Good magicians depend on a few essential pieces of kit to successfully execute their craft: a wand, a rabbit, a top hat and an audience to wow. Similarly, when it comes to video, marketers need a screen, creative, eyeballs and accurate measurement to track performance.
So in a world with doctored videos and disinformation campaigns distorting what we all see online everyday, how can the public understand whether the content they're consuming and sharing is truthful, and how can media companies prevent their reputation from being damaged by fake content?
I'll start with the obvious. Video is huge, it's everywhere, it's on the path to completely dominate communications with audiences. If you're a publisher or media company not already heavily invested in video, and more specifically, social video, or have no such serious intentions, you're going to stay out of the game.
Facebook now sees eight billion average daily video views and Snapchat users aren't far behind, sending more than seven billion photos and videos each day. They say sharing is caring - and that's true to an extent. But when you overshare or share the wrong information online, that can often lead to tricky conversations or unintended consequences.
Video is everywhere. Read this on a packed train, and you can be sure that at least half of those on their mobile are watching some form of video content; after all, 13% of adults' social media time is spent watching video, equating to around 10 minutes every day.
Dan and Emily White are the co-creators of The Department of Ability, a comic book that tells the story of a gang of five physically disabled superheroes who use their disabilities to save the world. The comic was born when they noticed that not only was there a huge shortage of relevant heroes for Emily to look up to, but also a significant lack of positive representation of disabled people in the media and in literature.
It's an interesting development in the ongoing transformation of the publishing industry, and one that results from a couple of media's biggest trends. First, there's the increasing appetite for video, and second, there's the migration of audiences from owned and operated sites to social networks.
The figures are in for 2016, revealing that streaming and download services have finally overtaken physical media as the prime format for home film-wa...
This week Facebook announced that it would be including mid-roll ads in the videos that show up in its highest value real estate - the news feed. It's a shot across the bow of YouTube to get more of the content creators, both new and existing, to switch from YouTube's walled garden to Facebook's.
Content Warning: mention of rape, sexual assault and harassment.
In the summer term of my first year at Cambridge I wrote the script to a short come...
This year has seen significant developments in the media industry that will have long lasting effects going well beyond 2016. Every major media trend from this past year centred around video, which now accounts for over two-thirds of all internet traffic. There's been three key trends that standout in my mind:
MediaMonks Games unlocked its own achievement this November, as the most playful proposition in the global creative production company celebrated turning ten. During this time the industry has gone through its own transformation.
Short, shareable and preferably cute kitty cats... that's what resonates with the social media generation. And who doesn't want that cute, furry esc...
As much as we need robots, robots need us to get to the promised land of harmonious, fluid and genuinely helpful AI support. And right now we are the ones guilty of not investing in the relationship.
The other day, after a long day of parenting, I set up my video camera and recorded myself as I emptied out my pockets and revealed to the world what junk was in them. I found a piece of broken tambourine, loose change and a hair band.
It's not hard to see why new Virtual and Augmented Reality technologies could shake up everything from marketing and gaming to commerce and education. But while one offers a closed and fully immersive experience and the other is open and only partly immersive, does either have a chance of moving beyond the hype to enter the mainstream?