Siobhan O'Flynn's 1001 Tales http://1001tales.posterous.com tracing the roots & tendrils of storytelling today posterous.com Thu, 21 Apr 2011 03:47:00 -0700 YouTube & AmEx Team in Aussie Video Story Mapping Project: mapmysummer's Channel http://1001tales.posterous.com/youtube-amex-team-in-aussie-video-story-mappi http://1001tales.posterous.com/youtube-amex-team-in-aussie-video-story-mappi

We're a huge and diverse country - the sun shines in Broome, the rain pours in Toowoomba, the surf's up in Byron and the mist settles in the Dandenongs - and our summer is legend. Let's share our collective experiences of this Aussie summer with the world. With your help, we want to create a map of the Australian summer on YouTube. Starting today, you can upload all your summer videos, creating an archive of events, experiences and people from all around the country.

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Fri, 18 Feb 2011 07:53:00 -0800 ‘Girl Walks Into a Bar’ – 1st Major Pic Created Exclusively for Web Distribution/Free Screening YouTube on March 11th http://1001tales.posterous.com/girl-walks-into-a-bar-1st-major-pic-created-e http://1001tales.posterous.com/girl-walks-into-a-bar-1st-major-pic-created-e

Director Sebastian Gutierrez is quoted on SlashFilm.com as saying:

"We want to prove that Web distribution is a viable medium for theatrical quality movies which rely on story, characters and dialogue as opposed to special effects. For many reasons the theatrical indie landscape has changed drastically in the last few years, leaving many potential breakout hits without an audience. We are excited to break the rules of feature films by letting people watch our movie for free online."

Read the full post:

http://www.slashfilm.com/girl-walks-bar-trailer-major-motion-picture-created-...

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Thu, 03 Feb 2011 03:57:00 -0800 How YouTube's Global Platform Is Redefining the Entertainment Business | Fast Company http://1001tales.posterous.com/how-youtubes-global-platform-is-redefining-th http://1001tales.posterous.com/how-youtubes-global-platform-is-redefining-th
BY: DANIELLE SACKSJanuary 31, 2011
YouTube CEO Salar Kamangar and his team have transformed Google's Folly into a mind-blowing -- and lucrative -- global platform that is redefining the entertainment business.

EnlargeSalar Kamangar, YouTube, CEO

Star Maker: Kamangar loves that YouTube is creating the stars of tomorrow-and that advertisers want in. | Photograph by Robyn Twomey


EnlargeMargaret Stewart, YouTube, User Experience

Discovery Network: Stewart's goal is to make sure there's a flood of personalized content waiting for users every time they visit YouTube. | Photograph by Robyn Twomey


Salar Kamangar floats unnoticed through YouTube's sprawling San Bruno, California, offices dressed in a navy blue hooded sweater and jeans, laptop cocked on his hip. he might as well be just another anonymous, nomadic programmer rather than YouTube's newly named CEO.

The exceedingly shy 34-year-old escorts me into a corner office filled with a cornucopia of Silicon Valley souvenirs, including hundreds of conference badges and, naturally, a Segway. "None of this is mine," Kamangar tells me. The office belongs to YouTube founders Chad Hurley and Steve Chen, even though neither technically works there anymore. Kamangar's own desk is a naked cubicle right outside. Jeff Zucker he isn't.

Sitting stiffly on Hurley's tan couch, Kamangar has a nervous demeanor, which only begins to melt after I accept his offer to take a spin through his favorite YouTube channels. "This is pretty funny. Have you seen this before?" he asks, sounding almost like a teenager. He props his worn Lenovo on his lap. "It's Indian pole gymnastics," which is exactly what it sounds like. With his eyes glued to the screen, he shows me vintage footage of bluegrass flatpicker Doc Watson; the fan-created Lord of the Rings prequel "The Hunt for Gollum," which, he tells me, has been mistaken for a Peter Jackson flick; and Sal Khan, the young hedge-fund manager who ditched his career to become the most prolific math instructor on the web and whose audience, says Kamangar, surpasses those for recorded Stanford and MIT lectures. Kamangar's tour is a peek into a side of himself that he doesn't show the public, even if some of the videos are the kind of baseline entertainment that has made YouTube beloved by audiences but infamous to advertisers. (I mean, seriously: Gymnasts flinging themselves onto a pole is a few steps above talking-cat voyeurism.)

Since YouTube's earliest days, Kamangar has envisioned the site's transformational potential. Unknown to many, he was the driving force behind Google's acquisition of YouTube for $1.65 billion in 2006, less than 20 months after Hurley, Chen, and Jawed Karim registered the domain youtube.com. Google's youngest VP at the time, Kamangar ran Google Apps, including Google Video. "As quickly as Google Video was going, we realized it wasn't that likely to catch up with YouTube," he says. He felt that while Google Video obsessed over comprehensiveness, YouTube's founders made the smarter bet of cultivating its vibrant community.

Read the full long article on fastcompany.com - well worth the time

http://www.fastcompany.com/magazine/152/blown-away.html?page=0%2C0

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Fri, 28 Jan 2011 04:00:00 -0800 Ridley Scott's YouTube Documentary ‘Life in a Day’ Streaming Tonight on YouTube 7pm http://1001tales.posterous.com/ridley-scotts-youtube-documentary-life-in-a-d http://1001tales.posterous.com/ridley-scotts-youtube-documentary-life-in-a-d
Media_httpthefilmstag_dfpjj

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Tue, 16 Nov 2010 04:19:00 -0800 Like: YouTube Play. Live from the Guggenheim. The full show http://1001tales.posterous.com/like-youtube-play-live-from-the-guggenheim-th http://1001tales.posterous.com/like-youtube-play-live-from-the-guggenheim-th

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Thu, 28 Oct 2010 15:58:00 -0700 Yup. Let's rethink the metrics: How Lady Gaga's One Billion YouTube Views Changes the Music Industry | Fast Company http://1001tales.posterous.com/yup-lets-rethink-the-metrics-how-lady-gagas-o http://1001tales.posterous.com/yup-lets-rethink-the-metrics-how-lady-gagas-o

 

The Influence Project

Which metric more fully captures Lady Gaga's global superstardom: the 15 million albums she's sold to date, or the one billion views she reached this week on YouTube?

Though CDs are rapidly becoming a thing of the past, replaced by digital music, physical album sales still remain the gold standard for the industry. Isn't it time that metric is updated to include the wealth of ubiquitous digital platforms? "The notion of tracking sales and correlating that to success is a bit antiquated," says Vevo CEO Rio Caraeff. "There's no single indicator you can look at now--you must look at everything."

That means measuring not just physical but digital album and single sales, and pulling data from a variety of non-traditional platforms. The record industry must track downloads on iTunes and Amazon, fans on Facebook, followers and mentions on Twitter, streams on Pandora and MySpace, views on Vevo and YouTube and MTV, ticket sales on Ticketmaster--to name a few.

"When you look at Lady Gaga hitting a billion views, I think that's a very positive wake-up call for the industry--that we need to think about the metrics of success differently," says Joe Fleischer, CMO of media measurement firm Big Champagne. The Beverly Hills-based company recently developed Billboard rankings for the digital age. Called the Ultimate Chart, Big Champagne culls data from as many digital portals as possible to provide a more real-time portrait of an artist's success.

"The right way to understand success is to include all of those points of contact that are meaningful into the charting environment," explains Fleischer. "Just look at gold and platinum awards from the RIAA. When an artist like Disturbed reaches No. 1, are they now bigger than Taylor Swift? No. It means for just that one week they've sold more albums. It's one component of success, but it does not give a consistent, undistorted view of the market."

Indeed, after one week atop the Billboard charts, it's common for artist sales to plummet 60% to 80%. But that doesn't mean their success or popularity has experienced such a drop. Fans still watch videos on Vevo; they buy tickets for concerts; they follow artists on Twitter and post messages about them on Facebook. In other words, the artists are still relevant, regardless of their position in the Top 100 physical album sales.

It is those rankings which have become irrelevant.

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