In 2015, the gigabyte equivalent of all movies ever made will cross global IP networks every 5 minutes

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Cisco Visual Networking Index: Forecast and Methodology, 2010-2015  [Visual Networking Index] - Cisco Systems

Excerpt:

"Video Highlights

Global Internet video traffic surpassed global peer-to-peer (P2P) traffic in 2010, and by 2012 Internet video will account for over 50 percent of consumer Internet traffic.

As anticipated, as of 2010 P2P traffic is no longer the largest Internet traffic type, for the first time in 10 years. Internet video was 40 percent of consumer Internet traffic in 2010 and will reach 50 percent by year-end 2012.

It would take over 5 years to watch the amount of video that will cross global IP networks every second in 2015. Every second, 1 million minutes of video content will cross the network in 2015.

Internet video is now 40 percent of consumer Internet traffic, and will reach 62 percent by the end of 2015, not including the amount of video exchanged through P2P file sharing. The sum of all forms of video (TV, video on demand [VoD], Internet, and P2P) will continue to be approximately 90 percent of global consumer traffic by 2015.

Internet video to TV tripled in 2010. Internet video to TV will continue to grow at a rapid pace, increasing 17-fold by 2015. Internet video to TV will be over 16 percent of consumer Internet video traffic in 2015, up from 7 percent in 2010.

Video-on-demand traffic will triple by 2015. The amount of VoD traffic in 2015 will be equivalent to 3 billion DVDs per month.

High-definition video-on-demand will surpass standard definition by the end of 2011. By 2015, high-definition Internet video will comprise 77 percent of VoD.

Mobile Highlights

Globally, mobile data traffic will increase 26 times between 2010 and 2015. Mobile data traffic will grow at a CAGR of 92 percent between 2010 and 2015, reaching 6.3 exabytes per month by 2015.

Global mobile data traffic will grow three times faster than fixed IP traffic from 2010 to 2015. Global mobile data traffic was 1 percent of total IP traffic in 2010, and will be 8 percent of total IP traffic in 2015.

Regional Highlights

IP traffic is growing fastest in Latin America, followed closely by the Middle East and Africa. Traffic in Latin America will grow at a CAGR of 50 percent between 2010 and 2015.

IP traffic in North America will reach 22 exabytes per month by 2015, at a CAGR of 30 percent. Monthly Internet traffic in North America will generate 4 billion DVDs' worth of traffic, or 14.5 exabytes per month.

IP traffic in Western Europe will reach 19 exabytes per month by 2015, at a CAGR of 32 percent. Monthly Internet traffic in Western Europe will generate 3.1 billion DVDs' worth of traffic, or 12 exabytes per month.

IP traffic in Asia Pacific will reach 24 exabytes per month by 2015, at a CAGR of 35 percent. Monthly Internet traffic in Asia Pacific will generate 4 billion DVDs' worth of traffic, or 15.6 exabytes per month.

IP traffic in Japan will reach 4.8 exabytes per month by 2015, at a CAGR of 27 percent. Monthly Internet traffic in Japan will generate 0.9 billion DVDs' worth of traffic, or 3.8 exabytes per month.

IP traffic in Latin America will reach 4.7 exabytes per month by 2015, at a CAGR of 48 percent. Monthly Internet traffic in Latin America will generate 1 billion DVDs' worth of traffic, or 4.3 exabytes per month.

IP traffic in Central and Eastern Europe will reach 3.7 exabytes per month by 2015, at a CAGR of 39 percent. Monthly Internet traffic in Central and Eastern Europe will generate 0.8 billion DVDs' worth of traffic, or 3.1 exabytes per month.

IP traffic in the Middle East and Africa will reach 2 exabytes per month by 2015, at a CAGR of 52 percent. Monthly Internet traffic in the Middle East and Africa will generate 440 million DVDs' worth of traffic, or 1.8 exabytes per month..."

3 Tips from Surprising Content Marketing Geniuses: Kevin Smith, Trent Reznor &.. | Excerpt via Content Marketing Institute

Feeding the public’s appetite for invention

In my final content marketing lesson, the “genius” of note is a composite of sorts. There are many artists who embrace techie lust in a way that extends what consumers know about their brands, and allows them to explore that brand in creative, playful, or personalized ways. Here are just a few examples:

  • The Beastie Boys launched their latest album by releasing a 30-minute video that revisited its “Fight for Your Right to Party” roots by pitting their young, rebellious selves against their older, and maybe not much wiser, future selves in a mock battle for supreme coolness.
3 Tips from Surprising Content Marketing Geniuses - Beastie Boys
  • The rock band Arcade Fire used Google Maps and Google StreetView to create an innovative, Cannes-winning video project called The Wilderness Downtown. When viewers plugged in the address of their childhood homes, the video would unfold in multiple windows, personalized with scenes from their own neighborhoods. As an added personal touch, viewers could also leave a message for their “younger selves” in a tree branch-inspired font that was incorporated into the video.
    3 Tips from Surprising Content Marketing Geniuses - Arcade Fire
  • The band OK Go has made a name for itself through its willingness to push the envelope of creative video concepts and give fans a unique experience. Their latest video, “All is Not Lost“, tops all their previous efforts with a split-screen “video dance messenger” experience that spells out viewers’ typed phrases through the body manipulations of dance troupe Pilobolus.
    3 Tips from Surprising Content Marketing Geniuses - OK Go

Content marketing lesson: If you are afraid to use the latest technology to enhance your marketing efforts, you’re not telling your consumers your full story. By holding out on them, you risk the possibility that your content will seem stale and behind the times — a potentially fatal error in the world of ever more fickle and fragmented audiences.

Impressive - Pixelcase's 360 interactive video

The Pixelcase 3Motion Platform® merges all interactive solutions into one seamless package for ease of use and navigation. The 3Motion Platform® can stream 360 video, gigapixel imagery, social tagging, collaboration systems and virtual tours whilst utilizing the fastest CDN networks for instant delivery. Fully customizable, it can easily navigate between multiple projections for an even greater experience.

Premiere: One Millionth Tower High-Rise Documentary Takes Format to New Heights | Underwire | Wired.com

How to Watch This Movie If you start the film by clicking ‘Explore,’ then you’re the director. Here’s how it works.

1. The mouse or arrow keys control the camera; use them to move throughout the 3-D world of the film.

2. Each image with a title tells a different story. Click or press ‘Enter’ to find out what it is.

3. Tap floating boxes to get additional information from Wikipedia or images from Flickr.

4. Is it getting dark in there? Or lighter? That’s intentional. The environment changes based on the time and weather conditions at the Toronto high-rises where the documentary was filmed.

5. The ‘Whole World’ section will find a high-rise tower similar to the one in the documentary in any country you choose and display it using Google Maps’ street view.

6. Get lost? Hitting ‘Return’ brings you back to the center of the environment.

To
tell the story of Canadian high-rise residents reinventing their homes in the sky, the makers of new film One Millionth Tower reinvented the documentary format.

The movie, which makes its online premiere above, was carefully crafted to be watched on the internet. It uses interactive tools to illustrate the Toronto residents’ ideas about how to improve the decaying high-rise in which they live. Powered entirely by HTML5 and open source JavaScript libraries, One Millionth Tower is loaded with photos and information from all over the web, and exists in an online environment that is about as close to three-dimensional as something on a flat screen can get.

“We’ve added an entire new layer to the web and One Millionth Tower is one of the first examples of that,” said Mark Surman, executive director of the Mozilla Foundation, the force behind the Popcorn.js toolkit that powers the film. “In the same way we all got really excited when you could highlight a word on a page and create a hyperlink … that’s happening now with film. I think of this as the first real web-made documentary.”

The resulting film is unlike any before it. It can be watched without much interaction, but it’s much more fun to play with it (see “How to Watch This Movie” at right). Some aspects change even without viewer input: For instance, the time of day and weather in the film change based on actual conditions in Toronto.

One Millionth Tower, which is premiering on Wired.com the same day it premieres at the Mozilla Festival in London, is not just a static story recorded on film and then edited together for audiences. It exists in a 3-D setting made possible by a tool called three.js, which lets viewers walk around the high-rise neighborhood. Moving through allows viewers to see the current state of urban decay, then activate elements to show ways the residents would change their world, like an animation showing where a new playground or garden would go.

The interactive movie is chock-full of photos from Flickr, street-views from Google Maps and changing environments fueled by real-time weather data from Yahoo. Everything is triggered by Popcorn.js, which acts like a conductor signaling which instruments play at what times.

One Millionth Tower wasn’t always supposed to be so immersive, or so revolutionary. When she started the film, director Katerina Cizek planned to make a traditional animated narrative documentary about reinvigorating urban housing complexes, showcasing residents’ ideas for improving their homes in the tower. But the film took a dramatic turn this spring when web developer Mike Robbins got his hands on it. “He said, ‘This is a movie about a 3-D space, so let’s make it in 3-D space,’” Cizek said in an interview with Wired.com. “Our jaws dropped open.”

‘This is a movie about a 3-D space, so let’s make it in 3-D space.’

After that revelation, the documentary, part of a series of media projects produced by Canada’s National Film Board called Highrise, was completely re-imagined. Robbins began collaborating with Bobby Richter, who worked on a Flash-based web documentary for Cizek called Out My Window before moving on to Mozilla’s Web Made Movies project and Popcorn. What they created amazed even those who had been working with Popcorn from the beginning.

“The way One Millionth Tower uses Popcorn is a great example of a use we didn’t anticipate,” Brett Gaylor, project lead for the Web Made Movies initiative, said in an e-mail to Wired.com. “Back when Kat approached us, we were very much thinking in terms of integrating other web services — like Twitter and Google Maps — into and alongside video. When Mike showed us how he was using it to trigger the camera in a 3-D scene, a light bulb wet off.”

As futuristic as One Millionth Tower is, it’s influenced by a project the publicly funded National Film Board started back in the 1960s. Called the Challenge for Change, a major initiative of the undertaking was to use then-new film and video technologies for making documentaries about social issues. The Highrise program was intended as a way to re-envision that project with modern tools, said National Film Board head Tom Perlmutter. “That’s our greatest responsibility: to constantly take risks, constantly push boundaries,” Perlmutter told Wired.com. “If we’re not doing that, then we don’t deserve to be funded.”

One Millionth Tower is just the beginning. Nearly everyone from the film board and Mozilla notes that the greatest innovations in Popcorn-enabled web movies will be made by future generations of filmmakers. Even Cizek — who accepted a Webby honor with the words, “The internet is a documentary” — acknowledges the best is yet to come. “What we’ve done with One Millionth Tower is not the future,” Cizek said. “It just points to it.”

Random House Editorial Director on E-Books and Transmedia | Excerpt via Digital Book World

Jeremy Greenfield: Ten years ago when you started at Penguin, much of what you work on today – digital books, transmedia – didn’t really exist. How did you get into it?

Tricia Pasternak: I was always obsessed with books. More broadly, I was obsessed with storytelling. I love the opportunity to work with great creative.

The transition [to digital and transmedia] was really organic. It came from what’s happening in the broader culture. We’ve seen an enormous shift to e-books in the last two years. It’s gone from 0% of our business [at Del Rey] to 30% and it will probably be even greater next year. The growth has been 150% to 200% in the past couple of years. In the next couple of years, it’s going to continue to expand exponentially.

JG: Should all authors, agents and publishing houses be thinking about transmedia? Or, at this point, is this just a game for the big boys that can afford to put development- and marketing-muscle behind a massive, multi-platform franchise like Harry Potter?

TP: I think it’s for everyone. Not every transmedia project has to be a multi-billion dollar franchise. It’s going to take the independent creators and the small companies to come up with really innovative ways of doing things that we [at Random House] can learn from in the future.

JG: Why is so much transmedia genre? You don’t see a lot of transmedia literary fiction.

TP: I think a lot of it is how devoted how that audience is. The sci-fi and fantasy audience are the people that will follow all of the worlds we create. They were thinking transmedia before we were. They were the ones doing fan fiction. They were thinking about what happens in the world of Star Trek when the show ends. [J.R.R.] Tolkien [the author of The Lord of the Rings trilogy and many other books] and [Gene] Roddenberry [the creator of Star Trek] were thinking of this way back when.

Literary fiction is around the corner. It will begin with the right writer having a great idea and the vision of it. Increasingly there will be a generation shift where literary novelists will be less reluctant to think about this as a way to do things.

JG: How do you know a story is right for multiple platforms? How do you figure out which platforms are best?

TP: Not every story is suited for this kind of development. It’s really when you see more than a story…you see a world.

JG: What’s more important, the story or the platforms and distribution methods?

TP: The story absolutely has to come first. If the story isn’t compelling, it doesn’t matter how brilliant your Facebook campaign or your Twitter campaign is. It has to connect with your audience and get people to follow through with that story through platforms.

JG: What’s the business model? Is the multi-platform, transmedia approach just a value-add? Marketing for the main product (presumably the book)? Or are there transmedia experiences that are being or will be monetized in a more direct way?

TP: That’s literally the billion-dollar question. Sometimes our business development people are more creative than our writers.

Like - Stepford Wives told on Twitter: Joanna Eberhart (jo_instepford)

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Joanna Eberhart

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Joanna Eberhart

I see they've given her larger breasts than mine...am I photographing this? Am I in New York? Am I drinking scotch with Bobbie?
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She turns to me smiling...I've seen that look before..like Charmaine's, like Carol's, like Bobbie's...this woman with her hollow black eyes
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Frozen now..in time...in a dream...Diz is behind me...and at my mirror is a woman brushing her hair
»

Eli Pariser on How Algorithms and Editors Can Work Together to Burst the "Filter Bubble" (Excerpt)

Pariser pointed out the critical things that social personalization gets wrong when it comes to content.

  • Anticipation: If there’s a small story about a meeting of the Greek parliament today, a human editor could anticipate that stocks might tumble tomorrow. Algorithms are rarely good at making this kind of abstract correlation.
  • Risk Taking: For an algorithm to be successful, it needs to be right most of the time. Suggestion engines almost always offer up “safe” content within a very narrow spectrum. Human editors have the will to take risks on content that might be wildly successful (or fail miserably).
  • Big Picture: Algorithms seldom connect the dots between specs of content to form a big picture of current events. An editor can create a front page (today, a homepage) that shows the news of the day in context, and arranged by importance.
  • Pairing: Human editors can draw you in with something “clicky” and get you to stick around by pairing that item with something of substance. This can be an art more than a science, which is why algorithms come up short.
  • Social Importance: Algorithms are good at surfacing what’s popular but not necessarily what’s important. The war in Afghanistan may not be “likeable” or “clickable,” but a human editor can ensure that stories about it get seen.
  • Mind-Blowingness: Pariser spoke about the Napoleon Dynamite problem on Netflix. Users either loved the movie (rated it five stars) or hated it (one star). Because the Netflix algorithm doesn’t like making risky recommendations, it often eschewed Napoleon from suggestion lists — even though people who like the movie really like the movie.
  • Trust: People learn to trust good editors. If something seems boring or irrelevant but a trusted editor says it’s important, you’ll heed. Algorithms may never be so trustworthy.

Full article on mashable.com

4 Steps to Selling With Social Media | Social Media Examiner

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Excerpt:

"If you want to demystify the experience and improve your ROI (return on investment), you need to make sure that your marketing and campaigns include these four essential components:

Attraction: How do you attract qualified leads to your website or business?

Retention: How do you stay in contact with people after they’ve left your website or store?

Conversion: How do you get people to “buy now” or move further down the sales funnel?

Measurement: How do you determine if any of this is working?

By following this model, you’ll be able to ensure that you’ll successfully navigate your way through this untamed wilderness.."

Original site has a detailed map to follow....