo”.
Netflix just launched in France, Germany, Austria, Switzerland, Belgium and Luxembourg, giving broadband users in those countries access to a curated selection of Hollywood, local and global TV series and movies, whenever and wherever they like on TVs, tablets, phones, game consoles and computers.
Netflix is also available in the UK and Ireland, Denmark, Finland, Norway, Sweden and the Netherlands.

Keynote speaker:
Ted Sarandos, Chief Content Officer, Netflix
Interviewer:
Eric Scherer, Director of Future Media, France Televisions, France

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What’s next ? L’intelligence artificielle va transformer Internet

What’s next ? L’intelligence artificielle va transformer Internet | Big Media (En & Fr) | Scoop.it
Un conseil : pour entrevoir les technos de demain, suivez les capital-risqueurs ! Ils se bousculaient cette semaine à Boston à la conférence annuelle EmTech du MIT consacrée aux technologies émerge...
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Watching what happens: The New York Times is making a front-page bet on real-time aggregation

Watching what happens: The New York Times is making a front-page bet on real-time aggregation | Big Media (En & Fr) | Scoop.it
A new homepage feature called "Watching" offers readers a feed of headlines, tweets, and multimedia from around the web.


The rhythms of the homepage of NYTimes.com are by now familiar, even a little predictable. The core of its layout has been steady for almost a decade; regular readers have come to know how stories flow in and out of slots, mixing the day’s top news, timely features enjoying their minute in the sun, nods to the opinion section, and a breaking story or two. While the page might have live updates — say, if the fate of Scottish independence hangs in the balance — few would confuse it with the frenetic pace of a newsy Twitter stream.

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La publicité programmatique : le SEM d’aujourd’hui

La publicité programmatique : le SEM d’aujourd’hui | Big Media (En & Fr) | Scoop.it
A l'image du SEM, la publicité programmatique est en passe de devenir une spécialité. Une nouvelle vague d’entreprises a déjà émergé

Au début des années 2000, j’ai reçu un coup de fil d’une amie m’annonçant qu’elle dirigeait le service commercial du moteur de recherche Google au Royaume-Uni. Elle m’a présenté l’offre en quelques mots : des publicités courtes, uniquement du texte, ciblées par mots-clés. Avec le recul, et étant donné ce qui s’est passé depuis, j’aurais dû être séduit par le concept, mais cela n’a pas été le cas, j’ai même trouvé l’idée étrange. Impossible d’appliquer les règles que j’avais apprises en media planning sur la couverture démographique ou la fréquence, ni même la négociation puisque la vente se faisait aux enchères.


En savoir plus sur http://www.lesechos.fr/idees-debats/cercle/cercle-108860-la-publicite-programmatique-le-sem-daujourdhui-1042591.php?mZB2FmwejYwbxX6R.99

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#FAparis Culture : pour un big data créatif - live Orange blog

#FAparis Culture : pour un big data créatif - live Orange blog | Big Media (En & Fr) | Scoop.it
David Lacombled's point of view about big data and culture


Le big data. Des milliards de données et moi, et moi, et moi… Dans The Circle (Knopf), roman pas encore traduit en France, le romancier américain Dave Eggers montre vers quels paroxysmes le big data peut nous mener. À travers l’ascension irrésistible d’une jeune femme au sein de Circle – un ultra-géant du Net fusion entre Google, Facebook, Snapchat, et Twitter – il montre comment la transparence via les données sur nous-mêmes peut mener à une dictature – mix entre 1984 de Orwell et le Meilleur des Mondes de Huxley. Mais ce qu’il y a de glaçant dans ce roman c’est qu’il ne se déroule pas dans un futur lointain, mais dans un futur si proche qu’il ressemble à notre présent. C’est une dystopie au futur immédiat ou au quasi présent.

Ce roman fait écho à cette course au big data, la nouvelle ruée vers l’or pour les géants du Net, où les données, nos données, sont les pépites. C’est la ruée vers notre moi.

Une équation qui repose sur le principe que plus les marques collectent de données nous concernant, plus elles sont en mesure de proposer un ciblage publicitaire efficace.

Une évidence diront certains. Car il certain que notre trace numérique, fruit de nos pérégrinations sur la Toile donne des indications sur qui nous sommes et ce que nous consommons. Elle permettra d’éviter d’envoyer une demande assurance-retraite à un fan de One Direction, groupe dont raffolent les teenagers. Certes.

Mais cela restera toujours statique. Jusqu’à la caricature parfois : on connaît tellement bien votre envie de cuisine que l’on vous envoie un message publicitaire de la cuisine équipée que vous venez déjà d’installer, ou vos envies de voyages que l’on vous fait rêver avec une destination dont vous revenez !

Les données quelle que soit leur ampleur, bref même le big data le plus « big », échouera toujours à définir précisément, au-delà du périmètre de ce que nous consommons déjà, ce que nous désirons.

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Visiware opens second-screen creative development centre

Visiware opens second-screen creative development centre | Big Media (En & Fr) | Scoop.it

Visiware has cut the ribbon on a dedicated facility for second-screen creative development, dubbed Le Studio.

Le Studio is aimed at helping producers analyse, define and develop engaging interactive TV experiences on companion devices, from initial concept development and programme definition to technical analysis and sales development.

"Visiware can accelerate social TV and play-long game experiences for producers, helping them avoid common technical and content development mistakes," the company said. "Visiware's highly experienced technical and creative teams can help producers develop interactive designs with rapid mock-ups and precisely defined specifications."

"Whether you need data analysis, project management, user interface (UI) or user experience (UX) design support, or graphic design, Le Studio enables producers to conceptualize and build powerful second-screen experiences for their shows," said Colas Overkott, CEO of Visiware. "The motto of Le Studio is 'Improve on what is needed and remove what is not,' and we want to help producers reduce cycles in bringing synchronised TV, mobile, and Web experiences to users."

Visiware is offering a number of functions including the ability to integrate data from rich experiences to develop reliable interactive show components; create the user experience and show logic; validate technical feasibility; create social and gamification elements; build the UI and UX; build a free or pay-based companion app; and conduct testing on apps and show components.



Read more: Visiware opens second-screen creative development centre | Second Screen | News | Rapid TV News http://www.rapidtvnews.com/2014082735047/visiware-opens-second-screen-creative-development-centre.html#ixzz3C9fcUcNg

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Television must mine bigger data or risk being Netflixed

Television must mine bigger data or risk being Netflixed | Big Media (En & Fr) | Scoop.it
Figures relating to consumer habits fuel decisions across a growing range of industries – and it's time for TV to catch up

Via Bruno Renkin
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Yahoo Acquires Local Search App Zofari - Semanticweb.com

Yahoo Acquires Local Search App Zofari - Semanticweb.com | Big Media (En & Fr) | Scoop.it

Menchie Mendoza of TechTimes recently wrote, “Affectionately described as a ‘Pandora for places,’ Zofari’s acquisition seemed to have attracted less attention when the deal was announced last week. Zofari uses natural language processing, machine learning, and third party data to collect information that matches up the user with places which the user may find interesting. 

...

With inspiration coming from what Pandora did for music and what Netflix did for movies, the company believes that they have created a beautiful and powerful recommendation app that enables users to learn new places through previously made searches on familiar and personally liked restaurants, cafes and bars.”

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